COMING JAZZ APPRECIATION MONTH APRIL: TRIBUTE TO JAZZ CRUSADERS BAND & LEGACY


COMING TO LOS ANGELES ONLY

JAZZ APPRECIATION MONTH APRIL 2018

 a Robert J. Carmack Production

Robert J. Carmack

Details February during Black History month, follow-up on www.hipstersanctuary.com as we celebrate our 20th year in March 2018.  April Live Jazz concert and special awards presentation to surprise guests, also follow-up @blues2jazzguy.

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SOUTH AFRICAN MUSICIAN HUGH MASAKELA JOINS THE ANCESTORS-RIP 1939-2018


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!

CELEBRATING BLACK MUSIC MONTH WITH LEGEND BIG BLACK ~ PERCUSSIONIST


posted by Robert J. Carmack  #blues2jazzguy

shown: music journalist/producer Robert J. Carmack with drummer Big Black
shown: music journalist/producer Robert J. Carmack with drummer Big Black – photos by Emmett Williams

 

 

 

Danny “Big Black” Rey got its nickname “Big Black” from an older brother because of his interest in drums.  During his high school years on the radio, the Conga in the Cuban music had heard he was interested in the instrument and traveled to Florida and the Bahamas , where he spent five years. There he played with Lord Fleas Calypso band met at Fish Ray and Johnny “Slick” Engraham and looked at Calypso Eddy Trio with Sam and Role . In Miami, he worked at Jack Contanzo, Moe Koffman and the Contemporary Jazz Orchestra, before he formed a band with trumpeter Billy Cook and found private access to the fusion of Caribbean and Jazz rhythms.

In the early 1960s, he moved to New York City, where he worked in the bands of Freddie Hubbard (Night of the Cookers) and Randy Weston and also played with the likes of musicians Ray Bryant, Johnny Barracuda, Junior Cook and Eric Dolphy was heard. In 1965 he was in the Caribbean Pavilion of World Expo. Also, in that same year, he performed with Dizzy Gillespie at the Newport Jazz Festival. He got a record deal and produced four of his own albums prior to 1972, where he partially pushed the envelope in the area of African rhythms in music. He had a short stint as a member of the Paul Butterfield Blues Band . Big Black even spent sometime as an actor of supporting roles in TV shows and films.   A tremendous musician and sideman,eclectic icon in Jazz, performed many times outside the mainstream as Sun Ra, B.B. King, Charles Tolliver , and even played music during the World Cup campaign with Muhammad Ali.  Big Black worked as musical director on several projects by Randy Weston african themed recordings. But my favorite of all Big Black collaborations was his work with Hugh Masakela starting in the mid 1960s(1966) Masakela, Big Black ,Henry the Skipper” Franklin, Larry Willis and all appeared in a historic Concert in WATTS(LA california) as part of the very First WATTS Festival in August of 1966, coming just one year later after one of the worst Race riots in LA history.

This writer was there to witness that concert as a young 15-year-old budding jazz musician. Masakela was making his West Coast debut in Los Angeles with tremendous success to follow after that first concert at a local high school. It was good to talk over old days with one of the all-time greats on percussions. He still enjoys the passion & skills to elevate the room with precision-like rhythms and cadences.

more info on Big Black: http://www.bigblackmusic.com/

 

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