California Jazz and Blues Museum
California Jazz and Blues Museum
Posted by Kristina McBride ~Int’l Jazz Editor at Large I recently ventured to NYC to go see the legendary Pharaoh Sanders in Brooklyn. I hadn’t been to New York in around 13 years, so I wanted to take my time and see the city and experience it all over again, taking in the old with the new. It felt wonderful to walk the streets again, block after block. I considered the fact that I had never been to Harlem and wanted to get off the beaten trail, so I got on the A-Train and got off at 125th and Malcom X Blvd. I was overcome with a sense of peace and excitement simultaneously.
I had arrived in the cultural mecca of Black Americans. Legends had walked these streets: Langston Hughes, Malcom X, Zora Neale Hurston, Amiri Baraka, Duke Ellington, Billy Holiday, Miles Davis…I can go on and on. I was hearing Gregory Porter’s “On My Way to Harlem” on a loop in the musical soundtrack of my mind. I gazed at the buildings surrounding me. All the goings-on was a sensory wonderland, displaying mothers pushing their babies around the corner while on their cellphones.. a young man rushing toward the subway, perhaps he won’t be late to his shift.
Wow..the Nigerian grandmothers sitting at their stalls with their wares for sale, fanning themselves from the impossible heat of a New York Summer. And, of course I walked past the Apollo Theater, snapped a few pictures of myself, Then I sauntered in the vibes and wisdom from the vendors selling their body oils, shea butter,black seed soap and Dashikis.
I finally met up with a long-time friend, both of us were hungry, we decided to stop by a café for some grub. On the way, he pointed to the left and said, “There it is…that was the Lenox Lounge.” I paused abruptly on the sidewalk, taking in the sight in front of me. It was a massive, hollowed space flanked by two buildings with awnings. I stood in front of the empty lot where the Lenox Lounge once stood, now filled with bulldozers that will go back to work demolishing what remained that following Monday. Including a massive, blue metal removal bin, I wonder what was in it. Could it be any of the chairs or light fixtures, or maybe pieces of the beautiful, honeycomb tile floor? Not even the marquee was there. One would never know that the place ever existed.
Rumors are a Sephora is being constructed in its place. Another frivolous, over-priced store in a rapidly gentrifying neighborhood. Or at least they’re trying to. Only just a few weeks before my visit there, was a vote to stop the renaming of a section of Harlem to “SoHa” (short for South Harlem). Harlemites wouldn’t stand for that nonsense.
I wish this could have been the case in D.C. where this is happening all over as the “brown folks” are being moved out to attract younger, richer, and incidentally more white people into the city. “The sight of a Whole Foods at the Corner of Malcolm X Blvd and 125th befuddled me as I came out of the subway station.” Such an odd place for a store like that for that neighborhood, but it’s a sign of things to come.
So many of our cultural landmarks and venues that was home to Black America’s music and its artists over generations are rapidly disappearing: Bohemian Caverns and HR-57 in Washington, D.C.; in Philadelphia, although they have been long-gone are Pep’s and The Showboat, and it’s even worse nowadays according to some long-time Philadelphians.
Older Philly Jazz fans into their 80’s now, feel the new spots aren’t hosting any jazz whatsoever. In Los Angeles, the home of Leimert Park’s World Stage, they too have been bullied by the threat of gentrification. Presently preparing to put up a staunch fight for culture and legacy . We now have to hear jazz in these sterile environments, where the band has to fight with the noise of people chatting-away as musicians create Living Art right in front of them.
Absolute worst..annoying people practically standing on the bandstand just to capture video and pictures to post to FB, and insta-gram, trying to prove how hip they are .
Most aren’t really into the music anyway. Even worse than all that , if you do love the music and want to go out to hear a good gig, it’s a small fortune sometimes, $15 and up covers plus $20 food/drink minimum is not uncommon. Good luck if the gig is in a city that requires pay to park! The venues aren’t paying anything decent for the band to play, so musicians aren’t working.
The artistry and music are suffering because of it all, Hopefully, there is an urgency to remedy this situation.
I contemplated this as I walked away from the empty, hollow shell where the Lenox Lounge once stood, looking back several times,searching deeply for a sense of hope. ### by Kristina McBride
Next Up Nov.1:They Called Him Morgan:My Spin on the Movie
an Original Play by Robert J. Carmack – Black History Month
COMING to the Los Angeles area February 2018
Ms. Jana Wilson as
High Priestess Nina Simone
~in Loving Tribute~
Robert J. Carmack as the Reporter~Karl Lee
written,produced and directed ~R.J.Carmack
“BLACK CULTURAL EVENTS IS YOUR GATEWAY TO RICH CULTURAL LIFE OF BLACK GREATER LOS ANGELES. THE ONLINE CALENDAR AND DIRECTORY OF WHAT’S HAPPENING AND WHERE TO GO, THAT WILL KEEP YOU IN THE KNOW.”
Pamela Ashe-Thomas is co-founder of Black Cultural Events and BCE Media. A psychologist in private practice and at California State University, Long Beach, Pamela is a life long Black culture lover with a commitment to exposing students and community members to the cultural arts.
David Ashe is co-founder of Black Cultural Events and BCE Media. Prior to Black Cultural Events David was embedded via the 10 Up Agency at Microsoft working with the worldwide corporate storytelling division. He has managed web and digital projects for DirecTV, Toyota, Oprah Winfrey Network, FX Networks, Sony Pictures Digital Entertainment.
Eric Thomas is a General Partner and Chief Operating Officer for BCE Media. As an itinerant theatre arts instructor for the Arts Education Brand of the Los Angeles Unified School District, the veteran music, broadcast and interactive media production executive brings a wealth of experience to the mission of Black Cultural Events.com.
Patrice Louise Rushen (born September 30) is quite the jazz pianist and R&B singer. She’s also a composer, record producer, multi-instrumentalist, songwriter, and music director. Her 1982 single, “Forget Me Nots“, received a Grammy Award nomination for Best Female R&B Vocal Performance. Rushen had great success on the R&B and dance charts. “Haven’t You Heard” went number 7 on the R&B charts, with “Forget Me Nots” as her only top 40 pop hit. Patrice is held high within the Jazz community as one of the Best of her generation on piano.
In her teens, she attended south LA’s Locke High School and went on to earn a degree in music from the University of Southern California. Respectfully known among her legions of fans as “Baby-fingers,” a reference to her small hands. Berklee School of Music bestowed on her, a Doctorate in Music. She is currently holding down an important academic post at the University of Southern California in their school of Performing Arts. all the while being a wife,a mom, and still taking first-calls for recording and production assignments in Television and Films. There are rumors floating around ,she may have been selected to be part of an ambitious Television project involving children and the jazz legacy of Hazel Scott. Who by the way, was a child prodigy just like Patrice. According to unnamed sources,we found out, there’s a new children’s book series(Little Melanie) being developed for Television involving British and American kids in the cast.
Ms. Rushen will supervised the musical aspects. a London-based production studio. London-5-Studios are the executive producers. #LittleMelanieMyGrandPiano, #London5Studios
posted by Robert J. Carmack #blues2jazzguy
artwork by King
Subtitle; A Hipster’s perspective on Trane at 90. Its been a long 49 years ago that John William Coltrane was announced transitioned. This writer remembers that summer day as if it was only yesterday.
photos chuck Stewart
I was just starting to settle into the summer as any teenager would, with mine being a little bit different. That difference being, I was a young working musician playing saxophone in a Jazz band. Actually getting more gigs for Dance music or “Soul Music”, so we did both. So on top of playing “Motown” for a set, we always ended a set or opened a set with popular jazz of the era. Bumpin’ on Sunset with Wes Montgomery or Song for my Father by Horace Silver.
One of the most popular of Trane’s music at the time was Equinox and My Favorite…
View original post 2,020 more words
posted by Robert J. Carmack #@blues2jazzguy At a recent interview with a Chief Executive at London 5 Studios in England, It was announced that 9 year old Joshua Grant has been selected to the cast of ” Little Melanie” a new TV show still in pre-production development. The show is based on a book conceived and developed by Ms.Melanie Greene, that’s centered around a little girl who is a piano prodigy. “Little Melanie” has a strong commitment to excellence and a dream to one day be as great as her idol, jazz pianist Hazel Scott. the young girl’s character is debuting with a launching of the first book, followed by another 149 + books within the massive children series.
In the TV series, Joshua Grant will portray a character, Aden that plays drums in the TV show Little Melanie Live! This new show promises to dominate children’s television and spawn several movies and merchandise items. Grant has made many appearances on his drums and is very popular among his school mates in Atlanta . Among the most recent shows are the Harry Connick Jr Show where he and other youngsters are jamming with Harry’s TV Band on-air.
Rumors has it, He’s being wooed for another TV appearance by a famous daytime television show host in Hollywood very soon.
posted by Robert J. Carmack #blues2jazzguy
World Debut of Hazel Scott inspired Children Book Series and Television show coming soon to a channel and book shelf .
It was announced by a media spokesman for the LONDON5 STUDIOS. Creation and Books authored by Melanie Greene.
Little Melanie Children’s book series is a development and creation of London 5 Studios, headed up by Melanie Greene and her brilliant team of artists, writers and musical geniuses. the very first book, My Grand Piano is solely based on a little girl’s dream to become as great as the Jazz legend Hazel Scott on piano. Even insisting on exclusively playing only a Steinway piano, which was the signature choice by the great Hazel Scott. Little Melanie also has a positive quality about her that’s simply unmatched in children’s programming today. the series is muscular 150+ books, followed by London-based TV show that reflects a very diverse cast of characters, and special guests to be added later on as the Little Melanie unfolds into a its’ full potential. This writer will be keeping you informed about the latest developments involving this grand presentation and innovative series/TV show. follow it also at twitter #@blues2jazzguy…www.hipstersanctuary.com.
The 22nd Annual Central Avenue Jazz Festival, hosted by L.A. Council member Curren D. Price, Jr., is upon us, and we hope you can join the party as we celebrate South L.A.’s rich cultural past, present and future!
The FREE event on Saturday, July 29 and Sunday, July 30 from 11 a.m. to 7 p.m., includes performances by dozens of highly talented and recognized Jazz musicians.
The two-day festival will feature prominent performers on three stages with live music, pavilions focused on arts, health, youth, business and employment resources along with food and merchandise available to purchase. For more information, including a complete schedule of performances,
please visit http://www.centralavejazz.org/
posted by #@blues2 jazz guy
“Profound Simplicity”- A Glimpse of Dwight Trible” by Kristina McBride
I’ve been spinning quite a bit of music lately, listening to the inner urge of Joe Henderson’s tenor sax, Lee Morgan’s blistering trumpet solo telling it like it is, Black Arthur breaking down Lenox Ave on my new Rega RP3 with a fantastic vintage Scott 382-B amplifier and speaker combination. The music and sound combination that comes at me is sensational, bringing me closer to the music more than ever. I’ve begun to listen to and feel music more deeply over time. Through music I travel freely through time and space, exploring my inner-most emotions and dreams. In the spellbinding voice of Dwight Trible, I embark on a musical voyage, exploring new depths of musical consciousness.
He is a vocalist-songwriter, poet and musical healer. That he is so shamefully under-acknowledged in the music world is especially contemptible considering how badly the world needs his music. He successfully fuses jazz, blues, and gospel while also being known to reference opera and Gregorian chants during his presentation. He’s collaborated with contemporaries such as J-Dilla, Kamasi Washington, and John Beasley. I stumbled upon his music on a balmy Florida afternoon while I listened to WPFW in Washington, D.C. I heard Trible’s sonorous voice laced on top of the lush, romantic piano, string and percussion ensemble of Quasimode as he sang “Midnight Flower”. I was captivated straight away, my body becoming warm and I became aware of the sensual arousal I felt as I listened. His voice beckoned me, touching my soul with the immediate force evoked by the supernatural allure of his voice.
Trible is a full-bodied baritone that can ascend to a soul-stirring falsetto that is unwavering at any tempo or volume. His profound connection to music is present in each song he approaches. Trible’s masterful interpretation of Andy Bey’s “Celestial Blues” is the epitome of spiritual jazz singing, where he showcases his masterful, soul-stirring vibrato and vocal range. Trible’s singing is evocative of vibrant colors and textures, of romance, peace, and happiness. It has healing power, a unifier, a beacon of hope and light.
Trible grew up in Cincinnati, Ohio with three siblings and both his parents. He began singing as a young child, inspired by his mother. “I remember sitting on the couch when she cleaned up, and I couldn’t have been more than two or three years-old. But I would just sit there and listen to my mother sing, mesmerized, almost in a trance. So, I guess she was probably my first inspiration for singing. Judging from my personality and my makeup perhaps I really didn’t have a choice in the matter, because when I look back on what else I could have done had I not been involved in that…for the most part I cannot think of anything else that it would be,” he remembered.
“From my perspective, I try to get to the core of what it is…I look at it as profound simplicity. For something to be profound it doesn’t have to be complicated. It doesn’t have to be something that nobody understands what it is. Be who you are. And you be the most Dwight Trible you can be. And that’s all it is.”
when I asked him how he began singing, and what he aspired to be when he grew up. His mother would send them to the local theater after church every Sunday, and to keep from growing bored while watching the film, he began improvising to the music.
“I wonder what your siblings thought of you doing that,” I asked him, laughing as I imagined him with his then short legs dangling from the chair as he crooned to the music.
“Oh, they would be so angry with me. I remember once, my brother coming home and telling my mother, ‘Dwight was in-there singing again! He was in-there singing again!’” he recalled with a boisterous laugh. “’Cause God knows how loud I was singing. I guess I did it so much and it probably used to get on their nerves, but it was my nature to do it.” Surely these early singing experiments brought him a long way to becoming a master of his craft.
Trible was saturated with music throughout his childhood, drawing inspiration from Mahalia Jackson, Aretha Franklin, Donny Hathaway, and Linda Jones, who had the 1967 hit “Hypnotized, tune that had a major influence on his singing style. “I was a Linda Jones freak! She was somebody that really resonated with me, and I would say that I was influenced by her more than anyone else, “ he remembered. He later sang with local R & B and gospel groups before outgrowing the Cincinnati music scene. He deeply felt he had to go abroad in order to grow as an artist, and was encouraged by his peers and fellow musicians.
He set his sights on Los Angeles, California, arriving at an extremely fertile time, and was quickly ushered into the L.A. music community by the late legends pianist Horace Tapscott (whom he later dedicated a whole album to) and drummer Billy Higgins. When I asked him what it was like being mentored by Tapscott, he was full of enthusiasm in his response and gave a funny anecdote: “Everything that I thought I knew about music, when I heard this guy play for the first time, it just blew my mind in such a way that, everything I knew, had to go, because I’d seen the light! And, it was strange because when I first saw him, he would come to the club where I was performing, and I’d be on stage and he’d be at the door watching. I would close my eyes and sing a few bars, and by the time I’d open my eyes, he’d be gone! He always did this. It was something else, man… and then one day, he told me to come to his house. I showed up and he had all these plans laid out for me to join The Ark (the nickname for the Pan Afrikan People’s Arkestra). And I was stunned because I didn’t think I was ready for all of that. I guess he felt I was.”
Tapscott appointed Trible to vocal director of the Pan-Afrikan People’s Arkestra shortly after, a move that would boost his confidence as a musician and would expand his profile throughout the music scene.
He later had the fortune of meeting the great Billy Higgins, who thrusted him out of his shyness and exposed his immense, unique talents to several giants of the jazz world: Pharaoh Sanders, Bobby Hutcherson, Charles Lloyd, and Mulgrew Miller. Although he and Pharaoh were familiar with each other, their musical collaboration didn’t come until after Higgins passed away. “Higgins was a guy who made everybody that he played with sound better. He had this way of sizing you up really, really quickly. He had this sort of telepathy where he knew, when you first started playing with you, he could get inside you, find out who you were, and what you needed. Then he would give you that “thing” to take you over the top. He just had that magic.
That’s why everybody, from Herbie Hancock on down, loved playing with Billy Higgins,” he reflected with nostalgia and deep affection in his voice. He later met the late vocalist Betty Carter, and was impressed by her artistry and professionalism, and would go on to incorporate a great deal of her style in his own singing. “And I would say that’s really it for me. And all the rest is me and the spirit working together, “he says optimistically. This writer could feel the peace he had within himself in his words, brimming with optimism.
The Leimert Park arts scene in L.A. is a significant part of Trible’s identity and purpose as an artist and community advocate. He has served as the musical director of the World Stage for the past five years and has worked with the numerous grassroots organizations to fight against the threat of gentrification that targets the historic black cultural epicenter of the West Coast. He can often be found performing at the Blue Whale or The World Stage with a stellar lineup of musicians.
When he’s not singing in L.A. he can be found on a trans-Atlantic flight to London, as he recently did to cut a record with Matthew Halsall titled “Inspirations” (Gondwana label), released in June. He travelled across the pond to London to record with Halsall, as well as touring several cities throughout Europe.“Everywhere we went, you know…the people really, really loved it. Every house was completely packed, and there wasn’t a dry eye in the house every time we finished,” he told me when I asked him about the tour. I can see how that could totally be the case. His voice stirs something inside you when he sings. No matter what language you speak, where you’re from, your age, it reaches you. Sadly, he’s not well-known here in the U.S. where he has been singing for nearly 50 years.
It is beyond comprehension that he could have sung and collaborated with heavy-hitters such as Kenny Burrell, Harry Belafonte, Harold Land, Patrice Rushen, and Kenny Garrett, yet still be low-profile. When I asked him his thoughts about this low-profile in the music world, he replied, “Yeah, it’s kinda interesting how I can go over there and probably work as much as I want to, whereas here, in this country, it is probably more difficult for me to get work here than it is over there.”
“It’s kinda sad,” I replied to him solemnly. “A hard time to be an artist. Too many musicians are struggling to find work here and there’s nowhere for them to play anymore. All the venues are drying up because of rising rents for venues and the cost of living for the artists, and widespread gentrification in the places where the music is popular. And the musicians hardly get paid anything on a gig most of the time. It’s a travesty and a great disservice to the music.”
His optimism and beautiful spirit radiated in his reply:
“Well, you know, I don’t look at it as sad really. I just think that it’s just the way things went, and the beautiful thing is, again, every day I get the opportunity to wake up and do what I love to do. And that’s the main thing. So as long as that can happen, I don’t think of any of it as sad. It’s all good, as far as I’m concerned.”
The album title came from the feeling that the world needs inspiration to carry on in these dark times, in the era of Donald Trump and uncertainty, hopelessness, and anxiety felt amongst many people right now. He delivers a spellbinding version of “What the World Needs Now”, a swinging waltz much like the feeling and style of Coltrane’s signature tune “My Favorite Things”. This writer wondered, if he got inspiration from Coltrane to record this song in this manner, with him as a being a major influence on Trible. The addition of a harpist (Rachel Gladwin channeling a bit of Alice Coltrane in this tune) gives the song an ethereal, jubilant feeling that propels your spirit forth into an ocean of good vibes. Trumpeter Matthew Halsall executes a soulful, yet melancholy solo calling for hope and love for humanity through his horn. Trible finishes out the song and takes us to church, getting down and gritty with his gospel-styled ad-libs. He puts his trademark on several standards throughout the album such as “Feeling Good” and “Ooh, Child”, but you will not get bored hearing them again. Dwight put his signature style on each and everyone of them.
There are many vocalists out here singing, yet Dwight Trible stands-out on an island of his own. He’s truly an artist with such versatility that has something for everyone, and plenty to give. He has an ingenuity that is clearly present in his singing… and that radiates from his spirit. He’s not in this for the fame or fortune (if only!!), but in my mind, be a messenger of love and peace, which are common themes of many of the songs he sings.
He broke down his philosophy for me and outlook on life: “From my perspective, I try to get to the core of what it is…I look at it as profound simplicity. For something to be profound, it doesn’t have to be complicated. It doesn’t have to be something that nobody understands what it is. Be who you are. And being the most Dwight Trible I can be. And that’s all it is.” ### (follow Kristina Mcbride on this blog)
Cosmic- (2011, Katalyst Entertainment)
Living Water- (2004, Ninja Tune)
Inspirations- (2017, Gondwana Records)
Quasimode Sounds of Peace- (2008, Geneon)
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