ALL POSTS TAGGED "max-roach"

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We are proud to present the second part of John Robinson‘s Last Stop on the 4 Train. This documentary highlights Robinson’s pilgrimage to the Bronx’s Woodlawn Cemetery, keep reading »

It’s time for a new installment of Revive Music’s original literary series: Order is Everything! This is a how-to guide for music lovers looking to keep reading »

Carmen McRae, Betty Carter, Eubie Blake are among the many who called Brooklyn home for a time, and we are all the better for what they created during that time. Had it not been for these men and women, Brooklyn Jazz wouldn’t be putting the dent into music that it is now; stirring the pot in the mainstream while lighting a fire under established players who just want to play standards all day. Here are some of the borough’s legends that made history by not being satisfied with keeping the peace.

Fresh off of her Grammy-award winning ‘Mosaic Project,’ Terri Lyne Carrington went straight back into the studio to create another project of equal quality and substance. ‘Money Jungle’ was originally recorded in 1962 by Duke Ellington, Max Roach, and Charles Mingus. Just over 50 years later Carrington brings back the raw tension evoked by Ellington, Roach, and Mingus with her own trio filled out by Christian McBride and Gerald Clayton and featuring additional guests Clark Terry, Herbie Hancock, Tia Fuller, and more. Check out what Carrington had to say about the record before you see her perform it at Dizzy’s this week!

What we have here instead is a meeting of the minds—the talented youth and the burgeoning legend. Do I believe that a degree of competition existed between the two? Of course. A mastery of form cannot exist without the inherent desire to be greater than. But, this is a pairing that builds upon accentuation more so than aggravation. Dizzy Gillespie provided a platform for showcasing potential, and potential was given the name, Stan Getz.

Mark De Clive Lowe celebrates the 1 year anniversary of his monthly LA party CHURCH, an innovative night of live jazz music elevated to the next level with improvised beat sessions. In the spirit of LA open jams, any variety of producers, musicians, singers, and lyricists come through to collaborate. Cats like Robert Glasper, Chris Daddy Dave or Ohmega Watts have sat in.

There are few contemporary Afrobeat bands in 2011 that are pushing the envelope and not relying on generic retro grooves or the emulation of Fela, but Ikebe Shakedown is one. But we can’t exactly call them an Afrobeat band. Infusing cinematic soul, highlife, American funk and some Afro-Latin flavors as well, the fellas of Ikebe Shakedown have mastered a sound so crisp and precise, yet entirely raw.

The pulsating Yoruban derived rhythms that are so seductive and foundational in Afrobeat can be reduced to the work of one man, Tony Allen. Allen was self-taught, practicing his chops while working as an engineer at a local Lagos radio station when he was only 18. He caught his first break playing claves for the highlife band “The Cool Cats” headed by ‘Sir’ Victor Olaiya, the catalyst that brought him into the nucleus of the Nigerian music circuit where he later met his partner and bandleader from 1964-1979, Fela Kuti.

As a continuation of the “Evolution of an Instrument” series, this week we take a look at the drum kit. Jazz drumming is interestingly void of an extensive composed repertoire. Set apart also from many other genres, where there are certain beats and grooves that are commonplace, the role of the drummer have evolved to not solely provide the foundation for the beat in jazz, as bass does. Instead, it is the conversational, ornamental, sometimes ephemeral element of an ensemble. It is the gut, the underbelly, and one of the deeply intuitive instruments in jazz, where it differs from percussive elements in more European rooted music.

Jazz has often been used as a method to express the unequal treatment the African American community. From the descriptive poetry in the lyrics of Billie Holiday’s “Strange Fruit” to the coded language in Louie Armstrong’s “(What Did I Do To Be So) Black And Blue,” Jazz was always a platform of protest against the status quo. With the Civil Rights Movement in full swing in the year 1960, it was also one of the primary concerns on the minds of jazz musicians. Legendary drummer Max Roach understood this and decided to devote much of his music and time to supporting the Civil Rights Movement. We Insist! Max Roach’s Freedom Now Suite was the manifestation of the sentiments of the movement, and its statement was as as bold as the title.