DOCSLIB.ORG

Press in New York City Jazz on Herb Robertson/Mia

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Press in New York City Jazz on Herb Robertson/Mia NEW YORK @ NIGHT English percussionist Paul Lytton and New York-based “I hope you saw the aromas, smelled the colors!” trumpeter Nate Wooley have crafted a significant remarked emcee James Brown at the conclusion of a artistic language and performing relationship over the thought-provoking second set at The Jazz Gallery better part of a decade, working often as a duo and (Nov. 6th). Entering its third decade as one of the most adding a broad range of partners to the equation. On the progressive jazz clubs on the New York scene, the final night of a brief U.S. tour (Nov. 1st), the Lytton- venue was hosting saxophonist/flutist Henry Wooley Duo met up with alto saxophonist Chris Threadgill, pianist Vijay Iyer and drummer Dafnis Pitsiokos for a set of music at Brooklyn’s JACK. Lytton Prieto, a triumvirate of talents who helped build its approaches the kit like a painter or a scientist, with an reputation. Opening with a medley of Iyer’s “Sketch array of “selected and unselected” (to use sparring 20” and “Passage”, the first a moody bossa with sharp partner Paul Lovens’ term) cymbals, sticks, brushes, punctuations at the phrase ends enhanced by scraps and blocks. He can shove a band forward with Threadgill’s peppery alto saxophone, later by his the dynamic, rolling ass-kick of Art Blakey or compel effervescent alto flute, there was instantaneous with methodical movements, which are themselves simpatico amongst the musicians, a sense of mutual breathtaking. Wooley is, in this setting, something of a trust as they navigated each others’ complex straight man, eking out delicately withering yet crisp compositions. Prieto went to mallets for his “Nothing lines and eschewing amplification; both players were and Everything”, a grooving 6/8 piece only gradually jolted quite heavily by the excoriating sputter and arriving at the melody while Threadgill and Iyer nagging shouts of Pitsiokos’ alto, which, although at the deconstructed the form and pulse to suit their outset a bit over-played, eventually (un)settled into a imaginations. Threadgill’s plodding, hymn-like jagged three-way volley that actually could have easily “Where Coconuts Fall” was followed by Iyer’s “Cores”, gone for much longer. The evening began with visiting both numbers employing unusual rhythmic phrases Danish alto saxophonist Mia Dyberg in a fine duo with and featuring Threadgill’s sometimes suggestive, other trumpeter Herb Robertson (or trio, if you count late- times declarative horn statements, all propelled by running clarinetist Oscar Noriega). Both Dyberg and Prieto’s delicate but definitive polyrhythmic prowess. Robertson utilized a range of ancillary sound-making Two Threadgill numbers closed the set, the pushing devices and techniques, stretching into AACM/CMIF/ and pulling “Last Night” and the ballad “Sail”, whose BAG-inspired passages of deep conversation, playful poignant start wound down to a ruminative finish. chatter and bluesy storytelling. —Clifford Allen —Tom Greenland WNMUSIC.NET /DOWNTO N I K N H S A I U G N I N H A A N G R N E A T L E P A Paul Lytton @ JACK Henry Threadgill @ The Jazz Gallery SoHo is a place defined by its architecture. Despite the Was that a laptop computer on the hallowed Village preponderance of chain stores, such grotesqueries Vanguard stage (Nov. 3rd)? A sign of changing times, can’t totally eradicate the history of cast-iron façades, perhaps, but John Zorn’s Electric Masada didn’t seem vaulted ceilings, massive joists and exposed pipes that bothered by the iconoclastic implications: the musicians supported everything from garment factories to large- were far too busy having fun, if the ear-to-ear grins scale metal sculpture. Plumbing factored heavily into glued onto the faces of drummers Kenny Wollesen and Fluxus-rooted composer Yoshi Wada’s Earth Horns Joey Baron throughout the second set were any with Electronic Drone, presented by Issue Project Room indication. Bumped up by the ever-changing at the Emily Harvey Foundation (Nov. 5th-6th). percussive arsenal of Cyro Baptista, washed in the Bisecting a SoHo loft were two lengthy copper tube electronic soundscapes of Ikue Mori’s computer and constructions, played by Dan Peck and Sam Kulik, Jamie Saft’s Rhodes over Trevor Dunn’s thumping while Wada and Joe Moffett stuck to smaller cast-iron electric bass, the ensuing tumult was—dare I say it?— pipe horns (all made by Wada). Wada’s son, composer downright tribal, encouraging laughs and subdued Tashi Wada, played a reed organ and sine wave mayhem from the normally polite Vanguard audience. generators for a 70-minute version of the original Zorn was clearly in charge, cueing new sections with three-hour piece, which turned the smallish loft hand gestures to effect dramatic dynamic contrasts (downstairs from a space Wada once shared with (sudden lulls, ecstatic crescendos) on the turn of a fist. choreographer Simone Forti) into singing, undulating “Lilin”, a modal romp with Middle Eastern overtones, vibrations of metal, wood and air. The closest thing it featured guitarist Marc Ribot in a bluesy, post-Santana can be likened to is throat-singing Richard Serra vein. “Kakabel” (after a false start, Zorn quipped sculpture and it wasn’t hard to forget that musicians “New tune!” and kicked it off a second time) was and instruments were behind the gradual, modal gentler, enlivened by Baptista’s various rattles, shifts—it became atmospheric and indelibly tied to the whistles and wind effects. “Hath-Arob”, introduced as building itself, almost as though the water pipes, walls “an oldie but goodie”, had a Latin rhythm with heavier and floor beams were ‘playing’, occasionally skronking from Zorn on alto saxophone. “Karaim”, interspersed by sirens and rattle from the busy revealed another side of his musicality with an Broadway traffic outside. Decades removed from the extended solo full of tenderness and soul. “Yatzar”, the neighborhood’s artistic high water mark, one can still encore, included more tone painting by Mori and feel the buildings’ contribution to old SoHo. (CA) Baptista. (TG) 4 DECEMBER 2015 | THE NEW YORK CITY JAZZ RECORD A synonym for the word instrument is tool. And for It has been four decades since Irakere burst out of the those sitting up close, a solo performance can be an relative obscurity of Cuba on to the international music opportunity to see how sound is actually produced. scene, forever revolutionizing the sound of Latin jazz WHAT’S NEWS Most musicians hide behind their instruments but a with a unique fusion of contemporary and folkloric few work with a palpable physicality. And when musical elements juxtaposing modern electronics and The 2016 National Endowment for the Arts Jazz unconcerned with other players, they can exult in an traditional percussion instruments in a mélange of Masters have been announced: vibraphonist Gary empowerment that goes back to the first Neanderthal AfroCuban rhythms and jazz harmonies. Since then Burton and saxophonists Pharoah Sanders and Archie and his rock. Peter Evans’ solo trumpet concerts are founding member Chucho Valdés has emerged as one Shepp. Wendy Oxenhorn, head of the Jazz Foundation what propel him into the upper echelon of improvisers; of the world’s most vital musicians. Commemorating of America, will receive the 2016 A.B. Spellman NEA Jazz when Evan Parker, himself a soloing pioneer, gives his the 40th anniversary of the band that introduced U.S. Masters Award for Jazz Advocacy. For more information, imprimatur by releasing two of your solo albums on his audiences to Paquito D’Rivera and Arturo Sandoval, visit arts.gov. own label, you are doing something right. In the Valdés revitalized the brand, bringing a new group of The winner of the Thelonious Monk Institute expansive acoustical environment of Roulette fiery young Cuban players to Town Hall (Nov. 10th). International Jazz Vocals Competition has been (Nov. 4th), Evans played for 57 minutes without The tentet, with five rhythm players powering the announced: Jazzmeia Horn was named First Place interruption—and for someone with his circular incendiary three trumpet-two saxophone horn section, Winner and Second and Third Place went to Veronica breathing ability that is not hyperbole. Improvisation is featured members of the pianist’s Afro Cuban Jazz Swift and Vuyolwethu Sotashe, respectively. For more often derided as ‘winging it’ but there was not a sound Messengers, including vocalist/batá drummer Dreiser information, visit monkinstitute.org. And the winner of the that Evans produced, whether a series of electrical Durruthy Bombalé. He began the proceedings with a 4th Annual Sarah Vaughan International Vocal blips, crisp notes opening like budding flowers or an ritualistic chant, which segued into the customary Competition was also announced: Arianna Neikrug was approximation of a steel drummer in the subway, which Irakere concert opener “Juana 1600”, showcasing the named First Place Winner and Second and Third Place was not deliberate and strenuously created. Everything serpentine unison horn lines that were the group’s went to Angela Hagenbach and Nicole Zuraitis, was about distance: how far fingers were above the hallmark. The program mixed Irakere classics “Misa respectively. For more information, visit njpac.org. keys or lips from the mouthpiece; how near or far (or Negra” and “Estela va a Estallar” with newer Valdes’ inside) the bell of the trumpet was to the microphone; Afro Cuban Messenger songbook pieces “Abdel”, Blue Note Records has announced the release of Detroit even the use of the third valve slide. It was a personal “Caridad Amaro” and “Las Dos Caras”. Guest vocalist Jazz City, a compilation album of tracks by Motor City narrative in a language of slurs, groans, squeals, Roberta Gambarini joined in on the classic bolero “Que artists on the label’s roster (both past and present), the squeaks, flutters, burps and gasps.
Load more

Recommended publications
  • Discografía De BLUE NOTE Records Colección Particular De Juan Claudio Cifuentes
    CifuJazz Discografía de BLUE NOTE Records Colección particular de Juan Claudio Cifuentes Introducción Sin duda uno de los sellos verdaderamente históricos del jazz, Blue Note nació en 1939 de la mano de Alfred Lion y Max Margulis. El primero era un alemán que se había aficionado al jazz en su país y que, una vez establecido en Nueva York en el 37, no tardaría mucho en empezar a grabar a músicos de boogie woogie como Meade Lux Lewis y Albert Ammons. Su socio, Margulis, era un escritor de ideología comunista. Los primeros testimonios del sello van en la dirección del jazz tradicional, por entonces a las puertas de un inesperado revival en plena era del swing. Una sentida versión de Sidney Bechet del clásico Summertime fue el primer gran éxito de la nueva compañía. Blue Note solía organizar sus sesiones de grabación de madrugada, una vez terminados los bolos nocturnos de los músicos, y pronto se hizo popular por su respeto y buen trato a los artistas, que a menudo podían involucrarse en tareas de producción. Otro emigrante aleman, el fotógrafo Francis Wolff, llegaría para unirse al proyecto de su amigo Lion, creando un tandem particulamente memorable. Sus imágenes, unidas al personal diseño del artista gráfico Reid Miles, constituyeron la base de las extraordinarias portadas de Blue Note, verdadera seña de identidad estética de la compañía en las décadas siguientes mil veces imitada. Después de la Guerra, Blue Note iniciaría un giro en su producción musical hacia los nuevos sonidos del bebop. En el 47 uno de los jóvenes representantes del nuevo estilo, el pianista Thelonious Monk, grabó sus primeras sesiones Blue Note, que fue también la primera compañía del batería Art Blakey.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • João Gilberto
    SEPTEMBER 2019 VOLUME 86 / NUMBER 9 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Andy Hermann, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow; South Africa: Don Albert.
    [Show full text]
  • Selective Amnesia
    RECORD REVIEWS ADAM TARSON NOLATET VARIOUS ARTISTS Selective Amnesio Dogs Detroit Jozz City Adam Larson, tenor saxophone; Matthew Stevens, The Royal Potato Family RPF 1601 (CD). 2016, Nine ensembles with Detroit ties guitar; Fabian Almazan, piano, Fender Rhodes; Matt Misha Kachkachishvili, prod.; Brian Luce, mastering. Blue Note 8002405002 (CD).1961-2015. Don Was, Penman, bass; Jimmy Macbride, drums DDD? TT:30:53 Francis Wolff, Alfred Lion, Duke Pearson, prods.; Eric (CD).2015. lnner Circle INCM 054 Ted Tuthill, prod., PERToRMANcE !E-'!l-l Morgeson, unidentif ied others, engs. AAD/DDD? eng. DDD. TT: 51:58 TT. 69:31 soxrcs PERFORMANCE ffi EXf,E PERFoRMANGE lE--U soNrcs Ef,f,Xt soxrcs EXEEd Traditionaljazz in New Orleans is a A compelling young tenor player century old, and still thriving in clubs This record offers a quick education on the New Yorkjazz scene, Adam all over the city. But there's also a in the 50-year history ofa speaaljazz Larson released mo albums before vibrant contemporary jazz scene that's community. From the long list of coming aboard Greg Osby's Inner not as well known and is much harder badasses who came from Detroit, four Circle label for Selectiue Amnesia.'fhis to find. Some of the most creative are represented here, in rracks from new oucing is as fine a showcase as he young musicians in the world are in- the 1960s: ElvinJones,Joe Hender- could want: all origrnal tunes, a top-tier teracting in upstairs galleries and small son, Donald Byrd, and Kenny Cox. band, vividly rendered sound recorded clubs to make music that embraces There are five new tracks by players at Manhattan's Sear Sound.
    [Show full text]
  • Leni Sinclair Is the 2016 Kresge Eminent Artist
    2016 KRESGE EMINENT ARTIST LENI SINC LAIR The Kresge Eminent Artist Award honors an exceptional artist in the visual, performing or literary arts for lifelong profes- sional achievements and contributions to metropolitan Detroit’s cultural community. | Leni Sinclair is the 2016 Kresge Eminent Artist. This monograph commemorates her life and work. Fred “Sonic” Smith in concert with the MC5 at Michigan State University, Lansing, Michigan, 1969. Front Cover: Dallas Hodge Band concert at Gallup Park, Ann Arbor, Michigan, 1974. 5 Forward Other Voices 42 The Greatness 76 “John Sinclair” Kresge Arts in Detroit By Rip Rapson 13 Hugh “Buck” Davis of Leni Sinclair By John Lennon 108 2015-16 Kresge Arts in Detroit President and CEO 27 Bill Harris By John Sinclair Advisory Council The Kresge Foundation 35 Robin Eichele 78 A People’s History of the 47 Harvey Ovshinsky CIA Bombing Conspiracy 108 The Kresge Eminent Artist 6 Artist’s Statement 55 Peter Werbe Art (The Keith Case): Or, Award and Winners 71 Juanita Moore and Lars Bjorn 52 When Photography How the White Panthers 85 Judge Damon J. Keith is Revolution: Saved the Movement 110 About The Kresge Foundation Life 97 Rebecca Derminer Notes on Leni Sinclair By Hugh “Buck” Davis Board of Trustees 10 Leni Sinclair: Back 97 Barbara Weinberg Barefield By Cary Loren Credits In The Picture 90 Photographs: Acknowledgements By Sue Levytsky 62 Leni Sinclair: The Times 40 Coming to Amerika: Out of the Dark 22 A Reader’s Guide Leni Sinclair Chronicled Our By Herb Boyd 100 Biography Dreams and Aspirations 24 Photographs: By George Tysh 107 Our Congratulations Michelle Perron The Music Activism 68 The Evolution of Director, Kresge Arts in Detroit a Commune 107 A Note From By Leni Sinclair Richard L.
    [Show full text]
  • Drummerissue
    APRIL 2016—ISSUE 168 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM drumMER issue BILLYBILLY COBHAMCOBHAM DRUMDRUM SPECTRUMSPECTRUM DAVE CHAD BERNARD DONALD WECKL TAYLOR PURDIE BAILEY Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East APRIL 2016—ISSUE 168 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Dave Weckl 6 by ken micallef [email protected] Andrey Henkin: [email protected] Artist Feature : Chad Taylor 7 by ken waxman General Inquiries: [email protected] On The Cover : Billy Cobham 8 by john pietaro Advertising: [email protected] Encore : Bernard Purdie by russ musto Editorial: 10 [email protected] Calendar: Lest We Forget : Donald Bailey 10 by donald elfman [email protected] VOXNews: LAbel Spotlight : Amulet by mark keresman [email protected] 11 Letters to the Editor: [email protected] VOXNEWS 11 by suzanne lorge US Subscription rates: 12 issues, $40 Canada Subscription rates: 12 issues, $45 In Memoriam 12 by andrey henkin International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or money order to the address above FESTIVAL REPORT or email [email protected] 13 Staff Writers CD Reviews 14 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Stuart Broomer, Thomas Conrad, Miscellany 36 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Event Calendar Tom Greenland, Anders Griffen, 38 Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, As we head into spring, there is a bounce in our step.
    [Show full text]
  • Blue Note Records 80Th Birthday Celebration: the State of Jazz 2019 Featuring Kandace Springs, James Carter Organ Trio and James Francies
    Blue Note Records 80th Birthday Celebration: The State Of Jazz 2019 featuring Kandace Springs, James Carter Organ Trio and James Francies Tuesday, November 19, 2019 THE STATE OF JAZZ 2019 Celebrating eight decades of the venerable recording label, the Harris Center welcomes three jazz stars, each with a stellar band ready to sizzle Stage One. Performing with her trio, “Kandace Springs has a voice that would melt snow” (Prince). James Francies has worked with jazz royalty from Christian McBride to Pat Metheny; performing with his trio, he’s “a pianist with liquid dynamism in his touch” (New York Times). Finally, saxophonist James Carter has 18 recordings under his own name; he “can be sumptuously romantic or exhilaratingly funky… He’s at his earthiest and most accessible with this classic Hammond organ trio lineup” (Guardian). He has appeared with The Art Ensemble of Chicago, Herbie Hancock, and Wynton Marsalis among others. ABOUT BLUE NOTE RECORDS Blue Note Records is an American jazz record label, established in 1939. It derives its name from the characteristic “blue notes” of jazz and the blues. Originally dedicated to recording traditional jazz and small group swing, from 1947 the label began to switch its attention to modern jazz including Thelonious Monk, Art Blakey, Fats Navarro and Bud Powell. This tour will be celebrating Blue Note’s 80th Anniversary. Under the watchful eye of its president, Don Was, they will be presenting the following three artists in a spectacular celebration of the label and Jazz Music today. Only Blue Note Records, with their unique brand of cool, could assemble such a dynamic evening of talent and music.
    [Show full text]
  • Cass Corridor Documentation Project Oral History Project
    SPANGLER, INTERVIEW 1 Cass Corridor Documentation Project Oral History Project Interviewee: Bud Spangler Relationship to Cass Corridor: Jazz Musician, Radio Program Host and Director Interviewer: Robin Darling Date of the interview: April 7, 2011 Location: Wayne State University, Detroit, Mi (telephone) Darling: Hello Bud, how are you doing? Spangler: I’m fine, Robin. Darling: Wonderful, wonderful. So, if you’d like let’s start with some biographical information. If you could tell me— Spangler: You got it. Darling: [If you could tell me] where you were born and raised. SPANGLER, INTERVIEW 2 Spangler: I was born in Norwalk, Ohio, which is in the northern part of the state not far from Sandusky and Cedar Point and all that. And the high school in our town was about two blocks from our house, but the football field where they marched and practiced was across the street from our house. So, everyday they would come marching down the street and go into the football field across the street. So from as early as I can remember the marching band was across the street and the drum majorette was my babysitter so, it was ok with her and it was ok with my mom. I would go and march up and down the sidelines along with the band. And the drums always thrilled me. The drums just thrilled me! So I got to hear music live in that manner. And then we moved to Detroit. My dad got a job in Detroit and actually lived in Wyandotte. And we used to go back to Norwalk to visit relatives.
    [Show full text]
  • Past Playlist
    Jan. 11, 2020 Set 1 Roy Eldridge, Complete Verve Studio Sessions, “Tin Roof Blues” Vic Dickenson, Ding Dong, “Rosetta” Milt Jackson & Big Brass, For Someone I Love, “Save Your Love For Me” Set 2 Duke Ellington, Latin American Suite, “The Sleeping Lady and the Giant Who Watches Over Her” Thelonious Monk, “You Took The Words Right Out of My Heart” Rob McConnell, Three for the Road, “A Sleepin’ Bee” Set 3 Thad Jones, The Magnificent Thad Jones, “Billy Doo” Weslia Whitfield, September Songs, “I Only Have Eyes for You” John Coltrane & Paul Quinichette, Cattin’ with Coltrane & Quinichette, “Tea for Two” Set 4 Marc Copland & Greg Osby, Round and Round, “Balloonman” Yazz Ahmed, Polyhymnia, “2857” Louis Smith, Soon, “Mike” Set 5 SF Jazz Collective, Live 2009: 6th Annual Concert Tour, “Migrations” Teddy Charles, New Directions, “Decibels” Cecil Taylor, Jazz Advance, “Sweet and Lovely” Set 6 Lou Donaldson, Blue Note Sessions, “That Good Old Feeling” Karin Krog with Dexter Gordon, Some Other Spring, “Shiny Stockings” Mal Waldron & Steve Lacy, Sempre Amore, “To the Bitter” Set 7 Billie Holiday, Lady Day: The Complete Billie Holiday on Columbia, “Pennies from Heaven” Don Byas, 1944-45, “Pennies from Heaven” Dinah Washington, Complete on Mercury, “Pennies from Heaven” Eddie “Lockjaw” Davis, Smokin’, “Pennies from Heaven” Set 8 Count Basie and His Orchestra, Complete Decca Recordings, “Pennies from Heaven” Lester Young, Complete Studio Sessions on Verve, “Pennies from Heaven” Ernesto Cervini’s Turboprop, Rev, “Pennies from Heaven” Set 9 Antonio Sanchez, Quartet Live, “Question and Answer” Delfeayo Marsalis, Sweet Thunder, “Star-Crossed Lovers” Jane Ira Bloom, Sixteen Sunsets, “Gershwin’s Skyline/I Loves You, Porgy” Set 10 Ed Bickert, The Guitar Mastery of Ed Bickert, “Soul Eyes” Miles Davis Quintet, E.S.P.
    [Show full text]
  • Roy Brooks – Final Version – February 1, 2021
    Detroit Sound Conservancy – Roy Brooks – Final Version – February 1, 2021 Mjumbe: A Tribute Jazz Master Roy Mjumbe Brooks (1938–2005) was a phenomenal drummer I met in 1978 after I had married Harold McKinney, a Detroit-based pianist/composer, teacher and performer. On occasion, Harold hired Roy in several of his ensembles in the ’80s and ’90s. However, Mjumbe was much more than a sideman. Newly returned to Detroit from New York in the late ’70s, he became a colleague in the Detroit jazz advocacy movement. He re-formed his ensemble The Artistic Truth in Detroit and became involved in the then-sprouting Advocacy For Jazz independent music labels’ movement for Black musicians, of which the Tribe Records collective was an example. He formed Musicians United to Save Indigenous Culture (M.U.S.I.C.) and vibed with other godparents of independent Black music advocacy such as Harold, Phil Ranelin, Wendell Harrison, Pamela Wise Harrison, Marcus Belgrave, Kenny Cox and Barbara Cox. Mjumbe was amazingly creative. As a performer, he would ‘play the room’ – literally. He’d roam the club’s space, using his sticks on the different surfaces as he’d come across them. He blew into various tubes to change the intonation of his drum kit, playing African-inspired rhythms. He would meticulously bend his large saw between his knees, coaxing out beautiful resonant melodies improvised over a jazz standard or an original tune. Mjumbe was also a mentor and teacher for me. By the early 1990s, I had formed a women’s vocal and shakeré percussion society, Hakamma (Women of Wise Words), and also helped form Women’s Percussion Ensemble (WPE).
    [Show full text]
  • Marcus Belgrave 2009 Kresge Eminent Artist 2009 Kresge Eminent Artist 1
    Belgrave 2009 Marcus Kresge Eminent Artist Eminent Kresge Marcus Belgrave 2009 Kresge Eminent Artist 2009 Kresge Eminent Artist 1 Contents FOREWORD 3 Rip Rapson President and CEO, The Kresge Foundation PORTRAIT OF AN ARTIST 7 A Syncopated Journey by Claudia Capos 10 The Life and Be-Bop Times of Marcus Belgrave: A Timeline MASTER OF THE MUSIC 19 The Early Years: On the Road with Ray by W. Kim Heron “I want to see the music 20 Jazzin’ Up Motown by Sue Levytsky 22 Key Change: Evolution into the Avant-Garde by W. Kim Heron 24 Back to Big Time, Good Time, Old Time Jazz by Sue Levytsky of America continue. 27 Selected Belgrave Discography We have so much to give. Our music PASSING ON THE TRADITION 32 Marcus – The Master Teacher by Herb Boyd keeps coming, bubbling up 37 The Lesson Plan by W. Kim Heron 38 The Belgrave Method: Students Take Note from a reservoir. I’m happy to have been 39 A Letter in Tribute from Anne Parsons and The Detroit Symphony Orchestra a vital part of an era, 40 Teach Your Children Well 44 Belgrave as Educator and I want to see it endure.” 46 Selected Achievements, Awards, and Recognitions – Marcus Belgrave KRESGE ARTS IN DETROIT 48 The Kresge Eminent Artist Award 48 Charles McGee: 2008 Kresge Eminent Artist 49 A Letter of Thanks from Richard L. Rogers and Michelle Perron College for Creative Studies 50 Kresge Arts in Detroit – Advisory Council 51 About The Kresge Foundation 51 The Kresge Foundation Board of Trustees 52 Acknowledgements LISTEN TO ”Marcus Belgrave: Master of the Music” THE ACCOMPANYING CD INSERTED INTO THE BACK COVER.
    [Show full text]