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SUMMARY:TRIBUTE TO PHAROAH SANDERS
DESCRIPTION:Gary Bartz [Saxophone]\nJean Carn [Vocals]\nNorman Connors [Vocals & Drums]\nEddie Baccus Jr. [Saxophone] \nThe Starship Orchestra \nKnown for his overblowing\, harmonic\, and multi-phonic techniques on the saxophone\, as well as his use of “sheets of sound”\, American jazz musician Pharaoh Sanders played a prominent role in the development of free jazz and spiritual jazz through his work as a member of John Coltrane’s groups in the mid-1960s\, and later through his solo work. He released over thirty albums as a leader and collaborated extensively with vocalist Leon Thomas and pianist Alice Coltrane\, among many others. Fellow saxophonist Ornette Coleman once described him as “probably the best tenor player in the world”. Most of Sanders’ best-selling work was made in the late 1960s and early 1970s for Impulse Records\, including the 30-minute wave-on-wave of free jazz “The Creator Has a Master Plan” from the album Karma. \nA native of Baltimore\, Gary Bartz has been known to many as a trail blazer in the music business from the moment he started playing with Art Blakey at his father’s jazz club in his hometown to his own music throughout the 57 years as a professional musician. As if his Grammy Award with McCoy Tyner in 2005 (‘Illuminations’) wasn’t enough to carve out a place for Bartz in the jazz genre\, he has broken the mold with more than 40 solo albums and over 200 as a guest artist. \nDrummer and producer Norman Connors’ work has become a main staple of jazz-fusion\, with tracks including “Mother Of The Future” from album “Slew Foot” (1974)\, “Captain Connors” from album “This Is Your Life” (1977)\, “You Are My Starship” (1976) album\, et al. He has lead jazz recordings with Carlos Garnett\, Gary Bartz\, Dee Dee Bridgewater\, and Herbie Hancock. \nJean Carn began her recording career with her then-husband\, pianist Doug Carn\, founder of Black Jazz Records and had an astounding five octave voice range. She sang background for artists including the likes of Earth\, Wind & Fire and Norman Connors\, but in 1977\, she debuted solo\, playing a crucial role in the golden era of Philly soul. \nStreaming: $10.00 + fees \nShowtimes ~ Saturday: 7:00 & 9:30pm | Sunday: 5:00 & 7:30pm
URL:https://notoriousjazz.com/event/tribute-to-pharoah-sanders
LOCATION:Keystone Korner Baltimore\, 1350 Lancaster Street\, Baltimore\, MD\, 21231\, United States
CATEGORIES:Club
ATTACH;FMTTYPE=image/png:https://notoriousjazz.com/wp-content/uploads/2023/10/PHAROAH-SANDERS.png
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DTSTART;TZID=America/New_York:20231112T193000
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CREATED:20231008T030817Z
LAST-MODIFIED:20231008T031207Z
UID:37302-1699817400-1699822800@notoriousjazz.com
SUMMARY:MADELEINE PEYROUX
DESCRIPTION:Every great musical project starts with a feeling that it’s time.So it was\, in 2004\, for Madeleine Peyroux: “when I got around to making Careless Love it had been a good eight years since my first album.” Eight years—forever in the music world. Not long After Dreamland dropped in ’96\, she had disappeared from the touring scene as well. Where had she been? What had she been doing\, and why?I was traveling a lot across America\, rediscovering the country and re-identifying as an American. I was born here in the States but moved with my mother to live in Paris when I was young. I met family I never met before. I caught up on what was happening with the music here. It was all a culture shock for me. When I came back to New York to make that first album I was like a deer in the headlights. It was my first time in a studio\, my first time back in America. Then 9/11 happened. Then George W. got re-elected. It was like the world was going crazy. After Dreamland I had signed with Sony and I was trying to make my second record. I was broke and I didn’t know what I was going to do next.Self-reflection and spiritual sensitivity are assets to any musician in the process of starting a career\, of establishing one’s musical identity and direction. They don’t\, however\, necessarily lock into the typical velocity of career-building. There were other things Peyroux had to handle. She underwent surgery on her vocal cords. She healed and worked with a vocal coach. As the ‘90s gave way to the first years of a new century\, she continued to question the how and\, significantly\, the why of what she was doing. (Her choice of the Dylan Thomas quote below\, from his 1946 poem “In my Craft and Sullen Art\,” helps explain her creative motivation.)
URL:https://notoriousjazz.com/event/madeleine-peyroux
LOCATION:City Winery Atlanta\, Ponce City Market\, 650 North Avenue NE\, Atlanta\, GA\, 30308\, United States
CATEGORIES:Club
ATTACH;FMTTYPE=image/jpeg:https://notoriousjazz.com/wp-content/uploads/2023/10/MADELEINE-PEYROUX.jpg
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