kh1958

Perhaps they only have funding for four.

Herbie Mann Plays (Bethlehem), and Duke Ellington and Johnny Hodges Play the Blues Back to Back (Verve)

Mid-1970s.

Karuna Supreme is a fantastic LP; I did not know it had come out on CD.

Legendary saxophonist Peter Brötzmann is coming to Dallas for the first time. Join us to experience the controlled rawness of his playing along with the pedal steel of Heather Leigh. Illustrious artists Joe Baiza (guitar) and Jason Kahn (Drums) will open the soirée with their punk infused free improvisation. Come and check out what the outskirts of Jazz sounds like. Mutarrancho will be selecting mucha buena musica before and between their sets. $20 Cover Fee. Tickets here. BRÖTZMANN/LEIGH Peter Brötzmann Peter Brötzmann is one of the most prolific and enduring of the free jazz musicians to emerge from the European avant music scene of the 1960s. His rough tone and emotively ferocious method of attack on saxophones, clarinet, and taragato are among the most recognizable in jazz. He has played on literally hundreds of recordings — many of them live — from solo concerts to large ensemble dates and virtually every configuration in between. He is the rare Albert Ayler-influenced saxophonist capable of producing improvised lines of depth and sensitivity while informing them with enough raw power to make a lesser saxophonist wilt. While recordings of his various trios exist as early as 1964, it is the historic 1967 album For Adolphe Sax with bassist Peter Kowald and drummer Sven-Åke Johansson, on his own BRÖ label, as well as his octet date Machine Gun from 1968 and his membership in the Globe Unity Orchestra that established his bona fides on the scene. His catalogue reads like a vanguard’s who’s who in free jazz and experimental rock. Brötzmann’s playing possesses a surety of tone and a melodic center characteristic of a focused musical conception. While there’s no lack of spontaneity in his music, Brötzmann’s concern with motivic and melodic reiteration gives his playing a palpable sense of direction. Heather Leigh The daughter of a coal miner, weaving a trail from West Virginia to Texas and now residing in Scotland, Heather Leigh furthers the vast unexplored reaches of pedal steel guitar. Her playing is as physical as it is phantom, combining spontaneous compositions with a feel for the full interaction of flesh with hallucinatory power sources. With a rare combination of sensitivity and strength, Leigh’s steel mainlines sanctified slide guitar and deforms it using hypnotic tone-implosions, juggling walls of bleeding amp tone with choral vocal constructs and wrenching single note ascensions. Since 2015, Brötzmann/Leigh have established themselves as a formidable duo, touring extensively and electrifying audiences with their singular, dynamic group sound. Together they bring countless decades of experience at the cutting edge of ferocious speed-of-thought improvisation and deep lyrical soul. http://www.peterbroetzmann.com/ http://www.wishimage.com/ JOE BAIZA & JASON KAHN Joe Baiza Joe Baiza (1952) is a punk rock and improvising guitarist whom Eugene Chadbourne cites as one of the most noteworthy guitarists to emerge from the Southern California punk rock milieu.Baiza is a founding member of the bands Saccharine Trust, Universal Congress Of, and The Mecolodiacs. He also performed guest guitar spots on several Minutemen tracks and played alongside Black Flag’s Greg Ginn and Chuck Dukowski in the SST all-star jam band October Faction, recording two albums with them. Baiza was also part of the musical side project Nastassya Filippovna which featured Bob Lee (drums), Devin Sarno (bass) and Mike Watt (bass). Baiza substituted for Nels Cline during Mike Watt’s European and American tours behind his second solo album, Contemplating the Engine Room, in 1997 and 1998. Also in 1997, he and Cline played (sometimes together) in the band Solo Career with Lee (drums), Richard Derrick (bass), Walter Zooi (trumpet) and Gustavo Aguilar (percussion). Currently, Baiza plays with Saccharine Trust as well as the improvisational unit Unknown Instructors with former Minutemen Mike Watt and George Hurley. Jason Kahn Jason Kahn (born 1960) is a musician, artist and writer. He was born 1960 in New York and grew up in Los Angeles. In 1990 he re-located to Europe and is currently based in Zürich. Working with drums, voice, guitar and electronics Kahn collaborates regularly with many musicians in projects which blur the edges between improvisation, electronics, noise and rock.

Ike Stubblefield Trio feat. Bernard Purdie & Grant Green Jr. at Antone's Sat, June 29, 2019, 9:00 PM - Sun, June 30, 2019, 2:00 AM CDT

The 50th New Orleans Jazz and Heritage Festival is completed. Second Thursday: This was to be Rolling Stones day. Skipped it. Second Friday: Commencing with Ernie Vincent, a decent Louisiana blues musician. Next, Leyla McCalla. I found her Creole/Haitian style music to be appealing. Then, the magnificent trumpeter Jamil Sharif. Thereafter, a veritable army of trumpeters known as Trumpet Mafia. Co-led by Ashlin Parker and Maurice Brown, it is an unusual and exciting group. Opening up with St. James Infirmary, and sounding incredible. Next, the choice was between Kamasi Washington, playing the giant outdoor Gentilly Stage (who could also be heard later on in a local theater in a set starting at 2:30 a.m.) or 18 year old organ/piano prodigy Mathew Whitaker in the sonically vastly more pleasing Jazz Tent. The latter proved to be an enjoyable player, especially on piano. Second Saturday: Another delayed opening due to thunderstorms. The Cuban jazz duo of Alfredo Rodriguez and Pedrito Martinez in the Cultural Pavilion was super-hot. They were joined by two additional Cuban percussionists two-thirds of the way through the set. Next, the Jesse McBride Big Band. Finally I encounter the ubiquitous alto player Khari Allen Lee in this solid big band. Followed up by a second set in the Jazz Tent by Alfredo Rodriguez and Pedrito Martinez. Finally, closing the day back in the intimate Cultural Pavilion with Jupiter and Okwess, a supercharged band from the Democratic Republic of the Congo. The group has great songs, four terrific lead vocalists, an amazing lead guitarist, the blue bass, and the masked drummer. Sacred Sunday: The final day draws the biggest crowd this year. Starting off with the Paulin Brothers Brass Band. Next, another set by Jupiter and Okwess at the Congo Square stage. Good grief, what a set. The rest of the day is spent by me in the Jazz Tent. First, conga player Alexey Marti, leading a Latin Jazz ensemble. Next, the Uptown Jazz Orchestra, led by Delfeayo Marsalis. This band, which plays weekly at Snug Harbor in New Orleans, is a terrific ensemble; highly swinging, with solid soloists, and quite fun. This is followed by the New Orleans singer John Boutte, who is not exactly my cup of tea, but is obviously quite good. Finally, Herbie Hancock closes out the festival in the jazz tent, which becomes frighteningly crowded. Herbie is not fading away quietly and looks quite vigorous. The volume was unfortunately rather extreme; I think I can still feel the vibrations from James Genus' bass guitar and Vinnie Colliuta's bass drum. Also in the band were Terrace Martin (alto sax and keyboards) and LIonel Loueke. It was good, just so loud it was hard to enjoy.

Just passed is the first weekend of the 50th New Orleans Jazz and Heritage Festival, which as usual was a glorious and enlightening experience. Opening day was delayed for an hour and a half by thunderstorms; hence, the first set I heard was truncated. Octogenarian tenor saxophonist Charlie Gabriel nonetheless sounded wonderful in a shortened set, playing in a swing to bop style (Whisper Not). How many other musicians are there in the world still playing well who played with Fats Navarro? Followed by the Django Festival All Stars, playing obviously in the style of the Hot Club of France. In that style they were ferociously swinging for a quite enjoyable set. Next up, contemporary electric Chicago Blues with Toronzo Cannon. Another excellent set. Then, the last two songs of a set by the young New Orleans vocalist Sasha Masakowsi. I wish I had been able to hear the whole set; I immediately bought her latest CD on Ropeadope. Closing out the day at the festival, the James Carter Organ Trio, with Gerald Gibbs on organ. Loved the Sidney Bechet song, and the Brother Jack McDuff song. Terrific set. In the evening, I could not fail to attend a set by Lonnie Smith at Snug Harbor, with Donald Harrison, Detroit Brooks and Joe Dyson. The good doctor is looking frail but played like a dream. On Friday, starting the day with Diassing Kunda from Senegal. Kora plus three percussionists. Beautiful. Next, one of the top sets of the weekend for me, Moonlight Benjamin, from Haiti. A magnificent vocalist. Great. Then, to the Jazz Tent for the Kidd Jordan Family Tribute. Present were the patriarch, who also is looking rather frail, Kent on flute, Marlon on trumpet, Stephanie on vocals, and Rachel on violin. Kidd Jordan was featured on a powerful tribute to Alvin Fielder. Much of the set sounded like a lost spiritual jazz classic from the Black Jazz or Strata East labels. Next, taking the rare opportunity to hear another set by Moonlight Benjamin in the intimate Cultural Pavilion. Finally, closing the day with Terence Blanchard and the E Collective. The group appears every year at the festival, and finally they got the sound just right, and Mr. Blanchard's chops were in top shape. Probably the best set I've heard by this group. Fantastic. On First Saturday, commencing the day with Blodie's Jazz Jam, which is led by trumpeter Gregory Davis of the Dirty Dozen Brass Band. Most of the set was a tribute to a couple of recently deceased brass band musicians. The last third moved more into modern jazz territory, and was really good. Next up, on the Congo Square Stage, the third largest stage at the festival and which has truly wretched sound, vocalist Dobet Gnahore from the Ivory Coast. The performance transcended the venue. Time for some quieter music in the person of a duet of clarinetist Evan Christopher and pianist Tom McDermott. A mixture of repertory music (James P. Johnson, Jelly Roll Morton), exotic styles from the Caribbean, and original material, the set was very pleasing. Next, Dr. Michael White leading a tribute to Louis Cottrell and the Onward Brass Band. This was much more enjoyable than I expected. Well done. And there's Detroit Brooks, playing guitar for Lonnie Smith a couple of nights ago, now on banjo. Also, with Jason Marsalis on drums, and Wes Warm Daddy Anderson joining for the brass band segment. Finally, for the day's highlight, Aurora Nealand and the Royal Roses. Aurora Nealand sounds like lightning in the darkness. On First Sunday, starting the day with the Mississippi Hill Country blues of Cedric Burnside. He performs on acoustic guitar and vocals, then switches to electric guitar, bringing out a drummer; finally, he and the drummer switch places and conclude. Definitely a chip off the block of his grandfather, R.L. Burnside. Next up, Saharan desert blues with Niger's Mdou Moctar, sometimes called the Hendrix of the Sahara desert. He doesn't sound like Jimi, but the set was absolutely incredible. Astounding. Following that in the Jazz Tent with Maurice Brown, playing material from his latest, Ropeadope release, The Mood. Some very nice trumpet playing, and the music is good (Chelsea Baratz on tenor sax). I could not resist another amazing set by Mdou Moctar in the Cultural Pavillion, and that finishes the day and the weekend for me.

August 15, 2019: James Brandon Lewis Trio, Beerland, Austin August 17, 2019: Mingus Big Band, Miller Outdoor Theater, Houston August 31, 2019: Charlie Musselwhite, Ally Venable, Bedford Blues Festival Robert Kimbrough, Six Springs, Dallas September 1, 2019: Nikki Hill, Robert Kimbrough, Bedford Blues Festival Benny Golson, Eddie Henderson, Riverfront Jazz Festival, Dallas Convention Center September 5, 2019: Nels Cline, Joe McPhee & Tom Rainey, The North Door, Austin September 6, 2019: Steve Smith (Drums), Plus Gourisankar (Tabla), Aboss Kosimov (Doyera), Tony Monaco (Hammond Organ), Indrajit Banerjee (Sitar), Indradeep Ghosh (Violin), Eduardo Cassapia (Oboe and Flute) and Brajeswar Mukherjee (Vocal), Bates Hall at UT, Austin September 8, 2019: Vid. Kanyakumari (violin), Unity Church, Dallas September 12, 2019: Tinariwen, Paramount Theater, Austin September 13, 2019: Mdou Moctar, Boogarins, White Oak Music Hall, Houston Lucky Peterson and Chuck Rainey, Tutu Jones, Antone's, Austin September 14, 2019: Tinariwen, Canton Hall, Dallas Mdou Moctar, Boogarins, Barracuda Austin Al Di Meola, Kessler Theater, Dallas Tutu Jones, Lucky Peterson, Chuck Rainey, Don Braden, East Side Kings Festival, Austin September 15, 2019: Mdou Moctar, Boogarins, Deep Ellum Art Company, Dallas Al Di Meola, Heights Theater, Houston Carl Weathersby, Barbara Lynn, Eastside Kings Festival, Austin September 18, 2019: Daniela Mercury, House of Blues, Houston September 19, 2019: Terri Lynne Carrington, Fort Worth Public Library Broken Shadows (Berne, Speed, King, Anderson), North Door, Austin September 20-21, 2019: Garifuna Collective, Mdou Moctar, Dat Garcia, Lucibela, Natu Camara, Sahba Motallebi, Globalquerque, Albuequerque, New Mexico September 21, 2019: Pratik Shrivastava (sarod), Jesse Bannister (saxophone), Subhen Chatterjee (tabla), Allen Public Libarary September 27, 2019: Jackie Venson, Lewisville Western Days October 3, 2019: John Scofield, Duet, Tulsa October 4, 2019: John Scofield, Wortham, Houston October 12, 2919: Magos Herrera and Brooklyn Rider, Wortham, Houston October 17, 2019: Eddie Palmieri, One World Theater, Austin October 18, 2019: Eddie Palmieri, Dosey Doe, Houston October 19, 2019: Jenny Scheinman and Allison Miller, Duet, Tulsa Eddie Palmieri, Arlington Music Hal October 25, 2019: Joey DeFrancesco, Arlington Music Hall October 26, 2019: Joey DeFrancesco, Dosey Doe, Houston November 2, 2019: Dr. L Subramaniam, Austin James Carter, James Francies, Wortham, Houston November 15, 2019: Miguel Zenon, Duet, Tulsa December 14, 2019: Mike Stern/Jeff Lorber Fusion, Dosey Doe, Houston December 15, 2019: Mike Stern/Jeff Lorber Fustion, One World Theater, Austin January 10, 2020: Stanley Clarke, One World Theater, Austin January 17, 2020: Andrew Cyrille Quartet, McCullogh Theatre, Austin January 25, 2020: Branford Marsalis, Wortham, Houston February 29, 2020: Vijay Iyer Sextet, Wortham, Houston March 6, 2020: Lila Downs, Jones Center, Houston Marc Ribot, Chaplin's The Kid, McCullough Theatre, Austin March 21, 2020: Dafnis Prieto Big Band, Wortham, Houston March 26-29, 2020, Big Ears Festival, Knoxville, Tennessee April 17, 2020: Miquel Zenon, Wortham, Houston April 18, 2020: Dave Douglas with the Texas Jazz Orchestra, Bates Recital Hall, Austin April 23-26, 2020: New Orleans Jazz and Heritage Festival April 30-May 3, 2020: New Orleans Jazz and Heritage Festival May 2, 2020: Christian Sands, Carver Center, San Antonio

Bedford Blues Festival 2019 Satturday, Aug. 31 2:15 PM Jack Barksdale & Guthrie Kennard 3:00 PM Kerrie Lepai & Andrew Jr.Boy Jones - Andrew Jr. Boy & Kerrie Lepal Jones 4:00 PM John Hay 5:00 PM Ally Venable 6:00 PM Dylan Bishop 7:00 PM Charlie Musselwhite 8:15 PM Mike Morgan & The Crawl 9:30 PM JJ Grey & Mofro Sunday, Sept. 1PRINT 2:15 PM Honey Folk 3:00 PM The Relatives 4:00 PM Robert Kimbrough 5:00 PM The Stratoblasters & Buddy Whittington 7:00 PM Nikki Hill 8:15 PM Bobby Patterson 9:30 PM Boz Skaggs

They do have a new album coming out soon, their tour manager told me. Blue Note 80th Anniversary Tour: This Fall, a triple-bill of current Blue Note artists—Kandace Springs, James Francies, and the newly-signed James Carter—will embark on a U.S. tour of performing arts centers around the country.

Well, I got to meet Mokoomba (a very friendly group of fellows) and had a long talk with their tour manager, but they did not actually perform, as the "promoter" did not advertise so that less than ten people showed up (and even with advertisement the audience base for African music in Dallas is pretty small), booked an inappropriate venue, and did not pay them (after they flew here from a California performance the day before). So I felt bad for them, even if frustrated at not hearing them play again (so near, yet so far).

Mokoomba, a fabulous band from Zimbabwe, is actually performing tonight 3.7 miles from my home.

Yes, a pianist, and a very fine one.

I saw him in Fort Worth in 1984, 1985 and 1987--a total of nine sets.

Triple and two tenths.

Manu Katche, The Scope (Anteprima) Tunde Jegede and Derek Gripper, Mali in Oak (GlobeMusic)

Last night, at the Kitchen Cafe, the Shelley Carrol Quartet. This place is perhaps the best listening room in town. Very clean and balanced sound. I hadn't heard Shelley in a couple of years. He and his band sounded fabulous. There again tonight.

Last night, at the Majestic Theater, Terence Blanchard featuring the E Collective, with a backdrop of visual collages by artist Andrew F. Scott, and choreography by Rennie Harris, performed by the Rennie Harris Puremovement American Street Dance Theater Company. This was the premier performance, and they are doing it again tomorrow night in Austin.

April 25, 2019: James Carter Organ Trio, Django Festival All Stars, Jason Marsalis, Charlie Gabriel, Toronzo Cannon, Rev. John Wilkins, Sasha Masakowski, Michael Skinkus and Moyuba with Michael Ray, New Orleans Jazz and Heritage Festival Dr. Lonnie Smith with Donald Harrison Trio, Snug Harbor, New Orleans Mdou Moctar, Hotel Vegas, Austin David Amram, Duet, Tulsa Dobet Gnahore (Ivory Coast), Festival International De Louisiane, Lafayette, Louisiana April 26, 2019: Terence Blanchard featuring the E-Collective, Kidd Jordan Family Band, Moonlight Benjamin (Haiti) Astral Project, Roger Lewis and Baritone Bliss, Louis Ford, Robert Cray, Chris Thomas King, Jose James, Diassing Kunda (Senegal), New Orleans Jazz and Heritage Festival Ravi Coltrane Quartet, Shelley Carrol, Denton Arts and Jazz Festival Jess Sah Bi and Peter One, Marfa Myths Dobet Gnahore (Ivory Coast), Mdou Moctar (Niger), Festival International De Louisiane, Lafayette, Louisiana April 27, 2019: Aurora Nealand and the Royal Roses, Leroy Jones, Blodie's Jazz Jam, Tom McDermott and Evan Christopher, Lawrence Sieberth and Fareed Haque, Mr. Sipp, Dobet Gnahore (Ivory Coast); Diassing Kunda (Senegal), Gregory Porter, New Orleans Jazz and Heritage Festival Makaya McCraven, Marfa Myths Moonlight Benjamin (Haiti), Mdou Moctar (Niger), Boukman Exkperyans (Haiti), Girma Beyene & Akale Wube (Ethiopia), Festival International De Louisiane, Lafayette, Louisiana Herlin Riley and Friends, Snug Harbor, New Orleans April 28, 2019: Maurice Brown, Give the Drummer Some (Herlin Riley, Shannon Powell, Terence Higgins, and Johnny Vidacovich), Marsalis Family Band, Mdou Moctar (Niger), Dobet Gnahore (Ivory Coast); Cedric Burnside, Walter Wolfman Washington, New Orleans Jazz and Heritage Festival Rachella Parks, Denton Arts and Jazz Festival Annette Peacock, Nahdah El Shazly, Marfa Myths Girma Beyene & Akale Wube (Ethiopia), Festival International De Louisiane, Lafayette, Louisiana May 2, 2019: Nicholas Payton, Regina Carter, New Orleans Jazz and Heritage Festival May 3, 2019: Trumpet Mafia, Kamasi Washington, Mathew Whitaker Quartet, Jamil Sharif, Jarekus Singleton, Cecile McLoren Salvant, New Orleans Jazz and Heritage Festival Chick Corea and Bela Fleck, Paramount Theater, Austin May 4, 2019: Jupiter and Okwess (Congo), Kenny Neal, Boukman Eksperyans (Haiti), Alfredo Rodriguez and Pedrito Martinez, Jeremy Davenport. Panorama Jazz Band, Troy "Guitar Burner" Turner, New Orleans Jazz and Heritage Festival May 5, 2019: Jupiter and Okwess (Congo), Herbie Hancock, Buddy Guy, Little Freddie King, Boukman Eksperyans (Haiti); Delfeayo Marsalis and the Uptown Jazz Orchestra, Lil Buck Sinegal, Doreen's Jazz New Orleans, New Orleans Jazz and Heritage Festival May 8, 2019: Chick Corea and Bela Fleck, Majestic Theater, Dallas May 18, 2019: Tejendra Majumdar (sarod), Austin May 22, 2019: Peter Brotzmann, Wild Detectives, Dallas May 23, 2019: Peter Brotzmann, The North Door, Austin May 24, 2019: Peter Brotzmann, Flight Gallery, San Antonio May 25, 2019: Peter Brotzmann, Space HL, Houston May 31, 2019: Vieux Farka Toure, The 04 Center, Austin June 1, 2019: Vieux Farka Toure, The Heights Theater, Houston Russell Malone, Duet, Tulsa June 14, 2019: Kenny Neal, Charles Bender Performing Arts Center, Humble June 15, 2019: Godkihindi Family Recital (bansuri), Houston Kenny Neal, Antone's, Austin July 1, 2018: Orquesta Akokan, Antone's, Austin July 10, 2019: Lil Ed and the Blues Imperials, Dosey Doe, The Woodlands July 13, 2019: Lil Ed and the Blues Imperials, Tall City Blues Festival, Midland July 20, 2019: Josh Feinberg (sitar), Houston July 23-24, 2019: Charlie Hunter and Lucy Woodward, The Townsend, Austin July 25, 2019: Charlie Hunter and Lucy Woodward, Guitar Sanctuary, McKinney August 15, 2019: James Brandon Lewis Trio, Beerland, Austin August 31, 2019: Charlie Musselwhite, Ally Venable, Bedford Blues Festival September 1, 2019: Nikki Hill, Robert Kimbrough, Bedford Blues Festival September 5, 2019: Nels Cline, Joe McPhee & Tom Rainey, The North Door, Austin September 12, 2019: Tinariwen, Paramount Theater, Austin September 14, 2019: Tinariwen, Canton Hall, Dallas September 21, 2019: Pratik Shrivastava (sarod), Jesse Bannister (saxophone), Subhen Chatterjee (tabla), Allen Public Libarary October 4, 2019: John Scofield, Wortham, Houston November 2, 2019: Dr. L Subramaniam, Austin Blue Note Records 80th Anniversary Celebration, Wortham, Houston November -, 2019: Sanskrati Wahane (Sitar), Prakrati Wahane (Santoor) and Mukta Raste (Tabla), Allen Public Library December 15, 2019: Mike Stern/Jeff Lorber Fustion, One World Theater, Austin January 25, 20120: Branford Marsalis, Wortham, Houston February 29, 2020: Vijay Iyer Sextet, Wortham, Houston March 21, 2020: Dafnis Prieto Big Band, Wortham, Houston April 17, 2020: Miquel Zenon, Wortham, Houston

In Austin on May 31 at the 04 Center, and in Houston at the Heights Theater on June 1 (the only 2019 U.S. dates currently listed on artist website) Often referred to as “The Hendrix of the Sahara”, Vieux Farka Touré was born in Niafunké, Mali in 1981. He is the son of legendary Malian guitar player Ali Farka Touré, who died in 2006. Ali Farka Touré came from a historical tribe of soldiers, and defied his parents in becoming a musician. When Vieux was in his teens, he declared that he also wanted to be a musician. His father disapproved due to the pressures he had experienced being a musician. Rather, he wanted Vieux to become a soldier. But with help from family friend the kora maestro Toumani Diabaté, Vieux eventually convinced his father to give him his blessing to become a musician shortly before Ali passed. Vieux was initially a drummer / calabash player at Mali’s Institut National des Arts, but secretly began playing guitar in 2001. Ali Farka Touré was weakened with cancer when Vieux announced that he was going to record an album. Ali recorded a couple of tracks with him, and these recordings, which can be heard on Vieux’s debut CD, were amongst his final ones. It has been said that the senior Touré played rough mixes of these songs when people visited him in his final days, at peace with, and proud of, his son’s talent as a musician. In 2005, Eric Herman (still Vieux’s manager today) of Modiba Productions expressed an interest in producing an album for Vieux; this led to Vieux’s self-titled debut album, released by World Village in 2007. Ali Farka Touré’s work to tackle the problem of malaria is continued as 10% of proceeds are donated to Modiba’s “Fight Malaria” campaign in Niafunké through which over 3000 mosquito nets have been delivered to children and pregnant women in the Timbuktu region of Mali. On this first album, Vieux pays homage to his father and follows Ali’s musical tradition, giving new versions of the West African music that is echoed in the American blues. The album features Toumani Diabaté, as well as his late father. One of the tracks, ‘Courage’, is on the soundtrack of the film The First Grader (2010). On his second record, Fondo on Six Degrees (2009), Vieux branched out and presented his own sound: while remaining true to the roots of his father’s music he uses elements of rock, Latin music, and other African influences. The album received a great deal of critical acclaim from across the globe, and Vieux was clearly moving out of his father’s shadow. By June 2010, Vieux was performing at the opening concert for the FIFA World Cup in South Africa. That month Vieux also released his first live album, LIVE. His live performances are highly energized and Vieux is known for dazzling crowds with his speed and dexterity on the guitar, as well as his palpable charisma and luminous smile, both of which captivate audiences from all audiences in spite of any language barriers (though Vieux does speak 8 languages). In 2011 Vieux released his 3rd studio album, The Secret, so named because the listener will hear the secret of the blues with a blend of generations from father to son. It was produced by guitarist Eric Krasno (of the Soulive trio) and features South African-born vocalist Dave Matthews, Derek Trucks on electric slide guitar and jazz guitarist John Scofield. The title track is the last collaboration between Vieux and his late father. With the heralded release of The Secret, Vieux Farka Touré has clearly established himself as one of the world’s rare musical talents and guitar virtuosos with a distinct style that always pays homage to the past while looking towards the future. Vieux released The Tel Aviv Session (Cumbancha) in April 2012, a collaborative project with Israeli superstar Idan Raichel dubbed ‘The Touré-Raichel Collective’ that has been hailed by fans and critics alike as a masterpiece and one of the best collaborative albums in the history of international music, drawing comparisons to Ali Farka Touré and Ry Cooder’s legendary Talking Timbuktu album. In 2013, Vieux Farka Touré’s beautiful and critically acclaimed latest album Mon Pays was released as an homage to his homeland. Being that his native Mali had recently been splintered by territorial fighting between Tuareg and Islamic rebels since January 2012, Mon Pays was devoted to reminding the world about the beauty and culture of his native Mali. Translated as ‘My Country,’ this predominantly acoustic undertaking transformed into an artifact of cultural preservation. Two songs on the project -Future’ and ‘Peace’ feature Sidiki Diabate’s kora leading an emotional charge complemented by Touré’s spectacular guitar work. Both tracks represent an important generational “passing of the torch” as Sidiki’s father, Toumani is considered one of the greatest living kora masters and was a close friend of Vieux’s father Ali. Mon Pays has been widely hailed as the most mature and lovely record yet from one of this generation’s most exciting artists to come out of Mali and one of world music’s true rising stars. Vieux reunited with Idan Raichel in Paris to record, release and subsequently tour their 2nd collaborative album as The Touré-Raichel Collective in 2014. The result was yet another musical and critical triumph, titled 'The Paris Session' (Cumbancha) revered by many as not just a musical gem for the ages but a powerful testimonial to the power of art and fraternity to transcend vast cultural and political divides. In 2015, Vieux released another unexpected, genre-bending collaborative album, this time with New York-based singer Julia Easterlin, aptly titled 'Touristes'. The album shot to the top of the iTunes World chart and earned critical acclaim, including that of John Schaefer (NPR) who called it "brilliant." On April 7, 2017, Vieux released his latest album 'Samba', recorded live in front of a small audience at Applehead Studio in Woodstock, NY. The album is already being hailed by critics as Vieux's finest, most well-rounded and mature album to date. With each new project, Vieux expands his horizons, embraces new challenges and further entrenches his reputation as one of the world’s most talented and innovative musicians. Tinariwen Saturday Sep 14, 2019 Doors: 7:00 PM Show: 8:00 PM All Ages $36.75 - $45 Canton Hall 2727 Canton St, Next to Bomb Factory Dallas, TX

It's a good one.

CARAVAN: A REVOLUTION ON THE ROAD APRIL 9 | 2019 The Majestic Theatre | 7:30PM $29 Tickets - All Aisle Seats & Orchestra Floor Center $19 Tickets - Orchestra Floor Left and Right, Front Orchestra Floor Center TERENCE BLANCHARD FEATURING THE E-COLLECTIVE RENNIE HARRIS CHOREOGRAPHY RENNIE HARRIS PUREMOVEMENT AMERICAN STREET DANCE THEATER COMPANY ANDREW F. SCOTT GRAMMY® Award-winning jazz trumpeter Terence Blanchard, internationally renowned choreographer Rennie Harris and Dallas-based visual artist Andrew F. Scott team up for an interdisciplinary world-premiere performance that explores the ability of music and art to bring about racial healing. This one-night only performance will expand upon a theme that Terence Blanchard began exploring a few years ago: racial tension and injustice. With live music, dance and visual projections, sculpture and projection mapping - Caravan: A Revolution on the Road will examine these larger societal issues, while the individual nuances of the stories will reflect the life experiences of each artist and their thoughts and feelings about Black Lives in the 21st century. This performance is made possible by a grant from the TACA New Works Fund. “A trumpeter of expressive urgency and a composer of expansive vision.” – The New York Times ARTIST STATEMENT This collaboration brings together live musical performance by Terence Blanchard and the E-Collective, choreography and dance by Rennie Harris and his company and Andrew F. Scott’s visual projections, sculpture and projection mapping. This project expands upon the theme that Terence Blanchard began exploring a few years ago. Responding to real life events stemming from racial tension and injustice, Blanchard and the E-Collective recorded an album, Breathless, and performed across America, visiting cities most affected by racial conflict by police and against police, including Dallas. Feeling empowered by the strong emotional reaction from the audiences – many were moved to tears – and recognizing the healing impact of his music on people, Blanchard decided to continue the conversation and engage more artists. Terence Blanchard, Andrew Scott and Rennie Harris have teamed up to add a new dimension to the work Blanchard has done, to bring about a changing of hearts and souls. Blanchard’s fusion of jazz, R&B, blues, funk and soul synergistically interweaves with Harris’s approach to movement, which represents a kind of archaeology of the human spirit through vernacular African American dance styles. Scott’s conceptually-based visual projections and installations, which are rooted in African and African American art and culture, seamlessly integrates into the overall artistic narrative. The skeleton of the work examines these larger societal issues, while the individual nuances of the stories reflects the life experiences of each artist and their thoughts and feelings about Black Lives in the 21st century.