APRIL IS JAZZ APPRECIATION MONTH
Jazz Appreciation Month was created to be an annual event that would pay tribute to jazz as both a living and as a historic music. Schools, organizations, even governments, celebrate JAM with events ranging from free concerts to educational programs. The first year was 2001, and initial funding was provided by the Ella Fitzgerald Charitable Foundation.
(Miss Fitzgerald’s archives are housed at the Smithsonian).
Hipster Sanctuary.Com are proud to sponsor and support organizations , groups and individuals that help carry the legacy of Jazz on Stage, Film, Radio or Television . in keeping with that noble mission, we highly recommend the following event(s) below;
Theatre Perception Consortium presents The Club Alabam Directed by Tu’Nook
Situated on “The Block” in the heart of Central Avenue, the Club Alabam served as a primary site for the “West Coast Renaissance of Jazz” in Los Angeles. Previously called the Apex Club, the club opened in the Fall of 1928 and was owned by the drummer Curtis Mosby. “Mosby’s Bluesblowers” provided the house big band that performed for top entertainers like Duke Ellington.
Mosby’s brother Evan, another Central Avenue fixture, became known as the “unofficial mayor” of Central Avenue . While the Club Alabam faced Central Ave. , competition from other “blues incubators” like the Last Word, the Down Beat, Shepp’s Playhouse, Watt’s Joe Morris’s Plantation and Johnny Otis’s Barrel House. Locals considered the Club Alabam the classiest establishment on Central Avenue, complete with valet parking and a in-house chorus line . the Club Alabam served mainly the black upper-middle class, but it became a popular spot among the black working class as well.
Alex Lovejoy owned the “Breakfast Club,” the club’s second floor room, which served fried chicken, hot biscuits, and drinks.
On any given night at the famed Club Alabam, only the best of the best performed and sat-in with the house bands over the years ,such as Mile Davis, Lester Young, Duke Ellington, Billy Holiday, Dorothy Dandridge.. Like the Harlem integrated club, Cotton club, It too attracted white high-profile Hollywood entertainers. Even the likes of a very inebriated W.C. Fields who enjoyed frequent visits accidentally fell asleep inside the adjacent Dunbar Hotel and became the first to integrate the hotel unknowingly.
This hot Jazz musical Revue will take a slice of life at the Club Alabam during the 1940s and 50s ,by presenting a bevy of allstar musicians, singers and actors who portray the likes of Cab Calloway, Billie Holiday, Dorothy Dandridge, Ella Fitzgerald and Josephine Baker.
Call 323-552-8283 for RSVP/ Advance Tickets Limited Seating
Performance Dates: April 27, May 4 and May 11
SUNDAY Afternoons Only at 4:pm
The Performers Corner 214 Hardy Street Inglewood, Calif. 92509
Media and Publicity: RJC Mediatainment-951-840-7120 twitter:@blues2jazzguy email: firstname.lastname@example.org
posted by Robert J. Carmack
Anthony Wilson is a creative jazz artist who continues to expand and impress. the Grammy-nominee will be appearing at the SOKA International Jazz Festival on the SOKA University campus Saturday,September 28 at 8:PM.
Soka International Jazz Festival
1 University Dr
Aliso Viejo, CA
Among other honors, Wilson’s first, self-titled CD received a Grammy nomination for Best Large Jazz Ensemble Recording in 1998; his second CD “Goat Hill Junket” was featured prominently on many jazz critics’ Top-Ten lists for that year; and his third CD “Adult Themes” earned a rare “5 stars” in Downbeat Magazine. In May 2001, Groove Note Records released Wilson’s “Our Gang,” a trio recording, which has also received raves in Downbeat and other publications.
A sensitive and gifted accompanist as well as a formidable soloist, Anthony Wilson has been recording and touring the world with the celebrated vocalist/pianist Diana Krall since he joined her in 2001 for her Grammy-winning CD/DVD “Live In Paris” (Verve Records). Recent recordings and concert appearances with the likes of Al Jarreau, Aaron Neville, and Madeleine Peyroux have served to spotlight Wilson’s growing artistry, musical maturity, and improvisational authority. Bennie Wallace, Larry Goldings, Joe Henry, Harold Land, Chris Botti, the Clayton-Hamilton Jazz Orchestra, and his father, legendary composer/arranger/bandleader Gerald Wilson, are a few of the well-respected musicians with whom Anthony Wilson has forged fruitful, lasting partnerships.
A skilled composer and arranger with a deep understanding of tradition and an equal willingness to take risks, Anthony Wilson won the Thelonious Monk International Composers’ Competition in 1995, and went on to be nominated for two Jazz Journalist’s Association Jazz Awards (for Best Debut Artist and Composition of the Year) in 1998. Numerous commissions for original works followed, such as The Gil Evans Fellowship from the International Association of Jazz Educators in 1999, resulting in the extended piece “Adult Themes”; a commission for a concert-length piece–”Tokyo Wednesday”–from the Kuumbwa Jazz Center in conjunction with the NEA in 2002; and a commission for a large-scale orchestral work (“Solstice Sequence,” featuring Larry Goldings) in 2003. For the last five years, Anthony Wilson has consistently been chosen for top ranks among composers, Arrangers, and guitarists “Deserving Wider Recognition” in Downbeat Magazine’s annual International Critics’ Poll. Anthony Wilson has been a member of the Jazz Studies faculty at UCLA since 1998.
posted by Robert J. Carmack
It was announced by CentricTV.Com, memorial services for the late George Duke will stream LIVE from the website on Monday, August 19, 5:PM Eastern / 2:PM Pacific
His manager Darryl Porter confirmed the details of Duke’s death last week stating, he had suffered heart complications after being treated for chronic Lymphocytic Leukemia; he was 67. His wife Corine died just last year after her battle with cancer . Duke is survived by his two sons, Rashid and John.
‘I Walked with Giants’
Autobiography of Jimmy Heath
Jimmy Heath and Joseph McLaren, foreword by Bill Cosby, introduction by Wynton Marsalis
Jimmy Heath has long been recognized as a brilliant instrumentalist and a magnificent composer and arranger. Jimmy is the middle brother of the legendary Heath Brothers (Percy Heath/bass and Tootie Heath/drums), and is the father of Mtume. He has performed with nearly all the jazz greats of the last 50 years, from Howard McGhee, Dizzy Gillespie, and Miles Davis to Wynton Marsalis. In 1948 at the age of 21, he performed in the First International Jazz Festival in Paris with McGhee, sharing the stage with Coleman Hawkins, Slam Stewart, and Erroll Garner. One of Heath’s earliest big bands (1947-1948) in Philadelphia included John Coltrane, Benny Golson, Specs Wright, Cal Massey, Johnny Coles, Ray Bryant, and Nelson Boyd. Charlie Parker and Max Roach sat in on one occasion.
During his career, Jimmy Heath has performed on more than 100 record albums including seven with The Heath Brothers and twelve as a leader. Jimmy has also written more than 125 compositions, many of which have become jazz standards and have been recorded by other artists including Art Farmer, Cannonball Adderley, Clark Terry, Chet Baker, Miles Davis, James Moody, Milt Jackson, Ahmad Jamal, Ray Charles, Dizzy Gillespie J.J Johnson and Dexter Gordon. Jimmy has also composed extended works – seven suites and two string quartets – and he premiered his first symphonic work, “Three Ears,” in 1988 at Queens College (CUNY) with Maurice Peress conducting.
After having just concluded eleven years as Professor of Music at the Aaron Copland School of Music at Queens College, Heath maintains an extensive performance schedule and continues to conduct workshops and clinics throughout the United States, Europe, and Canada. He has also taught jazz studies at Jazz-mobile, Housatonic College, City College of New York, and The New School for Social Research. In October 1997, two of his former students, trumpeters Darren Barrett and Diego Urcola, placed first and second in the Thelonious Monk Competition.
Heath’s enduring dedication to jazz as well as his musicianship prompted the following tributes:
“All I can say is, if you know Jimmy Heath, you know Bop.” — Dizzy Gillespie
“Trane was always high on Jimmy’s playing and so was I. Plus, he was a very hip dude to be with, funny and clean and very intelligent. Jimmy is one of the thoroughbreds.” — Miles Davis
“My pick from the world’s talent would be Diz as leader, John Lewis or Hank Jones on piano, Ray Brown bass, Milt Jackson vibes, Jimmy Heath tenor, and Sonny Stitt alto.” — Kenny Clarke
“I had met Jimmy Heath, who – besides being a wonderful saxophonist – understood a lot about musical construction. I joined his group in Philadelphia in 1948. We were very much alike in our feeling, phrasing and a whole lot of other ways. Our musical appetites were the same. We used to practice together, and he would write out some of the things we were interested in. We would take things from records and digest them. In this way, we learned about the techniques being used by writers and arrangers.” — John Coltrane, Downbeat, 1960
If you love jazz, you have to love Jimmy Heath..he’s that perfect bridge between the “Bop Era” & today’s contemporary jazz artists. In his compositions you hear all those years of experience being visualized through his music and yet his attitude and approach to his playing is very well received by fans of all ages. Like a fine tuned race car, Heath is playing “Much Saxophone” and very much at the top of his game. Robert J. Carmack is a music historian,writer and blogger,you can follow him on twitter @blues2jazzguy or https://www.facebook.com/groups/hipstercollectoncorner/