Atlanta Jazz Festival 2012 Preview – Roy Ayers

Posted in Atlanta Jazz Festival 2012 with tags , on May 15, 2012 by curtjazz

“Having good health, being able to breathe and be happy, that’s one of the most beautiful gifts. On top of that, I have the gift to play music and make people happy through that. I’m just telling you from my heart, I’m so in love with life” – Roy Ayers

About 15 years ago, my wife and I were boarding a plane from Nashville back to New York after attending a friend’s wedding. While in Nashville we had  bought t-shirts – mine was John Coltrane, hers, Miles Davis. As we boarded the flight, we encountered a rather boisterous group of brothers in our section. When they saw our shirts, they became even more boisterous “Ohhhhh look out now y’all, we got some heavy hitters sittin’ with us!!!”, said the oldest of the gentlemen; who had on some funky looking shades. The good-natured ribbing continued for a few minutes. As I looked at the cat with the funky shades, I whispered to my wife, “That guy looks familiar, I’ve seen him somewhere before”. 

He then took the shades off and became deadly serious.  He said to me “Trane was the man, bro…he was the man…” He shook his head in a gentle awe and was transported  to another place, clearly hearing those sheets of sound in his head.  But this seemed like it wasn’t just a memory of a recording, like my Trane moments. No; this cat had the look of someone who had been there and experienced Coltrane in person.

I knew by now that he had to be somebody.  I was dying to ask the cat who he was, but I didn’t want to embarrass myself by admitting that I didn’t know him. 

I went to the rest room during the flight. I had decided that on the way back to my seat, I was going to ask this man who he was.  However, by the time I returned, the cat with the funky shades was asleep. I wasn’t going to wake him just to satisfy my curiosity.

The cat and his crew got off before us in New York and disappeared into the La Guardia throng. As my wife and I drove home, I was still curious about this man’s identity.

I didn’t have to wait long to find out. As I opened the mailbox to collect what had been left over our long weekend, the latest issue of one of the major jazz publications was in the box. Staring back at me, in a full-page ad on the inside cover was, you guessed it, the cat with the funky shades…Roy Ayers.

Roy Ayers is a legend of jazz funk; adored by hundreds of thousands of fans, sampled over the years by countless hip-hop artists and unfortunately, sneered at by a handful of jazz purists who have no use for his brand of fusion. 

Let them sneer all they want, but know this, Roy Ayers is no Kenny G.  Roy Ayers has paid his dues. Roy Ayers has influenced and inspired many who have come along after him.

Ayers got his first vibraphone mallets from Lionel Hampton at age five.  He broke in as a part of the thriving straight ahead jazz scene on Los Angeles’ Central Avenue in the early sixties, playing alongside L.A. heavyweights such as Curtis Amy and Jack Wilson, so yes, when Roy Ayers spoke of Trane, he knew what he was talking about, first hand.  In the mid ’60’s, Ayers joined forces with Herbie Mann and Gerald Wilson to produce some strong mainstream and soul-jazz records.  If you ever get a chance, check out Virgo Vibes and Stoned Soul Picnic, two early Ayers albums on Atlantic Records.

Then came the 70’s and Roy Ayers, the jazz-funk legend was born. Ubiquity…Coffy… Mystic Voyage… and the list goes on. Then in the 80’s came his work alongside seminal Nigerian musician Fela Kuti, introducing Ayers to a worldwide audience.  With the rise of hip-hop sampling in the late 80’s and early 90’s Ayers became a hero to another generation; the hip-hop deejays and producers who began to sample a lot of Ayers’ killer 70’s grooves.  Roy Ayers was now reborn as the “Godfather of Acid Jazz”. He has worked steadily ever since, attracting audiences that cross generational and cultural lines.

So at 71, Roy Edward Ayers, Jr., the cat on the plane with the funky shades, has no need to explain himself to anyone, fan or critic.  What he still wants to do is perform music from his catalog of five decades and entertain his fans, including the couple in the Miles and Trane t-shirts. And we’ll bring along our son, another generation of Ayers fan. We’ll be there when he closes out the first night of the 2012 Atlanta Jazz Festival, we hope you will too.

Roy Ayers is scheduled to perform at the 2012 Atlanta Jazz Fest in Piedmont Park; on Saturday, May 26, 2012, at 9 p.m. Admission is free.

For further information about Roy Ayers, visit his website at www.royayers.net

For further information about the 2012 Atlanta Jazz Festival, visit their website at http://atlantafestivals.com/

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Atlanta Jazz Festival 2012 Preview – Kathleen Bertrand

Posted in Atlanta Jazz Festival 2012 with tags , on May 13, 2012 by curtjazz

A well-known jazz singer friend of mine read my introductory blog post for this year’s Atlanta Jazz Festival. Apparently, she clicked on the link in that post to Kathleen Bertrand’s website. She then asked me a single question “Kathleen Bertrand is a star in Atlanta, isn’t she?” When I responded in the affirmative, she then said. “I knew it, because she is terrific!”

Being a few hundred miles up the road, in Charlotte, I admit that until recently, I was also unfamiliar with Ms. Bertrand. But after hearing her most recent album, Katharsis, released in 2011, I join my singer friend in praising Kathleen Bertrand’s vocal gifts.  She has released four albums to date, on which she tackles a variety of tunes – from the Great American Songbook, to gospel, to R & B classics and even Christmas standards, all in an inviting husky alto voice that is unique and memorable.

Ms. Bertrand is an Atlanta native and Spelman College graduate. She has performed at two Olympiads and for two U.S. Presidents, before taking some time away to raise her family.  Since returning to the music scene, she has performed at twice at the legendary Montreux Jazz Festival and four times at the Atlanta Jazz Festival, prior to 2012.  She has opened for a wealth of artists, ranging from Ray Charles to Najee, to the man who will follow her at the 2012 Atlanta Jazz Fest, Roy Ayers.

Ms. Bertrand is also a prolific songwriter, having penned songs such as “Date Night”, from her latest album, which was inspired by President and Mrs. Obama and their efforts to keep their “dating” tradition going, even with the pressures of being the nation’s first family.  Kathleen also wrote a bouncy Samba influenced tune, called “Jazz in Piedmont Park”, a tribute to the AJF and the other jazz artists that you hear in the park.

Kathleen Bertrand is scheduled to appear at the 2012 Atlanta Jazz Festival main stage on Saturday, May 26 at 7 pm. She has a prime spot, following Cyrus Chestnut and preceding Mr. Ayers.  With her talent and this judicious placement on the schedule, perhaps Ms. Bertrand’s star will shine not only in Atlanta, but all over the jazz world.

For further information concerning Ms. Bertrand and her albums, please visit her website: www.kathleenbertrand.com

For further information about the 2012 Atlanta Jazz Festival, visit the festival’s website: http://atlantafestivals.com/

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Posted in Uncategorized on May 12, 2012 by curtjazz

I posted this last Mother’s Day and I felt that it was time to revive it. Happy Mother’s Day to all!

curtjazz's avatarCurt's Jazz Cafe

My mother loved life and lived it joyously.  She loved to be around people, she loved to laugh and though she didn’t do it very well, she loved to sing. I still remember the sound of Mom’s singing voice as she was in the kitchen or at her sewing machine.  However, even when I was a child, her singing sounded unusual to me. It was a bit affected and nasal.  It sounded nothing like her speaking voice.  I often wondered, but never asked, where in the world did it come from?

I also knew from an early age that my mom was a fan of Dinah Washington. Though Mom was not a big LP buyer, I noticed that there were three Dinah Washington albums in the storage side of the stereo console; more than any other artist.  Mom also spoke often of hearing Dinah live back when she lived in Chicago. …

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Atlanta Jazz Festival 2012 Preview – Cyrus Chestnut Trio

Posted in Atlanta Jazz Festival 2012, JazzLives!, The Jazz Continues... with tags , , on May 6, 2012 by curtjazz

Though it will be Saturday afternoon, there’s a good chance that we will begin the 35th Atlanta Jazz Festival “in church”, thanks to the first two artists.  Opening the Festival at 3 p.m. will be reedman Dwight Andrews, who in addition to his prowess on the saxophone and flute, is also known as Rev. Dr. Dwight Andrews – Senior Minister of Atlanta’s First Congregational Church.  We can expect the good Reverend Doctor, a Yale Music and Divinity grad, who is also an Emory University Music School Professor, to bring us some fine jazz with an ecumenical touch, such as in the clip below.

Dr. Andrews will be followed by the Cyrus Chestnut Trio. Mr. Chestnut has held a prominent position in the jazz piano world ever since he captured public imagination with his Atlantic Records debut Revelation, back in 1994.  Though Chestnut does not carry Dr. Andrews’ pastoral credentials, Chestnut’s playing has always had a very strong gospel influence, because of his deep church roots.  He has even included a non-secular track or two on most of his albums. In 2009, he went all the way, releasing the beautiful Spirit, a solo piano album of gospel tunes.  Last year, he returned to the trio format with Journeys.  His latest release is his first pure quartet date. It’s called, appropriately, The Cyrus Chestnut Quartet; it features the terrific young saxophonist, Stacy Dillard.

Mr. Chestnut and his trio are scheduled to hit the AJF mainstage at 5 p.m. I’ve seen him live a number of times and I’ve never been disappointed, he plays a bop/blues/gospel hybrid that is second to none.  If you’re planning on catching the Atlanta Jazz Festival on Saturday, May 26, make sure to get there in time for Cyrus Chestnut. He’ll leave you with a smile on your face and joy in your heart.

For further information about the 2012 Atlanta Jazz Festival, visit their website at http://atlantafestivals.com/

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Teddy Charles – A Personal Recollection

Posted in In Memoriam with tags , , , on April 19, 2012 by curtjazz

On hearing of the passing of vibraphonist Teddy Charles a few days ago, I thought back to the late ’90’s, when I worked for WPBX-FM (now WLIU), on Long Island’s East End; back in the days when it was an all-jazz station.

I was a few months into my tenure, hanging out with some of the other members of the on-air staff, when the discussion turned to difficult callers, some of whom were older jazz musicians who had settled out in the Hamptons. They could be a tough bunch, who didn’t suffer fools gladly, especially when it came to the music that they loved and had played for much of their lives.  The veteran guys agreed that the toughest of these cats was Teddy Charles. 

The stories bounced around the table about Mr. Charles’ calls to our listener line, each story more frightening than the last about Teddy’s profane criticisms of the musical selections, the on-air staff and the sanity of everyone involved with the station.  When I confess that I hadn’t encountered Charles yet, I was told, with a knowing grin, “Oh don’t worry, your turn will come”

A few months later, I was doing my Saturday night show.  I was closing out a three song set at the top of the hour with Dizzy’s Big Band version of Horace Silver’s “Doodlin’“, when the white light that signaled a phone call,  lit up. I answered; and a gravelly voice began this memorable exchange:

CALLER: ” I just wanna tell ya, that you’re playing some great shit tonight. I try to tell the rest of those idiots there what the music is all about, but they don’t listen to me, they’ve all got their heads up their asses, but you get it kid, so I wanna tell you to keep on doing what you do”

ME: “Well, thank you, sir; I’m glad that you like what you hear. What’s your name, friend?”

CALLER: Teddy Charles

ME (trying unsuccessfully to hide my surprise): “The Teddy Charles?”

CHARLES: “That’s right”

ME: “Well, sir; now I’m really honored to hear from you, I hear that you’re a fan of the station…”

CHARLES: “Well, I wouldn’t say I was a fan, most of you guys over there are idiots, but you and [another station personality] , are about the only ones who have a clue. I know I beat you guys up a lot, so I wanted to let you know when you get it right.

ME: “Well, Mr. Charles I really appreciate your call and the support…”

CHARLES: “No problem, now play some Mingus, will ya?” [Hangs up]

I had almost three hours to go in my shift at that point, but nothing else mattered.  I had faced the most ferocious lion in our listening audience and instead of biting my head off, he had purred.  During long sets throughout that night, I called some of my colleagues and the Program Director to tell them about my encounter. To a man, they were impressed. In fact, I seemed to go from “rookie” to “big dog”, in a few eyes, from that moment on.

I worked at the station for another three years. Though others spoke of their continuing encounters with the “Wrath of Ted”, I never heard from him again, though I heard from those who did speak with him, that he would occasionally hold my work up as an example, while berating them.

Not all of my conversations went as well during my tenure and I admit that time has washed away the details of many of them. But that one stuck and caused a smile to come to my face whenever I heard Teddy Charles’ name or some of his music.

Rest in Peace, Mr. Charles. You played some “great shit” too.

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2012 Atlanta Jazz Festival – Get Ready!

Posted in Atlanta Jazz Festival 2012, JazzLives! with tags , on April 18, 2012 by curtjazz

Official 2012 Atlanta Jazz Festival Artwork by Corey Barksdale

You may recall that last May, I documented in this blog my family’s trip to the 34th Annual Atlanta Jazz Festival. Last year, it was a spur of the moment decision that we made, based on the luck of our work schedules. The music was great and we had a great time, until my Sunday evening eye incident.

Well, this year we are well ahead of schedule. And I plan to carry plenty of insect repellent to keep nasty flying things out of my face. It’s a good thing, as the lineup is even stronger than last year’s.

First of all there’s an extra day of free music. Where the 2011 Festival had two free days; this year the free portion of the festival in Piedmont Park extends through Monday. And we will be there to catch every minute.

Here’s a look at this year’s lineup:

Saturday, May 26, 2012

Sunday, May 27

Monday, May 28

In addition to these artists on the Main Stage, there will also be a lot happening on the Atlanta International Jazz Stage, where some fine up and coming artists will be featured, such as bassist Omer Avital, vocalist/trombonist Saunders Sermons and trumpeter Melvin Jones, who set the house on fire on the main stage last year, in an appearance with vocalist Audrey Shakir.  The International Stage shows go on simultaneously with the Main Stage shows, but it’s definitely worth checking out at some point during the weekend.

And for those of you unfamiliar with the AJF, that was not a typo earlier, it is free.  One of the largest and finest free jazz festivals in the country, or even in the world.  So get there early, bring your lawn chair and your cooler and make a weekend of it.  I’ll be dropping blog posts regularly over the next six weeks, leading up to the festival, with further information about the artists. I’ll also be vlogging live from the festival, as we did last year.

For information about Piedmont Park, a full event schedule and hotel accommodation suggestions, visit the Atlanta Jazz Festival website.

Well see you in the ATL on May 26th!

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Video Birthday Tribute – Al Green

Posted in Video Vault with tags , , on April 14, 2012 by curtjazz

“When I got Al Green, everybody else was hot…And I was looking for another sound to get away from all of that.  I said ‘OK, I’m going to give him some jazz chords and see how he works with this’. I got him some Charlie Parker records.” – Willie Mitchell

Al Green is one of the greatest singers alive. Period. Be it Soul, R n’ B or Gospel, Reverend Green is still better now, in the Autumn of his career, than most cats have been on their best day.

Al Green hit his stride after meeting Willie Mitchell in Texas in the late ’60’s. Mitchell had been a moderately successful trumpet player/bandleader.   But when Green’s voice and Mitchell’s production came together, the results were breathtaking.

Mitchell taught Green to approach Soul singing with the cool of Ellington, rather than the grit of say, Otis Redding “I tried to get a top on the music that was pleasant” said Mr. Mitchell. It was a sound like no one else and the public sopped it up like it was sweet molasses on a fluffy biscuit.

Rev. Green still epitomizes a unique brand of Southern Soul, with a little jazz cool on the side. It’s no accident that President Obama chose “Let’s Stay Together” for the public debut of his vocal prowess.  I’ve been a Green fan ever since my early teen years, when my mother would play his version of “For The Good Times” over and over again. However, I moved past that track (which is one of my least favorite Green performances), on the I’m Still in Love With You album and dug “Love and Happiness”; “I’m Glad You’re Mine” and “Simply Beautiful”.

Yesterday, April 13, Reverend Al Green turned 66 years old.  Many have come along since him, but still none can match him.  I hope that you dig these clips of a master, practicing his craft.

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In Memoriam – Carlos De Jesus

Posted in In Memoriam with tags , , , on February 16, 2012 by curtjazz

As a DJ on NYC’s WKTU (92.3), he was part of the crew in the late ’70’s, who helped bring disco out of the clubs and into being a cultural phenomenon.  WKTU rode wave all the way to becoming the number one radio station in the country’s biggest market, with De Jesus’ gregarious on-air personality as a major part of the lineup.  He also had a keen ear for the music of the urban streets, which led to him becoming WKTU’s program director.

He wasn’t afraid to take a chance either – in 1979, he took a gamble by playing a record by a then unknown group called The Sugarhill Gang on his show.  That record was  “Rapper’s Delight”.  The phone lines lit up and Carlos knew that this was no ordinary track. What he didn’t know then, was that he had become one of the first DJ’s to play a rap record on a major commercial radio station; Carlos De Jesus had helped birth hip-hop on the radio.  But days as a pioneer were not yet over…

Though it may be hard to believe now, there was a time at the dawn of the video age, when it was very difficult for black artists to get video airplay.  MTV, in its early days, might as well have hung out a “Whites Only” sign.  Artists of color were summarily excluded due to the station’s arbitrary format limit, which favored AOR (Album Oriented Rock).  So in the early 80’s, R & B and hip-hop artists had to scramble for other outlets that would bring their videos before the public.  BET was on the air, but still searching for direction. It wouldn’t become an influential video outlet until the late ’80’s.

In the summer of 1983, WABC-TV in New York began providing an oasis, in the form of New York Hot Tracks, a show focused on music by R & B, Disco and Rap Artists; in other words, those who couldn’t get seen on MTV.  When the producers went looking for a host, they found Carlos De Jesus.

The show was different from anything on MTV, not only for the type of music played but for the setting as well. Carlos was usually set up in one of the more popular dance clubs in the NY Metro Area, giving the show a live feel and boundless energy. Mr. De Jesus would intro each clip and often have some major artists in the club with him for live interviews.  The production wasn’t polished, but it was real. People there were having fun and you wanted to be a part of it.

Within a year of its premiere New York Hot Tracks had become must see urban viewing, even in its tough time slot (Friday nights 11:30 pm – 12:30 am). The show went from being shown on one station to being syndicated on 110.  “NYHT” became the show to be on for artists who were visiting New York and as the host,  Carlos was the man to be seen with.  Not bad for a kid who got his start hosting a show called Alma Latina on Columbia University’s WKCR in 1971.

Carlos left NYHT in 1986. The show continued until 1989 with celebrity hosts, but without De Jesus, it lost its charm and New York energy. For my money those last three seasons might as well been produced on some farm in North Dakota.

I had lost track of Carlos De Jesus until about three years ago, when I began to use Twitter regularly.  Through a retweet he appeared in my timeline, attached to one of the mixes of classic 70’s / 80’s tracks that he was fond of dropping. I tweeted my admiration of the mix and was pleasantly surprised to get a response. Thus began our friendship.

We never met in person, but we found that we shared a common goofy sense of humor and of course, a love of that music that kept us in touch.  I was blown away when he used his new Flip video camera to make a promo for my web radio station and send it to his followers.  He always supported me – “The Jazzman of Twitterland”, as he used to call me.

I got the feeling that as much as he had done in the industry, he had been somewhat forgotten in the speed and “don’t look back” attitude of this century, so I made sure that I would regularly give him shoutouts,  reminding of what a legend he was.  He would always respond “You Crazy, Man”, but I know that he appreciated it.

When I heard of his passing today, I went to his timeline to see what his final tweets were about. I see that right until the end, he was doing his thing –  sending out hot mixes, good wishes and pictures of beautiful ladies that he had met over the years.  In his honor, I’m sharing links to some of his last posted mixes below.

Carlos De Jesus – Latin Jazz/Salsa PodSnack

Carlos De Jesus – PodSnack 1/23/12

Carlos De Jesus – PodSnack 1/20/12

Carlos De Jesus was an original. The world was so much better because he was here and it’s a bit sadder because he’s gone.

Buenos Noches, Mi Twitta Brudda…

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Grammys 2012 Nominees – Best Instrumental Jazz Album

Posted in 2012 Grammys, The Jazz Continues..., Video Vault with tags , , , , , , , , , on February 12, 2012 by curtjazz

This category is also dominated by familiar names; with one very promising newcomer.

The nominees are:

Gerald Clayton – Bond: The Paris Sessions (Emarcy/Decca): Track “If I Were A Bell”

Though this is only Mr. Clayton’s second album as a leader he is a young veteran at 27, having shedded for many years alongside his dad and uncle, in the Clayton Brothers and working with many of the other gifted young cats on the scene.  Bond… is a very good album; with the pianist and his trio seamlessly moving between standards and originals.  It may not be enough in this field laden with transcendent names, but we’ll see.

Corea, Clarke & White – Forever (Concord): Track “Armando’s Rhumba”

Chick Corea, Stanley Clarke and Lenny White, the famed rhythm section of ’70’s fusion giants Return To Forever; jamming over 2 discs worth of favorites from their 2009 “RTF Unplugged” Tour. Nothing new here, but what there is, is top notch – a bunch of well known vets, doing what they do best. You would have to consider them one of the favorites to take home the trophy.

Fred Hersch – Alone at the Vanguard (Palmetto)

Fred Hersch was the first pianist to be asked to play a solo gig at the hallowed jazz club in 2005. He has now returned from a life threatening coma in 2009, to record and release this brilliant solo set. Again, he is a relative unknown in this field, but he would be a very deserving winner. (Note:  the accompanying track is not from Alone at the Vangaurd, but features another wonderful Hersch solo performance “Valentine”.)

Joe Lovano & Us Five – Bird Songs (Blue Note)

Another strong contender; Joe Lovano and Us Five brought the goods on this Charlie Parker tribute. It was more than a Bird regurgitation, but a reimaging of some of the tunes that Parker made famous. It was one of our Best of 2011 albums and I personally hope that Grammy rewards them as well.

Sonny Rollins – Road Shows – Vol. 2  (Doxy/Emarcy/Decca)

You know how Grammy feels about legends. And you also know that this album was a brilliant snapshot of Mr. Rollins 80th Birthday concert in 2010 (Another of our Best of 2011). Sonny Rollins is also a name that most of the non-jazz voters have heard of…Translation – like it or not, this is Newk’s award to lose.

Yellowjackets – Timeline (Mack Avenue): Track “Why Is It (Live)”

These cats would normally be in the “Best Contemporary Jazz Album” category, but I forgot, that doesn’t exist anymore (sarcasm).  In any case, Yellowjackets have been doing it for 30 years and they sound better than ever. If there were still two separate categories, they would be hands down winners.

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Grammys 2012 Nominees – Best Large Jazz Ensemble Album

Posted in 2012 Grammys, The Jazz Continues..., Video Vault with tags , , , , , , on February 11, 2012 by curtjazz

The nominees in this category are mostly familiar names, with the possible exception of Miguel Zenón. Two of the albums here probably ended up in this grouping because of the elimination of the Latin Jazz category.

The Nominees Are:

Randy Brecker with DR Big Band – The Jazz Ballad Songbook (Half Note): Track “All or Nothing at All”

Frankly, this nomination is a bit of a  head scratcher.  Randy Brecker is a gifted musician without a doubt, and the Danish Radio Big Band has done some fine work on many, many recordings.  But the arrangements here border on pedestrian and the whole date feels as generic as its title.  The exception is our feature track, which is first rate.  Still, don’t be surprised if Mr. Brecker wins this award, based mostly on name recognition.

Christian McBride Big Band – The Good Feeling (Mack Avenue)

The finest jazz bassist under 40 has now added a big band to his impressive repertoire. The Good Feeling is a solid first effort with a number of impressive tracks and creative arrangements from Mr. McBride’s pen.

Arturo O’Farrill and the Afro-Latin Jazz Orchestra – 40 Acres and a Burro (Zoho): Featured Track: “40 Acres and a Burro”

Arturo O’Farrill continues to do his father’s legacy proud, as he has created another thought-provoking album, that has as much for your mind as it does for your feet. If this album were in the Latin Jazz category, it would be a strong contender. But now, it’s a bit of a longshot.

Gerald Wilson – Legacy (Mack Avenue)

Gerald Wilson has been arranging leading big bands since the days of Basie, Ellington and Goodman and he shows no sign of slowing down at age 93, writing arrangements that are dense, complex, brassy and swinging all at once. This album, Legacy is up to the fine standards that he has been hitting regularly for the past 15 years. A sentimental favorite.

Miguel Zenón – Alma Adentro [The Puerto Rican Songbook] (Marsalis Music)

Another album that would have likely competed in the now defunct Latin Jazz category, Alma Adentro is a stunning work of art. (A Curt’s Cafe Best of 2011) Mr. Zenón is at the top of his artistic game and it shows in the brilliance of his arrangements of these songs by some of Puerto Rico’s most celebrated composers.  Because he is a relative unknown, Zenón is not considered a favorite in the voting, but this is the best album of those nominated. If there’s any justice, Alma Adentro will win.

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