kh1958

Shabaka and the Ancestors, Wisdom of Elders

McKaya McCraven, Gil-Scott Heron Reimagined (International Anthem)

iLe 2/25/2020

This post escaped my attention. The Kitchen Cafe is a most pleasing venue.

Friday, March 27, 2019 8PM Cooper-Moore (NYC) - piano, hand-crafted instrument in Sanders Hall at Christ Church Cathdral 1117 Texas Avenue Saturday, April 18, 2019 8PM Andrew Cyrille (NYC) - drums Billy Harper (NYC) - saxophone at the historic ElDorado Ballroom 2310 Elgin Street

Link to New York Times obituary: https://www.nytimes.com/1992/03/08/nyregion/david-stone-martin-78-illustrator-of-jazz-albums.html

Weekend Performances by Travis Laplante Composer, Saxophonist, and Qigong Practitioner February 20, 2020 - February 22, 2020 Experience a weekend of performances by saxophonist, composer, qigong practitioner and Renaissance Man Travis Laplante, an astonishing technician, extending possibilities of the tenor saxophone into new territories that encompass the avant-garde, contemporary jazz and classical, world music, and beyond, swirled into a transformative artistic experience. Thursday, February 20 / 7:30 p.m. Soundings: New Music at the Nasher Enjoy a progressive concert with Laplante, moving through the galleries of the Nasher Sculpture Center. Using four sculptures as inspiration, he will compose works and perform for Soundings attendees as they move throughout the museum together. This evening will include 70 minutes of performance and include an intermission. Tickets required, $30 Nasher Members, $35 non-members Buy Tickets Friday, February 21 / 7 p.m. til Midnight at the Nasher Perfomance Drawing on his Soundings performance and inspired by works on view at the Nasher, Laplante will play a 45-minute sampling at ‘til Midnight on Friday night. Enjoy the performance as well other musical acts, games, snacks and a full cash bar at the Nasher’s monthly music series. FREE event, no registration required. Saturday, February 22 / 11:30 a.m. Visit the museum on Saturday morning to experience Laplante playing in the Nasher Garden and galleries. After the 45-minute set, see exhibitions on view Barry X Ball: Remaking Sculpture and Resist/Release. Enjoy brunch specials at the Nasher Cafe and stop by the Nasher Store on the way out. FREE event, no registration required.

Les Filles de Illighadad (Sahel Sounds) Kai Winding, Penny Lane and Time (Verve)

Interview with Wiener Zeitung "The Munich musician has played with Friedrich Gulda and is now transferring jazz to the church organ," reports the Wiener Zeitung and begins a recently made interview with the musician with a brief description: "Nobody uninhibited the drawbars so charmingly and tracts the manuals consistently well in a good mood as this charming jazz lady. Barbara Dennerlein guarantees the highest quality with her mixture of blues-soaked ballads and fiery up-tempo numbers. Sometimes the 55-year-old switches to the church organ. As the most successful jazz export, the award-winning Munich artist is just as familiar with the large international festival stages like the clubs: the "Blue Note" and the "Sweet Basil" in New York. She has been composing since the beginning of her career. In her studio near Munich, the "Wiener Zeitung" spoke to the thoroughbred musician. " Wiener Zeitung: Ms. Dennerlein, how did you initially feel as a woman in the men's world of jazz? Barbara Dennerlein: It is true that in my youth I was often on my own. It is hard when, as a young girl, you remain on stage with your instrument weighing several hundred kilos after the concert and nobody helps you to take it down. But it also strengthened and made me confident. In addition, I was always the band leader and I got pretty harsh comments from the older musicians. Someone e. g. wanted to tell me that my composition was nonsense because a musician would never join in after a solo. When he couldn't assert himself with it, he stormed off the rehearsals. You are certainly one of the best jazz musicians in the world on the legendary Hammond B3. What do you love about your instrument? It is this special sound that I have developed with my instrument over the decades. But I also have to say: a solo concert challenges me. I have to be in good condition because playing with hands and feet takes a lot of strength. Sometimes I'm really hanging in the air at an angle. I like to compare my playing technique with dance, where you don't think about every movement. In order to be able to operate the pedals with my feet well, I have special shoes, jazz dance shoes. The B3 Hammond is a monster. Lugging the bulky and 200 kilograms heavy keyboard instrument with a strong character is not easy. Yes, I heard often enough in my early days: "Hey, girl, what do you do with the dingbat? Why don't you just play the piano?" How did a young girl in the 1970s get involved with this powerful Hammond? That was by chance. When I was eleven, my grandfather found that a child should learn an instrument. And my father, who had studied piano at the Conservatory for a while, was afraid that my grandfather would buy me a recorder and he would have to listen to me on Christmas Eve. But then there was a small electronic organ under the Christmas tree. And I was totally thrilled. I played Christmas carols by ear, in two voices, and my father recorded them. I then had a teacher, Paul Greisel, who had a Hammond organ. And where does your enthusiasm for jazz come from? My father is has always been an absolute jazz fan. He had to leave the conservatory because he absolutely wanted to play jazz and boogie. He also loves the Hammond organ. He had records from Shirley Scott, Ingfried Hoffmann, one of the leading jazz organists in Europe, founding member of the legendary Klaus Doldinger Quartet, and of course from Jimmy Smith. He also secretly thought that if I don't like my Christmas present, he would play on it. For me, jazz is simply the most honest music. You also played with Friedrich Gulda, the enfant terrible of the classical scene and a cross-border jazz player. How did that happen? He attended one of my concerts in Vienna's "Jazzland" and talked to me during the break. With him, who managed to create a connection between classical and jazz across all style and genre boundaries, I played in a wide variety of line-ups from duo to symphony orchestra, such as the Munich Philharmonic and Vienna Symphony Orchestra. I admired him for having the courage to bring jazz to classic concert halls. And of course for his musical genius. He never compromised with his music. I particularly remember a concert with him and Joe Zawinul, the Zawinul syndicate. The fact that he died on Mozart's birthday is like magic. Because he really wanted it that way. One of my favourite albums is the double CD "Mozart No End", a live recording of our concerts in Vienna and Munich. You are the first musician to also plays jazz on a church organ. Were there critical voices? Even from the side of classical music people, I only hear positive things. They admire how you can get this rhythm out of the organ and how this constant bass pedal playing works. From the beginning I wrote special pieces for my church concerts, which are on my CD's "Spiritual Movement No. 1" and "Spiritual Movement No. 2". You have your own label, produce yourself, manage yourself. Isn't that exhausting? That is how it developed. I founded the label in 1985 to produce my first record. I always kept it, even when I had contracts with Enya and Verve, because you can do your own thing. When I graduated from high school, I went on tour and organized everything myself. Later I also had agencies, but often something went wrong. One of them even forgot to inform me that they had arranged a gig at a jazz festival. They secretly paid the penalty for this. I only found out about it when fans approached me later. I couldn't heal it anymore. The organizer never spoke to me again. What helps you relax? I love the nature. Long walks with my little dog Emilia, who is incredibly playful. She accompanies me on my trips. But US tours have become annoying because the procedure for entry is becoming increasingly degrading and America under Trump is less fun. https://www.wienerzeitung.at/nachrichten/kultur/pop-rock-jazz/2046675-Barbara-Dennerlein-Koenigin-der-Hammondorgel.html

At the annual Guitar Festival at the University of Texas at Dallas: Carlos Barbossa Lima & Awards Ceremony: Saturday, March 7, 7:30 p.m., University Theatre, $15 Awards ceremony for winners followed by Brazilian master Carlos Barbossa Lima who has over 55 recordings throughout his illustrious career. Lima’s program will feature works from his latest CD “Delicado.”

Marc Ribot March 5, 2020 Texas Theatre - Dallas, TX Live Solo Guitar Score to AELITA: QUEEEN OF MARS

Last night, Hiromi (Solo piano) at Arlington Music Hall.

Don Patterson, Satisfaction (Prestige) Bluebird Blues (RCA Vintage)

The Terror End of Beauty.

Sonny Rollins and Coleman Hawkins, Sonny Meets Hawk! (RCA) The 3 Sounds, Out of This World (Blue Note)

Friday is an absurdly loaded day. I count 12 concerts I'm interested in hearing on Friday. That is going to be a busy day and obviously there will be lots of conflicts.

Roll call. Who will be present on Friday? I will. BFrank? Anyone else?

Sitar Recital – Soulful Strings Saturday, April 18, 2020 4:00:00 PM Venue: Allen Library Civic Auditorium, 300 N. Allen Drive, Allen TX 75013 Admission: ICMC Members: Free General: $30 Student: $20 Abhisek Mallick Sitar Subrata Bhattacharya Tabla Abhisek Mallick stepped into the domain of sitar when he was seven. Under the strict tutelage of his guru, Pandit Shyamal Chattopadhyay, who is the disciple of the Late Ustad Md. Dabir Khan (the Last descendant of Mian Tansen) as well as the legendary maestro Pandit Ravi Shankar. He has also been fortunate enough to have received taalim from the doyen of Vishnupur Gharana, Pt. Manilal Nag. He gave his first public performance at the young age of eight and has been a regular artiste of All India Radio since he was ten. Abhisek has proved his musical acumen by receiving the prestigious “President’s Award” from the Government of India, after achieving the first position in All India Radio (Hindustani Classical Instrumental) Music Competition in Sitar in 2003. The Ministry of Tourism and Culture, Govt. of India, has conferred upon him the senior National Scholarship for 2003, in the field of Hindustani Classical Music (Instrumental). His musical career is etched with numerous other awards – the “ ITC Sangeet Research Academy Award”2003, “Rajya Sangeet AcademyAward”, “Pandit Ravi Kichloo Award”, “Saltlake Cultural Association Award” , being some of them. His musical recitals have been widely acclaimed by critics and he has bagged numerous press reviews from notable dailies and magazines. Abhisek is an A-Grade artist of All India Radio, Doordarshan and other media channels. He has been touring extensively across the globe on account of his concerts, which include Chhandayan All night Concert 2010, New York City, Academy of Performing Arts, 2010, Rutgers University, Philadelphia Museum of Arts, Bishwa Banga Sammelan 2010/2018, Atlantic City, Salt Lake Music Festival,2011, and Uttarpara Sangeet Chakra in the years 2009/2011/2014/2019 among others. He has collaborated with world-renowned jazz and classical guitarist Fareed Haque at Boston Guitar Fest 2010, Utah Arts Festival 2010 and Marquette Waterfront Festival 2011. Abhisek has also composed music for and performed live at Farley P. Richmond’s theatrical production of “Mrichhakatikam” at South Asian Theatre Festival 2010, New Jersey Performing Arts Center. Abhisek is a regular member of the world famous fusion band Rhythmscape by Pt. Bickram Ghosh and has collaborated with him in playing a number of scores in Tollywood and Bollywood productions and albums, notable among which are the movie JAAL (which got the Oscar long list nomination), “The Vayuputras”,--- the Original Sound Track of “Immortals of Meluha”, “MAYA”. He has been a featured artiste in Pt Subhen Chatterjee’s world music project “Bandish Fusion”. He had the rare opportunity to perform with Ustad Fazal Quereshi on the 99th Birth Anniversary of Ustad Allah Rakha Khan Saheb. He added another significant feather to his cap by performing as well as conducting workshop at Cape Town Jazz Fest 2019, one of the biggest Jazz Festivals in the world, as part of Bickram Ghosh Quartet. He has been invited to perform in Zee Saregamapa as a Guest Artist on special occasions. Subrata Bhattacharya is one of the leading tabla players in India today. He has received his taalim under Shri Tamal Krishna Chatterjee, Shri Nripen Karmakar and Shri Tapan Kr. Banerjee before he was finally accepted as a pupil of tabla maestro Pt. Shankar Ghosh, all of whom honed his talent to the level of refinement now witnessed by audiences everywhere. He has since proved himself a worthy exponent of the Farukhabad Gharana. Recognition of his talent has come in the form of such awards as the Sangeet Prabhankar and the Gold Medal and the Saangeet Praveen from Prayag Sangeet Samiti, Allahadad, and Sangeet Bhushan from the Bhatkhande College, Lucknow. Renowned artists whom he has accompanied in the past few years are Pt. Vishwa Mohan Bhatt, Dr. L. Subramaniam, Dr.N.Rajam, Pt. Buddhaditya Mukherjee, Ud Shahid Parvez Khan, Ud Ali Ahmed Hussain, Chitraveena Ravikiran, Pt. Tejendra Narayan Majumdar, Pt. Samaresh Chaudhury, etc. He is a visiting professor at the University of Urbana Champaign,IL. The next milestone of his creativity and innovation is "Naad- The Everlasting Sound", a group he has formed to experiment with fusion music. It seems the next inevitable step in Subrata's career as a mingling and merging of eastern, middle eastern and western styles of music is the trend among makers and lovers of music these days. He is been a part of the Chicago based Indo -Jazz band Flat Earth Ensemble since its inception.

This past weekend: Lee Morgan, The Sixth Sense (Blue Note) Jimmy Hamilton, It's About Time (Prestige Swingville) Hampton Hawes, All Night Session, volume 1 (Contemporary) Sam "the Man" Taylor Plays the Bad and the Beautiful (Prestige Moodsville) Paul Horn and Carlos Lyra, The Sound of Ipanema (Columbia)(

MAR06 The Mimi Fox Beatles Project Fri. Mar 6, 2020 at 8:00pm CST The Guitar Sanctuary is proud to present a special evening of Virtuoso Guitar with the Mimi Fox Beatles Project on Friday March 6th at 8pm (doors open at 7) with special guest (TBA) at The Sanctuary Music & Events Center.

Harriett Tubman is fantastic.

Le Poisson Rouge. The only time I've been there it was grotesquely overloud and standing only. Didn't like the place.

2020 New Orleans Jazz and Heritage Festival line-up is out. April 23: Arturo Sandoval, Uncle Nef, Great Gambian Griots: Jali Bakary Konteh and Pa Bobo Jobarteh, Marlon Jordan, Alexi Marti April 24: Terri Lynne Carrington and Social Science, Jason Marsalis, Great Gambian Griots: Jali Bakary Konteh and Pa Bobo Jobarteh, Doreen, Jamil Sharif Tribute to Jabbo Smith, Les Filles De Illighadad of Niger April 25: Antonio Sanchez and Migration, Trumpet Mafia, Tuba Skinny, Sasha Masakowski, David Sanborn with Randy Brecker, Charlie Musselwhite, Louis Ford April 26: Nicholas Payton, Wycliffe Gordan, Buddy Guy April 30: John Scofield and Dave Holland, Uptown Jazz Orchestra, Tom McDermott and Evan Christopher, Lil Ed and the Blues Imperials, Leyla McCalla May 1: Brubeck Brothers, Herlin Riley, Charlie Gabriel May 2: The Cookers, Count Basie Orchestra, Leroy Jones, Chris Thomas King, Blodie's Jazz Jam May 3: Chick Corea, Terrence Blanchard, Amina Figarova, Mr. Sipp

It was in 1984, I think, on two consecutive nights--Terrence Blanchard as musical director, with Jean Toussaint, Donald Harrison, Mullgrew Miller, and Lonnie Plaxico. Marchel Ivery sitting in on tenor at the end of the second set (with Donald Harrison and jean Toussaint looking taken aback that Marchel got more applause than they did).

I'm just going to see what you get for free.