Hot 8 Brass Band to Play at The Pour House June 5th

Hot 8 Brass Band to Play at The Pour House June 5th

by Daniel Fishman, volunteer blog writer

On Wednesday, music lovers from the Triangle have an opportunity to listen to a band whose enthusiasm for brass music, kindness, and dedication for their hometown city continues to change New Orleans for the better.

Over the past decade, Hot 8 has endured more than any humans should. Since the band formed in 1995, they’ve lost four band members. 17-year-old Jacob Johnson was murdered in a home invasion, and Demond Dorsey died from a heart attack at age 28. Months after Dorsey died, Joseph “Shotgun Joe” Williams was shot while unarmed by police, and the latest victim, drummer Dinerral Shavers, died after an armed turf dispute. Band members have lost friends in Hurricane Katrina and lost limbs in car accidents. Throughout it all Hot 8 never stopped playing music. If anything they played more frequently—sometimes playing up to nine shows in a single day. They’ve aligned with grassroots organizations like Save Our Brass to keep the long tradition of Louisiana brass music alive, and they are active supporters of the anti-violence group Silence is Violence.

Reporters and artists have turned the group into a symbol of New Orleans’ perseverance, and, partially as a result, they’ve garnered national attention through documentaries like Spike Lee’s When the Levees Broke and HBO’s hit series Treme. But—backstories aside—Hot 8 is and should be known as a group of eight very talented musicians. Their sets are marked by infectious shouts and gutsy trombone runs, both kept in check by the strong sousaphone lines of bandleader Bennie Pete. They’ve toured the world, sharing brass music in places as distant and unlikely Japan and Scandinavia, guested on albums by electronic musicians Basement Jaxx, and played alongside hip hop stars Mos Def and Lauryn Hill. Despite what they’ve had to overcome, the group is consistently recognized as one of the most skilled brass bands playing on the streets of New Orleans, the world-historical hub for brass music.

Wednesday’s set at Raleigh’s The Pour House marks the band’s second stop on an international tour following their newest album, Tombstone. Hot 8 made the record in order to honor recently deceased brass musicians, and, though the themes are somber, each track remains upbeat, boisterous, and remarkably catchy. There’s a joyous, six-minute reggae and funk-influenced track devoted to tuba player Kerwin James, nicknamed “Milwaukee Fat.” The aforementioned “Shotgun Joe” has a festive track with his name on it, as does drummer Eldridge Andrews. For Bennie Pete, the album was a way to process their deaths and to pay them their rightful respects. “To move forward we needed to put out dedication songs and to put that chapter of our lives—at least musically—behind us,” Pete said.

Hot 8 has always made what Pete calls “feel good music,” even when times have been really bad. When the lyrics evoke sadness or frustration, the band’s accompaniments compensate, becoming more upbeat. Hot 8 knows that even the blues can feel like celebration, given the right rhythms and the right tones. That being said, most of the songs on Tombstone are at least somewhat optimistic, and Pete tries to include a positive message on every track. “There’s the message to keep your head up,” Pete said, “and the message to enjoy the fun times while they last.” That’s something that the album has in common with many of the songs played at New Orleans’ famous funerals with music—often called jazz funerals. At the funerals, the brass bands will play dirges and, later, up tempo grooves. “People cry and people laugh,” Pete said, describing funeral attendees. “The same people cry and then laugh.”

For a long time, Hot 8 have responded to tragedy by doubling their commitment to their community and to their music. The problems that have plagued the band are regrettably common in New Orleans, a city that has struggled for decades with drug-related violence. Over a decade ago, the band became so fed up with the deaths of their friends and neighbors that they decided to throw all of their resources at minimizing violence. Whenever possible they meet with schoolchildren in order to share their music and, once they’ve gotten their attention, advocate against violent behavior. When Hurricane Katrina hit, the band brought their music to temporary trailer parks and evacuee shelters, boosting the morale of those most devastated by the storm.

Hot 8 probably won’t talk too much about what they’ve done for New Orleans when they perform on Wednesday, but the band’s resiliency and reverence for life translates through their music. If Pete’s good on his word, the concert will be a “life-changing experience.” “New Orleans is coming to you,” Pete said. “We can’t bring the food, but the music and the atmosphere—it’s coming. You just have to meet us halfway.”

Preview of the 36th Annual Carolina Jazz Festival

Preview of the 36th Annual Carolina Jazz Festival

This week is the 36th Annual Carolina Jazz Festival and we couldn’t be happier to preview all of the fun that is planned. Founded in 1977, the Carolina Jazz Festival promotes a broad range of programming spanning performance, education, and scholarship. In addition to appearances by students and faculty from the UNC Jazz Studies program, this year’s 36th annual festival features performances by the Dafnis Prieto Sextet, the North Carolina Jazz Repertory Orchestra, Artists in Residence Claudio Roditi (trumpet) and Michael Dease (trombone), and jazz students/faculty from Duke and NCCU. We invite you to attend and enjoy the events of the 36th Carolina Jazz Festival, many of which are free. For those events that do require tickets, please note that tickets are available at the Memorial Hall Box Office (919-843-3333).

Jazz Festival Events

19 February (Tuesday) • NCJRO: The Jazz Century • NCJRO with Claudio Roditi (trumpet) & David Hartman (narrator) • 7:30 pm, Hill Hall Auditorium • Music of Original Dixieland Jass Band, Ellington, Goodman, Basie, Gillespie, Sinatra and Ella, Mingus, Metheny, and others • 7:30 pm, Hill Hall Auditorium • tickets $15/$10/$5 via Memorial Hall Box Office (919-843-3333) or at door.

Check out some of Roditi’s genius. He is not only a brilliant Brazilian trumpeter but is also a Grammy nominee.

 

20 February (Wednesday) • UNC and NCCU Jazz Faculty with Claudio Roditi and Michael Dease • 7:30pm Hill Hall Auditorium • FREE

Check out this trombone solo by festival artist resident, Michael Dease, here.


21 February (Thursday) • Essentially Ellington HS Jazz Festival • performances all day featuring student big bands and combos • UNC Jazz Band performs around 3:30pm with Claudio Roditi and Michael Dease • Guest artist drummer Dafnis Prieto will make a visit • 9am-6pm, Carolina Student Union, UNC-Chapel Hill • FREE

22 February (Friday) • UNC Jazz Combos with Roditi and Dease • 4:00 pm, Kenan Music Building, Rehearsal Hall • FREE 22 February (Friday) • Dafnis Prieto Sextet • 8:00 pm, Memorial Hall • tickets via Memorial Hall Box Office (919-843-3333)

22 February (Friday) • Jazz After Hours • Jam session following Prieto concert • 10:30 pm, 450 West End Wine Bar, W. Franklin St, Chapel Hill • FREE

Here is what to expect from the Dafnis Prieto Sextet.

After the Prieto concert make you way to West End Wine Bar for the jam session. This is what happened at least year’s jam session. Its gonna be killin’. You never know who will show up.

 

23 February (Saturday) • Clinics with Michael Dease and Claudio Roditi • 2:00 pm, Kenan Music Building, Rehearsal Hall • FREE

23 February (Saturday) • UNC Jazz Band with Claudio Roditi and Michael Dease • 8:00 pm, Kenan Music Building, Rehearsal Hall • FREE

For information beyond what is listed here, please contact Jim Ketch at jketch@email.unc.edu or 919-962-7560.

 

Congrats to Jazz Grammy Winners!

Congrats to Jazz Grammy Winners!

We are very upset this year by the lack of mention of Donald Byrd and the less than 60 second tribute to Dave Brubeck. I’m sure that people didn’t even know the legendary greatness that was on the stage paying tribute to Brubeck. For those that didn’t know who you were listening to Google Chick Corea, Stanley Clarke, and Kenny Garrett.

Alright…off of my soapbox and on to the congrats. I’ll start with a jazz album that won an R&B category this year. I love when this happens. If you are a budding jazz lover like myself, I recommend that you add all of these albums to your iTunes. Get familiar with today’s jazz supastars!

BEST R&B ALBUM: Black Radio

Robert Glasper Experiment

Label: Blue Note

 

BEST IMPROVISED JAZZ SOLO: Hot House

Gary Burton (vibes) & Chick Corea (piano), soloists

Track from: Hot House
Label: Concord Jazz

 

BEST JAZZ VOCAL ALBUM:  Radio Music Society

Esperanza Spalding

Label: Heads Up International

 

BEST JAZZ INSTRUMENTAL ALBUM: Unity Band

Pat Metheny Unity Band

Label: Nonesuch

 

BEST LARGE JAZZ ENSEMBLE ALBUM: Dear Diz (Every Day I Think Of You)

Arturo Sandoval

Label: Concord Jazz

 

BEST LATIN JAZZ ALBUM: ¡Ritmo!

The Clare Fischer Latin Jazz Big Band

Label: Clare Fischer Productions/Clavo Records

Beauty Goes Bald @Beauty and The Bull Spa

Beauty Goes Bald @Beauty and The Bull Spa

Yes! It’s true. I love Art of Cool so much, I decided to go bald to get your donation. I cut my hair off for the cause: The QUEST for The Art of Cool Music Festival. Since I shaved my head Beauty & the Bull will allow Art of Cool to host a festival fundraiser VERY SOON!

This festival will be 3 days & multiple venues (including American Tobacco, Durham Central Park, Motorco, Casbah, Pinhook, PSI Theatre, and Carolina Theatre). It will be held April 25-27, 2014. We’ve been working extremely hard to fundraise on a corporate and private donor level to get the startup funds to kick this thing into motion. Below are some before and after pictures. Stay tuned for more details on our fundraiser at Beauty & The Bull. Photo Credits: Stan Chambers, Jr. 

 

Prezi’s Playlist:: February 3, 2013

Up on a Saturday night grinding but here are the theme songs. Veg out to some beautiful music. Here’s what we’re listening to.

A Tale of Two Concerts

A Tale of Two Concerts

I start this blog entry with a WARNING! I am not a writer. I am not a musician. I am; however, a very passionate jazz fan about to recap one helluva night. I am just settling in from attending both the Monterey Jazz Tour Concert at The Carolina Theatre and Duke Performances presentation of the Fred Hersch Trio at Casbah. Both concerts were in my beloved Bull City. Both concerts did not disappoint. Both concerts lend further proof that the city is ready for a multi-venue jazz roots festival.

My night started out at Beyu Caffe. My plan was to grab a pomtini and head to the 8pm concert at The Carolina Theatre. As I pull up a chair, I see singer Kim Arrington. I stopped to chat with her about her upcoming project, Getting to Yes. We discussed everything from the Monterey Jazz Tour Concert to Gretchen Parlato coming to dP to our upcoming concert at Flanders featuring Kate McGarry and Keith Ganz.

After leaving Beyu I ran over to The Carolina Theatre to catch the show. I managed to snag a seat in the pit and it was worth every penny. Bassist and band leader, Christian McBride, and powerhouse jazz vocalist, Dee Dee Bridgewater, started the evening off with a Billie Holiday tune, “Your Mother’s Son-In-Law.” This was very fitting as a beginning song. Holiday was one of the first performers in the Monterey Jazz Festival. This is the festival’s 55th year and this tour is a great celebration of this achievement.

<Pausing here to give homage to Lady Day>

 

Other members of the band including pianist, Benny Green; drummer, Lewis Nash; trumpeter, Ambrose Akinmusire; and tenor saxophonist, Chris Potter joined McBride and Bridgewater for “All of Me.”

It was so much to love about this all-star ensemble. I really liked the way that the cast of players weaved their way in and out of the set list. There was never a dull moment. Sometimes the horn players were the highlight and Bridgewater stepped off stage for a few tunes. I really enjoyed “Certainly” by Benny Green, “Fear of Flying” by Chris Potter, and  ”Highway 1″ by Bobby Hutcherson. The rhythm section held it down with a Dizzy Gillespie tune called “Tango”.

After the break Benny Green wowed us with a improvisational solo after which the band joined him for another tune. Bridgewater returned to the stage in the 2nd set and took us all to church with “God Bless the Child”.

The concert ended with a hard bop tune called “Filthy McNasty” by Horace Silver.  Check this out.

 

I am sure there was an encore but there was no time to stay. I had to catch the 2nd set of the Fred Hersch Trio at Casbah. I made it to Casbah just in time for the set. I took my seat as the trio including pianist, Fred Hersch; bassist, John Hebert; and drummer, Eric McPherson took the stage. Notable standouts from the set list were “At the Close of the Day” by Hersch, “Forerunner” by Ornette Coleman, “Fall” by Wayne Shorter, and “Evidence” by Thelonious Monk.

I thoroughly enjoyed my night of jazz in downtown Durham. I’d like to thank Bob Nocek of The Carolina Theatre and Aaron Greenwald of Duke Performances for keeping jazz alive and thriving in the Bull City.

Towards a Tipping Point – 2012 Jazz Releases from the Triangle

Towards a Tipping Point – 2012 Jazz Releases from the Triangle

by Eric Hirsh (pianist/composer/producer)

I was listening to the radio (WKNC’s Post Rock Block to be precise) on my drive home from Raleigh to Durham this evening, excited for the upcoming recording session for The Beast + Big Band, and thinking about how both Peter Lamb and the Wolves and The Mint Julep Jazz Band are both working on Kickstarter-funded albums. I wondered just how prolific my jazz colleagues were in 2012 as measured by commercially released recordings. We don’t yet have enough newsworthy happenings to warrant a journalist to champion consistently the scene or to put together a year-end list. Inspired by the Independent Weekly’s annual appraisal, I couldn’t rest until I determined how many local jazz albums came out in 2012 for myself.

Without further ado, here are the 12 jazz and jazz-related albums Triangle musicians released in 2012, organized approximately by release date. If I’ve missed an album, please let me know and I’ll update the post.

Jim KetchA Distant View (Summit Records)

Jim Ketch, A Distant View

Buy on Amazon

Kate McGarryGirl Talk (Palmetto Records)

Kate McGarry, GirlTalk

Buy on Amazon

Ecco La MusicaMorning Moon (Big Round Records)

Ecco La Musica, Morning Moon

Buy on Amazon

John BrownQuiet Time (Brown Boulevard Records)

 Buy on CDBaby

Doug Largent TrioRight In The Pocket (self-released)

Doug Largent, Right In The Pocket

Buy from artist website

Branford Marsalis, Four MFs Playin’ Tunes (Marsalis Music)

Branford Marsalis, Four MFs Playin Tunes

Buy on Amazon

Keith Ganz & Kate McGarry, Smile (Edition Longplay)

Keith Ganz Kate McGarry, Smile

Buy from German vinyl store

Jo Gore and The AlternativeThe Herstory (self-released)

Jo Gore, TheHerstoryjpg

Buy from artist website

The MPS ProjectGoes Without Saying (self-released)

The MPS Project, Goes Without Saying

Buy on CDBaby

Ira WigginsWhen Freedom Swings (IWiggs Music)

Ira Wiggins

I can’t find an album cover. But here is a press release. I’m pretty certain it has been released – it shows up on jazz radio charts here and there.

Yolanda RabunChristmastime (Yodyful Music)

Yolanda Rabun, Christmastime

Buy on CDBaby

Nnenna Freelon & John Brown Big Band, Christmas (Brown Boulevard Records)

Nnenna Freelon, Christmas album cover

This CD marks my first credit as a big band arranger. I arranged Vince Guaraldi’s “Christmastime Is Here” as a 3/4 Latin songo. A far cry from the original melancholy ballad.

Buy on CDBaby

I think the Triangle made a fine showing in 2012 in that this list reveals a good diversity of styles. Not only will you find straight-ahead jazz, but also some contemporary/progressive, some blues, some neo-soul, even some world influences.

Coming next week: the year ahead – what to expect from the Triangle jazz scene in 2013. I’m going to make a lot of calls and tweets to my artist friends and determine as many albums slated for release that they’re willing to tell me about. I already know that Stephen Anderson, Kim Arrington, Peter Lamb, and Scott Sawyer are on that list. More details to come!

Also, I recently made a list of Triangle jazz musicians on Twitter. Please let me know if I should add someone to the list!

Prezi Muzings:: Y’all Ready to Afro Rock?

Prezi Muzings:: Y’all Ready to Afro Rock?

We sure are. TONIGHT (yeah…Tuesday night) the move is Cat’s Cradle in Carrboro. There will be so much instrumentation and raw talent in the room I’m not sure if we will be able to contain ourselves. The lineup includes NYC afro-rockers, EMEFE; Season 1 alums and world-jazz fusion outfit, The Brand New Life; and Season 1 alums and progressive/hip hop jazz quartet, The Beast. Meet us there.

Doors: 8:00pm | Show: 8:30pm
$7 Advance | $10 Day of Show

Purchase tickets:
http://www.etix.com/ticket/online/performanceSearch.jsp?performance_id=1678801

More about the bands.

EMEFE is a 10-piece afro-rock band from New York City. Created in December 2009 by drummer Miles Arntzen (Antibalas, Superhuman Happiness), EMEFE has garnered a reputation as one of the most exciting live bands in NYC. Their music is a mixture of Fela’s afrobeat and Sly’s funk, with soul and rock influences thrown in as well – boasting “old school swagger and new-era tones and sensibility.” The music exists to free everyone from their worries and fears, in the name of dancing, happiness, and love. Having recently opened for Passion Pit and Big Sam’s Funky Nation (amongst others), and consistently packing venues both in NYC and around the country, the time has come for EMEFE!

 

Based out of Greensboro, The Brand New Life is constantly creating its sound with a melting pot of sounds. Afrobeat, jazz, funk, rock and other influences from around the globe all find their way into the band’s exciting repertoire. Drum set, congas, percussion, Senegalese talking drum along with upright bass and electric guitar set the driving, syncopated foundation for an adventurous horn section. The band fuses the best of musical traditions with dance inspired rhythms that drive intellectually engaging compositions.

 

Durham’s The Beast is one of the most imaginative bands coming out of the North Carolina music scene. The group traverses the worlds of jazz, hip hop and salsa seamlessly and fearlessly. The rhythm section of drum set, bass, and keyboards (with an occasional vocoder thrown in for good measure) is capable of grooving any musical landscape that emcee Pierce Freelon can envision for his own consciously crafted and consciousness raising lyrics. The Beast is constantly collaborating with musicians from all genres and all locales, engaging in a meaningful dialogue about the nature of music and how it truly has no boundaries.

Translation | The Beast ft. Orquesta Gardel | Official Music Video from Pierce Freelon on Vimeo.

 

Savion Glover: Dance, Jazz AND Duke!

Savion Glover: Dance, Jazz AND Duke!

by Larry Renny Thomas

Savion Glover, the earthy, energetic, fast-moving, tap dancer, will bring his dance performance program, SoLe Sanctuary: Hoofer’s Meditation On The Art Of Tap!, a tribute to his “teachers and mentors,” to Page Auditorium, Duke University, Durham, North Carolina,  at 8:00 pm, January 23, 2013.  He will be appearing with his long-time partner, the equally-talented, innovative Marshall Davis, Jr.

“Every dance I do I pay homage to them,” said Glover, during a telephone interview from the Newark, New Jersey studio of his dance company HooFeRzCLuB.  “But, this performance pays direct homage to the masters who I was fortunate enough to meet when I was young.  They  took me under their wings and filled a void.  I grew up in a home with a single parent.  My father left early.  So, dancers like Jimmy Slyde, Lon Chaney, Gregory Hines, Sammy Davis, Jr., Buster Brown, Diane Walker, Honi Coles, and Henry Le Tang stepped in and filled that void.  They not only taught me how to be a dancer, but, they taught me how to be a better human being.”

Savion Glover, 39, a Newark native, has been performing professionally since he was 10-years-old when he appeared on Broadway in “The Tap Dance Kid (1985).”  His other Broadway shows were “Black And Blue (1989),” “Jelly’s Last Jam (1992),” and “Bring In Da Noise, Bring In Da Funk (1996)” for which he won a Tony Award.  Glover’s talents were recognized and nurtured early in life.  His grandmother, Anna Lundy Lewis was the minister of music at Newpoint Baptist Church in Newark and she was the first to notice that Savion had a bright creative future ahead of him.  His grandfather, Bill Lewis, was a big band pianist and vocalist.  He grew up in a household where there was music all the time.

“I love the early so-called jazz, like Duke Ellington, Count Basie, “ he said.  “But, my passion is Trane.  John Coltrane. I love John Coltrane’s music! I was first introduced to him at a very early age and I think it was a bit too much for me then.  Somebody gave me a copy of Trane “Live At The Village Vanguard.”  I was a little taken back.  I didn’t understand it then.  I said to myself: ‘What is this stuff?”  Later, when I was in California, a good friend of mine turned me on to some Trane I could deal with at that time.  Cuts like “Giant Steps,” “My Favorite Things” all of Trane’s music.”

According to Savion, this reintroduction to John Coltrane’s music helped him a great deal because it reinforced his commitment to continue the legacy of   tap dancing that had been performed by the masters who came before him.  He said he performs tap dancing like “an instrument,” like any other instrument, like a horn, guitar, piano, in a musical composition.  He contended that dance matches the music and the music matches dance.  His SoLe Sanctuary is a sincere effort to please his ancestors and is a continuation of the history of tap dancing, and its close relationship to black music.  He said it is his duty to carry on the tradition.

“One of my greatest thrills was performing with the pianist McCoy Tyner,” he said.  “It was like a thunderous roar.  Whew!  I always look forward to performing with him.  It was just such a wonderful experience.  I look forward to working with him in the near future.  My schedule is pretty full.  I vaguely remember coming to Durham in 2008.  This performance will be a little different.  This one is for the masters.  I try to stay busy.  My motto is ‘Have shoes will dance!”

SoLe Sanctuary is a on a special scheduled tour, beginning on January 11, in Red Bank, New Jersey, at the Count Basie Theater; in Boston (1/12); in Morristown, NJ (1/18); in Englewood, NJ (1/19); in Fairfax, Va. (1/20); and Durham, NC (1/23).  After the Duke University date, the two tap dancers are scheduled to take their talents and traditions to Cullowhee, North Carolina (1/24) and Germantown, Tennessee (1/25).  For more information about Savion Glover’s SoLe Sanctuary  appearance at Duke University call Page Auditorium box office at (919) 684-4444 or go to www.dukeperformances.duke.edu  or email: performances@duke.edu.

  

           

 

The Root: Billy “Sweet-Pea” Strayhorn

The Root: Billy “Sweet-Pea” Strayhorn

If you are familiar with the jazz composition, “Take the A Train,” then you know something about not only Duke Ellington, but also Billy “Sweet Pea” Strayhorn, its composer. Strayhorn joined Ellington’s band in 1939, at the age of twenty-two. Ellington liked what he saw in Billy and took this shy, talented pianist under his wings. The results of the Ellington-Strayhorn collaboration brought much joy to the jazz world.

The history, of the family of William Thomas Strayhorn (his mother called him “Bill”) goes back over a hundred years in Hillsborough, NC. One set of great grandparents, Mr. and Mrs. George Craig, lived behind the present Farmer’s Exchange. A great grand-mother was the cook for Robert E. Lee. Billy, however, was born in Dayton, Ohio in 1915. His mother, Lillian Young Strayhorn, brought her children to Hillsborough, NC often. Billy was attracted to the piano that his grandmother, Elizabeth Craig Strayhorn owned. He played it from the moment he was tall enough to reach the keys. Even in those early years, when he played, his family would gather to listen and sing. After moving to Pittsburgh, his father enrolled him in the Pittsburgh Musical Institution where he studied classical music. He had more classical training than most jazz musicians of his time.  Strayhorn influenced many people that he met, and yet remained very modest and unassuming all the while. For a time he coached Lena Horne in classical music to broaden her knowledge and improve her style of singing. He toured the world with Ellington’s band and for a brief time lived in Paris. Strayhorn’s own music is internationally known and honored.

Some of Strayhorn’s compositions are: “Chelsea Bridge,” “Day Dream,” “Johnny Come Lately,” “Rain-check, and “Clementine.” The pieces most frequently played are Ellington’s theme song, “Take the A Train” and Ellington’s signatory, “Lotus Blossom”. In 1946, Strayhorn received the Esquire Silver Award for outstanding arranger. In 1965, the Duke Ellington Jazz Society asked him to present a concert at New York’s New School of Social Research. It consisted entirely of his own work performed by him and his quintet. Two years later Billy Strayhorn died of cancer. Duke Ellington’s response to his death was to record what the critics cite as one of his greatest works, a collection titled “And His Mother Called Him Bill,” consisting entirely of Billy’s compositions. Later, a scholarship fund was established for him by Ellington and the Julliard School of Music.

(Excerpts taken from www.billystrayhorn.com)

-The Root is a periodic feature on jazz musicians with roots in NC!