Last weekend was a great one to be in DC! Friday evening at the Smithsonian Museum of Natural History’s Baird Auditorium, it was Bay Area percussionist John Santos (see his earlier Independent Ear Q&A feature on his recent folkloric exploration “La Esperanza”) speaking the truth about Afro-Caribbean music and it’s multi-hued expressions as filtered through the jazz experience (which after all owes much of its root source to the Caribbean). The occasion was another of the Smithsonian’s Jazz Appreciation Month (its the 10th anniversary of that excellent development!) presentations and despite sound reinforcement challenges, Santos’ sextet truly represented the quintessential small ensemble aspect of that expression, from a decidedly west of the Mississippi perspective. Their performance was made all the more remarkable by the fact that all but the trap drummer were doublers — including a mid-set switchup of the trumpeter and the pianist, who wielded a highly demonstrative flute, while the trumpeter played authoritative piano.

Next stop was the Bohemian Caverns on U Street, one of the music hubs of that bustling corridor of the city. Dig the web site for their complete and quite expansive schedule; in coming weeks they’ve got folks ranging from the exquisite Moroccan singer Malika Zarra to Pharoah Sanders; not to sleep such weekly hangs as their Monday night Bohemian Caverns Big Band hits. Young proprietor Omrao Brown is fast becoming a very impressive and savvy jazz club presenter. On this particular weekend the attraction was the subtle, modern artistry of vocalist Gretchen Parlato, on the cusp of her highly-anticipated new date for Obliq Sound “The Lost and Found”. Parlato’s understated approach and soft-textured voice really reached the packed, multi-kulti audience, starting from the second selection reprising her clever arrangement and treatment of Herbie Hancock‘s “Butterfly.” Parlato is also blessed with a certain Brazilian sensibility in her artistry.

The following afternoon it was back to the Bohemian Caverns second level venue Liv Nightclub for “Sacred Conversations,” a triologue between bari master Hamiet Bluiett, wordsmith Dr. Acklyn Lynch, and Ghanaian percussion Okyerema Asante. Each spoke and in turn played dialogues about coming up in villages — Bluiett in Illinois outside East St. Louis, Lynch on the island of Trinidad, and Asante in Ghana 50 miles outside the capital Accra. Spirits were high in the company of a slice of the African American cognoscenti of DC as the refreshing triologue wove itself through Bluiett’s baritone saxophone, flute and notably his clarinet, which he’s engaging with greater frequency these days. Asante essayed on a variety of hand and mallet drums, bells, gongs and assorted “toys” of his trade. He spoke about how as a pre-teen drummer he used to accompany the great Kwame Nkrumah on his various political missions as Ghana’s first President.

Then it was on to Twins Jazz (see our earlier Indy Ear Q&A with Twins young proprietor Love-Leigh Beasley) to participate in a performance and dialogue — call it an informance — between the young student musicians of the Dave Brubeck Institute (other delights of that weekend’s garden: the patriarch himself was in the midst of a weekend of performances across town in Georgetown at Blues Alley) and myself. This was yet another aspect of the Smithsonian Institution’s Jazz Appreciation Month, presented in conjunction with the Twins Jazz Foundation. As I said, it was a great weekend to be in the Nation’s Capital!


Joann Stevens, the coordinator of the Smithsonian’s annual Jazz Appreciation Month (April), is also the sister of trumpeter-composer Eddie “Ghetto Music” Gale…

TRI-C JAZZFEST JUMP STARTS SPRING WITH A LEGENDARY LINEUP
32 Annual Festival Showcases the Best in Jazz from April 28 – May 8

CLEVELAND (March 31, 2011) – The 32nd annual Tri-C JazzFest Cleveland jump starts spring with a stellar line-up of jazz, blues and R&B artists from around the corner and across the globe. Iconic R&B singer and songwriter Smokey Robinson, the King of Motown, plays JazzFest for the first time, crooning selections from his seemingly endless arsenal of Top 40 hits.
Dee Dee Bridgewater and the Cleveland Orchestra salute Ella Fitzgerald, the First Lady of Song, plus Orchestre National de Jazz, straight from France, pays tribute to drummer and vocalist Robert Wyatt.

From April 28 to May 8, JazzFest heats up Cleveland with a dizzying array of the best in jazz.

The always popular Smooth Jazz All-Stars return with an award-winning cast, including Dave Koz and Brian Simpson, and “avant-groove” group Medeski, Martin & Wood highlight a jam- band evening of free jazz, funk and hip hop. New Orleans legend Trombone Shorty564 and his group Orleans Avenue kick off the festival with their rollicking “Supafunkrock” sound at the House of Blues.

JazzFest continues its tradition of spotlighting up-and-coming artists with the “Debut Series,” this year featuring trumpet players Ambrose Akinmusire and Maurice Brown and saxophonist
Tia Fuller.

“Women in Jazz” salutes singer Betty Carter, the Godmother of Jazz, while local great Ernie Krivda and an all-star band of Midwestern artists pay homage to jazz from the Heartland. For the young, and young at heart, Joe Hunter reprises his “Jazz for Kids” series at the Children’s Museum of Cleveland, while MOCA hosts versatile pianist Robert Glasper, who effortlessly connects jazz and blues to contemporary urban sounds.

Tickets are on sale now. Unless otherwise noted, tickets are available at 216-987-4444 or www.tricpresents.com. For groups and special packages, call 216-987-4444.
For artist photos, contact Phil Barr at pbarr11@roadrunner.com. Here’s the 2011 Tri-C JazzFest lineup (free performances are in red):

Wednesday, April 27, 8:00 p.m. – Special JazzFest Preview for the Community: The Eddie Baccus Organ Summit with Special Guest Bobby Floyd, Karamu House
Cleveland’s legendary Hammond B-3 virtuoso Eddie Baccus, Sr. returns to Karamu House with special guest Bobby Floyd for a rollicking organ duel. Baccus is hailed as a bridge between legends Jimmy Smith and Larry Young; Columbus, Ohio native Floyd has played with the best in the business, including David “Fathead” Newman, Bobby Watson and Billy Hart, among others.

B-3 burner Bobby Floyd

Thursday, April 28, 5:00 p.m. – Kick Off Day: Mardi Gras Parade, Tower City Center
Voted “Best Marching Band” by Cleveland Magazine in 2009, The Shaw High School Mighty Cardinals piled on the acolytes in 2010 and even performed at a rally for President Barack Obama at Cleveland State University. This popular, high-energy group helps kick off the 32nd annual Tri-C JazzFest with a rousing parade through Tower City and into Public Square where they will delight fans with their special musical artistry. Joining Shaw to create a true Mardi Gras parade is New Orleans’ own Stooges Brass Band.

Thursday, April 28, 7:00 p.m. – Trombone Shorty & Orleans Avenue, House of Blues
New Orleans legend Troy “Trombone Shorty” Andrews and his band Orleans Avenue mix rock, funk, jazz, hip-hop and soul to create their signature “Supafunkrock” sound. The kind of player who comes along once in a generation, Andrews is equally adept at trumpet, trombone and a host of other instruments. The group’s latest album and first national release, “Backatown,” bottles the 200-proof intensity of their high energy performances, which have earned them a rabid and growing following.
Opening for Trombone Shorty is the Stooges Brass Band, winner of New Orleans’ Red Bull King of the Streets Brass Band Battle.
Tickets $25; call 216-987-4444.

Friday, April 29, 7:00 p.m. – Orchestre National de Jazz: Around Robert Wyatt, Rock and Roll Hall of Fame and Museum
Created by the French Ministry of Culture in 1986, Orchestre National de Jazz (ONJ) is a collaborative laboratory under the artistic direction of Daniel Yvinec involving musicians, composers and arrangers. The performance pays homage to English drummer and vocalist Robert Wyatt, a member of the venerable band Soft Machine, who pushed progressive rock into the direction of jazz-inspired improvisation. In a review of ONJ’s 2009 album “Around Robert Wyatt,” All About Jazz described it as “witty, accomplished and fun.”
Tickets $10; call 216-987-4444.

ONJ’s Robert Wyatt recording

Friday, April 29, 8:00 p.m. – A Tribute to Ella Fitzgerald with Dee Dee Bridgewater and The Cleveland Orchestra, Severance Hall
Two-time Grammy Award winner Dee Dee Bridgewater and The Cleveland Orchestra pay tribute to the First Lady of Song Ella Fitzgerald with a night of hidden gems and beloved classics. Since her New York debut in 1970 with Thad Jones and Mel Lewis, Bridgewater has piled up the accolades, including a Tony Award and France’s top honor, Victoire de la Musique, which recognizes the best musical artists of the year. She currently reigns over NPR’s “JazzSet,” which presents live jazz performances by artists around the world.
Tickets $82/63; call 216-231-1111 or 800-686-1141.
This performance is co-presented by the Cleveland Orchestra’s “Celebrity Series”and Tri-C JazzFest.

Saturday, April 30, 1:00 p.m. – Women in Jazz – A Tribute to Betty Carter, Olivet Baptist Church
With its unique sound, Betty Carter’s voice is thought of as more a musical instrument than just a set of vocal cords. The first woman to write, produce, record and distribute music under her own recording label, Carter re-wrote the book on musical self management and is remembered as the “Godmother of Jazz” for cultivating young musical talent. Singers Evelyn Wright and Charenee Wade, backed by the Dominick Farinacci Quartet, interpret Carter classics in this special tribute performance.

Saturday, April 30, 8:00 p.m. – Smooth Jazz All-Stars Featuring Mindi Abair, Rick Braun, Dave Koz, Kenny Lattimore, Ray Parker, Jr. and Brian Simpson, State Theatre at PlayhouseSquare
This all-star gig, featuring multi-Grammy nominee Dave Koz, includes an award-winning cast of vocalists and instrumental favorites. Brian Simpson, touring keyboardist for stars including Janet Jackson and Koz, received rave reviews for his 2010 release “South Beach.” Also on the bill are trumpeter Rick Braun, whose “RnR” album hit #1 on the Billboard Contemporary Jazz chart; Mindi Abair, who has performed with some of the biggest names in popular music; Ray Parker, Jr., who has won numerous awards for his solo hits; and singer Kenny Lattimore, whose Top 20 hits include “Never Too Busy” and “For You”.
Tickets: $45/$35/$25; call 216-241-6000 or 1-866-546-1353.

Sunday, May 1, 4:00 p.m. – Debut Series with The Ambrose Akinmusire Quintet and The Tia Fuller Quartet, East Cleveland Public Library
Before he was 18, Oakland native Ambrose Akinmusire had already played with jazz greats Joe Henderson, Joshua Redman and Billy Higgins. Hailed by the New York Times as a “rising star,” the trumpet player won the prestigious Thelonious Monk International Jazz Competition in 2007 and garnered rave revues for his debut album “Prelude . . . to Cora” the same year.
A member of the band for R&B star Beyoncé, saxophonist Tia Fuller performs regularly with the T.S. Monk Septet and the Nancy Wilson Jazz Orchestra, among others. Hailed by All About Jazz as “one of the finest new musicians on the scene,” Fuller’s new Mack Avenue release “Decisive Steps” is the long-awaited follow-up to her acclaimed label debut in 2007.

Sunday, May 1, 8:00 p.m. – Debut Series with Maurice Brown, Nighttown
Chicago-bred trumpet virtuoso Maurice Brown has shared the stage with numerous jazz legends, including Clark Terry, Johnny Griffin, Curtis Fuller and Ellis Marsalis. Brown’s critically hailed 2004 debut album featured his soulful melodies and infectious personality uniquely marrying traditional be-bop to hip-hop sensibilities. Brown’s latest release, “The Cycle of Love,” got a Best Album of 2010 nod from Huffington Post.

Monday, May 2, 6:30 p.m. – Celebrating the Music of Tito Puente with Sammy DeLeon y su Orquesta, State Theatre at PlayhouseSquare
The International Children’s Festival and Tri-C JazzFest are teaming up to present Sammy DeLeon y su Orquesta, celebrating the music of Tito Puente, the King of Latin Music. A timbales player, DeLeon has performed in New York, Chicago, Miami and San Juan, Puerto Rico, as well as locally, and has opened for Tito Puente, earning his praise. DeLeon is joined by his 15-piece Latin jazz ensemble and professional dancers performing a varied selection of dance numbers, including Latin jazz, salsa, and meringue.
Tickets: $14; call 216-241-6000 or 866-546-1353.

Monday, May 2, 7:00 p.m. – The Dave Sterner Quintet and the Tri-C Jazz Studies Performance Combo, Brothers Lounge
Projecting the uncontainable enthusiasm of Cannonball Adderly, saxophonist Dave Sterner channels those be-bop roots with the modern accessibility of Joshua Redman. The Cleveland native has played with Ernie Krivda’s venerable Fat Tuesday Big Band, and with jazz legends David Sanborn, David “Fathead” Newman and Buddy DeFranco, among others. Sterner’s latest
album, “Sidetracked,” features his quintet playing new compositions in a dizzying variety of styles.
The Tri-C Jazz Studies Performance Combo, under the direction of Ernie Krivda, opens the show.
Tickets: $10; call 216-987-4444.

Tuesday, May 3, 7:00 p.m. – Ernie Krivda’s “Thunder from the Heartland”, The Hermit Club
In a career that spans almost 50 years, tenor saxophonist and Cleveland legend Ernie Krivda has played with the best in the business, including Cannonball Adderley, Ella Fitzgerald and Jackie Wilson, among others. A recipient of the Cleveland Arts Prize in 2009, Krivda has garnered praise for his distinctive improvisational style and his unique compositions, which have been documented on over 30 recordings. This performance features an all-star band of jazz artists from the Midwest, focusing on the great jazz history of one of its cities.
Ernie Krivda – Saxophone, Cleveland; Pharez Whitted – Trumpet, Chicago; Steve Allee – Piano, Indianapolis; Marion Hayden – Bass, Detroit; Joshua Breakstone – Guitar, Cincinnati; Roger Humphries – Drums, Pittsburgh
Tickets: $20, call 216-987-4444.

Cleveland stalwart Ernie Krivda plumbs the heartland with his latest project

Wednesday, May 4, 8:00 p.m. – The Robert Glasper Trio, MOCA Cleveland
Houston-born pianist Robert Glasper impressed critics and audiences when he burst onto the jazz scene with his first two Blue Note albums, “Canvas” (2005) and “In My Element” (2007). New York Magazine calls him “direct, forceful (and) inventive,” while Time praises his “improvisational creativity and technical skill.” The versatile performer makes waves as leader of both the acoustic Robert Glasper Trio and the electric, hip-hop-infused Robert Glasper Experiment, always connecting jazz and blues to contemporary urban sounds.
Tickets: $25, call 216-987-4444

Thursday, May 5, 8:00 p.m. – “Miles & Trane @ 85 – Re-Imagined” TCJF Soundworks with special guests NEA Jazz Master Benny Golson and drummer Ndugu Chancler, Tri-C Metro Auditorium
Now in its third year, TCJF SoundWorks, under the direction of saxophonist Howie Smith and bassist Glenn Holmes, welcomes NEA Jazz Master Benny Golson and others to celebrate the 85th anniversary of the birth of Miles Davis and John Coltrane. An American bebop and hard bop tenor sax legend – plus composer, arranger, lyricist and producer – Golson grew up in Philadelphia with Coltrane and his 1996 album, “I Remember Miles,” covers five Miles Davis book standards.
Pre-Concert Live Interview, 7:00 p.m., Tri-C Metro Auditorium
Join the Round Table discussion and hear first-hand what it was like to work with Miles Davis and John Coltrane from NEA Jazz Masters Benny Golson and George Avakian.

Friday, May 6, 7:00 p.m. – “Tri-C JamFest” – Three Bands-One Jam: Medeski Martin & Wood, the Dr. Lonnie Smith Trio, and Will Bernard, State Theatre at PlayhouseSquare
Formed in Brooklyn in 1991, jazz trio Medeski Martin & Wood (MMW) draws on influences from a number of musical traditions, from free jazz to funk to hip hop, and is known for an unconventional style sometimes described as “avant-groove.” Praised for the exploratory nature of their live performances, the group was voted #1 “Beyond Artist or Group” in the 75th Annual DownBeat Magazine Reader’s Poll in 2010. Hailed by the Jazz Journalists Association as “Organ Keyboardist of the Year” from 2003-2005, Hammond B3 master Dr. Lonnie Smith has built a worldwide following over 50 years and more than 70 albums, playing with such greats as Dizzy Gillespie, Ron Carter and Grover Washington, Jr. Berkeley, California native Will Bernard plays in a variety of styles, ranging from jazz and hip hop to world music, and was called “one of the best-kept jazz guitar secrets on the planet” by Billboard Magazine.
Tickets: $45/35/25; call 216-241-6000 or 1-866-546-1353

Saturday, May 7, 11:00 a.m. & 2:00 p.m. – Jazz for Kids, Children’s Museum of Cleveland
Now in its fifth year, the “Jazz for Kids” concert is an entertaining and educational performance for families with young children led by pianist Joe Hunter. A Cleveland native, Hunter is the co-host with Bill Rudman of the very popular “The Song is You” series and a frequent contributor to Ernie Krivda’s Fat Tuesday Big Band.
Tickets $5 for members of the Children’s Museum; $10 for nonmembers (children under 11 months admitted free). Tickets can be purchased exclusively at the Children’s Museum or by calling 216-791-KIDS.

Saturday, May 7, 3:00 p.m. – Gospel Jazz with Present Day and special guest Sean Jones, Antioch Baptist Church
Under the direction of Chris Anderson and Theron Brown, the group Present Day explores the richness of American culture through gospel and jazz music with a fresh approach. This event, the first of its kind for JazzFest, will feature special guest Sean Jones on trumpet and a 50-voice gospel youth choir.

Saturday, May 7, 8:00 p.m. – Smokey Robinson, State Theatre at PlayhouseSquare
Iconic R&B singer, songwriter and producer Smokey Robinson is one of the primary figures associated with Motown Records, second only to the label’s founder, Berry Gordy. Robinson’s
consistent commercial success and creative contributions earned him the title “King of Motown.” As a member of the label’s first vocal group, The Miracles, and as a solo artist, he delivered 37 Top 40 hits between 1960 and 1987. In 2007 Robinson sang his classic “Tracks Of My Tears” at the Grammy Awards in a tribute to R&B music. He is a Rock & Roll Hall of Fame inductee and a Kennedy Center Honors recipient.
Tickets: $50/$40/$30; call 216-241-6000 or 866-546-1353.

Sunday, May 8, 10:30 a.m. – Oikos Ensemble – Jazz Vespers, Pilgrim United Church of Christ
Named after a Greek New Testament word meaning “spiritual dwelling place,” the Oikos Ensemble is a highly acclaimed jazz and world music group that has performed at venues coast to coast. Led by saxophonist Reverend Cliff Aerie and pianist Christopher Bakriges, Oikos is a consortium of gifted musicians who use jazz to illustrate stories of transformation, enlightenment and spiritual renewal, painting vibrant soundscapes with the brushstroke of jazz improvisation.

Sunday, May 8, 3:00 p.m. – Regina Carter’s “Reverse Thread”, Gartner Auditorium, Cleveland Museum of Art
In her relatively short career, multi-talented jazz violinist Regina Carter has spanned fusion, avant-garde and mainstream jazz, and returned to her classical upbringing to perform improvisational versions of Ravel and Debussy on a world-famous violin. In 2006 she was awarded a MacArthur Fellows Program grant – also known as a “genius award” – and with it developed her critically acclaimed “Reverse Thread Project,” seamlessly merging contemporary American jazz with traditional African folk melodies.
Tickets: $30, call 216-987-4444.

Regina Carter will close TCJF ’11 with her ancient/future project “Reverse Thread”

All artists and programming are subject to change.

Trumpeter Sean Jones, who at 29 has become one of the busiest players of his generation is on the cusp of releasing a bracing new disc on Mack Avenue that deals with love in a more spiritual dimension. In addition to his recording and performing career Sean is a professor in the jazz studies program at Duquesne University in Pittsburgh, and artistic director of the Cleveland Jazz Orchestra.

Through my ongoing work as artistic director of Tri-C JazzFest (Cleveland) its been a real pleasure to watch Sean’s development as a player and a true artist from the time he was a callow youth from Warren, OH participating in our jazz education program. Happy to say that he’s also a charter member of Tri-C JazzFest’s resident ensemble TCJF SoundWorks. But the focus here is on his sixth release for Mack Avenue, all of which have been produced by jazz renaissance man and one of the absolute most astute observers of the music, Al Pryor. The title is “No Need for Words” and it features Brian Hogans on alto saxophone, Luques Curtis on bass, Obed Calvaire on drums, Kahlil Kwame Bell on percussion, and hard working Orrin Evans on piano.

With an increasing number of artists turning to self-production and release of their own recorded product, Sean Jones and Al Pryor have a decidedly old-school artist-producer-label relationship. With the release of “No Need for Words” questions were in order for both.

Sean, you’re exploring love from many angles as the overall theme of “No Need for Words.” How did you go about avoiding the ‘just another silly love song’ syndrome?

Sean Jones: It is important to me to record albums that are honest, fresh and new in the sense that it’s not a copied formula or prescription that’s already been used that seems to work. I avoided the “silly love song” concept by looking inside of myself and searching for feeling and my overall sense of what love is. Of course it’s very difficult to pin a definition on love, so I decided to explore various aspects of it that resonated with me. Honesty is key and I want the listener to feel my emotions through each composition.

Al, how do you go about developing a new recording product with artists you produce?

Al Pryor: Every true artist wants to document their work so there is never a shortage of ideas. Before we do a record deal, we have some idea of what that artist wants to do because there is dialogue on that subject prior to our entering into a contractual relationship with them. As every fan knows there is an arc of development in an artist’s careet that occurs over time because of the unique set of experiences that artist has – the same as it would be for a writer, actor, painter, dancer or in any other artistic endeavor.

Do you feel it necessary to have a thematic thread running through your records Sean?

SJ: All of my albums, especially Roots and those following, have a spiritual thread to them. This is a huge part of who I am and instead of running from it, I’m deciding to embrace it. I am beginning to realize that there is something that ties us all together and keeps us moving. Something that balances us. Something that propels life and energy forward. We call it different things. Whatever we choose to call it, I feel intensely every day. It resonates so deeply inside of me that I cannot help but to be that thing, whatever it is. This is not about religion, or any specific ideology, it’s about soul, energy, life, the oneness of all things. With this in mind, I want to have this theme and feeling as the underpinning of every album that I create.

When you met with Sean and he detailed his ideas of covering love from several directions on “No Need for Words”, how did you assist him in realizing that concept?

AP: Initially we had conversations about any number of different ideas for this recording. Gradually this particular concept rose to the top over a period of time in our discussions. Part of this process has to do with what provides the artist with the motivation to create. It should be no surprise to anyone that over the annals of time Love, in all its iterations, has no equal as an inspiration for creative endeavors by artists in all genres and categories.

As you work with artists to develop their recordings these days, do you find some level of concept absolutely necessary?

AP: Are you referring to the question of whether we are back to the record business once again being a “singles” business because some theorize that in the digital world the idea of an album concept is outmoded? Regardless of whether there is a unifying theme as obvious as Love, our recordings generally reflect an organizational raison d’etre that is reaily apparent to the listener.

Given the fact that so many of your peer artists are producing their own recordings on their own imprints, you’re in a somewhat unique position with having an actual label relationship. What’s your sense of the way records are made today?

SJ: I’m very proud of my peers in that most of us aren’t jaded by the industry. We all seem to want to express ourselves in a very honest and pure way. I do, however, feel the pressure that’s on my generation to put out albums that “sell.” I do believe that there’s a difference between doing albums that “sell” and doing albums that you want to resonate with people. When you want to reach people, make them think, inspire them, touch them, you aren’t solely concerned with units sold. You’re simply trying to get a message across. The world we live in is so money-driven that it can be difficult to stand your ground. That being said, I feel so fortunate to be a part of a label that understands this. I have a wonderful relationship with Mack Avenue and Al Pryor. I believe that Al and the label believe in my personal vision enough to allow me to express myself without the all-mighty dollar being the focus.

Al you’re kind of a throwback as a full-fledged record producer working with a label, what what so many artists self-producing and releasing their records on their own imprints. How do you see that marketplace development, and are there times when you think an artist could obviously hae benefited from working with a producer; and why/why not?

AP: Artists are very sophisticated today about their production needs and how they want the final record to sound. In fact I know a number of artists who are so sophisticated in their use of software programs for musical production, like Avid’s Pro Tools, Apple’s Logic, or Merging Technologies’ Pyramix — that they hire themselves out to their colleagues to help the artist/client doument their work. And there are any number of artists who come to the record production process with the necessary resources and neither need nor want what an outside producer can bring to the table. As everyone knows the good news is that the Internet, file compression, and other technologies have leveled the playing field and made it possible for any artist to produce and distribute their own work.

The bad news is that with the inability to protect one’s intellectual property rights in composition and performance beause of digital piracy, much of the business model for the recording business has been destroyed. It can also be argued that with everyone working on their records out of their bedrooms and other “home studios” of widely varying quality and capability and the closing of many professional studios the sound quality of some of these recordings, especially those that require acoustic instruments, can be less than acceptable, to put it politely!

It can be very useful to have another set of ears of someone that you trust “on the other side of the glass” in the studio working with you to help you realize on the final master recording what you’ve been hearing in your head. I am first and foremost an A&R man who represents the artists’ interests and point of view to the staff of the label and the label’s interests to the artist. This can involve anything from input on creative decisions to the most mundane but necessary aspects of the administration of paperwork and the budgeting process to back line equipment issues. I only produce a small portion of the Mack Avenue Label Group releases. Some of these might more accurately be described as a “collaboration” in the production of the recordings. When I do get involved with an artist as a producer it is to bring whatever that artist needs to complete his or her vision of what that recording should be — be it ideas as to the direction of a composition, the technical means to document some aspect of the artist’s work, or anything in-between.

Overall , what do you see as the quintessential role of a record producer? As you might imagine there are some misconceptions out there — just as there are misconceptions about the respective roles of artist manager and booking agent.

AP: The producer’s responsibility is to help the artist document his vision (in this case as a sound recording) in whatever way, using whatever methods are required in a manner that the artist and the label agree will help that artist reach the audience and sell records, digital downloads, or whatever the current medium of distrubution for music might be.

Sean, talk about some of the many hats you’re wearing these days and how you juggle those — educator, university and community bandleader, artistic director, etc. — with making albums and leading your own small group.

SJ: “To whom much is given, much is required.” That passage, as do many, run through my mind on a daily basis. I feel very forunate in that life has brought so many wonderful opportunities my way. However, I know that these opportunities are coming because I have a job to do. I feel that I am here to serve. I am here to take this gift and lift up my peers, my community, and the whole of humanity. I am currently a professor, artistic director of two wonderful organizations, and a solo artist. Although they seem to have no connection, they feed each other. I try to make sure that everything that I’m doing accomplishes certain things. 1. Enhance my community. 2. Lift up people. 3. Help me accomplish certain things as an artist and a human being. 4. Propel jazz music forward. As long as I keep those things in mind, they will balance themselves out. I also do my best to create ties between the organizations that I’m involved in. Making connections between the worlds that I work in ultimately makes the ride more smooth.

What’s the project you’ll be touring this summer with Marcus Miller, and how did the two of you connect?

SJ: About a year or so ago Marcus’ manager Bibi Green reached out to me. Marcus was planning on featuring the music of “Tutu”, the landmark Miles Davis recording, with new faces. One of those new faces was me and I was and still am thrilled to be a part of the tour. I believe that Marcus heard of me through a few different sources. One was the great drummer Poogie Bell, a long time member of Marcus’ band, and my former manager Robin Tomchin and my current manager. With those recommendations, Marcus gave me a shot and I’ve been with him since. This summer Marcus is putting together a project with Herbie Hancock and Wayne Shorter, feauring the music of Miles, and I’ll be the trumpeter. I’m looking forward to playing with these legends!

Bassist-composer Marcus Shelby is most definitely a man on a mission, and a man more intent on engaging serious subjects in his music than dazzling his audience with aimless instrumental technique. For his previous release his orchestra navigated his original score in tribute to the great emancipator Harriet Tubman.

His latest effort is Soul of the Movement, subtitled Meditations on Dr. Martin Luther King, Jr. on the Porto Fino label. This time out the Bay Area-based Marcus Shelby Orchestra explores original themes based on “Emmett Till”, the Montgomery bus boycott (“Trouble on the Bus”), “Birmingham”, and “Memphis”. He leavens those originals with his arrangements of such familiar, traditional themes as “There is A Balm in Gilead,” “We Shall Overcome,” “Go Tell it On The Mountain,” and Thomas Dorsey’s “Take My Hand Precious Lord.” Shelby rounds out this exceptional program with Charles Mingus‘ Civil Rights era blast “Fables of Faubus,” and Curtis Mayfield’s uplift-the-race “You’re a Winner.”

Already quite curious on the heels of his Harriet Tubman essay, Soul of the Movement compelled us to seek out Marcus Shelby with some questions

The themes around Harriet Tubman and Dr. Martin Luther King Jr. and the Civil Rights Movement, including my first historical project — “Port Chicago”, were created out of my interest in learning more about how music was used in these movements to inspire the pursuit of justice. In Harriet Tubman’s case, she used spirituals, blues cries, field hollers, work songs, and other forms of music to manage her communications during and leading up to her escapes. Although she was not the only one to use these techniques, she was definitely one of the most prolific and is a model of the individual power of the blues. Dr. Martin Luther King Jr., and the many protesters of the Civil Rights Movement, also used music in similar ways that slaves did. Dr. King himself said:
[Music is] “An important part of the movement. They are more than just mere incantations of clever phrases designed to invigorate a campaign; they are as old as the history of the Negro in America. They are adaptations of songs the slaves sang – the sorrow songs; the shouts of joy, the battle hymns, and the anthems of our movement. I have heard people talk of their beat and rhythm, but we in the movement are as inspired by their words. “Woke Up This Morning with My Mind Stayed on Freedom” is a sentence that needs no music to make its point. We sing the freedom songs for the same reason the slaves sang them, because we too are in bondage and the songs add hope to our determination that “We shall overcome, Black and White together, we shall overcome someday.” These songs bound us together, gave us courage together, and helped us march together. We could walk toward any Gestapo force. We had cosmic companionship, for we were singing, “Come By Me, Lord, Come By Me.”

Obviously there were many factors that contributed to the abolishment of slavery and the ending of segregation. However, it’s very hard to imagine any of this coming to pass without music. Exploring these themes through the jazz orchestra with composition allows me to research the elements necessary to create the music. Learning about the characters, the time period, the actions and the emotions that drive any story are rich and plenty in our history. I am passionate about the history of courage that came before me in both slavery and segregation. These stories not only inspire me, but they empower me to strive in my current times and looking to the future. I like to use this form of music to share with young people, including my own 2 daughters, as a way of understanding history in a creative way (through music). I believe new forms of storytelling can evolve through such processes depending on the creativity of the composer.

What inspires you to develop a piece of music based on a historic theme?

I am usually inspired about how music is part of a social movement, such as the freedom songs in the Civil Rights Movement. I also like stories in history where visionary characters such as Harriet Tubman, Sojourner Truth, Lucretia Mott, Rev. Fred Shuttlesworth, or Bayard Rustin — just to name a few who inspire me — have well documented lives that can be expressed musically using a large ensemble to bring to life its elements. Because one can easily pick and choose the spectacular stories of the past, I also like the challenge of experimenting with abstract ideas that are not so literal in its musical forms. Nevertheless, I am constantly moved by the fact that the blues as the fundamental source material can be an infinite and compelling form to express any thought or expanded idea — especially when illuminating history.

What are your plans for the Orchestra going forward?

My plans for my band are to continue to explore ways to illuminate history, social political movements, current stories of courage, and the possibilities of hope in the future using music as the form of communication and expression. Specifically, I am personally interested in how green economics and sustainability can be key to social justice and what role music can play in this discussion and movement. The tenets of sustainability, including transportation, recycling, land use, and others have musical relationships that can be expressed much like how music animated and illuminated the Civil Rights Movement. The urgency of protecting and sustaining our planets’ resources has arrived and music must be a partner in ensuring our future in these efforts much like it did to save us from slavery and segregation. I hope to use my band and our music to be part of this movement.

Info (including purchase of his recordings): www.MarcusShelby.com

When reading George Lewis‘ brilliant biography of the Association for the Advancement of Creative Musicians (AACM), A Power Stronger Than Itself, one of many AACM tenets that struck me was the fact that they stressed diversity in their members; diversity in the sense of having more than one band to work, depending upon the situation, and thus being versatile enough to meet multiple performing options and criteria. When I think about musicians today who truly know the score, who really practice that sense of diversity of ensembles, and who really know how to WORK IT… pianist-composer-bandleader and raconteur Orrin Evans comes to mind. Consider this lineup of performances he has lined up for his annual birthday celebration:

Orrin Evans Annual Birthday Performances

March 25th-30th
…you pick the spot and come to party!

Live at SMOKE
MARCH 25th & 26th
Eddie Henderson trumpet
Joel Frahm sax
Ben Wolfe bass
Donald Edwardsdrums
Orrin Evans piano

WE GONNA BE SWINGING YALL!!!

THEN….

for more info
March 26th 3pm-7pm
SATURDAY AFTERNOON IN TRENTON!!! 3pm-7pm
FREE FOOD AND SWINGING MUSIC!
Matthew Parrish bass
Vince Ector drums
Ralph Bowen sax
Orrin Evans piano

for more info
MARCH 28th
Orrin and Stafford’s Birthday
5pm-7pm (KIDS WELCOME)
Luques Curtis bass
Anwar Marshall drums
Stafford Hunter trombone

THEN FOLLOW US TO…….
CHRIS’S JAZZ CAFE
FOR
THE CAPTAIN BLACK BIG BAND
CD PARTY!!

8PM AND 10PM
Luques Curtis, Anwar Marshall, Ralph Bowen, Victor North, Tim Green, Todd Bashore, Greg Riley, Stafford Hunter, Ernest Stuart, Brent White, David Gibson, Tatum Greenblatt, Brian Kilpatrick, Leon Jordan Jr.,

THEN…..

MARCH 30TH
9pm-1am
ZINC BAR
THE ARIES COLLECTIVE….
TC III vocals
Brinae Ali tap
Tia Fuller sax
Gianluca Renzi bass
Kim Thompson drums

Orrin Evans News

THE ORRIN EVANS TRIO KICKS OFF THE ERTUGEN JAZZ SERIES (go to www.examiner.com)

Orrin Evans, pianist extraordinaire, seems to be everywhere lately. Whether it is leading his own group on recordings (Faith in Action) or backing other artists including Posi-Tone’s own Ralph Bowen on Power Play, Evans has become a major player in contemporary jazz. Orrin’s piano skills have been recognized and now it is time to catch him as a big band leader on Captain Black Big Band. Captain Black was the title of his 1998 Criss Cross label CD, which introduced the composition of the same name.
CLICK HERE FOR THE REST OF THE STORY

Tarbaby just completed a two day run in Spain with Oliver Lake and Ambrose Akinmusire!!!!
Click here for their latest review

JUMP PHILLY…..Pianist Orrin Evans could live just about anywhere.

Born in Trenton and raised in Mount Airy, Evans, 36, quickly went from playing small gigs in his hometown to performing on tour throughout Western Europe and the Middle East.

The Martin Luther King High School grad has recorded numerous albums and collaborated with musicians like Pharaoh Sanders, Branford Marsalis and Mos Def. click here for the rest of the story

KEEP AN EYE OUT FOR SOME GREAT PERFORMANCES COMING UP…
CAPTAIN BLACK BIG BAND LIVE AT DIZZY’S CLUB COCA COLA IN JUNE!!!

Visit www.cdbaby.com or Itunes to purchase ALL RELEASES ON
Imani-Records!