Archive for March, 2012
Saturday, March 24th, 2012
In 2015, the Smithsonian’s National Museum of African-American History and Culture will open on the National Mall in Washington, DC. One of the museum’s permanent exhibits, Musical Crossroads, will reflect African American music making from its earliest manifestations to the present day. Musical Crossroads aims to validate the influence of African-American music on American culture and provide visitors with the framework to appreciate African-American music as a vehicle of cultural survival and expression, musical innovation and social progress. Through the exhibition’s content, visitors will develop an understanding of the crucial role African-American music making has played in determining the aesthetic and cultural impact of American music production on the domestic and global stage.
In this lecture Dr. Dwandalyn Reece, Curator of Music and Performing Arts at the Smithsonian’s National Museum of African-American History and Culture, will outline the intellectual themes of the Museum’s music exhibition, discuss the challenges and opportunities in presenting a topic of such complexity and breadth in an exhibition format and explore the significant impact music can play in fulfilling the mission and goals of a national museum. She will also discuss how the history of rhythm and blues and soul serve to interpret a variety of narratives of African-American music history.
Dwan Reece is Curator of Music and Performing Arts at the Smithsonian’s National Museum of African-American History and Culture. At NMAAHC she is responsible for research and collecting in the area of music and the performing arts. This summer she worked with staff at the Center for Folklife and Cultural Heritage to develop the 2011 Smithsonian Folklife Festival program, Rhythm & Blues: Tell It Like It Is. Prior to joining the Smithsonian, Dr. Reece held the positions of senior program officer at the National Endowment for the Humanities, Assistant Director of the Louis Armstrong House and Archives, Chief Curator at the Brooklyn Historical Society and Curator at the Motown Historical Museum in Detroit.
Tuesday, March 27, 7 p.m.
Ruth Edwards Music Hall, Edwards Music Building,
North Carolina Central University (1801 Fayetteville St.)
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Thursday, March 22nd, 2012
The Department of History at North Carolina Central University will host the fourth annual African Diaspora Studies Symposium on Saturday and Sunday, March 24-25, in the Mary Townes Science Building. The theme is “Freedom or Liberation? The Quest for Autonomy in the Diaspora.” Sessions begin at 8:30 a.m. on Saturday and 9 a.m. on Sunday.
The keynote address will be given at 4 p.m. on Saturday by Dr. Tyler Stovall, professor of history and dean of the Undergraduate Division of the College of Letters and Science at the University of California, Berkeley. Stovall will speak from the topic, “Black Modernism and the Making of the Twentieth Century: Paris 1919.”
Stovall is the author of numerous books and articles on the African Diaspora, Afro-French communities and French nationalism. He has taught at Ohio State University, the University of California, Santa Cruz, and UC Berkeley.
Over a period of almost four centuries, approximately 4 million Africans were transported to North America and the Caribbean Islands in the Atlantic slave trade. It was the largest forced migration in the world and created permanent ties between Africa and North America.
The African diaspora is the story of how Africans, though scattered and dispersed, managed to retain their traditions and reform their identities in new worlds. Elements of African culture, including religion, language and folklore, have endured and serve as links to past lives.
Highlights of the symposium include:
A lecture, “Africana Studies in the Diaspora: A Report from Venezuela,” by Alejandro Correa, a professor at the Colegio Universitario Jose Lourenco Peres in Caracas, Venezuela. Correa will present on Saturday at 2:45 p.m., alongside representatives from the UNC–Chapel Hill.
Spoken word artist D. Nobel will close out the symposium, speaking from the topic “Hip Hop (Studies) is Dead: Delineating the Limitations of Afrocentrism and Black Nationalism in Hip Hop Praxis and Scholarship.” His presentation will take place on Sunday at 2:10 p.m.
The symposium was initiated by then-NCCU student and history major Youssef Carter as a means to bring together scholars and activists from around the world to explore the ways that diasporic communities have asserted themselves in seeking autonomy, liberty and justice. The NCCU Department of History offers instruction in American, African-American, African, Latin American, European, African Diaspora and Public History. The department continues to produce more students who go on to earn their doctorate in history than any other HBCU.
The symposium is free and open to the public and includes lunch on Saturday. It is sponsored jointly by the College of Liberal Arts, the Department of History and the Global Studies Program. For more information, call 919-530-6321.
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Tuesday, March 20th, 2012
Thursday, April 26, 2012 from 7:00 PM – 10:00 PM
John Brown Big Band and NC Shakespeare Festival join forces to present “Duke” Ellington’s classic “Such Sweet Thunder.” This wonderful evening at the Cotton Room in downtown Durham will include ballroom seating, heavy hors d’oeuvres and beverages.
Tickets cost $75.00 for one or $140.00 for two. Tickets also available for show only for $35.00
Ellington became interested in a suite inspired by Shakespeare in 1933 after a visit to the Stratford Shakespearean Festival in Stratford, Ontario, and first performed Such Sweet Thunder in 1957. Its title was taken from Act IV, Scene 1, of A Midsummer Night’s Dream: “I never heard so musical a discord, such sweet thunder.” Ellington described the composition as his “attempt to parallel the vignettes of some of the Shakespearean characters in miniature – sometimes to the point of caricature.” “Over the past five centuries, Shakespeare’s stories, characters and words have inspired countless other works of art,” NC Shakespeare Artistic Director PedroSilva said. “At its highest form, art awakens fascination with other, new interests, as happened when Duke Ellington first delved into Shakespeare. Fans of literature and theatre will hear Such Sweet Thunder and broaden their appreciation of this form of music. And jazz aficionados will come away with a deeper understanding of what inspires a master like Duke Ellington.”
Call 919-530-8380 for more info.
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Tuesday, March 20th, 2012
 Ambassador Herbie Hancock believes what the world needs is a little jazz diplomacy.
The renowned jazz pianist’s first major initiative since being named a UNESCO Goodwill Ambassador last July is to establish International Jazz Day to be held on April 30 of every year. That date coincides with the last day of what has been celebrated as Jazz Appreciation Month in the U.S.
This year’s inaugural event – organized by the U.N. Educational, Scientific and Cultural Organization in partnership with the Thelonious Monk Institute of Jazz, which Hancock chairs – will include star-studded concerts in Paris, New Orleans and New York as well as jazz-related events in several dozen countries from Algeria to Uruguay.
Hancock said he had little difficulty lining up support for his proposal from the 195-member U.N. cultural organization “because so many countries have been affected in crucial ways over the years by the presence of jazz.”
“Jazz has been the voice of freedom for so many countries over the past half century,” Hancock said in a telephone interview ahead of Tuesday’s official announcement of International Jazz Day.
“This is really about the international diplomatic aspect of jazz and how it has throughout a major part of its history been a major force in bringing people of various countries and cultures together.”
UNESCO Director-General Irina Bokova endorsed the initiative. In a statement, she said International Jazz Day is intended to bring together people all over the world “to celebrate and learn more about the art of jazz, its roots and its impact, and to highlight its important role as a means of communication that transcends differences.”
The official kick-off will be on April 27 with an all-day program at UNESCO Headquarters in Paris that will include master classes, roundtable discussions and improvisational workshops. An evening concert will feature Hancock, Dee Dee Bridgewater, South Africa’s Hugh Masekela and Brazil’s Tania Maria, among others.
Hancock will begin the April 30 celebrations with a sunrise concert at New Orleans’ Congo Square, the birthplace of jazz, which comes right after the first weekend of the city’s Jazz and Heritage Festival.
The concert will present local jazz luminaries Terence Blanchard, Ellis Marsalis, Dr. Michael White, Kermit Ruffins and the Treme Brass Brand. Hancock plans to perform his funky standard “Watermelon Man” with high school students from around the world via an Internet link.
He then will fly to New York for a sunset all-star jazz concert for the international diplomatic corps at the U.N. General Assembly Hall to be hosted by Morgan Freeman, Robert DeNiro, Michael Douglas and Quincy Jones. The concert will be streamed live via the U.N. and UNESCO websites.
Its lineup already includes Hancock, Bridgewater, Wynton Marsalis, Wayne Shorter, Christian McBride, Esperanza Spalding, Jack DeJohnette, Derek Trucks, Susan Tedeschi and Jimmy Heath. The Americans will be joined by an international cast of musicians spanning different genres, including Richard Bona (Cameroon), Hiromi Uehara (Japan), Zakir Hussain (India), Angelique Kidjo (Benin), Lang Lang (China), and Romero Lubambo (Brazil).
Hancock sees his latest initiative as an extension of his 2010 CD, the double Grammy-winning “The Imagine Project,” a globe-trotting, genre-mixing effort that featured a United Nations of pop and world music stars from 10 countries.
“I hope that this day spreads the joy of spontaneous creation that exists in this music,” Hancock said. “My feeling is that jazz will be getting its just due.”
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Monday, March 19th, 2012
 The 22nd Annual NCCU Jazz Festival will take place April 16 – 21 and will include performances by Take 6, a Grammy-winning Christian vocal jazz group; pianist Cyrus Chestnut; the U.S. Air Force big band Airmen of Note; the UNC–Chapel Hill Faculty Jazz Group and Gary Smulyan; and the NCCU Jazz Combos, Vocal Jazz Ensemble and Faculty Jazz Group.
Take 6 formed as an a cappella group in 1980 when its members were students at Oakwood College in Huntsville, Ala. At first, they called themselves the Gentlemen’s Estate Club, and the current name was adopted when the group signed with Warner Brother Records. Their self-titled debut album, released in 1988, earned two Grammy Awards and landed in the top 10 on Billboard’s Contemporary Jazz and Contemporary Christian charts. A 1990 follow-up album, “So Much 2 Say,” was equally successful, climbing to No. 2 on Billboard’s Contemporary Jazz chart and scoring a Grammy for Best Contemporary Soul Gospel Album.
In 1991 the group added instrumentation and went on to record 10 additional albums, earning 10 Grammy awards, 10 Dove awards, one Soul Train award and two NAACP Image Award nominations. Take 6 holds the honor of being the most Grammy-nominated vocal group in history.
The group’s swinging, harmony-rich gospel sound has attracted the attention of Quincy Jones, Ella Fitzgerald and Stevie Wonder. Take 6 has recorded with R&B luminaries Aaron Neville and Brian McKnight (brother of founding member Claude McKnight III), and veteran jazzmen George Benson, Al Jarreau and Jon Hendricks.
Cyrus Chestnut started his musical career at the Mount Calvary Star Baptist Church in Baltimore at the age of six. Three years later he began studying classical music at the Peabody Preparatory Institute in Baltimore and later studied jazz at the Berklee College of Music in Boston. While still a student, he received the Eubie Blake Fellowship and the Oscar Peterson, Quincy Jones and Count Basie awards for exceptional performance standards.
In 1993, Chestnut signed with Atlantic Records and released the critically acclaimed Revelation (1994). Since then he has released 13 albums, including one in 2000 that paid tribute to “Peanuts” cartoonist Charles Schulz. The album celebrated 50 years of Schulz’s “A Charlie Brown Christmas” and featured Vanessa Williams, Brian McKnight, The Manhattan Transfer and the Boys Choir of Harlem.
His leadership and prowess as a soloist has also led him to be a first call for the piano chair in many big bands, including the Dizzy Gillespie Alumni All-Star Big Band, the Lincoln Center Jazz Orchestra and the Carnegie Hall Jazz Orchestra.
Chestnut has performed with many of the legends and leading musicians in the business. Among them are Jon Hendricks, Michael Carvin, Donald Harrison, Terence Blanchard, Branford Marsalis, Delfeayo Marsalis, Freddie Hubbard, Benny Golson, Curtis Fuller, Regina Cater, Chick Corea, Jimmy Heath, James Moody, Joe Williams, Isaac Hayes, Kathleen Battle, Betty Carter and Dizzy Gillespie. He continually tours with his trio, bassist Michael Hawkins and drummer Neal Smith, playing live at jazz festivals around the world as well as clubs and concert halls.
Highlights of the festival include a meet-the-artist session with Take 6 and Cyrus Chestnut on April 19 at the Beyu Caffé at 7 p.m., a free master class workshop on April 19 and 20 at noon in the Jazz Band Room, and a Vocal Jazz Summit at noon in the B.N. Duke Auditorium on April 20.
Under the leadership of Dr. Ira Wiggins, NCCU initiated the Jazz Festival in 1990 to expose the campus and the Durham community to America’s first indigenous art form, jazz. Tickets for the festival are $45 and include admission to all performances. To purchase tickets or for more information visit, www.nccu.edu/jazzfestival
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Monday, March 19th, 2012
The B.N. Duke Atrium Chamber Players, composed of members of the NCCU Music department faculty, will celebrate the music of African-American composers at The Videmus @25 music festival. The program will take place on Wednesday at Person Recital Hall on the UNC–Chapel Hill campus at 7 p.m. The concert is free and open to the public.
The B.N. Duke Atrium Chamber Players include Elvira Green, mezzo-soprano; Lenora Zenzalai Helm, soprano; Richard Banks, baritone; Candace Bailey, piano; Ed Paolantonio, piano; Ira Wiggins, saxophones; and Timothy Holley, cello.
The Videmus @25 Festival is a four-day festival from March 21-25, coordinated by the Videmus organization’s artistic director Louise Toppin.
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Saturday, March 17th, 2012
 North Carolina Central University will hold its 63rd Annual Honors Convocation on Friday, March 30, in the McDougald – McLendon Gymnasium at 10:15 a.m. The keynote speaker will be Dr. James (Jim) H. Johnson, William Rand Kenan Jr. distinguished professor of Entrepreneurship and Strategy at UNC–Chapel Hill and an NCCU alumnus.
Johnson is director of the Urban Investment Strategies Center, Frank Hawkins Kenan Institute of Private Enterprise at the UNC–CH. He was named one of the “brightest thinkers and doers in the new world of work” by Fast Company magazine. His research and consulting activities focus on creating competitive and sustainable business enterprises and communities in the current era of economic uncertainty and global insecurity.
His research has been published in the New York Times, Los Angeles Times, Wall Street Journal, Washington Post, Detroit Free Press, Newsweek, Time Magazine, U.S. News & World Report and Business Week. He has also appeared on a number of national television shows, including The Today Show on NBC, CNN Headline News, the CBS Evening News, ABC Nightly News, Sunday Morning on CBS, This Week in Review on NBC and North Carolina People with William Friday.
Before joining the faculty at UNC-Chapel Hill Johnson spent 12 years as a professor at the University of California, Los Angeles. He holds a bachelor’s degree in geography from NCCU, a master’s degree from the University of Wisconsin at Madison and a doctorate from Michigan State University.
The Honors Convocation celebrates academic excellence by NCCU students. Honor recipients are recognized in the following categories: Chancellor’s Award for Academic Excellence, University Award for Academic Excellence, departmental academic honors, performing arts distinctions, community service, and membership in professional and academic honor societies. Students receive a lapel pin that distinguishes them as honor students and is worn during convocation week. A reception will follow the program in the A.E. Student Union.
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Saturday, March 17th, 2012
 Sometimes, not very often, a story hits a reader. Sometimes that hit is hard like a linebacker, other times it’s just a glancing touch that brings memories of a person who elicited that “just so” feeling.
This story is all of the above.
For background and context, Durham was once home to one of the most vibrant Hayti communities in the US, and many famous African-American artists, musicians, performers, and authors made their way to and through Durham as a result. One of those was Duke Ellington – the jazz legend known the world around.
Today the blog North Carolina Miscellany posted a marvelous little bit of information that deserves to be noticed.
Ellington, a recipient of 13 Grammy Awards and the Pulitzer Prize, is less well-known for those accomplishments than for his songs – compositions that endure today as standards copied, emulated and repeated seemingly without showing signs of wear. One of those pieces was composed, on the spot to help a friend out of a delicate situation with two ladies, in Durham. That song is In a Sentimental Mood.
Read the blog post in full while imagining the heyday of Durham in which the song was created. The economy was good, money and work were plentiful, the world was at peace, and the nearest cabinet radio was filling the room with the dulcet tones of America’s music – jazz, some of which came from right here in Durham, NC.
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Saturday, March 17th, 2012
Click here for more information.
Saturday, August 4, from 11am – 7pm, Fort Adams State Park
Darcy James Argue’s Secret Society
Darcy James Argue, composer, conductor; Erica von Kleist, Rob Wilkerson, Sam Sadigursky, John Ellis, Josh Sinton – woodwinds; Seneca Black, Tom Goehring, Matt Holman, Nadje Noordhuis, Ingrid Jensen – trumpets; Mike Fahie, Marshall Gilkes, James Hirschfeld, Jennifer Wharton – trombones; Sebastian Noelle, guitar; Gordon Webster, piano; Matt Clohesy, bass; Jon Wikan, drums
Christian McBride’s Inside Straight
Steve Wilson, alto & soprano saxophones; Warren Wolf, vibraphone; Carl Allen, drums; TBA, piano
Dianne Reeves
Dianne Reeves, vocals; Peter Martin, piano; Romero Lubambo, guitar; Reginald Veal, bass; Terreon Gully, drums
3 Clarinets: Ken Peplowski – Evan Christopher – Anat Cohen
Ken Peplowski, clarinet; Evan Christopher, clarinet; Anat Cohen, clarinet; Howard Alden, guitar; Ehud Asherie, piano; Greg Cohen, bass; Lewis Nash, drums
Joe Lovano and Dave Douglas Quintet: Sound Prints featuring Lawrence Fields, James Genus and Joey Baron
Joe Lovano, saxophones; Dave Douglas, trumpet; Lawrence Fields, piano; James Genus, bass; Joey Baron, drums
Pat Metheny Unity Band with Chris Potter, Antonio Sanchez, and Ben Williams
Pat Metheny, guitar; Chris Potter, tenor saxophone; Ben Williams, bass; Antonio Sanchez, drums
John Ellis & Double-Wide
John Ellis, tenor saxophone; Matt Perrine, sousaphone; Jason Marsalis, drums; Gary Versace, organ; Alan Ferber, trombone
James Carter Organ Trio with special guests Rodney Jones and Miche Braden
James Carter, saxophones; Gerard Gibbs, keyboards; Leonard Clyde King, Jr., drums; special guests Rodney Jones, guitar; Miche Braden, vocals
Dafnis Prieto Sextet
Dafnis Prieto, drums; Peter Apfelbaum, saxophones; Felipe Lamoglia, saxophones; Ralph Alessi, trumpet; Manuel Valera, piano; TBA, bass
The Bad Plus with Bill Frisell
Reid Anderson, bass; Ethan Iverson, piano; David King, drums; special guest Bill Frisell, guitar
Jack DeJohnette Group
Jack DeJohnette, drums; Rudresh Mahanthappa, alto saxophone; Dave Fiuczynski, guitar; George Colligan, piano; Jerome Harris, acoustic bass guitar
Pedrito Martinez Group
Pedrito Martinez, bata, congas, cajon, vocals; Jhair Sala, bongos, bell, vocals; Alvaro Benavides, electric bass; Araicne Trujillo, keyboards, vocals
Jack DeJohnette All-Stars
guests: Lionel Loueke, guitar; Jason Moran, piano; Christian McBride, bass; Tim Ries, saxophones; Luisito Quintero, percussion; George Colligan, piano and drums; Jason Palmer. trumpet
Bill Frisell-John Lennon Songbook
Bill Frisell, electric guitar; Greg Leisz, steel guitars; Jenny Scheinman, violin; Tony Scherr, bass; Rudy Royston, drums
Sunday, August 5, from 11am – 7pm, Fort Adams State Park
Miguel Zenon’s Rayuela
Miguel Zenon, alto saxophone; Laurent Coq, piano; Dana Leong, trombone; Dan Weiss, drums
Lewis Nash Quintet featuring Jeremy Pelt & Jimmy Greene
Lewis Nash, drums; Jeremy Pelt, trumpet; Jimmy Greene, tenor saxophone; Donald Vega, piano; Peter Washington, bass
Rudresh Mahanthappa’s Samdhi
Rudresh Mahanthappa, alto saxophone, laptop; David Gilmore, guitar; Rich Brown, electric bass; Rudy Royston, drums
Berklee Global Jazz Institute Sextet
Kurt Elling
Kurt Elling, vocals; Laurence Hobgood, piano; John McLean, guitar; Clark Sommers, bass; Kendrick Scott, drums
Gretchen Parlato & Lionel Loueke with special guest Becca Stevens
Gretchen Parlato, vocals, strings; Lionel Loueke, guitar, vocals; special guest Becca Stevens, vocals, ukelele, guitar, charango
Ryan Truesdell’s Gil Evans Centennial Project
Ryan Truesdell, conductor; Steve Wilson, reeds; Charles Pillow, reeds; Rich Perry, reeds; Donny McCaslin, reeds; Scott Robinson, reeds; TBA, bassoon; TBA, french horn; TBA, french horn, Tony Kadleck, trumpet; Greg Gisbert, trumpet: Laurie Frink, trumpet; Ryan Kaberle, trombone; Marshall Gilkes, trombone; George Flynn, trombone; TBA, tuba; Lage Lund, guitar; Frank Kimbrough, piano; Jay Anderson, bass; Lewis Nash, drums; Dan Weiss, tabla; Dave Eggar, tenor violin; Gretchen Parlato, voice
Ambrose Akinmusire Quintet
Ambrose Akinmusire, trumpet; Walter Smith III, tenor saxophone; Sam Harrison, piano; Harish Raghavan, bass; Justin Brown, drums
3 Cohens: Yuval, Anat & Avishai Cohen
Yuval Cohen, soprano saxophone; Anat Cohen, clarinet, tenor saxophone; Avishai Cohen, trumpet; Omer Avital, bass; Johnathan Blake, drums; Aaron Goldberg, piano
John Hollenbeck’s Claudia Quintet + 1
John Hollenbeck, drums, percussion, keyboards; Red Wierenga, accordion; Chris Speed, clarinet, tenor saxophone; Matt Moran, vibraphone; Drew Gress, bass; Matt Mitchell, piano; special guest Theo Bleckmann, vocals
Tedeschi Trucks Band
Susan Tedeschi, vocals, guitar; Derek Trucks, guitar; Oteil Burbridge, bass; Kofi Burbridge, keys; Mike Mattison, vocals; Mark Rivers, vocals; J.J. Johnson, drums; Tyler Greenwell, drums; Maurice Brown, trumpet; Kebbi Williams, saxophone; Saunders Sermons, trombone
Vince Giordano & The Nighthawks
Vince Giordano, tuba, bass, bass saxophone; Andy Stein, violin, baritone saxophone; Michael Ponella, trumpet; Jon-Erik Kellso, trumpet; Jim Fryer, trombone; Dan Block, alto saxophone; Dan Levinson, alto saxophone; Mark Lopeman, tenor saxophone; Peter Yarin, piano; Arnie Kinsella, drums; Ken Salvo, guitar, banjo
Jason Moran and the Bandwagon
Jason Moran, piano; Tarus Mateen, bass; TBA, drums
Maria Schneider Orchestra
Maria Schneider, composer, conductor; Steve Wilson, reeds; Charles Pillow, reeds; Rich Perry, reeds; Donny McCaslin, reeds; Scott Robinson, reeds; Tony Kadleck, trumpet; Greg Gisbert, trumpet; Laurie Frink, trumpet; Ingrid Jensen, trumpet; Keith O’Quinn, trombone; Ryan Kaberle, trombone; Marshall Gilkes, trombone; George Flynn, trombone; TBA, accordion; Lage Lund, guitar; Frank Kimbrough, piano; Jay Anderson, bass; Clarence Penn, drums; Ken Jablonsky, sound technician;
Jenny Scheinman & Bill Frisell
Jenny Scheinman, violin; Bill Frisell, guitar
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Tuesday, March 13th, 2012
 A membership of $60 or higher entitles you to a copy of 1957-58 Wes Montgomery.
Get your copy and a 22-page booklet during our spring fundraiser, April 11-20.
Wes Montgomery, perhaps the most important jazz guitarist of all time, recorded a live session that never made it on to vinyl. Resonance Records has mastered the session and released it on CD. On this release, Montgomery is raw genius, swinging be-bop style, and surrounded with great musicians.
Personnel: Wes Montgomery (guitar), Melvin Rhyne (piano, organ), Earl Van Riper, Buddy Montgomery (piano), Sonny Johnson and Paul Parker (drums)
Liner Note Authors: Dan Morgenstern, David Baker, Michael Cuscuna, Monk Montgomery, Pat Martino, Bill Milkowski and Buddy Montgomery
Recording information: Hub Bub, Indianapolis (1957-1958) and Indianapolis (1957-1958).
Photographers: Duncan P. Scheidt and Adrian Ingram
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