Kamaad Tauhid @blues2jazz2003 #PocketJazz
Kamaad Tauhid @blues2jazz2003 #PocketJazz
posted by Robert J. Carmack #@blues2jazzguy #Precious:For Lovers & Dancers
I can hardly remember but, over the last 5 -10 years we’re missing a lot of male jazz vocalists input. Rudi Mwongozi is constantly moving up the chain of new faces and voices on the scene.. Rudi, now based in New York from Oakland, California. I’m coming at this for a second bite. After living with this latest CD of pianist/vocalist Rudi Mwongozi, I can fully appreciate what he’s doing musically.
In my opinion, of the twelve cuts on this project, I like them all. Part of this recording has some very popular songs by elite artists Like, Eric Clapton, the gold record Free by Denise Williams/S. Greene. He really gives this song a jolt of Mwongozi(ness). the arrangement opens with a similar intro, followed by a very classy bridge and vamp. Then he breaks out in a Afro-latin rhythmic vamp which sets up an extended solo in piano wizardry and percussive rhythms. Another favorite is his strong harmonic approach to a syncopated piece called, Whole Steps to the House of Light, filled with musical trap doors and breaks,that swings and jumps like the pioneers use to do. I got a big kick out of the eclectic cut, the James Moody Story . a Be-Bop swinger. harkens me back to the James Moody and Eddie Jefferson style of vocalese and scat singing by Rudi and Friends. Rudi takes on a brave arrangement of a Luther Vandross composition and handles it with delicacy and panache. He’s rolling 7s on this tune. He chose not to do what many so-called smooth jazz artist do in regurgitation of the original song,by performing it note for note instrumentally. I was amazed at his treatment of vocalizing with his very fine jazz piano chops added, he really soars on this song like no other male Jazz artist out there.
Knowing Rudi from my days living in Oakland, California and producing jazz shows with unique themes of legendary artists works. we performed on a show paying homage to the great saxophonist, Jackie McLean compositions. A wide plethora of unique compositions in various meters and styles which paid respect to Jackie’s legacy. Be sure to cash in on a Rudi’s original Precious:When the Morning Comes and Bad Habits.
I had to push you closer to this prized project, The Music for After the After Party. what a concept, so early in the morning and then again, very late too. so the perfect menu of music for that romantic part of the morning where you listen to some swing, followed by some slow romantic tunes to Hug your “sweetie” to. Follow Rudi MWONGOZI on Facebook: https://www.facebook.com/rudi.mwongozi or, right here at, http://www.hipstersanctuary.com
The HIPSTER CELEBRATES TWENTY YEARS JAN 22nd 7:PM @Upstairs at Vitellos Supper Club –Studio City Calif. – Must purchase ticket online to attend event
All are welcome to come out and Toast in the New Year and support Live Jazz. GET YOUR TICKETS TODAY.. Win a FREE Advance Signed Copy of Standards & Other Songs” by Ron Jackson releasing in March,2019
It was announced recently at post-concert event, Hipster Sanctuary .com is celebrating its 20th year as a brand and media organization. “We started as a newsletter for The Atlanta International Jazz Society, a group dedicated to promoting the legacy of the American original art form, JAZZ. With our mission intact, we are still promoting traditional and classic jazz, not as a Jazz society now, but as an E-Zine and blog” said Robert J. Carmack, co-founding member.” As a labor of love project, we have purged ahead to 2019, as our first newsletter was published in January 1999. As a way to commemorate that honor with our friends and great fan followers of the publication, Hipster Sanctuary.Com, We’ve partnered up with one of our jazz groups we strongly support, Ron Jackson/Teodross Avery Soul Jazz project for a JAZZ MEET-UP at the eclectic Upstairs at VITELLO’s Supper Club in Studio City, California. Tuesday, Jan 22nd 2019 7:pm
Members of the Hipster Collector’s Corner jazz group will gather at the club early for a toast to the new year and our 20 years advocating for the legacy. jazz legends cited and honored by this group over the 20 years are Joe Henderson, Shirley Horn, Dee Dee Bridgewater, Oscar Peterson, Billy Higgins, Jackie McLean, Taj Mahal, Herbie Hancock, Freddie Hubbard, Sonny Fortune, Vanessa Rubin, Freddie Cole, Hilton Ruiz and others. they all received a Congressional Lifetime Achievement Award sanctioned by Congress and signed by Congresswoman Barbara Lee.
Hipster Sanctuary.com sister page on Facebook, HIPSTER COLLECTOR’S CORNER. We can’t wait to blow the audience away with “throwback electricity” with New York based Jazz guitarist, Ron Jackson (www.ronjacksonmusic.com) making his L.A. debut with his good friend and L.A. based Jazz saxophonist, Teodross Avery. Also, long time jazz veteran drummer, Cecil Brooks III out of Jersey City. Brian Ho Hammond Organ. Some special surprises in store for the evening.
The group’s sound is a B3 Organ- Guitar-Sax sound that made Blue Note Records popular during the 1960s, conjuring up the memory of Jimmy Smith, Stanley Turrentine, Kenny Burrell or a Grant Green feel.
Hipster Sanctuary.com wants to save you $10 on admission by purchasing your tickets through the restaurant’s Eventbrite.com web link. easy and safe online tickets@$20. “Select your own table”
When you buy your advanced ticket it qualifies you for drawing for a signed free Advanced Jazz CD giveaway at Concert that evening. Get your ticket today! $30 per ticket for day of event. (minimum purchase per person, drink or food items) Ron JACKSON New CD Releases March 2019.
“Standards & Other Songs”- Ron Jackson with Nathan Brown and Darrell Green
posted by Kamaad Tauhid #@blues2jazzguy
It was announced recently at post-concert event, Hipster Sanctuary .com is celebrating its 20th year as a brand and media organization. “We started as a newsletter for The Atlanta International Jazz Society, a group dedicated to promoting the legacy of the American original art form, JAZZ. With our mission intact, we are still promoting traditional and classic jazz, not as a Jazz society now, but as an E-Zine and blog” said Robert J. Carmack, co-founding member.” As a labor of love project we have purged ahead to 2019, as our first newsletter was published in January 1999. As a way to commemorate that honor with our friends and great fan followers of the publication, Hipster Sanctuary.Com has partnered up with one of our jazz groups we strongly support, Ron Jackson/Teodross Avery Soul Jazz project for a JAZZ MEET-UP at the eclectic Upstairs at VITELLO’s Supper Club in Studio City,California. Tuesday,Jan 22nd 2019 7:pm http://www.vitellosrestaurant.com/supperclub
members of the Hipster Collector’s corner jazz group will gather at the club early for a toast to the new year and our 20 years advocating for the legacy. jazz legends cited and honored by this group over the 20 years are Joe Henderson, Shirley Horn, Dee Dee Bridgewater, Oscar Peterson, Billy Higgins, Jackie McLean, Taj Mahal, Herbie Hancock, Freddie Hubbard, Sonny Fortune, Vanessa Rubin, Freddie Cole, Hilton Ruiz and others. they all received a Congressional Lifetime Achievement Award sanctioned by Congress and signed by Congresswoman Barbara Lee.
Hipster Sanctuary.com has a sister page on Facebook, HIPSTER COLLECTOR’S CORNER with an event announcement and details regarding special promotions. We can’t wait to blow the audiences away with “throwback electricity” with New York based Jazz guitarist, Ron Jackson (www.ronjacksonmusic.com) making his L.A. debut with his good friend and L.A. based Jazz saxophonist, Teodross Avery . Also, long time jazz veteran drummer, Cecil Brooks III out of Jersey City. Brian Ho Hammond Organ. special surprise invited artists as well.
The group’s sound is a B3 Organ- Guitar-Sax sound that made Blue Note Records popular during the 1960s, conjuring up the memory of Jimmy Smith, Stanley Turrentine,Kenny Burrell or a Grant Green feel.
Hipster Sanctuary.com wants to save you $10 on admission by purchasing your tickets through the restaurant’s Eventbrite web link. easy and safe online tickets@$20..click link HERE!!
maad Tauhid @blues2jazzguy
The word “Balance” has many definitions, especially as a verb or noun..the ones I chose to use here in speaking about Rudi Wongozi are; an even distribution of weight enabling someone or something to remain upright and steady.
OR, a condition in which different elements are equal or in the correct proportions , as in “Trying to keep a balance between work and relaxation. There are remarkable and key points to realize when you talk about the artistry of Rudi Wongozi.
I was honored and elated to write about Rudi Wongozi’s latest CD; JAZZ FOR R&B LOVERS. “the album for After the After-Party”. You see I met Rudi over 12 years ago when I was living in the San Francisco Bay area as a journalist and jazz show producer. initially introduced by a longtime friend of Wongozi, Mr. Duane Deterville, artist, cultural archivist, author and an authority on the African Diaspora. Me being new to the S.F. Bay area then and needing to meet as many new performance artists as possible, I was immediately attracted to Rudi’s whole approach to the piano. even more important, was his attitude about NOT being cast inside the proverbial music box. “Is he Jazz or is he R&B or Pop”?? Neither, what I saw and heard was pure music knowledge , unabridged or, even tainted by labels or categories.
Inside the organization I helped to found, San Francisco Bay Area African-American Musicians Association, we collaborated on a show in Tribute to the great saxophonist Jackie McLean. Rudi tackled the very complex music of Mclean easily as I wanted it to be respectful of the artist, but also I wanted to have lots of creative license. To build upon the original foundation while re-creating new images and patterns through my poetry. And, through the band I assembled to bring the soul and heat.
Rudi Wongozi has a long standing reputation in the East Bay(Oakland/Berkeley) area of California as a first call pianist and bandleader or recording session player in the genres of Jazz and Pop, Soul and R&B.
In a brief phone chat recently with the very busy pianist, as he is now living in New York city. We spoke about him being able to carve out himself a nice piece of the grass-roots and underground audiences that are hungry for new voices and sounds.
Wongonzi has valid and “legit” Jazz chops. He also has that eclectic voice that in a subtle kind of way reminds me a little of Gil Scott Heron. his original song lyrics are spot on and most relevant today. Hence, an album for after the After-party..that part of the early morning when no one is sleepy, and don’t want the groove to stop. Rudi Wongozi brings it all home in his new production, Jazz for R&B Lovers.
Rudi has done a stellar job in marrying the different genres of music and placing it in a funnel and letting it blend to a honeycomb of soul and panache’. Still retaining his remarkable flair for the dramatic entrances.
On the song menu are classics by such notables as Denise Williams,Luther Vandross, Eric Clapton and the great Eddie Jefferson to name a few, plus unforgettable original gems written by Rudi , Precious: when the morning comes.
“Like some of my musical heroes, Nina Simone and Curtis Mayfield..they too were hard to put inside a musical label box because their talent was so expansive and universally appealed to multiple audiences” stated Wongozi.
12 tracks of sheer delight and memories, even a straight ahead version of “BAD HABITS” penned by Maxwell, the neo-soul artist.
You have to approach this album with an open mind and heart. then you will quickly get it. and then have a ball at the Party after the After-Party.
“I wanted to write a love song album, but I also wanted to blend in the social in-justice that’s currently happening in our country now. seasoning it with scat, rap and hip hop grooves beats on certain cuts. a recipe for success by artistically integrating multi-genre with the experience of a master musician/songwriter. This record drops NOVEMBER 11 2018… online purchases or at your favorite CD retail outlets
written by Robert J. Carmack, editor in chief, Hipster Sanctuary.com,actor,jazz poet and musician-@blues2jazzguy
press relations or more info regarding concerts or CD listening parties email us at; email@example.com
Azar Lawrence eclectic and powerful saxophonist brings his very hot music into his hometown LA on Friday 6pm at the Los Angeles County Museum of Art. Fresh off his African Tour, taking only a few hours to sleep and jump back into the frying pan making his large fan base and growing, happy. Angelenos will be happy to see some familiar faces inside Zar’s Band which includes, an all-star lineup.
Yayo Morales after spending many years of international acclaim, living and working in Europe, performing with top Jazz, Latin Jazz and Flamenco stars, moved and is now situated in L.A. Drummer, Composer, Producer, Arranger and Educator, Yayo has played with an array of talent, such as:, Jerry González, Chano Domínguez, “Tomatito”, Jorge Pardo, Carles Benavent, and many other artists including Rita Marley, La Barbería del Sur, Henry “The Skipper” Franklin, Azar Lawrence, Bobby Bradford, Steve Cotter, Theo Saunders, Benn Clatworthy and Ron Stout to mention a few. His own project entitled “Los Andes Jazz Project” parts one and two, based on rhythms and folkloric styles from Bolivia and the Andes fused with jazz was awarded a diploma from the Honorable Alcaldía Municipal de La Paz (Bolivia) and the Oficialía Mayor de Culturas for his work, in recognition for his contribution to the development of Bolivian contemporary music.
Dale Williams was born and raised in Hyde Park, on the south side of Chicago. While still in Chicago, Williams performed with many other well-known acts such as the the AACM (Association for the Advancement of Creative Musicians), Phil Coran, as well as the Pharaohs/aka Sky (just to name a few). From there, Williams toured the US with Little Milton, Oscar Brown Jr., the Sun-Ra Arkestra, and Jean Carn.
Williams eventually made his way to Los Angeles, where he would go on to tour with artists such as Watt’s 103rd st. Band, Rebbie Jackson, Otis Day & the Knights, Solomon Burke’s, Mighty Mo Rodgers, Tito Jackson, Dorothy Moore, LL Cool J, Ronnie Laws, Elosie Laws, and Tom Browne. Dale Williams began performing in the local blues, jazz, and R&B scene, where he played with Howard Hewitt, Al B Sure, Faith Evans, Eric Bennet, The Mary Jane Girls, Doug E Fresh, Brian McKnight, and Brandy.
Theo Saunders’ musical odyssey has taken him to Five continents and more than twenty-Five countries. He has performed in many of the world’s most prestigious jazz festivals, concert halls and night clubs, with distinguished jazz artists including: Freddie Hubbard, Carla Bley, Charles Lloyd, Bob Brookmeyer, Sonny Fortune, Buddy Collette, Eddie Harris,Ted Curson, James Moody, Bobby Hutcherson, Teddy Edwards, Jack Dejohnette, Joe Lovano, Jimmy Garrison, Pharoah Sanders, Harold Land, John Scofield, Slam Stewart, Al Cohn, Zoot Sims ,Reggie Workman, Curtis Fuller, Rashied Ali, Mike Stern, Benny Powell, Chris Conners, Morgana King & Roseanna Vitro,David “Fathead” Newman, J.R. Montrose, Brew Moore,Sonny Greenwich, John Klemmer, and Azar Lawrence, just to name a few.
Windy Barnes multi-octaves voice moves effortlessly from Jazz to Pop, to R&B and Gospel. It’s easy to see why she’s one of the most sought after singer around the globe. Windy has been featured extensively on tour with the highest grossing balladeers in world, Julio Iglesias. She has traveled the world many times over with one of the most imitated, respected and endearing singer/songwriter/musician of the 21st century, Stevie Wonder. She has also performed with Michael Bolton. It stands to reason why the unique vocal styling’s of Windy is recognized all over the world.
Despite his youthful appearance, Munyungo is no newcomer: in his over thirty years of playing, he has developed an awesome versatility & became a well-respected & much requested session, concert & tour player. He has performed with Miles Davis, Stevie Wonder, Sting, Kenny Loggins, Herbie Hancock, Dianne Reeves, the Zawinul Syndicate, George Howard, Ronnie Laws, The Temptations, Four Tops, The Supremes, Bennie Maupin, Bill Summers, Marcus Miller, & dozens of others, including numerous ethnic music & dance troupes.
Trumpeter Brian Swartz has appeared on multiple Grammy nominated and winning recordings with artists including The Dixie Chicks, John Beasley’s Monk’estra , and Kim Richmond’s Concert Jazz Orchestra. He has also performed or recorded with Michael Bublé, Saint Motel, Patti Labelle, Natalie Cole, Big Bad Voodoo Daddy, The Luckman Jazz Orchestra, Jose Rizo’s Jazz on the Latin Side All Stars and many more.
Our Newest Contributing Jazz Editor Mr. Eddie Carter of Atlanta..FOLLOW the JAZZTRACKS
Words from Publisher/Founder Robert J. Carmack
“welcome aboard Eddie its good to have your wise advice and keen knowledge when it comes to jazz.” R.J. Carmack
Eddie Carter – Southern Region – Jazz Editor ~ Eddie’s love for jazz began at the age of eight years old and learned all he could about the bands, groups, musicians and vocalists who created the music. He began writing reviews of CD’s and LP’s in 1991 for The Atlanta Audio Society and covered concerts including The Tri-C Jazz Fest, The Cincinnati Music Festival and The Atlanta Jazz Festival for WCLK’s On the Air Magazine and Strictly Jazz Magazine. He currently writes jazz reviews for The Atlanta Audio Club web page and three Facebook pages.
The Jazz Crusaders – Lighthouse ‘68
By Eddie Carter
My choice from the library to talk about this time is by four friends from Houston, Texas who began performing locally in 1956. They were originally known as The Swingsters and The Nite Hawks, but moved to Los Angeles in 1961, changed their name and became one of the best West Coast ensembles of the sixties, The Jazz Crusaders. I first discovered their music in 1962, the year I became a jazz fan thanks to one of my heroes on the airwaves, Chuck Lansing of WCUY 92.3 FM. He began his nightly show with The Young Rabbits, the last track on their second LP, Lookin’ Ahead (PJ-43/ST-43), also released that year. The song became a huge hit for the group and I loved the sound of the trombone-tenor sax front line. The quartet consists of Wayne Henderson on trombone; Wilton Felder on tenor sax; Joe Sample on piano; Stix Hooper on drums with Jimmy Bond, Victor Gaskin, and Herbie Lewis filling the bass chair on their records during the decade. Lighthouse ’68 (ST-10131) documents the group performing live at one of the premiere West Coast clubs, The Lighthouse Café, in business since 1949 and now a multi-genre venue which features jazz twice weekly. The bassist joining the quartet on this date is Buster Williams and my copy used in this report is the original 1968 US Stereo release.
The set opens with Oogo-Boo-Ga-Loo, an infectiously danceable audience grabber by Stix Hooper which begins with a lovely introduction by the trio, then blossoms into a sanctified styled theme treatment. Wilton goes to work first with a soulfully flavored, funky performance that calls to mind the sound of tenor man Willis Jackson and will have you tapping your toes and wanting to get up and dance. Joe takes over for a brief performance of irresistibly appealing phrases on the closer, leading to the theme’s reprise and audience’s appreciative applause. Eleanor Rigby by John Lennon and Paul McCartney is one of The Beatles most famous and recorded compositions. The quintet’s rendition does the song proud with a mid-tempo version which begins with them exploring the melody collectively. Sample is the song’s only soloist and he gives an extended performance of dazzling melodic lines which are consistently creative and exquisitely presented.
The tempo moves up for Native Dancer, the first of two contributions by Buster Williams which gets off to a roaring start with a nimble melody presentation. The aggressive opening statement by Joe moves swiftly through each verse like a musical twister, then comes Wayne who makes his first solo appearance next with a jubilant spirit during his performance which is remarkable. Wilton steps into the spotlight next for a swinging reading of limitless energy. Buster takes over for the finale with a delightful interpretation that is a model of spontaneous construction, showing off his agility as an improviser and extraordinary inspiration as a composer effectively. Sample’s Never Had It So Good starts the second side with an easy spirited beat that leads us back to church with a bit of boogaloo in the imaginative display of harmony during the group’s opening melody. The solo order is Felder, Henderson and Sample, and each man preaches their part of this sermon weaving a series of rhythmic ideas which swing comfortably to the delight of their extended congregation, the Lighthouse audience.
The Emperor, also by Williams takes us back to straightforward bop with the solos in the same order as the previous tune. Wilton starts the soloing with a passionately personal opening statement with each phrase beautifully articulated as he weaves gracefully in unison with the stunning foundation provided by Joe, Buster and Stix. Wayne sustains the relaxing beat with an attractive reading possessing a great amount of warmth and excitement. Joe makes a succinct statement with a full-bodied interpretation of finesse which is skillfully performed. Buster eases into the final interpretation with a performance as mild as a smooth sherry and a sound that goes straight to the heart. The album ends with John Coltrane’s Impressions, taken at breakneck speed with an invigorating introduction by the trio and theme statement led by the horns. Henderson takes off first with a jet-propelled interpretation followed by Felder who infuses the second solo with searing fire for an energetic workout. Sample comes next with an exhilarating performance of fierce intensity and Stix exchanges a few clever comments with both horns prior to the effervescent ending.
Three years after this album was recorded the quintet would shorten its name to The Crusaders, moving towards Jazz-Fusion, Jazz-Funk and Smooth Jazz. Their biggest hit would come four years after Henderson left the group to become a record producer in 1979 with Street Life (MCA Records MCA 3094) featuring Soul vocalist Randy Crawford. The remaining members would stay together until 1983 when Hooper left to pursue a solo career. In 1991, the surviving members Sample and Felder released what would be their final album as The Crusaders, Healing The Wounds (MCA Records 09638 – GRP 9638). In 1995, Wayne Henderson revived The Jazz Crusaders name for a CD-album, Happy Again (Sin-Drome Records SD 8909). Henderson who suffered from diabetes, passed away from heart failure on April 5, 2014 at age seventy-four. Joe Sample passed away five months later on September 12, 2014 from Mesothelioma and Wilton Felder passed away one year later on September 27, 2015 from Multiple myeloma, both were seventy-five years old. Stix Hooper and flutist Hubert Laws who (I didn’t know was a founding member) left the group in 1960 to attend The Juilliard School of Music are the only surviving members of the original group.
Dino Lappas, the engineer on Lighthouse ’68 has also worked on their second live album, Live at The Lighthouse ’66 (PJ-10098/ST-20098); their fourth and final live album, Lighthouse ’69 (World Pacific Jazz – Pacific Jazz ST-20165); The Three Sounds Live at The Lighthouse (BLP 4265/BST 84265) a year earlier in 1967 and also in 1972 on Elvin Jones Live at The Lighthouse (BN-LA015-G) and Grant Green Live at The Lighthouse (BN-LA037-G2) on Blue Note. The sound quality is splendid throughout with plenty of clarity across the frequency band of treble, midrange and bass. This is particularly noticeable with a good set of headphones; the benefit is the richness and detail of each instrument and specifically Buster Williams’ bass which is outstanding. If you only know of this talented group of musicians from their records as The Crusaders, I invite you to audition Lighthouse ’68 during your next vinyl hunt for a spot in your jazz library. The album will transport you back in time to that intimate Hermosa Beach venue, The Lighthouse Café to hear The Jazz Crusaders at the top of their game playing some of the best Hard-Bop and Post-Bop you’ll hear! The last vinyl pressing of Lighthouse ’68 (APBL-2312) was issued by Applause Records in 1982 and is out of print. The CD-album released in 2004 by Pacific Jazz Records adds four additional tracks to the LP track listing, Cathy The Cooker by Wayne Henderson; Shadows by Buster Williams, Tough Talk by Stix Hooper, Joe Sample and Wayne Henderson, and Third Principle by Wilton Felder, and is to my knowledge out of print as well!
Cathy The Cooker, Happy Again, Healing The Wounds, Elvin Jones at The Lighthouse, Grant Green at The Lighthouse, Dino Lappas, Live at The Lighthouse ’66, Lighthouse ’69, Shadows, Street Life, Third Principle, Tough Talk – Source: Discogs.com
Jimmy Bond, Randy Crawford, Wilton Felder, Victor Gaskin, Wayne Henderson, Stix Hooper, Hubert Laws, Herbie Lewis, The Julliard School of Music, Joe Sample
© 2018 by Edward Thomas Carter
posted by Robert J. Carmack
It seems that a bevy of greats have left the stage and building since January of 2017. I realize that’s just life as we know it. Nothing to say about it case closed. However, I did not want to allow the sudden death of a great man and musician go by without saying anything about it. First, my exposure to Hugh Masakela goes back beyond 50 years(1966). I lived in Los Angeles and was studying music in high school and two off campus jazz bands too. Soon summer 1966 arrived and I was quite anxious because, word had it, the very first WATTS FESTIVAL was coming to reality. Heavy announcements of Music, Art and Pageantry to replace all the violence and melee that happened only one year prior.
The opening act was this new guy we had been hearing about from Africa that was making a lot of noise in New York.
Hugh Masakela was the Kick-off concert at Jordan High school gym that launched the 1966 Watts Festival & Cultural events. I can remember like yesterday as me and a group of guys who loved jazz, was quite excited about the possibilities and the fact it would be my first time seeing anyone from Africa that was not a cliché of Hollywood racists attitudes about portraying ,anyone from the motherland. That night was very special in more ways than the obvious. I was 16 and thought I was a grown man…the other was coming from a sociopolitical viewpoint. Black people were making a transition from being negro or colored people to Black people or Afro-American (first popped up as a description of black people at this time). Anyway, back to the music, Hugh was every bit an image and role model for us young men. he had a very interesting hair-style or “Natural”, wore full African regalia, including “NO Shoes” as he went through the recently released album cuts of 1966 “The Americanization of Ooga-Booga.” Which I know now, was a title given and sanctioned by the marketing department at the record company. I assure you, mine and most of us were concentrating on the musical style of his trumpet playing and the rhythms being crafted by the unit led by Hugh. Larry Willis on piano, Henry Jenkins on Drums, Henry Franklin on Bass and Percussionist Big Black pounding out the beats on African drums and Congas.
Hugh was a master of blending the American style of jazz bop and blues idioms juxtaposition with African Rhythms. The eclectic mix of originals showcased his masterful composing skills . He introduced a whole generation of black folks and others to “South-Africanized” jazz. which was quite different in what we had heard by Dizzy Gillespie, Art Blakeley or Randy Weston and their interpretations. He was bringing it “Straight with No Chaser”.
Some of the highlights of the evening’s performances was a composition by Herbie Hancock, Cantaloupe Island. Two other originals jumped out at the crowd which spawn several standing ovations when they ended.. Hale Se Di Li Kanna(the Dowry song) and Bajabula Bonke (the Healing Song).
The influence of Dizzy Gillespie and Freddie Hubbard can be heard, along with McCoy Tyner in the playing of pianist Larry Willis, and he shows his debt to John Coltrane as an inspiration on “Mixolydia” as well as his affinity for Brazilian music on “Mas Que Nada.” But the core sound was what Masekela called “township bop” — his short trumpet bursts, sometimes seemingly approaching micro-tonal territory, are engrossing celebrations of the melodies of his repertory, which is mostly of South African origin. The buzz after the concert was so loud and the cultural wave became a Tsunami of positive vibes for brother Hugh as he was affectionately called after that night.
By the fall ,I was still hearing rumblings about that summer concert.. only to find out that the very same group was scheduled to perform at our school sometime before the Christmas break. Man! what a blessing! Twice in less than two months. By the time they appeared at our school, most of us was sporting Naturals and wearing sandals, some even wore traditional Dashiki garb and begun learning more about the continent of Africa, particularly, South Africa. I became a life long Hugh Fan, even as he became more and more commercial in his albums, he always brought it back home with a solid menu of fan favorites like Bajabula Bonke, and Cantaloupe Island at the Live concerts.
I will always believe to my dying breath, he believed he was put here to bring joy from the motherland and shine a light on freedom and respect for every one. His Nelson Mandela anthem (Bring him back Home) was globally huge and played a strong role in keeping the fire to the feet of the world powers. I know I will miss him and his musical spirit, but the whole world will miss his humanity. Rest in Heavenly Peace Brother Hugh!
posted by Robert J. Carmack
Sometimes you gamble on checking-out Friday night jazz in Los Angeles and get Buptkus and, then sometimes you bump into a real gem! Friday night was just such a find. I ventured into Downtown Los Angeles’s “Neuvo Urban” Jazz spot, The Blue Whale , I was quite surprised and pleased that among the musicians I was not familiar with, were two veteran Jazz artists in saxophonist Teodross Avery and vocalist Dwight Trible. Both are well known within the jazz community and beyond.
I found Friday evening’s selections is sublime order. some of the highlights of the night for me were Colors, Hum Allah, The Creator Has a Master Plan, , Love is Everywhere, just to name a few. I particularly were impressed with the prowess of Teodross Avery, who brought in his own flavor and approach to Pharoah Sanders. It’s all too easy to just come in and focus on playing “note for note” or cliché licks by the great tenor player, but Avery was not having it. It was like watching a great painter paint from a stark canvas, only offering the obvious when necessary. Thembi went over big and Astral Traveling brought the crowd to their feet ,spurred by Mark’s Ensemble of stellar musicians. The vocalized lyrics and non-lyrics by Dwight Trible were beyond words because I can’t quite say. Church comes to mind… But, If you never heard him before, You are definitely hooked now.Dwight took a word like “Freedom,” he wanting Freedom Now. It reminded me of when I was checking out the great Sonny Rollins, who swung violently on One note for 15 minutes. Not comparing him to Sonny Rollins, but my point is obviously “On Point!”
Mark de Clive-Lowe is a brilliant pianist, composer, producer and creative genius when blending the jazz classics with the neuvo soundscapes of today’s jazz artists & turntablist . His mastery use of electronica and acoustics went through your soul and back out your heart as you listened deeper. He did a delicate balancing act of bringing the best of Pharaoh’s music, but definitely stamped with his signature. All of this added up to me staying both sets and following up with the leader afterwards for some closing comments. If you are lucky enough to have tickets already to the sold out Saturday night’s performances then, Dilly-Dilly!! If Not Sorry! Anytime you hear this young man’s name in your town, Run to the ticket box and grab a few, You will want to share this experience with a friend or two.
For this very special two- night engagement at downtown LA’s Blue Whale jazz club, Mark de Clive-Lowe pays homage to and celebrates the music of the great living legend Pharoah Sanders.
One of the defining voices of 20th Century jazz and improvised music, Pharoah came to prominence in the band of John Coltrane, and after Coltrane’s death went on to establish himself as a carrier of the torch and musical leader of minds and spirits. His Impulse Records catalog alone defines him as one of the most important voices in jazz, exploring the breadth of spiritual jazz and raw improvisation.
For these two nights,Mark de Clive-Lowe explores Pharoah’s music joined by Teodross Avery (sax), Dwight Trible (vocals), Carlos Niño (percussion), Corbin Jones (bass/sousaphone) and direct from Italy, Tommaso Cappellato, plus Carlos Niño also spins DJ sets before and in-between sets!
follow Mark at this link:http://www.mdcl.tv/
What they say about Mark de Clive-Lowe….
“an underground phenom…” – Okay Player
“a timely reminder that some of the greatest producers,in line with the likes of Quincy and Stepney,are also musicians with chops as well as smart adventurers in sound.”
Echoes (UK) Tonight’s Show kicks off at 9pm/doors open at 8PM http://www.bluewhalemusic.com/
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
COMING SOON: Profiles in Jazz;MEL MARTIN- Reeds & Flute
posted by Robert J. Carmack @blues2jazzguy