Both piano icon Hank Jones and legendary singer Abbey Lincoln are recovering from health issues at St John's hospital in NYC. Jones, 88, had heart failure and Lincoln, 11 years younger, also had respiratory difficulties. Wishing them both complete recovery.
Saturday, March 24, 2007
A good week for music
Jazz First
by Michael ‘Jazzofonik’ Edwards
The week that was
The past week proved as good for music as it did for cricket, with stars old and new coming to the fore.
Firstly, the new. On Sunday last, the former Studio A at the CPTC was re-opened (having been rebuilt after a devastating 2005 fire) and re-named in honour of broadcast legend Wycliffe Bennett.
The sprightly honouree was his usual quiet yet effusive self, but the real highlight for this writer was being able to witness the emergence of two stunning new talents. First violinist Nadje Leslie, a prodigy if ever one was worthy of the term and already a delightful entertainer at thirteen. Then, altoist Dwayne Foster who, but for the fact that he wasn’t playing tenor, gave off the air of a young Dexter Gordon: very relaxed and fluid on his instrument — in command and enjoying every moment of it.
The pair would return on Tuesday evening at the 3M-sponsored cocktail hour at the new Caribbean Business Club in New Kingston (a neat concept, and well executed), performing separately as well as together. This is one of the most heartening developments in the recent annals of our music, to see young people with this level of proficiency but moreover with a clear love for the artform and an apparent desire to make music their life focus.
Sunday was also special for the renewal of Jazz On The Green, a show which has gotten progressively better over it’s four-year run. Like myself, Basil Walters was on hand and submitted the following review:
On a rather humid afternoon attended at one stage by a brief light drizzle, there was nothing green about the musical performances in this venue, with its care-free ambience in which patrons could lyme and enjoy the music and tasty delights (courtesy of Lorraine Fung).
The sound quality and general management ensured that the event was one filled with sweet music of international standards. The Desi Jones-led Green House Effect opened the gig, setting the tone for a for the wider variety of entertainment that was to come.
Among the outstanding performers was Tanice Morris, the first solo act. Morris gave an emotionally charged performance, beginning her stint with ‘Jazzin’ (a take on Marley’s Jammin’). Having received a welcome response, she consolidated her stay with a pleasing rendition of Alfie and followed with the oft-performed Etta James classic, At Last.
It was then time for the Jamaica Big Band under the direction of Sonny Bradshaw. The expansive aggregation enlivened things with Take The A Train, Confucius and Satin Doll, before the welcome intervention of Myrna Hague who journeyed through Streets Of Kingston, adding That’s Life before taking off on Fly Me To The Moon. After she departed the stage the Big Band continued where it left off with Rukumbine, Everyday Blues, and Perez Prado’s Cherry Pink & Apple Blossom White with competing single-note runs from the horn section.
An ensemble from the School of Music under the direction of Michael ‘Ibo’ Cooper, demonstrated a general desire towards refinement with a great deal of improvisation. Sarena Constantine stood out with an impressive interpretation of Ben E King’s old standby, I Who Have Nothing.
Dr Kathy Brown promised a musical journey encompassing Mexico (Bull Fight), South Africa and her own composition, a romp entitled Godfather.
Benjy Myaz and Friends featuring gospel saxophonist, Courtney Fadlin, played a short, set of trademark smooth jazz and was especially pleasing on People Make The World Go Round. Although time did not allow for him to have extended himself, Fadlin lived up to his reputation with ease and dexterity with a few bluesy numbers.
Karen Smith was in her usual impeccable form, gliding effortlessly through They Can’t Take That Away From Me and A Wonderful Day Like Today. Jazz On The Green ended with a delightful uptempo jam session featuring master saxophonist Dean Fraser, Christopher McDonald on keyboards, Desi Jones on drums and Dwight Richards whose take, on vocal of Marvin Gaye’s hit, What’s Going On was sweet music to the ears. Proceeds from the event go towards the construction of a multi-skill training centre in Spanish Town.
Christopher’s Jazz Cafe was this past Tuesday the scene of yet another series-topping outing in its ongoing Tuesday Live sessions. Host Seretse Small on guitar joined bassist Carl Gibson and drummer Wendell Lawrence (his regular rhythm section) as well as keyboardist Courick Clarke to lay down what must rank among the top five sessions in the series (at least among those witnessed by this writer). Lawrence, in particular distilled his every solo to it’s purest musical essence. If this is the stuff of which Seretse and the True Democrats are made (they’re presently recording), then my vote is assured.
On Thursday, the focus shifted to the singers with the leggy Althea ‘Di Chic’ Hewitt putting her compelling presence and throaty trill to good use on covers of Anita Baker and other chanteuses.
Two jazz legends meet in hospital
It was an unlikely reunion in the most unlikely of places for Hank Jones and Abbey Lincoln Moseka, two jazz legends whose paths crossed again last Tuesday at St Luke’s Hospital.
Jones, 88, has been playing the piano for over 60 years. He recorded with Charlie Parker and Ella Fitzgerald, among others, and played for TV’s The Ed Sullivan Show for many years.
The 77-year-old Lincoln Moseka grew up in Chicago as Anna Marie Wooldridge (a former manager gave her the stage name Abbey Lincoln). She came to New York in her 20s and sang at the Village Vanguard, later marrying jazz and bebop drummer-composer Max Roach (they divorced in the 1960s) and starring in several films.
Jones suffered a massive heart attack, while Lincoln had several complications: heart failure, pulmonary edema (where the lungs fill with fluid) and difficulty breathing.
Both are recovering and they have our prayers for complete healing.
A quick Riff
What with cricket and other commitments, haven’t been able to keep up with Riffin’ on FM93 the way I’d like to (Is there any way the programmes can be packaged for compilation, Dermot? — what a gift of music that would be). I did manage, however to catch a bit of the always haunting, always compelling African master Salif Keita. Talk about the perfect end to a musical week.
Till next time, keep swingin’.
by Michael ‘Jazzofonik’ Edwards
The week that was
The past week proved as good for music as it did for cricket, with stars old and new coming to the fore.
Firstly, the new. On Sunday last, the former Studio A at the CPTC was re-opened (having been rebuilt after a devastating 2005 fire) and re-named in honour of broadcast legend Wycliffe Bennett.
The sprightly honouree was his usual quiet yet effusive self, but the real highlight for this writer was being able to witness the emergence of two stunning new talents. First violinist Nadje Leslie, a prodigy if ever one was worthy of the term and already a delightful entertainer at thirteen. Then, altoist Dwayne Foster who, but for the fact that he wasn’t playing tenor, gave off the air of a young Dexter Gordon: very relaxed and fluid on his instrument — in command and enjoying every moment of it.
The pair would return on Tuesday evening at the 3M-sponsored cocktail hour at the new Caribbean Business Club in New Kingston (a neat concept, and well executed), performing separately as well as together. This is one of the most heartening developments in the recent annals of our music, to see young people with this level of proficiency but moreover with a clear love for the artform and an apparent desire to make music their life focus.
Sunday was also special for the renewal of Jazz On The Green, a show which has gotten progressively better over it’s four-year run. Like myself, Basil Walters was on hand and submitted the following review:
On a rather humid afternoon attended at one stage by a brief light drizzle, there was nothing green about the musical performances in this venue, with its care-free ambience in which patrons could lyme and enjoy the music and tasty delights (courtesy of Lorraine Fung).
The sound quality and general management ensured that the event was one filled with sweet music of international standards. The Desi Jones-led Green House Effect opened the gig, setting the tone for a for the wider variety of entertainment that was to come.
Among the outstanding performers was Tanice Morris, the first solo act. Morris gave an emotionally charged performance, beginning her stint with ‘Jazzin’ (a take on Marley’s Jammin’). Having received a welcome response, she consolidated her stay with a pleasing rendition of Alfie and followed with the oft-performed Etta James classic, At Last.
It was then time for the Jamaica Big Band under the direction of Sonny Bradshaw. The expansive aggregation enlivened things with Take The A Train, Confucius and Satin Doll, before the welcome intervention of Myrna Hague who journeyed through Streets Of Kingston, adding That’s Life before taking off on Fly Me To The Moon. After she departed the stage the Big Band continued where it left off with Rukumbine, Everyday Blues, and Perez Prado’s Cherry Pink & Apple Blossom White with competing single-note runs from the horn section.
An ensemble from the School of Music under the direction of Michael ‘Ibo’ Cooper, demonstrated a general desire towards refinement with a great deal of improvisation. Sarena Constantine stood out with an impressive interpretation of Ben E King’s old standby, I Who Have Nothing.
Dr Kathy Brown promised a musical journey encompassing Mexico (Bull Fight), South Africa and her own composition, a romp entitled Godfather.
Benjy Myaz and Friends featuring gospel saxophonist, Courtney Fadlin, played a short, set of trademark smooth jazz and was especially pleasing on People Make The World Go Round. Although time did not allow for him to have extended himself, Fadlin lived up to his reputation with ease and dexterity with a few bluesy numbers.
Karen Smith was in her usual impeccable form, gliding effortlessly through They Can’t Take That Away From Me and A Wonderful Day Like Today. Jazz On The Green ended with a delightful uptempo jam session featuring master saxophonist Dean Fraser, Christopher McDonald on keyboards, Desi Jones on drums and Dwight Richards whose take, on vocal of Marvin Gaye’s hit, What’s Going On was sweet music to the ears. Proceeds from the event go towards the construction of a multi-skill training centre in Spanish Town.
Christopher’s Jazz Cafe was this past Tuesday the scene of yet another series-topping outing in its ongoing Tuesday Live sessions. Host Seretse Small on guitar joined bassist Carl Gibson and drummer Wendell Lawrence (his regular rhythm section) as well as keyboardist Courick Clarke to lay down what must rank among the top five sessions in the series (at least among those witnessed by this writer). Lawrence, in particular distilled his every solo to it’s purest musical essence. If this is the stuff of which Seretse and the True Democrats are made (they’re presently recording), then my vote is assured.
On Thursday, the focus shifted to the singers with the leggy Althea ‘Di Chic’ Hewitt putting her compelling presence and throaty trill to good use on covers of Anita Baker and other chanteuses.
Two jazz legends meet in hospital
It was an unlikely reunion in the most unlikely of places for Hank Jones and Abbey Lincoln Moseka, two jazz legends whose paths crossed again last Tuesday at St Luke’s Hospital.
Jones, 88, has been playing the piano for over 60 years. He recorded with Charlie Parker and Ella Fitzgerald, among others, and played for TV’s The Ed Sullivan Show for many years.
The 77-year-old Lincoln Moseka grew up in Chicago as Anna Marie Wooldridge (a former manager gave her the stage name Abbey Lincoln). She came to New York in her 20s and sang at the Village Vanguard, later marrying jazz and bebop drummer-composer Max Roach (they divorced in the 1960s) and starring in several films.
Jones suffered a massive heart attack, while Lincoln had several complications: heart failure, pulmonary edema (where the lungs fill with fluid) and difficulty breathing.
Both are recovering and they have our prayers for complete healing.
A quick Riff
What with cricket and other commitments, haven’t been able to keep up with Riffin’ on FM93 the way I’d like to (Is there any way the programmes can be packaged for compilation, Dermot? — what a gift of music that would be). I did manage, however to catch a bit of the always haunting, always compelling African master Salif Keita. Talk about the perfect end to a musical week.
Till next time, keep swingin’.
Wednesday, March 21, 2007
Friends of Jazz 4
The monthly 'meeting' of Friends of Jazz returrns to The Verndah
(the outdoor venue in front of Pulse headquarters)
this April Fools Day, April 1, beginning at 4:00 pm
Maestro Sonny Bradshaw convenes the usual cast as
they prepare for June's Jazz Month and the Ocho Rios
International Jazzz fest
(the outdoor venue in front of Pulse headquarters)
this April Fools Day, April 1, beginning at 4:00 pm
Maestro Sonny Bradshaw convenes the usual cast as
they prepare for June's Jazz Month and the Ocho Rios
International Jazzz fest
Thursday, March 15, 2007
Cricket wins - for now
Haven't dropped off the face of the earth, but
caught up in the sights and sounds
of the historic Cricket World Cup
I'll be back soon with lots of new stuff and to resume
the outstanding matters
mike
caught up in the sights and sounds
of the historic Cricket World Cup
I'll be back soon with lots of new stuff and to resume
the outstanding matters
mike
Thursday, March 01, 2007
Jazofonik Feb 25
When bad sound happens to good players
Jazz First
Blues on the Green review
by Michael 'Jazzofonik' Edwards
Sunday, February 25, 2007
Ordinarily, our reviews of live music would not make much of the sound, or would reserve comment on that aspect of the production until the performances had been addressed.
But the acoustics at the 12th annual Blues on the Green concert, staged by the Public Affairs office of the US embassy at Devon house east on Friday evening, were so unqualifiedly awful that, but for the heroic efforts of AJ Brown in particular, there would have been little to enjoy of the first half.
Members of the band Little Feat in Negril.
Ever audience-friendly, Brown not only managed to inject a bona fide blues number into the programme, the BB King standard, The Thrill Is Gone, but skilfully traversed a diverse pop/r&b landscape, beginning with Al Jarreau's bouncy Roof Garden (punctuated near the end with leaps and splits) and culminating in a kind of 'Hitsville' cabaret, with numbers like My Girl and On Broadway (erroneously if understandably credited by Brown to George Benson) being tossed out to the audience like souvenirs.
Prior to that saxophonist Dean Fraser again confirmed that he is a musician in need of a programme. Bringing on percussionist Denver Smith to augment the 'house band' of Maurice Gordon, Othneil Lewis, Gibby and Tony 'Ruption' Williams, Fraser managed a tolerable sequence that included his own composition African Nation, followed by a Bob Marley suite: Small Axe, segueing into Africa Unite and Redemption Song, changing horns in between songs (note to organisers/artistes: a horn rack would have speeded up such transition). Fraser showed plenty of chops, but his solos lacked a core, some unifying element. Musically, it was a case of 'no fixed abode' but the crowd ate it up.
The Maurice Gordon Group, with Dwayne Livingston in on bass for Gibby, ran casually through a number of Gordon chestnuts, played a tribute to the late great Jackie Mittoo, and, as he has in the past several shows, Gordon dedicated The Magic In You to his mother and to women in general.
By this time, the sound quality had picked up discernibly on the instruments, but remained inconsistent in the vocal mike, just in time for the main act, blues diva Zora Young, to take the stage.
Not quite as ebullient as some of the previous Blues on the Green guests (Sista Monica and Francine Reed come to mind) Young was nevertheless in good form and managed to connect with the audience (majority female) on Girlfriend, a saucy warning to a busybody neighbour and would-be home-wrecker.
But at this point, having romped through Rock Me All Night Long and another blues standard, the audience had reached its critical mass for blues absorption and the movement toward the exit began.
The Blues on the Green had built a sterling reputation for providing quality entertainment (whether it included blues or jazz artistes). The organisers, who have done a most commendable job in promoting the artform, may want to consider taking the line-up to another level, possibly with a full blues band. As for the sound, we'll chalk it up to a bad night on the part of the engineers and look forward to what 2008 brings.
Festival time - in Jamaica...
It may not have the visibility of its January counterpart but the International Jamaica Ocho Rios Jazz Festival June 9-17, 2007, will celebrate 17 years of largely straight-ahead jazz.
The launch takes place May 10 at the Acropolis, and this year's programme includes Jazz Coffee in the Mountains (June 9), the South Coast Jazz fest (June 16) as well as satellite events and free concerts at various venues. Watch this space for updates.
....And around the world
On festivals further afield, the island of Tobago should be bursting at the seams, and just after the end of Cricket World Cup, as the third Plymouth Tobago Jazz festival gets underway the weekend of April 27 through 29. In what has become typical of these events, the line-up is eclectic, but skewed toward pop and r&b. Headliners include Sir Elton John, Al Green, Earth Wind & Fire, Gladys Knight and LL Cool J, with Jamaica represented through Beres Hammond and Sean Paul.
In May, the action shifts to St Lucia, site of arguably the best known of the Caribbean jazz festivals, now in its 16th year. Saxophone titan David Murray, Brazilian vocal 'best-kept secret' Tania Maria, r&b hipster John Legend, and smooth jazz legends Will Downing, Gerald Albright, Norman Brown, Isaac Hayes, Natalie Cole and Al Jarreau in tandem with George Benson, will join local hero Boo Hinkson and friends on the main stage from May 10 through 13. There will also be a Jazz in the South package as well as Jazz In Fond D' Or.
For those seeking to make an early motherland connection (S Africa is set to host the football World Cup in 2010), the Cape Town International Jazz Festival is one of the most notable on the continent and draws a record 40 artistes, playing on five stages for two days in what is touted as Africa's grandest gathering.
Now in its eighth year, it will take place yet again at the South African city's International Conference Centre from March 30-31. Notable artistes this year include legendary US jazz pianist Joe Sample and US soul-jazz diva Randy Crawford. World-famous, Grammy-winning South African vocal group, Ladysmith Black Mambazo are also on the bill. The other attraction this year will be the Standard Bank National Youth Jazz Band where each member is a highly competent musician.Links
Jazz First
Blues on the Green review
by Michael 'Jazzofonik' Edwards
Sunday, February 25, 2007
Ordinarily, our reviews of live music would not make much of the sound, or would reserve comment on that aspect of the production until the performances had been addressed.
But the acoustics at the 12th annual Blues on the Green concert, staged by the Public Affairs office of the US embassy at Devon house east on Friday evening, were so unqualifiedly awful that, but for the heroic efforts of AJ Brown in particular, there would have been little to enjoy of the first half.
Members of the band Little Feat in Negril.
Ever audience-friendly, Brown not only managed to inject a bona fide blues number into the programme, the BB King standard, The Thrill Is Gone, but skilfully traversed a diverse pop/r&b landscape, beginning with Al Jarreau's bouncy Roof Garden (punctuated near the end with leaps and splits) and culminating in a kind of 'Hitsville' cabaret, with numbers like My Girl and On Broadway (erroneously if understandably credited by Brown to George Benson) being tossed out to the audience like souvenirs.
Prior to that saxophonist Dean Fraser again confirmed that he is a musician in need of a programme. Bringing on percussionist Denver Smith to augment the 'house band' of Maurice Gordon, Othneil Lewis, Gibby and Tony 'Ruption' Williams, Fraser managed a tolerable sequence that included his own composition African Nation, followed by a Bob Marley suite: Small Axe, segueing into Africa Unite and Redemption Song, changing horns in between songs (note to organisers/artistes: a horn rack would have speeded up such transition). Fraser showed plenty of chops, but his solos lacked a core, some unifying element. Musically, it was a case of 'no fixed abode' but the crowd ate it up.
The Maurice Gordon Group, with Dwayne Livingston in on bass for Gibby, ran casually through a number of Gordon chestnuts, played a tribute to the late great Jackie Mittoo, and, as he has in the past several shows, Gordon dedicated The Magic In You to his mother and to women in general.
By this time, the sound quality had picked up discernibly on the instruments, but remained inconsistent in the vocal mike, just in time for the main act, blues diva Zora Young, to take the stage.
Not quite as ebullient as some of the previous Blues on the Green guests (Sista Monica and Francine Reed come to mind) Young was nevertheless in good form and managed to connect with the audience (majority female) on Girlfriend, a saucy warning to a busybody neighbour and would-be home-wrecker.
But at this point, having romped through Rock Me All Night Long and another blues standard, the audience had reached its critical mass for blues absorption and the movement toward the exit began.
The Blues on the Green had built a sterling reputation for providing quality entertainment (whether it included blues or jazz artistes). The organisers, who have done a most commendable job in promoting the artform, may want to consider taking the line-up to another level, possibly with a full blues band. As for the sound, we'll chalk it up to a bad night on the part of the engineers and look forward to what 2008 brings.
Festival time - in Jamaica...
It may not have the visibility of its January counterpart but the International Jamaica Ocho Rios Jazz Festival June 9-17, 2007, will celebrate 17 years of largely straight-ahead jazz.
The launch takes place May 10 at the Acropolis, and this year's programme includes Jazz Coffee in the Mountains (June 9), the South Coast Jazz fest (June 16) as well as satellite events and free concerts at various venues. Watch this space for updates.
....And around the world
On festivals further afield, the island of Tobago should be bursting at the seams, and just after the end of Cricket World Cup, as the third Plymouth Tobago Jazz festival gets underway the weekend of April 27 through 29. In what has become typical of these events, the line-up is eclectic, but skewed toward pop and r&b. Headliners include Sir Elton John, Al Green, Earth Wind & Fire, Gladys Knight and LL Cool J, with Jamaica represented through Beres Hammond and Sean Paul.
In May, the action shifts to St Lucia, site of arguably the best known of the Caribbean jazz festivals, now in its 16th year. Saxophone titan David Murray, Brazilian vocal 'best-kept secret' Tania Maria, r&b hipster John Legend, and smooth jazz legends Will Downing, Gerald Albright, Norman Brown, Isaac Hayes, Natalie Cole and Al Jarreau in tandem with George Benson, will join local hero Boo Hinkson and friends on the main stage from May 10 through 13. There will also be a Jazz in the South package as well as Jazz In Fond D' Or.
For those seeking to make an early motherland connection (S Africa is set to host the football World Cup in 2010), the Cape Town International Jazz Festival is one of the most notable on the continent and draws a record 40 artistes, playing on five stages for two days in what is touted as Africa's grandest gathering.
Now in its eighth year, it will take place yet again at the South African city's International Conference Centre from March 30-31. Notable artistes this year include legendary US jazz pianist Joe Sample and US soul-jazz diva Randy Crawford. World-famous, Grammy-winning South African vocal group, Ladysmith Black Mambazo are also on the bill. The other attraction this year will be the Standard Bank National Youth Jazz Band where each member is a highly competent musician.Links
Wednesday, February 21, 2007
Friends of Jazz
Friends of Jazz
THIRD MONTHLY MEETING - at a new venue
SUNDAY 4TH MARCH 2007
4 - 7 P.M.
at THE ACROPOLIS
BARBICAN ROAD
SONNY BRADSHAW &
THE JAZZ MOBILE
plus
MAIN SPEAKERS
* MARJORIE WHYLIE-WHRYTHM *JACKIE JACKSON-Bass
*DESI JONES/ -Drums
* MAURICE GORDON-Guitar
*
*SONNY BRADSHAW–Trumpet/Flugelhorn
*OUIDA LEWIS-Percussion/Tap Dance
*DEAN FRASER-Saxophones
*MYRNA HAGUE, MARY ISAACS-Vocals
D.J. JAZZ CD’s - Monte Blake, Keith Brown, Michael Edwards, Harry Graham,
Herbie Miller, Carl Percy, Michael Sharpe, Don Topping, Michael Williams
THIRD MONTHLY MEETING - at a new venue
SUNDAY 4TH MARCH 2007
4 - 7 P.M.
at THE ACROPOLIS
BARBICAN ROAD
SONNY BRADSHAW &
THE JAZZ MOBILE
plus
MAIN SPEAKERS
* MARJORIE WHYLIE-WHRYTHM *JACKIE JACKSON-Bass
*DESI JONES/ -Drums
* MAURICE GORDON-Guitar
*
*SONNY BRADSHAW–Trumpet/Flugelhorn
*OUIDA LEWIS-Percussion/Tap Dance
*DEAN FRASER-Saxophones
*MYRNA HAGUE, MARY ISAACS-Vocals
D.J. JAZZ CD’s - Monte Blake, Keith Brown, Michael Edwards, Harry Graham,
Herbie Miller, Carl Percy, Michael Sharpe, Don Topping, Michael Williams
Wednesday, February 14, 2007
Danish Whirl #1 - the Intro
Well, here I am , two days late, but beginning nonetheless.
Beyond what's in my profile, I have been a devotee of amny
diffeenttypes of music from a very early age.
My introductions to jazz came fisrt, at home, to the likes of Oscar
Peterson and Fausto Papetti, then via my uncle, to Milestones-era
Miles Davis and other similar artists.
During the 80s, hip hop intervened, and a lot of my teen years
were consumed with that genre aswell as with the then burgeoning
dancehall.
Withthe advent of gangsterism in both genres, I soured on them and returned
to jazz towards the end of the 80s
Writing as a freelancer - initially - for the Jamaica Observer newspaper
gave me increased acess to live performances locally, including the
Air jamaica jazz and Blues festival (which I had been ionvolved with, in
another capacity, from its inception).
At the 2004 festival, I met Chris Porter, then editor of Jazz Times magazine
in the US. We quickly struck up a friendship and shortly thereafter, I became a
Jazz Times contributor - doing predominantly CDreviews, but also a few
features.
The following year, I meagre Cd collection, and convivnced the owner of a local
coffee shop/Intenet cafe, Cafe Whats On Jamaica, to let me play Cds there on
Thursday nights. Often it would be myself, the wiater and a couple of security guards
who heard the music, but every so often, people would walk in and I would
engage them in conversation about what they were hearing (or they would often
open with a comment).
With both my confidence and reputation as someone with a great deal of interest
and a fair bit of knowledge about about jazz, I began to think of other initiatives
to promote appreciation for and acceptance of jazz in Jamaica, as well as
promoting Jamaica's rich history in the art form to the world. This blog is
thus far, the prinicpal outgrowth of those thoughts, and through jazz websites,
bulletin boards (like allaboutjazz.com) and email, I was making
contacts with jazz musicians, record execs, club owners and other aficionados
form around the world.
One of those wasa young musician form Denmark. This association was to
forcefully bring home the dangers of acting on enthusiasm and a little knowledge
without experience or wisdom
next post: Friday February 16
Happy Valentine's Day all
Beyond what's in my profile, I have been a devotee of amny
diffeenttypes of music from a very early age.
My introductions to jazz came fisrt, at home, to the likes of Oscar
Peterson and Fausto Papetti, then via my uncle, to Milestones-era
Miles Davis and other similar artists.
During the 80s, hip hop intervened, and a lot of my teen years
were consumed with that genre aswell as with the then burgeoning
dancehall.
Withthe advent of gangsterism in both genres, I soured on them and returned
to jazz towards the end of the 80s
Writing as a freelancer - initially - for the Jamaica Observer newspaper
gave me increased acess to live performances locally, including the
Air jamaica jazz and Blues festival (which I had been ionvolved with, in
another capacity, from its inception).
At the 2004 festival, I met Chris Porter, then editor of Jazz Times magazine
in the US. We quickly struck up a friendship and shortly thereafter, I became a
Jazz Times contributor - doing predominantly CDreviews, but also a few
features.
The following year, I meagre Cd collection, and convivnced the owner of a local
coffee shop/Intenet cafe, Cafe Whats On Jamaica, to let me play Cds there on
Thursday nights. Often it would be myself, the wiater and a couple of security guards
who heard the music, but every so often, people would walk in and I would
engage them in conversation about what they were hearing (or they would often
open with a comment).
With both my confidence and reputation as someone with a great deal of interest
and a fair bit of knowledge about about jazz, I began to think of other initiatives
to promote appreciation for and acceptance of jazz in Jamaica, as well as
promoting Jamaica's rich history in the art form to the world. This blog is
thus far, the prinicpal outgrowth of those thoughts, and through jazz websites,
bulletin boards (like allaboutjazz.com) and email, I was making
contacts with jazz musicians, record execs, club owners and other aficionados
form around the world.
One of those wasa young musician form Denmark. This association was to
forcefully bring home the dangers of acting on enthusiasm and a little knowledge
without experience or wisdom
next post: Friday February 16
Happy Valentine's Day all
Friday, February 09, 2007
Danish Whirl
Beginning Monday (Febrary 12, wath for regular posts
on my disastrous but ultimately educational experience
in bringing Danish group The Hoeg Quartet to perform
in Jamaica.
The posts will appear Mondays Wednesdays and Fridays thereafter, through
March 2
on my disastrous but ultimately educational experience
in bringing Danish group The Hoeg Quartet to perform
in Jamaica.
The posts will appear Mondays Wednesdays and Fridays thereafter, through
March 2
Wednesday, February 07, 2007
Moonlicks @ Lyme Key
Moonlicks - Ginetta & more at Lyme Key
Jazz First
by Michael 'Jazzofonik' Edwards
Sunday, February 04, 2007
Whether it was the full moon or just the novelty of a new location, a fired-up Maurice Gordon Trio
(Dwayne Livingston on bass and Chris Tyrell on drums with Gordon on guitar) backed an equally fired-up
Ginetta - known to Jamaican jazz aficionados as Ginetta's Vendetta when she plays with her own band, on
Tuesday night at the Lyme Key restaurant and bar.
Ginetta, here on her fourth visit, said she can't get enough of Jamaica. "I love everything - the weather, the food,
the great talent you have here, and just the people. Everyone is so warm and you've always been good to me everytime
I come."
Jamaican hospitality put Ginetta in a sufficiently good mood to duet with special guest Strangeah Cole on his classic
Bangarang, her pocket trumpet notes and sly vocal asides, a delightful counterpoint to Cole's raspy straight-ahead
delivery. As Strangeah himself was apt to bellow throughout the night, feels good!
Jazz First
by Michael 'Jazzofonik' Edwards
Sunday, February 04, 2007
Whether it was the full moon or just the novelty of a new location, a fired-up Maurice Gordon Trio
(Dwayne Livingston on bass and Chris Tyrell on drums with Gordon on guitar) backed an equally fired-up
Ginetta - known to Jamaican jazz aficionados as Ginetta's Vendetta when she plays with her own band, on
Tuesday night at the Lyme Key restaurant and bar.
Ginetta, here on her fourth visit, said she can't get enough of Jamaica. "I love everything - the weather, the food,
the great talent you have here, and just the people. Everyone is so warm and you've always been good to me everytime
I come."
Jamaican hospitality put Ginetta in a sufficiently good mood to duet with special guest Strangeah Cole on his classic
Bangarang, her pocket trumpet notes and sly vocal asides, a delightful counterpoint to Cole's raspy straight-ahead
delivery. As Strangeah himself was apt to bellow throughout the night, feels good!
Friday, February 02, 2007
Yasek Manzano - Farley Hill National Park
From a great photographer (that word is used too loosely but this guy is great) and a terrific guy, Bill King comes this shot of Cuban trumpeter Yasek(q?) Manzano who, in my opinion,was one of the finds of the week-long Barbados jazz festival
Tuesday, January 30, 2007
Air J Jazz fest final night
Some jazz did show up at the Air jamaica Jazz and Blues festival on Saturday night. The New Stylistics
wowed the crowd, but my pick for the night remains Earth Wind & Fire
Strings, swing and the 70s Air Jamaica Jazz & Blues review
MICHAEL A EDWARDS
IN putting Saturday night’s superlative closing presentation at the Rose Hall aqueduct into context, we have to the late former prime minister Michael Manley. Floridabased group Strings set a mellow tone to be gin; jazz showed up, bouncy, unassuming yet unapologetic, in the person of Monty Alexander and a wisely chosen crew of special guests; said jazz embraced reggae, with no compromise or dilution on the part of either; and a pair of soul supergroups that blossomed in the 1970s, gave a lesson the musical spirit of that era, a lesson not lost on latterday soul journeyman Anthony Hamilton, who appeared in between.
In short, the word on Saturday night was love.
In the generally narrow band of music appreciation that prevails among Jamaicans, Earth Wind and Fire means Reasons and little else. The hordes who streamed into the front of stage area - and clogged the space with their folding chairs (more on that later) were expecting the group to deliver their landmark hit
immediately and for the love-fest to begin - but Phillip Bailey, Verdeen White and company flipped the script.
With the volume levels turned up - way up - the band launched a blistering funk attack that proved severe enough to drive many of the uncommitted away from proximity to the speakers.
The remaining faithful, and the rest of the large audience, were eventually rewarded with the prized tune, part of a suite of ballads that also included In My Heart Tonight and After The Love Is Gone. Thereafter, its was ‘hitsville’ a potpourri of some of their biggest numbers, including Let’s Groove, Got To Get You Into My Life, Devotion and September. The band members exited the stage at this point, prompting some to believe the show was over, but the faithful new better. When they returned and struck up the opening bars of That’s The Way Of The World, one got a sensation of satisfaction very much akin to completing a superlative meal at a five-star restaurant.
Russell Thompkins and the New Stylistics earlier offered their own musical buffet, one liberally sprinkled with the love ballads, slick dance moves and tight harmonies that made the original group radio staples. Sharp, seasoned and exuding soulster cool in their neatly tailored powder blue suits, the Stylistics made the Aqueduct into an oasis of good taste, decency and sensitivity.
He may have lacked the sartorial eloquence, but American southerner Anthony Hamilton showed respect for his hosts, as he and his two backup singers were decked out in ‘Jamaica’ T-shirts. Even at the start of his set, there were questions of “Who dis guy?” But if Hamilton came to the MoBay stage a stranger, he certainly left it as a friend, if not a brother. His humility, honesty and genuine affinity for the music came through on selections such as Where I’m From, Charlene, Better Days and Sista Big
Bones, the later a wry compliment to ‘full-figured’ women.
In his umpteenth appearance at the jazzfest, piano man Monty Alexander began with a venture into dub, before retracing his musical journey from Jamaica to the US and around the world.
He got sterling assistance from Freddy Cole (brother to Nat), who sparkled on Route 66 and Straighten Up And Fly Right, from New Orleans native Herlin Riley (an alumnus of trumpeter Wynton Marsalis’ small groups as well as the Jazz @ Lincoln Centre orchestra) on drums; frequent Alexander collaborator, bassist Hassan Shakur and tenor saxophone statesmen Red Holloway and Houston Person. Tony Rebel and Dean Fraser also chipped in to good effect. They set feet a dancing, even as the heavens opened - just briefly- for a moderate shower.
wowed the crowd, but my pick for the night remains Earth Wind & Fire
Strings, swing and the 70s Air Jamaica Jazz & Blues review
MICHAEL A EDWARDS
IN putting Saturday night’s superlative closing presentation at the Rose Hall aqueduct into context, we have to the late former prime minister Michael Manley. Floridabased group Strings set a mellow tone to be gin; jazz showed up, bouncy, unassuming yet unapologetic, in the person of Monty Alexander and a wisely chosen crew of special guests; said jazz embraced reggae, with no compromise or dilution on the part of either; and a pair of soul supergroups that blossomed in the 1970s, gave a lesson the musical spirit of that era, a lesson not lost on latterday soul journeyman Anthony Hamilton, who appeared in between.
In short, the word on Saturday night was love.
In the generally narrow band of music appreciation that prevails among Jamaicans, Earth Wind and Fire means Reasons and little else. The hordes who streamed into the front of stage area - and clogged the space with their folding chairs (more on that later) were expecting the group to deliver their landmark hit
immediately and for the love-fest to begin - but Phillip Bailey, Verdeen White and company flipped the script.
With the volume levels turned up - way up - the band launched a blistering funk attack that proved severe enough to drive many of the uncommitted away from proximity to the speakers.
The remaining faithful, and the rest of the large audience, were eventually rewarded with the prized tune, part of a suite of ballads that also included In My Heart Tonight and After The Love Is Gone. Thereafter, its was ‘hitsville’ a potpourri of some of their biggest numbers, including Let’s Groove, Got To Get You Into My Life, Devotion and September. The band members exited the stage at this point, prompting some to believe the show was over, but the faithful new better. When they returned and struck up the opening bars of That’s The Way Of The World, one got a sensation of satisfaction very much akin to completing a superlative meal at a five-star restaurant.
Russell Thompkins and the New Stylistics earlier offered their own musical buffet, one liberally sprinkled with the love ballads, slick dance moves and tight harmonies that made the original group radio staples. Sharp, seasoned and exuding soulster cool in their neatly tailored powder blue suits, the Stylistics made the Aqueduct into an oasis of good taste, decency and sensitivity.
He may have lacked the sartorial eloquence, but American southerner Anthony Hamilton showed respect for his hosts, as he and his two backup singers were decked out in ‘Jamaica’ T-shirts. Even at the start of his set, there were questions of “Who dis guy?” But if Hamilton came to the MoBay stage a stranger, he certainly left it as a friend, if not a brother. His humility, honesty and genuine affinity for the music came through on selections such as Where I’m From, Charlene, Better Days and Sista Big
Bones, the later a wry compliment to ‘full-figured’ women.
In his umpteenth appearance at the jazzfest, piano man Monty Alexander began with a venture into dub, before retracing his musical journey from Jamaica to the US and around the world.
He got sterling assistance from Freddy Cole (brother to Nat), who sparkled on Route 66 and Straighten Up And Fly Right, from New Orleans native Herlin Riley (an alumnus of trumpeter Wynton Marsalis’ small groups as well as the Jazz @ Lincoln Centre orchestra) on drums; frequent Alexander collaborator, bassist Hassan Shakur and tenor saxophone statesmen Red Holloway and Houston Person. Tony Rebel and Dean Fraser also chipped in to good effect. They set feet a dancing, even as the heavens opened - just briefly- for a moderate shower.
Monday, January 22, 2007
Another one-two punch form the Grim Reaper
Was so busy recapping Barbados jazz last week, neglected to mention the sadness of losing two important jazz figures in same day. They may be gone physically, but the musical legacy cannot be erased or spoiled
Another one-two punch form the Grim Reaper
Was so busy recapping Barbados jazz last week, neglected to mention the sadness of losing two important jazz figures in same day. They may be gone physically, but the musical legacy cannot be erased or spoiled
Sunday, January 21, 2007
looking back, looking ahead
Now Is The Time: Looking back,
Jazz First.
BY Michael 'Jazzofonik' Edwards
Sunday, January 21, 2007
The Roman deity Janus whose name was co-opted for the first month in our calendar year, was visually represented as a two-headed man, the heads glancing in opposite directions - one back, one forward.
Goapele
Mythology aside, the analogy seems entirely appropriate, with one music festival (Barbados Jazz) behind, and another (Air Jamaica Jazz and Blues) immediately upon us.
In keeping with the theme, the recap of the Barbados Jazz Festival will be done in reverse. Beginning with the climatic Sunday evening at Farley Hill national park, which unreservedly joins St Lucia's Pigeon Point as one of the region's most attractive jazz venues (we've seen pictures of the new Air Jamaica Jazz venue in preparation, and indications are certainly very favourable, but we'll reserve final judgement until next week).
In a few hours time, the Air Jamaica Jazz & Blues Festival gets underway. This year's version features both an expanded main festival venue, the Rose Hall Aqueduct ground, and an expansion in the number of venues, with shows also slated for Mobay's Half Moon hotel (trumpeter Chuck Mangione and vibist Roy Ayers) as well as the Gardens of the Pegasus in Kingston, which takes the spotlight tonight.
The venue, already known to live music lovers as the home of the Jazz In The Gardens series, will this time host Cuban pop-salsa-funksters Yerba Buena, musical 'oracle' (my term) Marjorie Whylie and her Whylie Whrythms combo and guitarist Maurice Gordon, who can do just about anything he wishes on the instrument.
Over at Rose Hall, the festival gets underway in earnest on its now customary Thursday, with acts drawn from a smorgsbord representing pop, soul and reggae. Yes, the assertion holds true that there's hardly any jazz or blues represented in the Thursday-Sunday run of the event (with the obvious apologies to piano legend, Monty Alexander).
Sure, the hordes of persons heading to Montego Bay will enjoy Earth, Wind & Fire, Michael Bolton, Christopher Cross and the return of Kenny Rogers, but perhaps now with some financial success, festival director Walter Elmore may next year look more sincerely into the vast ocean of both emerging and established jazz/blues acts and scoop out more worthy acts to give the Jazz and Blues name the credibility it deserves.
Jazz First.
BY Michael 'Jazzofonik' Edwards
Sunday, January 21, 2007
The Roman deity Janus whose name was co-opted for the first month in our calendar year, was visually represented as a two-headed man, the heads glancing in opposite directions - one back, one forward.
Goapele
Mythology aside, the analogy seems entirely appropriate, with one music festival (Barbados Jazz) behind, and another (Air Jamaica Jazz and Blues) immediately upon us.
In keeping with the theme, the recap of the Barbados Jazz Festival will be done in reverse. Beginning with the climatic Sunday evening at Farley Hill national park, which unreservedly joins St Lucia's Pigeon Point as one of the region's most attractive jazz venues (we've seen pictures of the new Air Jamaica Jazz venue in preparation, and indications are certainly very favourable, but we'll reserve final judgement until next week).
In a few hours time, the Air Jamaica Jazz & Blues Festival gets underway. This year's version features both an expanded main festival venue, the Rose Hall Aqueduct ground, and an expansion in the number of venues, with shows also slated for Mobay's Half Moon hotel (trumpeter Chuck Mangione and vibist Roy Ayers) as well as the Gardens of the Pegasus in Kingston, which takes the spotlight tonight.
The venue, already known to live music lovers as the home of the Jazz In The Gardens series, will this time host Cuban pop-salsa-funksters Yerba Buena, musical 'oracle' (my term) Marjorie Whylie and her Whylie Whrythms combo and guitarist Maurice Gordon, who can do just about anything he wishes on the instrument.
Over at Rose Hall, the festival gets underway in earnest on its now customary Thursday, with acts drawn from a smorgsbord representing pop, soul and reggae. Yes, the assertion holds true that there's hardly any jazz or blues represented in the Thursday-Sunday run of the event (with the obvious apologies to piano legend, Monty Alexander).
Sure, the hordes of persons heading to Montego Bay will enjoy Earth, Wind & Fire, Michael Bolton, Christopher Cross and the return of Kenny Rogers, but perhaps now with some financial success, festival director Walter Elmore may next year look more sincerely into the vast ocean of both emerging and established jazz/blues acts and scoop out more worthy acts to give the Jazz and Blues name the credibility it deserves.
Friday, January 19, 2007
Hamilton
The Many Flavours of Anthony Hamilton for Air Jamaica Jazz and Blues
When the 2007 Air Jamaica Jazz and Blues Festival touches down in Montego Bay Monday, January 23 – Saturday, January 27, soulful singer Anthony Hamilton will make his second trip to Jamaica. His first time to the island, he came intent on soaking up the triple joys of sun, sand and sea. This time he comes to woo Jamaicans with his gritty, soulful and funky music.
A barber by trade, Anthony Hamilton is looking to cut away worry and expose patrons at the Jazz and Blues Festival to a great time. Soul is the space where the spiritual meets the secular and Hamilton captures that beautiful with a rich sound that speaks eloquently of spiritual hymns revealing his back ground in the church as well as fun-loving funky tracks like Sista Big Bones. Sista Big Bones, a tribute to women with curves is one of the most popular tracks on Hamilton’s current album Ain’t Nobody Worryin.
Hamilton points out that the track is a particular favourite of women with curves. “All the women are like, “ ‘We’re so glad that you made a song about us,’” he says. Born in Charlotte, North Carolina, Mr. Hamilton explains that he grew up with an appreciation for more than skin and bones. “I’m a southern boy,” he says, “and growing up I see those are the women who got it going on.” Revealing a sly sense of humour, Mr. Hamilton explains that the serving of “extra meat” often comes with a side order of “extra personality”.
Ain’t Nobody Worryin has many moods and methods. The album travels from the soaring heights to the murky depths of love with all the joy and pain that is involved. It includes I Know What Love is About that feels like a hymn while Everybody is a very “Reggae-fied” track that will definitely ease Mr. Hamilton’s welcome with Jamaican audiences.
“I understand the spirit behind [Reggae],” Mr. Hamilton says, explaining that Bob Marley and Prince Malachi are among his musical influences. So, he points out that he was attracted to Everybody because it had the feel of authentic Reggae music rather than a “watered down” version.
The spirituality that comes out in is music is by no means accidental or a hold over from another life. Spirituality, he says, is very important to him. “I wouldn’t even be Anthony not doing that,” he says. “I love it, and that’s what I stand for.” Mr. Hamilton points out that he is very interested in the spirit and spirituality that guides traditional black music.
“It’s not just about getting a couple dollars and being with a couple girls in a video,” he says. With a laugh, Mr. Hamilton reveals yet another reason. “My grandmother would whip my butt,” he says. “She’d get up out of the grave and whip me. That’s part of why I do it. I don’t want a whipping.”
His reference to his grandmother’s hand in raising him hints at Mr. Hamilton’s commitment to his family. A father to three sons, Mr. Hamilton speaks of the incomparable joy of having his sons tell him they love him. “My father wasn’t around all along, so I wanted to give them that,” he says.
An understanding of the value of love and family comes through easily with Ain’t Nobody Worryin and Mr. Hamilton admits that a part of what he loves about making music is producing works that mean something to other people. So, not surprisingly, a part of what he is looking forward to at the Air Jamaica Jazz and Blues Festival is to see which songs strike a responsive chord in the Jamaican audience.
Mr. Hamilton reveals that he knows how vocal Jamaican audiences can be and so expects them to tell him what they like and don’t like. He is also hoping to get a bite out of Jamaican culture. Explaining that in New York he has consumed much Jamaican food but he is looking forward to chomping into the real flavour on home ground. And while he does so, Jamaicans can get a chance to savour his flavour.
When the 2007 Air Jamaica Jazz and Blues Festival touches down in Montego Bay Monday, January 23 – Saturday, January 27, soulful singer Anthony Hamilton will make his second trip to Jamaica. His first time to the island, he came intent on soaking up the triple joys of sun, sand and sea. This time he comes to woo Jamaicans with his gritty, soulful and funky music.
A barber by trade, Anthony Hamilton is looking to cut away worry and expose patrons at the Jazz and Blues Festival to a great time. Soul is the space where the spiritual meets the secular and Hamilton captures that beautiful with a rich sound that speaks eloquently of spiritual hymns revealing his back ground in the church as well as fun-loving funky tracks like Sista Big Bones. Sista Big Bones, a tribute to women with curves is one of the most popular tracks on Hamilton’s current album Ain’t Nobody Worryin.
Hamilton points out that the track is a particular favourite of women with curves. “All the women are like, “ ‘We’re so glad that you made a song about us,’” he says. Born in Charlotte, North Carolina, Mr. Hamilton explains that he grew up with an appreciation for more than skin and bones. “I’m a southern boy,” he says, “and growing up I see those are the women who got it going on.” Revealing a sly sense of humour, Mr. Hamilton explains that the serving of “extra meat” often comes with a side order of “extra personality”.
Ain’t Nobody Worryin has many moods and methods. The album travels from the soaring heights to the murky depths of love with all the joy and pain that is involved. It includes I Know What Love is About that feels like a hymn while Everybody is a very “Reggae-fied” track that will definitely ease Mr. Hamilton’s welcome with Jamaican audiences.
“I understand the spirit behind [Reggae],” Mr. Hamilton says, explaining that Bob Marley and Prince Malachi are among his musical influences. So, he points out that he was attracted to Everybody because it had the feel of authentic Reggae music rather than a “watered down” version.
The spirituality that comes out in is music is by no means accidental or a hold over from another life. Spirituality, he says, is very important to him. “I wouldn’t even be Anthony not doing that,” he says. “I love it, and that’s what I stand for.” Mr. Hamilton points out that he is very interested in the spirit and spirituality that guides traditional black music.
“It’s not just about getting a couple dollars and being with a couple girls in a video,” he says. With a laugh, Mr. Hamilton reveals yet another reason. “My grandmother would whip my butt,” he says. “She’d get up out of the grave and whip me. That’s part of why I do it. I don’t want a whipping.”
His reference to his grandmother’s hand in raising him hints at Mr. Hamilton’s commitment to his family. A father to three sons, Mr. Hamilton speaks of the incomparable joy of having his sons tell him they love him. “My father wasn’t around all along, so I wanted to give them that,” he says.
An understanding of the value of love and family comes through easily with Ain’t Nobody Worryin and Mr. Hamilton admits that a part of what he loves about making music is producing works that mean something to other people. So, not surprisingly, a part of what he is looking forward to at the Air Jamaica Jazz and Blues Festival is to see which songs strike a responsive chord in the Jamaican audience.
Mr. Hamilton reveals that he knows how vocal Jamaican audiences can be and so expects them to tell him what they like and don’t like. He is also hoping to get a bite out of Jamaican culture. Explaining that in New York he has consumed much Jamaican food but he is looking forward to chomping into the real flavour on home ground. And while he does so, Jamaicans can get a chance to savour his flavour.
Sunday, January 14, 2007
Stay tuned for Barbados report
Its been a diverse and even eventful week in Barbados
everything from the Blue not post-bop of terence Blanchard & Co.
to pan-jazz, Prince-inspired funk-gospel-pop (newcomer Hal Linton)
and some mind-blowing Lee Morganesque trumpet from a Cuban player
named Yasseq Manzano -who I will definitely will be checking out
in more detail.
Stay tuned for a fuller report and wrap-up in a few days
everything from the Blue not post-bop of terence Blanchard & Co.
to pan-jazz, Prince-inspired funk-gospel-pop (newcomer Hal Linton)
and some mind-blowing Lee Morganesque trumpet from a Cuban player
named Yasseq Manzano -who I will definitely will be checking out
in more detail.
Stay tuned for a fuller report and wrap-up in a few days
Wednesday, January 03, 2007
FOJazz ist meeting
The coinage is mine but it sounds better than Friends of Jazz
Friends of Jazz
FIRST MONTHLY MEETING
SUNDAY 7TH JANUARY 2007
4 - 7 P.M.
at
THE VERANDA
2 TRAFALGAR ROAD
SONNY BRADSHAW &
THE JAZZ MOBILE
MAIN SPEAKERS
* MARJORIE WHYLIE-Piano *JACKIE JACKSON-Bass
*DESI JONES-Drums * MAURICE GORDON-Guitar
*LEON DUNBAR-Clarinet
*SONNY BRADSHAW-Trumpet-Flugelhorn
OUIDA LEWIS – Percussion/Tap Dance
*DEAN FRASER-Saxophones
*MARY ISAACS-Guest Vocals
DJ JAZZ CD’s – Monte Blake, Harry Graham, Carl Percy, Keith Brown
Friends of Jazz
FIRST MONTHLY MEETING
SUNDAY 7TH JANUARY 2007
4 - 7 P.M.
at
THE VERANDA
2 TRAFALGAR ROAD
SONNY BRADSHAW &
THE JAZZ MOBILE
MAIN SPEAKERS
* MARJORIE WHYLIE-Piano *JACKIE JACKSON-Bass
*DESI JONES-Drums * MAURICE GORDON-Guitar
*LEON DUNBAR-Clarinet
*SONNY BRADSHAW-Trumpet-Flugelhorn
OUIDA LEWIS – Percussion/Tap Dance
*DEAN FRASER-Saxophones
*MARY ISAACS-Guest Vocals
DJ JAZZ CD’s – Monte Blake, Harry Graham, Carl Percy, Keith Brown
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