CC + THE ADELITAS

CC and the Adelitas represents the intersectionality between identity, race, gender and culture. The Adelitas were the women solderaderas of the Mexican Revolution, which helped forge “Adelita” into an icon in Mexican culture, representing the strength and fortitude of women into the modern day. This project and the experience that it creates incorporates the history of the Adelitas and Mexican song writers and/or singers and sets the music in the jazz idiom.
The drummer, composer and educator Colleen Clark is vibrant on the scenes in NYC and the southeastern United States. Clark has guest performed with the 8G Band on NBC’s Late Night with Seth Meyers and can most recently be heard playing on Michael Dease’s “The Other Shoe” (Origin) and “Found in Space” (Origin – releasing September 2024), and upcoming releases by CC + The Adelitas, The Southern Pines, and Matt White. She has shared the stage with jazz luminaries including: Branford Marsalis, Rodney Whitaker, Catherine Russell, Camille Thurman, Rudresh Mahanthappa, and Mimi Jones. Clark has been featured in Downbeat magazine and is also an ASCAP winning composer. Clark was invited by the ASCAP Foundation to lead her band at the Kennedy Center. She is also the Founder and Artistic Director of the University of South Carolina’s Jazz Girls Day®. Dr. Clark is the only woman and drummer to earn a doctoral degree in jazz from the University of North Texas. Her latest project is CC & the Adelitas, which features the merging of the golden era of Mexican music and jazz.
The Band: Colleen Clark (CC)-drums/arrangements/bandleader, Tonina Saputo-vox/bass, Summer Camargo-trumpet, Lauren Sevian-bari sax, Arcoiris Sandoval-piano, Mimi Jones-bass
Tickets: $32-$39 + processing costs
1/2 Price Student tickets are available in the Tables & Banquettes sections. Use code “student” at checkout, (25 & Under w/ valid ID)

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Requisites

Jazz at The Plaza, Volume 1  ~ The Miles Davis Sextet | By Eddie Carter

Submitted for your approval this morning is the first of two unique 1973 albums, capturing an unforgettable event. Jazz at The Plaza, Volume 1 (Columbia C 32470) is a live recording of a jazz party hosted by Columbia Records in The Persian Room of New York City’s Plaza Hotel on September 9, 1958. This celebration represented a significant moment in Columbia’s history, acknowledging the impressive talent of jazz artists on the label’s roster. The guests enjoyed a performance by The Miles Davis Sextet during the first set: Miles Davis on trumpet, Julian “Cannonball” Adderley (tracks: A1, B2) on alto sax, John Coltrane (A1, B1, B2) on tenor sax, Bill Evans on piano, Paul Chambers on bass, and Jimmy Cobb on drums. My copy is the original U.S. Stereo release.

The album opener is misidentified as Jazz at The Plaza on the back cover and record label, but it is Thelonious Monk’s Straight, No Chaser. The song’s brisk pace sets the stage for the sextet’s lively introduction and theme. Miles delivers a vigorous opening statement, followed by John’s adventurous interpretation. Cannonball provides an energetic solo next. Bill makes a concise contribution before the ensemble returns for the finale and a brief presentation of the sextet’s theme. The pace slows for Bill’s introduction to the Rodgers and Hart classic My Funny Valentine. This highlight of the quartet sees Miles switching to the mute for the gentle melody and a beautiful solo. Bill follows with an enchanting statement, and Paul walks delicately toward the closing chorus and sensitive climax.

If I Were a Bell by Frank Loesser opens the second side with a short piano introduction that segues into the ensemble’s medium melody. Miles takes the lead with an agile, muted opening statement. John continues wailing in a spirited performance. Bill sinks his teeth into a captivating interpretation next, leading to the theme’s restatement and conclusion. Oleo by Sonny Rollins raises the tempo for Miles’s muted introduction, which leads to the sextet’s quick theme. Miles starts the opening statement with infectious heat, while John fuels the following performance with electrifying notes. Cannonball launches into a furiously hard-driving solo next, and then Bill keeps the fire burning with a concise comment. Paul has his turn in a short interlude before Miles guides the way to a speedy culmination.

Teo Macero and Irving Townsend produced Jazz at The Plaza, Volume 1, with recording engineer Russ Payne capturing the event for posterity. While the sound quality may not meet Columbia’s usual high standards, its unique charm conveys the exhilarating energy of the group’s performances. After listening to this album, I’ll be looking to find its companion, Jazz at The Plaza, Volume 2, featuring Duke Ellington and His Orchestra, Billie Holiday, and Jimmy Rushing. If you appreciate the trumpeter’s work from the fifties, I recommend exploring Jazz at The Plaza, Volume 1 by The Miles Davis Sextet, on your next record hunt. It offers a compelling snapshot of the ensemble’s fiery live performance and should make a worthy addition to any jazz enthusiast’s library!

Postscript: The owners of the long-out-of-print Mosaic Records box set, The Complete Columbia Recordings of Miles Davis With John Coltrane, also has a copy of Jazz at The Plaza, Volume 1.

~ Jazz at The Plaza, Volume 2 (Columbia C 32471), The Complete Columbia Recordings of Miles Davis With John Coltrane (Mosaic Records MQ9-191) – Source: Discogs.com

~ Straight, No Chaser – Source: JazzStandards.com

~ If I Were a Bell – Source: Wikipedia.org

© 2025 by Edward Thomas Carter

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RÉMI BOLDUC PRESENTS THE NEXT GENERATION

Rémi Bolduc is a Canadian jazz saxophonist, bandleader and composer. He teaches jazz at the Schulich School of Music, McGill University in Montreal, Canada.

had an early start to his career, playing the saxophone professionally at 15 years of age. In 1982, he moved to Montreal, Quebec where he would work with established saxophonists Sayyd Abdul Al-Khabyyr, Simon Stone and Bob Mover. In the 1980s, Bolduc joined the hard-bop Bernard Primeau Jazz Ensemble and the Vic Vogel Big Band. He studied with New York-based alto saxophonist Steve Coleman and composer Vince Mendoza.

The saxophonist is now bringing into the forefront a host of young musicians who will become the torchbearers in the future of Canadian jazz.

Tickets: 3 sets: 7pm ($12.50+tax), 8:15pm ($10+tax) & 9:30pm (Free)

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ARTEMIS

Fresh off their 2nd consecutive win for “Jazz Group of the Year” in the Downbeat Readers Poll, Aretemis returns with their third Blue Note album Arboresque. The album and the group features the quintet helmed by pianist and musical director Renee Rosnes, trumpeter Ingrid Jensen, tenor saxophonist Nicole Glover, bassist Noriko Ueda, and drummer Allison Miller.

A paean to the sheer joy of collaboration and creativity, the album also explores a theme of natural and environmental beauty. This is the debut performance of Artemis and celebration of their album release at the legendary New York City venue.

Tickets: $40.00 + fee

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Daily Dose Of Jazz…

Barry Martyn was born Barry Martyn Godfrey in London, England on February 23, 1941. He began learning drums in 1955 and was leading his first band the following year. His first recordings were made in 1959.

His first visit to New Orleans, Louisiana was in 1961 where he studied under Cie Frazier, and founded Mono Records. He toured Europe with many famed New Orleans jazz personnel, including George Lewis, Albert Nicholas, Louis Nelson, Captain John Handy, and Percy Humphrey.

Moving to Los Angeles, California in 1972 he founded the Legends of Jazz, an ensemble which made several worldwide tours and recorded extensively. Returning to New Orleans in 1984 he worked with George Buck, reissuing much of the Circle Records back catalogue. He played with Barney Bigard in 1976, and recorded many dates as a leader.

Drummer Barry Martyn died on July 17, 2023 at the age of 82.

BRONZE LENS

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