kh1958

Delfeayo Marsalis Presents the Uptown Jazz Orchestra (Troubadour Jass)

Joe McPhee's Survival Unit III: Joe McPhee (Poughkeepsie, NY) - reeds and brass Fred Longberg-Holm (Chicago, IL) - percussion Michael Zerang (Chicago, IL) - percussion Wednesday, May 24, 2017 8pm Studio 101 at Spring Street Studios 1824 Spring Street, Houston, Texas 77007

May 12, 2017: Delfeayo Marsalis, Scat Jazz, Fort Worth May 14, 2017: Shri. P Unnikrishnan, Bates Recital Hall, Austin May 20, 2017: Duwayne Burnside, Antone's, Austin May 24, 2017: Joe McPhee, Spring Street Studios, Houston May 26-27: Kenny Neal, Billy Branch, Mr. Sipp, James Boogaloo Bolden, Little Walter Blues Festival, Alexandria, Louisiana June 7, 2017: Helen Sung, Cezanne, Houston June 10, 2017: Nishat Khan and Gourisankar, Bates Recital Hall, Austin June 16, 2017: Jean Luc Ponty, Granada Theater, Dallas June 16, 2017: Dr. Lonnie Smith, Norman, Oklahoma June 17, 2017: Jean Luc Ponty, One World Theater, Austin June 17, 2017: Stanley Jordan, Big Bib Too Event Center, San Antonio June 17, 2017: Eric Gales, Oak Point Amphtheater, Plano June 23, 2017: Lucky Peterson, Granada Theater, Dallas June 24, 2017: Lucky Peterson, Fitzgerald's, Houston July 14, 2017: EJ Matthews, Texas Musicians Museum, Irving July 15, 2017: Rahul Sharma, Jones Hall, University of St. Thomas, Houston August 12, 2017: Henry Threadgill, Scottish Rite Theater, Austin October 1, 2017: William Bell, Charlie Musselwhite, Bobby Rush, Annette Strauss Square, Dallas October 8, 2017: Lila Downs, Tobin Center, San Antonio October 19, 2017: Robert Cray, Paramount Theater, Austin October 20, 2017: Robert Cray, Majestic Theater, Dallas November 9, 2017: Stanley Jordan, One World Theater, Austin November 11, 2017: Hariprasad Chaurasia, Austin November 30, 2017: John McLaughlin, Paramount Theater, Austin February 2, 2018: Charles Lloyd and the Marvels, Cullen Theater, Houston March 24, 2018: Mingus Big Band, Cullen Theater, Houston April 13, 2018: Brad Mehldau, Cullen Theater, Houston

I'll participate as well.

Khari Allen Lee & the New Creative Collective, A New Earth

The past three days, attending the first weekend of the New Orleans Jazz and Heritage Festival. Sunday was a bit of a debacle, as storms forced a delayed opening. Otherwise a great experience. The really good stuff I heard was: Jamil Sharif (fabulous trumpet player) with the also wonderful Louis Ford, Ashlin Parker's Trumpet Mafia (Sixteen trumpets with a six piece rhythm section, this year performing original music by Maurice Brown), Mokoomba (great Afro Rock group from Zimbabwe), Astral Project, Kenny Neal and His Baton Rouge Blues Revue, Abdullah Ibrahim and Ekaya with Terence Blanchard (now that set was beautiful), Delfeayo Marsalis and the Uptown Jazz Orchestra (a pleasant surprise to me, but this riff based big band is really enjoyable and swinging with excellent soloists), and Joe Louis Walker (with Murali Coryell on second guitar).

Really? I wasn't checking the board. I was also in the second row, closer to the center. A small jazz world.

I'll see them in New Orleans on Saturday. The Atlanta concert was cancelled, so Town Hall and New Orleans JHF are the only such concerts in the United States.

Bobby Watson is at Smoke this weekend, with the same group (Stephen Scott, Curtis Lundy, Lewis Nash) as on his new record (Made in America), which is a really good record.

Abdullah Ibrahim and Ekaya play the music of the Jazz Epistles... http://www.villagevoice.com/music/never-mind-the-bollocks-heres-the-jazz-epistles-9925313

Christian Scott, Ruler Rebel (Ropeadope)

Henry Franklin, The Soul of the World (S.P. Records)

Kelvyn Bell played with Arthur Blythe and is on a number of his recordings.

Somi, Petite Afrique (Okeh)

Hubert Laws, The Rites of Spring (CTI), and Kenny Burrell, Handcrafted (Muse)

United Airline's new strategy for getting de-planing volunteers.

Last night, Terence Blanchard and the E Collective at the School of Arts and Technology of the University of Texas at Dallas. Including Charles Altura on guitar and Fabian Almazan on keyboards, the E Collective performed mostly material from an upcoming album release. The concert featured an interactive visual arts presentation by artist and UTD professor Andrew Scott. The band sounded great and the visual presentation was stunning, my only reservation being that as compared to the last couple of times I've heard him, Mr. Blanchard's playing, while still good, seemed a bit down, not at the prior observed performance levels.

Kenny Barron Trio, Book of Intuition (Impulse)

The Indispensable Duke Ellington (RCA)

Bobby Watson, Made in America (Smoke Sessions). This one is really good, including the rhythm section (Stephen Scott, Curtis Lundy, Lewis Nash). Between this new release and Heads of State, Four in One, the label is .... on fire.

I've been there a couple of times--good sound and nice, friendly place. It is very small--only 40 reserved seats.

ATEC Team's Creation to Add Interactive Harmony to Jazz Artist's Show Professor, Students Build Sculpture That Will Play Role in April 21 Concert by Grammy Winner Terence Blanchard April 14, 2017 ATEC assistant professor Andrew Scott discusses the interactive backdrop he and his team built for Grammy Award winner Terence Blanchard's performance on Friday, April 21, in the Edith O'Donnell Arts and Technology Building lecture hall. If you don't see the video, watch it on Vimeo. By now, visitors to the Edith O’Donnell Arts and Technology Building have grown used to seeing an alternating set of distinctive, cardboard sculptures strewn across all corners of the first floor. Angular renderings of mermaids, chess knights, masks and an array of abstract forms provide a jolt of creative panache for passers-by. It’s all courtesy of the 3-D Studio and Digital Fabrication Lab led by Professor Andrew F. Scott at UT Dallas. Stepping into the lab, visitors are met with a workspace in constant motion. At the moment, graduate students are buckling down — weaving their way through a series of tall, steel frames and multiple piles of broad cardboard panels. Scott and his team are in the homestretch of wrapping up a massive undertaking: a relief sculpture that will serve as the interactive backdrop for an upcoming Terence Blanchard concert. The final work — flat and tall — will stand at a little over 15 feet high and 31 feet wide. “Think of it as a canvas that we’ll be projecting light onto,” Scott said. “It’s going to be synchronized dynamically to the musical performance, so the music is going to drive the visual performance. In many ways, I see our role as being the sixth member of Terence’s group.” Members of Scott’s team started with a model a fourth of the size of the final product, giving them an opportunity to test the visual projections they’ve been developing. Another model — half the size — followed suit. “This model was built in a way that mimicked how we were going to create the full-scale version,” Scott said. “We sort of look at it as skeleton, muscle and skin. We have a steel framework that forms the skeleton of the piece. This carries the loads used to lift it. Attached to that, we have a 2-ply cardboard grillage muscle system that ties into the skeleton. That supports the thin cardboard skin, which is the face of the work.” While Scott has been working in the realm of 3-D-fabricated art since he was a graduate student at The Ohio State University, his work in projection mapping is relatively new — a product of his appointment to the School of Arts, Technology, and Emerging Communication in 2015. Terence Blanchard Live American jazz trumpeter and composer Terence Blanchard will perform alongside his quintet the E-Collective at UT Dallas. A five-time Grammy winner, Blanchard has been one of the world’s leading jazz artists since his debut in the 1980s. He has released 20 albums and has composed the scores for films such as “Malcolm X,” “Love & Basketball,” “Cadillac Records” and “Chi-Raq.” The performance is made possible by the School of Arts & Humanities and the School of Arts, Technology, & Emerging Communication (ATEC). When: Friday, April 21, 8 p.m. Where: Edith O’Donnell Arts and Technology Building Lecture Hall Buy tickets “The biggest shift to my move here and the way it informed my work is that, heretofore, I’d been really concentrating on object making,” he said. “Upon my arrival here, I began to incorporate all the constituent aspects of ATEC into my creative process. I started to do work with light, work with animated content in it and work driven by music. All of these things came together and marked a really dramatic shift in my artistic practice.” He began projecting photos of people on to his 3-D sculptures. His work became a metaphor for the ways in which society projects certain images and ideas onto them, particularly African-American men. Shortly after that, he showed his first projection-mapped piece, “Reliquary,” at the PULSE Art and Technology festival in Georgia. The piece caught the eye of his longtime friend and Grammy Award-winning jazz musician Terence Blanchard. “We have a very long history; we’ve been friends for many years, and we were trying to find ways that we could collaborate,” Scott said. He ended up working with Blanchard to create the cover art for the musician’s 2015 album “Breathless.” The piece he created for the album, part of Scott’s Black Man Grove series, depicts a sole fist raised in the air with mangrove roots growing out of the wrist. Blanchard and Scott will continue their creative partnership with this upcoming concert. It’ll be the first time that Scott’s work interacts with a live performance. Over the final 20 days before their deadline, Scott and his team will focus on the visual elements that will be projected on to the sculpture’s façade. Referencing music taken from Blanchard’s live performances, the students are developing visuals of different textures and styles. This is ATEC graduate student Vic Simon’s first foray into the field of projection mapping. “I spent a whole lot of time over the winter break doing preparation — learning about projection mapping and MadMapper,” he said. “It’s been a wild ride, but it’s a really cool piece of creative technology, and I’m very excited about it.” Students in the course — Topics in Arts and Technology: Projection Mapping — become well-versed in an array of programs used to realize the finished product. Software such as MadMapper and MODUL8 are used to manipulate and edit video in real time. ATEC graduate student Michael Bradley has split his time between building the sculpture and writing software to help create visualizations for the show. Bradley said that unlike other courses he’s taken, Scott invites students to combine their individual — and often vastly differing — skills in pursuit of a common goal. “We have media specialists, fabrication specialists, 3-D modelers, programmers, engineers,” Bradley said. “It’s hard, if not impossible, to work so closely with people like this for 15 or so weeks and not pick up a thing or two from them. I’m learning about new software like in other classes sure, but in this case, when we have a problem to solve or a hole to fill everyone steps up with their own experiences, and Scott composites all the ideas we have into a working solution.” Next week, the sculpture will be moved to the lecture hall in the ATEC building, where the team will add the final touches. Scott often likens the way his team has worked this semester to Blanchard’s jazz ensemble — seemingly disparate creative parts coming together to create harmony. The students in the lab work in time, synchronizing the rhythm of their workflow. “The whole is a manifestation of the interaction between the parts, and a lot of the times, you don’t know how the parts are going to come together dynamically until you’re in a live, improvisational creative process,” Scott said. “It’s going to be alive and animated. It raises a lot of artistic questions, and it raises a lot of artistic directions that could probably keep me busy for the next 20 years. It makes teaching very exciting because I can often look at some of the ways my students approach those elements, and they approach it in a way I never would. It gives me an opportunity to learn from them and edify my artistic growth.” The relief sculpture, constructed by ATEC Professor Andrew F. Scott and his students, depicts a modified peace sign emblazoned in between a set of eyes.

His website shows lots of concert appearances in June, which seems incompatible with farming.

Davy Mooney, Hope of Home (Sunnyside)

And while traveling down memory lane, the other place I recollect hearing Marchel Ivery at in my early jazz listening days (mid 1970s) was some place called the Woodman Center--it seems like it was a Sunday night event, somewhere in Oak Cliff.