KYLE EASTWOOD’S DAD
Kyle Eastwood has shown the results of having a gritty dad and putting in serious time practicing his stand up bass. The Dirty Dog has been privileged to present the outstanding jazz bassist Kyle Eastwood and his band. His dad Clint is a pretty good jazz pianist and together they have written scores for his movies. Clint Eastwood is genuinely gritty.
There are gritty surfaces where ever you look in the city of Detroit. It is a product of a good supply of slush, ice, snow and abuse.
Detroit and jazz are both often described as hard driving and gritty. This is a good thing according to most fans of the Motor City. We tend to take pride in the perseverance of those who have hung in there in bad times and the good times.
“Grit is a positive, non-cognitive trait based on an individual’s passion for a particular long-term goal or end state, coupled with a powerful motivation to achieve their respective objective. This perseverance of effort promotes the overcoming of obstacles or challenges that lie within a gritty individual’s path to accomplishment, and serves as a driving force in achievement realization.”
Grit is not getting discouraged when setbacks occur. It is the ability to keep getting up and then getting up again. It is getting on and getting on. It is knowing that hard work is going to be required and continuing on. It is finishing what you start. Grit can sometimes be coarse but in the end it is very sweet.
Grit has recently caused a stir in education and psychology ever since Angela Duckworth, a psychology professor at the University of Pennsylvania, began to point out that grit can be developed and is as important as IQ and talent for predicting educational success. She has shown that those who are given a chance to work through setbacks and persevere will surpass the achievements of those who lack this opportunity..Her latest book is Grit: The Power of Passion and Perseverance. Her research has shown that grit is a learnable trait for all children and should be an essential ingredient in every child’s education.
Grit is egalitarian, The development of grit does not rely on your background, and for many grit appears to be a an engine of social mobility.
Angela Duckworth’s Ted talks have been viewed over eight million times.
I have always admired people who had grit. They were more courageous, brave, plucky, dogged, resolute, determined, feisty. gutsy and tenacious than I could ever be. They were not gritty like Clint Eastwood the actor but like Clint and Kyle Eastwood the jazz musicians and like Clint the film director. Playing jazz is not the easiest job. It is not for the timid and it takes hard work and the ability to identify and correct mistakes, over and over again. In Detroit I have watched older musicians give younger players a chance to fail and if they did they were encouraged to try again. Character was built into the young artists one lesson at a time.
Come on out to the Dirty Dog Jazz Café where grit is not served just as a side dish.
SEPTEMBER 28 – OCTOBER 1
For years, Jazz fans have marvelled at how many significant Jazz musicians were all born on September 23. Even non-Jazz performers such as Mickey Rooney (1920-2014), Julio Iglesias (1943) and Bruce Springsteen (1949), share this birthday among many others.
September 23 is a powerful day in that it is frequently the day of the Autumnal Equinox in the Northern Hemisphere, when day and night are of approximately equal duration. It is also on the cusp of the astrological signs of Virgo and Libra. John Coltrane who was born on September 23, wrote a piece called Equinox that has become a well-loved Jazz standard.
Major Jazz related artists who were born on September 23 include…
John Coltrane, 1926-1967
This September 23 marks what would have been his 90th birthday. Special events are happening all over the world to commemorate the birth of one of the most influential saxophonists of all time.
Whether it was his deeply expressive tone, his use of ancient modes and scales, his groundbreaking improvisational style or the blending of spiritualism with his music John Coltrane’s immense influence on Jazz can virtually be heard in the playing of most saxophonists from the mid-1950’s to this day. His unique playing and compositional style contributed to the evolution of the Jazz idiom. He led more than fifty recording sessions during his career and was an important sideman on significant albums of Miles Davis and Thelonius Monk and many others.
Frank Foster III (1928 – 2011)
This acclaimed Detroit based saxophonist, flautist and bandleader worked closely with Count Basie in the 1950’s and 1960’s.
Born in Cincinnati, he moved to Detroit 1949 after attending Wilberforce University. He soon joined the fervent Detroit Jazz scene playing with the likes of Wardell Gray and others. He joined the Count Basie band in the early 50’s where he contributed original arrangements and compositions including “Shiny Stockings” and “Down for the Count” which soon became standards of the Jazz repertoire.
Leslie “Les” McCann (1935)
Known for helping to create the soul Jazz style, Les McCann has been a popular favorite among Jazz fans since the 1960’s. His 1969 release Swiss Movement with frequent collaborator, saxophonist Eddie Harris, contained the song “Compared to What” which became a commercial success and has since become a Jazz standard. The song featured political content including criticism of the Vietnam War.
Ray Charles (1930-2004) Photo: nmdb.com
The legendary Ray Charles pioneered the genre of soul music during the 1950s. He combined Blues, Gospel and Jazz to create groundbreaking hits such as “Unchain My Heart,” “Hit the Road Jack” and “Georgia on My Mind.” He died in 2004, leaving a lasting impression on contemporary music. He is considered one of the most important composers and performers of American popular music.
Albert C. Ammons (1907-1949) Photo: alchetron.com
Ammons was a virtuoso pianist known as the “King of the Boogie Woogie” piano Jazz style he popularized and developed in the late 1930s into the mid-1940s that featured intricate rhythmic figures for the left hand.
Don Grolnick (1947-1996)
Grolnick was an American Jazz and pop pianist and composer, mostly known for his work with artists such as Dave Sanborn, Steely Dan, Roberta Flack, Carly Simon and others.
Other Jazz related artists born on September 23 include:
Harry Connick, Jr..
Detroit Public Radio mainstay, Judy Adams, is a trained pianist, composer and musicologist who hosts a Jazz and contemporary music show on CJAM 99.1FM and guest hosts on WRCJ 90.9FM
is changing. There is new energy coming in as it is becoming a destination for many new spirited souls. One of the attractions for the new arrivals is the character of the steady folks who have stood by our city through its ups and downs. Those who always could see the beauty in a moment and the potential of the future. Detroit has always had a rock steady core of citizens who have unwaveringly stood by the city and could always be counted on.
You know who they are and where you can often find them. Here are some places I have found them.
JANE’S BRAND NEW HOME OIL/CANVAS
Detroit has an active chapter of Habitat for Humanities. Habitat is a national program dedicated to assist neighbors in getting sustainable housing and becoming home owners. Here is how they describe themselves: “Habitat for Humanity is a nonprofit Christian housing organization founded on the conviction that everyone should have a decent, safe, affordable place to live.” Habitat does good work in our community. Through the years in Detroit there has been a group that always shows up. These are all volunteers who can be counted on to be the core knowledgeable workers and group leaders. They are called “habituals” by the staff of Habitat for Humanity. They know who they are. Often they are the older men and women who are on the scaffolding showing the younger volunteers the safe way to complete the job.
I still can’t get over seeing so many of the same faces at this year’s Detroit Jazz Festival. I think of them as the regulars. These are the folks who show up at the festival every Labor Day weekend. These jazz fans really know the music, and their presence assures that the festival remains an honest pure jazz festival. They prevent it from becoming something less. Every year there seem to be more and more jazz fans returning in response to Chris Collins’ purposeful leadership. Power to the regulars.
The Dirty Dog Jazz Café is blessed to have a cadre of regulars. Scattered through the club on most nights will be familiar smiles and earnest attention directed toward the artists. These are generally lifelong jazz enthusiasts who know a good thing when they find it. The Dirty Dog Jazz Café offers an intimate venue dedicated to bringing all of us together.
While welcoming the evening’s band, Willie Jones will often ask whose who are returning to raise their hands. A lot of wine glasses and forks are put down on tables as hands go up. Dave Bennett one upped Willie last week by asking for all those who have seen him before AND those who are seeing him for the first time to raise their hands. There was was a unanimous good-natured response, which is something we can depend on.
Most organizations have regulars who can be counted on to be there when there is need.
Hats off to all those who go with their passion by showing up.
SEPTEMBER 21 – 25, 2016
Scott Joplin (1868-1917)
The piano has been an integral instrument in Jazz since the beginning. Some of the early architects in Jazz were pianists who brought a Classical and/or European element to the music. This was combined with instrumentation found in other popular genres of the period such the marching or brass bands and the blues which contributed specific vocal stylings, guitar, banjo and other traditional folk instruments. These added major stylistic elements from African and Latin influences.
Two of the early architects in Jazz were Classically trained pianists Scott Joplin (1868-1917) and Ferdinand Joseph LaMothe (1890-1941) known professionally as Jelly Roll Morton. They both developed the Jazz sound with the use of seventh chords which utilized the Blues scale and syncopated rhythms derived from African and Latin music. They fused these elements with Classical treatments and structure adding the important Jazz component of improvisation.
The piano is very versatile with its ability to provide the melodic, harmonic and rhythmic components with or without any accompaniment. It can stand alone as a solo instrument or be part of an Jazz ensemble usually in the rhythm section along with bass and drums.
The piano and related keyboards (organ, synthesizer,etc.), along with the guitar, vibes, is a chordal instrument. Most other instruments, such as the saxophone or trumpet play a single line, while chordal instruments can often play the chords and a melodic figure simultaneously.
There are many different styles of Jazz piano that correspond to the different periods of Jazz. The ostinato pattern is usually a repeated rhythmic bass pattern of several notes played with the left hand. This is common in Ragtime and boogie-woogie. Stride piano uses a strong bass note and chords in a higher register to provide an accompaniment to the melodic and/or chordal figure. Locked-hand voicing is when both hands play chords in-sync with each other to playing a full double melody.
The earliest electric pianos were invented in the late 1920’s. Early Jazz recordings of the electric piano include Duke Ellington’s in 1955 and Sun Ra with his 1956 album “Super Sonic Sounds”. Ray Charles’s use on his 1959 hit, “What I’d Say” helped to popularize the instrument.
Miles Davis was intrigued by the electric piano’s sound and encouraged pianists Herbie Hancock, Chick Corea and Joe Zawinul to play them on his recordings starting in the late 60’s. Herbie Hancock is credited with redefining the role of the Jazz rhythm section through his electric piano stylings which included elements of funk, African rhythms, R&B and more.
Jazz piano is alive and well at the Dirty Dog Jazz Cafe with upcoming performances by these great pianists who will playing the club’s beautiful Steinway grand. These include:
Scott Gwinnell: October 12-15
Harold Lopez-Nussa: October 21-22
Michael Zaporski: November 9-12
Alvin Waddles: November 23-26
Alvin Waddles playing the Dirty Dog Steinway Grand
Photo: John Osler
For reservations and more information call 313-882-5299
Detroit Public Radio mainstay, Judy Adams is a trained pianist, composer and musicologist who hosts a Jazz and contemporary music show on CJAM 99.1FM and guest hosts on WRCJ 90.9FM.
This will be a brief conversation this week as I have put aside for the moment a piece I was planning on Ron Carter whose image dominates this year’s Detroit Jazz Fest poster. For this poster I was asked to create an oil portrait of one of Detroit’s finest ever bass players, Ron Carter. It was a huge privilege to be associated with a genuine legend in jazz.
As I have said before, creating the Festival’s poster is a dream assignment. Art and jazz are intimate friends. Getting the chance to actually bring jazz and art into one image is heady stuff. This is usually a chance to kick out the jams and let one’s free spirit loose.
The 2016 Jazz Festival poster was a little different. It was to become a tribute. It was to be specifically a tribute to excellence and achievement, a pictorial example of all the best in jazz.
This thought coincided with Ron Carter being the 2016 Detroit Jazz Fest Artist in Residence. Ron Carter became the subject of the painting for the poster. He certainly is an example of all that is good in jazz. He has had opportunities and surpassed any expectations with hard work. vision, strength and dignity. He is a Detroiter who comes home and helps lift up the art. A good choice. A good story. But not the whole story
WHAT THE POSTER IS ALSO ABOUT
This poster is a tribute to all the musicians in Detroit who play jazz. A tribute to artists whose music you can get lost in, music that requires hard work but is worth the effort. It is a tribute to a community that depends on one another to reach individual goals.
I didn’t know Ron Carter when I did the painting of him. I assembled the painting from other people’s images of this great musician. I know I also referenced the many Detroit musicians whom I have seen getting lost in the music.
So think of the image as a composite of all the great bass players with Detroit roots. It could have been Marion Hayden, who would look terrific on the poster.
So, I hope that if you are a Detroit jazz player you will consider this a tribute to you , your hard work, your excellence and your achievements.
I will remember the 2016 festival by a moment after the festival. It happened after Ron Carter’s Really Big Band finished playing the festival’s last performance. I had been asked to come behind the stage to say goodbye to Ron Carter. Ron gave me a warm greeting, a hug and thanked me for the painting. On the way to visit with Ron Carter I happened on Marion Hayden and then Ralphe Armstrong from whom I received the same warm greeting. Once again I was reminded that at the heart of this festival’s great success is the artists’ respect for the fans like myself and the fans’ respect for the hard work and dignity of the artists. My 2016 Detroit Jazz Festival ended on an upbeat. As I walked through the crowd to my car I saw a lot of other smiling faces. What a beautiful festival. Thanks to all involved.
WEDNESDAY – SATURDAY
Each month “Jazz Notes” connects you to outstanding new releases in Jazz – keeping you in touch with an idiom that is constantly evolving.
Alphabetical order: Artist(s) / Title / Label *
Harold Lopez-Nussa / El Viaje / Mack Avenue
Folks who caught Lopez-Nussa at the Detroit Jazz Festival last week will definitely want to get their hands on his new album, El Viaje (The Journey). This award-winning Classically trained Cuban piano virtuoso brings a fresh new energy to Latin Jazz. He’s traveled and performed the globe with such artists as Omara Portuondo, David Sanchez, Chucho Valdez and Stefon Harris.
Born into a musical family, he began playing piano at age 8. He went on to receive a degree in Classical piano. He combines his experience with the Classics and traditional Cuban music with his passion for Jazz, creating some of the most exciting and high-spirited Latin Jazz performed today. His playing is flawless, expressing his musical ideas through sophisticated arrangements and improvisational material. You’ll have a chance to hear him live October 21-22 at the Dirty Dog Jazz Cafe.
Joe Lovano Quartet / Classic! Live at Newport / Blue Note
Grammy-winning saxophonist Lovano, releases an historic recording made back in 2005 at the Newport Jazz Festival – dedicating it to the late Pontiac born, iconic pianist Hank Jones and former Blue Note president and mentor Bruce Lundvall. In addition to then 87-year old Jones, the quartet features bassist George Mraz and drummer Lewis Nash.
The album contains a combination of Lovano originals and covers by Thad Jones (brother to Hank and Elvin) and Oliver Nelson. It reminds us of just how powerful of a musician Joe Lovano is especially hearing him in this recording that’s more than ten years old. Given the artists he’s playing with, we get to hear him in a more “Classic!” stylistic environment – swinging and very expressive as usual.
Anthony Wilson / Frogtown / Goat Hill
Known for his work with Diana Krall’s band, seasoned guitarist, composer, Anthony Wilson, releases his 10th album featuring mostly his own compositions.
He utilizes many different sounds, textures, and styles with hints of Jazz, Blues, Swing and Folk, as he explores his own backlog of guitar effects and treatments he’s perfected throughout the years.
His music is adventurous. He moves from super-modern electronically altered guitar sounds on some tracks to more acoustic and and natural sounds on others. His band is the perfect support system for what he wants to say through the music with drummers Jim Keltner (John Lennon, Ry Cooder, etc.), and Matt Chamberlain (Brad Mehldau), violinist Petra Haden, and the great, Charles Lloyd on saxophone. The music ranges from sweet and delicate to raw and edgy. The compositions are inventive with creative arrangements and instrumentation. A truly contemporary sound.
*The Jazz playlist reflects Judy Adams’ personal recommendations and does not represent those of the Dirty Dog Jazz Cafe or Mack Avenue Records.
Detroit Public Radio mainstay, Judy Adams, is a trained pianist, composer and musicologist who hosts a Jazz and contemporary music show on CJAM 99.1FM and guest hosts on WRCJ 90.9FM.z
For 37 years I have seldom missed a Detroit Jazz Festival. I am a proud REGULAR. I have many reasons to not want to miss this unique Detroit event. One reason is that it is free. It is also close by. Then there is the music and food, which are terrific. But it is the chance to be around the many others like myself who tend to be proud of their town that brings me back time after time. These are the regulars. They can be counted on to know the music and a lot of the musicians. They know why they are there. These are the the familiar faces whom I want to walk up to and say hi. I don’t know their names, but that doesn’t matter. They are friends.
This magical Detroit Festival is a magnet for so many pure jazz fans from Detroit and in growing numbers folks from other places. The world’s largest free jazz festival through the years has attracted many guests to the city who regularly plan their end of summer weekend to be part of our festival. Their presence is a big salute to those who work so hard to keep the festival at such a high level.
Perhaps my most memorable moment at the 2016 Festival was a brief conversation with a brand new friend before Dave McMurray began his set to end the day at the Pyramid stage. I was talking to my son Bill who played in the Detroit Jazz Festival at the age of 15 . I mentioned to him the possibility that David’s sidemen would be two of my favorites, Ibrahim Jones on bass and Jeff Canady on drums. This began an extended back and forth conversation about music and Detroit musicians that left me in the dust. Our new acquaintance and Bill really knew their stuff. They are the regulars who have shaped the festival for so many years. Musicians know they are out there, and they will have to be at their very best. Ibrahim and Jeff did join David to provide enough energy and joy to keep an army of regulars satisfied. Whoops and loud cheers drifted out from the Pyramid into the shipping lanes of the Detroit river.
TOM ROBINSON and GRETCHEN VALADE
Two of the regulars are Detroit’s grand champion, Gretchen Valade and her cohort Tom Robinson.
Her touch is seen in all those things that work so well at the Detroit Jazz Festival. Her vision will always be on display during the four festive days. Every note will reflect her passion, integrity and vitality.
Tom has quietly been doing what is necessary to keep the Festival on an even keel. Both are essential regulars.
GERALD WILSON and GERALD WILSON at the 2012 Detroit Jazz Festival
When one is very good at something they appreciate more intensely the gifts of others. The festival brings together so many accomplished musicians with different stories to tell and ways of telling them. This community of like spirits gathers annually to celebrate the music and good fellowship. This year there were, once again, a lot of hugs given out.
I am proud to be a regular at the Festival and remain in awe of the musicians whose vitality gives me inspiration. What a festival!
This week we are borrowing portions of an
earlier article we wrote on Mr. Carter due to his
prestigious role as 2016’s Artist-In-Residence at the
Detroit Jazz Festival this coming weekend.
He is performing with different ensembles each day of the four-day
Festival. For complete schedule and information go to
While at the Festival please visit the Dirty Dog’s “Street Side” Cafe located
at Campus Martius, from September 2-5.
Jazz master Ronald Levin Carter was born May 4, 1937, in Ferndale, Mi. He is one of the most recorded and significant bassists in Jazz.
His career has been so prolific and full of amazing accomplishments that it would be impossible to list everything in one blog article. Instead we’ll concentrate on his immense recording career. In today’s world, a musician’s discography is an essential component of the resume and defines their life’s work.
There are so many important recordings that have been issued in the past 50 years that feature him either as a leader or sideman that it’s astonishing to look at the list of recordings below without being amazed at his enormous contributions to Jazz.
He is listed in the Guinness Book of World Records for being the most recorded Jazz bassist with 2,221 individual recording credits as of 2015. His recording career is so impressive it helps define what impact he’s had on the development of modern Jazz in the past fifty years or so.
He contributed his artistry to so many important musicians on so many seminal albums that it’s clear that his role has been integral to the evolution and growth of the idiom.
First is a partial list of albums here he is a leader. The second one is a partial list of album of him as a sideman.
As A Leader (partial list)
1961: Where? (Prestige Records)
1969: Uptown Conversation (Embryo Records)
1973: Blues Farm (CTI)
1973: All Blues (CTI)
1974: Spanish Blue (CTI)
1975: Anything Goes (Kudu)
1976: Yellow & Green (CTI)
1976: Pastels (Milestone)
1977: Piccolo (Milestone)
1977: Third Plane (Milestone)
1978: 1+3 (JVC) trio live
1978: A Song For You
1978: Peg Leg (Milestone)
1978: Standard Bearers
1980: New York Slick (Milestone)
1980: Empire Jazz
1980: Pick ‘Em (Milestone)
1981: Super Strings (Milestone)
1991: Meets Bach (Blue Note)
1992: Friends (Blue Note)
1994: Jazz, My Romance (Blue Note)
1995: Mr. Bow Tie (Blue Note)
1995: Brandenburg Concerto (Blue Note)
1997: The Bass and I
1998: So What (Blue Note) trio
1999: Orfeu (Blue Note)
2001: When Skies Are Grey (Blue Note)
2002: Stardust (Blue Note)
2003: The Golden Striker (Blue Note)
2003: Eight Plus
2003: Ron Carter Plays Bach(Blue Note)
2006: Live at The Village Vanguard
2007: Dear Miles featuring his quartet Stephen Scott, piano, Payton Crossley, drums and Roger Squitero, percussion
2008: Jazz and Bossa
2011: Ron Carter’s Great Big Band (Sunnyside Records)
2013: San Sebastian – Golden Striker Trio (In+Out Records)
2015: My Personal Songbook (In+Out Records)
As Sideman (partial list)
With Antonio Carlos Jobim
Wave (A&M, 1967)
Stone Flower (CTI, 1970)
With Chet Baker
You Can’t Go Home Again (Horizon, 1977)
With Pepper Adams
Encounter! (Prestige, 1968)
With Toshiko Akiyoshi
Toshiko at Top of the Gate (1968)
With Gene Ammons
The Black Cat! (Prestige, 1970)
My Way (Prestige, 1971)
Got My Own (Prestige, 1972)
Big Bad Jug (Prestige, 1972)
With Gato Barbieri
Chapter Three: Viva Emiliano Zapata (Impulse!, 1974)
Chapter Four: Alive in New York (Impulse!, 1975)
With George Benson
Giblet Gravy (1968)
With Bob Brookmeyer
Bob Brookmeyer and Friends (1962)
With Kenny Burrell
A Generation Ago Today (Verve, 1967)
Blues – The Common Ground (Verve, 1968)
Night Song (Verve, 1969)
God Bless the Child (CTI, 1971)
With Henry Butler
The Village (Impulse!, 1987)
With Jaki Byard
Here’s Jaki (New Jazz, 1961)
Hi-Fly (New Jazz, 1962)
Out Front! (Prestige, 1964)
Jaki Byard with Strings! (Prestige, 1968)
With Donald Byrd
Electric Byrd (Blue Note, 1970)
Kofi (Blue Note, 1969–70)
With Wayne Shorter
Speak No Evil (Blue Note, 1964)
The All Seeing Eye (Blue Note, 1965)
With Horace Silver
Silver ‘n Brass (Blue Note, 1975)
Silver ‘n Wood (Blue Note, 1976)
Silver ‘n Voices (Blue Note, 1976)
Silver ‘n Percussion (Blue Note, 1977)
Silver ‘n Strings Play the Music of the Spheres (Blue Note, 1978)
The Hardbop Grandpop (1996)
A Prescription for the Blues (1997)
With Billy Cobham
With Alice Coltrane
Ptah, The El Daoud (Impulse!, 1970)
With Harry Connick, Jr.
Harry Connick Jr. (1987)
With Chick Corea
Inner Space (Atlantic, 1973)
With Tadd Dameron
The Magic Touch (Riverside 1962)
With Miles Davis
Quiet Nights (Columbia, 1962)
Four & More
My Funny Valentine
“Live in Milan 1964”
Live at the Plugged Nickel
Miles in the Sky
Seven Steps to Heaven
Filles de Kilimanjaro
With Eli Degibri
Israeli Song (2010)
With Paul Desmond
Summertime (A&M/CTI, 1968)
From the Hot Afternoon (A&M/CTI, 1969)
Bridge Over Troubled Water (A&M/CTI, 1970)
Skylark (CTI, 1973)
Pure Desmond (CTI, 1975)
With Eric Dolphy
Out There (Prestige, 1960)
Far Cry (Prestige, 1960)
With Lou Donaldson
Lush Life (1967)
Sophisticated Lou (1973)
With Charles Earland
Kharma (Prestige, 1974)
With Don Ellis
How Time Passes (Candid, 1960)
New Ideas (New Jazz, 1961)
With Marlena Shaw
From the Depths of My Soul (1973)
With Woody Shaw
In the Beginning (Muse 1965 )
Blackstone Legacy (Contemporary, 1970)
With Joe Henderson
Power to the People (Milestone)
The State of the Tenor, Vols. 1 & 2 (Blue Note)
With Andrew Hill
Grass Roots (Blue Note, 1968)
Lift Every Voice (Blue Note, 1969)
Passing Ships (Blue Note, 1969)
With Freddie Hubbard
Red Clay (CTI, 1970)
Straight Life (CTI, 1970)
First Light (CTI, 1971)
With Bobby Hutcherson
Components (Blue Note, 1965)
With Jackie and Roy
Time & Love (CTI, 1972)
With Milt Jackson
Big Bags (Riverside, 1962)
Invitation (Riverside, 1962)
Milt Jackson at the Museum of Modern Art (Limelight, 1965)
Milt Jackson and the Hip String Quartet (Verve, 1968)
Sunflower (CTI, 1972)
Goodbye (CTI, 1973)
Olinga (CTI, 1974)
With Ivan “Boogaloo Joe” Jones
Introducing the Psychedelic Soul Jazz Guitar of Joe Jones (Prestige, 1967)
Black Whip (Prestige, 1973)
With Quincy Jones
Gula Matari (CTI, 1970)
With Sam Jones
Down Home (Riverside, 1962)
With Steve Kuhn and Gary McFarland
The October Suite (Impulse!, 1966)
With Yusef Lateef
The Three Faces of Yusef Lateef (Riverside, 1960)
With Hubert Laws
Laws’ Cause (Atlantic, 1968)
Crying Song (CTI, 1969)
Afro-Classic (CTI, 1970)
The Rite of Spring (CTI, 1971)
Wild Flower (Atlantic, 1972)
Morning Star (CTI, 1972)
Carnegie Hall (CTI, 1973)
In the Beginning (CTI, 1974)
The Chicago Theme (CTI, 1974)
With Don Sebesky
Giant Box (CTI, 1973)
The Rape of El Morro (CTI, 1975)
With the New York Jazz Quartet
In Concert in Japan (1975)
This quote says it all.
“I think that the bassist is the quarterback
in any group, and he must find a sound that he is willing to be responsible for.”
Detroit Public Radio mainstay, Judy Adams, is a trained pianist, composer and musicologist who hosts a Jazz and contemporary music show on CJAM 99.1FM and guest hosts on WRCJ 90.9FM.
Why would the smart gang at the Dirty Dog think of moving the operation? The good answer is: they are going to take the operation to where the best jazz in town will be playing. The Dog is setting up its operation in downtown Detroit right in the middle of the Detroit Jazz Festival. Maybe, they are pretty smart.
Gretchen Valade is Detroit jazz’s guardian angel. She is also someone who defends her right to do things well. Her love of music and food meant that it would be possible to enjoy the Dirty Dog fare while listening and watching great acts at the jazz fest.
Now in its 37th year, the festival will take place from Hart Plaza to Campus Martius . The festival offers educational activities for adults and children, fireworks, late-night jam sessions, rare opportunities to meet the artists and much more. And it’s all FREE.
People know that Detroit’s festival is special. From all over the world jazz lovers circle the date of the Detroit Jazz Festival. Those that come find jazz of great intelligence, energy and purity. There is little hype and a lot of music. Visitors learn that Detroit can throw a festival, and we will again get the credit for doing something right. This year’s festival will attract upwards of 750,000 people who will spread the good word about Detroit.
How lucky for us that it was someone of Gretchen’s integrity who took charge. She was determined to keep the event, Detroit’s event. Today it remains free for all to enjoy and reflects the best side of Detroit’s character.
Gretchen has made me aware that the festival doesn’t just happen. It takes planning, hard work, attention to details and oversight. It’s not just casual oversight. but oversight that comes with purpose and a respect for the music and the people of Detroit. Good fortune is with us as it is Gretchen on the watch.
She gets things done with grace and authority. The festival is the result of the right people doing their best to provide Detroit music lovers the best free Jazz festival in the world. Gretchen continues to think ahead of many of us and doesn’t skip out on the job.
For four days at the end of summer the best of Detroit can be experienced in our downtown. The most knowledgeable group of Jazz fans will be treated to great Jazz. Nothing is done all year that doesn’t have these fans in mind. Crowds will drift from venue to venue while behind the public view crews will be taking care of all the details that that will make the 2016 Detroit Jazz Festival a glorious success. All the hard work and planning will pay off. Meanwhile Chef Andre Nemanis and the Dirty Dog staff will be serving some sumptuous savory barbecue to some lucky jazz fans. All thanks to the planner in chief .
When you think about it, most music is fusion, in that it is a blending of stylistic and or cultural elements. Depending on the time period, Jazz itself is a hybrid – a composite of various genres from ancient African rhythms and modes to Classical, Blues, Folk, Funk, R&B and more.
You’ll hear many examples at the Detroit Jazz Festival, September 2-5 in downtown Detroit.
Trumpeter Roy Hargrove presents his neo-Soul Jazz project the RH Factor at the Festival.
In Jazz, there is an actual multi-faceted sub-genre called Fusion, which began by fusing Jazz with Rock, R&B, Funk, Electronic and World elements.
Jazz Fusion began during the mid-1960s music explosion when new styles were emerging in popular and creative music. The music was so powerful, it influenced other genres including Jazz. Instrumentation even changed with the times, as Jazz artists began playing more electric and amplified instruments, including synthesizers.
Fusion became quite controversial within the Jazz community, with some saying “Fusion and electric Jazz were not real Jazz”. Jazz has reflected current culture all along, but when it became Fusion, it set off a firestorm alienating many fans who favored traditional or acoustic forms of the music.
Miles Davis’ Bitches Brew album from 1970 helped usher in the Fusion sound that he started with his “In a Silent Way” album from 1968. He continued to utilize electric instruments such as electric piano, bass and guitar. He also experimented with Rock influenced rhythms and it’s looser style of improvisation. It became his first gold record and sold more than a half million copies
Fusion went both ways. Jazz musicians infused Rock, Funk, etc., such as Miles Davis, credited with spearheading the Jazz Fusion style. Many Fusion groups were led by former Miles Davis band members, including Herbie Hancock, Chick Corea and his band Return to Forever, and John McLaughlin’s Mahavishnu Orchestra. Rock bands started infusing Jazz elements including Santana, Soft Machine, Frank Zappa and Joni Mitchell.
There are many Jazz artists today who are difficult to categorize because they blend various styles of music into a Jazz framework. This includes such diverse artists such as Pat Metheny, Marcus Miller, Bill Frisell, Gregory Porter, Snarky Puppy, Robert Glasper and others.
With todays’ technology musicians can hear music from all over the world within seconds. They have access to so many musical styles and musicians, it’s no wonder that this gets incorporated into their own music whether consciously or subconsciously.
Multi-talented Cuban pianist, Omar Sosa will be at the Detroit Jazz Festival bringing his blend of Afro-Cuban Jazz with Jazz, Funk and traditional music.
There are many groups performing next week at the Detroit Jazz Festival (Sept. 2-5 in downtown Detroit) that infuse their brand of Jazz with elements such as New Orleans Brass Bands, Hip Hop, Afro-Cuban music, and electronica. It really doesn’t matter what we call this music. All that matters is if we enjoy it and that it inspires us in some way.
The Soul Rebels, a New Orleans based brass ensemble that combines Soul, Jazz, Funk, Hip Hop and more. They will be at the 2016 Detroit Jazz Festival.
Detroit public radio mainstay, Judy Adams, is a trained pianist, composer and musicologist who hosts a Jazz and contemporary music show on CJAM 99.1FM and guest hosts on WRCJ 90.9.