The Brand New Life Plays Durty Durham

The Brand New Life headlined Friday (5/3) at Durty Durham's Pinhook fundraiser. (For supporting band The Black Experience, see yesterday's blog post.)

The Brand New Life at The Pinhook

Greensboro is some kind of strange rhythm nexus, attracting more than your average share of griots, drum classes, and African and Brazilian percussion specialists. In fact, all across the state, from Asheville's Toubab Krewe, to Greensboro's Africa Unplugged, and Carrboro's Diali Cissokho & Kaira Ba, Africa/North Carolina hybrids are springing up like a cottage industry.

The Brand New Life belongs to Greensboro's gems. "Impossible to pigeonhole" has become a popular moniker for out-of-the-way bands, but:  "Does several things very well that don't traditionally go together," better describes The Brand New Life. As the set started out Friday, they showed their  free jazz, skronk funk side. "Just wait," I told some friends at the bar. Sure enough, they pulled out their heavy West African grooves next. In its history, the group has worked closely with musicians from Senegal, and musicians on the autism spectrum, both of whom released special synergies in the collective.

Sean Smith and Evan Frierson

Walter Fancourt and Seth Barden

Getting up to date with BNL's personnel changes during the past year:   Tama drummer Mamadou Mbengue just left the area in March for Chicago, but percussionist and co-founder Evan Frierson has taken on the instrument, also called a talking drum. Scott Johnson plays congas since September, 2012, and electric guitarist Will Darity is a full-time member since June 2012, around the time of saxophonist and co-founder Casey Cranbrook's departure. Trumpeter Sean Smith (2006-2010 member of Asheville's Afromotive) holds up the horn harmonies now with tenor saxophonist and co-founder Walter Fancourt. Two more original members remain intact: Seth Barden (electric and upright bass), and Daniel Yount (trapset drums).


Will Darity


Daniel Yount

My video clip from Friday night shows Frierson ascending the stage for a talking drum cameo, followed by smoking horn solos from Fancourt and Smith, on an Afrobeat tune entitled "Everybody Like You, Boy."

It's an original tune, based on a traditional Senegalese tama/sabar rhythm. Made more Afrobeat by The Brand New Life.   (--BNL trapset drummer Daniel Yount)

Evan Frierson

Seth Barden and Will Darity

Links:

The Brand New Life, artist website

The Black Experience @ Durty Durham 5.3.13

The Black Experience, one of North Carolina's most forward-thinking jazz combos, took the stage at The Pinhook Friday night at the Durty Durham art collective's "Hyperspring" fundraiser.

The Black Experience likes to jam long in an open-ended way, pushing canonical jazz through a prism of contemporary and popular references, from Ray Charles to Black Sabbath. What we heard Friday might be the zenith of what they've accomplished so far. Leading one to ask:  Can The Black Experience get any better? I think it's safe to say that The Black Experience will go on and on, getting better and better, with something important to communicate.


Larry "Q" Draughan and Will Darity 


Ernest A. Turner II

Collectively, it's a band with deep North Carolina roots, impeccable musical pedigrees, and a huge reservoir of experience as educators, sidemen and bandleaders at the area's top jazz institutions and venues. The co-founders of the project are William Darity, electric guitar, Larry Q. Draughan Jr., drums, and Ernest A. Turner II, piano/organ. We also heard Brian Horton on sax and flute, and a special drop-in guest, Lynn Grissett on trumpet. (Educated at NC Central, Grissett travels out of town a lot with Prince. Yes, that Prince.)


Prince sideman Lynn Grissett sitting in with The Black Experience.

Here's some video of Grissett called on stage to solo with The Black Experience. Also features solos by Brian Horton on flute, and Larry "Q" Draughan on drums:






Among the local artists and musicians who turned out for The Black Experience: vocalist Kim Arrington, keyboardist Victor Moore and visual activist Luis Franco.

Aranjuez in Raleigh: Ed Stephenson with Raleigh Symphony

The "Concierto de Aranjuez," by the blind, 20th-century composer Joaquín Rodrigo, is one of the most well-known works for classical guitar. However, it is less often that one gets to hear it backed by a full orchestra. Ed Stephenson performed the Spanish bonbon last night on the Meredith College campus, accompanied by the Raleigh Symphony, which also performed works by Beethoven and Dvorak.


Meredith College campus at night.

Born in Canada, Stephenson is half-Ukrainian (original family name: Stefanyshyn). Besides teaching at Meredith, he performs regularly in the area as a soloist and with his nuevo-flamenco combo Paco Band.

The Adagio second movement is instantly familiar; so familiar, in fact, that contractually, orchestras can only obtain the rights to perform this concerto in its entirety. But for simplicity's sake, I'm bringing you just the video of this melancholic second movement from last night's performance:





Ed passes a bouquet to Raleigh Symphony conductor Jim Waddelow.



Links:

Ed Stephenson, Artist Webpage
Raleigh Symphony webpage