Tag: entertainment

ARETHA FRANKLIN QUEEN OF SOUL ~ THE END OF AN ERA ~1942 – 2018


 

As a baby boomer, I grew up 1950s-60s, being only 8 years behind Aretha. I was digging on all that good music from those people my parents liked, James Brown, Jackie Wilson, Brook Benton, Dinah Washington, BB King, Bobby Blue Bland, Lloyd Price. Then the Motown thing hit L.A. starting with a group from Detroit named the Miracles (Shop Around 1960).

but, I also begun to get into jazz as I got older and started playing an instrument. From early 1961 to 1963, this Motown sound was picking up steam and other entertainers from Detroit, Chicago and New York were spawning new and younger acts. A couple more years passed with no acts “jumping out” there like Motown was producing at the time. Hits from Mary Wells, The Marvelettes and The Temptations really shot out there with My Girl (1964), that was followed by the Supremes and Martha & the Vandellas, “Dancing in the Streets” & “Heat Wave”. This was the phenoms from Motown that was eating up all the airwaves on the radio back then.  But, by 1966, other “Acts” started to come into sharp focus.

The Impressions, Otis Redding, Wilson Pickett and even Soul Brother #1, James Brown was sounding different. One evening, I was watching a local TV dance show, and this young spunky, bouncy  singer came on with this big bellowing voice.. WoW!! Who is that?? I never heard again from her until 1967, when she came on the radio with “Respect”… Man-o-Man!  I immediately recognized that voice from only a year past , this was different. She sounded like she was speaking truth, had pain from her experiences and I was relating big time.

Before  I could get to school that morning,  I heard that song about 5 times in less than an hour, by 3:pm  after school, it was all over the radio. It was on the lips of older and young people..R_E_S_P_E_C_T, Take care , TCB!! It was on like popcorn then . Her song made it to #1 in the US in 1967. This song charted to number 2 in Canada, number 10 in the UK, number 11 in the Netherlands, and number 15 in Australia. This was the beginning of a musical legend. As far as I was concern , and many of my peers agreed with me, she was as big as James Brown.. Finally we had a Queen of soul go with the King of Soul ,JB. The consistency and relentless  energy and ability to take you to church whether you wanted to go or not.

She had all that stuff inside her playing and singing you would hear in Church coming up in the black community. She had that extra gear. Her signature “hollers” was like saying “Amen to what she was putting down on the record”. That even transferred over to her live shows on TV’s Ed Sullivan, Merv Griffith and the Johnny Carson shows.

Rolling like a runaway train with hit after hit, leaving high water marks everywhere she appeared…as part of the black political and social experience, we adopted Aretha’s phrases from her songs, TCB, RESPECT, a Do Right Woman or Man. 1968 rolled into place with a plethora of hits like Dr. Feel Good, Think, Chain of Fools, and Ain’t No Way. Included in that was a song she sung at Dr. Martin Luther King Jr.’s funeral.

I know I will never forget about Aretha Franklin. I just can’t wrap my head around the fact that, she will never grace a stage on earth again. I feel like I’m the lucky one, because I saw the Queen “blow-away” all comers, top shelf entertainers and anybody, male or female from that perch multiple times, over decades. 40+ Grammy nominations with 18 Awards in her quiver. Masterful achievements.

As I get ready for my 50th high School reunion, I know we will be playing lots of Ree-Ree from her debut hit, “RESPECT” to her last recordings unreleased yet. There are only a handful of miracles, not the Motown kind, but could include them also on another level. But, artists like Billie Holiday, John Coltrane, Charlie Parker, Ray Charles and Stevie Wonder..well there’s your handful. ha ha ha!! The mold was broken and never again will there be another.  Good bye Queen, I salute you with my favorite “Retha” cut…ENJOY! 

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JOSE RIZO’S MONGORAMA LATIN JAZZ ORCHESTRA~ BAILA QUE BAILA!


 

 

 

 

 

 

 

 

 

The Latin Jazz in the Park, Saturday  August 11 was headlined by Jose Rizo’s Latin Band, “MONGORAMA

Pots and Pans were being “cooked-on” and at a high temperature in my opinion. The mood was set just right as the Weather was low 80’s degrees. Sponsored by LACMA Programs  and KKJZ FM 88.1FM. I have seen this wonderful band many times over the years, in various city-wide festivals. But somehow this particular day was special. I was still celebrating my birthday from August 7th which fell on a Tuesday. I was ready with my light snacks and beverages . Jose Rizo hosted the afternoon sets by introducing the band and tunes that were being played , most of which were from the new CD , Baila Que Baila!  Featuring young violinist, Dayren Santamaria, and Justo Almario tenor sax  Vocalists & Conguero Alfredo Ortiz & James Zavaleta lead vocalist.. They were the jet fuel of this band for two hours of Latin soul and pyrotechnics.  the X factor all afternoon were the dancers who were relentless, never stopped, never gave in an inch . as long as the band played , dancers had A-game moves on the dance floor. At one time the floor was so pack , They just started dances in aisles and pathways. Beautiful people of Southern California (Los Angeles) were out in droves with babies, Pets and, even the eclectic and bazaar! All of this added up to a wonderful day of fun and eye candy.

Dayren Santamaria on Violin with Christopher sitting in with band

Jose Rizo’s Mongorama 

Justo Almario
Vocalists James Zavaleta & Band Leader Jose Rizo

 

 

 

photos taken from Jose Rizo’s MongoRama Page-  https://www.facebook.com/JOSE-RIZOS-MONGORAMA-122415531112929/

 

 

 

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!

 

 

CHARLES OWENS QUINTET! LIVE AT THE MERC!


The Charles Owens Quintet Live at The “MERC! “~ Temecula California.

In a recent concert in Temecula, California at the famous “Merc” performance venue, veteran Jazz artist and saxophonist, Charles Owens appeared with his Quintet.

Owens, a Los Angeles based musician performed two very stellar sets for a jazz hungry audience. Being familiar with that music space,  I was able to get there early before the first set to grab a quick chat with the quite humble saxophonist. He shared with me many anecdotes and road stories along with who played a major role in influencing his play,style and approach. “As far as influences, Charlie Yardbird Parker and Wardell Gray for sax. The Modern Jazz Quartet and Art Blakey Jazz messengers in how I approach the music as a player or bandleader.” said a relaxed Owens. “But, I enjoy leading my own bands,however, I really loved my experiences playing with two iconic big bands. Duke Ellington’s Orchestra under the direction of his son, Mercer Ellington and the great Count Basie band.”  

This particular evening’s affair was very special to him as he’s performing with some old friends and solid jazz musicians. On the bandstand with Charlie were bassist, Henry Franklin,friends for over 40 years, Pianist Theo Saunders,whom he met in L.A. in 1977, veteran drummer Don Littleton, over 30 year relationship and his old bandmate from the Basie band, trumpeter Scotty Barnhardt, current Director of the Count Basie Orchestra.  

The SRO crowd were treated to a plethora of popular compositions, all performed with Charles Owens unique touch. First set opened with a Owens original entitled Wild Fire , a fiery piece with a great melodic line and solid enriched harmonies. Charlie and Scotty took some blistering solos, especially Barnhardt who weaved webs of delightful, above the line flurries of notes on his custom built trumpet. That was followed up by a lovely version of the perennial fave, Embraceable You. Barnhardt offered great artistry and sublime technique on this classic ballad. The Quintet quickly moved on the moment by playing a Sonny Rollins tune, Airegin (Nigeria spelled backwards) In my opinion, Scotty conjured up memories of icon, Woody Shaw as he peppered a white-hot solo. That song’s conclusion morphed into Ellington’s Take the A-Train! which ended the first set.

Highlights of the second set included equally great compositions by legends like Freddie Hubbard, Billy Strayhorn,Dizzy Gillespie with a surprise finale of the rarely heard cut, Don’t Get Around Much Anymore. This was quite the treat for me and the audience as Barnhardt reached into his magic bag of techniques and growled at the audience with his “Plunger” mute and choked notes..

Charlie Owens reputation as one of the most gifted and versatile musician in Los Angeles since 1972. Part of the attention had  to do with his craftsmanship with drummer Buddy Rich Big Band and latin great, Mongo Santamaria. In addition he added stints with English Blues King , John Mayall . Owens told me he was whisked-away from Mayall by music iconoclast, Frank Zappa.  Whether he’s asked to appear in a Oscar-winning film LA LA Land or staying fresh and current by working with young musicians on various bandstands, or teaching a weekly class at UCLA’s Herb Alpert School of Music. “During the break of the second set, he told me the reason he chose Frank Zappa. “I found Frank’s music more challenging than Mayall’s,.. I could have easily made more dough, but the challenge was calling me, as Zappa’s music was unique and quite eclectic.

Charles Owens was born in Phoenix, Arizona, grew up in San Diego California. One of his closest friends growing up was ,the late saxophonist Arthur Blythe or AKA, Black Arthur.”

Throughout the course of the evening’s performances I witnessed what most people always conclude, this is a very passionate player and humble almost to a fault. at one point in the second set, Owens and Barnhardt engaged in old-fashioned BeBop playing, to a song by Dizzy entitled the same, BeBop. the tune showcases long arpeggios and multi-note phrasing on top of mercurial-chord changes, played at break-neck speed by the entire band. At times, the rhythm unit of Franklin, Littleton and Saunders were like a giant bellows machine, stoking the coals to unheard of Fahrenheit-levels to the soloists.

Today’s young players can learn a lot from Uncle Charlie Owens. Even saxophone sensation, Kamasi Washington took a class or two at UCLA with Charles while eventually tweaking his already big sound and approach on his horn.  Whether you experience Charles Owens in a Big Band setting or a small combo, one thing for sure is, You will never forget that moment in time.

https://photos.app.goo.gl/P3q81hJckFjAop648