Special thanks to the critics and journalists who participated in the 2010 JazzTimes magazine Year in Review Critics’ Poll (see March 2011 issue with the Henry Threadgill cover) for selecting African Rhythms the autobiography of Randy Weston (Composed by Randy Weston, Arranged by Willard Jenkins; Duke University Press) tops in the Book category!
Last month as part of the 2nd annual Mid-Atlantic Jazz Festival, the great NEA Jazz Master Jimmy Heath was on hand to perform with the Whit Williams Quintet. His performance once again showed how there’s nothing quite like veteran mastery. Jimmy’s relaxed brand of swinging brought a fire to that bandstand no matter what the tempo. The next afternoon I had an opportunity to interview Jimmy on the subject of his very revealing and rewarding autobiography I Walked with Giants — and when Jimmy Heath says that you’d better believe him. The man grew up musically in Philadelphia alongside boyhood pals John Coltrane and Benny Golson, was one of his great friend Miles Davis‘ saxophonists and composers of choice, worked alongside Clifford Brown (billed as “Cliff Brown” in an old news clip Jimmy laid on me from a long ago gig at Peps in Philly) and Lee Morgan, and has graced countless bandstands — including alongside his brothers Percy on bass and Albert “Tootie” Heath on drums, both masters in their own right.
The Jazz Video Guy, Bret Primack, swooped down from Planet Bret to capture our interview — and untold other valuable festival footage over the course of the weekend — and has been running it on his YouTube channel.
JazzFest schedule
JazzFest preview for the Community
April 27, 2011
Wednesday, April 27, 2011 – Karamu House – 8:00 PM – FREE
The Eddie Baccus Organ Summit with Special Guest Bobby Floyd, Karamu House
Cleveland’s legendary Hammond B-3 virtuoso Eddie Baccus, Sr. returns to Karamu House with special guest Columbus B-3 wiz Bobby Floyd.
Kick Off Day: Mardi Gras Parade
April 28, 2011
Thursday, April 28, 2011 – Tower City Center – 5:00 PM
FREE
From New Orleans, the Stooges Brass Band performing a genuine New Orleans “second line”, and… 
Voted “Best Marching Band” by Cleveland Magazine in 2009, The Shaw High School Mighty Cardinals piled on the acolades in 2010.
Trombone Shorty & Orleans Avenue
April 28, 2011
Thursday, April 28, 2011
House of Blues – 7:00 PM
Tickets $25; call 216-987-4444.
New Orleans legend Troy “Trombone Shorty” Andrews and his band Orleans Avenue mix rock, funk, jazz, hip-hop and soul to create their signature “Supafunkrock” sound.
A Tribute to Ella Fitzgerald with Dee Dee Bridgewater and the Cleveland Orchestra
April 29, 2011
Friday, April 29, 2011 – Severance Hall – 8:00 PM
Tickets $63/$82; call 216-231-1111 or 800-686-1141.
Two-time Grammy Award winner Dee Dee Bridgewater and The Cleveland Orchestra pay tribute to the First Lady of Song Ella Fitzgerald.
Orchestre National de Jazz: The Robert Wyatt Project
April 29, 2011
Friday, April 29, 2011 – Rock and Roll Hall of Fame – 7:00 PM
Tickets $10; call 216-987-4444.
Created by the French Ministry of Culture in 1986, Orchestre National de Jazz (ONJ) is a collaborative laboratory.
Women In Jazz: A Tribute to Betty Carter
April 30, 2011
Betty Carter “Jazz Ahead” alum Charenee Wade will be among those paying homage to Betty
Saturday, April 30, 2011 – 1:00 PM – Olivet Baptist Church – Free
With its unique sound, Betty Carter‘s voice is thought of as more a musical instrument than just a set of vocal cords.
Smooth Jazz All-Stars
April 30, 2011
Saturday, April 30, 2011 – PlayhouseSquare – 8:00 PM
Tickets: $45/$35/$25; call 216-241-6000 or 1-866-546-1353
Smooth Jazz All-Stars Featuring Mindi Abair, Rick Braun, Dave Koz, Kenny Lattimore, Ray Parker, Jr. and Brian Simpson
This all-star gig, featuring multi-Grammy nominee Dave Koz.
Debut Series: Maurice Brown
May 1, 2011
Sunday, May 1, 2011 – Nighttown – 8:00 PM – FREE
Chicago-bred trumpet virtuoso Maurice Brown has shared the stage with numerous jazz legends, including Clark Terry, Johnny Griffin, Curtis Fuller and Ellis Marsalis.
Debut Series: The Ambrose Akinmusire Quintet and The Tia Fuller Quartet
May 1, 2011
Sunday, May 1, 2011 – 4:00 PM – East Cleveland Library – FREE
FREE DOUBLE BILL CONCERT – The Ambrose Akinmusire Quintet and The Tia Fuller Quartet
Before he was 18, Oakland native Ambrose Akinmusire had already played with jazz giants. He went on to win the 207 Thelonious Monk Institute International Jazz Competition. Ambrose’s Blue Note debut record, scheduled for Spring release, is eagerly awaited. Tia Fuller’s ferocious jazz chops will be in vivid display on our stage; additionally she served as Beyonce’s saxophonist for the last three years.
“Celebrating the Music of Tito Puente” with Sammy DeLeon y su Orquesta
May 2, 2011
Monday, May 2, 2011 – PlayhouseSquare – 6:30 PM
Tickets: $14; call 216-241-6000 or 866-546-1353.
The International Children’s Festival and Tri-C JazzFest are teaming up to present Sammy DeLeon y su Orquesta, celebrating the music of Tito Puente, the King […]
The Dave Sterner Quintet and the Tri-C Jazz Studies Performance Combo
May 2, 2011
Monday, May 2, 2011 – Brothers Lounge – 7:00 PM
Tickets: $10; call 216-987-4444.
Projecting the uncontainable enthusiasm of Cannonball Adderly, Cleveland native saxophonist Dave Sterner channels those be-bop roots with the modern accessibility of Joshua Redman.
Ernie Krivda’s “Thunder from the Heartland”
May 3, 2011
Tuesday, May 3, 2011 – The Hermit Club – 7:00 PM
Tickets: $20, call 216-987-4444.
In a career that spans almost 50 years, tenor saxophonist and Cleveland legend Ernie Krivda has played with the best in the business, including Cannonball Adderley and Quincy Jones.
The Robert Glasper Trio
May 4, 2011
Wednesday, May 4, 2011 – MOCA – 8:00 PM
Tickets: $25, call 216-987-4444
Houston-born pianist Robert Glasper impressed critics and audiences when he burst onto the jazz scene with his first two Blue Note albums. He’s also knee-deep in contemporary sounds as music director for both Maxwell and Mos’ Def.
“Miles & Trane @ 85 – Re-Imagined” TCJF Soundworks with special guests NEA Jazz Master Benny Golson and drummer Ndugu Chancler
May 5, 2011
Thursday, May 5, 2011 – Tri-C Metro Auditorium – 8:00 PM – FREE
Now in its third year, TCJF SoundWorks, under the direction of saxophonist Howie Smith and bassist Glenn Holmes, welcomes John Coltrane boyhood friend and NEA Jazz Master Benny Golson and drummer Ndugu Chancler, a Miles Davis alum.
“Tri-C JamFest” – Medeski, Martin & Wood, Dr. Lonnie Smith, Will Bernard
May 6, 2011
Friday, May 6, 2011 – PlayhouseSquare – 7:00 PM
Tickets: $45/35/25; call 216-241-6000 or 1-866-546-1353
Formed in Brooklyn in 1991, jazz trio Medeski, Martin & Wood (MMW) draws on influences from a number of musical traditions. Dr. Lonnie Smith is the reigning master of the Hammond B-3 organ.
DownBeat Invitational – The Tri-C JazzFest High School All-Stars
May 6, 2011
Music of Benny Golson and Bobby Watson
Friday, May 6 – Tri-C Metro Theatre – 6:00 p.m. – FREE
Tri-C Metro Theatre
2809 Woodland Aveune
Cleveland, OH 44115
Under the direction of Steve Enos, Director of Tri-C Jazz Studies, […]
Jazz for Kids – 2:00pm
May 7, 2011
Saturday, May 7, 2011 – 2PM
Children’s Museum
Call for tickets 216-791-KIDS
Now in its fifth year, the “Jazz for Kids” concert is an entertaining and educational performance for families with young children led by pianist Joe Hunter. Cleveland […]
Jazz For Kids – 11:00 AM
May 7, 2011
Saturday, May 7, 2011 – 11 AM
Children’s Museum
Call for tickets 216-791-KIDS
Now in its fifth year, the “Jazz for Kids” concert is an entertaining and educational performance for families with young children led by pianist Joe Hunter.
Smokey Robinson
May 7, 2011
Saturday, May 7, 2011 – State Theatre at PlayhouseSquare – 8:00 PM
Tickets: $50/$40/$30; call 216-241-6000 or 866-546-1353.
Iconic R&B singer, songwriter and producer Smokey Robinson is one of the primary figures associated with Motown Records.
Gospel Jazz with Present Day and special guest Sean Jones
May 7, 2011
Saturday, May 7, 2011 – Antioch Baptist Church – 3:00 PM – FREE
Under the direction of Chris Anderson and Theron Brown, the group Present Day explores the richness of American culture through gospel and jazz music with a fresh […]
Oikos Ensemble – Jazz Vespers
May 8, 2011
Sunday, May 8, 2011 – 10:30 AM
FREE
Named after a Greek New Testament word meaning “spiritual dwelling place,” the Oikos Ensemble is a highly acclaimed jazz and world music group that has performed at venues coast to coast. […]
Regina Carter’s “Reverse Thread”
May 8, 2011
Sunday, May 8, 2011 – 3:00 PM – Cleveland Museum of Art
Tickets: $30, call 216-987-4444.
In her relatively short career, multi-talented jazz violinist and MacArthur Foundation “genius” recipient Regina Carter has spanned fusion, avant-garde and mainstream jazz, and returned to her classical upbringing. Her latest project, “Reverse Thread”, is a rich evocation of African string traditions.
NEWS RELEASE
It is with regret that we have to inform you that the “Gnaoua World & Music Festival – Morocco 2011” Tour had to be cancelled due to unforeseen circumstances. The political unrest and instability in North Africa create risks and liabilities that are too substantial for us to attempt a program at this time. We are greatly disappointed but are helpless to influence or control events.
Once again, we are extremely sorry for the cancellation of this tour but hope things change favorably and we have the opportunity to re-schedule in the future.
Thank you for your support.
YourWorld Consultant Group, Inc.
Bay Area based percussionist-bandleader-educator John Santos is one of the most authoritative musicians I know when it comes to multiple facets of the Afro-Cuban and Latino-Hispanic music continuum. Equally versed in the Latin-jazz vein, salsa and the historic implications of music from the Afro-Caribbean diaspora, Santos’ latest recording is the exciting folkloric La Esperanza. We sought John out for some wisdom on this latest, thoroughly researched and beautifully executed chapter in the folklore side of his recorded pursuits.
As a percussionist-bandleader who is well-versed in what is referred to as “Latin-jazz” and myriad other forms of the Latin music language, this is either your 2nd or 3rd release in what might be characterized as a folkloric vein. Please detail the theme of this recording and how you see the compositions representing that theme.
This is the fourth full-length recording by my folklore project (the last two garnered Grammy nominations). The theme is Afro-Caribbean, mainly Afro-Cuban, and has always been intended to represent the study, documentation, and sharing of the musical/spiritual roots of the music we love and call Salsa and Latin Jazz. This folkloric music called me to the drum at a very young age and truly represents the identity and history of the Caribbean heart of the Americas. Jazz, of course, comes largely from this same Caribbean environment, which creates a huge overlap and relevance for much contemporary music that we and many others delve in. All the compositions strongly reflect and represent the theme, as they are either traditional, spiritual based chants and rhythms that honor and praise the ancestors, or they are original compositions with traditional musical accompaniment sometimes combined in experimental ways. The themes of the original compositions deal with life from a Caribbean perspective – homage to the departed, celebration of the drum, elaboration of African-based mythology, affirmation of cultural traditions, etc. And literally, the title of the CD, La Esperanza (Hope), refers to traditional, universal values around love, peace, family and human rights. For the vast majority of people of color, our music, dance, and other artistic expressions are intimately connected to and reflect our socio-political reality, so “art for art’s sake” is not our central concept.
What is your process for developing thematic material for your recordings?
I try to remain open to seeing and hearing all that surrounds me. To me that means making a conscious effort to make focused observation and listening, second nature. In attempting to develop this, I find an endless source of thematic, spiritual, and practical inspiration. I also like to develop themes and concepts from different perspectives, such as actual and imagined stories, specific rhythms, melodies, lyrics, instrumentation, etc. Because of my theoretical deficiency, particularly in terms of harmony, I do a lot of singing into a portable recording device and then elaborating on the themes later. It’s not so much an issue with this folkloric ensemble, because we mainly work within the voice and percussion parameters, but when I’m writing for my Sextet, I usually bring my lyrics, concepts, forms, instrumentation, rhythms, breaks, etc, to an arranger. I have been very fortunate to have wonderful arrangers in my groups over the years. Currently and for the past several years, I’ve been working closely in my group with Dr. John Calloway (flute, piano), Saul Sierra (bass), and Marco Diaz (piano, trumpet), all of whom are excellent arrangers.
I used that somewhat controversial term “Latin-jazz” as a descriptor in question #1; how do you feel about that term and do you think there are more apt descriptors for at least that part of your music?
I’ve come to terms with the term, so to speak. The essence of music is so much not about categories and names and all about breaking down barriers, borders and stereotypes. But in this society, the music has to be marketed, promoted, distributed and sold, and so descriptive titles are required. I think Latin Jazz is as good a general description as any. We just have to remember and remind folks that the music goes way beyond any such name or title. It’s an intentionally vague term that can mean myriad things. In the case of my Sextet, we include jazz, funk, folklore and a wide variety of popular dance idioms under that heading of Latin Jazz.
What have been some of your more fruitful collaborations down through the years?
Firstly, my collaborations with John Calloway have been highly productive, as we began working together in 1976 and have never stopped. He’s come up with some absolutely beautiful arrangements and ideas for many of my compositions over that stretch of time. Currently, in addition to John, Saul Sierra has also stepped up with several wonderful arrangements for me. On the playing side, My long association with the legendary Cuban percussionist, Orestes Vilató, was an intense learning experience every moment. Our collaboration began in 1981 and also continues. Our collaborations with some of our out-of-town colleagues in the studio and on stage have also been quite fruitful – some of those respected artists are Dizzy Gillespie, Max Roach, Joe Henderson, Omar Sosa, Steve Turre, Andy Gonzalez, Pedrito Martinez, Armando Peraza, Francisco Aguabella, Nelson Gonzalez, Jose Clausell, Little Johnny Rivero, Carlos Santana, Cachao, Tito Puente, Chocolate Armenteros, Giovanni Hidalgo, Anthony Carrillo, and many others. I feel that my current Sextet is in a special place musically due to a lot of work and getting to know each other so well over the years – we’ve been having a lot of fun lately breaking new ground in our live interaction and our current commissioned project, Filosofíia Caribeña, has been an exciting work-in-progress for a year and a half and will have its World Premiere on April 2nd, 2011 at the San Francisco Jazz Festival. We’re also coming to the Smithsonian (April 15, and to Tanglewood (Sep 3), after a long absence from the East Coast.
You’ve engaged a large cast of musicians to fulfill your mission with “La Esperanza.” What went into the selection process as far as the musicians you chose to make this music?
They are all exceptional colleagues and friends – extended family – who share my love and respect for the roots or our music and pour their love and considerable experience into such a project. Because of my limited financial resources, it generally takes several years to complete a project like this. So from time to time, I am able to take advantage of when some of them are passing through town while on the road. I’ll bring them into the studio and our affinity with the language of the traditional forms gives us the common denominator necessary to produce some inspirational moments, many of which have been permanently captured in the recordings. As for my local colleagues, they are simply some of the best in the field and were chosen for their hearts, skill, and availability, in that order.
WWW.JOHNSANTOS.COM
