Kamaad Tauhid @blues2jazz2003 #PocketJazz
Kamaad Tauhid @blues2jazz2003 #PocketJazz
posted by Kamaad Tauhid #@blues2jazzguy
BLACK AS 1000 NIGHTS: The Artistry and Poetry of SUN RA a National Black History Event
WORLD STAGE PERFORMANCE GALLERY
ONE NIGHT ONLY! Saturday February 9th 9:pm $25 at Door for a rare west coast appearance by Bassist/Composer. Arthur”JUINI” BOOTH former bassist for the man himself Sun Ra and his Afro-Futurists Arkestra. featuring the Spoken Word voice of SUN RA by actor/writer/producer/musician, Robert J. Carmack-MFA.
Robert J. Carmack fresh off his production of original play 2018 :Interview with the High Prietess:NINA! a Sold out performance at the WORLD STAGE. 2015’s two events at World Stage A Tribute to Composer & Blue Note producer DUKE PEARSON – Charlie Yardbird Parker “21 Toot Salute” on Birds 95th birthday.
The content from the selected poems of Sun Ra are curated from the highly touted works from his days and weeks spent as artist-in-residence at University of California Berkeley circa 1970s.
“His widely eclectic and avant-garde music echoed the entire history of jazz, from ragtime and early New Orleans hot jazz, to swing music, bebop, free jazz and fusion. His compositions ranged from keyboard solos to works for big bands of over 30 musicians, along with electronic excursions, songs, chants, percussion pieces, and anthems. From the mid-1950s until his death, Ra led the musical collective The Arkestra (which featured artists such as Marshall Allen, John Gilmore and June Tyson throughout its various iterations). Its performances often included dancers and musicians dressed in elaborate, futuristic costumes inspired by ancient Egyptian attire and the Space Age.”
“SUN RA is Music & Poetry is Theater at Its Best” The Hipster Sanctuary
Sun Ra (born Herman Poole Blount, legal name Le Sony’r Ra.. May 22, 1914 – May 30, 1993) was a jazz composer, bandleader, piano / synthesizer and Poet. Renown for his experimental music, “cosmic” philosophy, prolific output, and theatrical performances. For much of his career, Ra led “The Arkestra”, an ensemble with an ever-changing name and flexible line-up. Later on new audiences found SUN RA Music & POETRY was not only hip but spoke to their lens of how they view today’s world and actions.
Born and raised in Alabama, Blount became involved in the Chicago jazz scene during the late 1940s. He soon abandoned his birth name, taking the name Le Sony’r Ra, shortened to Sun Ra (after Ra, the Egyptian God of the Sun). He developed a complex persona and an idiosyncratic, myth-based credo that would make him a pioneer of Afrofuturism. He claimed to be an alien from Saturn on a mission to preach peace, and throughout his life. He publicly denied ties to his prior identity.
The Players for the evening’s performances
Juini Booth-basses/keyboards – music director (formerly played & recorded with SUN RA, Tony Williams Lifetime,Gary Bartz, Woody Shaw, and McCoy Tyner, to name only a few;
Robert J. Carmack – spoken word/actor/musician~ performed with Azar Lawrence, Juini Booth, Dale Fielder,producer/writer 2018’s successful work in progress Interview with the High Prietess: Nina! original play by R.J. Carmack.. Encore coming 2019 for extended run. Creator of Pocket Jazz 2019! melding of jazz, poetry,and theater with painters and sculptors.
Guillermo E. Brown -Guillermo E. Brown pays his bills by playing drums with Reggie Watts’s band on The Late Late Show with James Corden, but he has a long history in the avant-garde. Brown has collaborated with jazz giants such as Matthew Shipp, David S. Ware, and Vijay Iyer; eclectic electronic musicians such as DJ Spooky, Jamie Lidell, and Spring Heel Jack; and boundary-pushing hiphop artists such as El-P and Antipop Consortium
Mahesh Balasooriya – former pianist/keyboards for Natalie Cole, Waberi Jordan, David S. Ware , also the great Aurturo Sandoval and the late saxophonist Zane Musa..
As Switch, the band proved to be popular in clubs, as well as within the quiet storm radio format. Their singles “There’ll Never Be” (1978), “I Call Your Name” (1979), and “Love Over and Over Again” (1981) reached the Top 10 of Billboard’s R&B chart. Throughout the 2000s, the band’s recordings were sampled by the likes of De La Soul (“A Brighter Tomorrow”), Ne-Yo (“It Just Ain’t Right”), Rich Boy (“Throw Some D’s”), and Erykah Badu (“That Hump”). Ingram, Williams, and Fluellen reunited, added new members, and have been bringing down the house ever since!
The Gap Band Review pays homage to The Gap Band, which is one of the most popular funk groups of the late ’70s, ‘80s to present time. 15 Top Ten R&B singles ranging from ferocious funk anthems to gorgeous slow jams. Many of their hits, such as “Burn Rubber (Why You Wanna Hurt Me)” and “You Dropped a Bomb on Me,” featured instantly memorable, rippling synthesizer bass-lines.
The Gap Band’s run of hits spanned nearly 20 years, from 1977 through 1995. Their hits continued with “Shake”, “Open Up Your Mind”, “Don’t Stop the Music”, “Yearning for Your Love”, “Early in the Morning”, “Outstanding”, the title song to Keenan Ivory Wayans’ “I’m Gonna Git You Sucka” and more!
In a recently held concert on the campus of my Alma Mater, California State University Dominguez Hills, Dr. Teodross Avery addressed a SRO audience on the rare compositions of Jazz icons John Coltrane and Thelonious Monk. Avery , a professor of music at the university, curated an eclectic list of compositions by the two masters. Several of the tunes , rarely played on bandstands today, offered as proof of the complexity and challenges of playing compositions by Monk or Trane. a couple of favorites of mine were presented in their full, regal splendor, Trinkle Tinkle by Monk and The Promise by Coltrane.
As a musician, Dr. Teodross Avery stands as one who defines live music—best experienced in front row, and full throttle. His commanding presence, on stage and off, reflects his musical ingenuity and skill. With an outstanding pedigree, both professionally and academically, Teodross is a saxophonist to watch, as evidenced by many of today’s biggest names in music relying on his wide musical reach.
While growing up in Oakland and Vacaville, California, Teodross’ parents exposed him to a wide range of music including traditional Eastern and Western African music, Soul, Rock, and Jazz. Dr. Avery put together a very solid jazz unit for the Thursday night crowd at the school.
In the band with Teodross was, veteran bassist, Henry “Skipper” Franklin, former drummer for Jay Leno’s TV show, Marvin “Smitty” Smith, journeyman pianist, Theo Saunders. Saunders was on fire on several tunes by Monk. (https://www.teodrossavery.com) the rare composition “The Promise” was opened with a Franklin pizzicato solo for a great introduction to this spiritual composition.
Journalist,Actor/Poet, Robert J. Carmack sits down for a chat with the powerful Jazz painter, SAM PACE.
COMING IN AUGUST 2018 @ Hipster Sanctuary…
“Fiddler Blue” Not the official title, Just what I call it” -RJ Carmack
Stanley Turrentine with the Three Sounds – Blue Hour
Music Matters Jazz
In the hands of Stanley Turrentine, the tenor saxophone was an instrument of soulful creativity and immense power. From his 1960 Blue Note debut, Look Out (BLP 4039/BST 84039) through his biggest hit for CTI Records, Sugar (CTI 6005) in 1971, Turrentine’s credentials were second to none as a giant in the genres of Hard-Bop, Modal and Soul-Jazz. The subject of this discussion places the tenor man in the company of Gene Harris on piano; Andrew Simpkins on bass and Bill Dowdy on drums who were collectively known as The Three Sounds for a program of the Blues. Blue Hour (BLP 4057/BST 84057), originally released in 1961 is the second of only two records where The Three Sounds would back a saxophonist. The first LP was 1959’s LD + 3 (BLP 4012/BST 84012) with alto saxophonist Lou Donaldson. My copy used in this report is the 2015 Music Matters 33 1/3 Stereo reissue (MMBST-84057). The 1930 song, I Want a Little Girl written by Murray Mencher and Billy Moll leads off the first side. This infrequently heard ballad opens with an angelic introduction by the trio, exhibiting Harris’ attentiveness to the lyric and melody. Stanley joins in for the theme with a quiet sincerity in his approach, then delivers a graceful performance which captures the essence of this standard on the initial solo. Harris’ interlude is brief, but lovely and the closing by the quartet is especially beautiful.
Gee Baby, Ain’t I Good To You was written in 1929 by Don Redman and Andy Razaf. The song became a jazz standard in 1943 after Nat King Cole recorded it with his trio. The Three Sounds provide a nostalgic mood with a pensive introduction, allowing Stanley to deliver the melancholy melody with feeling. Turrentine starts the solos tastefully, enhancing each verse with subtle lyricism which reaches a peak of sensitivity at its conclusion. Harris instills the closing presentation of this standard with new life on an interpretation of intimate warmth which is a work of beauty. The only original on the album ends the first side, Gene Harris’ Blue Riff takes the tempo to a medium beat during the opening chorus which moves with a finger-popping, toe-tapping groove. The Sounds’ introduction sets the mood for Stanley to create some jubilant phrases on the opening statement with a vivacious spontaneity which builds to a successful summation. Gene takes the next turn for a cheerful presentation of joyful swinging with a youthful spirit which is also delightful. Stanley returns for a few final verses of soulful riffs, prior to Gene leading the trio into a fadeout.
The 1945 jazz and pop standard, Since I Fell For You by Buddy Johnson opens the second side. Johnson wrote both the music and words of this very beautiful ballad, and first introduced that year it with his sister Ella on vocals. This evergreen is one of the most recorded songs in jazz and pop and has been performed by many of the greatest musicians and vocalists in both genres. The Three Sounds start the song with a stylishly soft, slow-paced introduction as natural as if the song was written for this album exclusively. The trio segues into a soothing opening melody by Turrentine who solos twice, delivering tasteful and tranquil restraint on the first interpretation and closing chorus. Harris contributes a luscious reading which is lovingly stated with tenderness. Simpkins and Dowdy’s accompaniment is richly satisfying behind Gene as he performs each voluptuous verse. One of my favorite standards, Willow Weep For Me, written by Ann Ronell in 1932 opens with the exquisitely mellow tone of Stanley’s tenor sax leading the quartet through the main theme for one of his definitive ballad performances on the LP. Gene’s opening statement is a gorgeous, mid-tempo reading which compliments his colleague’s exceptional groundwork into an alluring culmination. Stanley’s closing performance starts at a poignant pace with a firm introspective tone, followed by a graceful swing which takes the tune down smoothly into a luscious finale.
Pianist Gene Harris, who was known for his gospel jazz style formed The Three Sounds in 1956 with Andy Simpkins and Bill Dowdy. The group became a hit with the public and by the time Blue Hour was recorded, the trio was amid a four-year run (1958-1962) recording a total of twelve albums for Blue Note including four in 1960 alone, which is why I believe Alfred Lion didn’t release the additional eight songs available on the 2000 two CD – album after this record hit the stores. The Three Sounds’ would be together until 1970, when Harris would leave to embark on a successful solo career. Stanley Turrentine was a veteran tenor saxophonist of the Soul-Jazz style since the fifties and he would record a total of seventeen LP’s for the label as a leader, plus several as a sideman including guitarist Kenny Burrell on Midnight Blue (BLP 4123/BST 84123); pianist Horace Parlan (1931-2017) on Spur of The Moment (BLP 4074/BST 84074). Three with organist Shirley Scott (1934-2002) who he was married to at the time, Never Let Me Go (BLP 4129/BST 84129); A Chip Off The Old Block (BLP 4150/BST 84150) and Common Touch (BST 84135). One with pianist Horace Silver (1928-2014), Serenade To a Soul Sister (BLP 4277/BST 84277) and three with organist Jimmy Smith (1928-2005), Midnight Special (BLP 4078/BST 84078); Back at The Chicken Shack (BLP 4117/BST 84117) and Prayer Meetin’ (BLP 4164/BST 84164).
In his liner notes, noted author, jazz historian and journalist Ira Gitler offers one definition of the Blue Hour as that early morning time “when you reach across the pillow where your Baby used to lay” and find to find him (or her) there. The sound on this LP is stunning, the remastering of Rudy Van Gelder’s original tapes by Record Technology Incorporated is also superb and the gatefold photos of each musician during the session compliments the music marvelously. What I’ve found the album to be is nearly thirty-eight minutes of blissful jazz by Stanley Turrentine and The Three Sounds that adds weight to any jazzy library and is an LP you can enjoy at any time of the day, the evening or the early morning during the Blue Hour.
I Want a Little Girl, Gee Baby, Ain’t I Good To You, Since I Fell For You, Willow Weep For Me – Source: Wikipedia.com
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posted by Robert J. Carmack ~ @blues2jazzguy -You know its very hard to find a word that describes a person perfectly, but I just may have. what I mean is, I googled the word Destiny and it read, ” the events that will necessarily happen to a particular person or thing in the future. Also, “the hidden power believed to control what will happen in the future; fate. HOWEVER. Sometimes if you’re lucky and say your prayers, you just might meet a talented, sublime musician who happens to play a very unique instrument in a small community of players within a special genre..the original art form of America, JAZZ.
Dorothy Ashby was Destiny’s big influence early on long before Alice Coltrane’s huge shadow loomed large in her life. But what was really a “head-scratcher” for me was when she mentioned in an interview I held with her recently. While as a child watching TV, a man with wild hair and zany behavior. He abruptly stopped and stared at a Harp momentarily, then sat down and begun to play a beautiful solo. She was watching a famous scene from a “Marx Brothers” film. That was just the spark needed in her little head. She went wow! I would like to play that. As a little girl growing up in the Compton community and going to Tibby elementary school. Destiny could only dream, as her mom had very little money and instruments were not in the cards. Even later as she grew up and tried to learn the violin, it did not “cut it for her.” Things were changing at home and her mom moved to San Pedro area projects for low-income, about the time for her to go to high school, she joined a vocal choir and wanted to take piano lessons but again was told they could not afford lesson. Frustrated but not deterred from her dream, Destiny became a barber, a good one too, which gave her independence and decision making power to pursue whatever she wanted. But before she knew it, she was approaching 30 years old and needed to sink or swim.making up her mind to go for it musically she began her journey as a harp player by beginning with the rudimentary method of mastering an instrument late in life. A very challenging endeavor, but none the less not impossible. She moved to Oakland East Bay area and sought out help, advice, direction. After a tad bit of finding her niche’, she found people like trumpeter Khalid Shaheed, pianist Tammy Hall and the legendary trumpeter Eddie Gale among many others. Now over 25 years later, she is being blessed beyond words. Not worrying about how long it took, but what she is doing now that she has arrived.
Destiny has opened for The Oakland East Bay Symphony and Smooth Jazz Artist Gerald Albright, shared the stage with Jazz Masters Marcus Shelby, Omar Sosa, Blue Note Artist Ambrose Akisemuire, and Azar Lawrence to name a few. She has headlined for ‘Women in Jazz’ Concert series, the Afro Solo/ Yerba Buena Gardens Concert Festival, Sunday’s in the Redwoods Concert, Fest Sundiata, and SFJAZZ Tribute to Alice Coltrane’s epic album Impulse Release ‘Journey in Satchidananda .
Destiny is the Principal Harpist for the Eddie Gale Inner Peace Orchestra, the Oakland Community Orchestra and performs with The AWESOME Orchestra.
The Destiny Muhammad JAZZ Trio~Following in the footsteps of jazz harp master Dorothy Ashby (who recorded with everyone from Freddie Hubbard and Frank Wess to Bill Withers and Stevie Wonder), the Destiny Muhammad Jazz Trio is a sleek and soulful ensemble designed to showcase Muhammad’s soaring vocals and transporting string work.
That second and most highly touted Jazz musician, pianist, composer and master harpist, the late Alice Coltrane. A profound influence on Destiny as a musician, composer but, also as a woman in a male-dominated genre. She has been given high praises by her peers and fellow bay area jazz musicians, as well as prestigious arts organization and music societies.
Whether interpreting jazz standards or her original tunes, Muhammad turns every piece into a soulful adventure. https://www.youtube.com/watch?v=Hora0U6vvDw
A plethora of achievements and awards received in a little over 25 years after not even starting until she was 30 years old on her instrument. Governor Emeritus and Educational Chair Emeritus of the Recording Academy, Jazz Heritage Center of San Francisco Jazz Ambassador, ASCAP Songwriter Awardee, and Judge for The West Coast Songwriters Contest and Northern California Entertainers Music Awards Female Jazz Artist of the Year.
I asked Destiny what was her greatest joy in music? she said with glee, “That I’m still playing after starting late at 30 and taking that leap of faith. You can follow Destiny’s career and keep up with her gigs by going to her website:http://destinymuhammad.com
If you missed her moving tribute to the great Alice Coltrane the first time, see information below for tickets and or general information regarding the Concert, Alice Coltrane~Sonic Legacy August 26, 2018 – two shows only!
IT was announced recently by producer Robert J. Carmack that the show, Street Life: Magic & music of The Jazz Crusaders is cancelled until further notice. Carmack sited health issues as reason for postponement . no other announcements will be forthcoming. all parties regarding tickets sales online have been contacted and remedied. those that were purchased from direct sources have been contacted also. again, we apologize for the abrupt cancellation, but it could not be avoided. We will contact those groups and individuals when we are able to direct them to a new date or venue. Thank you for your understanding and support. #@blues2jazzguy
Producer/ Host- Robert J. Carmack
posted by Robert J. Carmack
The Lighthouse Café is a nightclub located at 30 Pier Avenue in Hermosa Beach, California. It has been active as a jazz showcase since 1949 and, under the name “The Lighthouse”, was one of the central West Coast jazz clubs from the 1950s through the late 1970s. Purely talking Jazz years, It has been a long time, since I personally use to frequent these digs as a very young budding saxophonist growing up in the early 1960s Los Angeles. Listening to two jazz stalwarts on the radio at the time in KBCA FM 105.1 & the KNOB “JAZZ KNOB” out of Long Beach. hipster Jocks ruled the radio waves back then LA. Tommy Bee, Jammin’ Jai Rich, Rick Holmes, Chuck Niles, Les Carter, Tollie Strode with “Slow traffic to the right” , “while travelin’ in my Electro-Magnetic Bag.”
AllMusic rated the album with 4 stars noting: “Feel is what dictates the material and its execution on this set, without unnecessary attention paid to crowd or recording apparatus. This is one the most intimate jazz shows captured on tape during the 1960s. It gives record buyers the sound of a band in full possession of their considerable capabilities, celebrating them in a relaxed environment, playing their own brand of grooved-out ’60s jazz”. I actually had the opportunity to catch this very lively and “Funky as it wanted to be band” ,to borrow a catch-phrase from the era describing the feel and sound of the times. Borrowing heavily from the fresh pop culture and songs the crusaders were able to marry the hard bop edginess and the approachable groove-based chart-topping style. Jazz Crusaders were starting to dominate the west coast appeal and the young fans like myself. I was all of 17 in the fall of 1967, when this was recorded, but released in early 1968.
The best part about growing up in the early 60s and loving live jazz , You could actually go see who was playing the music you heard on radio. Because of the policy for “under -21” fans who obeyed the rules and “maintained their cool” under the fire of the electrifying bands that appeared at the beach venue.. IMHO, You might as well considered the Crusaders the House band, they appeared hundreds of times over the years, but recorded almost all of their most classic of all records with that great Lighthouse crowd over the microphones too. All of which gave it that “Flavor” like a great Gumbo meal. I would be here all day trying review all the great music from the pen or horns of Jazz crusaders, starting in 1962 , one could catch the very best in music, bar none, and be on the “hippest scene” while doing it at the Lighthouse.
I invite you to pick up a copy of this great album or whatever choice of media format is today vinyl, CD or downloads. GET IT!!
Join me ,along with some very special musicians in Los Angeles June 22 Friday night at 9pm as we turn back the clock 50 years and perform the best of the jazz crusaders: the early years up to late 70s. I have culled simply the best compositions and recordings for the featured band Crusader Legacy 5 Plus.. hand-picked stellar musicians for this event at the World Stage Performance Gallery 4321 Degnan Blvd. L.A. California 90008 – $25 –
Go online at http://www.eventbrite.com under title of Street Life: The Magic and Music of the Jazz Crusaders ….