General Information~(562) 432-5240 @ Roscoe’s Jazz & Blues Lounge
General Information~(562) 432-5240 @ Roscoe’s Jazz & Blues Lounge
Robert J. Carmack & http://www.hipstersanctuary.com
STREET LIFE: MAGIC & MUSIC~JAZZ CRUSADERS TRIBUTE
featuring CRUSADER LEGACY 5 PLUS
Teodross Avery Saxophone,Theo Saunders Piano, Alvin Starks Trombone, Mike Alvidrez Bass, Don Littleton Drums
Robert J. Carmack – Poet & MC
Friday June 22nd, 2018 9PM
The World Stage Performance Gallery 4321 Degnan Blvd, Los Angeles,California 90008
Tickets exclusively sold on http://www.Eventbrite.com – No Door Sales
Early Bird Special $20 begins April 16th until May 15th, $25 regular price -General Admissions seats only- first come first served. info contact :twitter @blues2jazzguy or email: email@example.com
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!
JANA WILSON / NINA SIMONE
Robert J. Carmack – Actor/Writer/Producer/Musician/Poet
Interview With the High Priestess:Nina!
Mar. 3rd 2018 @ World Stage Performance Gallery
4321 Degnan Blvd. LA California, 90008
Ticket sold Exclusively Online only@ http://www.eventbrite.com
general information or media 951-840-7120
firstname.lastname@example.org / @blues2jazzguy
posted by Robert J. Carmack @blues2jazzguy
Multi-instrumentalist and singer, Kirk Andres Wilson showed up and showed out last Thursday evening (December 28) at Hollywood’s Catalina Bar and Grill on Sunset.
The almost two-hour set was plumb full of music for every taste and style. Starting the evening off with a series of solo ballads and New Orleans funky-traditional piano styles. that was quickly bolstered by his added band mates.
Lofty musicianship was on display that evening as Kirk was joined on-stage by Professor Harvey Estrada,electric bass and acoustic string bass, Munyungo Jackson percussions, Louis Van Taylor sax/flute, Edell Shepard keyboards/piano, and Donnell Spenser on drums. Wilson was magnificent as the band navigated through everything from Professor Longhair, to Antoine “Fats” Domino(RIP) to Funk & Groove beats of today, Kirk sung hard and long, but also did not disappoint on his mastery of the guitar as well .
This was easily the Show of Shows for 2017!
I highly recommend seeing live, this talented entertainer, producer, writer and master musician. Pick up a copy of his latest CD MY LOVE. follow him on https://www.kirkandre.com/
“BLACK CULTURAL EVENTS IS YOUR GATEWAY TO RICH CULTURAL LIFE OF BLACK GREATER LOS ANGELES. THE ONLINE CALENDAR AND DIRECTORY OF WHAT’S HAPPENING AND WHERE TO GO, THAT WILL KEEP YOU IN THE KNOW.”
Pamela Ashe-Thomas is co-founder of Black Cultural Events and BCE Media. A psychologist in private practice and at California State University, Long Beach, Pamela is a life long Black culture lover with a commitment to exposing students and community members to the cultural arts.
David Ashe is co-founder of Black Cultural Events and BCE Media. Prior to Black Cultural Events David was embedded via the 10 Up Agency at Microsoft working with the worldwide corporate storytelling division. He has managed web and digital projects for DirecTV, Toyota, Oprah Winfrey Network, FX Networks, Sony Pictures Digital Entertainment.
Eric Thomas is a General Partner and Chief Operating Officer for BCE Media. As an itinerant theatre arts instructor for the Arts Education Brand of the Los Angeles Unified School District, the veteran music, broadcast and interactive media production executive brings a wealth of experience to the mission of Black Cultural Events.com.
Patrice Louise Rushen (born September 30) is quite the jazz pianist and R&B singer. She’s also a composer, record producer, multi-instrumentalist, songwriter, and music director. Her 1982 single, “Forget Me Nots“, received a Grammy Award nomination for Best Female R&B Vocal Performance. Rushen had great success on the R&B and dance charts. “Haven’t You Heard” went number 7 on the R&B charts, with “Forget Me Nots” as her only top 40 pop hit. Patrice is held high within the Jazz community as one of the Best of her generation on piano.
In her teens, she attended south LA’s Locke High School and went on to earn a degree in music from the University of Southern California. Respectfully known among her legions of fans as “Baby-fingers,” a reference to her small hands. Berklee School of Music bestowed on her, a Doctorate in Music. She is currently holding down an important academic post at the University of Southern California in their school of Performing Arts. all the while being a wife,a mom, and still taking first-calls for recording and production assignments in Television and Films. There are rumors floating around ,she may have been selected to be part of an ambitious Television project involving children and the jazz legacy of Hazel Scott. Who by the way, was a child prodigy just like Patrice. According to unnamed sources,we found out, there’s a new children’s book series(Little Melanie) being developed for Television involving British and American kids in the cast.
Ms. Rushen will supervised the musical aspects. a London-based production studio. London-5-Studios are the executive producers. #LittleMelanieMyGrandPiano, #London5Studios
The “Best of the Best in Music” of all genres as we say goodbye to the master Chuck Berry..“The Real King of Rock & Roll”
posted by R.J. Carmack
posted by Robert J. Carmack #@blues2jazzguy