KIRK ANDRES WILSON XMAS SHOW OF SHOWS!


posted by Robert J. Carmack @blues2jazzguy

 

 

 

 

 

 

 

 

 

 

 

Multi-instrumentalist and singer, Kirk  Andres Wilson showed up and showed out last Thursday evening (December 28) at Hollywood’s Catalina Bar and Grill on Sunset.

The almost two-hour set was plumb full of music for every taste and style. Starting the evening off with a series of solo ballads and New Orleans funky-traditional piano styles. that was quickly bolstered by his added band mates.

Lofty musicianship was on display that evening as Kirk was joined on-stage by Professor Harvey Estrada,electric bass and acoustic string bass, Munyungo Jackson percussions, Louis Van Taylor sax/flute, Edell Shepard keyboards/piano, and Donnell Spenser on drums. Wilson was magnificent as the band navigated through everything from Professor Longhair, to Antoine “Fats” Domino(RIP) to Funk & Groove beats of today, Kirk sung hard and long, but also did not disappoint on his mastery of the guitar as well .

This was easily the Show of Shows for 2017!

I highly recommend seeing live, this talented entertainer, producer, writer and master musician. Pick up a copy of his latest CD MY LOVE.  follow him on https://www.kirkandre.com/

 

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COMING MARCH 3rd 2018 INTERVIEW WITH THE HIGH PRIESTESS: NINA! an Original Play


JANA WILSON Portrays Nina Simone the High Priestess of Soul! 

 

 

 

 

 

 

TICKETS ON SALE NOW LIMITED SEATS! Click Link!! https://www.eventbrite.com/e/interview-with-the-high-priestess-nina-an-original-musical-play-tickets-40769094459?aff=ehomesaved

Robert J. Carmack~ Writer-Director_Producer and Actor

 

 

FAREWELL JAZZ SAXOPHONIST MEL MARTIN: PRIDE OF THE S.F. BAY AREA 1942-2017 RIP


 

 

 

 

 

 

Mel and wife waiting in green room to go onstage at Bach Dancing and Dynamite Society -Half-Moon Bay – Todd Barkan’s Keystone Korner 45th anniversary July 8 2017-photo by R.J. Carmack.

jazz saxophonist Mel Martin and Herbie Hancock

jazz saxophonist Mel Martin and Herbie Hancock

COMING SOON: Profiles in Jazz;MEL MARTIN- Reeds & Flute

posted by Robert J. Carmack  @blues2jazzguy

TWO HOURS WITH AZAR LAWRENCE EXPERIENCE ~ THE RIGHT PRESCRIPTION


Los Angeles, CA. Nov 14__ The City of angels needed a rest from crazy news cycles and bad traffic reports,the perfect Rx was written last Sunday evening at Zebulon Café. Concord Records Group newest label, The Jazz Dispensary served up AZAR LAWRENCE EXPERIENCE in Bridge into the New Age .

Lawrence brought in his all-star lineup of jazz greats to recreate the spirit of his 1970s Original album. that album featured the best of the best of that era in musicianship, featuring the likes of trumpeter Woody Shaw and the electrifying Jean Carne on vocals. Azar Lawrence (ZARMAN) wasted no time in introducing the SRO crowd in the 300 seat club to gems from the album as the 7 piece band flexed its jazz muscles on the title track, Bridge into The New Age, a heavy mixture of hard-bop, modal and world fusion. One could not help but notice the audience, as it was multi-generational. The millennial and gen-X hipsters were digging on fiery-cosmic rhythms being fanned by veteran drummers Roy McCurdy and Munyugo Jackson on percussions & toys. Holding down the bottom was the “Skipper” Henry Franklin on bass. Anchoring the rhythm unit was the former keyboards for the late Alphonse Mouzon Quintet and current pianist Theo Saunders.The frontline, the very powerful trumpeter(Michael Hunter) and Azar Lawrence on saxes.

Sounding like an Angel on earth was the very beautiful, Ms.Windy Barnes-Farrell reaching new heights on vocals.

https://photos.google.com/photo/AF1QipM5dIST7pfJjnqxjY5Qt3X5Zxz5tZQwnlcUGaQE

One of the highlights of the evening was a velvety ballad by Azar and the band with vocals on the translucent and stellar composition, Fatisha,written by Azar.. He followed that cut up with a universal spiritual tune that begins with all drums and percussions with a minimal arcing by bassist Henry Franklin, before Lawrence then spins on chanted-spoken words, before being joined by the swirling rhythms of the band on The Beautiful and Omnipresent Love . Pick up your copy today at your favorite online store for music. https://www.concordmusicgroup.com/albums/jazz-dispensary/

 

 

 

 

 

 

mgt./media info Go to~ https://azarlawrence.com/  

Jazz Journalist RJ Carmack, vocalist-Windy Barnes-Farrell

 

MUST SEE JAZZ EVENT~ AZAR LAWRENCE EXPERIENCE HOTTEST TICKET IN L.A.!!


“ZAR” is celebrating his release on Concord Records, ”Bridge into the New Age” Sunday November 12 8pm-10pm Only!  Zebulon Café Concert in Los Angeles ~ 2478 Fletcher Drive L.A. 90039. Buy tickets:$25  https://www.ticketfly.com/event/1582784-azar-lawrence-experience-los-angeles/    

Saxophones ~ Leader – Azar Lawrence

Special Guest vocalist – Windy Barnes-Farrell

Bass-Henry Franklin

Trumpet-Michael Hunter

Roy McCurdy – Drums

Munyungo Jackson-Percussion

Theo Saunders-Piano

 

 

MOVING WEST ~AZAR LAWRENCE EXPERIENCE 2017


 Saxophonist Azar Lawrence makes his way back to the Zebulon Café Sunday night Nov.12 at 8pm.with him are some of Jazz’s most holistic and stellar musicians and vocalist. 

The Azar Lawrence Experience featuring Theo Saunders piano, Henry Franklin bass, Munyungo Jackson Percussion & Roy McCurdy drums..Special guest vocalist Ms. Windy Barnes-Farrell.

“ZAR” is celebrating his release on Concord Records, Bridge into the New Age. Zebulon Café Concert in Los Angeles. 2478 Fletcher Drive L.A. 90039.  Buy tickets:$25  https://www.ticketfly.com/event/1582784-azar-lawrence-experience-los-angeles/

 

CALIFORNIA MUSEUM JAZZ & BLUES: MUSICAL TRIBUTE TO ELLA AND JOE


California Jazz and Blues Museum

presents
A Shirt and a Skirt
Tribute to Ella Fitzgerald and Joe Williams
Starring jazz legend Kevin Mahogany
with special guest jazz vocalist
Barbara Morrison
Friday, November 17
8:00 pm
The proceeds of this event benefit the programs of the
TICKETS ON SALE NOW!!
Our CJBM mission is to educate audiences about the importance of the influence that California, its artists and geographical venues have in the worldwide genre of jazz and blues. We deliver an annual calendar of innovative and inspiring exhibitions, programs, and events.
We appreciate your support. Donate here.
For more information on the California Jazz and Blues Museum or the Barbara Morrison Performing Arts Center,
please call (310) 462-1439 or visit
Barbara Morrison
Founder and President

 

BLACK CULTURAL EVENTS.COM:YOUR GATEWAY TO WHAT’S HAPPENING IN LOS ANGELES


 

 

 

 

“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.”

http://www.blackculturalevents.com   info@blackculturalevents.com

About Black Cultural Events

Black Cultural Events is your gateway to the rich cultural life of Black Southern California. There’s a lot going on in this wonderful metropolis of ours. We know the experience of trying to keep up with it all, or of hearing too late about some event you really would have liked to experience. So we’re getting it all for you – right here in one place. We also have listings of restaurants, cultural institutions, art centers and landmarks. We are updating frequently with new opportunities to experience and explore, so please – visit us often and share with friends. ~

The Black Cultural Events Team Leaders

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.

 

 

 

9 YEAR OLD ATLANTA DRUMMING SENSATION ADDED TO LONDON BASED TV SHOW


 

 

 

 

 

 

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.

 

PROFOUND SIMPLICITY: A GLIMPSE OF DWIGHT TRIBLE


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.

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“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.”

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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)

Recommended Listening:

Cosmic- (2011, Katalyst Entertainment)

Living Water- (2004, Ninja Tune)

Inspirations- (2017, Gondwana Records)

Quasimode Sounds of Peace- (2008, Geneon)

http://www.dwighttriblemusic.com

please send into this blog your comments or appreciation for this fine article…Thank you – Publisher