STREET LIFE: MAGIC & MUSIC JAZZ CRUSADERS ~ LIMITED DISCOUNTED TICKETS ON SALE NOW !!


CALL 951-840-7120 or email blues2jazz2003@yahoo.com  Regular price is $25 online at http://www.Eventbrite.com

Special discounted price Save  up to $7.25 off Online price including fees

Contact Robert regarding Direct sales Must pay Cash or money Order for 5 or more tickets @ $20 per ticket

Starting Limited period May 29th ENDS June 10th ONLY $20 per ticket when you buy (5)FIVE or more from one of our reps.

951-840-7120 for general info  or closest rep to you.

Hipster Sanctuary.Com

presents

Street Life: Magic & the Music of Jazz Crusaders

a Musical and Poetic Tribute

featuring  The Crusader Legacy 5 Plus Band

Robert J. Carmack Poet, Teodross Avery Saxophones, Alvin Starks Trombone, Don Littleton Drums,Theo Saunders-Piano,Mike Alvidrez Bass

JUNE 22nd Friday Night – 9PM  World Stage Performance Gallery 4321 Degnan Blvd. LA , Calif. 90008  $25 at http://www.eventbrite.com

Robert J. Carmack – Producer/Poet/Host
Teodross Avery

 

 

Alvin Starks
Don Littleton

 

Theo Saunders
Mike Alvidrez

 

 

 

 

Advertisements

STREET LIFE: MAGIC & MUSIC THE JAZZ CRUSADERS~TICKETS ON SALE NOW !


Hipster Sanctuary.Com

“Celebrating 20 years of Jazz Advocacy Through Whatever Medium Necessary”

Presents

STREET LIFE: MAGIC & MUSIC OF JAZZ CRUSADERS

 

Musical and Poetic Tribute

JUNE 22 9PM World Stage Performance Gallery

4321 Degnan Blvd. Los Angeles, California 90008

Exclusive Online tickets only at www.eventbrite.com $25

Featuring

CRUSADER LEGACY 5 Plus Band

Teodross Avery tenor sax, Alvin Starks trombone, Mike Alvidrez~bass

Theo Saunders~ piano, Don Littleton ~ drums

Plus poet/spoken word ~ Robert J. Carmack

Produced by Robert J. Carmack & select Crusaders transcriptions by http://www.JamesArmstrongMusic.com

Come Out and Help us pay homage to the dynamic and game-changing group

Media: @blues2jazzguy ~ blues2jazz2003@yahoo.com ~951-840-7120  

Producer Robert J. Carmack has created a show paying homage to music’s most celebrated jazz group over the last 5 decades. Carmack hand-picked Los Angeles “best of the best” local jazz musicians , all of whom are stellar musicians in their own right. Plus, Carmack will be adding his poems dedicated to the group, along with a special poem dedicated to the Saxman , Wilton FelderCrusader Legacy 5 Plus are Teodross Avery tenor saxophone, Alvin Starks trombone, Don Littleton drums, Theo Saunders piano/keyboards, Mike Alvidrez bass/elect. bass and Robert J. Carmack spoken word/poet and a special surprise guest. The evening will be filled with the essential Jazz Crusaders compositions that made them into the iconic and award-winning group they were. one survivor left of band, Nesbert “Stix” Hooper.

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!