A Guide to African-American Culture JUNE 7-20, 1994 Volume 4 Number 3 $1.00 LISTINGS INSIDE: ART • CABARETS • CONCERTS • DANCE DINING • FREE-FOR-ALL • THEATER !2–ROUTES, A Guide to African-American Culture, June 7-20, 1994 Barry Harris ew York's Symphony Children’s Chorus, which was Space, at 95th Street and founded in 1980 by one of his Broadway,N is a former movie students, Lennie Azzarello, almost house with an unassuming as a fluke. A music teacher in the facade, but great things are New York City public schools, known to take place within. Last Azzarello was coaching a group month, audiences had a special of students from Franklin treat when pianist Barry Harris Roosevelt High School for a brought onstage his 150-member forthcoming Barry Harris concert, Ensemble, and conductor but the rehearsals were not going Coleridge-Taylor Perkinson. well. Barry's suggestion that the There is something for everyone children might respond to jazz at a Harris concert; one might lyrics worked so well that the hear an adult chorus, an Franklin Roosevelt High School orchestra with strings, featured group became the core of the soloists, singers, and diverse Children's Chorus, and a regular dancers, and singers--all feature of all subsequent concerts. performing in the Jazz idiom, This year's Children's Chorus because that is the music to director is Randolph Noel, a which Barry Harris has devoted a former Harris student and lifetime. director of The Noel Singers. The Of course, today's economy concert, whose theme was "A makes such productions Lovely Way to Spend An prohibitive, but Barry Harris is a Evening," was dedicated to the determined man whose concert late saxophonist, Clifford Jordan. events have been an ongoing Other featured guest soloists tradition since 1978. included: pianist Chris Anderson, Perhaps the aspect that is saxophonists Roland Alexander, closest to Barry's heart is the Charles Davis, David Glasser, !3–ROUTES, A Guide to African-American Culture, June 7-20, 1994 and Jimmy Heath; dancers David African-American population Gilmore, and Scoby Stroman; and also attracted visiting players, Roberta Davis, a jazz singer from and at such spots as the Blue Minneapolis who, although Bird Club and the Rouge physically ill, presented her Lounge-Barry had the material with the aplomb of a opportunity to play with the veteran performer. likes of Lester Young, Sonny Barry Harris first came to Stitt, Max Roach, Miles Davis, New York, briefly, in the mid- Yusef Lateef, Benny Golson Fifties, then returned with and Johnny Griffin. Cannonball Adderley in 1960, After six months in New and was persuaded to stay. At York, Barry left Cannonball's that point, he was already an group, to venture on his own; established teacher and the recordings he made for performer in his hometown, the Riverside label are now Detroit. His mother was his available on CDs, and eagerly first piano tutor, starting him sought by a new generation off in 1933, when he was four. of jazz fans. As he established It was during his high school himself on the New York and years that he first became international music scenes, he fascinated with jazz; he was resumed the teaching already a church pianist, so activities, giving valued there was a decision to be instruction to such made. "What are you going to "youngsters" as trumpeter do, play jazz or church Lonnie Hillyer, saxophonist, music?," his mother asked. He Charles McPherson, and opted for jazz and received pianist, Kirk Lightsey. He also her full support, even conducted music workshops allowing him to bring home at various New Y ark for practice such friends as locations, including an early Paul Chambers, Doug series sponsored by Jazz Watkins and Donald Byrd, all Interactions. When that of whom would become sponsorship ended he firmly established on the jazz continued on his own, scene. Barry recalls that his preferring the workshop house was like a classroom. format over the class for the Detroit was a hotbed for individual student. young jazz talent in the Forties Later, he and partners Jim and Fifties, including fellow Harrison, the late Frank Fuentes, pianists Hank Jones and Tommy and bassist Larry Ridley conceived Flanagan. The city's large of a place that would provide Contents: Cover Story: BARRY HARRIS IS PASSING IT ON by Jean Hannah Stoute Cover photo by Thomas Hunter Listings: Theatre, 5; Conferences, 7; Recognition Programs, 7; Dance, 7; Galleries, 7; Museums and Cultural Centers, 8; Youth, 9; Clubs & Cabarets, 10; Gospel, 11; Concerts, 11; Free-For-All,12; Classifieds, 14. Volume 4, Number 3. Published by OCR for Publishers, Inc. 521 W. 23rd St. New York, NY 10011-1105. Annual subscription rate U.S.$18. Send subscriptions to ROUTES, the BiweeklyGuide to African- American Culture, P.O. Box 20103, London Terrace, New York, NY 10011-0008. ROUTES is published 24 times per year, except January 4-16, 1994 August 30 - September 12, 1994. For advertising rates call 212 627 5241. Publisher/Editor-in-Chief Ronald Bunn. Contributing Editorial Staff—Perri Gaffney, Tim Cavanaugh, Horace A. Banbury. Advertising Consultant–Nancy Gray-Lee; Administrative Assistant– Kim Farish Application to mail at second class postage rate is pending at New York, N.Y. Postmaster: Send address changes to our ROUTES, P.O. Box 20103 London Terrace Station, NY 10011-0008. !4–ROUTES, A Guide to African-American Culture, June 7-20, 1994 the space for musicians to appears to be very content with study and perform music, as this balance of activities, and if well as replicate the kind of there is a common thread other nurturing environment young than jazz, it is perhaps that he cares artists tend to thrive in—an so deeply for the music and the atmosphere similar to the one people who create it. He is a keeper in which Barry and of the flame, and that fact did not generations of Detroit escape the makers of a recent musicians had blossomed documentary celebrating his during their formative years. extraordinary talent-they called the In 1982, the Jazz Cultural film "Passing It On." Theater opened its doors in a little At the 1988 annual Thelonious storefront on 8th Avenue in Monk Piano Competition, Barry Manhattan's Chelsea are. The spot Harris-a judge since 1987-showed a immediately became the "in" place typically warm side of his for music students, professional personality. A teenage contestant, musicians and jazz aficionados. For who had captured the audience's the next five years, it also became a imagination with his joyful, mecca for many foreign students infectious playing, did not make it and Americans on spring or as a finalist. At the close of the event, summer break. The beauty of JCT he was seen seated on an out-of-the- as it was called, was that it melded way staircase, alone and downcast. all ages, classes, cultures, ethnicities, Next to him sat Barry Harris, genders and levels of musical quietly speaking words of comfort. involvement into a perfect whole. Barry Harris's achievements are as Sadly, it fell victim to one of New impressive as they are numerous, so York City's silent blights-an he is quick to honor those of others exorbitant rent increase-in August hence "The Barry Harris Achievement of 1987. It's closing was a true blow Awards," which have been given to to the New York jazz scene. outstanding musicians at the annual In over 50 years in the music concerts since 1988. The concept business, Barry Harris has made behind the "Barry," as it is called, reflects his mark, not only as an the man himself, a man whose tireless internationally famous performer efforts to nurture new talent will be and composer,but also as a teacher, enjoyed by generations of jazz arranger and jazz activist. He lovers for many years to come. LISTINGS No Laughing Matter June 16 Twilight: Los Angeles THEATRE The Positive Youth 1992 Troupe of Mind-Builders Through Aug. 7 Manhattan: (212) present a musical about Anna Deavere Smith’s peer pressure, going to living documentary of the Love Hurts: The Hobbit school and surviving in 1992 riots in South Musical the street. Written by Will Central Los Angeles. Through June 11 Onaje Halsey, directed by This new musical by Karl Hilda Willis, Cort Theatre 138 W. Wilder is about the choreographed by 48th St. 239-6200 Lorena Hobbit story with Melvada Hughes and The Harlem School of dancing, singing, and music by H. Sefus the Arts Acting costumes. Henderson. Students directed by Access Theatre 380 Apollo Theatre 253 W. Herman LeVern-Jones Broadway 307-4100 125th St. & 18 652-6256 presents !5–ROUTES, A Guide to African-American Culture, June 7-20, 1994 LISTINGS THEATRE Continued from Page 5 •Rosa June 10, 6:30pm (Ages 4-7) Based upon the story of Rosa Parks; depicting her courageous strength on a bus in Alabama which affected the course of American history in the 1950s. •Get on Board, Little A Scene From “Camp Logan” Children June 10, 6:30pm (Ages 8-12) This Going South! and Long The Schomburg Center historical play tells the Day's Journey Into 515 Malcolm X Blvd. story of slaves traveling Night 864-3375 with the Underground Through June 19 Sweet Daddy and Railroad, risking their Going South is a gospel Amazing Grace lives for the right to be musical written by Van Open Run free. Dirk Fisher; Long Days A gospel musical Journey Into Night is a •Old Story Time comedy set in Harlem. June 10, 6:30pm dramatic adaptation The Reverend Jerome written by Eugene Daddy a devout disciple (Ages 13-15) A comedy O’Neil.