POCKET JAZZ MANAGEMENT ~ Robert J. Carmack-Band Leader,Producer, Writer, Actor, Director, Publicity, Percussion,
Photo Artists: Chuck Koton, Robert J. Carmack, Valerie Huffman-Herring, Craig Johnson
Artists (Painters, Assemblage,Graphics) SAM PACE, MICHAEL BRADLEY, SANDRA MARCHAND
Musicians: Robert J. Carmack -percussion/sax/spoken word,Bobby West-Piano, Keyboards,music directo ~Andrew Acosta, all Percussion & Toys, Don Littleton Traps/ Percussion, Pablo Cologero -flutes,saxes and bass clarinet, Mike Alvidrez basses electric & acoustic.. Aladeen- sax/vocals
Booking Roster: Jazz groups-MAIA all-female jazz ensemble, Acknowledgement, Plight and Elephants Nda Park
Actors: Robert J. Carmack, Phil Bell, Pat Sligh, Windy Barnes-Farrell, Michelle LaChaux,TBA
Certainly no stranger to creating eclectic ambiance, jazz bassist Juini Booth rolls into Los Angeles with all the excitement of the second coming!.. But realistically, He’s put together a great team of Brooklyn Club owners that loves’ Jazz served up New York style, with a stellar group of musicians, including a jazz poet.
It makes one wonder if he will come with a combination Sun Ra, or Chicago Art Ensemble. We’ve been told most of the material will be in the spirit of the Atlantis album by McCoy Tyner ,recorded LIVE in 1974 at the celebrated Keystone Korner. Adding some spoken word sprinkled in. ” We expect a very diverse audience with impeccable taste in Music, Art and Hipness” .
In Brooklyn , the Zebulon Cafe was quite popular among the young and the young at heart, chided Booth. Juini has shaped a very stellar career in music , sometimes dropping off the Jazz scene to tackle other musical genres. “This allows me to open up to all types of music, sounds and rhythms. His impeccable list of bandleaders and recording projects are a “Who’s Who” in Jazz. McCoy Tyner, Sun Ra, Pharoah Sanders and Freddie Hubbard to name a few. In addition to playing and recording projects, Juini’s been spending his available hours with a project he holds dear to him, the Wilbur Ware Institute. He teaches and inspires young musicians in New York.
Band personnel: Juini Booth leader/bass, Roy McCurdy drums, piano Benito Gonzalez, Azar Lawrence saxophones, guest jazz poet, Robert J. Carmack …
Posted by Robert J. Carmack-All Photos by Chuck Koton
Jazz Shutter Bug, Chuck Koton was just able to eek out the last set at Catalina’s Jazz Bar & Grill in Hollywood recently. Miller was in town for a short stint to promote his latest effort entitled Afro Deezia. the Band seemed to push out a mix of Originals and covers. Miller was just in town last month for two big concerts at the Hollywood Bowl. The talented multi-instrumentalist was showcasing all his skills as jazz musician and bandleader. Often Marcus found himself trading licks with alto saxophonist, Alex Hahn and Atlanta-based Trumpeter Russell Gunn. One of his tunes that stood out during the last set was a thunderous bass-thumping version of Papa Was a Rolling Stone. also, a special tribute to “Goree” was highlighted by his mastery of the bass clarinet. Thanks Chuck for the pictures.
Once in a lunar eclipse weekend you might get some pretty good entertainment in selected spots around Los Angeles, but to get great jazz, that requires planning ahead and research. for the last 39 years , in an unlikely area of south central Los Angeles wedged between a Junior high school , railroad tracks, some proud residents, and a Los Angeles landmark , built by an immigrant, Simon Rhodia of concrete, steel and broken glass.
The Watts Towers Jazz Festival took its familiar bow September 26 & 27th . The festival features a “Day of the Drum“, with supporting activities of all cultures and ethnicities celebration of drums, throw in Jazz from around the world by local, regional and international musicians performing on a live stage that looked like a revival tent. This writer had planned in advance to get there in time to catch Carmen Lundy & Patrice Rushen performing as single acts , but also together as well.
Carmen took the stage with her own group featuring her iconic bassist and brother, Curtis Lundy. After a couple of hot jazz numbers , Carmen called up Patrice to sit in with her group on selections from her 14th new CD as a leader. Rushen was simply stellar in her improvisations on cuts like “Life is a Song in Me” and title track, “Soul to Soul”. In my humble opinion , this is Grammy material. grab a copy at your usual source for purchasing music online.
Patrice Rushen and Ndugu are both products of the Watts community ,while being alumni of Locke High school under the mentorship of musician /Educator Reggie Andrews. Patrice and Ndugu fronted an all-star band of Nedra Wheeler on Bass and Justo Almario on saxophone, Munyungo Jackson on percussion. In their set they chose to celebrate the genius of several iconic jazz masters, John Coltrane, Thelonious Monk and Horace Silver, and a couple of others to the audience’s delight.
Weekend’s events were beautifully MC’d by Jazz program host James Janisse, and Poet Laureate and Griot ,Kamau Daood.
posted by @blues2jazzguy concert photos only by Jerone Myles
One of the best feeling in the world is when you plan,execute and get back a return on your effort in double spades..No, I’m not playing cards, even though I am using a card game metaphor. On August 22,last saturday night, a group of master musicians, two vocalists! and a poet came together in a show entitled,The Genius and Music of DUKE PEARSON: Thank You Uncle Duke
Working with Jon Williams to secure the World Stage with our idea to honor a man, most deserving equally,as the man who founded the world Stage, Billy Higgins. Higgins was one of the most recorded drummer in jazz history. Pearson had his hands on many of the classic albums ever produced by Blue Note Records, many of which was backed by Billy Higgins on drums,
The evening’s program kicked off with producer/host, Robert J. Carmack introducing the band,The Uncle Duke Legacy Band,which featured the piano stylings of Jazz veteran pianist, Bobby West. Before the music began,Carmack presented a letter from the Duke Pearson family. Which in short thanked the The World Stage,and their staff, Jon Williams and Sister Renee for their efforts. Also, Robert J. Carmack and all the Band members and vocalists participating. They also invited the the audience and fans alike to visit and join the Duke Pearson Tribute page on Facebook. The letter was signed by Mr. Gerald R. Ford( no relations) the nephew, Greetings and thanks from his mother and Duke’s sister,Myrtle(81)last survivor of Pearson’s direct family members.
Several choice Pearson compositions were played by the Band, including two non-Pearson tunes but were either recorded by or worked with the production and arrangements. First set jumped off without a hitch with Jeannine ,using a version arranged by Cannonball Adderley’s band . This classic allowed the band to show out and up with Bobby West taking the lead line on piano with Derf Reklaw Flute in harmonic tag-along, driven by the bass and drum duo of Ishmael hunter and Reggie Carson. West was able to really stretch out and flex his well honed skills to task on a blistering solo, followed by Derf Reklaw “take no prisoners” balancing between Flute lines and accents on Congos & bongo. In an effort to give balance and unique presentation , we added voices on certain songs , such a rich vocal arrangement of UGETSU/Fantasy in D, sung by the mother, daughter team of Pat Sligh and Jana Wilson. its a well known composition by Cedar Walton, a sessions player on many Blue Note recordings including Joe Henderson and early on in 60s with Art Blakey’s Jazz Messengers . Sometimes , you have to go and dig out some strange-named titles to really appreciate Duke Pearson’s mind. Especially his sense of humor with this composition the band tackled with all their might, Big Bertha. a bright uptempo ,kind of funky, driving tune. Makes you wonder what your experience would have been like meeting the infamous “Big Bertha.” Later in the evening The band decided not to perform a fast tune to open the next set , they went with a sublime composition written by Duke and dedicated to his mother, On Mother’s Day This Year (wear the brightest rose) “we wanted the audience to feel the lyrics that was also in the composition” stated Robert J. Carmack ,producer. “but we had no male vocalist to sing it, so we used Derf Reklaw flute’s mid range and low tones to bring out the richness of the very harmonic laden tune. we followed that up with another smooth swinger in Gaslight, taken from his mid-60s period.
“Many of these Pearson compositions were quite complex in their original form, and sometime they was not available to get the charts I needed , I had to rely on my associate and friend James Armstrong , who helped me immensely on many of the complex melodies, James was instrumental in breaking down a lot of the music theory I did not know, to even select the compositions we used in the show was quite difficult,” stated Carmack. James was invaluable on this project.
Carmack surprised the audience with a riveting poem written by Eric Wattree ,a family friend of Dexter Gordon, It’s called A Swinging Affair, another Blue note gem, that also included Billy Higgins on Drums at that 1964 session under the watchful eye and ear of Mr. Duke Pearson, though not credited as producer or arranger on a lot of Blue Note records, his fingerprints were all over a plethora of big records by the label, under a special arrangement between Duke and Alfred Lions , whose name appear as Producer very suspiciously on too many “hits”. It was technically his money paying for sessions ,but we all know whose creative energies were prevalent on the albums themselves. The evening’s last two compositions played by the Uncle Duke Legacy Band was just stellar, starting with Amanda, a bouncy,latin-tinged call and response ditty between West’s piano and Reklaw’s Flute. Reklaw took no solace in having to bounce between Flute and accented 4s between drums and bongos, followed by more fire from the flute as he played an extended flute solo that conjured up James Spaulding. Spaulding by the way, played flute and alto on the original 1966 “Wahoo ” album. The finale was just indescribable, Cristo Redentor, featured all members of the band , the two female vocalists and poetry by Robert Carmack. The flute’s voice was mixed with the angelic voices of the female singers , that set up a choir like sound as in the original Donald Byrd piece with piano by Bobby West’s alternating the hymn -like melody with the flute’s voice, follow in the second part by a Harmon muted trumpet by Jon Williams of the World Stage staff, this set up a mood as the band lowered its sound and vamped as Carmack recited an original poem call Let Freedom Ring Now!, aptly titled after a Jackie McLean Blue Note record from the mid 60s, this all culminated in bringing down the house with a standing ovation by the fully engaged audience at the World Stage. Robert Carmack’s next and last show of the Pocket Jazz series for August concludes Saturday,August 29. NOW’S The Time: Spirits of Our Ancestors 7:30pm doors open 8pm showtime. Venue: World Stage 4344 S. Degnan Blvd. L.A. 90008 951-840-7120 RSVP /Tickets info $15 tickets until 8pm $20 ATD after 8pm
Robert J. Carmack , collaborated with Billy Higgin’s World Stage in order to try to capture in one evening, one man’s most compelling compositions of the 1960s at Blue Note Records.
MORE ABOUT DUKE PEARSON
“This was most challenging, said Carmack , How does one select from the multitudes of compositions he’s written, produced,or arranged while having an impact. Not just on the album sales at Blue Note, but also the genre itself as Blue Note made its transition from well-known A&R man, Ike Quebec, a mainstay at the label coming out of the swing era,bebop period , then latching on at Blue Note as an arranger, and facilitator for new music and artists. IMHO, the label’s quite volatile roster of talent began to come up a little stagnant and needed new & fresh ideas to drive the label as the 1960s was upon them. Unfortunately by 1961, the death of Ike Quebec left a gaping hole in Lion & Wolff’s ability to attract new talent and fresh musical ideas. Hence, the hiring of Duke Pearson by Alfred Lion put them squarely on the right path as history played out, from 1962 -1970 Blue Note Records had its best and most profitable times, including having some of the best in artist signings and record productions in Herbie Hancock, Freddie Hubbard, Wayne Shorter, Cecil Taylor, Andrew Hill, Kenny Drew, Stanley Turrentine, Dexter Gordon, Bobby Hutcherson,Joe Henderson, to name a few artists. Two of the biggest albums during his tenure was, New Perspectives by Donald Byrd featuring Cristo Redentor and The Sidewinder by long time Blue Note staple,Lee Morgan. IMHO, If there were no Duke Pearson’s Vision, Those records among others never gets made.
Coming August 22/29 The World Stage Performance Gallery
Pocket Jazz Series Saturday August 22, 7:30pm
The Genius of DUKE PEARSON:Thanks Uncle Duke
Uncle Duke Legacy Band–Bobby WEST pianist/music director, Reggie Carson bassist,Ishmael Hunter drums,Derf Reklaw Flute/sax/percussion, Pat Sligh , Mechelle LaChaux and Jana Wilson Vocals; M.C./Poet:Robert J. Carmack
On Friday the last day of July , Dwight Trible hit the stage at L.A. County Museum of Art on Wilshire. The capacity outdoor crowd cheered and chanted along with Trible as he engaged them with classics like Its Strange and Little Sunflower.