Dallas, Austin, Houston, San Antonio, Etc. Jazz & Other Concerts

[JSngry]

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating,

By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating.

Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages  of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything.

Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with  "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative.

One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through.

Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

 

[Steve Reynolds]

11 minutes ago, JSngry said:

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating,

By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating.

Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages  of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything.

Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with  "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative.

One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through.

Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

 

Nice to read your comments. I’ve never seen a 2 hour continuous performance by any jazz/improv ensemble. I’ve also never heard any of the young group of musicians within this group. I’m sure at least one or more of them with effort will develop some sort of distinctive individuality which is often the last thing to come for many of these very talented young improvising musicians - if it comes at all. I like that Tyshawn is working with young guys/girls. As you know he also records and plays with many dudes/dudettes that have acquired those individual qualities. I’ve seen him with Mary Halvorson & Jon Irabagon as one example and his interplay especially with Mary was mind-blowing. I’m also becoming more interested in modern jazz based composition. As far as the NYC people I’m most familiar with we have Matt Mitchell, Ingrid Laubrock, Mary Halvorson, Kris Davis, Taylor Ho Bynum and others have created some extraordinary composed works with massive amounts of improvised music incorporated into those structures - music that I’ve heard live and on record that are brandy new, exciting and groove and move like jazz is supposed to.

An artist I’m not that familiar with, Harris Eisenstaedt, is another who is creating new structures - I saw a Nonet of his a few years back that included Nate Wooley, Jeb Bishop & Sara Schoenbeck (to name 3 incredibly talented and distinctive improvising musicians) - that played a continuous suite that was less than an hour - probably not more than 45 minutes. It was subtly spectacular and thoroughly unique. If I was able to see more live performances I’d experience even more of what is happening. I probably still prefer freely improvised live music but even that strain of music has and is undergoing shifts and changes that might seem minor but in retrospect are not.

Plus their was a generation before them including Gerry Hemingway, Ellery Eskelin, Tim Berne, Tony Malaby, Etc. all of whom created (some of who are still creating vibrant works - especially Berne). 

So glad you went. Plus beyond everything else, Sorey is simply one of the greatest drummers on the planet and maybe the most powerful sounding one at that.

[kh1958]

1 hour ago, JSngry said:

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating,

By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating.

Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages  of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything.

Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with  "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative.

One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through.

Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

 

I looked but did not see you; I only arrived about a minute or so before the concert started.

It took me almost two hours to get to Denton from downtown Dallas, so the combination of commute and concert length was a bit much. 

I thought the audience size, while large enough, was embarrassingly small for a school with a prominent music school, and free tickets for students.

For me, the best soloist was the vibes player, Sasha Berliner. The tenor player at times was sounding to me like Mark Turner, who is not a favorite of mine.

Overall, I enjoyed the experience.

[Steve Reynolds]

7 minutes ago, kh1958 said:

I looked but did not see you; I only arrived about a minute or so before the concert started.

It took me almost two hours to get to Denton from downtown Dallas, so the combination of commute and concert length was a bit much. 

I thought the audience size, while large enough, was embarrassingly small for a school with a prominent music school, and free tickets for students.

For me, the best soloist was the vibes player, Sasha Berliner. The tenor player at times was sounding to me like Mark Turner, who is not a favorite of mine.

Overall, I enjoyed the experience.

The Glass Box Theatre (aka The Stone) is at The New School which is in large part a music school as far as I know. The Stone regularly features some of the greatest musicians in the world and the vast majority of the Students just walk on by. 

Hopefully with Mary Halvorson being in Trevor Dunn’s trio tonight, there will be a nice crowd. Last week with Assif Tsahar making a rare visit from Israel I went to night 2 on Wednesday when Assif was joined by Mat Maneri & Ches Smith, the crowd was also an embarrassing maybe 25. The set was as strong as any set I’ve seen in the past year or two and I’ve seen a few. Mat played as well or better than I’ve heard him in the past 3-4 years. I’m biased but his level of improvising and true spontaneous composition is on levels that are ultra rare. Ches Smith is in the Tyshawn Sorey category of drummers and Assif Tsahar has developed into a truly outstanding voice on the tenor. He was always terrific but he’s honed his sound to a more subtle and sophisticated place.

and yet the guys & girls carrying violin/viola cases saxophone cases just walk on by......

[JSngry]

My daughter and I were down on the second row, center. We left Plano at 4, had dinner on the square in Denton by 5-ish, hopped into Recycled for a quick minute (found a Norman Simmons record with Clifford Jordan for $8, seemed like a steal), and then moseyed on over to the campus. Got there in plenty time before they opened the doors to the Lyceum and we had our pick of seats. Leaving early was a luxury, but I've made the drive too many times to do anything else, especially now that ALL that "in-between space is developed...just too many damn cars for the existing highways. Traffic started getting thick on the outskirts of Denton a  little before 5, and you know it only gets worse the later it gets. So, yeah, we left at 4 to make a 7:30 gig with what in theory should be a 1 hour drive.

I also heard the Turner thing going on. Not my favorite either, but what made it interesting for me was how he was navigating those structures, odd/overlapping meters and asymmetrical harmonic sequences. I could only sort of pick up on the specifics, but definitely heard recurring base/pivot points. To be able to stay afloat, much less swim, in those waters...hey. And to my surprise, I really enjoyed his EWI playing, which put me in mind of prime Joe Zawinul, only in the context of those structures. Did not see that one coming!

Berliner cracked me up a few times, she sometimes sounded like Lionel Hampton with her time and her arpeggiations. Lionel Hampton! Of course, that was just in spots. Too bad that whatever it was that malfunctioned malfunctioned.

Nick Dunston was really on it. Him & Sorey were locked in.

Certainly agree that the crowd was too small. Just keep in mind that the gig was not sponsored by the School Of Music in any of it's manifestations, although apparently the proposal for and submission to the fine arts Series was put together by this guy: https://music.unt.edu/faculty-and-staff/christopher-walker Current gig is Adminstrative Assistant for Jazz Studies, degree is in Composition, so he's sorta in No Man's Land as far as that goes. But he made this happen, so good for him. I just doubt that he had any real "institutional juice" behind him along the way, at any point.

Ticket prices were already low, but I found out they were $5 for alumni. The test question was "what were the school's teams called in the 70?" which was DUH, Mean Green, of ocurse, THAT was easy),. And then they gave that price to my daughter for being the child of an alumni.

[kh1958]

Yes, I did like the EWI better than the tenor (on this one occasion only).

UNT made me feel welcome and capped off the evening by leaving a parking ticket on my car in the virtually empty nearby parking garage with no gate or evident way to pay for parking. Cancel those donation plans.

[JSngry]

Parking garage? Which one? How did you get in without going through a gate? That's nuts!

Parking up there is a bear. There's less street parking now than ever, and the campus police are quite, uh...diligent in ticketing non-students parking in student-specific parking areas.

[kh1958]

Apparently there is some sort of Parking App you are supposed to download to pay for parking in this garage (helpfully noted on my ticket), which is quite close to the Student Union. As I was 15 minutes late, I took my chances and parked where I could.

[JSngry]

Ah, ok. The Highland Parking garage was where we parked, kind catty-cornered to the SUB, less that a five minute walk even for an old guy, $2/hr, and yeah, you weren't getting into that without the whole gate/ticket thing.

I had not actually ventured onto the campus since Quartet Out had a gig there, like 15+ years ago, SO much new construction. All the old stuff was still there, but it was swallowed up by a bunch of new stuff. I swear I could've gotten lost....

Don't pay that ticket, man, it's bullshit.

[kh1958]

December 14, 2019: Mike Stern/Jeff Lorber Fusion, Dosey Doe, Houston

December 15, 2019: Mike Stern/Jeff Lorber Fusion, One World Theater, Austin

                                  Thumbscrew, Carousel Lounge, Austin

December 16, 2019: Thumbscrew, Carousel Lounge, Austin

December 31, 2019: Lucky Peterson, Poor David's Pub, Dallas

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

January 29, 2020: Hiromi, Arlington Music Hall, Arlington

January 30, 2020: Hiromi, Charline McCombs Empire Theater, San Antonio

January 31, 2020: Hiromi, Dosey Doe, Houston

                              Fred Hersch Trio, Walton Arts Center, Fayetteville, Arkansas

February 13, 2020: Teri Lyne Carrington Quintet, UNT, Denton

February 15, 2020: Joey DeFrancesco, Arlington Music Hall

February 22, 2020: Afro-Bop Alliance Big Band, Arlington Music Hall 

                                Ike Stubblefield and Walter Wolfman Washington, Antone's, Austin

February 29, 2020: Vijay Iyer Sextet, Wortham, Houston

March 4, 2020: Lila Downs, Paramount Theater, Austin

March 6, 2020: Lila Downs, Jones Center, Houston

                         Marc Ribot, Chaplin's The Kid, McCullough Theatre, Austin

March 7, 2020: Lila Downs, Winspear Opera House, Dallas

March 8, 2020: Kamasi Washington, Empire Control Room, Austin

March 10, 2020: Kamasi Washington, House of Blues, Dallas

March 11, 2020: Kamasi Washington, House of Blues, Houston

March 12, 2020: Kamasi Washington, Aztec Theater, San Antonio

March 20, 2020: Messenger Legacy Band (Bobby Watson (alto sax), Essiet Essiet (bass), Geoff Keezer (piano), Brian Lynch (trumpet), Bill Pierce (tenor sax) and Ralph Peterson (drums)), Walton Arts Center, Fayetteville, Arkansas

March 21, 2020: Dafnis Prieto Big Band, Wortham, Houston

March 26-29, 2020, Big Ears Festival, Andrew Cyrille, Anthony Braxton, Aurora Nealand, Christian Scott, Harriet Tubman, Jason Moran and the Harlem Hellfighters, Marc Ribot,, Mdou Moctar, Moonlight Benjamin, Myra Melford, Peter Brotzmann, Shabaka and the Ancestors, Steve Coleman and Five Elements, The Necks, Knoxville, Tennessee

April 3, 2020: Fred Hersch Trio, University of Texas at Dallas

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

May 16, 2020: Brubeck Brothers, Wortham, Houston

May 17, 2020: Brubeck Brothers, One World Theater, Austin

August 28, 2020: Stanley Jordan Trio, Arlington Music Hall

 

Edited December 7, 2019 by kh1958

[kh1958]

Anyone in Dallas with free time Sunday afternoon (the last day), this exhibition is rather fabulous and well worth a trip to Irving.

 

I just noticed this exhibition, but unfortunately this is the last weekend.

BILLIE HOLIDAY AT SUGAR HILL: PHOTOGRAPHS BY JERRY DANTZIC

Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic, features 56 vivid, breath-taking photographs.  They offer a rare glimpse into both the public and private life of one of the 20th century’s most iconic, significant artists: thAnye consummate jazz and blues singer, Billie Holiday. Captured by photojournalist Jerry Dantzic during a week-long run of performances at the Newark, New Jersey nightclub, Sugar Hill in April of 1957, the remarkable images reveal the warmth, complexity, elegance, star power, and humanity of an artist who would pass away tragically just two years later at the age of 44.

The exhibition is organized by the Smithsonian Institution Traveling Exhibition Service in cooperation with the Jerry Dantzic Archives and will be on display, free to view, in Irving Arts Center’s Main Gallery Sept 14-Nov 17.

All photographs © 2018 Jerry Dantzic/ Jerry Dantzic Archives. All rights reserved.

**Pictured above: Billie Holiday embraces a fan on Broad Street after receiving a gift; Carl Drinkard is behind her flicking his cigarette into a trashcan, Newark, New Jersey, April, 1957.  

RELATED EVENT
An Evening with Author/Archivist Grayson Dantzic–
Behind the Scenes Billie Holiday at Sugar Hill:
Photographs by Jerry Dantzic
October 10 @ 6:30PM

Gallery Hours:
Mon, Tues, Wed and Fri: 9:00 a.m. to 5:00 p.m.
Thursday: 9:00 a.m. to 8:00 p.m.
Saturday: 10:00 a.m. to 5:00 p.m.
Sunday: 1:00-5:00 p.m.

WHEN

September 14 - November 17

Main Gallery 

3333 North MacArthur Blvd. 
Irving, TX 75062 United States

Free

QUESTIONS?

Call the box office at 972-252-7558

 

ADD TO CALENDAR

Edited November 17, 2019 by kh1958

[kh1958]

DEC15

Thumbscrew & Susan Alcorn

 

2 Dates · Dec 15 - Dec 16

DEC15

Sun8:00 PM

DEC16

Mon8:00 PM

 

Carousel Lounge

1110 E 52nd St, Austin, Texas 78723

 

December 15th and 16th, 8pm

GENERAL ADMISSION $20.00
PATRON / RESERVED SEATING* $50
*This makes free tickets available

Thumbscrew with
Mary Halvorson – Guitar
Michael Formanek – Double Bass
Tomas Fujiwara – Drums

Susan Alcorn (pedal steel) will start the evening with a solo set and then join Thumbscrew for a tune or two.

“Thumbscrew is a very exciting group that highlights intricate and emotionally-driven compositions focused on intense interactions between instruments. One of the most exciting bands currently playing” — Cisco Bradley, jazzrightnow.com

The trio Thumbscrew came about by accident, after bassist Michael Formanek subbed in a band including guitarist Mary Halvorson and drummer Tomas Fujiwara. Something special happened among them right away, so they formed a trio, a co-operative in the truest sense. They play originals by all hands, compositions whose rhythms may surge or lag or veer sideways according to their own internal logic. Bass and drums solo within the ensemble, not in quarantine. No one needs to be loudest. The blend is tight: one string (or metal) sound may bleed into another. It’s something to hear—something twisty and turny and always on the move.


 

 

[kh1958]

Sunday, December 15

7:00pm

 Cezanne Farewell Party/Jam

WhenSun, December 15, 7pm – 11pm

WhereCezanne (map)

DescriptionOn Sunday night, December 15, we will say farewell to the iconic jazz listening room of Houston as we have known it to exist in this building. The event will be held in the Churchill Room, downstairs, more available seating. Instrumentalists, please bring your axes and be ready to play. The Texas Jazz Workshop combo will open up the precedings, followed by a band that will include Mike Wheeler (guitar), Thomas Helton (bass), Gavin Moolchan (drums).

Terri Lyne Carrington Quintet at UNT

• TIME Thu Feb 13 2020 at 07:30 pm  
   
•  
• VENUE 

  The University of North Texas College of Music, 415 Avenue C, Denton, Texas, Denton, United States 

•  
• CREATED BY  Terri Lyne Carrington Follow ContactOrganizer? Claim this Event

 

 

 

Terri Lyne Carrington Quintet at UNT

 

Led by Terri Lyne Carrington, featuring Kris Davis, Tia Fuller, and Linda May Han Oh.

[kh1958]

Date/Time
Sat, Dec 14, 2019
7:30 pm - 10:30 pm

Location
The Kitchen Café

 

Dave Meder Quartet

[kh1958]

February 13, 2020: Teri Lyne Carrington Quintet, UNT, Denton

February 20, 2020: Travis Laplante, Nasher, Dallas

February 22, 2020: Afro-Bop Alliance Big Band, Arlington Music Hall 

                                Ike Stubblefield and Walter Wolfman Washington, Antone's, Austin

February 23, 2020: iLe, Antone's, Austin

February 24, 2020: iLe, Rock Box, San Antonio

February 25, 2020: iLe, House of Blues, Dallas

February 26, 2020: iLe, House of Blues, Houston

February 29, 2020: Vijay Iyer Sextet, Wortham, Houston

March 4, 2020: Lila Downs, Paramount Theater, Austin

March 5, 2020: Marc Ribot, Texas Theater, Dallas

March 6, 2020: Lila Downs, Jones Center, Houston

                         Marc Ribot, Chaplin's The Kid, McCullough Theatre, Austin

                          Mimi Fox, Guitar Sanctuary, McKinney

March 7, 2020: Lila Downs, Winspear Opera House, Dallas

                         Carlos Barbosa Lima, UTD, Dallas

March 8, 2020: Kamasi Washington, Empire Control Room, Austin

March 10, 2020: Kamasi Washington, House of Blues, Dallas

March 11, 2020: Kamasi Washington, House of Blues, Houston

March 12, 2020: Kamasi Washington, Aztec Theater, San Antonio

March 20, 2020: Art Blakey Centennial Celebration  (Bobby Watson (alto sax), Essiet Essiet (bass), Donald Brown (piano), Giveton Gilen (trumpet), David Schnitter  (tenor sax) and Carl Allen (drums)), Walton Arts Center, Fayetteville, Arkansas

March 21, 2020: Dafnis Prieto Big Band, Wortham, Houston

March 26, 2020, Big Ears Festival, Aurora Nealand and the Royal Roses, Jason Moran and the Harlem Hellfighters,  Peter Brotzmann,  Knoxville, Tennessee

March 27, 2020: Shabaka and the Ancestors, The Momentary, Bentonville, Arkansas

                           Big Ears Festival,  Anthony Braxton, Jeff Parker, Peter Brotzmann & Andrew Cyrille, Steve Coleman and Five Elements,  Mdou Moctar, Jason Moran, Myra Melford, Moonlight Benjamin, Ches Smith, Aurora Nealand and the Royal Roses, Zeena Parkins, Knoxville, Tennessee

                           Cooper-Moore, Christ Church Cathedral, Houston

March 28, 2020, Big Ears Festival, Anthony Braxton Diamond Curtain Wall Trio, Marc Ribot  & Andrew Cyrille, Shabaka & the Ancestors, Ben LaMar Gay, Jaimie Branch, Harriet Tubman, Marc Ribot, Knoxville, Tennessee

March 29, 2020, Big Ears Festival, Anthony Braxton Thunder Music Ensemble, Christian Scott, The Necks, Knoxville, Tennessee

April 3, 2020: Fred Hersch Trio, University of Texas at Dallas

April 9, 2020: The Necks, North Door, Austin

April 16, 2020: Bill Summers, Ellis Marsalis, Shannon Powell, French Quarter Festival, New Orleans

April 17, 2020: Miquel Zenon, Wortham, Houston

                        Tuba Skinny, Joe Lastie, French Quarter Festival, New Orleans

April 18, 2020: Dave Douglas with the Texas Jazz Orchestra, Bates Recital Hall, Austin

                        Billy Harper and Andrew Cyrille, El Dorado Ballroom, Houston

                       Abhisek Malick (sitar) and Subrata Bhattacharya (tabla), Allen Public Library

                       Aurora Nealand, Carl LeBlanc, Jamil Sharif, Leroy Jones, Louis Ford, Sasha Masakowski Jazz Quintet, Walter Wolfman Washington, French Quarter Festival, New Orleans 

April 19, 2010: Billy Harper and Andrew Cyrille, North Door, Austin

                       Astral Project, Evan Christopher's Clarinet Road, Little Freddie King, Paulin Brothers Jazz Band, Tom McDermott and His Jazz Helliions,  French Quarter Festival, New Orleans 

April 23, 2020: Uncle Nef, Marlon Jordan, Jali Bakary Konteh and Pa Bobo Jobarteh, Alexey Marti, Arturo Sandoval, Plena Libre, New Orleans Jazz and Heritage Festival

April 24, 2020: Terri Lynne Carrington and Social Science, Jason Marsalis, Jamil Sharif Tribute to Jabbo Smith, Doreen, Les Filles de Illighadad, Jali Bakary Konteh and Pa Bobo Jobarteh, Plena Libre, New Orleans Jazz and Heritage Festival

                        Arun Luthra's Konnakol Jazz Project with Selvaganesh, Starr Theater, Fayetteville, Arkansas

April 25, 2020: Antonio Sanchez and Migration, David Sanborn with Randy Brecker, Trumpet Mafia, Sasha Masakowski and Art Market, Tuba Skinny, Charlie Musselwhite, Little Freddie King, Louis Ford and His New Orleans Flairs,  Christian Nieves, New Orleans Jazz and Heritage Festival

April 26, 2020: Nicholas Payton 2020, Wycliffe Gordon, Buddy Guy, Jesse McBride Big Band, Joe Krown Trio with Walter Wolfman Washington, Christian Nieves, New Orleans Jazz and Heritage Festival

April 29, 2020: Les Filles de Illighadad, Antone's, Austin

April 30, 2020: John Scofield and Dave Holland, Uptown Jazz Orchestra, Khari Allen Lee, Tom McDermott and Evan Christopher, Leyla McCalla, Lil Ed and the Blues Imperials, Music Maker Blues Revue (Alabama Slim), Astral Project, iLe, Viento de Agua, New Orleans Jazz and Heritage Festival

                         Michael Weiss, Kitchen Cafe, Dallas

May 1, 2020: Herlin Riley, Charlie Gabriel, Brubeck Brothers with Joey Defrancesco, Charlie Chepulveda & The Turnaround, Kingifsh Ingram, Viento de Agua, New Orleans Jazz and Heritage Festival

                       Michael Weiss, Mesquite Arts Center

May 2, 2020: The Cookers with Billy Harper,  Count Basie Orchestra, Leroy Jones, Blodie's Jazz Jam, Chris Thomas King, Kenny Neal, Walter Wolfman Washington Trio, New Orleans Jazz and Heritage Festival

                      Christian Sands, Carver Center, San Antonio

May 3, 2020: Terence Blanchard featuring the E Collective, Chick Corea Trio, Amina Figarova Sextet, Troy "Guitar Burner" Turner Blues Band, Mr. Sipp, New Orleans Jazz and Heritage Festival

May 16, 2020: Brubeck Brothers, Wortham, Houston

May 17, 2020: Brubeck Brothers, One World Theater, Austin

July 12, 2020: Amaan Ali Bangash (sarod), Dell Fine Arts Center, Austin

July 31-August 2, 2020: Satchmo Summerfest, Old Mint, New Orleans

August 28, 2020: Stanley Jordan Trio, Arlington Music Hall

August 30, 2020: Stanley Jordan, One World Theater, Austin

October 18, 2020: Shahid Parvez (sitar), Gourisankar (tabla), Austin

 

Edited February 8, 2020 by kh1958

[kh1958]

In Residence at the Nasher: February 17-22, 2020This Soundings season’s musician-in-residence is saxophonist, composer, and renaissance man, Travis Laplante, who divides his time between Brooklyn and southern Vermont. Laplante is 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. His mastery of circular breathing, multiphonics and harmonics is virtuosic, and he’s likely to produce dizzying torrents of sound—it’s music as primal therapy, musician as shaman. His six-day residency will involve a concert in Nasher Hall on February 20—the primary Soundings concert—as well as smaller performances as part of the free late-night program ‘Til Midnight at the Nasher on February 21, and for children, in the galleries, on February 22. As a Pied Piper of improv and the moment, Laplante performances could lead audiences anywhere. “There is nothing that Travis does that is not rooted in emotional psychology,” Seth Knopp maintains. “In spite of the extended techniques he uses, it is almost as though he wails beyond what is humanly or physically possible. He represents all the emotion behind the wail.”

 

[kh1958]

Andrew Cyrille Quartet

Fri, Jan 17 | 7:30 pm

McCullough Theatre

Renowned avant-garde jazz drummer Andrew Cyrille, whose associations have ranged from a long, vintage collaboration with pianist Cecil Taylor to performing with legendary musicians including Rahshan Roland Kirk and Freddie Hubbard, brings his quartet to the McCullough Theatre stage. Members of this all-star quartet include guitar luminary Bill Frisell, one of the most sought-after guitar voices in contemporary music; highly in-demand bassist Ben Street; and renowned Cuban-born keyboardist David Virelles.

[epistrophy arts]

 save the date!  

Epistrophy Arts presents Andrew Cyrille/Billy Harper duo at North Door - April 19.

Nameless Sound and Project Rowhouses will present the duo on April 18 at the El Dorado Ballroom!  

more details to come

 

 

Austin and Houston above...   

 

[kh1958]

15 minutes ago, epistrophy arts said:

 save the date!  

Epistrophy Arts presents Andrew Cyrille/Billy Harper duo at North Door - April 19.

Nameless Sound and Project Rowhouses will present the duo on April 18 at the El Dorado Ballroom!  

more details to come

 

 

Austin and Houston above...   

 

Awesome!

[JSngry]

Awesome indeed!

[mjzee]

Andrew Cyrille seems to come to Houston a lot.  Maybe he just has a good relationship with the Nameless Sound people.  It's good for us, too.

Edited January 15, 2020 by mjzee

[JSngry]

Cyrille seems to have really surfaced as a leader these past few years...does anybody know who's managing him these days? Looks like they're doing great work!

[kh1958]

He doesn't seem to have a website or even a facebook page but he is going strong at age 80 now.

https://www.nytimes.com/2016/10/18/arts/music/andrew-cyrille-new-vanguard.html

[JSngry]

I gotta think he's got somebody working on his behalf...but maybe he's an extremely agile/facile octogenarian businessman. Could be.

All I can say is that it's gratifying  in the extreme to see him getting all this profile and work at this point in his life.

[kh1958]

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