NATE SMITH QUARTET

Nate Smith [drums]
Christian McBride [bass]
Marquis Hill [trumpet]
Geoffrey Keezer [piano]

Nate Smith is a drummer, composer, & producer from Chesapeake, Virginia. His visceral, instinctive, and deep-rooted style of drumming has led to three GRAMMY® nominations and work with esteemed artists, including: Pat Metheny, Dave Holland, Brittany Howard, Van Hunt, The Fearless Flyers, Norah Jones, and Somi. Smith fuses his original compositions with an eclectic mix of music, including everything from jazz to R&B to hip-hop to pop. In recent years, Smith’s viral videos have been viewed by millions of people, underscoring his popularity as one of the most influential drummers of his generation.

Smith will be joined by GRAMMY®-winning artists such as one of the foremost jazz bassists of his generation, Christian McBride, genre-spanning Chicago trumpeter Marquis Hill, and virtuosic pianist Geoffrey Keezer!

 

 

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TRIBUTE TO PHAROAH SANDERS

Gary Bartz [Saxophone]
Jean Carn [Vocals]
Norman Connors [Vocals & Drums]
Eddie Baccus Jr. [Saxophone]

The Starship Orchestra

Known 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.

A 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.

Drummer 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.

Jean 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.

Streaming: $10.00 + fees

Showtimes ~ Saturday: 7:00 & 9:30pm | Sunday: 5:00 & 7:30pm

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FRAN VIELMA JAZZ ORCHESTRA

Fran Vielma Jazz Orchestra features an outstanding cast of musicians from the Mid-Atlantic and East Coast regions performing his own writing, as well as works by contemporary Pan-American jazz arrangers and composers.
About the leader: “a percussion colourist of great distinction… leans heavily on his aptitude for, and particular genius for counterpoint and most of important of all – his understanding of instrumental timbre…” –Raul Da Gama, Latin Jazz Network 2018.
Hailing from Venezuelan Andes, Fran Vielma is a critically acclaimed and award-winning multi-percussionist, composer, and educator. His continuous research on the rhythms of America, and beyond, is integrated with his attraction to concert music and the freedom of jazz.
Vielma recently premiered his suite “Common Grounds” at SFJAZZ commissioned by the prestigious Chamber Music America – New Jazz Works and has been a DC Commission on the Arts and Humanities Fellow since 2019. Additionally, has been a Jazz Road Tours Grantee by South Arts.
DJ Don Vik ~ 12:00pm

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RENÉ MARIE

In a span of two decades, 11 recordings, and countless stage performances, vocalist René Marie has cemented her reputation as not only a singer but also a composer, arranger, theatrical performer and teacher. Guided and tempered by powerful life lessons and rooted in jazz traditions laid down by Ella Fitzgerald, Dinah Washington and other leading ladies of past generations, she borrows various elements of folk, R&B, classical, and country to create a captivating hybrid style. Her body of work is musical, but it’s more than just music. It’s an exploration of all corners of the human experience, an affirmation of the power of the human spirit.

While neither of her parents were formally trained musicians, radio and records of all kinds – blues, folk, bluegrass and classical – made up the soundtrack to her childhood. René had just one year of formal piano training at age nine, then another year of lessons at age 13. During her teenage years, she sang in a few R&B bands at musical functions in her community. She composed and sang her first piece with a band when she was 15.

But René put her musical aspirations aside to make room for the obligations and responsibilities of adulthood. She married a former bandmate when she was 18, and by the mid-1990s, she was the mother of two and working in a bank. When she was 41, her older son convinced her to start singing again, and she took a few tenuous steps into her local music scene, singing for tips one night a week in a hotel bar. It would be several months before she actually earned any real living as a singer.

René made a series of profound course corrections that steered her back toward a full-time career in music. René’s self-produced CD, Renaissance, was released in 1999 and soon after in 2000, she signed onto the MaxJazz label and recorded four more over the next four years.

Perhaps more than most artists, René understands music’s capacity to heal and inspire. Not only has she herself been the beneficiary of it, but she has made every effort along the way to extend those same benefits to others.

Prepaid Parking: $15.00

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Requisites

The Waiting Game ~ Tina Brooks | By Eddie Carter

Tina Brooks enters this morning’s spotlight with what would be his final album, The Waiting Game (Blue Note TOCJ-66075). He recorded exclusively for Blue Note over three years as a leader and sideman, but only one of his records, True Blue, would be released during his lifetime. This morning’s album initially hit the Japanese stores in 1999 as a CD album and reached the US a few years later. Joining the tenor saxophonist is a superb supporting cast: Johnny Coles on trumpet, Kenny Drew on piano, Wilbur Ware on bass, and Philly Joe Jones on drums. My copy is the 2021 Blue Note Tone Poet Series Stereo audiophile reissue (BST-40536).

Side One starts with Talkin’ About, the first of five tunes by Tina Brooks. The rhythm section’s introduction segues into the quintet’s easygoing melody. Johnny has the first relaxing solo; and then Tina delivers the next message comfortably. Kenny follows with a laid-back reading, and Wilbur goes for an easy stroll into the ensemble’s reprise. One For Myrtle picks up the pace significantly from Philly’s brief introduction to the group’s brisk theme. Tina launches the solos; then Johnny shows his energetic exuberance next. Kenny follows with a sizzling reading. Wilbur is up next with a quick flight, and Philly turns in an exciting finale ahead of the theme’s restatement and abrupt ending.

Dhyana opens with the ensemble swinging easily on the danceable melody. Tina gets things going with a splendid opening statement. Johnny follows with a delightful reading, and Kenny closes with an exceptional solo. The quintet’s closing chorus features a brief comment by Wilbur just before the climax. Side Two comes to life with the front line and Philly collaborating in the introduction to David The King ahead of the quintet’s Middle Eastern theme. Johnny takes the song’s first stirring solo. Tina sails smoothly into the second statement. Kenny delivers a dazzling reading of his own, and Wilbur takes a short, satisfying walk toward the song’s conclusion.

Stranger In Paradise by Chet Forrest and Robert Craig Wright begins with a brief introduction by Philly that blossoms into Tina and the rhythm section stating the melody. Johnny steps up first with an impressive statement. Tina swings skillfully next, and Kenny glows brightly on the closer, leading to the reprise and gentle fadeout. The Waiting Game kicks off with the ensemble’s invigorating beat to the melody. Tina blows with feeling in the first solo spot, paving the way for Johnny’s spontaneous ideas that flow constantly. Kenny ends with a few marvelously executed ideas before the theme’s restatement and abrupt halt.

Alfred Lion produced the original session, and Rudy Van Gelder was the recording engineer. Joe Harley produced the audiophile reissue, and Kevin Gray mastered this album. The reissue’s sound quality is amazing, with a stunning soundstage and excellent dynamics. The pressing is extremely quiet until the music starts. The gatefold photos are breathtaking and worthy of hanging on your wall. The front and rear covers are gorgeous, and the use of 180-gram audiophile vinyl is the icing on the cake. If you’re in the mood for an excellent album by one of the best, underrated tenor saxophonists, I invite you to check out The Waiting Game by Tina Brooks on your next record-shopping trip. It’s a great album if you love jazz and are a hard-bop fan that’s highly recommended for a spot in your library!

~ True Blue (Blue Note BLP 4041/BST 84041) – Source: Discogs.com ~ Stranger In Paradise – Source: Wikipedia.org © 2023 by Edward Thomas Carter

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