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.

Regina Carter in Raleigh TONIGHT (10/22)

Is there any Triangle stage that features black women artists more regularly, and in greater proportion to their overall programming, than Arts NC State? In recent memory, they've presented Buika, Esperanza Spalding and Emeline Michel; already this season, they introduced me to the exquisite blueswoman Ruthie Foster. Yet to come in November: Ivorienne singer/dancer Dobet Gnahore (11/4), and local cellist/singer Shana Tucker (11/11).

TONIGHT (10/22): Jazz violinist and MacArthur "Genius" grant winner Regina Carter performs at Stewart Theatre. Her latest album, Reverse Thread, integrates African folk tunes with jazz, in a band featuring kora and accordion. Tickets run $28-32 for general public, with NCSU staff and student discounts available.

Our good friend John Brown, director of Duke's jazz program, leads a pre-show discussion at 7 pm. The discussion is free and open to the public in the Walnut Room, in Talley Student Center.



LINKS:

Saturday, October 22, 8 pm: Regina Carter @ Stewart Theatre
Regina Carter artist website

Catching Up With The Beast (10/1)

The Beast and Chit Nasty played a birthday party at Kings last Saturday (10/1). Chit Nasty is loud and funky as hell, with a Rick James meets Little Richard vibe.



That must've set the tone, because The Beast was a little raunchier than usual. Here's one of their newer songs, "Just Do It":






Beast fans with The Bieb @ Kings


FLASHBACK

Remember the earthquake? That night (8/23), The Beast did this live improv with special guests, a biweekly affair that happens second and fourth Tuesdays at Jack Sprat in Chapel Hill. The next "aLive Tuesday" happens 10/10, with special guest TBA.

SAMPLE OF THE WEEK: Astor Piazzola meets an earthquake theme.


Sitting in: The Brand New Life's Seth Barden (bass) and Walter Fancourt (saxophone).

Stephen Coffman on drums, Pierce Freelon on the mic, Eric Hirsh on piano/ keyboard/ samples.

Shana Tucker @ NCMA (9/2)

Shana Tucker gave a gift to the North Carolina Museum of Art on September 2: a free concert to lure visitors in for the last day of the exhibition, "30 Americans." Attendance that night broke records, according to Museum program director George Holt.



Her quartet featured Mark Wells, Peter Kimosh, and Stephen Coffman. Here is her lovely take on Nora Jones' "Wish I Could":



Young people were especially delighted with Shana's big finish: a New Orleans version of "You Are My Sunshine." Here's a montage of the dancing that ensued.




COUNTERPOINT

Here's Shana with a trio, performing the same tune, in a different style. With Mark Wells, piano, and Brevan Hampden, percussion, here's her Latin version of "You Are My Sunshine" one recent evening at Brasa Brasilian Steakhouse:

Durham Latino Festival SATURDAY (9/24)

***
BREAKING: LOCATION CHANGE

Parks & Rec has announced on Friday that the festival will be MOVED INDOORS to Edison Johnson Recreation Center, 500 W. Murray Ave, due to rainy conditions at Rock Quarry Park.
****

Durham's Latino Festival, which was postponed back on August 6 due to Hurricane Irene, is rescheduled for this Saturday (9/24) from 1 - 6 pm, at Edison Johnson Recreation Center, 500 W. Murray Ave.

Band bookings have changed, so here's the latest schedule which I received today from Parks and Recreation officials:

Main Stage Schedule

1:00 – 1:10 Welcome/Introductions - DPR Director - Rhonda Parker

Mayor Bill Bell, Felipe Cabrera, Consul of Mexico Rep.

1:10 – 1:50 Rey Norteño (BAND) (1st half)

1:50 – 2:05 Host/announcement of MAJOR SPONSORS

2:05 – 2:25 Rey Norteño (BAND) (2nd half)

2:25 – 2:40 Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.

2:40 – 3:30 Guillo Carias Trio (1st half)

3:30 – 3:45 Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.

3:45 – 4:00 Guillo Carias Trio (2nd half)

4:00 – 4:10 Host/announcement of all sponsors – gifts/raffle & introduction of next “entertainment”.

4:10 – 4:30 ZUMBA

4:30 – 5:00 Realeza de la Sierra (BAND) (1st half)

5:00 – 5:20 Host/Soccer Championship Awards/announcement of all sponsors – gifts & introduction of next “entertainment”.

5:20 – 6:00 Realeza de la Sierra (BAND) (2nd half)

Please feel free to contact me with any last minute questions or concerns.

Rosalie Bocelli (919) 560-4355 X 27235 or (919) 452-3476 cell

Latino Festival is FREE and OPEN to the public; Rain or Shine.

SI: blankets, lawn chairs, kids
NO: coolers, booze, pets.


Guillo Carias Trio

ABOUT THE BANDS:

A couple of my favorites are playing, namely the Dominican jazz trio of Guillo Carias, and Rey Norteño, whose norteña song "Raleigh" was a hit on Mexican Regional radio a few years back. I haven't seen them perform in ages, so I'm curious to see what singer/songwriter Fred Huerta, et al., is up to these days. Here's a neat little rehearsal video posted about a year ago:



La Realeza de la Sierra has kind of a technobanda style, and one member who appears to be a young girl playing keyboards, according to videos on YouTube. Here's their demo:

Bull City Leans Forward for Shana Tucker, Peter Lamb @ Casbah (8/20 Review)

forward-leaning jazz: Peter Lamb & The Wolves

If you were at Casbah on August 20th, you know that Shana Tucker's double bill with Peter Lamb and The Wolves was remarkable. People came to this show with a certain hunger for a serious listening experience, and they got it: two of the Triangle's most innovative acoustic jazz groups, together in one night for the first time ever.


chambersoul: Shana Tucker Quartet

The chambersoul songstress and her cello opened, backed by Stephen Coffman (drumset), Mark Wells (piano) and Darion Alexander (acoustic bass). Shana's banter between songs, rambling, funny, and animated, brought the receptive crowd in even closer. It was a pretty ravishing set; highlights included Roberta Flack's "The First Time Ever I Saw Your Face," and Bill Withers' "Who Is (S)he and what Is (S)he To You?" both of which featured strong interplay (musical and satirical) with her bass player.



She burned down the house, at least among all the ladies present, with a new original tune about a certain type of annoying phone call and/or text message (it may not have an official title yet, but she jokingly called it "The Booty Call Song"). Wolves Peter Lamb (sax) and Al Strong (trumpet/flugel) came out early to solo on "Bye Bye Blackbird" while Shana sang. Here's one of Shana's originals from her album Shine, a song called "November" that hits me every time:



After an intermission, Peter, Al, Mark and Stephen returned, joined by George Knott (double bass/bass saxophone) and guest Brevan Hampden (congas), to play The Wolves' set. I've never heard the horns sound better, in fact sound overall at Casbah (Sound by Evan) was peachy. If one had a request, for the artists' sake as well as the audience, it would be the installation of central A/C in this important venue. Near the stage, and especially on it, the heat from lights, etc. made for trying conditions. That said, nothing was going to stop this from being a glorious, expansive night of music. Here's "Mona Lisa," veritably busting with incredible solos by Mark Wells on piano, Peter Lamb on sax, and Al Strong with the melody on flugelhorn:



The Wolves did their usual powerranger-morphing through Astor Piazzola, Ray Charles, Nat Cole, et al. A lot of older, jazz/pop standards have cryptic Latin cover versions, or vice versa, and sitting at the bar, one popped out at me that night that, for some reason, I had never noticed before: "Boulevard of Broken Dreams" and "Veinte Años," the latter best known in a version by the Buena Vista Social Club. The former is credited to songwriters Harry Warren/Al Dubin, the latter to Maria Teresa Vera.

I'm not sure who deserves the first credit, and they differ enough past the distinctive opening bars to probably legally qualify as different songs. But my instincts lean toward Maria Teresa Vera, who was born in 1895, and wrote "Veinte Años" as a habanera (the Cuban style of contradanza, whence tango got its bassline). Nat King Cole did "Boulevard of Broken Dreams" with a Latin percussionist (Jack Costanzo), and the English lyrics not only treat a similar theme (broken dreams/long lost loves), but also mention an "old Cathedral town," which seems like an allusion to Latin America.





In any case, the really important question is this: Has anyone merged these songs? How breathtaking would that be? Wolves, you have your mission...

Danke schön, in the meantime, for restyling my brain to take in this German drinking song, "Du, Du Liegst Mir Im Herzen," sung by with Mark Wells as if he were Jeff Buckley at an Oktoberfest. This was a juicy encore:



If you missed it, you missed it.

Peter Lamb and The Wolves and Shana Tucker both have new albums; listen and learn more at their websites.

Soul Rebels Brass Band...in Durham 6/3

Scenes from last fall, never posted...the first annual African American Cultural Festival of Raleigh and Wake County was a big hit with me, and about 15,000 other people, according to their website; featured performers included Chuck Brown, godfather of DC gogo, and Sierra Leone Refugee All Stars. Look for this festival again on Labor Day weekend, 2011.



This Soul Rebels Brass Band footage is making me wish I could attend New Orleans Jazzfest coming up in late April-early May.



Next best thing: Soul Rebels play Papa Mojo's Roadhouse on June 3 [ReverbNation event link].

aLive Tuesdays: The Beast + Greg Humphreys 3.8.11

Chemistry, timing, and musical diversity have always contributed to the magic of The Beast, Durham's live hip hop/jazz dynamo. Now those qualities get showcased every other week at Jack Sprat, at a free live show from 9-11 pm called aLive Tuesdays with The Beast.



What makes these evenings so much more than a live rehearsal is the way the sets are structured: the two hours are subdivided into four, gem-like sets, covering three or more genres, and featuring one invited guest.

This week began with instrumental jazz by The Beast Trio (minus Pierce). Then singer/songwriter Greg Humphreys did a solo set of his originals. Greg really kills it on the mic in a warm, intimate setting like this, expertly modulating his tone from jazz to soul to country. The full Beast convened next, doing 2 or 3 new songs. (Pierce said they are getting ready to record again this month.)





This headliner set always leads off with The Beast's "Sample of the Week," a live-composed jam based on a sample chosen by a different member of the band. This time, pianist Eric Hirsh went with a classical riff from "Venus," from Gustav Holst's orchestral suite "The Planets." Here's the beautiful, spontaneous result:



Finally, Greg joined The Beast for a closing set. Greg did this classy, witty ballad, "Must Be The Moon," already recorded with The Beast Trio, to be released on Greg's next album in 2011. Here's part of it, with a nice little piano solo by Eric:


"Must be the Moon" (Greg Humphreys/Nancy Armstrong), (c) Phrex Music BMI.

The set (and show) ended with this slamming collaborative version of Curtis Mayfield's "Move On Up," which Greg often performs with his band Hobex. It featured an added rap by Pierce and a guitar solo by Greg:



So many pretty, cross-pollinated performances in one night...can't think of the last time I got so many kicks in two hours, for the price of a beer.



The next aLive Tuesdays with The Beast will be March 22, featuring "ChamberSoul" cellist/vocalist Shana Tucker.


Photo Credit: Tiona Fuller

Shana's debut CD Shine was just released a few weeks ago, give a listen on her website.

Hobex Redux + Fat Tuesday Alert

Video of Hobex from Saturday night (3/5), at the Pittsboro Mardi Gras Festival at Chatham Mill:



Peter Holsapple (organ), Cyril Lance (guitar), Andy Ware (bass), Rob Ladd (drums), Tim Smith (sax), and frontman Greg Humphreys (vocals, guitar). Greg had his table steel standing by, but did not deploy. Still it was a grand and festive evening. Some of my favorite Hobex originals, a tune from Greg's recent solo release, and some zydeco and soul covers kept the costumed pirates and merrymakers of Chatham County dancing.



FAT TUESDAY ALERT:

See Greg Humphreys tonight (3/8) at 9-11 pm @ Jack Sprat as a special guest at The Beast's "aLive Tuesdays." Raaaawwwwr!

4 short sets:
1) jazz set with The Beast Trio (Eric Hirsh, Peter Kimosh, Stephen Coffman)
2) solo acoustic set with Greg Humphreys
3) hip hop set with full cast of The Beast
4) The Beast + Greg Humphreys as special guest.

Charanga & Jazz SATURDAY (2/19) @ UNC Memorial

If you missed out on Eddie Palmieri yesterday--from his student masterclass, to the Memorial Hall concert, to a jam session on Franklin Street--you can still look forward to a great evening of Latin jazz tonight at UNC: a joint concert of Charanga Carolina and the UNC Jazz Band, with guests Joe Chambers (drums) and Conrad Herwig (trombone). Rumor has it there will be some special guests on vibes as well.



Palmieri was so stoked upon hearing the Charanga Carolina yesterday, that he placed cell phone calls during the rehearsal to share the live sound with two very important people: his wife ("she's a charanguera!" says Eddie), and trumpeter/music historian Rene Lopez.

"This is a rocking band! You better give them a good write-up," Palmieri told me afterwards.

He gave some playing tips to the group's pianists, current and former, who huddled around the keyboard on the Hill Hall stage, where yesterday's masterclass took place.

Palmieri's trombonist, Conrad Herwig has been in residency all week, playing lip-busting concerts with UNC faculty, the NC Jazz Rep Orchestra, as well as his boss. He told me Wednesday that he is looking forward to playing with the Charanga tonight.



Tonight's concert will be in UNC Memorial Hall at a cost of $15 general admission. An after hours jam session is planned at 10:30 pm at West End Wine Bar (cover: $4)

This intense burst of concerts continues next weekend, as part of UNC's 34th Carolina Jazz Festival. Trumpeter Marcus Printup of the Jazz at Lincoln Center Orchestra returns to campus for a residency Thursday (2/24)-Saturday (2/26).



I never did a full review of Charanga Carolina's show at Talulla's a few weeks ago, but it was a barnburner. Although the intimate setting puts dance space at a premium, the warm acoustics and family-run atmosphere at Talulla's are a perfect home for Charanga.

Here's a video from last time to get you in the mood for tonight:

Eddie Palmieri at UNC-Memorial Friday (2/18)

Read my Indy story, P'Adelante: Eddie Palmieri Continues to Reinvent his Pioneering Latin Jazz, here. The concert is Friday at UNC-Memorial at 8 pm.

A TRANSCRIPT containing more of this interview will be available here LATER TODAY. Check back later on Thursday.

I just had a chat last night with Conrad Herwig, Eddie Palmieri's trombonist, in the green room after he played a lip-blistering concert with Jim Ketch in Hill Hall. This was a free concert, lots of other events (some paid/ticketed, some not) taking place over the next two weeks at UNC, part of the Carolina Jazz Festival. Conrad is doing a residency and will also perform in Memorial with the UNC Jazz Band and Charanga Carolina on Saturday. I will post more info later!

Lincoln Center Jam @ Talulla's

Following their concert last night at UNC-Memorial Hall, members of the Jazz at Lincoln Center Orchestra turned up to jam last night at Talulla's, a regular Friday night jazz jam featuring Al Strong & Trio-tet.



I am rushing to get this up, since the show goes on tonight (JLCO again at Memorial Hall, and Orquesta GarDel at Motorco), but this was a descarga to remember. Among the JLCO visitors: Marcus Printup (trumpet), Vincent Gardner and Chris Crenshaw (trombones), and Ali Jackson (drums). Local musicians lined up to go shoulder to shoulder with their heroes. It was a very warm gathering and one rapt jazz fans and players beheld with a sense of wonder.





Talulla's is so dark that my videos are hard to make out, but here's one the sums up the energy of the night. Chris Crenshaw, a master with the plunger who at one point played just his slide and a water glass, a la Jack Teagarden, opens the solos; local legend Brian Miller takes over on saxophone, followed by Richmond's elite James "Saxsmo" Gates. I believe that the core players at this point in the evening are Brevan Hampden, drumset, Paul Creel, bass, and Ernest Turner, piano:



Also present in the jam were trumpeters Angel Rodgers and Kadir Muhammad, saxophonists Andy Paolantonio and Aaron Hill, and trombonist Reggie Greenlee. That's a non-inclusive list. Many others were there just to bear witness. This video features Aaron as second soloist, and Marcus Printup who returns to Chapel Hill and Asheville for engagements in February:







Later, Brevan moved to congas, making way for some fine drumming by Aaron Tucker, and to top off the night, JLCO's Ali Jackson. Brevan played a great, long conga solo (uncaptured on video), but I did grab a dark snippet of Brevan and Ali exchanging some percussion dialogue. Use your imagination for the visuals: