Archives for posts with tag: Pharoah Sanders

bandstand_picPhoto Credit: Hank Williams

Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.

We’re off this week, but if you missed last week’s show with percussionist Ray Mantilla, head over to our archives to check it out along with 8 years of shows. Meanwhile, we have plenty of listings for you this week.

Guitarist Julian Lage is at Mezzrow on September 26.

Drummer and percussionist Andrew Cyrille is at Jazz at Lincoln Center’s Dizzy’s Club on September 26 with Bill McHenry.

Saxophonist Pharoah Sanders is at Birdland from September 26-30.

Vocalist Thana Alexa is at the Jazz Standard on September 27 and is joined by drummer Antonio Sanchez.

Pianist Randy Weston and saxophonist Billy Harper are at the Blue Note on October 1.

Drummer and percussionist Hamid Drake is with percussionist Adam Rudolph’s Moving Pictures at the Jazz Gallery from October 3-4.

Bassist Ron Carter leads a big band at Birdland from October 3-7, a quartet from the 10-14, and a trio from the 17-21.

Drummer Lenny White is at the Village Vanguard from October 3-8 with Renee Rosnes’s quartet.

Vocalist Kurt Elling is at Birdland for an early set on October 4.

Drummer and percussionist Bobby Sanabria is teaching a 6 session class on the Roots and Rhythms of Latin Jazz at Jazz at Lincoln Center’s Swing University on Wednesday nights from October 4 to November 8.

Vision Fest promoters Arts for Art are sponsoring a “Race and Resistance Un-Columbus” weekend festival from October 7-9 at El Taller Latino Americano (215 E 99 St in Manhattan). Drummer Francisco Mora Catlett’s Afrohorn with saxophonist Ahmed Abdullah leads off on the 7th, with sets by poet Jesus Papoleto Melendez and trombonist Craig Harris later that evening. On the 8th, poet Quincy Troupe reads accompanied by guitarist Kelvyn Bell. Multi-instrumentalist Cooper-Moore has a set later that night. On Monday the 9th, the event wraps up with bassist William Parker’s “Songs of Freedom” featuring dancer Patricia Nicholson Parker and drummer/percussionist Hamid Drake.

Pianist  David Virelles is at the Jazz Gallery on October 13 with Roman Filiu.

That’s all for now. Suga’ in My Bowl is scheduled to be back on WBAI‘s airwaves on Sunday October 1. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.

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Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York. Find him on Twitter @streetgriot

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bandstand_picPhoto Credit: Hank Williams

Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.

This week’s guest is percussionist Ray Mantilla! He doesn’t have any upcoming shows at the moment, but we’ll let you know when he has another gig. We have plenty of other listings for you this week.

 

Saxophonist James Brandon Lewis is at Roulette in Brooklyn on the 18.

Bassist William Parker’s In Order to Survive ensemble with drummer/percussionist Hamid Drake is at Le Poisson Rouge on September 21. Parker will also be First Street Green (33 E 1st St in Manhattan) for a free outdoor concert as part of Arts for Art’s InGardens series on the 24.

Drummer and percussionist Bobby Sanabria leads Quarteto Aché at Floridita Restaurant in Harlem on September 22. He also teaches a 6 session class on the Roots and Rhythms of Latin Jazz at Jazz at Lincoln Center’s Swing University on Wednesday nights from October 4 to November 8.

Finally, pianist Barry Harris leads a trio at the Village Vanguard from September 19-24.

Saxophonist Lakecia Benjamin is at Brooklyn Bowl on September 23.

Bassist and vocalist Richard Bona is at Club Bonafide on September 23.

Guitarist Julian Lage is at Mezzrow on September 26.

Drummer and percussionist Andrew Cyrille is at Jazz at Lincoln Center’s Dizzy’s Club on September 26 with Bill McHenry.

Saxophonist Pharoah Sanders is at Birdland from September 26-30.

Vocalist Thana Alexa is at the Jazz Standard on September 27 and is joined by drummer Antonio Sanchez.

Pianist Randy Weston and saxophonist Billy Harper are at the Blue Note on October 1.

That’s all for now. Suga’ in My Bowl is scheduled to be back on WBAI‘s airwaves on Sunday October 1. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.

—-
Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York. Find him on Twitter @streetgriot

bandstand_picPhoto Credit: Hank Williams

Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.

We’re off this week, but if you missed last week’s show with drummer Lenny White, then head on over to our archives. And we have plenty of listings for you this week as the summer winds down.

Drummer and percussionist Will Calhoun is at the Apollo Theater with Prophets of Rage on September 12.

Bassist Ron Carter is at the Jazz Standard with Ethan Iverson’s trio on September 12.

Pianist Harold Mabern leads a trio at Smalls on September 13 and a quartet at Ginny’s Supper Club on September 21.

Vocalist Lizz Wright is at Highline Ballroom on September 15.

Drummer Jeff “Tain” Watts is at the Central Jersey Jazz Festival at the County Courthouse in downtown Flemington on September 15.

Vocalist Kurt Elling is at Jazz at Lincoln Center’s Appel Room on September 15-16 with Fred Hersch.

Drummer Antonio Sanchez is at the Jazz Standard from September 15-17.

Bassist and vocalist Mimi Jones is at the Bronx Museum for the Arts on September 16.

Saxophonist Claire Daly is at the Central Jersey Jazz Festival at the Somerset County Courthouse in Somerville on September 17.

Saxophonist James Brandon Lewis is at the Children’s Magical Garden (at 129 Stanton St in Manhattan) for a free outdoor concert as part of Arts for Art’s InGardens series on the 16 and at Roulette in Brooklyn on the 18.

Bassist William Parker’s In Order to Survive ensemble with drummer/percussionist Hamid Drake is at Le Poisson Rouge on September 21.

Drummer and percussionist Bobby Sanabria leads Quarteto Aché at Floridita Restaurant in Harlem on September 22.

Finally, pianist Barry Harris leads a trio at the Village Vanguard from September 19-24.

Saxophonist Lakecia Benjamin is at Brooklyn Bowl on September 23.

Bassist and vocalist Richard Bona is at Club Bonafide on September 23.

Drummer and percussionist Andrew Cyrille is at Jazz at Lincoln Center’s Dizzy’s Club on September 26 with Bill McHenry.

Saxophonist Pharoah Sanders is at Birdland from September 26-30.

Vocalist Thana Alexa is at the Jazz Standard on September 27 and is joined by drummer Antonio Sanchez.

That’s all for now. Suga’ in My Bowl is scheduled to be back on WBAI‘s airwaves on Sunday September 17. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.

—-
Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York. Find him on Twitter @streetgriot

DSC_0136Words by Hank Williams. Photos by Joyce Jones/SugaBowl Photography. | MAIN PHOTO: Jamaladeen Tacuma of the Young Philadelphians. Used with Permission. Some Rights Reserved. Creative Commons CC-NC-BY-ND.

The 13th edition of the annual Winter Jazz Fest officially wrapped up Tuesday night, bringing to an end a six-day extravaganza of music with a performance by the Liberation Music Orchestra closing the year’s festivities.

The festival clustered, as usual, around several different venues scattered throughout Greenwich Village. The historic center has been near Le Poisson Rouge and Zinc Bar on Bleecker Street. For the second year in a row, The New School provided several performance spaces, which are a welcome addition to the ever-expanding event. Smaller clusters of venues in both the East and West Village rounded out the list and had festival goers crawling between the different spots, adding somewhat of a logistical challenge to festival goers intent on seeing multiple acts.

The 2017 edition ran from January 5-10, with most the performances scheduled on the “marathon nights” Friday and Saturday the 7th and 8th.

This year also saw the addition of a festival theme: social justice and the Black Lives Matter movement. According to festival organizer Brice Rosenbloom, inspiration for the theme came from the musicians themselves since so many sent proposals for performances that addressed the topic in one way or another. A festival-related Tumblr feed collected artists’ statements on contemporary political issues and an official festival statement explicitly staked out the political turf in the program guide, affirming that it “explicitly supports social and racial justice by presenting socially engaged artists who have urgent and beautiful messages to share.” In a nod to history, the statement also noted that “[p]rotest and resistance are central to jazz’s existence from its beginnings as the music of marginalized black Americans.”

Other touchstones were the celebration of pianist Thelonious Monk’s 100th birthday, which was officially acknowledged with an event on Sunday the 9th, with a dozen musicians, including guitarist Marc Ribot, pianist David Virelles, and drummers Hamid Drake and Andrew Cyrille interpreting Monk’s Solo Monk album in a variety of combos.

Lastly, Andrew Cyrille was this year’s artist in residence and the subject of an interview by a former student of his: fellow drummer Jonathan Blake. Cyrille also had several performances, including leading Haitian Fascination; a duo with saxophonist Bill McHenry; and a solo performance.

The official festival kickoff on Thursday evening started with two events in different venues. For the third year in a row, the festival hosted a Disability Pride benefit concert featuring several musicians raising funds to support the organization that works to instill a sense of pride in disabled people and create wider awareness for the issues they face. The brainchild of pianist Mike LeDonne, the organization’s key event is a summertime parade.

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Shabaka and the Ancestors

Thursday night also featured a concert at Le Poisson Rouge linking two generations of saxophonists: London-based Shabaka Hutchings, who opened the evening with his new group Shabaka and the Ancestors; followed by the legendary Pharaoh Sanders. The concert sold out early and left potential attendees scrambling for tickets; a sign that it should have been held in one of the festival’s larger venues, which is something that the organizers need to consider in the future since space concerns have dogged the festival as its popularity has risen.

The show was Hutchings’s first US appearance and the first of two performances, as they had a repeat appearance on Saturday night in the same space.

Hutchings’s Saturday performance was a fiery one before a crowd that again filled the space. Buoyed by Siyabonga Mthembu’s ethereal poetic vocals and Ariel Zomonsky’s frenetic, expressive bass, the group got the audience dancing—at least those who had enough space to do so. At the end of the set, Hutchings expressed gratitude for their embrace by the US audience. Hopefully we won’t need to wait long for their return.

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Pharaoh Sanders

In Sanders’s set, he again showed why he’s rightfully earned a solid place in jazz history and is still worth seeing, as he’s capable of playing with an astonishing combination of finesse and sheer, room-clearing power when he sees fit. Sanders’s current shows can involve a wide range of material and vary according to his mood and who accompanies him. A 2016 appearance at Dizzy’s saw a somewhat subdued, contemplative Sanders, while a spring set at the Red Bull Music Academy’s “Night of Spiritual Jazz” featuring the impressive lineup of Sanders, the Sun Ra Arkestra, and Kamasi Washington (another show that, frustratingly, sold out quickly, though was simulcast online) brought a Sanders who seemed inspired by the occasion and performed a stunning cover of John Coltrane’s “Olé”. Which one would appear at the festival?

It was the latter Sanders who took the stage. Sanders, buoyed by longtime pianist William Henderson, bassist Dezron Douglas, and drummer Jonathan Blake, had the backup he needed for an inspiring set and he delivered. Vocalist Tony Hewitt came onstage for a pleasantly mellow take of “The Creator Has a Master Plan”, though one without some of the edge and soul of the Leon Thomas original.

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Ravi Coltrane (left) and Pharaoh Sanders

The highlight of the set, however, was the performance of “Olé”, which had the touching addition of Ravi Coltrane, who Sanders spotted in the audience and called to the stage. Coltrane, prepared with soprano saxophone brilliantly played off Sanders’s sax while Henderson and Douglas’s rhythm section dutifully kept things in check as the dueling saxes explored. It was indeed a performance for the ages and a fittingly symbolic closing of the circle as they expertly worked through a composition of one of Sanders’s key mentors with the addition of Coltrane’s son, now a leader in his own right who’s also found his own voice as a player. It was the aural equivalent of seeing three generations of sax masters.

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Craig Harris

On Saturday night, trombonist Craig Harris found himself at the front of the stage and armed with sheet music and conducting duties instead of his instrument. His role was melding a cohesive sound from a collection of the roughly 3 dozen musicians and artists who answered his call last fall to “make[e] a sonic statement in response to current injustices inflicted on African American people”.

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Craig Harris’ Breathe fills the stage

“Breathe” had its premiere in October, 2015 and is a stunning multidisciplinary work of art. An expansive big band was accompanied by performance poet and multi-instrumentalist Ngoma Hill and a slide show by Bill Toles projected on a screen above the stage.

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Saxophonist Ras Moshe (left) and Ngoma Hill.

Hill read excerpts from his works “Blacktastik Funk Suite,” “Keep Calm,” “Cerebral Calisthenics,” and “I Need a Poem.” The words, images, and swirling sounds created an immersive experience that the audience into the interconnected suite.

Later, in the New School’s 12th Street auditorium, saxophonist David Murray’s set directly engaged the festival theme. Leading a version of his Class Struggle ensemble, Murray’s expressive sax playing was outstanding. Murray closed the set with a nod to the late Amiri Baraka, who he collaborated with on album releases and plays. “Class Struggle in Music” titled after one of Baraka’s famous poems, began with riffs of “Amazing Grace,” a fitting homage to the longtime activist writer.

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Zig Zag Trio.

Over in the West Village, the Zig Zag Trio of electric guitarist Vernon Reid, electric bassist Melvin Gibbs, and drummer Will Calhoun closed out the evening at SOB’s and provided one of the festival’s highlights. With two members drawn from the rock group Living Colour (Reid and Calhoun) and their common background in the Brooklyn based Black Rock Coalition, an electrifying set was a foregone conclusion.

According to Gibbs, Zig Zag resuscitates a combination that hadn’t played together since the 1990s and grew out of Reid’s curation of a series at the Iridium club. Reid thought it would be good for the three friends to play together again, thus the birth of the current trio roughly two years ago.

The vibe was similar to what it’s been in the previous shows: more like a jam session than an actual set. But with musicians like these who have been playing together for so long, the communication between them makes the process seem fluid and organic.

While the obvious connection is their rock heritage, ties to various musical forms are just as deep, which is reflected in their playing and the song selection. The late drummer Ronald Shannon Jackson is a major influence, as is the Blues, and the late avant garde jazz guitar mad scientist Sonny Sharrock. Reid and Gibbs are both alumni of Jackson’s band. Reid explained from the stage that they “always play a couple of Jackson’s pieces because Ronald changed our lives.”

The set started with a cover of bluesman Junior Kimbrough’s “I Love Ya’ Baby”.

That was followed one of the hardest rocking covers of Pharaoh Sanders’ “Upper Egypt and Lower Egypt” ever done. The infectious melody of the original soon fell away to Reid’s virtuosic improvisations on guitar, backed by Calhoun’s wide-open hard-hitting drumming. Gibbs, meanwhile was somehow able to resist the allure of going totally out with his band mates in the mayhem and kept a steady bass line that formed the heart of the piece. The trio created space for one of Calhoun’s stage-rattling drum solos near the end before the final statement of the theme.

There was a deeper meaning behind nearly every song in the set and that was true of “Upper Egypt.” It was one of the songs in Sonny Sharrock’s setlist and Gibbs played it several times with Sharrock’s band before he had deeply listened to the original. The song’s choice was both a tribute to Sharrock and a nod to Sanders, whose set opened the festival.

The trio gave a nod to Monk’s centennial with a cover of “Epistrophy” which was subjected to a similar treatment after a slight false start.

Gibbs was tasked with starting off the next piece: a cover of “King Tut Strut” that was the contribution of Will Calhoun. Again, his steadying rhythm at the center held things together for Reid to explore. Halfway through, the roles switched and Gibbs’s steady hand was rewarded with time to explore on his own while Reid temporarily assumed the rhythm duties. When Calhoun’s turn to solo came, the master drummer showed why his latest release as a leader is a tribute to the late drum great Elvin Jones. Like Jones, Calhoun plays with volume — but also impeccable finesse — and has the uncanny ability to create solos with narratives that can go on seemingly forever and still sound fresh.

Elements of the blues, jazz, rock, rhythm and blues, and West African traditions all comfortably fit—and peacefully coexist—within the framework of the Zig Zag Trio.

The set was easily one of the hardest rocking ones of the festival, yet, if one looks closer, underscores the range of the players and the Black musical tradition that they draw from. Elements of the blues, jazz, rock, rhythm and blues, and West African traditions all comfortably fit—and peacefully coexist—within the framework of the Zig Zag Trio. It’s the type of project that could only succeed with players this proficient and with the level of comfort and trust they have in each other, which is clear on stage.

A live recording session is planned sometime for the spring at Woodstock Studios, though has to be shoehorned between Reid and Calhoun’s busy Living Colour tour schedule and Calhoun’s own dates as a leader for his Elvin Jones tribute. Additional live dates are probably on hold until fall 2017, but they’re well worth looking out for.

Saturday night tested the stamina of festival goers with persistent snowfall extending halfway through the evening. While it didn’t pile up too much, it was enough to make things slippery, walking slow going, and shuttling between locations a bit of a slog.

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Jaimeo Brown and Transcendence

Fortunately, Jaimeo Brown and Transcendence braved the weather and took the stage at SOB’s for their early set with a stunning multimedia collage.

Brown’s released two thematically similar CDs: Transcendence and Work Songs.

Work Songs is an audio collage combining actual sampled work songs that was a very successful release and critically acclaimed. While the samples form the base of the audio collage, they function as a vehicle for Brown and his collaborators to improvise around, not a crutch as they might elsewhere.

Live, the content was even more powerful than expected. Brown and company presented a multimedia spectacle, with video and some of the sampled sounds from both releases accompanied by Jaleel Shaw’s sax solos, Brown’s drumming, and Chris Sholar’s electric guitar work.

“Be So Glad” from Work Songs started the set. Shaw’s soaring sax solos that melted into the audio collage and seemed to float at times with the addition of a touch of reverb while a continuously shifting photo stream played in the background.

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D.C. Focus and Transcendence

The addition of D.C. Focus’s dancing halfway through the set complemented the larger narrative in Transcendence of the African American experience as a complex journey of grit, struggle, pain and joy: sometimes juxtaposed or simultaneous. While popping, locking, and even crawling as a counterpoint to the music in front of the band, Focus seemed to amplify the intensity of the performance.

Musically, Brown’s work defies simple categorization (as if those were even simple to begin with) between hip hop, blues, work songs, electric blues, and jazz as they all blurred together. The result though was–as promised—a set that felt truly transcendental.

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The Young Philadelphians

Saturday night also marked the return of Marc Ribot and the Young Philadelphians to the festival. 2017 was their third appearance and showed how far the ensemble has come, as this time they came to the stage with a world tour under their belts and a CD release culled from live shows in Tokyo.

The Young Philadelphians could only be the brainchild of someone like Ribot. The group reworks classic 1970s disco and soul tunes through the lens of electric guitar leads Ribot and Mary Halvorson with backing from two alums of late saxophonist Ornette Coleman’s Prime Time bands: electric bassist Jamaladeen Tacuma and drummer G. Calvin Weston. The entire cast of characters is then melded with a string section—Joanna Mattley (viola), Amy Bateman (violin), and Jeremy Harmon (cello)—in this case. As I said in my preview, it’s an idea that seems too crazy to work, but indeed it does.

Ribot, Tacuma, and Weston are steeped in Coleman’s signature Harmolodic musical approach while Halvorson adds coloring touches and density and the strings replicate their role in the original songs while their lushness acts in counterpoint to the sharpness of the guitars.

The Philly soul classic “TSOP (The Sound of Philadelphia)”–known to many as the theme song from the TV show Soul Train –exemplifies the Young Philadelphians’ approach. The song began with a long introduction before the statement of the familiar melody. A signal from Ribot marked the spot for a Weston drum solo followed by a string section solo before the mayhem resumed.

Ribot strips the lyrics to their bare essence, delivering them like chants. “Let’s get it on! It’s time to get down” takes on a different meaning in the current climate and given the festival theme. Instead of the joyous invitation to party, they seem more like marching orders for the audience.

The Ohio Players’ high octane “Love Rollercoaster” followed immediately and provided ample space for a string solo in the middle followed by a Tacuma bass solo and a call-response section between bass and drums.

The disco hit “Fly Robin Fly” from the unlikely German group Silver Convention was next. Like most tunes in their repertoire, it took a sweet, innocuous pop song exploded it, then re-assembled into a full tapestry. The chant-like lyrics “Fly, robin, fly/ Way up to the sky!” were treated as a call and response by the band members and the sparse lyrics of the original are the perfect platform the Young Philadelphians’ treatment. Halfway though, the song broke down into a free-for-all with strings and guitars all improvising before re-assembling for the end.

“Love TKO” began as an antidote to the above, and remains a ballad with funked – up bass lines, though eventually that even succumbed at the end of the song to Ribot and Halvorson’s excursions.

An extended, melodious intro to “Do the Hustle” emphasized the lushness of the strings before Ribot’s angular interpretation of the theme, reliably set off, as usual, by Halvorson’s looping improvisation. The song ended with a majestic-sounding restatement of the intro theme, closing with a final cymbal clash by Weston.

“Love Epidemic” read as yet another command for the times. If there was ever a time it was needed the time is right now. Almost deliberately, the song preserved more of the original lyrics than others: “There won’t be no need for medication /There won’t be no discrimination/ All we need is your participation / Then we’ll be united as a nation!” sent out a corresponding call to “It’s time to get down”: if indeed it’s time to fight, then the love epidemic might be what we want to fight for.

Much of the Young Philadelphians’ appeal comes from their successful reworking of bygone hits, but with a sense of the larger than life, nearly epic scope of the 1970s soul era

If you were old enough to remember the original songs, they had one meaning that reached back to the memory bank. If not, it didn’t matter to the nearly packed crowd of various ages because they rock hard enough to move the crowd. Much of the Young Philadelphians’ appeal comes from their successful reworking of bygone hits, but with a sense of the larger than life, nearly epic scope of the 1970s soul era; one that’s best captured by live instrumentation and embrace of the outrageous, sometimes over-the-top performance style of the originals. Here, that’s transformed into avant garde improvisation.

The one disappointment of the festival was missing the performance of the AfroHORN Superband, led by drummer/ percussionist Francisco Mora Catlett. While a press pass got me into Zinc Bar ahead of a few others on line, I gave up and walked out. Packed to the gills, Zinc made an inhospitable place to hear the music: assuming you could even get close enough to the back room to do so. Actually seeing the performance was out of the question, as was taking any sort of notes.

Quite frankly, the festival needs to drop Zinc as a venue and has needed to for several years since lines outside the small space are routine. One can understand the possible reluctance: after all, Zinc presents jazz several nights a week throughout the year, not just when the big crowds are out, which is an ongoing commitment to the music. Unfortunately, Winter Jazz has simply gotten too big for it, and it’s time to move on.

The 2017 Winter Jazz Fest still must be looked at as a resounding success. The quality and variety of acts it attracts is top notch, the audience support is enthusiastic, as evidenced by the sold-out events and solid crowds even on the second marathon night with sketchy weather, and organization has improved every year.

How deeply the festival ingests and repeats this year’s commitment to social justice remains to be seen–the late spring-summer Vision Fest has that as an embedded part of its DNA—but the willingness to read and react to artists’ own messages says quite a lot. Nevertheless the Winter Jazz Fest still boldly forges ahead artistically and creatively year after year with a finely curated collection of artists who push and stretch the boundaries of jazz while staying firmly rooted in the musical traditions.
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Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York. Find him on Twitter @streetgriot

bandstand_picPhoto Credit: Hank Williams

Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.
 
We’re off this week, but head on over to our archives for last week’s show with drummer/percussionist Francisco Mora Catlett and a quick discussion with trombonist Craig Harris and nearly 7 years of archived shows. Catlett and Harris are both at this year’s 2017 Winter Jazz Fest, which is the big news this week. You can see Harris lead his “Breathe” composition on the first marathon night of music on January 6th at the New School’s Tishman Auditorium. Catlett leads AfroHORN on the second marathon night at Zinc Bar on the 7th and later in the month at Clemente Soto Velez Center on the 19th. We recommend getting to Zinc Bar extremely early for the Catlett show and we’re told that WJF tickets are selling out fast. Check back on Monday for our annual in-depth Cheat Sheet festival preview! Now on to the rest of the week’s events.
 
Bassist Mimi Jones hosts a jam session in the late set at Smoke on January 2.
 
Pianist Harold Mabern joins Brandi Disterheft’s trio at Jazz at Lincoln Center’s Dizzy’s Club on January 4.
 
Saxophonist Billy Harper leads a quintet at Jazz at Lincoln Center’s Dizzy’s Club on January 4 and at Smoke on January 6.
 
Poet Jesus Papoleto Melendez reads and dancer Patricia Nicholson Parker performs in separate sets on January 7 at the Clemente Soto Velez Center as part of Arts for Art’s monthlong Justice is Compassion series.
 
Bassist William Parker and drummer Hamid Drake team up for a Roy Campbell tribute on January 9 and again on the 16 and 18 at the Clemente Soto Velez Center as part of Arts for Art’s Justice is Compassion series.
 
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Not to be outdone by the Winter Jazz Fest, Vision Fest promoters Arts for Art is again sponsoring a nearly monthlong series from January 2-22nd of music, poetry, dance, and visual art titled “Justice is Compassion/ Not a Police State” at the Clemente Soto Velez Center on the Lower East Side. Poet Jesus Papoleto Melendez, bassist William Parker, drummer Hamid Drake, drummer/percussionist Francisco Mora Catlett’s AfroHORN, and dancer Patricia Nicholson Parker are just a few of the many involved. See the full schedule of 65 performances at their website.
 
The annual Winter Jazz Fest blows through town from January 5-10. We already mentioned Francisco Mora Catlett and AfroHORN and Craig Harris’s “Breathe”. Other festival highlights include an opening concert by saxophonist Pharaoh Sanders on the 5th, a closing performance by the Liberation Music Orchestra led by pianist Geri Allen on the 10th as a tribute to the late bassist Charlie Haden, and two marathon nights of music on the 7th and 8th. Drummer Andrew Cyrille is artist in residence and the festival theme is social justice. There are way too many former show guests there to mention, the full schedule is already up and we’ll have our own annual Cheat Sheet festival guide up right here on Monday January 2nd.
 

 
Bassist Christian McBride has a 2-week run at the Village Vanguard, leading a trio from January 10-15 and returning with a quartet from the 17-22nd.
 
Drummer JT Lewis is at The Cell Theatre with Harriet Tubman on the 11th.
 
Drummer and percussionist Will Calhoun’s gallery exhibit of his visual art collaboration Aza is on view at the Bronx Music Heritage Center through February 11. We reviewed the show earlier this year.
 
That’s all for now. Suga’ in My Bowl is scheduled to be back on WBAI‘s airwaves on January 8th. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.
 
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Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York.

bandstand_picPhoto Credit: Hank Williams

Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.
 
This week’s show continues our 2017 Winter Jazz Fest coverage with percussionist Francisco Mora Catlett and a brief visit by trombonist Craig Harris. You can see Harris lead his “Breathe” composition on the first marathon night of music on January 6th at the New School’s Tishman Auditorium. Catlett leads AfroHORN on the second marathon night at Zinc Bar on the 7th and later in the month at Clemente Soto Velez Center on the 19th. We recommend getting to Zinc Bar extremely early for the Catlett show.
 
Pianist Harold Mabern closes out the year at Smoke with a John Coltrane tribute through January 1st. Trombonist Steve Turre joins him as a special guest on the 29-30.
 
Blues vocalist Alexis P. Suter is at Iridium on the 27th.
 
Dr. Leonard Jeffries has 3 appearances this week at Kwanzaa events. You can catch him on the 27th in Harlem at the New Amsterdam Music Association and in Queens on the 30th at the Jamaica Performing Arts Center, and on New Year’s Eve at the Dr. John Henrik Clarke House in Harlem.
 
Hammond B3 organ master Dr. Lonnie Smith leads an octet at the Jazz Standard from December 28-January 1.
 
Bassist Mimi Jones hosts a jam session in the late set at Smoke on January 2.
 
Pianist Harold Mabern joins Brandi Disterheft’s trio at Jazz at Lincoln Center’s Dizzy’s Club on January 4.
 
Saxophonist Billy Harper leads a quintet at Jazz at Lincoln Center’s Dizzy’s Club on January 4 and at Smoke on January 6.
 
Poet Jesus Papoleto Melendez reads and dancer Patricia Nicholson Parker performs in separate sets on January 7 at the Clemente Soto Velez Center as part of Arts for Art’s monthlong Justice is Compassion series.
 
Bassist William Parker and drummer Hamid Drake team up for a Roy Campbell tribute on January 9 and again on the 16 and 18 at the Clemente Soto Velez Center as part of Arts for Art’s Justice is Compassion series.
 
Drummer and percussionist Will Calhoun’s gallery exhibit of his visual art collaboration Aza is on view at the Bronx Music Heritage Center through February 11. We reviewed the show earlier this year.
 
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Not to be outdone by the Winter Jazz Fest, Vision Fest promoters Arts for Art is again sponsoring a nearly monthlong series from January 2-22nd of music, poetry, dance, and visual art titled “Justice is Compassion/ Not a Police State” at the Clemente Soto Velez Center on the Lower East Side. Poet Jesus Papoleto Melendez, bassist William Parker, drummer Hamid Drake, drummer/percussionist Francisco Mora Catlett’s AfroHORN, and dancer Patricia Nicholson Parker are just a few of the many involved. See the full schedule of 65 performances at their website.
 
Finally, the annual Winter Jazz Fest blows through town from January 5-10. We already mentioned Francisco Mora Catlett and AfroHORN and Craig Harris’s “Breathe”. Other festival highlights include an opening concert by saxophonist Pharaoh Sanders on the 5th, a closing performance by the Liberation Music Orchestra led by pianist Geri Allen on the 10th as a tribute to the late bassist Charlie Haden, and two marathon nights of music on the 7th and 8th. Drummer Andrew Cyrille is artist in residence and the festival theme is social justice. There are way too many former show guests there to mention, the full schedule is already up and we’ll have our own annual Cheat Sheet festival guide up right here after New Year’s.
 

That’s all for now. Suga’ in My Bowl is scheduled to be back on WBAI‘s airwaves on January 8. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.
 
—-
Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York.

bandstand_picPhoto Credit: Hank Williams

Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.
 
This week’s show features drummer and percussionist Milford Graves. You can catch him at The Village Vanguard with saxophonist Jon Zorn on October 9th and November 13 and at The Stone on December 3 with guitarist Marc Ribot. And we have additional music listings for you.
 
Drummer and percussionist Bobby Sanabria is at the Musicians union Local 802 hall in Manhattan on the 3rd for a free talk about the music business. He also leads Quarteto Ache at Clem’s Place in Newark NJ the 14th and is at the Brooklyn Heights Public Library for a free afternoon show with Gene Marlow’s Heritage Ensemble on the 15th.
 
Saxophonist Pharaoh Sanders is at Birdland from October 4-8.
 
Saxophonist Ravi Coltrane leads a quartet at Village Vanguard from October 4-9th.
 
Pianist and keyboardist Marc Cary hosts the Harlem Sessions at Ginny’s Supper Club on October 6 and 13.
 
Vocalist and pianist Amina Claudine Myers is at the Community Church of New York in Manhattan on October 7 as part of the AACM New York chapter’s fall concert series.
 
Vision Fest producers Arts for Art’s inGardens series of free outdoor concerts wraps up on the weekend of October 8-9th. Dancer Patricia Nicholson Parker has a set on the 8th at the Lower East Side’s First Street Green at 33 E First St. Bassist William Parker has a set on the 9th in the same location. See the full lineup and schedule for more details.
 
Saxophonists Billy Harper and David Murray are at Jazz at Lincoln Center’s Appel Room on October 14-15 with pianist Elio Villafranca’s “Letters to Mother Africa”.
 
Trombonist Craig Harris is at Harlem’s Rendall Memorial Presbyterian Church on October 14th and 21st.
 
Low brass specialist on tuba Joe Daley is at Terra Blues with Hazmat Modine on October 15th.
 
Saxophonist Oliver Lake is at Roulette in Brooklyn for the Passin’ Thru Festival on October 16-17. He leads a big band on the 16th and is joined by fellow TRIO3 collaborators bassist Reggie Workman and drummer Andrew Cyrille on the 17th.
 
Drummer and percussionist Will Calhoun’s gallery exhibit of his visual art collaboration Aza is on view at the Bronx Music Heritage Center through February 11. We reviewed the show earlier this year.
 
Finally, this week, we take a closer look at Celebrate Brooklyn’s second annual BRIC Jazz Festival which runs from October 8-15 at the BRIC Media House in downtown Brooklyn. It kicks off on the 8-9 with free screenings of the documentary films A Great Day in Harlem, Jaco, Jazz on a Summer’s Day, and Thelonious Monk: Straight No Chaser with commentary by cultural critic Nelson George. That’s followed by three marathon nights of jazz from the 13-15 with saxophonist David Murray’s Infinity Quartet, saxophonist Lakecia Benjamin and the Soulsquad, guitarist Julian Lage’s trio, pianist and keyboardist Marc Cary, and guitarist Marc Ribot’s trio with bassist Henry Grimes among many other acts. The full schedule is up on the BRIC Arts media website and our own preview of the BRIC Jazz Fest is on the way.
 
That’s all for now. Suga’ in My Bowl is back on WBAI‘s airwaves on October 16. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.
 
—-
Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York.

5_8_Kamasi-Washington---Pharoah-Sanders-_-Sun-Ra-Arkestra
Photo: Red Bull Music Academy’s Night of Spiritual Jazz
 
When Suga’ in My Bowl host Joyce Jones and I first heard about The Red Bull Music Academy’s “night of spiritual Jazz” featuring Pharoah Sanders, the Sun Ra Arkestra, and Kamasi Washington on May 8, it sounded like the perfect lineup and we immediately cleared our schedules to go. Details were sparse–and the location was unannounced until about a week ago–when the organizers also announced that it is sold out!
 
A few commenters on social media who signed up for notices say that the tickets went fast. Although the organizers have finally announced a location–Brooklyn’s Greenpoint Terminal Warehouse at 73 West St.–good luck getting tickets. Fortunately, you can catch some of the action in the comfort of your own home.
 
If you tune in at 8 PM Eastern Standard Time to the Red Bull Music Academy’s Live radio channel and they’ll be streaming the concert there!
 
While it’s not quite the same as being there, it’s better than nothing and–depending where you live–either your only option or better than trekking out to a historic Greenpoint waterfront that looks to be a good walk from the G train.
 
Another option is checking into the event’s Facebook page, where people are asking for tickets. But the standard warnings obviously apply about safety and avoiding potential scammers.
 
Getting back to the radio channel, however, while scrolling through their online schedule, there were several interesting related broadcasts that are worth checking out:
 

  • A 2014 live performance of the Sun Ra Arkestra at 1 PM EST on Saturday
  • A “Fireside Chat” with Arkestra lead Marshall Allen at 9 AM EST on Sunday
  • A “Fireside Chat” with saxophonist Kamasi Washington at 10:30 PM EST Sunday
  •  
    They appear to rebroadcast things, so it’s worth checking back and scrolling through the complete schedule. I’d also be remiss if I didn’t point you to our own shows on Pharoah Sanders, Kamasi Washington, and the Sun Ra Arkestra/Marshall Allen, which all live in our audio archives.
     
    And if it’s some consolation, you can catch the Arkestra at this year’s Vision Fest on June 8th and Kamasi Washington in a free show on June 19th at Central Park’s Summerstage. Sanders recently finished a run at Birdland; I’d look for him to return in the late fall. I’ll revisit Vision Fest with a longer preview later on (and a quicker take of the Summerstage Jazz lineup’s on the way too), but for now the audio stream will have to tide many of us over.
     
    If you’re one of the lucky few to get tickets, let us know or feel free to leave some impressions of the performance in the comments.
     
    —-
    Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York.

    bandstand_picPhoto Credit: Hank Williams

    Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.
     
    This week’s guests are harpist Riza Printup and trumpeter Marcus Printup. Marcus leads a sextet at Jazz at Lincoln Center’s Dizzy’s Club on May 25th and 26th. As usual, we have lots more music for you this week.
     
    We start this week with the Central Brooklyn Jazz Consortium, whose 17th annual jazz festival kicked off on the 15th and runs until May 15th in venues throughout Brooklyn. WBAI Radio is a media sponsor. See the CJBC’s website for the schedule (opens as a PDF).
     
    AZA, the exhibit of drummer Will Calhoun’s visual art collaboration is on display at the Casita Maria Center for Arts and Education in the South Bronx until July 21st. See our review of the show for more details. Calhoun will be at the Blue Note on May 30th with McCoy Tyner.
     
    Pianist Michele Rosewoman leads her Quintessence ensemble at Zinc Bar on May 5.
     
    Organist John Medeski is at The Stone on May 6.
     
    Low brass specialist on tuba Joe Daley is at Terra Blues with Hazmat Modine on May 7th.
     
    Vocalist Kurt Elling, bassist Christian McBride, and vocalist Dianne Reeves all lead groups at the Prospect Park Bandshell on May 7-8th as part of the GRAMMY Park festival.
     
    Finally, The Red Bull Music Academy has a night of spiritual Jazz featuring Pharoah Sanders, the Sun Ra Arkestra, and Kamasi Washington on May 8. The event’s listed as sold out, but details are at the Red Bull Music Academy site and there may be a wait list.
     
    Guitarist Julian Lage is at Drom on the Lower East Side on May 11th and the Jazz Standard on May 12th.
     
    Pianist/keyboardist Marc Cary is at Ginny’s Supper Club on the 14th.
     
    Drummer and percussionist Bobby Sanabria leads Quarteto Ache at Carnegie Hall on the 14th and will be at the Tribeca Performing Arts Center at the Borough of Manhattan Community College on the 21st for the Made in New York Gala.
     
    Saxophonist Oliver Lake is at the 17 White St Loft in Manhattan for a duo performance with bassist Joe Fonda on May 15th.
     
    Looking further ahead, Tubist Howard Johnson is at Craig Harris’s Harlem Afternoon Jazz Series at Rendall Memorial Presbyterian Church for two lunchtime sets on May 17th.
     
    The MAC Power Trio of saxophonist David Murray, pianist Geri Allen, drummer Teri Lyne Carrington, and celebrates the release of their CD debut Perfection at Birdland from May 17-21.
     
    That’s all for now. Suga’ in My Bowl is back on WBAI‘s airwaves on May 15. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.
     
    —-
    Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York.

    bandstand_picPhoto Credit: Hank Williams

    Welcome to Suga in My Bowl radio‘s weekly feature, On The Bandstand, where we collect upcoming NYC area shows from current and past Suga’ guests. We’re online weekly and on the air on NYC’s WBAI-FM radio alternate Sunday nights from 11 PM -1 AM. Keep up with us via Facebook, the blog here, or our main website, or Twitter and we’ll keep track of the schedule for you.
     
    We’re off the air this week, but stop by our archives to get your fix from nearly 7 years of archived shows until next week. Also see our review of Will Calhoun’s art exhibit on display in the South Bronx. As usual, we have lots more music for you this week.
     
    We start this week with the Central Brooklyn Jazz Consortium, whose 17th annual jazz festival kicked off on the 15th and runs until May 15th in venues throughout Brooklyn. WBAI Radio is a media sponsor. You can get full information and a schedule from the CBJC by calling 718-773-2252 ext 103.
     
    Saxophonist Tia Fuller is at The Blue Note on the 25th with the Berklee Rainbow All Stars.
     
    AZA, the exhibit of drummer Will Calhoun’s visual art collaboration is on display at the Casita Maria Center for Arts and Education in the South Bronx until July 21st. Calhoun will be at the Blue Note on the 26th May 30th with McCoy Tyner.
     
    Pianist Randy Weston has a busy week. He leads the African Rhythms ensemble with bassist Alex Blake in the Dweck Center of the Brooklyn Public Library’s main branch on the 26th and in a free performance at New School University’s Tishman Auditorium on the 28th to close out his yearlong residency. Finally, Weston returns to the Dweck Center on the 30th for a talk on the African roots of jazz. The Brooklyn library events are part of the Central Brooklyn Jazz Festival.
     
    Looking further ahead, Saxophonist Oliver Lake and bassist Reggie Workman are at Village Vanguard with TRIO3 from April 26-May 1.
     
    Pianist Barry Harris leads a trio in a lunchtime set at St. Peter’s Church on April 27th.
     
    Drummer Billy Cobham is at The Blue Note from April 27-May 1 with Donald Harrison.
     
    Drummer Kim Thompson leads a quartet at Zinc Bar on the 29th.
     
    Saxophonist Ahmed Abdullah leads his DIASPORA band at Sistas’ Place on April 30. This event is part of the Central Brooklyn Jazz Festival.
     
    Pianist Geri Allen is at Jazz at Lincoln Center’s Dizzy’s Club on April 30 with Joe Lovano.
     
    Saxophonist and EVI master Marshall Allen makes a rare non-Arkestra Earthly appearance with two sets at The Stone on April 30.
     
    Low brass specialist on tuba Joe Daley is at The Stone on May 1 for the early set and at Terra Blues with Hazmat Modine on May 7th.
     
    Vocalist Kurt Elling, bassist Christian McBride, and vocalist Dianne Reeves all lead groups at the Prospect Park Bandshell on May 7 as part of the GRAMMY Park festival.
     
    Pianist Michele Rosewoman leads her Quintessence ensemble at Zinc Bar on May 5.
     
    Organist John Medeski is at The Stone on May 6.
     
    Finally, The Red Bull Music Academy has a night of spiritual Jazz featuring Pharoah Sanders, the Sun Ra Arkestra, and Kamasi Washington on May 8. The event’s listed as sold out, but details are at the Red Bull Music Academy site and there may be a wait list.
     
    That’s all for now. Suga’ in My Bowl is back on WBAI‘s airwaves on May 1. We’ll also have another edition of “On the Bandstand” online next Sunday with a fresh set of listings.
     
    —-
    Hank Williams is an associate producer for Suga’ in My Bowl on WBAI Radio and webmaster for the Suga’ and Behind the Mic sites. He is also a PhD candidate in English and Africana Studies at the CUNY Graduate Center and teaches at Hunter and Lehman Colleges and The City College of New York.

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