..... Photos didn't appear but the important info is below!!!
Mark~
For immediate release: jazz concerts! Please contact:
Fred Anderson, Ben Gray, 312-791-9O5O, sedgemop@hotmail.com;
after November 18th, Margaret Davis, 646-785-9721, musicmargaret@earthlink.net.
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Fred Anderson's NEW Velvet Lounge proudly presents:
THE HENRY GRIMES TRIO FEATURING
ROY CAMPBELL, JR. & CHAD TAYLOR
& special guest FRED ANDERSON!
Friday & Saturday, December 1st & 2nd, 'O6,
67 East Cermak Rd. (betw. Michigan & Wabash), Chicago,
street map at http://tinyurl.com/yb7373,
312-791-5O5O, www.velvetlounge.net, music from 9 p.m., $2O/set.
(l-r) Henry Grimes, Roy Campbell, Jr., Chad Taylor, Fred Anderson
Photo credits: Henry Grimes by Joan Cortes i Benages; Roy Campbell, Jr. by Frank Rubolino; Chad Taylor by Tasik Dragan, Fred Anderson by Mark Sheldon. Composite trio photo available from the Web at http://www.henrygrimes.com/hg_01.jpg .
Master bassist HENRY GRIMES, missing from the music world since the late '6O's, has made an unprecedented comeback after receiving the gift of a bass (a green one called Olive Oil!) from William Parker in December, 'O2 to replace the instrument Henry had been forced to give up some 3O years earlier. Between the mid-'5O's and the mid-'6O's, the Philadelphia-born, Juilliard-educated Henry Grimes played brilliantly on some 5O albums with an enormous range of musicians, including Albert Ayler, Don Cherry, Benny Goodman, Coleman Hawkins, Roy Haynes, Lee Konitz, Steve Lacy, Charles Mingus (yes, Charles Mingus), Gerry Mulligan, Sunny Murray, Sonny Rollins, Roswell Rudd, Pharoah Sanders, Archie Shepp, Cecil Taylor, Charles Tyler, McCoy Tyner, Rev. Frank Wright, and many more ... and then after a disastrous trip out West with a broken bass that he couldn’t pay to have repaired, he disappeared. Many years passed with nothing heard from him, yet after a short while with his new bass, he emerged to begin playing music again! These days, he lives, works, and teaches in New York City and has been working, primarily as a leader, with Marshall Allen, Fred Anderson, Roy Campbell, Jr., Marilyn Crispell, Andrew Cyrille, Bill Dixon, Hamid Drake, Charles Gayle, Edward "Kidd" Jordan, Joe Lovano, Sabir Mateen, Bennie Maupin, Jemeel Moondoc, David Murray, William Parker, John Tchicai, and many more. Since 2OO3, Henry Grimes has played and toured extensively in Europe (16 countries and counting) as well as Canada and the U.S. To the astonishment and joy of all, he's playing at the very height of his artistic powers (or indeed anyone's), just as though he'd never stopped at all! The recipient of a prestigious "Meet the Composer" award in 'O3 and two more in 'O5, Henry was designated "Musician of the Year" by "All About Jazz/ New York" in 'O4; one of his trios was chosen Best Jazz Trio of 2OO4 by "NYPress”; one of his concerts with his group Spaceship on the Highway at HotHouse in Chicago was named one of the ten best of 'O5 by "Time Out / Chicago”; and just last month Henry Grimes strolled onto the “Downbeat” Critics’ Poll for best acoustic bassist (at #12). He's still healthy and strong, and his gentle, humble bearing and courageous life story have inspired all those privileged to know him, hear him, play music with him. For further information: www.HenryGrimes.com, musicmargaret@earthlink.net.
“Henry Grimes is a rare virtuoso without ostentation, an ideal ensemble player of counter-melodies and aggressive rhythms, with a big, true sound... a triumphant return for Grimes and a promise of brilliant music to come.” -- John Litweiler, “Chicago Sun-Times”
“Tonally resplendent bass-playing ... perpetual-motion lines too fast, fleet and harmonically free-ranging to be easily notated. Henry Grimes emerges a poet of his instrument.” -- Howard Reich, “Chicago Tribune”
“Henry Grimes takes charge of terra firma, shaking the floorboards with booming notes that segue stealthily from jocular to foreboding -- a sort of four-stringed analogue to James Earl Jones on a wild oratorical ride. Grimes draws heavily from the blues but doesn't bore his audience with simple retellings of the genre's stock stories. He stains them with his own blood, sweat and tears, making his canvases among the music's most poignant and exhilarating.” -- David Sprague, “Variety”
ROY CAMPBELL, JR. (trumpets, flute, percussion, voice) was born in Los Angeles and grew up in New York. Initially inspired by his trumpeter father, Roy's musical journey began with piano lessons; by the time he entered high school, he was also playing flute, recorder, and violin, and he took up trumpet in his senior year of high school. As a teen, he was taught by trumpeters Kenny Dorham, Howard McGhee, Lee Morgan, and Joe Newman, and he learned music theory, arranging, and composition from Yusef Lateef. By the age of 2O, Roy was leading his own band and was in great demand as a side man and studio musician as well. Joining Jemeel Moondoc's Ensemble Muntu in 1978 led to many dates and tours abroad, allowing Roy to develop an international following. He lived in the Netherlands from 199O-92, working as a free-lance musician and lecturer, holding conservatory workshops, leading several European big bands, and composing commissioned pieces. Back in the States, Roy expanded into writing and arranging music for himself and others, scoring documentaries, and composing and arranging for off-Broadway productions. His TV credits include appearances on ABC, CBS, NBC, PBS, UPN, and cable networks. He has acted in independent films and plays, he often provides musical accompaniment for dancers and poets, and he has been known to contribute to those art forms himself. As a bandleader, he has long maintained several stellar working units, including Downtown Horns, Other Dimensions in Music, the Pyramid Trio, Shades and Colors of Trane, and Tazz, and he continues to develop and sustain new groups. Roy's music embraces a wide range of roots and styles, including jazz, funk, rock, R&B, hip-hop, rap, classical, reggae, and more. A few leading innovators Roy has worked with include: Rashied Ali, Billy Bang, Evelyn Blakey, Hamid Drake, Carlos Garnett, Henry Grimes, Eddie Harris, Hannibal (Marvin Peterson) Lokumbé, Makanda Ken McIntyre, Joe McPhee, Jemeel Moondoc, David Murray, Sunny Murray, William Parker, Sun Ra, Woody Shaw, Cecil Taylor, Charles Tyler, Rev. Frank Wright, and John Zorn. Further information: www.RoyCampbellMusic.com.
“Like Don Cherry, Roy can improvise a solo that you can practically sing along to, though he doesn't sound at all like the late harmolodic world-music explorer; his blues-drenched authority, vocal inflections, and post-bop phraseology suggest, rather, one of his former teachers, trumpeter Lee Morgan. A song-like lyricism informs the gusts of pure sound at the sonic extremes of his instrument, combining with his dark, soft, rounded tone and his regard for the jazz-trumpet tradition.” -- Ed Hazell, “The Boston Phoenix”
CHAD TAYLOR (drums, vibraphone, percussion) was born in Arizona, grew up in Chicago, and has played there professionally since he was 14 years old. In 1991, he moved to New York and worked with Lou Donaldson, Leon Parker, Junior Mance, and Mark Turner, helped form the free-improvisational group the Life Ensemble in 1993, & returned home in 1996 to help develop the Chicago Underground Orchestra. Since then he has also played with Fred Anderson, Derek Bailey, David Boykin, Bobby Bradford, Peter Brotzmann, Rob Brown, Roy Campbell, Daniel Carter, Eugene Chadbourne, Cooper-Moore, Ernest Dawkins, Malachi Favors, Henry Grimes, Leroy Jenkins, Joe Maneri, Rob Mazurek, Joe McPhee, Roscoe Mitchell, Jemeel Moondoc, Marc Ribot, Steve Swell, John Zorn, and many other extraordinary improvisers. Chad is also part of Chicago's post-rock scene, recording / playing with Tortoise, Isotope 217, StereoLab, Brokeback, Mouse on Mars, Sam Prekop, and Jim O'Rourke. He is currently a member of the Chicago Underground Duo, Trio, Quartet & Orchestra and Marc Ribot's Spiritual Unity quartet; he tours extensively and records with Triptych Myth, Frequency Response, and Sticks and Stones; and he leads his own group, Active Ingredients, whose “Titration” is out on Delmark Records. Chad has also recorded on the Aum, CIMP, Hopscotch, and Thrill Jockey labels, among others. Further information: www.moderndrummer.com/updatefull/200001554 .
“Chad Taylor, while fully capable of bombastic displays, can also truly construct a musical piece on the kit. Cymbals are used to provide shading, a rhythm is delivered with brushes, and he carefully and gradually builds the intensity... reverential to a degree, but always forward-thinking.” -- John Kelman, “All About Jazz”
Chicago tenor saxophonist FRED ANDERSON, an "old-school" musician in terms of grounding and early influences, was a founding member of the Association for the Advancement of Creative Musicians (AACM) in Chicago, an organization of profoundly radical musical thinkers, and the home of "Great Black Music, Ancient to the Future" as defined by the Art Ensemble of Chicago. Mr. Anderson formally studied music theory and was strongly influenced by Gene Ammons, Coleman Hawkins, and Lester Young, and Fred has reflected that training throughout his career, while also easily absorbing the new ideas pioneered by Ornette Coleman and other free theorists. It is this ability to merge old and new that has made Anderson a seminal figure in this music. As an entrepreneur in the late '7O's in Chicago, Fred Anderson ran his first club, the Birdhouse, named for Charlie Parker, whose music had a huge influence on Fred's early development. The year 1982 found him taking over Chicago's Velvet Lounge after the death of the previous owner, and it wasn't long before Sunday jam sessions began, a schedule highlight that still continues today with Fred Anderson serving as mentor and inspiration to hundreds of aspiring young Chicago musicians, giving them a home base to learn and play music under his guidance, protection, and encouragement. When the Chicago label Okka Disk started up in the mid-'9O's, its first issue was a previously unreleased 198O duo recording by Fred Anderson and drummer Steve McCall. Since then, the great music of Fred Anderson has seen a steady supply of new recordings released on Okka Disk, Asian Improv, Thrill Jockey, and other labels.
For further information: www.velvetlounge.net.
"Fred Anderson's music embodies the challenging, probing philosophy of going further, of creating anew, while adhering to a distinct harmonic tradition." -- Todd Brown, "All About Jazz."
Additional photos for the press:
www.henrygrimes.com/GrimesHenryIndianapolisO5_MarkSheldonHIGHRES.jpg (please credit Mark Sheldon);
www.henrygrimes.com/GrimesHenryByMichaelJacksonChicago05.jpg (high-res, credit Michael Jackson);
www.henrygrimes.com/GrimesHenryHIGHRESByRenateDaRinO6.tif (credit Renate Da Rin);
www.henrygrimes.com (most photos can be clicked on to enlarge, and there are photographer credits shown for all);
www.roycampbellmusic.com;
www.dominikphoto.com/archive/Marc-Ribot-s-with-Spiritual-Unity/D0M7195 (credit Dominik Huber);
www.kaufman-center.org/mch/images/artists/reissue/091606/roycambell.jpg (unknown photographer);
http://tinyurl.com/wk65y (credit Frank Rubolino);
www.nga.ch/img/Willisau%20JF%202004/Marc%20Ribot/Chad%20Taylor_0002.jpg (embedded photo credit to Tasic Dragan);
www.dominikphoto.com/archive/Marc-Ribot-s-with-Spiritual-Unity/D0M7171;
http://tinyurl.com/y2e6av.
For high-resolution photos of Fred Anderson, please contact Mark Sheldon, 317-445-464O, msheldonf32@earthlink.net.
For interviews, more high-res photos, CD's, further information:
Please contact Fred Anderson / Ben Gray, 312-791-9O5O, sedgemop@hotmail.com;
after November 18th, please contact Margaret Davis, 646-785-9721, musicmargaret@earthlink.net.
(no unauthorized recording or filming allowed!)
www.henrygrimes.com
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