Tag: Baby Boomer

CTI RECORDS FOUNDER SUCCUMBS


CREED TAYLOR: CTI RECORDS the Next Wave

By Robert J. Carmack

Recently we lost a monumental figure of an era in music, Jazz in particular, Creed Taylor. Taylor pronounced dead in his home in Nuremburg, Germany. It appeared that he was unable to recover from a severe stroke just prior to his death. Beginning in 1950s Taylor excelled in productions and talent scouting. This led to the early creation of the “house that TRANE” built, Impulse Records, circa 1960. Also during the early years at Impulse, he again struck gold by signing saxophonist, Stan Getz. That alliance spawned several hit albums and a “Bossa Nova ,USA movement. In addition to Getz, he also introduced the world to Joao Gilberto. He penned several Bossa Nova hits, none bigger than the Girl from Ipanema, sung in both English and Portuguese by his beautiful and sultry wife, Astrud, a  multi-Grammy-winner for the Getz/Gilberto Album.

One of Creed’s inspiring heroes in music was the creator of Jazz at the Philharmonic, Norman Granz. He made monumental concerts and tours in Europe with some of the biggest and brightest Jazz stars out of USA.Taylor easily slipped into that Granz role of A&R/ Producer for Verve Records in Jazz division.

One of his top collaborations in music was with the great conductor and arranger, Don Sabesky. Who’s fingerprints were all over the best of Verve artists on the roster. The other great collaboration and “Gold Strike” discovery was the quite different guitarist, Wes Montgomery. He had a smooth delivery with more of a “thumbing” approach as oppose to strumming with pick. Also, he added a technique which some called a double-stop chording effect. This allowed Montgomery to play clean and still swing hard as required by jazz idioms. This writer was first faced with that sound in early/mid-60s album cuts from album Moving Wes, Bumpin, Tequila, Going Out of my Head, & who could forget the very soulful “Bumpin” on Sunset a multi-award winner cut and composition. It was the “Darling” of the Pop & jazz Radio audiences. Again, Taylor brings in Don Sebesky and his orchestra on the Montgomery sound and popularity. Claus Ogerman was prominent on the Tequila album. Taylor being the talent scout he was, found out “He” was being recruited by a new label in pop and mainstream music. Herb Alpert of Tijuana Brass fame was earning Big buckets of money in his new label via the Tijuana Brass, Baja Marimba band and other POP and novelty records selling like hot cakes to a starved audience. As Creed Taylor was coming over to the Herb Alpert/Jerry Moss label, To develop their new jazz division under the small creative label CTI(Creed Taylor Inc.) the first fruits were an album entitled, A Day in the Life (made popular by the Beatles)other great songs on that album were  Watch what happens, When a Man loves a woman, California Nights and Angel, all anchored by the title track, A Day in the Life.(1967)

It appeared to me, even at the young age of 17, I could draw that, this was a brilliant move by Alpert/Moss label. Ripping-off a keystone artist on his previous label at Verve, and introducing this fabulous guitarist to a new hip and open-minded audiences. An artist who could play jazz at its highest level , while still being approachable by young and older audiences. Heavy pop tunes were selected by Taylor, like the Association, Beatles, other popular young group tunes. They were brought back to life with jazz guitar on not only radio, but by 1968, Wes Montgomery was on Prime-time TV shows produced by Alpert/Moss. Needless to say, this garners TV show awards for the young Record label. Unfortunately for A&M Records, Wes Montgomery was dead by summer of 1968. Reeling from their loss of the Cash cow in Montgomery hits that played on AM and FM stations and network television.

One of the biggest decision made by Creed taylor was to now reorganize his role and position with A&M.. He then crafted a deal where A&M would now be the prime Distributor of CTI Records products.

Taylor went to work immediate putting a plan of action in place by signing big name jazz artists who had recently left other mainstream labels and was being reinvented by Taylor in his new label image of , Young sounds of electronic instruments, and popular compositions recently heard on the Radio in all genres; Soul, POP, Latin and Middle of the Road audiences. `Officially beginning in 1969/70.. you saw Taylor create some new jazz classics with older jazz artists,Quincy Jones,Nat Adderley, Stanley Turrentine, Freddie Hubbard, Hubert Laws, Milt “Bags” Jackson, George Benson, Deodato, Joe Farrell were scattered around the charts in early 70s radio and concerts. Just like Blue Note records grew its roster of players by recording early and often with stars and their friends that they brought with them regardless of stature or standing.

Taylor, like Blue Note records used only the best in Recording and Engineering by bringing in Rudy Van Gelder on most of their choice records. The third leg of this trifecta is vivid grahics & museum quality photography. Some CTI favorites of mine are, Follow Your Heart Joe Farrell, African Cookbook Randy Weston, Straight Life Freddie Hubbard, Also , Creed spun-off even edgyier artists which a had a R&B/SOUL slant to it . KUDU RECORDS, being its answer to contemporary jazz being played with the technology of that day in Keyboards, recording, sounds, adding different rhythms and grooves . Wild Horses Rock STeady Johnny Hammond Smith, Grover Washington, Little Esther Phillips, Eric Gale, and Hank Crawford all Funky and greasy but smooth in the Pocket groove makers playing on Pop record and soul stations all over the country, many Grammy nominations and high record sales from artist who never imagine the type record sales they were now getting after signing with CTI Records.

In a sidenote many years later, Mr Creed Taylor scored again with a veteran artist ,some thought would never compromise on style and approach. He even convinced Nina Simone to record a very successful album Baltimore”. The title track was a Reggae Beat with Strings, written by Randy Newman and arranged by Dave Matthews in my opinion, one of the very best ever by CTI.

Follow this writer on http://www.hipstersanctuary.com / blues2jazz2003@yahoo.com

https://images.app.goo.gl/jHfKixJ1nF83Jpa89

THE SOUL OF LOS ANGELES:LOCAL JAZZ ARTISTS MAKING MOVES AGAIN


Kamaad Tauhid  @blues2jazz2003  #PocketJazz

Rita Edmonds vocalist and saxophonist Dale Fielder

 

Bobby Bradford on Coronet

Bobby West

 

Robert Johnson Blues master on his way to the Crossroads ART BY Sam Pace

Mz. Santamaria strings of Fire!

BASSIST JUINI BOOTH & WRITER /ACTOR ROBERT J. CARMACK : BLACK AS 1000 NIGHTS~ARTISTRY & POEMS OF SUN RA


Robert J. Carmack @ World Stage 2017 original poetry & jazz

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 

4321 Degnan Blvd
Los Angeles, California 90008
(323) 293-2451      www.theworldstage.org

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 20014

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..

 

 

OLD SCHOOL R&B LOVEFEST: EVENT IN SEARCH OF AN AUDIENCE


https://www.switchentertainmentworld.com/gallery

 Red Marine Entertainment Presents the OLD SCHOOL R&B LOVE FEST
SWITCH , SURFACE , GAP REVIEW  BALL HOOKER. (opening act..)
Real Old School Show: In Search of an audience.. I have been around or involved with the entertainment field for well over 50 years,music in particular. I know a good show when I hear or see one by individuals who really know what to to do with a chord or note. I was pleasantly surprised a few evenings ago as I sort of bumped into a great show. Just helping out my sister as a vendor at the California Education & Performing Arts Center in Ontario California,  11255 Central Avenue. Ontario,Calif.
RED Marine Entertainment recently presented an Old School R&B Lovefest… an evening of solid entertainment by classic Old School groups, Switch , Surface, The Gap Review(Tribute Band) along with opening act Kimball Hooker, male vocalist with some chops.. tagging and paying homage to artists like Keith Sweat.
DYNAMICALLY hosted by LA’s very own, ANGEL BABY – DJ Radio Host.
when you’re a vendor at these productions, you have to arrive early to load-in and get setup . get out of the way of artists moving in equipment, doing sound checks for next two hours. While I had lots of time on my hand, it also gave me an opportunity to move around , be curious as a journalist, as to who and what and why.
I chatted it up with some members of the various bands, production crews and VIP guests , who also arrived early for publicity pictures, video interviews and miscellaneous activities one does before show begins.
At first when my sister told me an old school show, my head automatically thought some mediocre wanna-bees. NOT!!
Listening to sound check of the various groups and singers/musicians, I quickly got a sense of “Oh Wow”, I just wish I had known about this show in advance.  I have my own opinions about that, but, leaving that to the side . Looking inside the cavernous hall with so many empty seats once the show began, I was shocked. Its like you and your lady or gent are all dressed up but no where to go. You just focused on how you looked and not how you were going to get there.
During the early to mid-’70s, Bobby DeBarge, Eddie Fluellen, Phillip Ingram (brother of James Ingram), Jody Sims, and Gregory Williams were in the Ohio-based White Heat, which subsequently morphed into Hot-Ice, an outfit that featured DeBarge, Sims, and Williams, as well as DeBarge’s brother Tommy. That band released an album on Polydor in 1977. Shortly thereafter, Jermaine Jackson helped them secure a contract with Motown offshoot Gordy. All of of this after a very awkward meeting in the Motown building in Hollywood.

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!

I wanted to catch the SURFACE show but was too busy by the time they were onstage. the little I did hear, was simply off the charts.. They performed without a band just DAT and  Flute with strong vocals.. my cut Get Closer ..The ’80s soft soul vocal trio known for such lush ballads as “Closer Than Friends” and the million-selling singles “Shower Me With Your Love” and the number one pop hit “The First Time” had one of its first charting records as artists signed to dance music pioneer Salsoul Records. “Falling in Love,” co-written by Surface member David Conley, doesn’t have much in common with the aforementioned titles other than the group name and a (presumably) Conley flute solo. The single made it to number 84 R&B in summer 1983 and the U.K. pop charts. Singer Bernard Jackson who grew up in Stamford, CT, got into the music business through his cousin who lived in New York.
Seizing the opportunity, he relocated to New York and began performing around the city. While doing a show in Stamford, his godfather suggested that he contact his nephew David Townsend who was also in the music business. Townsend, a former touring guitarist for the Isley Brothers, was the son of singer/songwriter/producer Ed Townsend who had a hit with “For Your Love” in summer 1958 and wrote the Impressions‘ “Finally Got Myself Together (I’m a Changed Man)” and co-wrote Marvin Gaye‘s “Let’s Get It On.” Around 1973, Townsend joined a band called the Port Authority where he met David “Pic” Conley. Townsend, whose father shared hit songwriting tips with him, began writing songs with Conley. After Townsend and Conley met Jackson it was decided that they’d write songs together. The trio became staff writers for EMI Music. Their songs were covered by New Edition (“Let’s Be Friends” from their 1985 MCA LP All for Love) and Sister Sledge (“You’re So Fine”). The trio became performers using the name Surface and moved to Los Angeles. An EMI Music executive brought one of their songs, “Let’s Try Again,” to the attention of Larkin Arnold of Columbia Records. Arnold‘s previous successes include Natalie Cole and Peabo Bryson. He signed the group to Columbia and their first single “Let’s Try Again” charted number 80 R&B in late 1986.
The debut album Surface included the smooth and sweet “Happy,” which hit number two R&B for two weeks in early 1987, “Lately” (number eight R&B), and the reissued “Let’s Try Again.” The next LP, 2nd Wave yielded “I Missed” (number three R&B), “Closer Than Friends” (number one R&B for two weeks in early 1989), the wedding standard “Shower Me With Your Love” (gold, number one R&B/number five pop), “You Are My Everything” (number one R&B for two weeks), and “Can We Spend Some Time” (number five R&B). Jackson brought the sheet music to a song he had written in 1986 to his friend, songwriter Brian Simpson, who had a recording studio in his garage. After listening to the finished demo tape, Jackson thought that he had a hit. Hiring a mobile 24-track recording studio truck to capture his vocal in the best professional conditions, Jackson sang “The First Time” in Simpson‘s house. “The First Time” was the first single from Surface’s 3 Deep album and went gold hitting number one R&B and holding the number one pop for two weeks in early 1991. While “The First Time” was topping the charts, Surface was one of the presenters at the American Music Awards and were enthusiastically congratulated. The hits continued with “All I Want Is You” (number eight R&B, early 1991) and “Never Gonna Let You Down.” “You’re the One” billed as Surface featuring Bernard Jackson made it to number 24 R&B, summer 1991. The group’s last charting single was “A Nice Time for Lovin'” included on their 1991 greatest hits LP The Best Surface: A Nice Time for Loving. Conley and Townsend also produced sides on Rebbie Jackson (“Reaction”) that are on The Rebbie Jackson Collection from U.K. label Expansion distributed by Sony/3MV. 

SAXOPHONIST TEODROSS AVERY QUARTET EXPLORES MONK & COLTRANE


 

 

 

 

 

 

 

 

 

 

 

 

 

 

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.

 

 

 

https://photos.google.com/photo/AF1QipNYy0Lnml3w_fJ7ngHkXSRNrucUZg5r3r07GKub

 

 

 

JAZZ THEMED-PAINTER SAM PACE TALKS HIGH MODES , WET STREETS & DARK SHADOWS


Journalist,Actor/Poet, Robert J. Carmack  sits down for a chat with the powerful Jazz painter, SAM PACE.

COMING IN AUGUST 2018 @ Hipster Sanctuary… 

SUN RA- “Space is the Place”

 

“Fiddler Blue” Not the official title, Just what I call it” -RJ Carmack

MONK- Well You needn’t”- not artist title my name..Lol!

 

 

TWO HIPSTERS CELEBRATING BIRTHDAYS IN AUGUST~ ROBERT J. CARMACK & EDDIE CARTER


Robert J. Carmack ~ August 7th  Editor in Chief & Founder

Our Newest Contributing Southern Region  Jazz Editor Mr. Eddie Carter of Atlanta August 4th  

 

 

JAZZTRACKS SERIES BY EDDIE CARTER ~ STANLEY TURRENTINE


 

 

 

 

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

Pianist Gene Harris – Source: www.musicmattersjazz.com 

Continue to follow our Jazztracks series here at Hipster Sanctuary.com-  be sure to invite a friend to subscribe to us & its FREE!!

MUSIC IS YOUR DESTINY: INTERVIEW WITH DESTINY MUHAMMAD~ “HARPIST FROM DA’ HOOD”


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.

Destiny Muhammad is a Recording/ Performing Artist | Band Leader | Composer & Producer. Her genre is Celtic to Coltrane is cool and eclectic with a feel of Jazz & storytelling to round out the sonic experience.  The original harp is one of the world’s oldest instrument and toughest to master, even more challenging than the piano its self. when I was growing up in Los Angeles and studying music as a teenager I wanted to learn jazz and sought out all kinds of musicians besides saxophone players to listen and learn from. One of those unique musicians was a lady name, Dorothy Ashby, who played the harp, but not just in a classical music setting,but onstage with jazz hungry fans , in clubs, cultural arts centers and later, concert halls late 1960s through the 1980s.
(Dorothy Ashby August 6, 1930 – April 13, 1986)

 

 

 

 

 

 

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!

JAZZ SHOW CANCELED UNTIL FURTHER NOTICE: STREET LIFE: MAGIC & MUSIC OF JAZZ CRUSADERS


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

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