SAVE $10 at door on day of event when purchased in advance via Safe EVENTBRITE link above
The full dinner menu is available for purchase as soon as doors open. Your ticket purchase is the only reservation you need. A minimum of two items ($20.00) is required per person. $10 ticket INCREASE on day of show. Valet parking available with validation for $6. There is metered street parking as well but be sure to read the signs. Parking is NOT permitted on Woodbridge St. after 9:pm nightly.
Ron Jackson is a New York City 6 and 7-string guitar master, composer, arranger, producer, recording artist, educator, and actor. Considered one of the most versatile guitarists in the world, he is adept in styles such as Jazz, Folk, Latin, African, Rock, R&B, Brazilian, Pop, Country, Calypso, Reggae, Soul, Funk, and Classical. Ron has performed, recorded, and taught in over 30 countries with bands and artists such asTaj Mahal, Cecil Brooks III, Jimmy McGriff, Benny Golson, Randy Weston, Ron Carter, Valery Ponomarev, and Benny Green.
Joining him is L.A., tenor saxophonist Teodross Avery. Signed to GRP/Impulse Records at the age of 19, Teodross has performed with jazz greats on both coasts, East & West. Joining the late 3-time Grammy-winning Roy Hargrove Big Band, the Cedar Walton Sextet, and Hank Jones,vocalist Dwight Trible. He has performed also with Tony award-winning singer, Melba Moore and Phil Perry. Performs regularly with hip hop and rock icons such as Mos Def, Lauryn Hill, and Matchbox Twenty.
Coming!! Next Article written by Robert J. Carmack RON JACKSON – MUSIC MY WAY December 22,2018 @www.hipstersanctuary.com
With me not being able to attend this electrifying show, Lucky for me one of my contributing photographers was there , Mr. Chuck Koton. Chuck Koton is a well-respected shutter-bug of our genre, that always seem to be on the scene. when the downbeat is signaled, Chuck’s lens is working to capture the essence of the sessions.
Thanks again for these great pictures. The world Stage , Founded by Drummer Billy Higgins and Poet Laureate Kamaau Daood over 25 years ago. The new World Stage is off to a great start in its new facilities . Over the last 4 months they have procured a plethora of legendary jazz artists. This past weekend was no different as multi-instrumentalist and composer, Bennie Maupin brought in his aggregation of players.
In addition to his group of fine musicians, He also showcased Shana Tucker, a new face and voice thats been making a lots of noise on the east coast with superior skills on cello, guitar and vocals. Spurred on by her success of her debut CD “Shine” just a couple of years ago. The young entertainer did not disappoint with her sublime performances on all her instruments.
This writer promises a more personal interview very soon with the young musician, Ms. Shana Tucker, on her latest projects and coming tour venues. Stay tuned to this blog or #@blues2jazzguy – twitter
The lovely and talented singer-multi-instrumentalist, Shana Tucker makes her first trip into the motor city,binging her special brand of Chamber Soul to
CLIFF BELL’S Thursday, October 22, 2015 @ 8 & 9:30 PM 2030 Park Avenue, Detroit MI 48226
CLIFF BELL’S, the historic downtown jazz club (a few blocks from the Windsor Tunnel). Supported by a stellar rhythm section, Detroit’s Finest: Jon Dixon (piano/keys), Kamau (bass), and Alex White (drums), it’s all going down this THURSDAY, OCTOBER 22, with two sets at 8:00 and 9:30 PM..
~ The Bill Heid Piano Trio ~
“Her voice alone would support a career. What makes Tucker special is her adherence to the cello, boldly taking the instrument into new territory.” -INDYWEEK.COM
Shana Tucker is a singer-songwriter and cellist who credits her genre-bending ChamberSoul™ journey to the influences of her jazz and classical roots, interwoven with 80’s & 90’s pop music, movie soundtracks, and world music.
Shana’s journey as a solo artist began in 2009, when she arrived in Durham, NC and quickly became a staple in the vibrant Triangle music scene. INDYWEEK.COM writes, “Indeed, crossovers and connections are a central theme of Tucker’s career, from the cello’s liminal range to her interests in various genres.
Her debut album SHiNE corrodes the music industry boundaries between classical, jazz, folk, R&B and soul. Triangle Arts & Entertainment notes Shana as “a complex musician who offers not only a world-class voice that rivals that of Cleo Laine or Diana Krall, but also is an accomplished cellist…able to compete with musicians who make their living simply by playing one instrument…”she carves out a space that is intrinsically hers”.
posted by music journalist Robert J. Carmack photos credits: Robert Carmack and Sol Washington
You know, one of the benefits of living in Los Angeles or Southern California period, is the weather. This particular Sunday was no different than the 54 Summers past I have lived in California.But this one was very special though. The World Stage was celebrating 25 years of existence in Leimert Park (Los Angeles).and honoring one of the people wholly responsible for its foundation and support over the many years he was alive. That person was none other than, master musician Billy Higgins.One of the most storied and active drummers for a very long time at the highest level of performance.
Everybody knew he was one of the most recorded drummers in the history of jazz, But not enough knew of his tireless devotion to the community he grew up in and served one hundred fold. That is the real reason he’s being honored. If you are looking for a review of the concert, well.. this is not it! Because I was around the World Stage during its early days of Los Angeles , Post 1992 Uprising in the streets of L.A. I watched Billy in action a lot as he brought his musicians around to the stage, then around to the coffee House known as 5th Street Dick’s (my hang) There he would hold Court on why it was important that whenever they came into town to gig, they had to come to the World stage on an off day to play or teach a youngster about music. I witnessed this on many ocassions and Billy knew a lot of musicians cats.
Once I was in 5th street Dick’s Coffee house working on some poetry and listening to JMD & the Jam Master Band,(a local bad-ass group) when Billy brought in Chick Corea, Bennie Maupin and Larry Coryell to check out the music .. So I started reciting poetry with the JMD Band, all of a sudden Chick Corea got up and took over the Keyboard player’s axe, Larry Carlton cracked out his guitar and before you knew it, we had a “thang” going on.. prov-like all spontaneous… Jazz is suppose to do that to the human spirit. I looked at Billy, and He was just smiling ear to ear.. It wasn’t until much later, at another time, I realized why he was smiling so much that day. He knew then, he knew he had hooked those guys too. And soon, they were coming around a lot ,even if Billy was not there . Whenever Billy was on the road, someone at the World Stage had the responsibility to make sure the musician guests of Billy had no problems getting comfortable helping Kids or playing an afternoon concert on a Saturday before their night gig. That was how it worked for years. Jackie Mclean and Billy had long history as fellow musicians.. but Jackie always checked to make sure someone was holding down a class or something before he settled into his hotel to wait on his gig. No Billy Higgins in the community standing in the Gap, This place or listening space don’t happen! SO, if you want to know why Him??, Ask that long line of young drummers that have learned so much from being around and asking questions to a working drummer/legend. Seek out that long list of drummers and musicians in general who are very prominent Jazz musicians and Band leaders also today. Some of those same drummers could not afford a full set of drums to practice or work.. They got what they needed,, encouragement, inspiration and sometimes money. “Smiling Billy the person, the MAN” was the one being honored and respected by a legion or army of admirers and peers Sunday August 24th. Yes Sir! A Spiritual Experience for sure!!
what better way to honor the man than to allow the fruits of labor performed 25 years ago spawned great talents that was displayed on stage on that beautiful Sunday afternoon beginning with the world stage’s own African Drum Workshop . S.H.I.N.E. MAWUSI Troupe, they were the very first act we experienced. it was electrifying, as it was vivid and sublime.
It was at this point where award-winning Patrice Rushen accompanied veteran jazz singer Carmen Lundy in two riveting duets that in my opinion, should be recorded together and toured. One of the originals was played on acoustic guitar by Carmen Lundy..OMG!!
By the time Dwight was through with his performance,we were all levitating in the audience. I wish I could have sat closer so I would not need the flash. we could not shoot if we had flash .
shown on the left is Kamau Daaood Poet Laureate and John Beasley Music Director/Pianist
Near the end of the evening’s show Hubert Laws came out before his accompaniment. and played a rendition of LUSH LIFE with the most clear & pure tone on Flute with the best and most sublime solo I’ve ever heard on any instrument.
On Billy Higgins: By Lew Tabackin
“Playing with Billy was like heaven. He was the greatest collaborator in the history of jazz. He played exactly right for you at exactly the right time. His dynamics were perfect, he balanced his energy off of your energy. It was the perfect ratio between his intensity and your intensity. I remember one time a friend of mine played with Billy. I said “hey how was it playing with Higgins.” He said, “you know I was expecting more energy.” I said, “no man that’s not the way it works. He plays off your energy. He your energy is low, he’s not going to kick your ass.
I did a month tour with Billy and Charlie Hayden and every night was perfect. There wasn’t one time where you thought; “we’ll he’s not having a good night.” I’ve never experienced anything like that since. That consistently musical swinging creative reality. I could hear the harmony when he would play the drums.”
(1935-1979) was an overlooked guitarist who melded blues, bebop, latin, and funk influences into a unique, linear guitar style. Largely overshadowed by the more conventional jazz guitarists of his time, Green’s harmonic approach was an outgrowth of Charlie Christian and set the stage for many modern jazz guitarists (such as John Scofield). Grant’s penchant for melodic lines in the tradition of Charlie Parker and his singular sound stand as a stark contrast to his contemporaries. While Wes Montgomery could dazzle for chorus after chorus by playing lush chords and his famous octaves, Green was more inclined to leave space or lay down muted, bluesy statements to tell his story. Though he was strongly rooted in blues and jazz, Green could also hold his own in a funk setting with the best of them.
Idle Moments (1964) is a landmark in Green’s discography, and was remastered in 1998 by Rudy Van Gelder with additional alternate takes of “Jean de Fleur” and “Django.” With only four tracks, the album’s feel is expansive, mellow, and intense all at once.
The title track “Idle Moments,” penned by pianist/producer Duke Pearson, is a gorgeous, 15 minute masterpiece. Due to confusion about the chorus length, Green, Bobby Hutcherson (vibes), Pearson, and Joe Henderson (tenor saxophone) double up on their improvised solos, which contributed to the lengthy cut. Despite the mix-up, the results are stunning. Henderson’s dry sound, thematic development, and inclusion of altered harmonic minor scales are a clear highlight of this track.
“Jean de Fleur” is a Green original. infused with his love of catchy riffs and unpredictable harmonic trap doors. Al Harewood (drums) and Bob Crenshaw (bass) dig in to provide a swinging backdrop for solid solos from the whole group. Green, Hutcherson, and Henderson expertly expound on the tune’s winding road map.
“Django” is a breathtaking interpretation of John Lewis’s tribute to Django Reinhardt. After an introductory statement by Pearson, the group plunges into a somber, chamber-like ensemble section. Green’s guitar blends beautifully with the blueish hues of Hutcherson’s vibraphone, while Henderson provides a mournful counter melody. The arrangement transitions into a more uptempo solo section that manages to cover a lot of ground: minor moods, a blues march feel, and a grooving Crenshaw bass line in tandem with a hopeful, catchy horn riff.
“Nomad” is a thoughtful contribution by Pearson that hearkens to the harmonic structure of “Milestones” with a few Hard Bop twists. Pearson’s title is appropriate to capture both the spirit of this tune, and also to the album as a whole for its scope and ambition to cover new ground.
Idle Moments serves as a monument to not only Green’s chops as a guitarist, but also to his ability to infuse his sessions with an infectious, melodious groove. As the evolution of the Jazz guitar continues, Green will undoubtedly be remembered as an important figurehead.
This post was contributed by Denver-based musician and blogger Justin Scoville. He maintains his own website www.thejazzdaddy.com, He also contributes actively to jazz blogs throughout the Denver area.
Still reeling after the news of Bobby Womack’s death, I thought about all the shows I saw live in Los Angeles going back as far as, the early 1970s. Everybody have their own favorites, but I hate having record companies pick the faves for me ,then place them on a compact disk. I decided to pick my own this time , please see below:
1.I’m Looking for a Love
3. That’s the Way I feel about Cha’
4. A Woman Gotta Have it
5. If You Think You Lonely Now
6.Stop on By
7. No Matter How High You Get
8. Love Has Finally Come
9. California Dreamin’
10. I Wish He didn’t Trust Me So Much
WHAT IS YOUR ALL-TIME FAVORITE BOBBY WOMACK CUT?? Send us your comments and choice…. RIP Bobby