The Independent Ear

Dianne Reeves: Consummate Vocal Artist

Last evening at the sumptuous Strathmore Music Center in suburban DC a robust audience was treated to an intimate and surpassing performance from Dianne Reeves, one of the consummate vocal artists of our time. Years from now I have little doubt that Dianne Reeves will be judged in the royal pantheon of vocal stylists in the art of the improvisers that includes Billie, Ella, Sarah, Carmen, Betty and the masters of the form. Reeves’ artistry continues its upward evolution on the wings of her marvelous ability to tell a story, converse successfully with her band — which in actuality is more of a family at this point, with Peter Martin on piano, Romero Lubambo on guitar, drummer Terreon Gully, and the bassist Reginald Veal (once again proving the essential nature of the singer’s connection to an adept and sensitive bassist that Billie and Ella used to extol) — and truly connect with an audience.

When those skills are coupled with a gorgeous, supple vocal instrument at once able to comfortably leap tall intervals and plumb the depths of her lower register, you have a woman who is truly one of the great singers of our time. The icing on the cake is her carefully plotted repertoire and pacing, where she can go from “The Twelfth of Never” to a down-home blues duet with Veal’s wickedly plucked bass to Jobim’s “Once I Loved” to her inimitable stories of family, home and growing up amidst the childhood innocence of her age. At this point it just doesn’t get any better than Dianne Reeves, just ask the legions who went home from Strathmore thoroughly thrilled that they’d made the right Valentine’s Day choice for a warm evening with their loved one.

Posted in General Discussion | 2 Comments

Artist’s Point of View: JD Allen

One artist and band whose evolution has been palpable and consistently spiraling upward is saxophonist JD Allen and his trio. The Detroit-born Allen wields a brawny, constantly questing tenor saxophone and in the company of bassist Gregg August and drummer Rudy Royston he is forging new vistas for the saxophone trio. Their stream-of-consciousness set, with barely a perceptible break in between selections — be they originals or cleverly re-imagined standards — at DC’s Bohemian Caverns was one of last year’s highlights for me (and is destined to become JD’s first live recorded album). The JD Allen 3 is on the cusp of a new recorded chapter, Victory!, for the Sunnyside label. The recording is set to arrive in May with a bit of a twist, an accompanying short philosophical film that will further propel a man fast becoming one of the essential tenors of our time.

Following his Bohemian Caverns set JD, Suzan and I were joined tableside by DC Jazz Festival impresario Charlie Fishman — each of us duly energized by what we’d just seen & heard — for a lively discussion on the artist’s obligation to their audience. When the subject was raised again to JD in a recent communication, here’s what he had to say:

IN THE WORDS OF JD ALLEN

Catch phrases like complex music or play for the audience are two terms that
I try to keep a close eye on. Whenever I hear a person say “a particular
music is limited or not so complex” or “you should really play for the
audience”, I can guess, with almost certainty, on what kind of books their
book shelves might be holding. Playing or writing complex music serves a
valuable purpose, especially if you are trying to extend yourself into your
minds ear. I have always associated the complex musician or composer with
being an athlete; setting goals and reaching for their very best personal
heights. Selfish to many, applauded by few. Playing for the audience has a
very special place in a musician’s development: figuring out what kind of
audience you are playing for is an art form. In certain situations like
church, the music is in service to the congregation, or playing music so
people can forget theirtroubles for that day. That musician has to extend
himself into an audiences’ heart, and that ranges from being the funniest
clown at the circus or being the fastest car in a race. The real challenge,
at least in my opinion, is to find the balance between both worlds. Strive
to give an audience what they need and not what they want, while letting
them fall in love with your desire to give your ALL in ALL. Two halves make
a whole.

Is playing the blues or swinging a core skill for any jazz musician?
Waking up every morning tells me it is.

INFO: www.jdallennow.com

Posted in Artist's P.O.V. | 3 Comments

Giacomo Gates’ vocalese takes a new turn

Randy Weston and his African Rhythms Sextet, with master drummer Lewis Nash joining the aggregation on traps, closed out the month of January with a splendid week at Dizzy’s Club. The occasion was in part a celebration of Randy’s latest release The Storyteller for the Motema label. Numerous good folks were on hand to join in the celebration and the band was literally on fire. One of the two evenings I was there was capped by an interview Randy and I did with Mark Ruffin for Sirius XM satellite radio’s Real Jazz channel on our new book African Rhythms, the autobiography of Randy Weston (Composed by Randy Weston, Arranged by Willard Jenkins; Duke University Press). While strolling the Jazz at Lincoln Center corridors afterwards I spotted prime vocalese exponent Giacomo Gates in the hallways. Later Mark Ruffin excitedly told me about the new disc he and Giacomo are working on. The subject of this forthcoming project was more than a little intriguing — the music of Gil Scott-Heron — seemingly a good ways from Gates’ bebop vocalese firmament. Seems some questions for Giacomo were definitely in order.

Talk about your upcoming recording project.

Willard… First off, thank you for your interest.

I dug Gil Scott-Heron when he was releasing his words and music, so it’s not new to me. Producer Mark Ruffin came to me with this idea, with over 40 of Gil’s tunes. To pick 10-12 of these tunes to record was different for me, though not abstract. We come from the same generation and that music was important to us ….what Gil said was valid then and valid now.
I didn’t want to sing it just like GSH did, nor did I want to have the same musical vibe behind me, but I respect the author and composer of the music, so I listened enough not to listen anymore, and hear what‘s in my head. In collaboration with John di Martino, we gave some of the tunes a different feel. Some have a Lee Morgan vibe,…some maybe a “New Jack Swing” feel,… some are slow as Shirley Horn,… and I hope we certainly retained some of the funk!…and the band is happenin’:
John diMartino – piano & arranger
Lonnie Plaxico – bass
Vincent Ector – drums
Tony Lombardozzi – guitar
Claire Daly – flute and tenor

What was your motivation behind this project and why that particular music?

As I said, it was the idea of Mark Ruffin, although my motivation was what GSH was saying, as well as the vibe and groove of the music. It’s the truth for me, as I can’t sing something I don’t believe in. The music that I was, and am a fan of, is straight ahead Jazz, although it wasn’t from my generation. I was listening to Bebop, Modern Jazz, Big Band Swing, Hard Bop, and I grew up with Rhythm & Blues, Motown, and Funk. I wasn’t listening to The Beatles or The Beach Boys.

What inspired you to address music and subjects which some might find unusual for you?

If some folks find this music unusual for me, it may be a misconception. It may be because they don’t know me, or know where or how I grew up. I picked GSH tunes that I could connect to… Show Bizness,… hello!,… Madison Avenue,… all of us have been exposed to advertising,… New York City,… I’ve been in and out of NYC since I was a kid. Winter In America, that’s about “today,” not the season,… Lady Day & John Coltrane,… two innovators in the music I love,… Is That Jazz?, hello again,… Legend In His Own Mind… how many cats think it’s about them?! It’s Your World,… we’re all our own reality,… Gun,… this is real, read the papers, watch the news. This Is A Prayer For Everybody To Be Free,… that’s a nice gift to give to anyone, and being free is a human emotion.
I chose tunes that are about times, places and feelings…that’s not unusual.

What has been the role of poetry in your music up to this point?

Lyrics are poetry, put to music. I’m fortunate to have read and recited some of the greatest poets,…Shakespeare, Keats, Shelly, Frost, Bob Dylan, Cole Porter, Johnny Mercer, Jon Hendricks, Lord Buckley, Eddie Jefferson, and on and on and on…….

Ultimately, do you envision this project representing a turning point in your career?

Every day that I get up, I envision as a turning point in my career! I do hope that this will reach folks that are GSH fans, and folks that are aware of me might get turned onto another side of what I sing, and perhaps get hip to Gil Scott-Heron, if they aren’t. Of course, I hope Gil digs it.

INFO: www.giacomogates.com

Posted in General Discussion | 3 Comments

Seeking the essence of Freddie Hubbard: Suzanne Pittson “Out of the Hub”

Vocalist Suzanne Pittson previously accepted the challenge of lyrically interpreting John Coltrane‘s opus “Resolution” from “A Love Supreme.” With Alice Coltrane’s consent she did so with all due humility… and with gusto! Her latest effort is a loving tribute to an artist whose legend appears to be growing slowly in ancestry, the late NEA Jazz Master trumpeter Freddie Hubbard. For “Out of the Hub” Suzanne addresses compositions credited to Freddie and songs he indelibly enhanced through his artistry, and she achieves this admirable goal in the company of some of the finest contemporary musicians, including trumpeter Jeremy Pelt, saxophonist Steve Wilson, bassist John Patitucci, drummer Willie Jones 111, and spouse Jeff Pittson on piano. An agreeable sort, Suzanne gave the nod to an Independent Ear inquiry into her latest recorded endeavor.

Why Freddie Hubbard, and what is it about his music that inspired you to make this recording?

Let me explain it this way – the minute I hear a Freddie Hubbard recording, I just have to go transcribe his solo and I invariably strengthen my resolve to become a better musician and improviser. I think this epitomizes the concept of a mentor. So I’d have to say that this recording was made as an expression of my gratitude and as an opportunity to further develop my improvisational skills through compositions that I love.

I first heard Freddie with the VSOP – Herbie Hancock, Wayne Shorter, Ron Carter & Tony Williams – at the Greek Theatre in Los Angeles. I was completely taken with Freddie’s playing and after that went to hear him whenever possible. His command of the instrument and passionate delivery were staggering. I grew up in a family of jazz musicians and heard jazz from a very young age; however, at that time, I was studying to be a classical pianist. When hand problems forced me to find another means of artistic expression, I began to sing jazz. With an extensive piano background and a Bachelors and Masters in music under my belt, I became very determined to learn the jazz language, and began transcribing and singing solos by the modern jazz instrumentalists. The more I studied Freddie’s music, the more I gained respect for the depth of his artistry. He just never missed. Ironic that my husband Jeff shares my feelings, and there was one point when we listened constantly to a homemade tape of nothing but Freddie solos. Over the years, I performed tunes like “Skydive,” “Take It To The Ozone,” and “Byrd Like.” But it wasn’t until 2003 that I began writing lyrics to several of his tunes, and performed a complete set of his music.

I see from the CD photo montage that you did have an opportunity to interact with Freddie before he passed. Did you have the concept of interpreting his tunes at that time?

This project is something I’ve been thinking about for a very long time. As I mentioned above, I had written lyrics to quite a few of Freddie’s tunes in 2003, performing them throughout the years. However, the 2005 move from San Francisco to New York delayed the project until 2008. In June, 2008 Jeff and I went to hear Freddie’s 70th birthday gig at the Iridium Jazz Club in New York City with the intention of telling him about the project. As we stood backstage, where this photo was taken, I not only asked for his permission to record his music, but also told him that he was my idol (he had just told the guy in front of us that Clifford was his idol, so I followed his lead). He referred me to his publisher, Laurie Goldstein who helped me to submit the lyrics for official approval. Freddie approved the lyrics to five of his compositions on September 15, 2008, just three months before he passed, saying that he was very flattered and looked forward to hearing the CD. I will never forget his kindness or the trust he placed in me.

You chose a broad range of material related to Freddie, from his jazz classic “Up Jumped Spring” to one of the pop tunes he interpreted, “Betcha By Golly Wow!” Considering his book, how did you go about making these choices?

After speaking with Laurie Goldstein, I discovered that some of the tunes I had hoped to record were not owned by Freddie. They had been appropriated by the record company in the early years, before he copyrighted his music or had set up his Hubtones Music Company. Just hearing this angered me, and I promptly switched my repertoire to tunes from the Hubtones Catalogue – that were actually owned by Freddie – and along with my husband Jeff and teenage son Evan, began writing new lyrics. This included Lament For Booker with the vocalese, True Colors, The Melting Pot and One of Another Kind. Evan, who was 15 at the time, penned the lyrics to One of Another Kind, retitling it Out of the Hub. I had already written Byrd Like and Crisis with vocalese, had been performing Up Jumped Spring (with Abbey Lincoln’s incredible lyrics), You’re My Everything, Moment to Moment and Betcha By Golly, Wow! The Gibraltar lyrics were written by Catherine Whitney, a singer in Chicago that I found through Hubtones. Freddie’s amazing improvisational language really excites me, so I’m drawn to the tunes that display these complex lines. When viewed from this perspective, it becomes clear why I made some of these choices. Of course, most of Freddie’s tunes reflect this element of his playing. But they are never about sheer technique – they also embody lyricism. A few years ago, Freddie participated in an “Artist Selects” compilation of his music from the Blue Note years. I happened to see this CD about a month ago and noticed that 5 of the tunes that Freddie selected as his favorites are ones that I recorded – Byrd Like, The Melting Pot, Lament for Booker, Up Jumped Spring and Crisis. I took this as a nod of approval.

You’re also fortunate to be working with such a strong cast of musicians on this date. What planning went into selecting this particular group of musicians and how did you work these selections out with them?

Yes I am very fortunate that these guys agreed to play with me and this did take a great deal of planning. Fortunately Systems Two Recording accommodated my session on the only 2 days that John Patitucci was available!!! John, in addition to being an incredible bassist and musician, is also a colleague at the City College of New York. So I asked John first and built the scheduling around him. That gave me a starting point. I played with Steve the year before, and Jeff met Jeremy at a session. Willie’s name came up and he was free. And they knew each other from various sessions and gigs. My husband Jeff conceived new arrangements for the horns (with fabulous original solis for voice and instrument) and I created all the charts in Finale. We had a rehearsal the day before the session then just went in the studio and played……with the horns on the first day and with just myself and rhythm section on the second. These guys are master readers, so they are used to getting things right the first time around. They all played great as you can hear, and I believe we were true to Freddie’s spirit. I’ve since performed the material with other bands, and everyone brings a unique concept to the table. I enjoy creating an environment where each musician can express themself freely, where they don’t feel locked in or restricted. With this said, I am anxious to see how this material evolves out on the road!!!
“The task of art is enormous. Art should
cause violence to be set aside. And it is only art that can accomplish this.”
–Leo Tolstoy

INFO: www.suzannepittson.com

Posted in Indy Record Company P.O.V. | 1 Comment

Let’s go to MOROCCO!

FESTIVAL PERFORMANCES

JOIN
Willard and Suzan Jenkins
celebrating the
GNAOUA & WORLD MUSIC FESTIVAL

MOROCCO
Marrakech * Essaouria
JUNE 12 – JUNE 23, 2011

DEPARTURE CITY
New York – JFK $3,895.00 per person double occupancy
$510.00 single supplement

The magical city of Marrakech

WILLARD & SUZAN JENKINS
Willard and Suzan Jenkins are distinguished and well-known members of the international arts community. They have been outstandingly original, creative and productive, recognized for their unique and innovative approach to projects.
Willard is an independent arts consultant & producer, and writer under his Open Sky (www.openskyjazz.com) banner. Willard’s current activity includes concert, festival, and concert series planning/development, artistic direction, consulting, music journalism, teaching, and broadcast work. Jenkins is a successful and widely recognized workshop, symposium, conference facilitator, and speaker at universities, conventions, and arts conferences across the country and internationally. He has facilitated long-range planning processes and written subsequent long-range plans for the Cleveland Orchestra, Greater Hartford Festival of Jazz, and the Cleveland Education Fund. Willard Jenkins has taught on the university level at Cleveland State University, Open U, and currently teaches at Kent State University.
“African Rhythms”; the as-told-to autobiography of NEA Jazz Master Randy Weston, composed by Randy Weston, arranged by Willard Jenkins, is now available. Randy Weston lived in Morocco in the late 1960s-early 1970s, introduced Willard to all things Morocco and, among other things, established a historic club called African Rhythms in Tangier, Morocco,
Suzan is a visionary CEO with a knack for leading cultural initiatives. She has over 20 years extensive experience spearheading organizational and programmatic development in the non-profit arts and culture sector. Suzan is a strategic, agile thinker and team builder who develops innovative projects that respond to and cultivate communities. She is ingenious at crafting policy and forging partnerships and collaborations in the global marketplace.
Suzan received a Peabody Award for her role as Conceptual Producer of the series Let the Good Times Roll produced for Public Radio International; an Outstanding Leadership Award from Jazz Alliance International; is Certified in Leadership by the National Leadership Institute; is Certified by the School of Economics, Hong Kong Polytechnic University and School of Economics, Renmin University of China.Her past Board service includes Berklee School of Music Board of Visitors, The Rhythm and Blues Foundation and the World Music Institute; she has served as a consultant for the Fes Festival of World Sacred Music and Jazz at Lincoln Center’s Armstrong Curriculum Program.
Suzan Jenkins has taught at Loyola University (New Orleans), and American University in Washington, D.C.

THE GNAOUA
The Gnaoua lineage bears ancestral ties to the lineage of African Americans. The Gnaoua are black Moroccans who come from the same ancestral roots as the majority of African American ancestry. At the same time — and from the same geographic regions of Africa – as the majority of African Americans’ ancestors were shipped in captivity on the Middle Passage, Gnaoua ancestors were sold and trekked across the Sahara in bondage to North African destinations, the greatest concentrations in Morocco.
The Gnaoua originated from North and West Africa, to be precise the Ancient Ghanaian Empire of Ouagadougou, who came together to establish brotherhoods throughout Morocco. Despite being Muslim, the Gnaoua blend African and Arabo-Berber customs to create their unique music-based rituals. These rituals are based on djinn – or spirits – that come straight from the African concept of possession. Their most important ceremony is Lila during which the maalem – or musicians – call upon the saints and supernatural entities to take possession of their followers. The followers and listeners of the music then fall into trances, the ceremony itself is said to be therapeutic.

THE FESTIVAL
The Essaouira Gnaoua & World Music Festival is at its core a celebration of the rich music tradition of the Gnaoua (or Gnawa) spirit music brotherhood of north Africa, primarily Morocco.
The Gnaoua have evolved a rich music tradition that is the core of this festival. The festival – which annually attracts nearly a half-million participants to the beautiful seaside town of Essaouira – features Gnaoua ensembles from across Morocco and other parts of North Africa such as Tunisia. Also invited are musicians from the west and from sub-Saharan Africa, to collaborate with the Gnaoua. Essaouira was a prime vacation town or hangout for the counter-culture of the late 1960s-early 1970s, when such notables as Jimi Hendrix, members of the Rolling Stones and Led Zeppelin, and assorted others vacationed in the town. Legend has it that Jimi Hendrix wrote his song “Castles Made of Sand” based on such a structure in Essaouira. Orson Welles filmed his version of “Othello” in Essaouira; subsequently there is a statue of Orson Welles in one of the town squares.
The city of Essaouira comes alive with the hums, beats, and dancing of thousands of music lovers uniting under one sky.

ESSAOUIRA
Essaouira is a beachside city which stays pleasant all the year round. The city has well planned streets and the place has rich culture with a blend of English, Carthaginian, French and Portuguese. The famous festival – Essaouira Gnaoua World Music Festival – is popular worldwide and artists from around the globe gather to display their musical talents and styles. A vast genre of music like rock, pop, jazz, acoustic and many other forms of world music are played by artists from various backgrounds. Music and art lovers come here to witness this amazing festival.

MARRAKECH
Marrakesh is not only a fabulous place to visit, but also a true symbol of ancient Morocco. Founded by the Almoravids, Marrakesh remained a political, economic and cultural center for a long period. Its influence was felt throughout the western Muslim world. For centuries, the city has been known for its popular seven saints. The festival devoted to the seven saints was founded by Abu Ali al-Hassan al-Yusi, during the reign of Moulay Ismail. The tombs of several renowned figures were moved to Marrakesh, in order to attract pilgrims and visitors, and the seven saints became a firmly
established institution. Djemaa el Fna, which is one of the busiest squares in Africa and the world, always bustles with acrobats, story-tellers, water sellers, dancers and musicians. The Menara Gardens is considered to be the most romantic place in the city. The city tour includes all principal sites of Marrakesh. View the towering Koutoubia Minaret, then visit the Dar Si Said Museum, Menara Gardens, and Saadian Tombs. Continue to Djemaa El Fna Square, where street performers, storytellers, snake charmers, and magicians create a spectacle to behold. Explore the souks and medina of the old city.
Directly north of Djemaâ El Fna square, the Souks quarter is made up of ancient souks (markets) that are divided into craft guilds, which have retained their location on the square for centuries. This is probably the most touristy quarter of the medina, with its numerous surrounding riads and its maze of little alleyways, which are full of shops and always crowded with pedestrians. In the center of it all, you’ll find the shadowed kissarias (covered souks) area.
Morocco is a shopper’s paradise!!

Included Features
Scheduled Round-Trip Air Transportation – USA/Morocco/USA * Accommodations at Luxury Hotels * Transfers between Airports and Hotels * Breakfast and Dinner * City Tour of Essaouira * City Tour of Marrakech / Lunch included * Attend performances at the Gnaoua and World Music Festival *Baggage Handling between Airports and Hotels * All USA and Morocco Airport Taxes Included * And much more!

Contact Information
Willard & Suzan Jenkins YourWorld Consultant Group, Inc.
Open Sky Jazz www.yourworldgroup.com willard@openskyjazz.com info@yourworldgroup.com
suzan@openskyjazz.com Phone Toll-Free 1-888-535-3536
www.openskyjazz.com
301-816-2976
Reservation Application

GNAOUA & WORLD MUSIC FESTIVAL
MOROCCO
JUNE 13 – JUNE 23, 2011
Name and Date of Birth MUST match in Passport and Air Ticket.
Name(Last) ________________________ (First) _________________________
Middle Int._____
Address__________________________________________________________
Apt. No._____________
City_____________________________State/Prov.____________
Zip/PC______________Country___________
Date of Birth ___________________________________________
Telephone(Home)_______________________(Office)______________________
e-mail____________________________________________________________
Male__________Female_________Smoking__________Non-Smoking___________
Special Assistance_______________________________________
Single Supplement ___ Roommate ____________________________
Enclosed is a deposit in the amount of____________
(Minimum deposits $250.00 – Check or Money Order Only)
Balance payments accepted with Visa or MasterCard
Create your very own payment plan. Minimum payments $300.00
Final Payment due 45 days prior to departure
Make checks payable to: YourWorld Consultant Group, Inc.
Send payment to:
YourWorld Consultant Group, Inc.
P.O. Box 2526
Laurel, MD 20709-2526

Posted in General Discussion | 1 Comment