The Pace Report

The Pace Report: "Conversations With a Feelin' Good Bassist" The Christi...

2012-02-13T18:34:00.000-06:00

Congrats to Bassist and bandleader Christian McBride for winning the 2012 Grammy Award for Best 2012 Best Large Jazz Ensemble for his Mack Avenue Records release "The Good Feeling." Here's my interview with Christian from last summer's 2011 Detroit Jazz Festival on his Grammy-Award Winning record.

Bassist and bandleader Christian McBride is about to release two of the most important music projects of his 25 years in the business. Mack Avenue Records is set to release "The Good Feeling" which is McBride's debut with his big band taking music fans on ride that produced some of his most innovative and spine-tingling arrangements and compositions. The disc features guest musicians Ron Blake, Nicholas Payton, and vocalist Melissa Walker. Another important release is "Conversations With Christian" which is set for release this November. This disc is something that came as a brainchild from his XM Satellite Radio show which he's hosted for many years. Throughout his many years as both a leader and sideman, McBride has interviewed some of the most prolific musicians in jazz, rock, soul, and hip-hop. So, he recorded music with some of the musicians from his conversations ranging from Regina Carter, Sting, and Roy Haynes. Also featured on the disc are sessions with the late Dr. Billy Taylor and Hank Jones.

Christian has worn many shoes both in front and behind the scenes serving both as an artistic and musical director for jazz festivals all over the world, a master musician and clinician, radio show host, dedicated husband,and heading his own bands. He's toured music icons ranging from guitarist Pat Metheny to Chick Corea and John McLaughlin. McBride is one of the most requested bassists in jazz. The Philadelphia native boasts that "the bass was in his blood!" His father is bassist Lee Smith who backed the legendary Mongo Santamaria, to soul legends like Blue Magic and Brenda and the Tabulations. From the age of 8 years old the young McBride found his way both as a musician as well as spokesman for jazz.

In addition to heading his group Inside Straight, this year he'll also be playing some special dates with the Christian McBride Big Band. To order "The Good Feeling" or "Conversations With Christian," please visit him on the web at www.christianmcbride.com or www.mackavenuerecords.com

The Pace Report: Echos of a Cosmic Renaissance" The Lonnie Liston Smith ...

2012-02-12T18:18:00.000-06:00

During the late 1960's Jazz music was undergoing a major metamorphosis. Miles Davis was musically in transition and went from the traditional acoustic quartet to a more funky electronic sound. Out went the stand-up bass and came the electronic bass. Out with the standard piano and came the Fender Rhodes. Many musicians in what would be hailed as Fusion jazz phase, took rock, soul, and other free form elements and centered it with an electronic base. Musicians like Joe Zawinul, Chick Corea, Les McCann, Herbie Hancock, and Stevie Wonder used the Fender Rhodes as not a replacement to the standard piano, but as a means to create and experimental sound to evolve with the new music that took the world by storm.

Pianist and keyboardist Lonnie Liston Smith is a pioneer in the fusion jazz/funk whelm, in that he came out of the gospel and mainstream jazz tradition and created his own flair of music that many musicians from Guru to Jamiroquai to Masters at Work have emulated in soul, hip-hop, and Latin music. Lonnie's group "The Cosmic Echoes" music is still being sampled by hip-hop and R & B artists as well still played in dance clubs all over the world.

Lonnie Liston Smith, Jr. was born on December 28, 1940 in Richmond, Virginia. Music was always part of Lonnie's life. His father, Lonnie Liston Smith, was one of the founding members of The Harmonizing Four, which were one of many pioneering gospel groups during the 1930's to 1950's. As a child he was exposed to many of the gospel music greats like The Soul Stirrers featuring vocalist Sam Cooke and The Swan Silvertones. Lonnie's father bought a piano and taught anyone who wanted to learn. He was bitten by the music bug at an early age and by the time he graduated from high school, Lonnie had become an accomplished pianist as well as trumpet and tuba player.

Upon graduating from Morgan State University in the early 1960's he moved to New York City where he eventually graduated from school of jazz. Playing and backing the likes of Art Blakey, Roland Kirk, Pharaoh Sanders, Gato Barbieri, Betty Carter, Max Roach, Abbey Lincoln, and Miles Davis.

It was during the early 1970's that Lonnie was introduced to the Fender Rhodes electric piano. While recording saxophonist Pharaoh Sander's "Thembi" recording on Impulse Records, that he played the instrument for the first time. In fact, he wrote "Astral Traveling" in the first 10 minutes that he first tinkered with the Rhodes. Sanders loved the song and recorded it that afternoon. It was also during his recording with Pharaoh that he became friends with legendary record producer Bob Thiele, founder of Flying Dutchman Records. Thiele, whose legendary work includes producing the late Buddy Holly and all of John Coltrane's sessions while at Impulse Records, extended the offer for Lonnie to record his first record.

In 1973 Lonnie formed The Cosmic Echoes and would record music and a sound that was different during the 1970's. His first band consisted of bassist Cecil McBee, percussionist James Mtume, guitarist Joe Beck, saxophonist George Barron, and drummer David Lee, Jr. Lonnie's debut recording "Astral Traveling" came out to rave reviews. This was also the same time that Lonnie was touring with trumpeter Miles Davis who had just recorded and released "On The Corner" and "Big Fun." For almost 14 years The Cosmic Echos recorded fourteen records which included "Expansions," "Cosmic Funk," and "Loveland."

During the mid-1980's into the mid-1990's Lonnie recorded many trio jazz recordings as well as paired up with the late rapper Guru for his landmark Jazzmatazz recording. Over the years Lonnie's music has been sampled and rediscovered by a new legion of R & B and Hip-Hop artists. Some of them include: Young Jeezy, O.C., Jay-Z, Digable Planets, Mary J. Blige, and Nikki Jean.

Today Lonnie is still on the road as part of the "Soulful Nights of Keys" tour featuring Mark Adams and the legendary Brian Jackson. Also, he's in the studio recording new music. For more information on Lonnie's upcoming club dates please visit him on the web at lonnielistonsmith.net.

The Pace Report: "The Musical Roots of Lady Cassandra Wilson" The Cassan...

2012-02-07T19:14:00.000-06:00

Throughout vocalist Cassandra Wilson’s recording career, she’s been able to reach into the depths of her range of American roots music. She’s recorded jazz, soul, folk, country, and gospel music and been able to make a niche as a great vocalist without critics and music fans putting her art in mindless categories. The Jackson, Mississippi native never forgets her rich southern musical background and takes pride in having her music reflect it.

Growing up in Jackson, Cassandra was exposed to lots of music. She learned how to play the guitar as a teen and was classically trained beginning at the age of six. She performed in many soul and funk bands when she was in college and later moved to New Orleans upon graduation. It was while she was in the Crescent City that she met and eventually was mentored by educator/pianist Ellis Marsalis and Alvin Batiste.

But Cassandra’s rise to critical acclaim came when she moved to New York City where she became part of M-Base, a music collective co-founded by Steve Coleman, that played and composed jazz-based music that was fused with soul and funk. Other musicians that came from this collective were pianist Geri Allen and saxophonist Greg Osby.

In her 25 years as a vocalist, Cassandra has won two Grammy’s and honors such as Down Beat Magazine’s Female Jazz Vocalist of the Year and received an honorary doctorate in the arts from Millsaps College in Jackson, Mississippi.

Currently she’s working on a new project that will eventually be out sometime later this year. For upcoming tour and club dates please visit her on the web at cassandrawilson.com.

Last Train To Soulsville: Remembering Donald Cortez Cornelius

2012-02-05T12:18:00.000-06:00

On Wednesday morning of last week, I received some of the most horrific news out of Los Angeles, California. I was saddened to hear about the loss of Brother Donald Cortez Cornelius, the creator and host of the iconic television show “Soul Train.” Mr. Cornelius was found dead in his Sherman Oaks home in California of an apparent suicide attempt due to a self-inflicted gunshot wound to the head early Wednesday morning.

I had to stop for a long moment because as a 39 year old black journalist and host of The Pace Report, I couldn’t but think about how Brother Cornelius has had an impact on what I do for a living, but how this man put many black performers on the map. Also what he did for black music and our culture. For 35 years “Soul Train” was an institution for many African-Americans from New York to Philly to St. Louis to Oakland; every Saturday morning and afternoon this program was the perfect way to end the week. Brother Don showed black America what was happening in the world of music, fashion, the arts, and politics. His legacy will always be remembered. Before I reflect on Mr. Cornelius’s legacy and his death, first one must really understand the vision and power behind “Soul Train” and the founder’s humble beginnings. Donald Cortez Cornelius was born on September 27, 1936 in Chicago, Illinois. Cornelius grew up in the Bronzeville section of Chicago and graduated from DuSable High School. Upon graduation he joined the Marines and then served 18 months in Korea. When he returned to Chicago the worked as an insurance and car salesman. But he joined Chicago Police Department where he was an officer for three and half years. It was during a routine stop that Officer Cornelius was told that he had a great voice and thought he should go into radio. He then quite his job as a full-time officer to attend broadcasting school where after the graduated worked at the legendary WVON in Chicago. WVON, then owned by Phil and Leonard Chess of the legendary Chess Records record label, stood for Voice of the negro. WVON was the staple of the black community and was one of the most important stations in the country. Cornelius only had $400 dollars in is account and it paid off well. He became a reporter and read news while working there.But it was his brief stint as a broadcaster at WVON where he had a revolutionary concept of creating a show that showcased the black performers of the day in the homes of local Chicagoans. Don introduced the idea of a dance show with live performances as part of the back drop of what would become “Soul Train” to WCIU-TV owner Howard Shapiro. George O’Hare, former advertising manager for Sears in Chicago, would become one of the first advertisers of the show. Within the first two weeks of the show, it was an immediate local hit. But, one of Don’s primary motives to hosting and producing a program like this was he would have complete ownership of the show, a first for African-Americans during the early 1970’s. Also, Don wanted to present blacks in a more positive light and give them press at a time when shows American Bandstand and Shindig didn’t give much media attention to African-Americans. On August 17, 1970 “Soul Train” debuted in Chicago.The impact was immediate in Chicago because it focused on the best black talent in Chicago but some of the best names that came through the Windy City also appeared on the show. Acts and performers like B.B. King, The O’Jays, Curtis Mayfield, The Impressions, and Garland Green. Also, the teenagers were also part of the show’s success. They made an impact on the wearing the latest fashions, introducing the latest steps, as well as keep local Chicagoans on top of the latest of the latest in the black community. Brother Don was the eyes and ears of what was going on while in the background maintaing ownership of what would become one of the most important black shows in the history of television.Brother Don took the show and the vision to the next level. He moved to Los Angeles, California and took the show with him. He struck a deal that would syndicate the show in seven cities which would allow him to expand over the next couple of years. On October 7th, 1971 the debut of the national show had a larger and more elaborate show with soul group Gladys Knight and the Pips as the first group who performed on the show. The show after the first season went from 7 seven markets to 50 by 1972. One of the show’s staple and signature part was the famous Soul Train Line. This was a time when they played a real popular song of the day and a man and woman would dance down the line together. In those 4 to 5 minutes, the dancers would present some of the hottest dancers and wear some of the hippest clothing at the time.During the rise of this show, blacks rushed to watch Soul Train because this was the ONLY show that gave a major platform for African-American businesses like Johnson Products that visually took their hairline products to the black community. Other major advertisers began catering to the black viewing audience via Soul Train during the 1970’s into the 80’s. Companies like McDonalds, Ford Motor Company, and Coca-Cola. Soul Train also promoted black artists and groups that wouldn’t make the other major mainstream shows like The Tonight Show, American Bandstand, and Good Morning America or The Today Show. Groups like Funkadelic, Mandrill, Earth, Wind and Fire, The New Birth, and other Funk laden groups got wide exposure as well as helped them crossover to the mainstream. Soul Train allowed political activists like the Reverend Jesse Jackson and Al Sharpton to express their views on the plight and problems of the African-American community.Don Cornelius was a visionary that allowed blacks to be viewed as being ourselves every week in a positive and respectable light. As I stated earlier, I couldn’t do the what I’m doing without the vision and perseverance of taking control of one’s destiny as well as giving something in return without any expectations. Over the last couple of days, artists from young and old, ranging from Aretha Franklin to Jill Scott, held Don’s vision and what he’s done for a lot of recording artists can never be replaced. From the Soul Train lines that many African-Americans perform at weddings to family reunions, the show’s presence has steeped in the psyche of black culture. Shows like Yo MTV Raps and Video Soul became staples in black culture due to Don’s love for the music and relentlessly wanted blacks to be seen a positive light. My role as a journalist and interviewer is now more evident as the world is producing more mindless music and the lack of quality of news has fallen by the waste-side. Brother Don brought a level of coolness, sophistication, and sense of pride to be black. Thank you from the depths of my heart and to the many you’ve influenced and gave over the last 35 years. Thanks Brother Don.......The Revolution Will Be TelevisedBrian PaceThe Pace Report www.thepacereport.comthepacereport@yahoo.com

Insane Objectives From The G.O.P

2012-02-04T18:53:00.002-06:00

“I think out society is run by insane people for insane objectives. I think we’re being run by maniacs for maniacal ends. I think they’re all insane. But I am liable to be put away as insane for expressing that. That’s what is insane about it. Don’t you agree?” John Lennon-Activist & SingerI think I’d open this week’s weekly column with the late John Lennon’s quote about the insanity that’s taken place over the last week with the latest developments with the “grand ole party,” the Republicans. In the last two weeks the G.O.P’s movement and actions have shaped into a cross between a bad Fellini film and a crack party turned haywire. But the most beautiful thing about the G.O.P’s actions have shown much of America their REAL true colors. The backstabbing between Mitt Romney and Ron Paul due their lack of support waning in South Carolina, now looks like Florida, have members of the “grand ole party” now endorsing former House of Representatives Speaker Newt Gingrich. Now that the voice and clear vision of the G.O.P has been given their new voice of choice, Mr. Gingrich, the means of the old school right wing has resurfaced due the current state of the past platform of President Ronald Reagan.Over the last three years the American people have seen how both members of the G.O.P in the House and Senate have stalled the President’s bills and seen the progress of how this country hasn’t moved forward. In another move to further separate and add more racist rhetoric to the fire, Kansas House Speaker Mike O’Neal wrote some interesting comments in a e-mail that he sent calling for the death of President Barack Obama. O’Neal wrote a prayer “Pray for Obama, Psalm 109:8.” The e-mail was used as a means for House Speaker O’Neal for the death of the President. O’Neal even used the Old Testament scriptures from Psalm in the bible as a means to communicate his message. Psalm 109:8 states: “Let his days be few; and let another take his office.” But the speaker wishes as he states in the e-mail: “at last-I can honestly voice a Biblical prayer for out president! Look it up-it is word for word! Let us bow down our heads and pray. Brothers and Sisters, can I get an AMEN? AMEN!!!!” In the book of Psalm 109 verses 9-10 reads: “Let his children be fatherless, and his wife a widow. Let his children be continually vagabonds, and beg; let them seek their bread also out of their desolate places.” Again, these kind of statements and using God’s word show ones blatant disrespect for the President and his family. It also shows the lack of him and his party for not stepping up and not giving the Speaker a punishment for his actions.Later during the week, President Obama headed to Phoenix, Arizona for a series of fundraisers for his reelection campaign. As he exited from Air Force One he was greeted by Arizona Governor Jan Brewer. The two had exchanged words and the famous picture that surfaced between the two of the Governor raised a lot of controversy due to her pointing her finger at the President. Many in the press and those by the water cooler thought it was a sign of disrespect for her to do that to the President. Over the last couple of years, the two haven’t met eye to eye on the Justice Department’s legal ramifications of her laws on immigration. In fact, the Obama Administration has called Governor Brewer’s immigration law “misguided.” The insanity of how the State of Arizona has strict guidelines in racial profiling especially random police checks to see if suspects are illegally here in the U.S. Arizona lawmakers along with Mrs. Brewer believe the 2010 Bill that they signed would curtail and prevent non-citizens from getting jobs. Also, Governor Brewer released a book in November of 2011 titled “Scorpions for Breakfast” in which she adamantly talks about how President Obama’s views on immigration and his healthcare plan. Both President Obama and Governor Brewer brushed off the incident as nothing of relevance, but any parent who raises a child knows from an early age, never to point your finger at anyone while their speaking. Apparently the Governor lost all respect and manners while addressing a person of the highest office in the country.Finally, after a long hard battle former Massachusetts Governor Mitt Romney has beaten both G.O.P candidates in Florida. While Mitt was singing and Newt was praising Reagan, Rick Santourm was “voted off the island!” Santourm only got 13% of Florida’s primary voters and his voice along with Texas Congressman Ron Paul were lost in the Romney’s rise to top. Romney won 52 percent to Newt only holding 28 percent, a far cry from his South Carolina primary win a little over a week ago. Much of Romney’s success in Florida has to deal with the fact he and campaign supporters outspent Newt more that 5 to 1. Also, Romney gained a lot of support from Florida’s older voters and a rise in Hispanic voters that also went to the polls. Many of the Hispanic community were turned off by Newt’s old school conservative views on immigration and tax legislation he proposed to for lower class working force. In a recent Wall Street Journal poll, they asked voters “who would they vote for if the election were today?” In a surprising vote, Mitt Romney leads over President Obama 46% to 45%, just one point. So, what this means is, the President still as a shot, but, most of America is still up in the air on lots of current issues that the current administration hasn’t dealt with. Also, something else to think about. In a USA Today poll, readers were asked, “are they satisfied with your current members of Congress and Senate?” A resounding 56% of the readers are disappointed with their current representatives and want change in Washington.Congress has been on this lynching mode for President Obama to fail for the last three years. The evidence is in their voting record as well as the negative rhetoric that many members of the G.O.P have stated over time. John Lennon’s assessment is correct in that Washington has now become what he states as a place where “society is run by insane people for insane objectives. I think we’re being run by maniacs for maniacal ends. I think they’re all insane!” Lennon is very accurate and America does deserve better. The President seems to have a good view of how this country can move forward, but with the G.O.P wanting to move backwards to Reagan’s place in American politics moving forward in 2012 and beyond, to me that’s utterly insane!The Revolution Will Be Televised,Brian PaceThe Pace Report www.thepacereport.comthepacereport@yahoo.com

The Pace Report: "#BAM..The Inaugural #BAM Conference" Featuring #BAM......

2012-01-29T07:52:00.000-06:00

"Jazz is nothing but a terminology. BAM is a terminology. It's just a phrase that's been created for identification. Think about black people in general in this country. We've been called Negro, Colored, Black, Afro-American and now African American. Who decides these terms? Are they bad, good, or neutral? Or, are they just simply terms? Jazz has always been Black American music and musicians who play it no matter what culture they've come from need to understand that and I know deep down inside do understand that." Bassist and Composer Christian McBride

Since November of last year, trumpeter and educator Nicholas Payton has eloquently written on the negative connotation that the word 'jazz' has created over the last 40 years. His first blog posting "On Why Jazz Isn't Cool Anymore," posted on NicholasPayton.wordpress.com, has him explain that "jazz died in 1959." In addition to him not liking the term 'jazz,' Nicholas has vowed to refrain from using the word in its entirety. He even went as far as to create the acronym "# BAM," meaning Black American Music. He wants the music fans and lovers of Black American Music to reconsider how we coin the term 'jazz' and how labels have both direct and indirect meanings that have tainted the history of Black American Music.

In addition to Nicholas posting many important articles weekly on his blog, he's continued to reach out to his many music fans who've agreed and disagreed with his take on # BAM via Twitter(www.twitter.com/#!/paynic) and Facebook(www.facebook.com/nicholas.payton).

Nicholas recently hosted the first "Inaugural #BAM Conference" at Birdland Jazz Club recently here in New York City. The conference was moderated by writer and MSNBC commentator Toure', saxophonist and educator Gary Bartz, saxophonist Marcus Strickland, bassist Ben Wolfe, and pianist and bassist Orrin Evans. Organized and produced by Anna Sala of AMS Artists Management, the music industry along with the press, took part in the constructive dialog about the origins of Black American Music. Also, the panelists gave ideas on how live BAM music needs to get back to the people.

The Pace Report proudly presents the first "Inaugural #BAM Conference" in its entirety. Please watch this and continue the constructive dialog on Black American Music.

The Pace Report: "Nomad Soul" The Jose James Interview wsg Taylor McFerrin

2012-01-23T19:22:00.000-06:00

The word nomad is defined as “a person with no fixed residence who roams about; a wanderer.” In a state of where the arts have been shaken up by the lack of coverage by journalists and the press, many of today’s real artists have been left to fend for themselves here in the states. The recording industry has decided to let shows like “American Idol” and “Americas Next Talent” dictate to the masses who’s the next big thing.

Vocalist and producer Jose James has allowed himself to musically record the kinds of projects that he wants to do. His vision of his music has earned him one of best new vocalists of his generation adding a unique flavor to his take on both jazz and soul. I’ve been blessed to witness his nomadic state of existence while following his career here in the states. I use the word ‘nomadic’ due to the climate of the record industry here. See, Jose’s recorded his first three recordings in the UK and Brussels and his career has skyrocketed oversees. He lived in London for many years but decided a little over a year ago to return to the states to kick off his fan base and following. It hasn’t been an easy feat for him to say the least due to some critics not finding him “too jazz based!” Or, others find him to soulful! In the years I seen him perform and listen to each recording, I find his music both soothing and improved over the years. I appreciate the fact that Brother Jose can go from a funked out version of “Save Your Love For Me” to a soulful hit like “Code.” Jose is in the rich tradition of great vocalists like Sade, Lou Rawls, Dinah Washington, Roberta Flack that reach into black roots music and fused and meshed them into their own style.

The Minneapolis native grew up a devout fan of hip-hop, yet he also developed a love for soul and jazz music. Jose knew he wanted to sing and after graduating from high school he decided to attend the New School for Jazz and Contemporary Music in New York City. It was there where he had great teachers like drummer Chico Hamilton and pianist Junior Mance as his teachers as well mentors. Jose also formed his first band while in school.

On a trip to London, Jose met the legendary producer/DJ Giles Peterson where he heard his rendition of John Coltrane’s “Equinox.” Peterson signed him and recorded his first two records “The Dreamer” and “Blackmagic” on the Brownswood label. Jose’s third project was the Impulse Records release “For All We Know” project with pianist Jef Neve. The album was a collection of standards where both he and Jef went into the studio and recorded it in under a hour.

His success over his short time he’s been recording has allowed to collaborate and record on guest projects with artists like Flying Lotus, Taylor McFerrin, Jazzanova, Chico Hamlton, Junior Mance, and Toshio Matsuura.
This year Jose is touring the states with a vengeance as he’s about to release his most ambitious and gritty record up to date. “No Beginning, No End” goes back to that great soul music era of Marvin Gaye, Donny Hathaway, and George Benson. Jose not only produced the entire record, he wrote and chose all the musicians that he wanted to perform and guest appear on his project. Special guests include Robert Glasper, Pino Palladino, Jessica Care Moore, Taylor McFerrin, Hindi Zahra, “Chris “Daddy” Dave, and Emily King.

His current single “Trouble” is not only a head-bobber, it reeks of greatness and fresh soul music.

Needless to say, Jose pulls no punches with this project. I saw him perform the new songs at a recent performance at The Jazz Standard which is included in this television segment and the proof is in the pudding! Jose is about to blow up! Every performance I’ve seen him whether its the Jazz Standard to the Blue Note to Dizzy’s here in NYC, his music fans have packed out these venues to sold-out crowds. Apparently Mr. James is doing something right!

Look for his upcoming disc “No Beginning, No End” sometime this year. For more information on Jose’s show and release dates, please visit him on the web at josejamesmusic.com.

The Pace Report: "The 2012 NEA Jazz Masters Induction Ceremony Highlights"

2012-01-21T07:22:00.000-06:00

One of the most important jazz events took place at Jazz at Lincoln Center during the week of APAP last week. The 2012 National Endowment for the Arts held their 30th anniversary of the Jazz Masters Ceremony and Concert to a sold-out crowd. The event pays tribute to the architects of jazz music both living and deceased. More importantly, the NEA gives the current inductees as well as music programs and centers all over the country, grants and funding to continue the legacy of providing the community jazz programming and education to keep the music viable to public. Including this year’s inductees, the NEA has celebrated the work and lives of 128 jazz musicians, awarded more than 2,400 jazz grants, and given over $32 million dollars over the last 30 years. A very important feat for the music that very seldom gets the notoriety or praise like other American black music such as hip-hop, soul, and the blues.

This year’s 2012 NEA Jazz Masters inductees include: Sheila Jordan, vocalist and educator; Von Freeman, tenor saxophonist and bandleader; Jack DeJohnette, drummer and pianist; Jimmy Owens, trumpeter, educator, and advocate; and Charlie Haden, bassist and bandleader.

The festivities kicked off this year in regal fashion as Rocco Landesman, Chairman of the National Endowment for the Arts gave the opening comments about how rich the NEA’s tradition of celebrating and commemorating of America’s only art form. 2007 NEA Jazz Master Ramsey Lewis and last year’s inductee Wynton Marsalis, artistic director of Jazz at Lincoln Center, also gave opening comments of the historical implications of the 30th Anniversary of this year’s jazz masters ceremony.

NEA Jazz Master Phil Woods along with alto saxophonist Grace Kelly played “Things To Come” composed by former NEA Jazz Master Dizzy Gillespie. The two were backed by the stellar Jazz at Lincoln Orchestra lead by Wynton Marsalis.

Drummer Jack DeJohnette was inducted by his mentor and fellow NEA Jazz Master Muhal Richard Abrams. Abrams helped Jack as a teen study and play both the piano and drums while growing up in Chicago, Illinois. Through Abram’s Association for the Advancement of Creative Musicians, Jack developed a love and passion to play both classical and jazz music which helped him decide to play music professionally. In the mid-1960’s Jack decided to move to New York City where he played with the late Rashied Ali in the John Coltrane Quintet. He got his first taste of success when he joined saxophonist Charles Lloyd in his first quartet where he played with a young pianist named Keith Jarrett. During the late 1960’s into the 1970’s, Jack backed and recorded with the likes of Miles Davis, Sonny Rollins, Special Edition, New Directions, and his long association with the Keith Jarrett Trio with bassist Gary Peacock. Today, Jack is still very active and just released his latest disc “Sound Travels” on the the eOne Music label.

NEA Jazz Master Benny Golson gave the induction speech of 2012 inductee Von Freeman. Freeman, who couldn’t make this year’s ceremony due to illness, was given some praise and adoration by his sons Chico and Mark Freeman, who gave his induction speech. Earle Lavon Freeman, Sr, was born in Chicago, Illinois where he’s been a musical icon for the last 70 years. Von comes from that elite class of Chicago tenor saxophonists like Gene Ammons, Clifford Jordan, and the late Johnny Griffin. During the 1950’s he and his brothers George and Bruz were the house band at the famed Pershing Hotel in Chicago. Von played with a slew of great local musicians that included Jimmy Witherspoon, Sun Ra, and Andrew Hill. In 1972 he recorded his debut recording “Doin’ It Right Now” produced by Rahsaan Roland Kirk. Currently Von plays weekly at the New Apartment Lounge and Andy’s Jazz Club in Chicago.

Bassist and bandleader Charlie Haden has given the world of music and jazz his unique blend of originality and heart. Since he made his way on the bandstand during the late 1950’s, Haden has been a trailblazer and relentless musician always striving to take music to the next level as well as always create new forms of roots music. From his days with saxophonist Ornette Coleman’s group, the quartet recorded the landmark recording for Atlantic Records, “The Shape of Jazz to Come.” But in 1969 Haden would record one of the most ambitious jazz recordings of the time. “Liberation Music Orchestra” was a record that fused the social themes of the times as well as free jazz that spoke volumes in the jazz community. The music was arranged and composed by Carla Bley and the orchestra has been recording sporadically over the last four decades. In addition to Haden’s orchestra, the three-time Grammy Award winner also fronts Quartet West. Charlie couldn’t attend the jazz masters ceremony due to his recovery from a recent surgery. His daughter Patra read his acceptance speech and acknowledged his many accomplishments on Charlie’s behalf.

Vocalist, musical visionary, and NEA Jazz Master Jon Hendricks gave one of the most poignant speeches for his friend and contemporary, vocalist Sheila Jordan. Hendricks praised her accomplishments as a vocalist as well as keeping the vocal tradition alive by teaching the next generation of vocalists. Jordan, a Detroit native, comes from a great tradition and legacy of musicians that have made great and important strides in the world of jazz music. She developed her vocal style while singing in a local group named Skeeter, Mitch, and Jean. But it was her drive and determination that got her to move to New York City where she decided to throw herself into the thriving music scene. When she moved here she learned music theory and harmony by bassist Charles Mingus and pianist Lennie Tristano. Pianist George Russell discovered and recorded her on his “The Outer View” recording in 1962. Sheila made history by recording the first vocal record for Blue Note Records titled “Portrait of Sheila.” Throughout her career she’s recorded and performed with the Steve Kuhn Quartet and Harvie Swartz. Today she continues to teach jazz vocal workshops as well as perform all over the world.

Trumpeter and educator Jimmy Owens is having a stellar 2012 so far. His latest IPO Recordings release “The Monk Project” celebrates and focuses on the compositions of pianist Thelonious Monk. In his 50 years in the business, the 68 year-old musician has been on the front lines for the betterment for working jazz musicians. As a board and active member of the Jazz Foundation of America, part of Jimmy’s lifework has been to help musicians seek funding for medical expenses, legal assistance, housing, and steady work. He founded the Musicians Emergency Fund due to the lack of support from the arts community and serve as a means to never negate the lives of many musicians that haven’t had the support or the able means to survive. Musicians that have benefited from this generous program were Odetta, Fats Domino, Clark Terry, Freddie Hubbard, Cecil Payne, and Sweet Georgia Brown. In addition to his dedication to the JFA, he’s also been a supporter and advocate for the Local 802 of the American Federation of Musicians here in New York City. It’s Jimmy’s drive and passion that he’s fought State Politicians to repeal the 8.25% admission tax for clubs and major venues and to take those funds and contribute them to the AFM’s pension fund.This and his dedication to education in jazz music is why he’s been honored as one of this year’s NEA Jazz Master Inductees.

Jimmy, who hails from the Bronx, New York, was exposed to jazz music when he was kid when his parents played the music. He wanted to play the trumpet and one of his first teacher’s as well as mentor, Dr. Donald Byrd, got him to take the instrument and studying it seriously. Over the years he’d back and play with some of jazz music’s leading innovators and icons. Musicians like Duke Ellington, Count Basie, Lionel Hampton, Clark Terry, Dizzy Gillispie, and the Thad Jones/Mel Lewis Orchestra.

Today he still teaches as well as serves as a mentor to many of today’s current jazz musicians and composers.

Some of highlight performances of the evening included two separate duo performances including NEA Jazz Masters bassist Ron Carter and flutist Huber Laws in their rendition of “Little Waltz”/”Memories of Minnie.” Also, Jazz Masters vibraphonist Bobby Hutcherson and pianist Kenny Barron’s rendition of Dave Brubeck’s “In Your Own Sweet Way.” The Jazz at Lincoln Center Orchestra under the direction of Wynton Marsalis did an outstanding job in arranging tributes throughout the concert to NEA Jazz Master Horace Silver featuring Dave Liebman, Toshiko Akiyoshi, Candido Camero, and the new trumpet sensation Ambrose Akinmusire. The Benny Carter and Frank Foster tribute also turned a lot of heads featuring saxophonists Frank Wess and Benny Golson.

I must add that the National Endowment for the Arts have dedicated to the works and mission to keep the jazz legacy alive via the grants they award every year. Also, they’ve been in tune with the jazz community via journalists, the musicians, and the many jazz associations to help educate and get the word out about America’s only original art-form. The NEA has more info for fans to reach out into their community to support the arts. For more info please visit them on the web at arts.gov.

The Pace Report: "A Bandleader on the Front lines" The Jimmy Owens Inter...

2012-01-18T19:22:00.000-06:00

Trumpeter and educator Jimmy Owens is having a stellar 2012 so far. His latest IPO Recordings release “The Monk Project” celebrates and focuses on the compositions of pianist Thelonious Monk. The all-star recording features the likes of pianist Kenny Barron; Winard Harper on drums, Howard Jones on tuba and baritone saxophone; Wycliffe Gordon on trombone; Marcus Strickland on tenor saxophone; and Kenny Davis on bass.

In his 50 years in the business, the 68 year-old musician has been on the front lines for the betterment for working jazz musicians. As a board and active member of the Jazz Foundation of America, part of Jimmy’s lifework has been to help musicians seek funding for medical expenses, legal assistance, housing, and steady work. He founded the Musicians Emergency Fund due to the lack of support from the arts community and serve as a means to never negate the lives of many musicians that haven’t had the support or the able means to survive. Musicians that have benefited from this generous program were Odetta, Fats Domino, Clark Terry, Freddie Hubbard, Cecil Payne, and Sweet Georgia Brown.

In addition to his dedication to the JFA, he’s also been a supporter and advocate for the Local 802 of the American Federation of Musicians here in New York City. It’s Jimmy’s drive and passion that he’s fought State Politicians to repeal the 8.25% admission tax for clubs and major venues and to take those funds and contribute them to the AFM’s pension fund.

This and his dedication to education in jazz music is why he’s been honored as one of this year’s NEA Jazz Master Inductees.

Jimmy, who hails from the Bronx, New York, was exposed to jazz music when he was kid when his parents played the music. He wanted to play the trumpet and one of his first teacher’s as well as mentor, Dr. Donald Byrd, got him to take the instrument and studying it seriously. Over the years he’d back and play with some of jazz music’s leading innovators and icons. Musicians like Duke Ellington, Count Basie, Lionel Hampton, Clark Terry, Dizzy Gillispie, and the Thad Jones/Mel Lewis Orchestra.

Today he still teaches as well as serves as a mentor to many of today’s current jazz musicians and composers.

For upcoming tour dates along with info to order his latest disc “The Monk Project,” please visit him on the web at jimmyowensjazz.com.

The Current State and Reality of Jazz Music

2012-01-15T09:21:00.000-06:00

Greetings and Happy New Year. I hope everyone has a safe and prosperous New Year and the good Lord blesses you with the best of health and all that you need.As I kick off my first column of 2012, I must add, I had a pretty hectic two weeks here in the Big Apple with the 2012 Association of Performing Arts Presenters(APAP) Winter Convention along with this year’s National Endowment For The Arts Jazz Masters Induction Ceremonies held at both the Hilton, Sheraton, and Jazz at Lincoln Center. The weeks were filled with seminars, workshops, showcases, and networking amongst journalist and industry people. Over the last four years that I’ve covered the event, I’ve gained more insight on how and what managers and publicists want more from journalists and the press. Also, how I need to better serve the industry via the power of print and television. It also gives me an opportunity to continue to keep me in tune with what’s going on in the world of jazz, soul, and the performing arts.One of the highlights of this year’s conference was “JazzConnect: Building Jazz Culture,” presented by Jazz Times magazine. Some of the workshops included: “New Models for Jazz Performance and Touring,” “The Jazz Artist as Small Business Owner,” and “Music for Sale: New Models for selling your music.” Also, the Jazz Journalists Association held some important session as well including: “Revolution In Media Relations,” “Video to Spotlight Local Scenes,” and “Town Hall on Media: What Works/Overcoming Obstacles.”As I sat in on some of the sessions, most of them became ‘pity parties’ as the panelists and some members of the press began complaining about how the internet and video have taken over as the new medium. While some of the younger and more astute journalists have embraced the social medium of Facebook, Twitter, and other means to effectively communicate the message of music journalism. But really eats me to the core is that some of the elder statesmen of jazz journalism have fallen on hard times due to the new technology. But more importantly, they have held onto the idea that people want the old forms of hard core journalism. I can’t feel sorry for some of my contemporaries when I don’t even see you at some of the events that cover. Also, over the last 20 years, I feel that some of the elder statesman of jazz journalists have done a bad job of covering next generation of jazz artists that have and are still paying dues in keeping the music tradition alive. Artists like Jose’ James, Christian Scott, Nicholas Payton, Kendrick Scott, Jamire Williams, and Robert Glasper just to name few. These names and many more are interpreting the music how THEY want to. Not like the icons of the idiom like Miles, Monk, Hendricks, and Krupa.I remember reading a review of vocalist Jose James from one of country’s most respected and beloved newspaper’s in the world. Now, this particular evening, both shows were sold-out with lines standing outside to the rafters. Jose performed as a special guest with the legendary McCoy Tyner in commemoration of the John Coltrane and Johnny Hartman record released on Impulse Records in 1963. The writer used negative code to describe Jose’s performance, yet the music fans that sat in the Blue Note gave Jose and Mr. Tyner ovations throughout their performance. To add insult to injury, my television segment reflects a totally different view of this writer’s negative opinion of Jose as a vocalist. My point: this writer held Jose on this high horse as a Johnny Hartman and a Joe Williams, yet Jose was only being himself and bringing his OWN voice to the standards he performed. Some of the older and established writers have got to stop comparing apples and oranges and begin to use constructive criticism. I’ve read some harsh and brutal reviews of artists that I’ve covered over the years that I’ve seen differently as a journalist producing The Pace Report. These same journalists always refuse to listen and let the artists be artists. If Miles could do it, then so can Nicholas Payton and Christian Scott!Another issue I need to address that came out of these sessions was the role of some the record labels representing some of the artists. In fact, many of the publicists, artists, and management have told me in passing during the conference, that some of the labels won’t even acknowledge lots of the jazz press publications that exist. Over the years I’ve established some pretty good relationships with some of the indie jazz labels. But on the other hand I can see where some of these statements are valid. There have been a couple of labels where I’ve requested to arrange interviews for upcoming segments, but their artists and groups only appear in the New York Times, The Wall Street Journal, and NPR for reviews and interviews. I’m not knocking those publications because I read them religiously. But the main reason jazz music has died a slow and visual death, is because these publications only represent one percent of the jazz fans that exist. I never see some of the major labels(and I won’t mention names) get a cover story or even a story of even our icons of jazz, in magazines like Ebony, Black Enterprise, Vibe, and Time Magazine. Me speaking from an African-American perspective, these same magazines during the 1950’s and 1960’s used to feature Duke Ellington, Harry Belafonte, Dave Brubeck, Miles Davis and a slew of cutting edge musicians of the day as their cover stories. Need I say more! The blogger up to some of the publications I just mentioned, need to have better communication with the press at a time when the record industry is shrieking and the role of the journalist has changed. When you continue to segregate your music fans, more and more of the readers and fans of music are now looking for new ways to get their daily fix of jazz music. Sites like myself, NextBop.com, The Revivalist, Giant Step.com, and All About Jazz.com are on the front-lines getting the music info out as well as continuing the tradition of fresh and innovative ways of connecting readers with their music fans online. So, in closing, it’s both the responsibility of the next generation of journalists to report the music from a honest and unbiased point of view. Use and utilize the new forms of the media so the medium of journalism can be effective for the artist, publicist, and readers. But more importantly the record labels need to work with more journalists to build and help new and established musician. Also, with these relationships, the journalist can help increase a buzz or generate a interest for artists/groups so fans will buy and support the music. The Revolution Will Be Televised,

Brian PaceThe Pace Report www.thepacereport.comthepacereport@yahoo.com

The Pace Report: "The Explorations of a Sound Traveler" The Jack DeJohne...

2012-01-14T07:18:00.000-06:00

Drummer, pianist, composer, and educator Jack DeJohnette’s music career spans some 50 years backing and playing with the likes of Muhal Richard Abrams, Eddie Harris, Miles Davis, Charles Lloyd, and Sonny Rollins. The Chicago, Illinois native began his career as a serious pianist as a teen but switched to the drums.

As a young man, Jack decided to move to New York City during the mid-1960’s and he became a main fixture as one of jazz music’s leading session musicians eventually becoming a leader in his own right. His first record as a leader was “The DeJohnette Complex,” recorded in 1968 on the Milestone label.

2011 marks a significant milestone in Jack’s career. One, he’s one of the inductees of the 2012 NEA Jazz Masters for his achievements in jazz music as a musician, composer, and educator. Also, he’s just released his brand new CD “Sound Travels” under his Golden Beam Productions imprint distributed through eOne Music. The disc consists of special guests ranging from pianist/vocalist Bruce Hornsby, Esperanza Spauding, and Jason Moran. Most importantly, Jack will turn 70 this year celebrating and performing a series of special dates commemorating his birthday all over the world with his new band.

The Jack DeJohnette Band consists of bassist Jerome Harris, saxophonists Tim Ries and Rudresh Mahanthappa, pianist George Colligan, percussionist Luisito Quintero, and guitarist Dave Fiuczynski.

Jack was in New York City recently for a week to take part in his special festivities including a 70th birthday performance at The Blue Note Jazz Club.

To order Jack’s latest disc “Sound Travels,” or to find out his upcoming tour dates, please visit him online at jackdejohnette.com.

The Pace Report: "A Soul Band Brand of Brothers" The Mint Condition Inte...

2012-01-08T07:15:00.000-06:00

In 1991, producers Jimmy Jam and Terry Lewis, under their Perspective Records imprint, would release “Meant To Be Mint” by a group of young musicians from Saint Paul, Minnesota. The band Mint Condition brought a different and very progressive sound to soul and what is now called “R & B” to a younger music base. Also, Mint’s music was an alternative to Teddy Riley’s “New Jack Swing” and R Kelly’s “Dance-Laced/Sexed Based” musical styles that dominated the radio during the 1990’s.

Mint Condition just celebrated a milestone of sorts over the last years. First, the band just celebrated their 20th anniversary. A major feat because there aren’t any soul bands playing and recording. Two, they’ve just been nominated for two Grammy-Awards for their current single “Not My Daddy” with vocalist Kelly Price off the group’s seventh album titled “7....”

The band consists of Stokley Williams on vocals/drums/guitar; Ricky Kinchen on bass; Homer O’Dell on guitar; Jeffery Allen on sax/keyboards; Larry Waddell on piano/keyboards; and Brandon Commodore on drums. Formed during the mid-1980’s during while the guys attended high school, they were influenced by the major soul bands of their day including Prince, who hails from Minneapolis.

Mint Condition is really a soul band band of brothers in that these guys have decided to record and perform at a time when the record industry haven’t put an emphasis on releasing new bands.

With hit singles like “Breakin’ My Heart(Pretty Brown Eyes),” “U Send Me Swingin,” “What Kind of Man Would I Be?” and “Nothing Left To Say,” Mint Condition continues to produce and record real soul music like their many contemporaries Earth, Wind and Fire, Maze featuring Frankie Beverly, and The Isley Brothers.

In addition to touring extensively, Mint Condition was the featured house band on TV One’s hit show “Way Black When,” backing and performing with some of soul music icons like Cuba Gooding of The Main Ingredient and Sheila E.

In their 20th year as a band, they plan to tour in support of their latest record “7.” For upcoming tour dates or to order their latest disc, please visit them online at mintconditionmusic.com or facebook.com/mintconditionmusic.

The Pace Report: "Remembering Miriam, Odetta, and Nina" The Sweet Honey ...

2012-01-07T07:20:00.000-06:00

The black church has always been the home of both the struggle and strength of African-Americans since the days of the Middle Passage. It was the wit, wisdom, and oral tradition of hymns and stories handed down by our ancestors that have kept the lineage of these songs alive and well. The group Sweet Honey In The Rock have been on the front-lines for almost 40 years performing the rich oral narratives and rhythms that were created and steeped in the black church.

The Grammy-Award winning a cappella group was founded by Bernice Johnson Reagon in 1973 while teaching a vocal class at the Black Repertory Company in Washington, D.C. Reagon was inspired to name the group from a bible verse from Psalm 81:16 which makes reference to honey as "sweet" and provides the strength of a rock. For almost four decades the women of Sweet Honey In The Rock have used the power and voice of song to address and empower music fans on issues ranging from civil rights and equality to motherhood and domestic violence.

Lately the group just recently performed and recorded a live tribute to vocalists and activists Miriam Makeba, Odetta, and Nina Simome. In addition to them now traveling with this new show, the ladies added a live trio to accompany them featuring: pianist/keyboardist and music director Stacy Wade; Parker McAllister on basses; and Jovol Bell on drums and percussion.

Sweet Honey In The Rock just played a week long engagement at the Blue Note Jazz Club here in New York City. I sat down with both Ysaye Barnwell and Aisha Kahlil about their upcoming project and the history of black oral roots music. For upcoming tour dates or to order their past work, please visit them on the web at www.sweethoney.com

The Pace Report: "The Seeker Speaks" The Azar Lawrence Interview

2012-01-07T07:12:00.000-06:00

Last year saxophonist Azar Lawrence made his debut at the famed Jazz Standard Jazz Club in New York City to rave reviews riding high on his “Mystic Journey” CD. For his return engagement, this time he decided to make musical history. He performed two nights with his quintet featuring Jeff “Tain” Watts on drums; Nicholas Payton on trumpet; Essiet Okon Essiet on bass; and the dynamic Benito Gonzalez on piano. The power packed performances were recorded for an upcoming live recording entitled “The Seeker: Live at the Jazz Standard” which is slated for release sometime this year.

The Los Angeles, California native first started playing violin at the age of five. It was mother that encouraged him to pursue his musical journey and got him involved to join the University of Southern California’s Junior Orchestra. By the time he reached 11, Azar began studying the alto saxophone, and from there he took off as young and budding musician. His mentor, Hubert Baker, noticed Azar’s skills while he played in the Dorsey High School Band. While as a teen, musicians all over LA began to notice and hire him for session and club work. At this time he was developing his chops as a professional musician playing with many of the R & B and soul greats of the day. In addition to his impressive horn skills, Azar is also an exceptional piano and keyboard player, which has always kept him employed by many in the industry.

For decades Azar’s been a heavy presence in both the jazz and R & B circles as he’s been writing and collaborating with the likes of Chuck Jackson, Maurice White and Earth, Wind and Fire, War, Ike and Tina Turner, and Patrice Rushen just to name a few. He later went to work at Capitol Records as a successful songwriter.

It was Reggie Golson, the son of the legendary Benny Golson, who introduced him to drummer Elvin Jones. One night he tagged along with him for a performance and asked the young Azar to join him on the bandstand. By the end of the evening, Jones asked him to join his band, thus beginning Azar’s journey as one of the country’s top tenor saxophonists during the 1970’s. During this decade, Azar would record and tour with the likes of Miles Davis, Woody Shaw, McCoy Tyner, and Freddie Hubbard.

Over the years, Azar has been compared to one of his musical heros, the late John Coltrane. That’s why he’s been praised and respected by the jazz community for decades. But there’s more to Azar’s musicianship that never or rarely gets mentioned. His music is steeped in the spiritual realm. He understands that his gift is used to heal people as well as enlighten ones soul. The title of his upcoming disc, “The Seeker,” is Azar explaining musically that everyone has a purpose, you have to seek that inner voice within. He understands his role as a musician and in now in a season of his life where his fans and peers have a whole appreciation for his music.

Look for Azar’s upcoming live disc “The Seeker: Live at The Jazz Standard,” sometime this year. To find out his upcoming club dates, please visit him on the web at azarlawrence.com.

The Pace Report: "Remembering Miriam, Odetta, and Nina" The Sweet Honey ...

2011-12-27T19:10:00.000-06:00

The black church has always been the home of both the struggle and strength of African-Americans since the days of the Middle Passage. It was the wit, wisdom, and oral tradition of hymns and stories handed down by our ancestors that have kept the lineage of these songs alive and well. The group Sweet Honey In The Rock have been on the front-lines for almost 40 years performing the rich oral narratives and rhythms that were created and steeped in the black church.

The Grammy-Award winning a cappella group was founded by Bernice Johnson Reagon in 1973 while teaching a vocal class at the Black Repertory Company in Washington, D.C. Reagon was inspired to name the group from a bible verse from Psalm 81:16 which makes reference to honey as “sweet” and provides the strength of a rock. For almost four decades the women of Sweet Honey In The Rock have used the power and voice of song to address and empower music fans on issues ranging from civil rights and equality to motherhood and domestic violence.

Lately the group just recently performed and recorded a live tribute to vocalists and activists Miriam Makeba, Odetta, and Nina Simome. In addition to them now traveling with this new show, the ladies added a live trio to accompany them featuring: pianist/keyboardist and music director Stacy Wade; Parker McAllister on basses; and Jovol Bell on drums and percussion.

Sweet Honey In The Rock just played a week long engagement at the Blue Note Jazz Club here in New York City. I sat down with both Ysaye Barnwell and Aisha Kahlil about their upcoming project and the history of black oral roots music.

For upcoming tour dates or to order their past work, please visit them on the web at sweethoney.com

Robert Champion's Death Was Uncalled For!

2011-12-26T18:29:00.000-06:00

On November 19th, 2011 Robert Champion, Jr, was found dead on the charter bus belonging to Florida A & M University following a game between Bethune-Cookman parked outside an Orlando hotel. Champion was a member of the famed Florida A & M 100 marching band, one of the most prestigious marching bands that are part of the historical black colleges here in the US. Last week, the Orange County Medical Examiner ruled Champion’s death a homicide claiming he died of “hermorrhagic shock due to soft tissue hemorrhage, due to blunt force trauma.” Over the last month, this incident has sparked the interest of many African-Americans. One, due to the fact that it happened to a innocent student involved in what is now a hazing incident was killed. Two, it brings a negative blow to the many historical black colleges that provide the means for black students to earn a decent education. And finally, brings to light of how hazing in a band or fraternity/sorority is a means of what is called a “rites of passage.” A practice that many of these organizations have experienced due to the tune of lost charters and chapters of campus activities and criminal charges. What is really shocking about this case is FAMU Band Director Julian White was placed on administrative leave for Champion’s death, but had many incidents like this while during his tenure. According to a story by Gary Fineout and Kyle Hightower of the Associated Press, “in 2001, FAMU band member Marcus Parker suffered kidney damage because of a beating with a paddle. Three years earlier, Ivery Luckey, a clarinet player from Ocala, Florida, said he was paddled around 300 times, sending him to the hospital and leaving him physically and emotionally scarred.” So, you mean to say that this death is reason for White to be placed on a leave? This is sick and he needs to be fired. The fact that he allowed these past incidents as well as Robert’s death sheds some light on how this problem could’ve been eliminated. Champion’s report according to Dr. Sara Irrgang, an associate medical examiner in this case, took the liberty to explain in detail how senseless the four students beat him. He had visual bruises on his back, chest, arms, and shoulders. The internal bleeding from his beating caused him to go into shock leading to his death. Under intense scrutiny and flack from FAMU’s board of trustees, Julian White is still on leave until the investigation is completed. Florida Governor Rick Scott is asking for the resignation of FAMU’s president. While last week, FAMU’s Board of Trustees reprimanded President James Ammons on how the handled these and past hazing incidents. University officials plan to investigate to see if hazing has been addressed properly and in a timely manner.Just days before the Orange County Medical Examiner gave their report, three members of FAMU’s marching band were charged in the beating of a fellow bandmate. James Harris, 22, was charged with hazing, while Sean Hobson, 23, and Aaron Golson, 19, were charged with both battery and hazing. These three allegedly beat freshman band-member Bria Hunter with metal rulers and physically beating her, causing her to have blood clots in her legs and having a broken thigh bone. This incident took place three weeks before Robert Champion’s death adding to the drama of the hazing that members of the “Red Dawg Order” perform every year.In the state of Florida, all deaths related to or involving hazing is considered a third-degree felony. This case is past a felony, it’s now a homicide. And with these new charges involving Bria Hunter, further raises the questions of why FAMU continues to let this go on? What breaks my heart is that the actions of these students reflect the lack of supervision to a program who’s credibility brings the school notoriety and positive press around the world. Yet, the faculty turns a blind eye to the serious actions to these young adults. We’ve seen the situation unfold at Penn State where innocent teens and young adults were molested, while the school turns their back due to fear the school could lose hundreds of millions on severity of these crimes. FAMU acted in the same manner. They didn’t pay attention to the lives of the students at the risk of losing their credibility while protecting their students. College is supposed to be an enriching experience before one enters the real world. Its a time to find oneself and make decisions that will help one to become productive in society. When students hurt other students or innocently take ones life, that’s not part of what any student should endure. It seems that universities and colleges are now in the business of making money and not really paying attention to the students. If they did, then, we wouldn’t have the Coach Sandusky’s or the death of Robert Champion, Jr. I applaud the actions of sister Bria Hunter in that she made the right decision to speak the truth on hazing. Her actions are now the catalyst for schools to raise the bar on violence committed against other students. Schools have to start playing a role in dealing with hazing from jump. Not when someone dies or when they’ve made national headlines due to negative press over something that should’ve been prevented.The Revolution Will Be TelevisedBrian PaceThe Pace Report www.thepacereport.comthepacereport@yahoo.com

The Pace Report: "ERIMAJ Meets Jamire" The Jamire Williams Interview

2011-12-22T19:38:00.000-06:00

As a journalist who covers music and the arts extensively, I can say that the old heads who are jazz fans have kept the music between 1936 to 1968 locked in their minds as how jazz music has to stay in the modern and be-bop phase in order to survive. Many jazz musicians of this generation are having a problem incorporating music from today like hip-hop and soul in this ever changing musical diaspora in presenting the music to broad audiences including the old heads. Miles Davis and musicians during the fusion and soul-jazz era in the late 1960’s changed that mind-state. But during the 1980’s “Young Lions” era, the musicians were playing music of an era that was during its glory days and the older journalists were praising the sounds of be-bop again not keeping up with the other popular music that would dominate the world in a short span of 10 years. Hip-Hop, house, and electronica(and off shoots of it) were coming into play and jazz producers and musicians in the UK and other parts of Europe were experimenting with new technology and ways to keep jazz music innovative and crisp.

Thank God for musicians like Christian Scott, Nicholas Payton, Robert Glasper, and endless musicians like them who never want to keep this art form in a box. Who always spice up and mix black culture in today’s jazz music to keep the fire and legacy of this music going.

Drummer Jamire Williams is in that new class of jazz musicians that can play all genres of music, understand and explain it, and use the info and their vision to communicate why this music will always have room to grow. The Houston, Texas native has been playing the drums ever since he’s been a kid. Jamire graduated from the High School of the Performing & Visual Arts. Upon graduation he moved to New York City where he attended the New School University where he was the recipient of the school’s Young Beacon Award.

It was while in New York City where Jamire didn’t want to stay locked down in play straight-ahead jazz even though he earned his degree in Jazz and Contemporary Music. He’s been one of the most important and in-demand drummers for the last decade backing and touring with the likes of Dr. Lonnie Smith, Jacky Terrasson, Bobby Hutcherson, Terence Blanchard, Kenny Garrett, GURU, Bilal, and Corrine Baliey Rae just to name a few!

It’s about time he branched off and formed his group named ERIMJ, which is Jamire’s name spelled backwards. This group is the next generation of jazz, funk, soul, and hip-hop. Their 2010 debut disc “Memo to All” was recorded live and takes music listeners on a ride that is as bold as Miles Davis’s “Bitches Brew” meets J-Dilla’s “Donuts.” This group was about 5 years in the making due to him playing and touring all over the world and him not taking the time to focus on his own music. Once he got the musicians he wanted it was just his vision and collaboration with Corey King his co-music director, then it was off to the races. He added Matt Stevens on guitar, Chris Turner on keyboards, Vicente Archer and Burniss Earl Travis on bass and the rest is history.

His upcoming project “Conflict of a Man” is set to be released in March of 2012. For upcoming club dates or to order Jamire’s music, please visit him online at erimaj.bandcamp.com or erimaj.tumblr.com.

The Pace Report: "The Sensual Minister of Soul" The Leon Ware Interview

2011-12-18T07:50:00.000-06:00

Hailed as “The Sensual Minister of Soul,” singer/songwriter Leon Ware earned that title due the to songs he’s written for well over five decades. Leon’s sensual and erotic lyrics are responsible for legions of children being conceived while heating up the bedrooms and the back seats of cars.

The Detroit, Michigan native was born on February 16th, 1940. As a child he began writing songs at the age of 9 when he penned his first song “The Girl of My Dreams.” He always wanted to become a vocalist like one of his idol’s the late Nat “King” Cole. In the 1950’s he formed a Doo-Wop group while attending McKenzie High School names The Romeos that included Lamont Dozier, who’d become part of one modern popular music’s legendary song writing hit-making teams, Holland-Dozier-Holland.

During the late 1960’s Leon left Detroit and moved to New York City where he became an arranger at ABC Records. His first gold record “Got To Have You Back” recorded by the legendary Isley Brothers on Motown Records.

The 1970’s was a very prolific time for Leon writing music for Ike and Tina Turner for their “Nuff Said” album. He penned Michael Jackson’s top five hit record “I Wanna Be Where You Are and songs on the landmark Quincy Jones record “Body Heat.”

In 1975 Motown President Berry Gordy heard Leon’s demo of “I Want You” and thought that vocalist Marvin Gaye should record it. Over that year he and Marvin collaborated in what would become a classic recording.

Over the last four decades musicians have recorded endless music penned by Leon including Minnie Riperton,Teena Marie, Average White Band, Donny Hathaway, Bobby Womack, James Ingram, and Jeffrey Osborne. He’s also recorded 11 solo projects including his current Stax Records release “Moon Ride.”

Leon is currently recording new music which will be coming out soon working with producers Robin Hannibal and Mark de Clive-Lowe. For upcoming club and release dates please visit him online at leonware.com.

Voice For The Innocent In Lockdown

2011-12-17T03:50:00.000-06:00

According to Human Rights Watch, a not-for-profit civil rights organization whose mission is to protect and advocate the human rights of those who’ve been oppressed through the legal and political atrocities of the law and violators of inhumane human rights, recently gave some disparities of men of color and minorities currently incarcerated. Human Rights Watch’s US program director Jamie Fellner states “one in ten black men is behind bars.” She later breaks down how this equates to the prison system as a whole.According to Fellner’s data based on the info from the U.S. Census Bureau:-Blacks and Hispanics make up 62 percent of the incarcerated population, though comprising only 25 percent of the national population;-Between ten and fifteen percent of black men are incarcerated in twelve states (Colorado, Iowa, Kansas, Kentucky, Oklahoma, Oregon, Pennsylvania, South Dakota, Texas, West Virginia, Wisconsin, and Wyoming);-Black women are incarcerated at rates between ten and thirty-five times greater than the rates of white women in fifteen states (Colorado, Connecticut, Illinois, Iowa, Maine, New Jersey, New Mexico, New York, Rhode Island, Texas, Vermont, West Virginia, Wisconsin, and Wyoming); and-Hispanic youth are incarcerated at rates seven to seventeen times greater than those of whites in Connecticut, Hawaii, Massachusetts, and New Hampshire, while the incarceration rate for black youth is between twelve and twenty-five times greater than those of whites in Connecticut, Delaware, Iowa, Massachusetts, Montana, and New Jersey.Blacks who are incarcerated are the new breed of the new prison labor that’s making hundred of millions of dollars for Fortune 500 corporations. Yet, when one really looks at the many men and women who are locked up, how many of them are innocent and are jailed due to lack of financial resources for proper legal representation? Law Professor Michelle Alexander at The Ohio State University and author of the New York Times bestseller “The New Jim Crow: Mass Incarceration in the Age of Colorblindness,” adds: “more African American men are in prison or jail, on probation or parole than were enslaved in 1850, before the Civil War began.”There is also a high number of men sitting in jail cells due to the disparities of the flawed drug cases that were only designed to give people criminal records in the first place. With the wave of crack cocaine during the 1980’s, hundreds of black men sat in jail due to callous and unjustified sentences. Like the case of brothers Jose and Maximo Colon. In 2008, the two brothers were arrested for allegedly selling cocaine in a club in Queens, New York. By the grace of God, the club’s video camera’s spared the brothers from serving prison time. The detectives at the time were brought up on charges of false arrest and planting of an illicit drug. Ex-police officer Stephen Anderson and his partner during their testimony in court, admitted to a practice known as “flaking,” when officers plant drugs on people to meet their monthly arrest quota. The case was later dropped and the Colon brothers received a $300,000 settlement from the City of New York. Again, this case and others, make you question the legalities of how many men are incarcerated due to corrupt acts of police brutality and shady practices. Last week, in a court battle that took 30 years to overturn, Philadelphia prosecutors announced that they’d drop pursing the death penalty for civil rights activist and journalist Mumia Abu Jamal. In the 30 years he’s been on death row, Mumia hasn’t had any record of violence and disciplinary problems in prison. Although he’s still officially on death row, he still is under maximum solitary confinement. Meaning, Mumia is still locked down 23 hours a day and communicates with his family and legal council behind bars with no physical contact whatsoever.Mumia Abu Jamal gained notoriety during an event that took place on December 9, 1981, in Philadelphia, Pennsylvania when officer Daniel Faulkner made a traffic stop of William Cook, Mumia’s brother, on a Philadelphia street. Officer Falkner pulled directly behind his brother’s car, then radioed the police for backup. Falkner then approached Cook’s and, and asked him to get out of his car. As Officer Faulkner handcuffed Mr. Cook, while Mumia, who was behind the taxi parked across the street, got out of his car and ran toward Officer Faulkner and shot him in the back. It was alleged that the two exchanged fire wounding just Mumia and hitting the officer at close range with a bullet in the brain eventually killing him.The sad thing about Mumia’s case, like the Colon Brothers, Troy Davis and endless brothers who sit innocent in America’s prisons, is that the credibility of witnesses and how Mumia has been treated throughout his 30 years since his trial. In 2001 a private investigator told the press that one of the key witnesses of the case recanted his testimony. Also, the hospital confession that was allegedly made a short time after Mumia was taken to the hospital couldn’t be made at the time due to the severity of the injuries and lack of evidence of the doctors who took Mumia in after the accident. Throughout the appeals court cases, prosecutors on two accounts found the case had been flawed due to bias and lack of allowing certain information to help state Mumia’s case.Whether Mumia’s case ever get a fair trial, only God and the diligent and ethical people who are on the front-lines to seek wisdom and perseverance for his justice. My problem is the legal system continues to turn its eye on the innocent. Now that we’re in a society where we’re constantly being captured on video via advanced surveillance systems and smart phones, the system still callously punishes and ruins innocent peoples lives. Take for instance the case of the Colon Brothers. These guys lost their business and are still trying to rid of the charges that were placed on their record for crimes they didn’t commit. But the system is now designed for blacks and minorities to develop a criminal record to penalize them for many of their lives. It’s sad and pathetic when this is blatantly being presented, yet, the justice department won’t address these issues. The media also caters to the “anti-black criminality” mind-state which continues to prosecute people before even having a trial. The new evidence in Mumia’s case is beginning to play out like a bad soap opera. And the mere fact that he doesn't get a new trial isn’t fair. For over 20 years there has been a lot of new evidence that could’ve set Mumia free. And like others like him; still sit in cells all over the country due to poor legal representation, illicit police activity, and how law enforcement act worse than the “so-called” criminals they’ve incarcerated. The next time people look at the statistics of blacks in the prison system, just think about the innocent victims who are locked up. These are the real numbers the press or the US census don’t tell you. Just something for you to think about.The Revolution Will Be Televised,Brian PaceThe Pace Report www.thepacereport.comthepacereport@yahoo.com

The Pace Report: "The Fiery Humbleness of Chris Potter"

2011-12-11T09:55:00.000-06:00

Saxophonist Chris Potter has been riding high with his group Underground featuring Craig Taborn on keyboards; Wayne Krantz and Adam Rogers on guitar; and Nate Smith on drums. The Grammy-nominated and critically-acclaimed musician recently debuted with his trio unit at Smoke Jazz Club in New York City. Although he continues to record and tour with Underground, Chris wanted to play in a trio setting featuring bassist John Patitucci and drummer Adam Cruz.

The Columbia, South Carolina native began playing several music instruments including the piano, guitar, and eventually studying the alto saxophone at age 9. He began playing professionally since the age of 13 and noticed by jazz legend Marian McPartland.

One of his first professional gigs while attending college was backing the late Red Rodney. It was with Red that Chris developed his chops as a be-bop jazz musician. He'd later record and tour with the likes of Paul Motian, Kenny Werner, the Mingus Big Band, Jim Hall, Joanne Brackeen, Dave Holland, and Steely Dan.

Look for Chris's upcoming ECM recording due to be released this spring. Also, look for Underground to tour this winter and early spring. For upcoming dates please visit him online at chrispottermusic.com.

The Pace Report: "The Renegade Goes to Church" The Mark de Clive-Lowe In...

2011-12-08T19:38:00.000-06:00

One of the most important and accomplished musicians and producers has made a dent on the New York City music scene. As of the last 15 years, McDL has been on the cusp of the resurgence of music production where it’s become more of an art and value of substance artistically. Mark de Clive-Lowe is a name that you’ll need to place in your memory banks for years to come. The New Zealand native has jet trekked all over the world studying, playing, and producing music here and abroad. Now, he’s bi-coastal hosting a monthly residency called “Church” here in New York at Club Drom and in LA where currently lives at Angel’s Piano Bar. His acoustic jazz set is a also a hybrid of his improvised electronic and broken beat set, and him serving as a DJ at the end of his set. The Mark de Clive-Lowe Experience is the live adaptation of what and how he produces his music in the studio with special guests that pop up from time to time.

In 2000 Mark broke unto the scene as a jazz pianist with his debut “Six Degrees” to critical success overseas. By this time he’d already spent time around the world like Cuba, Japan, France, and parts of the US. While he was in the UK he’d play with some of pioneers of the Nu Jazz and Broken Beat music style ranging from Restless Soul, Bugz In The Attic, 4 Hero, and I G Culture. It was at the same time Mark would develop his skills as a musician and later producer.

While growing up in New Zealand Mark learned how to play the piano and become a novice of jazz and other forms of American soul music.

In the past decade he’s collaborated on over 250 releases with artists ranging from Sandra St. Victor, Shirley Bassey, Leon Ware, Jody Watley, and Jill Scott. Mark has been often compared to some of his other contemporaries like Quantic, Flying Lotus, and Thundercat. His serious minded love for the elders of this music has allowed him to produce real music that straddles the line of jazz, soul, and Broken Beat. Mark’s fresh and raw approach in the studio is why he’s one of the most requested in-demand producers on the scene. Everyone wants to work with him and the artists who’ve collaborated with him respect his vision and tireless spirit.

His latest disc “Renegades” on the Tru Thoughts label is his 9th release. After being in the UK for a decade, Mark moved to Los Angeles where he’s segued from his West London past to produce a more fluid earthy record reflecting his time in California. The disc features special appearances from Omar, Nia Andrews, Sheila E, Tawiah, and Ovasoul7.

I highly recommend you check out Church whether your in LA or New York City. Or, go online and order his other projects. For upcoming residency and club dates, please visit Mark online at markdeclivelowe.net.

Must Read Holiday Stocking Stuffers

2011-12-05T17:15:00.001-06:00

Now that the holiday season is now in full gear, many people have been asking me what book or books they should buy their loved ones for Christmas. People who know me, know that I love to read biographies from music to history. These selections I feel are some of the best I’ve read all year. But as of late, these books haven’t been getting a lot of press and believe need to be studied by the true music connoisseur. I was really blown away by columnist and writer Susan Whitall’s biography of soul icon Little Willie John’s “Fever.” Co-written with John’s oldest son Kevin John, the two recollect Willie’s meteoric rise as one of soul music’s pioneering innovators to living a life that led to his mysterious death in Walla Walla State Penitentiary in 1968. In the 30 year’s of his short life, Willie’s voice influenced a legion of soul singers and rock groups like Johnnie Taylor, James Brown, The Beatles, Sam and Dave, B.B. King, Marvin Gaye, and Stevie Wonder. Born William Edward John, John was raised in Detroit’s rough North End. As a child, his family recalls him singing since a little kid while singing in church. Writer Susan Whitall interview’s all of John’s remaining siblings including his sister, soul singer Mabel John, who had a hit in 1965 with “Your Good Thing is About to End.” The story also elaborates on how John, who was all but 5’2, made A’s and B’s while in high school, but dropped out in his senior year to pursue music.Many musicians like vocalists Jerry Butler and Mack Rice recall how his vocal maturity at 16 years old would have band leaders like Count Basie and Hal Neeley in awe when he performed on stage or in the recording studio. His hit records “Fever,” “Sleep,” “Talk to Me, Talk to Me,” and “Cottage for Sale” were the precursor to what would evolve into soul music during the early 1960’s. Musicians like Jackie Wilson and James Brown would dislike opening for Willie due to his perfection and how he worked a stage. Whitall’s vividly gives candid accounts from musicians who saw and lived these performance including Sam Moore of the legendary Sam and Dave.Willie did live the high life which lead to him down a road of drug and alcohol abuse. Throughout his life he suffered from seizures, which was also increased by his heavy drinking; later unravels when his tragic tale of him being convicted of murder and him dying in prison now sheds some light on his legacy.This book is the first to ever deal with the life of this Rock and Roll Hall of Famer. Susan Whitall and Kevin John did an outstanding job on bringing to light a musical insight on one of the pioneering and overshadowed soul icons of his generation.One of the most incredible jazz and music stories I’ve ever reported and read about is the fantastic life of guitarist Pat Martino. In fact, 2011 has been the year of Mr. Martino. His latest High Note Records release “Undeniable” is his first record in 11 years. His latest autobiography “Here and Now” was written with legendary Jazz Times writer Bill Milkowski. During the mid-1960’s jazz music was changing towards “fusion” and “soul jazz” and the idiom of most post-bop jazz quartets and quintets changed as well. Rock and soul music has dominating the clubs and on radio and jazz music as a whole was reflecting the mood and times of the generation and listeners. Guitarists like Wes Montgomery, Grant Green, and Jim Hall were the masters at their game and created a voice and a distinctive technique style in their playing that gave way to the changes to what the 1960’s were to bring musically. The changing of the guard for jazz guitarists came when young and innovative musicians like Melvin Sparks, George Benson, and Pat Martino gave way to the new music trends that were part of the new jazz music taking shape.Pat Martino, in his many years as an accomplished jazz guitarist inventing the “Conversion to Minor” technique, Martino took time out to write his autobiography “Here and Now” with jazz writer and biographer Bill Milkowski. According to Pat, he believes the time was right to document and reflect on his many life experiences. “I felt it was time to document my life as a musician and hope readers understand my sense of purpose as a musician, teacher, and person.” Born Pat Azzara on August 25th, 1944 in Philadelphia, Pennsylvania; Pat’s father was local musician and took him and exposed him to music at an early age. Being real close to the local music scene, his dad would take him to see jazz icons like Wes Montgomery which would leave a heavy impact on Pat musically. By the time he picked up the guitar at 12 years old he was studying with music teacher Dennis Sandole who’d also was the teacher to saxophonist John Coltrane. Trane would develop a friendship and over time they’d discuss music.Martino hails both Wes Montgomery and Johnny Smith as his musical influences that inspired him to play the guitar.Not out of high school, the young Martino was playing professionally with the likes of Lloyd Price, Slide Hampton, Red Holloway, Bobby Darin, Chubby Checker, and Bobby Rydell. He later moved to Harlem, New York where he was part of the new “soul jazz” sound that was shaping the country. Jazz units that used the organ trio as a way to incorporate both a soulful and smaller sound. In fact, Pat played with some of the most influential organ players in the history of jazz including Don Patterson, Brother Jack McDuff, and Charles Earland. Since he was 18, Pat has been a leader and has played all styles of jazz music.In early 1980, Pat had undergone and experienced a series of aneurysms that left him without memory of his accomplishments as a guitarist. It took many years of therapy and rehabilitation to make his drastic comeback in music.“Here and Now” is Pat’s recollection of his past, present, and future as musician. Pat explains the hard recovery from his near fatal aneurysm and how he used technology to restore his ability to play and tour again. He also explains how the music scene was changing when he moved to Harlem as a teen and now how it affected jazz music in today’s younger jazz musicians.Pat’s story is a triumph and an encouragement to those who said he’ll never be able to play again. His testimony is major life lesson in that with faith, perseverance, and a strong will to live, all things are possible.I highly recommend both “Fever” and “Here and Now” as must read books for the holiday season. The Revolution Will Be Televised

Brian PaceThe Pace Report www.thepacereport.comthepacereport@yahoo.com

The Pace Report: "Jump-N-Funk: Fela Style" The DJ Rich Medina Interview

2011-12-04T09:23:00.000-06:00

Poet, producer, and world-renowned DJ Rich Medina wears many shoes. His hard work has paid off over the last 20 years. In addition to holding down many residencies from “Lil’ Rickey’s Rib Shack,” “Prop Nights in NYC,” and his “Jump-N-Funk” series here in NYC and Philly, Rich continues the rich tradition of spinning and producing funk, hip-hop, jazz, house and Afrobeat music to his many loyal fans.

Rich is celebrating the 10 anniversary of “Jump-N-Funk,” his music set featuring Afrobeat, soul music that hails from Africa. He also pays homage to the legendary Nigerian Afrobeat icon Fela Kuti who’s seen a tremendous rise of popularity here in the states due to the Tony-nominated musical “Fela” based on his life. Rich began playing Fela’s music during the mid-1990’s due to his study of and fascination of Fela’s music. Fela, often being hailed as Africa’s equivalent of the US’s James Brown, sang and performed music to the people of his native homeland of Nigeria. Fela is the pioneer of Afrobeat music, a hybrid of West African rhythms and chants fused jazz, funk, and elements of soul music.

In addition to Rich’s “Jump-N-Funk” series, he’s the producer of The AfroBeatles, a project of him taking the music of The Beatles and Fela Kuti and mixing them together using Afrobeat and other musical ideas and influences.

Over his 20 years as a producer/DJ, Rich has collaborated with Femi Kuti, Gil Scott-Heron, The Roots, Roy Ayers, De La Soul, and Erykah Badu. He’s also a columnist for Complex Magazine contributing his “On the Road” series. Rich is also an accomplished poet producing his landmark open poetry disc “Connecting the Dots.”

To check out Rich’s upcoming sets or for find out his club dates, visit him on the web at richmedina.com.

The Pace Report: "Listening and Breathing New Life" The Rhonda Thomas In...

2011-11-30T19:10:00.000-06:00

After almost 5 years after debut disc “Breathe New Life,” vocalist and producer Rhonda Thomas is back with “Listen.” This disc further explores the music and producer-side of Thomas; producing and writing a lot of her music. Some of the special guests on “Listen” include vocalist Avery Sunshine and also horn work by the group Jaspects. She does a stirring tribute to her mentor Issac Hayes with a rendition of “Do Your Thing.” One of the standout tracks on “Listen” is her tribute to her grandmother in the track titled “Peppermint Leaves.”

The Atlanta-based vocalist has been busy over the last 20 years backing, recording, and touring with the likes of Incognito, India Arie, Dwele, Roberta Flack, and the late Isaac Hayes, whom she performed with for 11 years until his death.

Rhonda has worked real hard in recording with other artists, yet maintaining and performing as an indie soul artist. In 1999 Rhonda released her debut EP “Rhonda” to rave reviews in the UK. In 2004 she released “Breathe New Life” which introduced American audiences to the vocalist’s range of soul and jazz-based style music. Rhonda was also a co-founding member of the jazz/soul quartet Jiva whose debut disc “Sun and Moon” featured her as lead vocalist.

Showcasing another side of Rhonda’s vocal talents is her jazz release “Guess Who I Saw Today?” what guitarist Michael Coppola. This duo recording was cut in under 3 hours and they cover many standards of the great American songbook. Songs like “Day Dream,” “Straighten Up and Fly Right,” “A Night in Tunisia,” and “That’s All.” Both she and Coppolla began playing together in night clubs when she began playing here on the east coast before she moved to Atlanta. Their musical pairing takes music listeners back to the days of the classic Ella Fitzgerald and Joe Pass and Tuck and Patti duo recordings.

Rhonda’s latest release is on the Harmony In Life label and available online on her website at rhondasings.com.

The Unraveling of Occupy Wall Street

2011-11-27T21:03:00.002-06:00

On December 1st, 1955 Sister Rosa Parks, a seamstress and secretary for the Montgomery chapter of the NAACP, had a real long day and just like many who got off work, decided to wait for the bus to go home. When the bus approached, many of the white patrons of the mass transit system entered the bus to find a seat. Mrs. Parks took a seat in the first row for the colored section when some of the other white patrons tried to find a seat. The bus driver took the sign indicating that blacks move to the back of the bus to accommodate them. To Mrs. Park’s chagrin, there were no other seats left for her to move to and she was tired. As a brave and angry person who was tired of the racist Jim Crow segregation laws that divided blacks from whites, she refused to move. The bus driver asked her to move and she declined. Mrs. Parks was then arrested and booked for disorderly conduct. Just days before her courageous act, she reflected on teenager Emmett Till’s murder as well as the senseless murders of brave civil rights leaders like Lamar Smith, Gus Courts, and George W. Lee.

The Woman’s Political Council organized all night, a boycott that would eventually lead to a movement that ended the Jim-Crow era in the south. The WPC printed up over 35,000 handbills and distributed them throughout Montgomery. By that Sunday, all of the black churches in Montgomery decided to walk to work and not take the bus on Monday. It was a success. A new group would form called the Montgomery Improvement Association that would be headed by a new civil rights leader that changed the whole outlook on how blacks in the south and the country would organize freedom marches and protests. Dr. Martin Luther King was appointed to lead this association in order to protest the rights against desegregation and to hire blacks as drivers for the mass transit system in Montgomery.

Mrs. Parks was booked and charged with disorderly conduct paying a $10.00 fine and $4.00 in court costs. The Montgomery Bus Boycott lasted 381 days crippling the bus transit finances leaving some buses idle for months. Blacks took cabs, walked to work, and some even carpooled to work as the expense of equality and better rights.

Over the last two months the ‘so-called’ Occupy Wall Street movement has taken a crazy and unexpected turn over the last week. The movement was started by the Adbusters Foundation, whose anti-consumerist magazine Adbusters, decided to organize a friendly protest on the act of the latest travesties on Wall Street, the banking industry, and the unrest of corporate America as a whole as they treat the American worker. With the American people paying for the corporate corruption that’s transpired at Lehman Brothers and UBS, the Occupy Movement has developed and given the platform for “The 99%” political slogan that taken to the streets here in New York City as well as abroad. And to much success, the movement took off bringing together blacks, whites, democrats, republicans, libertarians, rich, poor, employed, and unemployed. Zuccotti Park, here in New York City, was the ideal place to begin this movement because of the location near Wall Street.

As weeks turned into months, health issues and being orderly became a issue as Mayor Michael Bloomberg last week as he evacuated the park last week. Protestors built makeshift tents and living quarters that provided them with 24 hour food service as well as heat and other amenities that made the event into a big media spectacle. While the protestors forgot that they were on private property and they violated many health codes and put some of our policeman in harms way.

Then last week, Brandon, a 19-year old Romanian-American protestor made the news headlines as he’s shown whisked way by New York’s finest. His head bloodied from the police who where instructed by the police and Mayor to arrest those who were disorderly. Many of these stories Brandon and others are sprouting out in the media from all over the U.S. Some have been documented by other protestors captured either on their smart phones or by video camera. Also, what the press isn’t covering is that, the county prosecutors here in New York City have over 4,000 cases of protesters that have been arrested, that they don’t have the manpower or staff to properly prosecute the protestors. Brandon, who had been arrested a month earlier for disorderly conduct at Zucotti Park, threw batteries at law enforcement officers while trying to maintain peace and protect law abiding Wall Street Protestors. Something the media tends to leave out!

Whether the police force has been excessive, that’s a matter of between the person(s) and the law. I’ll write about that in another weekly column. But. what I have a issue with is how this Occupy Wall Street Movement is missing the boat! I know, your probably thinking, why are for the one percent their protesting about? No, the bigger issue is what Dr. King and the civil rights movement took to break the Montgomery Bus Boycott. At 381 days strong, blacks in Montgomery sought to break the white business owners on how they survive. MONEY! Blacks of all the socio-economic sectors of the City of Montgomery took the militant stance of not supporting the mass transit until they were treated with respect and dignity. Also, at the expense of those willing to lose their jobs and livelihoods to make the Montgomery Mass Transit boycott bend on their knees.

Much of the black struggle during the Civil Rights Movement was made through the efforts of the black church, organizations like CORE and the NAACP, and support from the community who were on the same page. Yes, there was a price. Sister Rosa Parks lost her job and could never work in the Montgomery because the white employers instructed her to never mention or encourage blacks to organize. In fact, whites ran the Parks out of the city and even fell out with the NAACP. Blacks were bombed, lynched, spat on, and even humiliated; but through major triumphs like “Bloody Sunday” where Birmingham’s public safety commissioner Eugene “Bull” Connor allowed the police department to turn police dogs on innocent black citizens as well as use fire hoses against the freedom fighters and peaceful demonstrators. Even when they used negative force against us, we never fought back and we respected the law. It was Dr. King’s method of ‘non-violence’ that got things done. Even up till his death when he fought for the sanitation workers rights in Memphis, Tennessee.

My solution to the Wall Street Movement is this. Do what 15,000 protestors did in Denver, Colorado. They withdrew their money from Bank of America due to the fact they were about add fees for withdrawing money from their banks! Those 15,000 people accounted for BOA for losing almost 100 million dollars in one city. They took their money to smaller banks and the people made a difference.

I refuse to support Wal Mart and Sam’s Club due to their decades of labor abuse accounts and how they’ve driven smaller businesses out of business. Wal Mart has had many discriminatory class-action lawsuits against them for lack of promoting women and minorities. I continue to not eat at Denny’s due their repeated actions for not hiring minorities. This is years later after they lost a multi-million dollar law suit for not serving people of color at many of their restaurants.

If the organizers of the Wall Street Movement would give a blueprint to the protestors of who they should boycott with our dollar, we wouldn’t have the Brandons’ acting out of anger for something we can do quietly like the Bank of America protestors in Denver. I agree along with many Americans that the one percent has gotten away with murder at our expense. But the tactics that are being used by the WSM isn’t as effective as those used by Dr. King and the many fearless civil rights leaders of the past. Take you money where it’s appreciated and respected. The problem is partially Wall Street’s but it is also how you’ve been suckered into spending money with them.

The Revolution Will Be Televised

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "Compared to Les: The Liberating Soul Jazz of Les McCan...

2011-11-27T07:16:00.000-06:00

On June 21st, 1969 at the Montreux Jazz Festival, an impromptu performance was put together by the festival coordinators as well as the reps at Atlantic Records. They asked saxophonist Eddie Harris and vocalist/pianist Les McCann to perform a set featuring Benny Bailey on Trumpet, Leroy Vinnegar on Bass, and Donald Dean on Drums. This set produced a live recording of special and soulful jazz music that would become a staple of jazz music forever. The set was recorded and later released as “Swiss Movement.” The opening track was a gem written by the late songwriter Gene McDaniels called “Compared to What,” that became a war anthem and protest record that resonated with many people during the late 1960’s into the 70’s. The two would record another record in 1971 and play together live up until Eddie’s death in 1996. Over 40 years after the release of the classic “Swiss Movement” recording was released, the record has been hailed as one of the most important live jazz recordings of all-time.

Les is considered one of the pioneers of the ‘Soul Jazz’ movement where he and other musicians during the late 1960’s like Dr. Lonnie Smith, George Benson, Pat Martino, Houston Person, and Charles Earland took fused straight-ahead jazz and soul music and played to both the young and older music fans. Records like Les’s “Compared to What” to Lou Donaldson’s “Alligator Boogaloo” dominated urban radio stations that mixed their records with the popular sounds of the day like Aretha Franklin, Wilson Pickett, and Sly and the Family Stone.

During the early 1960’s Les moved to Los Angeles, California where he formed his first group, Les McCann LTD. For a musician who wasn’t professionally trained, he was scouted by trumpeter Miles Davis and saxophonist Cannonball Adderely. Les built his name around the club circuit and caught the attention of the President of Pacific Jazz, Richard Bock. Bock signed Les to his label and his debut recording “Les McCann Plays the Truth” became the best selling recording on the label. He went on to record and back other label-mates like Gerald Wilson, Ben Webster, The Jazz Crusaders, Richard “Groove Holmes, and Stanley Turrentine. One of Les’s most memorable collaborations is recording and co-producing vocalist Lou Rawls’s debut recording “Stormy Monday.”

When he left Pacific Jazz Records and Limelight Records, Les signed with Atlantic Records where he paired with a former disc-jockey, now producer, Joel Dorn. It was there that Les would become a visionary and record a whole cadre’ of ‘soul-jazz’ records like “Swiss Movement,” “Talk to the People,” and “Comment.” But it was his monumental “Layers” and “Invitation to Openness” recordings that hailed as the first to use electric piano, clavinet, and synthesizers as he composed and performed what was called ‘fusion’ jazz.

Les currently tours with saxophonist Javon Jackson in a unit called “Swiss Movement Revisited” where they perform selections from the colossal jazz recording. The two have been playing together off and on for the last 15 years and have a stellar band featuring: McClenty Hunter on drums, David Gilmour on guitar, and Gregory Jones on bass. For upcoming tour dates please visit Les on the web at lesmccann.com and Javon at javonjackson.com.

The Pace Report: "Miguel's Puerto Rican Musical Epiphany" The Miguel Zen...

2011-11-21T19:08:00.000-06:00

One of this year’s critically-acclaimed recordings of 2011 is of alto saxophonist and bandleader Miguel Zenon. The Puerto Rican native’s latest disc “Alma Adentro: The Puerto Rican Songbook” features music and compositions made famous by what Miguel hails as “the great Latin songbook made famous by many lesser composers from my country.” “Alma Adentro” was arranged by Zenon himself with orchestrations done brilliantly by composer and pianist Guillermo Klein.

Born in San Juan, Puerto Rico, Miguel studied classical music at the Escrula Libre de Musica while attending school. He decided to pursue music here in the states where he received a scholarship at the Berklee College of Music in Boston, Massachusetts. It was there he’d be schooled and mentored by pianist Danlio Perez and drummer Bob Moses, where began playing professionally.
The MacArthur and Guggenheim fellow has played and backed the likes of Charlie Haden, Los Gauchos, David Sanchez, and the late Ray Barretto. Miguel is one of the co-founding members of the SFJAZZ Collective.

“Alma Adentro” is the third of a series of recordings in which Miguel pays tribute to the music of his native Puerto Rico. His last disc “Esta Plena” was nominated for a Grammy and is available on Marsalis Music. Miguel’s band includes: drummer Henry Cole, pianist Luis Perdomo, and bassist Hans Glawischnig.

Miguel is currently on tour. For upcoming tour dates or to order “Alma Adentro,” please visit him on the web at miguelzenon.com.

Missing Heavy

2011-11-20T17:06:00.001-06:00

One of the best rap concerts I’ve ever attended was at Market Square Arena in Indianapolis, Indiana during the summer of 1990. On the bill was L.L. Cool J, Public Enemy, Heavy D and the Boyz, Slick Rick, and Poor Righteous Teachers. Believe me, this was when rap music was in its glory days and the music was simpler and hip-hop had an identity regionally all over the country. What really stuck out about that show was rapper Heavy D’s performance. Hev came out in a all-white suit with a black fedora hat. Upon his entrance, he stepped out on a high platform that had steps that came down to the stage. Overhead blaring out in white lightbulbs shined “The Overweight Lover’s In The House.” Granted, Heavy had some stiff competition that night. I mean, Public Enemy was riding high with their back to back hits “Fight the Power,” “Brother’s Gonna Work It Out,” 911 is a Joke,” and “Welcome to the Terrordome.” Also, L.L. was riding high on “Boomin’ System,” and “Momma Said Knock You Out!” But it was Heavy’s swagger and finesse that stoled the whole show. He and Boyz were stylish and clean-cut and performed their asses off. It was also on that night on July 15th, 1990 that Trouble T Roy of The Boyz was killed due to a freak accident where he lost his balance on a raised exit ramp and fell two stories and landed on his head.

As I reflect on that concert, I’m also sadden that last week that we lost one of the most original and most innovative emcees that hip-hop produced during my generation. Dwight Arrington Myers, better known as Heavy D, died On November 8th, 2011 at Cedars Sinai Medical Center in Los Angeles at age 44. An autopsy is scheduled to be performed later this week and police say no foul play was involved. According to New York Daily News, Ed Winter, assistant chief of the Los Angeles County Coroner's office told the press Hev weighed 344 pounds and “had gone to the doctor the day before.” Winter added: “he had what appeared to be flu-like symptoms.

Born on May 24th, 1967 in Mandville, Jamaica to Clifford and Eulahlee Myers, his family moved to Mount Vernon, New York, where he grew up.

It was in 1987 when Heavy D gained his rise on the record charts with his debut album “Livin’ Large” which produced the colossal hits “Mr. Big Stuff” and “The Overweight Lover’s In The House.” Taking slick R&B produced and sampled beats, Hev would be a intricate part of Uptown Records, founded by record mogul Andre Harrell. Harrell would not only produce and help develop new talent label, but the artists would etch their way into the music world and never look back. Artists like Guy, Jodeci, Mary J. Blige, Christopher Williams, Jeff Redd, Father MC, Lost Boyz, and Soul for Real would dominate the record charts during the 1990’s. The label would also take credit for a new music style pioneered by producer Teddy Riley called “New Jack City.” Harrell arranged a distribution deal with what was formally MCA, now Universal Music, but allowed Riley to produce music for other artists on other labels. Artists who recorded this new music were Al B. Sure, Keith Sweat, and Wrecks-N-Effect.
Heavy recorded and released his second disc “Big Tyme” produced by legendary producers Pete Rock, Marley Marl, Teddy Riley, and DJ Eddie F. The video for the debut single “We Got Our Own Thang” was number #10 on the Billboard R & B charts. Other hit singles included “Somebody For Me” and “Girlz, They Love Me.” Other commercially successful records released during the 1990’s were “Peaceful Journey,” “Blue Funk,” “Nuttin’ But Love,” and “Waterbed Hev.”

What made Heavy D so important in hip-hop is he made music that crossed all areas of rap music. He could make club records like “We Got Out Own Thang” and “Black Coffee” and music fans from kids to adults could dance to his music. Even his ‘hardcore” street records like “You Can’t See What I Can See” and “Who’s The Man” appealed to the real hip-hop heads collaborating with iconic producers like DJ Premier and Pete Rock. Also, Heavy never used any profanity in his music. Both on and off stage and screen he always presented and carried himself in a way that was always positive and representable. His level of positivity is what helped him to succeed as a emcee and has kept him in the upper echelon of the influential pioneers of hip-hop.

Funeral services are schedule for Friday, November 18th at Grace Baptist Church in Heavy’s hometown of Mount Vernon, New York. A scheduled viewing for fans is this Thursday at the church from noon until 7:00pm and a wake following immediately afterwards.

As a fan of hip-hop I can say he’ll be sorely missed by his fans as well as the music industry. Thanks for your gift and may you never be forgotten.

The Revolution Will Be Televised

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "A Time for Love: A Passion for Music" The Arturo Sando...

2011-11-19T07:21:00.000-06:00

Trumpeter and bandleader Arturo Sandoval has been on the front-lines playing the keeping the rich musical traditions of his native Cuba to music fans all over the world. Arturo has fused and played a music that’s a combination of Afro-Cuban, Be-Bop, and other world musical influences that has allowed him to be one of the most recognizable and original voices of the trumpet.

Born November 6th, 1949 in Artrmisa, Cuba, Arturo began his roots as a classical trumpet player while studying music at the Cuban National School of Arts. As a teen he developed a love and passion for jazz music. He heard lot of jazz music and decided at a young age that he wanted to pursue music.

It was a chance meeting with the late trumpeter and bandleader Dizzy Gillespie while he was visiting Cuba, that the young Arturo developed a deep and powerful friendship with the musician that lasted until his death. He hails Dizzy as “his spiritual father and musical mentor.” Gillespie even invited Arturo to play in The United Nations Orchestra in which he was allowed to travel overseas. It was in 1990 while touring with Dizzy that he defected to the US while he was performing in Rome. Arturo requested political asylum and was then assisted by then Vice-President Dan Quayle, to help him relocate to Miami. In 1999 he became an American citizen where in addition to him playing around the world, he became a professor at Florida International University.

In addition to him being a well accomplished musician, Arturo’s music and compositions have been featured in many motion pictures such as “Havana,” “The Mambo Kings,” and “The Perez Family.” HBO Pictures produced and released the critically-acclaimed movie of his life: “For Love or Country: The Arturo Sandoval Story,” starring Andy Garcia and Gloria Estefan.

“A Time for Love” is trumpeter Arturo Sandoval’s debut recording for Concord Records. Sandoval play the music of Cole Porter, Astor Pizazolla, and Charlie Chaplin. Special guests include Chris Botti, Kenny Barron, and Monica Mancini.

Currently Arturo is on tour. For upcoming tour dates or to order his latest disc, please visit him on the web at arturosandoval.com.

The Pace Report: "RoMance of the Keys" The Junior Mance Interview

2011-11-14T19:09:00.000-06:00

Pianist Junior Mance has backed some of the most prolific jazz musicians during his 60 years in the business. The Evanston, Illinois native was brought up around music what seems all of his life. Junior's father owned a piano and asked him if he could take lessons and by age 10 he was playing professionally. While he was a teenager he would begin to develop his chops as a diverse jazz pianist playing both early blues and popular music during the late 1930's into the mid-1940's. Backing musical greats like Gene Ammons and Lester Young.
In 1951 Mance was drafted into the U.S. Army at Fort Knox, Kentucky where he met Julian "Cannonball" Adderly who was then the leader of the 36th Army Band. The two formed a partnership that later ended in him reuniting with him in Chicago when Adderly formed his first working band. Junior recorded and stayed with Cannonball's group for a year.

After being discharged from the Army, Mance returned to his hometown of Chicago where he became a in-demand session musician backing the likes of Dinah Washington, Charlie Parker, Coleman Hawkins, Sonny Stitt, Eddie "Lockjaw" Davis, and Dizzy Gillespie.

At the suggestion and support of producer and promoter Norman Granz, Junior formed his first group The Junior Mance Trio which featured Ben Tucker on bass and Bobby Thomas on drums.

Throughout the years Junior has never slowed down and continues to tour and record. His latest disc "Letter From Home" was recorded live at Cafe Loup in New York City and features his quartet: Hide Tanaka on bass, Kim Garey on drums, Ryan Anesimi on tenor sax, and Andrew Hadro on baritone saxophone. This recording showcases the blues based stride piano style that has been Junior's signature trademark for over 60 years.

The International Jazz Hall of Fame Inductee plays every Sunday at the Cafe Loup in New York City. Music fans can reach out to Junior at website at www.juniormance.com. There you can order his latest disc and find out his upcoming tour dates.

The Cain Express Departs

2011-11-13T15:38:00.001-06:00

And as far as the Tea Party people and candidates they support being extreme, I suppose wanting fiscal discipline in Washington, wanting reduced regulations on the free-market system, passing laws that adhere to the Constitution of the USA and listening to the voting public must be what the liberals call extreme and scary.

Herman Cain from “It’s Weird that these Racist Right-Wing Tea Party Wackos Seem to Like Me So Much”

Over the last couple of weeks the Republican party has continued to show American, also the world, that candidates that plan on running on the G.O.P ticket are running on empty. At a time when President Obama’s ratings are tanking, the G.O.P’s credibility continues to become the sequel of comedic actor Jim Carrey’s “Dumb and Dumber part # 2.” Especially with the latest faux pas with candidate Herman Cain who in many African-Americans and many Latinos believe is the next coming of Gomer Pyle!

Last week reports of Mr. Cain’s alleged sexual harassment allegations surfaced with detailed reports from the New York Times on Monday. According to a October 31st Politico article “Cain Accused by Two Women of Inappropriate Behavior,” states while Cain was acting head of the National Restaurant Association, two unidentified females complained of his aggressive behavior while working under him. According to the latest reports as of Friday, another female has come out of the woodwork making the same accusations. Now, under duress and a bit of a public relations nightmare, Cain, who’s neck and neck with G.O.P candidate Mitt Romney, now blames and is considering suing Texas governor Rick Perry for allegedly putting this bit of news out to the press for his political gain.

For those who aren’t familiar with Herman, here’s a brief and unbiased bio of the candidate. Mr. Cain was the former Chief Executive Officer and President of Digital Restaurant Solutions beginning in early July 1999. As the former Chairman and Chief Executive Officer of Godfather's Pizza, Inc. from 1988 to December 1996, Cain became the company’s President since 1986. His other accolades include serving as Chief Executive Officer and President of National Restaurant Association. In 1977 he joined the Pillsbury Company and was its Vice President of Corporate Systems and Services. When Pillsbury merged with Burger King Division in 1982, Nine Cain managed over 400 Burger King affiliates in the Philadelphia, Pennsylvania region.
Throughout his ride in corporate America Mr. Cain tends to forget that while he was living high on that one percent hog called “wall street,” the American people have lost jobs due to the labor movement going overseas. The United States education system has faltered to the tune of being ranked as 23rd in the world. Also, many people feel the pinch of what the corrupt powers that be that have raped and pimped the government for funds for their blatant goof ups! Under Cain’s new tax plan (9-9-9), many economists and investors believe this could send the economy in a tail spin due to his lack of research and unfounded theories.Under his plan the country see the decrease of small businesses and the unemployment rate skyrocket. Also, force the Federal Reserve to increase their interest rates higher so you’ll never see big businesses increase their payroll nor the housing market ever regain its real value.

I dislike how the Republicans and some members of the Tea Party have used a candidate like Herman Cain to try to use the race ‘hoe’ card as a means to secure voters. First, no more than two days after President Barak Obama was been elected, the Republican National Committee appointed former Governor Michael Steele to run the damaged party. Over the last two and and half years the press and now G.O.P have witnessed Steele’s lack of confidence as well as lackluster comments he’s made. Over the last couple of months the press has been building Cain’s credibility via his hard work while climbing up corporate America. Also, he’s been gaining points with his New York Times best-seller as well as highly successful radio show he hosts in Atlanta. But really, why has the G.O.P been putting an emphasis recruiting people of color or Latinos now that we have elected the first black president? Why is the party of ‘no’ raising the stature of candidates like Herman Cain or Senator Mark Rubio of the state of Florida? It doesn’t take a rocket scientist to see that the new party of ‘no’ has been out of touch with the way the America demographic has changed. The religious right who dominated the Republicans in their financial support in electing Presidents Reagan and the first Bush have seemed to vanish. The new party of ‘no’ seem to have dropped their platform of excluding gay and lesbian couples now that other conservative organizations have flourished like The Log Cabin Republicans. Now the Republicans, since they took over the House, haven’t brought any bills to the table in the last two years on how to effectively present a jobs bill in Washington. Yet, Steele and Cain are puppets in the G.O.P’s game! As I see it, the G.O.P isn’t slick in trying to place a black candidate in the White House to regain their power. In fact, Senate Majority Leader Mitch McConnell said on Fox News Sunday (July 9th, 2011) that “the single most important thing we want to achieve is for President Obama to be a one-term President.” Nuff said!

The last ten days have been in part Governor Perry or Mitt Romney’s way to take out Cain to further secure their nomination via negative campaigning. Cain realized that the severity of these harassment claims have put him in his place. Over the last week he’s had to defend himself while further diminishing his chances to become the nominee. This again proves what the G.O.P has done to kill a voice that could be a serious contender for the highest seat in the White House. The Republicans have proven time and time again that they have no love for people of color. Cain’s threat to other members seeking the seat have again shown the brutal reality that the Republicans have no desire to allow someone like him to succeed and try to unite their party. The irony behind all this back stabbing is the majority of blacks see Cain for what he is, an opportunist. The G.O.P sees him as puppet who’s strings are very close to be cut off.

The Revolution Will Be Televised

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "Pickin' By With A Little Help From My Friends" The Sta...

2011-10-24T20:03:00.000-05:00

Hailed as one of the most important innovators in jazz guitar during the 1980’s, Stanley Jordan has been a musician that’s always been on the cutting edge of his technique and his passion for the music. His latest Mack Avenue Records release “Friends” is a myriad of all genres of music will playing and staying in the form of straight ahead jazz. This project pairs him with special guest musicians that Stanley’s been wanting to play and record with for decades. Musicians include Nicholas Payton, Ronnie Laws, Bucky Pizzarelli, Russell Malone, Charlie Hunter, Mike Stern, Regina Carter, and Kenny Garrett. His band is backed by his trio which features Charnett Moffett on bass and Kenwood Dennard on drums.

Stanley and his trio just finished a week at The Iridium in New York City with special guests classical guitarist Sharon Isbin and the legendary Bucky Pizzarelli. Jordan, who just recorded a duet with Sharon on her latest disc “Guitar Passions,” graced the stage with him playing two classical compositions.

Born in Chicago, Illinois, Stanley began playing the piano at the age of six and then started learning guitar at eleven. He started listening to jazz and rock music crediting John Coltrane and Carlos Santana as some of his early influences. Jordan attended Princeton University and studied digital music composition with the legendary Paul Lansky and the late Dr. Milton Babbitt. He began playing the guitar under the two-handed tapping technique that began to create a buzz in the jazz circles during the late1970’s into the early 1980’s. It was at this time when Blue Note Records began to release new artists and Jordan made his and label’s debut of “Magic Touch” which was released in the summer of 1985. For this period, Stanley recorded a handful of recordings until he took a break from recording and focus on her personal life as well and begun studying music therapy, which dedicates his personal time to when he’s not touring.

Stanley made his return to the mainstream three years ago when he recorded his first record in years on the Mack Avenue Records imprint, “State of Nature.” Musically and spiritually he’s back on track and sounds and plays better than ever. “Friends” is a project that he wanted record and documents some of jazz music’s innovators of the past, present, and the future. Currently he’s on tour promoting the new record. For upcoming tour dates or to order “Friends,” visit him on the web at stanleyjordan.com.

Shedding a New Light on Dr. King

2011-10-24T19:30:00.001-05:00

I believe that unarmed truth and unconditional love will have the final word in reality. That is why right, temporarily defeated, is stronger than evil triumphant.

Martin Luther King Jr.

As the Obama legacy continues to open the doors of how far this country has evolved as far as matters pertaining to race and equality since the Middle Passage, American yet embraced another milestone in history. On Sunday morning, the world was inaugurated with the new Dr. Martin Luther King Jr. Memorial in the heart of Washington, D.C. The $120 million dollar memorial is a new 28 foot sculptural portrait rendered in three-quarter relief near the intersection of West Basin Avenue and Independence Avenue in West Potomac Park.

On January 16th, 1984 74 year old retired Army Major George Sealey Jr, a member of black greek fraternity Alpha Phi Alpha, proposed to his fraternity brothers convention in Cleveland, Ohio, that they propose to build a memorial in honor of the beloved civil rights leader. Just months earlier, President Ronald Reagan signed into law that declared Dr. King’s birthday be a national holiday. But the long and tedious road to raise the money as well as trying to build the monument was years in the making. On October 3, 1996 as part of the Omnibus Parks and Public Lands Management Act, both the House and Senate passed the bill. This bill authorized Dr. King’s fraternity to build and erect the memorial on federal grounds in Washington.
The moment of truth became just that on December 4th, 2000 when Major Sealey, President Bill Clinton, and members of Alpha Phi Alpha gathered to unveil the monument marker where they would break ground on what would become the first monument commemorating a person of color.

Almost 30 years later, the memorial aptly named “The Stone of Hope,” gives visitor a glimpse of Dr. King in the highest order. It sits not to far from the Washington Memorial where Dr. King gave his famous “I Have A Dream Speech” 48 years ago.
Watching the festivities online yesterday had me reflect on the quote I began with when I decided to write this. Dr. King adds: “I believe that unarmed truth and unconditional love will have the final word in reality.” These words are so concrete in the era and times that we live in. President Obama, in lack of better words, was dealt with a major clean up job with this country left by decades of careless management and recklessness by previous presidents and both the house and congress. The reality is that Obama and the world have uncovered the new white collar crimes that have plagued wall street and corporate America. In the last decade we’ve dealt with Enron, Worldcom, Ford, Chrysler, Fannie Mae, Bank of America, and the lack of laws that continue to protect them at the cost of the American and now global common man. Dr. King’s assessment is on point that, “the final word in reality” is that the lies are coming at us weekly. This new movement globally is the truth and strength in numbers. As the C.E.O’s continue to receive hefty bonuses at the end of the year to make their projected earnings for the year, many innocent hard working employees are losing their jobs. Many, now, are hiring employees at lower wages or are just shifting the job force oversees.

Dr. King’s message of equality for not only whites but blacks has entered a new phase of the “reality” that he spoke about in 1964. As the Latino population continues to increase here in the United States, the G.O.P wants to continue to implement rules that impede the constitutional civil rights of legal immigrants for a simple infraction like not carrying your id. Or, take away your rights to vote once you’ve been incarcerated. Blacks still continue to lead in high numbers of unemployment, lack of quality of health care, and being segued into the prison systems, which now accounts for 43 percent of the jails and prisons here in the US. The reality is that we’ve continued to digress in American’s education system that now accounts for 53 percent of black and Latino students before the age 13, can only read on a 3rd grade level. Congress continued cut school funding and Bush’s “No Child Left Behind” has been proven a critical failure.

I’ve tried to make a positive light of the new memorial and how Dr. King will now be seen in another light by the next generation or two after me. Although President Obama has again opened another door for blacks and other ethnic minorities, like Dr. King who stepped up for civil rights; there seems to be a major rift and disconnect on Washington between the democrats and republicans. Their distorted view of Wall Street and main street, the rich and working class, and the power struggle of the global landscape continues to cripple the current direction of the country.

If Dr. King were still alive today he’d still live out the last part of his quote: “that is why right, temporarily defeated, is stronger than evil triumphant.” He would still be marching and speaking on the way Wall Street has been corrupt from the top to the bottom. How the poor educational system and Bush’s ‘No Child Left Behind’ is a farce. King’s dream still has a ways to go but the American people must stop being so damn complacent and waiting until the issues mount to the boiling point. Thank God for brothers who still are the front lines advocating and standing for what Dr. King was about. Brothers and sisters like Harry Belafonte, Reverend Al Sharpton, Dr. Andrew Young, President Bill Clinton, Dr. Sonia Sanchez, Amiri Baraka, Carl Dix, and many more are still fighting the good fight.

I think the new memorial is something that is well-needed in that the world can truly understand Dr. King’s legacy as well as bring a keen sense of a new purpose as we continue to strive for excellence in the workplace, schools, and accepting and understanding diversity.

The Revolution Will Be Televised,

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "Dr. Woo's Jazzy-Funky Orchestra" The Bernie Worrell In...

2011-10-18T19:45:00.000-05:00

Pianist and Keyboardist Bernie Worrell is probably one of the most important and innovative musicians to help shape and mold how funk, jazz, classical, and rock in American popular music. This Rock and Roll Hall of Famer, along with Eddie Hazel, William “Bootsie” Collins, and George Clinton changed the world musically by adding a new musical mix by playing a more aggressive form of music that added the use of electronics as well as percussion to the mix. The groups Parliament-Funkadelic would become a musical amalgamation that played rock and soul that evolved into funk music. Worrell would go on to become the arranger and co-writer of the groups songs including “Flashlight,” Give Up the Funk,” “Mothership Connection,” and “Aqua Boogie.” His signature Minimoog and many keyboard arrangements have been sampled endlessly by rappers including De La Soul, Ice Cube, Dr. Dre, and A Tribe Called Quest.

His latest project is both a labor of love as well as something he’s wanted to record during his entire career. “Bernie Worrell: Standards,” is his first jazz recording in a career that spans some 45 years. Bernie enlisted the help of drummer Evan Taylor, who also serves as the co-producer of the disc, to also put together his new group The Bernie Worrell Orchestra. As his producer, both the and Bernie endlessly put together a list of jazz standards ranging from Duke Ellington’s “Take the A Train” to Dave Brubeck’s “Take 5.” But it allows him to play behind a nine-piece band that features two drummers, a percussionist, two saxophonists, a trumpeter, a bassist, and guitarist. It’s a funky and organic project that allows the master keyboardist to ‘funk out’ these jazz standards.

These songs aren’t a far departure from Bernie’s origins and beginning in the industry. Born George Bernard Worrell, Jr on April 19, 1944 in Long Branch, New Jersey, he grew up listening to classical and jazz music as a child. He was born with perfect pitch and began studying classical music at 3 years old. By playing the piano, his mother wouldn’t allow the young musical prodigy listen to the sounds of rhythm and blues that was popular at the time. Instead, he had to sneak and listen to R&B while studying Brahms, Beethoven, and Bach. Though he listened to jazz music which he took a liking to and followed pianists like Thelonious Monk, Oscar Peterson, and Bud Powell.

Upon graduating from high school, Bernie attended the New England Conservatory of Music. But it was while he was in school that he was getting his chops as a professional musician while playing in Boston. He backed the likes of Tavares, Tammi Terrell, Pigmeat Markham, and R & B great Maxine Brown; whom he became her musical director for 2 years after he completed school.
But it was his reign with Parliament that he gave the music world his innovative keyboard style. He also was a member the new wave group The Talking Heads and was featured in the critically-acclaimed concert film “Stop Making Sense.”

Bernie has been a leader since the late 1970’s when he recorded and released his debut album “All the Woo in the World.” He’s backed and played on recordings by The Honey Cones, Johnnie Taylor, Black Rock Johnson, Freda Payne, Albert King, Bobby Womack, The Dramatics, Mtume, The Spinners, Gil-Scott Heron, and Sly & Robbie.

Currently, Bernie is on the road with the orchestra. For upcoming dates or to order his latest disc “Bernie Worrell: Standards,” please visit him on the web at bernieworrell.com.

The Pace Report: "The Floating City: A Dieselpunk Dystopia" The Thomas D...

2011-10-15T07:27:00.000-05:00

During the 1980’s synth-pop and new wave music dominated the British and American air and video waves. The new highly technological advent of keyboards and sampling changed how musicians created their sound as well as how they produced records. Bands like New Order, Devo, Asia, A Flock of Seagulls, and The Thompson Twins gave music fans a run for their money as the youth of this generation craved the edginess of video driven exposure when FM radio was about to become corporate and a MTV was an infant that helped pioneer the visual opposed to recorded talent.

After 30 years after musician and producer Thomas Dolby released his colossal hit “She Blinded Me With Science” off his debut album “The Golden Age of Wireless,” he proved and stated musically that he was intelligent and wasn’t going to let the visual medium direct his career like so many artists of the early 1980’s like Michael Jackson, Prince, The Cure, and Aerosmith that rose in the ranks to become the mega-superstars that they became. Thomas’s music was a hybrid of rock, new wave, funk, soul, and electronica. His latest recording “A Map of the Floating City,” his first in twenty years, is music based off a online game Dolby created with game designer Andrea Phillips. The game allows music fans and gamers to interact with nine different tribes and dig through cities that have been named after Dolby’s past songs. The tribe that wins will get to see a private concert of Thomas performing his new record. Dolby’s new record features guest performances by Mark Knopfler, Imogen Heap, Bruce Wooley, and Regina Spektor.

Born Thomas Morgan Robertson on October 14th, 1958, Dolby has been one of the most requested session keyboard players and producers during the late 1970‘s into the early 1980‘s. He’s backed and recorded with Foreigner, Def Leppard, David Bowie, George Clinton, Whodini, and Prefab Sprout. Over the last 30 years he’s released some of the most innovative records which include: “The Flat Earth,” “The Aliens Ate My Buick,” and “Astronauts and Heretics.”

But the musician decided to take some time off from recording and move the Silicon Valley in the early 1990’s where formed Beatnik, where his company created the polyphonic ringtone to the tune to well over 3 billion cellphone users all over the world. Dolby was also the music director for the TED Lecture series and has produced and scored endless music for television and film including “Howard the Duck,” “Toys,” “Gothic,” and “We’re Back: A Dinosaur’s Story.”

Thomas’s latest disc is now available and is going to begin touring with his band in early winter here in the states. To order his new disc or to play his online game, please visit him on the web at thomasdolby.com.

The Pace Report: "A New Sound, A New Trio Approach" The Michel Camilo In...

2011-10-12T19:29:00.000-05:00

After being away for four year, pianist and composer Michel Camilo is back with his debut disc “Mano a Mano” on the Decca/EmArcy label. Camilo continues the Afro-Caribbean jazz legacy with a new trio.

Born and raised in Santo Domingo, Dominican Republic, Michel began his musical journey while studying music at the age of 4. He composed his first composition at age 5, eventually he studied diligently for 13 years at the National Conservatory. By the time he reached 16, he was playing professionally with the National Symphony of the Dominican Republic.

In 1979 Michel moved to New York where in further continued his studies in music at the Juilliard School of Music and Mannes.

In his 30 years as a professional musician, Michel has recorded and been dedicated to piano stylings of classical, jazz, and international music. He’s won a Grammy, two Latin Grammys, and a Emmy for the theme of The Goodwill Games. Michel’s first composition “Why Not?” was recorded by the legendary Paquito D’Rivera and vocal group The Manhattan Transfer. Over the years he backed and recorded with the likes of Dizzy Gillespie, Tito Puente, George Benson, Eddie Palmieri, Jaco Pastorius, Joe Lovano, and Herbie Hancock.

Michel’s latest disc “Mano a Mano” features master conguero Giovanni Hidalogo and bassist Charles Flores. What he expresses musically on this disc is that he explores the music of his Dominican roots. The two styles, bachata, which is a ballad-like style of music, and merengue, music for that’s similar to the ‘two-step.’ All of these music styles as well as the sounds of boogaloo, rumba, and samba-choro permeate on this wonderfully produced CD.

Currently Michel is on the road with his trio. For upcoming dates or to order his latest disc, please visit him on the web at michelcamilo.com.

The Pace Report: "The Wit and Wisdom of Gentleman Jon Hendricks" The Jon...

2011-10-09T07:13:00.000-05:00

Vocalese has been a developed musical vocal style that has been known in the jazz idiom for well over 60 years. It hasn’t just been in musical genre forever. Although all jazz and popular vocalists have been inspired and influenced by the likes of Ella, Sarah, Joe, and Dinah. The art of taking lyrics of a jazz tune and then improvise and phrase it where one scats and swings with their group, is a innovative and entertaining way to communicate a song in a new light.

In the spring of 1949 the late James Moody recorded a very influential record named “Moody’s Mood for Love” based on Jimmy McHugh’s “I’m In The Mood for Love,” written and recorded in 1935. Moody was living in Sweden at the time he recorded it and was hit here in states. A jazz vocalist from Detroit, Michigan named Eddie Jefferson in 1952 wrote some lyrics to Moody’s tune and improvised the words by scatting to the melody. Two years later, vocalist King Pleasure recorded the record to cult and million selling status. McHugh sued for an alleged copyright infringement for his song and later won and was awarded royalties from any future proceeds and sales from Pleasure and Moody’s records.

Vocalese took off and the world of jazz was almost never the same until a young man from Toledo, Ohio entered the scene in 1957 changing how the world heard modern popular music and also singing witty and thought-provoking lyrics that are now held as standards.

Jazz at Lincoln Center kicked off their 2011-12 season with An Evening with Jon Hendricks and Jimmy Heath. Heath, a dynamic saxophonist and reedman, as well as bandleader and composer, closed the evening with this Big Band featuring Sean Jones, Terell Stafford, Victor Lewis, Antonio Hart, and Jeb Patton.

Jon Hendricks, who is hailed as the “father of vocalese,” performed on his 90th birthday to a sold-out crowd. Hendrick’s set also featured some jazz luminaries that included Dianne Reeves, Bobby McFerrin, and Sachal Vasandani. The set kicked off with Lambert, Hendricks & Ross Redux featuring Jon’s oldest daughters Aria and Michelle Hendricks and vocalist Kevin Fitzgerald Burke.

The night was more of a reflection of Jon’s music, legacy, and how his music has impacted the the world of jazz and popular music.

Born on September 16th, 1921 in Newark, Ohio, Hendricks grew up one of 17 siblings. His father was a African Methodist Episcopal minister in Toledo, Ohio. It was the church where Jon’s mother taught him spirituals and the oral tradition of the gospel music. Jon also at this time developed a passion for music and singing. He began formal music training with another Toledo, Ohio native that would become a icon in jazz music as well as for the piano, Art Tatum. Tatum would go on to influence a generation of piano players ranging from Oscar Peterson to Ray Charles to Bud Powell.

Upon completing high school, Jon was drafted in the Army and served in World War II. After he served his tour of duty, he returned home to pursue is education by attending the University of Toledo. Music was still in his blood and took the advice of alto saxophonist Charlie Parker. Parker, who’d played a stint with pianist Art Tatum in Toledo, told the young Hendricks to call him up when he decided to sing professionally in New York City.

Finally, without thought, Jon came to New York City to pursue his passion for music as a vocalist and lyricist. For the first couple of years he struggled to make his way in the Big Apple. He met a vocalist from St. Parish, Louisiana named David Lambert. Lambert got his break in music when he was a featured vocalist in drummer Gene Krupa’s band. His record “What’s This,” was hailed as one of the first bop vocal records recorded in 1945. In late 1956 when the two brought vocalist Annie Ross in the cut, the vocal world would never be the same. In 1957 Jon formed the interracial jazz vocal unit Lambert, Hendricks & Ross. Their debut record “Sing a Song of Basie” put the art of vocalese on the map by taking Count Basie’s music and interpreting Jon’s lyrics with a improvisation style that enhanced both the vocalist as well as the rhythm section. From 1957 until 1962 (when Annie left the group), Lambert, Hendricks & Ross dominated the jazz vocal polls as well as toured extensively around the world. The group added vocalist Yolande Bavan but later disbanded in 1964. Two years later Dave Lambert was tragically killed in an automobile accident in 1966.

The legacy of Lambert, Hendricks & Ross influenced endless vocalists and music groups for the the last 70 years. Ranging from Bette Midler, Bobby McFerrin, Anita Baker, Al Jarreau, Take 6, The Manhattan Transfer, Michael Buble, and Dianne Reeves.
Jon has written over 350 songs including “Killer Joe,” “Airgin,” and “Hi-Fly.” Singing group The Manhattan Transfer recorded a tribute record featuring Hendricks in 1985 named “Vocalese,” winning them an unprecedented seven Grammy-Awards; introducing them to a new generation of music fans.

During Friday’s performance, Jon’s L, H & Redux performed some of the group’s legendary records backed by the fiery Andy Ferber Octet. The group hit home with hits like “Come on Home,” “It’s Sand, Man,” and “Every Time They Play This Song.” His daughters Michelle and Aria have been performing with their dad since they were in their teens and continue to carry the vocalease tradition. The duet featuring he and vocalist Bobby McFerrin was a show stopper as they performed “Scatting on the Corner.” Bobby started out singing the bass-line then midway during the song, Jon reversed and began singing the bass-line and McFerrin sang vocals. Grammy-Award winning vocalist Dianne Reeves sang one of Jon’s tunes he wrote with the late Gigi Gryce called “Social Call.” The set closed with Jon, his daughters, Bobby, Dianne, and Mack Avenue Records recording artist Sachal Vasandani, singing his signature “Jumping at the Woodside.” Vasandani, who’s latest disc “Hi-Fly,” features Jon as a special guest.

Overall, Jon’s legacy as a vocalist and lyricist stems from the black church and evolved as the music and the black culture changed with the times. One can never understand the origins jazz vocal until they master and understand the life and work of Jon Hendricks. Happy Birthday Jon and thanks for your gift to music and your loving presence to the world.

The Pace Report: "I Put A Spell on You: The Nina Simone Music Tribute" w...

2011-10-01T07:16:00.000-05:00

“To be young, gifted and black” Lorraine Hansbury

During the late 1950’s African-Americans were beginning to speak of the injustices of race, discrimination, education, and the lack of pride of a people that was subjected to the rigors of American racism. Certain scenes of white segregation took hold and roar it’s ugly head when Emmett Till, a young teenager from Chicago, visited his family in Money, Mississippi during the summer of 1955. Being from the north, the young Till wasn’t acclimated to the strict ‘Jim Crow‘ laws and rules blacks had to obey. One day he went to the store with his cousin and allegedly whistled at the store owner’s wife. Word spread fast and then soon Till was kidnapped from his great uncle’s home and then tortured, beaten, and shot then killed. Roy Bryant, owner of the store that Till made the gesture, along with J.W. Milam, then took Till’s body and thew him in the Tallahtachie River with a cotton gin fan tied around his neck. Both Bryant and Milam were acquitted for the murder of Emmett Till. Mamie Till, the mother of Emmett, wanted the world to see what these brutal men did under the laws of the ‘Jim Crow‘ south.

This incident, along with the monumental arrest of Sister Rosa Parks, lead to what would become the era of the Civil Rights Movement that lead, and still leads the battle for blacks and minorities around the country. It was also this time that the Black Arts Movement began producing black writers, artists, directors, and musicians to express their art, via the arts, a new awakening throughout the country. Writers like James Baldwin, Langston Hughes, Amiri Baraka, Cecil Brown, Nikki Giovanni, and Ishmael Reed expressed the deep concerns of the plight of blacks trying to have the same equal rights. Even sports figures like Muhammed Ali, Jim Brown, Bill Russell, and Wilt Chamberlain played a major part on trying to allow blacks to compete or ask for the same pay as their other white counterparts.

When it came to the Black Arts Movement in the arts, icons like Paul Roberson and Josephine Baker had been blackballed by Hollywood and Washington, DC due to their strong political beliefs and how some in the establishment didn’t take kindly to “black nationalism” as J. Edger Hoover, former F.B.I director stated. Musicians like Odetta, Harry Belafonte, Abbey Lincoln, and Max Roach began to play and sing songs of the civil rights movement. These song or spirituals were the nucleus of rallies and marches all over the south.

Sister Nina Simone was both a fiery and passionate musician and vocalist that gave the world her unique social commentary at a time during the 1960’s when all blacks were tired of fire hoses, home bombings, and the south’s ‘Jim Crow’ laws. One of Simone’s many anthems included “Mississippi Goddam,” a song about the many atrocities that took place in Mississippi and parts of the south during the early 1960’s. Incidents like the murder of NAACP activist Medgar Evers being assassinated, the four little girls that where bombed to death in Alabama, and Dr. Martin Luther King’s endless tirades to organize effective non-violent demonstrations to raise the awareness of civil injustices against blacks.

Born Eunice Kathleen Waymon on February 21st, 1933 in Tyron, North Carolina, Nina the was sixth child of eight in a struggling working class family. Her father was a minister by trade, but was also a businessman that owned many businesses until the depression wiped out the local economy in the surrounding cities where she grew up. Her mother and many in the community knew of young Eunice’s gift to play the piano and singing. She always played during church every week as well as special functions. Nina received free piano lessons and played and competed during middle and high school. Upon graduation, she was supposed to study classical piano at the Curtis Institute of Music where Nina had high expectations to become a classical pianist. Although she wasn’t accepted, she moved to New York City where she studied at the Juilliard School of Music. Playing bars in Atlantic City to help pay for her tuition, she changed her name to Nina Simone named after the French actress Simone Signoret. Nina was also developing her stage presence and her unique blend of all forms of American roots music. She played classical, pop, jazz, blues, and what would evolve into soul music.

On a whim, she recorded a group of singles that would become her debut record called “Little Girl Blue” in the winter of 1958. One of the singles of that session,“I Loves You Porgy,” would become a hit for Nina and the rest would become history. Nina, years later would find out decades later that when she sold the rights to her debut album for $3000, the record would go on to make millions leaving her angry for years that she didn’t get any royalties.

From the start, she didn’t have many hit recordings like her contemporaries like Etta James, Aretha Franklin, and Sarah Vaughan. Nina’s music was considered ahead of the curve allowing her to play some of the most important supper clubs and theaters all over the world. At a time when singers were either working the soul and jazz circuits, Nina was singing music that represented the connection of what was going on around the country. She forced black and white listeners to embrace African based records like “Zungo” and “Baby Brown.” Also, she became a fixture for the civil rights movement with songs like “Old Jim Crow” and “Blacklash Blues.” Another important record of her’s was Dr. Billy Taylor’s anthem “I Wish I Knew How It Would Feel to Be Free.”

A couple of weeks ago during the 2011 Urbanworld 15th Annual Film Festival one of the many special events that took place was “I Put a Spell on You: The Music Tribute of Nina Simone” with special guest Dr. Sonia Sanchez. Ms. Sanchez has been on the front-lines since the origins of the Black Arts Movement since the early 1960’s and rubbed elbows and marched with the likes of Malcolm X, Dr. King, Eldridge Cleaver, and her dear friend Nina Simone. The tribute was present by Party Rebel, Forrest Renaissance, and the legendary Jamal Joseph of New Heritage Films and the Impact Repertory Theater. Many of today’s up-and-coming female soul and jazz vocalists came out and performed many of Nina’s legendary songs. Artists like Maya Azucena, Abby Dobson, Nikki Jean, Lina Elder, Cookie Batie, Lady Blue, Avnah, Kendra Ross, and Brianna Colette brought a new and fresh voice to Nina’s music to fans that range from their teens to their 80’s. The program was almost two and the half hours and Dr. Sanchez opened the festivities with the poem she wrote and performed at Nina’s funeral. Throughout the evening many of the vocalists expressed their gratitude to Nina and how she spoke up for women’s rights as well as the unfair rights of blacks.

During the 1970’s Nina began singing and speaking out against the Vietnam war. It was also that time when she undergone some personal problems and fled to Barbados and then to Liberia, Switzerland, and finally France where she resided until she died.

Nina, like poet/vocalist legend Gil-Scott Heron, were leaders of a conscious movement to help blacks through music, to empower people to take a stand on injustices. As the 1970’s lead to affirmative actions and the hiring of blacks in all sectors of the workforce, their talent and messages of their music fell on deaf ears. Disco and funk ruled the radio airwaves; and jazz and music with social causes became what would become punk rock and rap music, two musical styles that shut them out. Punk rock become the anti-establishment for angry white kids and rap was the same but came and originated from the inner-city ghettos from New York City. Nina fled the states to find herself as well as try to have somewhat of a normal life from performing. Whereas, Gil became a junkie and never became the icon he once was. What I admire about Nina and brother Gil is that they wrote and sang what it is to truly be “young, gifted, and black” at a time when they made us examine ourselves and how we must play a part in this race war. It seems that we don’t have musicians that had the guts to put up with both race and artistic integrity like Nina and Gil. At a time when there are two wars, a borderline recession, racists epithets spewing freely from Tea Baggers and angry G.O.P’ers; no one has stepped up to the plate artistically. I commend Nina and Gil for their musical genius to lead at time when blacks need to take a stand. I guess my generation and the generation under mine is content with Lil’ Wayne and Dr. Murray killing the King of Pop. I bet Nina and Gil are rolling over in their graves right about now! 

The Pace Report: "The Triumph of the Trumpets" The Jon Faddis Interview ...

2011-09-26T19:26:00.000-05:00

Trumpeter Jon Faddis has made a name for himself as a critically acclaimed musician around the world. With top music accolades like former Artistic Director of the Chicago Jazz Ensemble; to conducting big band orchestras like the Grammy- Award winning United Nations Orchestra and the Dizzy Gillespie 70th Birthday Big Band, Faddis is continuing to keep the jazz legacy alive with the next generation of musicians with such units like The Jon Faddis Jazz Orchestra of New York and The Triumph of Trumpets. I recently caught up with Jon at the Blue Note Jazz Club in New York City and talked his role as a father and about the importance of him being college professor and how teaching is key in keeping the musical legacy of jazz alive.
During the early stages of jazz music, the big bands reigned supreme. The ballrooms that once housed great bands like Duke Ellington, Count Basie, Benny Goodman, and Tommy Dorsey; had a bevy of artists that shaped how the music and instruments were played.

Currently, trumpeter, educator, band leader and now father, Jon Faddis wears many shoes these days. Currently, he’s an instructor full-time at the Conservatory of Music at Purchase College-SUNY and was guest lecturer at Columbia College in Chicago. Jon’s latest disc “Teranga” features guest artists such as Frank Wess, Clark Terry, and Russell Malone.

Jon’s week-long engagement at The Blue Note in New York featured his “The Triumphs of Trumpet” set that pays tribute to the great trumpeters living both along with his quartet. Each night his quartet featured many different special trumpeters, which included Lew Soloff, Sean Jones, Terell Stafford, Mike Rodriguez, and Claudio Roditi.

He began his career at 18 when he joined the Lionel Hampton Big Band and later the Thad Jones/Mel Lewis Orchestra as lead trumpet. Throughout his 40 years in the business, he’s played with everyone from Dizzy Gillespie to Count Basie. Other major career highlights include: conductor of the Carnegie Hall Jazz Band at Carnegie Hall and director and main trumpet soloist of the Dizzy Gillespie 70th Birthday Big Band and Dizzy's United Nation Orchestra. Jon had the privilege to play and record with other jazz luminaries like Charles Mingus, Oscar Peterson, Count Basie, Duke Ellington, and James Moody.

Jon Faddis’s latest disc “Teranga” is available on i Tunes and at a record store near you. For more info on Jon’s tour dates visit him on the web at terangajazz.com.

The Pace Report: "Toots!" The Toots Thielemans Interview Part 2 wsg Kenn...

2011-09-24T07:37:00.000-05:00

In 1953 Toots moved to New York City where he became a member of Charlie Parker's All Stars. But it was when he joined the legendary George Shearing Quintet where he played guitar and featured him to play some solos on harmonica. By this time, peoples perception of the harmonica was that of a kids toy and not taken seriously in music circles around the world. In fact, the only harmonica players that were making a dent musically were The Harmonicats and Larry Adler.

By the mid-1950's Toots was making a name for himself as a session guitarist backing and recording with the likes of Dinah Washington, Ella Fitzgerald, Peggy Lee. He also befriended bandleader, arranger, and producer Quincy Jones, who continues to play and record for to this day. Quincy adds "I can say without hesitation that Toots is one of the greatest musicians of our time...he goes for the heart and makes your cry." (From Quincy's liner notes from Q's Juke Joint) Both he and Toots would record some great musical moments including the classic tune "Velas," from Brazilian born composer Ivan Lins, on the multi-Grammy Award winning recording "The Dude." He was also the featured soloist on Quincy's soundtrack of "The Getaway" starring Ali McGraw and Steve McQueen.

But it was his signature record "Bluesette" that has become a jazz standard as well as segued him musically as a whistler and also gave him his first hit record.

During the mid-1960's Toots did well as a leader but got involved in recording music for movies and television. His legendary contribution to the Academy Award Winning score Midnight Cowboy features many of his harmonica solos. He also composed and performed the theme to Sesame Street which has been part of the show for almost 40 years. Another milestone in Toots career is his legendary solos for the Old Spice commercials which he did for over a decade.
What keeps Toots going after all these years is his passion for playing music and the love he receives from many of his enduring fans. After seeing him perform numerous times and seeing fans both young and old, Toots embodies a silent confidence and strength that's evident in his musical style and how he carries himself. He's always happy and his music and his long life reflect it. I still believe we have more of Mr. Thielemans to come and another generation of fans to discover this mans real musical genius.

The Pace Report: "Toots!" The Toots Thielemans Interview Part One wsg Ke...

2011-09-24T07:24:00.000-05:00

For eight decades Toots Thielemans has given the world his gift of music in many genres of music including jazz, pop, world, and children's music. Toots has been heard in endless movie and television scores including many television commercials for over 30 years. He’s known as one of a few chromatic harmonica players with a style of his own. In addition to him playing harmonica, he’s also been a world renowned whistler as well as a cutting edge jazz guitarist. His many accomplishments haven’t gone unnoticed nor been slept on. In 2009 Toots was inducted as a National Endowment for the Arts Jazz Master Inductee. In 2001, Toots was honored with the title “Baron” by Albert II the King of Belgium.The 89 year-old has been one of the most important music figures during the 20th century and is still very active playing many jazz festivals and clubs all over the world to the tune of up to 100 dates a year.

During this year’s 2011 Detroit Jazz Festival which took place during the Labor Day weekend in Detroit, Michigan, Toots, along with pianist and music director Kenny Werner, were one of the many headliners to grace the stage and festivities. I sat down with Mr. Thielemans before his set and we talked at great length about his long career and his many accomplishments.

Born Jean-Baptiste Frédéric Isidor, Baron Thielemans on April 29th, 1922 in Brussels, Belgium, Toots began his career as musician when he was a little kid. His father owned a pub in Brussels and would come to visit his dad while he was working. Hearing the live music daily, one of the patrons of the pub noticed young Toots imitating the accordion player. Upon the musicians observation, he told Toot’s father that he likes music and that he should buy him a toy paper accordion. He did and was hooked on playing music ever since. When he got a little older he began playing the harmonica. Jean earned the nickname “Toots” due to two popular Belgium actors when he was little and has stuck with him all his life. He was also smitten by the harmonica when he saw an American film starring the late James Cagney in the 1930’s.

During the German occupation of Belgium, it was a lady who owned a record store not to far from where he lived, that introduced young Toots to American records by Louis Armstrong and other icons that shaped the new art form. He’d buy many 78 records and also listen to radio that aired American music that included jazz and pop. By this this time he was in his early twenties and and was playing guitar professionally during this period. Toots guitar influences were the legendary Django Reinhardt and Charlie Christian.

It was his recording of “Stardust” where his dear friend Ray Nance took the acetate to clarinetist Benny Goodman in the United States. Nance knew that Toots possessed a great musical gift and Goodman heard him and asked him to join him on his European Tour in 1950. This was also the time Toots was playing both the chromatic harmonica and guitar.

In the first part of my exclusive interview with Toots, we talk about him growing up in Belgium and how he was exposed to jazz music.

For information on Toots upcoming performances or to order his latest disc, please visit him on the web at tootsthielemans.com.

The Pace Report: "Conversations With a Feelin' Good Bassist" The Christi...

2011-09-15T19:45:00.000-05:00

Bassist and bandleader Christian McBride is about to release two of the most important music projects of his 25 years in the business. Mack Avenue Records is set to release “The Good Feeling” which is McBride’s debut with his big band taking music fans on ride that produced some of his most innovative and spine-tingling arrangements and compositions. The disc features guest musicians Ron Blake, Nicholas Payton, and vocalist Melissa Walker. Another important release is “Conversations With Christian” which is set for release this November. This disc is something that came as a brainchild from his XM Satellite Radio show which he’s hosted for many years. Throughout his many years as both a leader and sideman, McBride has interviewed some of the most prolific musicians in jazz, rock, soul, and hip-hop. So, he recorded music with some of the musicians from his conversations ranging from Regina Carter, Sting, and Roy Haynes. Also featured on the disc are sessions with the late Dr. Billy Taylor and Hank Jones.

Christian has worn many shoes both in front and behind the scenes serving both as an artistic and musical director for jazz festivals all over the world, a master musician and clinician, radio show host, dedicated husband,and heading his own bands. He’s toured music icons ranging from guitarist Pat Metheny to Chick Corea and John McLaughlin. McBride is one of the most requested bassists in jazz. The Philadelphia native boasts that “the bass was in his blood!” His father is bassist Lee Smith who backed the legendary Mongo Santamaria, to soul legends like Blue Magic and Brenda and the Tabulations. From the age of 8 years old the young McBride found his way both as a musician as well as spokesman for jazz.

In addition to heading his group Inside Straight, this year he’ll also be playing some special dates with the Christian McBride Big Band. To order “The Good Feeling” or “Conversations With Christian,” please visit him on the web at christianmcbride.com or mackavenuerecords.com

The Pace Report: "Threading Forward Musically" The Regina Carter Interview

2011-09-11T07:08:00.000-05:00

Only a handful of violin players have made a name for themselves in jazz music and Regina Carter is a pioneer in her own right. The Detroit native has made a name for herself unlike her contemporaries including the late Snuff Smith and Stéphane Grappelli to Jean-Luc Ponty. Carter’s unique blend of her musical upbringing which is as diverse as the Motown sound to the classical training and standards of Tin Pan Alley her mother raised her on.
Over the years I’ve been a big fan and have lots of respect for violinist Regina Carter. I’ve seen her evolve from when she used to play locally in groups around Detroit to her becoming a critically acclaimed musician and educator. She’s recorded a wide range of jazz recordings including “Motor City Magic” her tribute to the music she grew up listening to in Detroit and “Freefall” featuring NEA Jazz Master and pianist Kenny Barron.
Carter, a 2006 MacArthur Fellowship winner, recorded “Reverse Thread,” a world record that explores music from Africa. She just completed a weekend of live performances this year’s 2011 Detroit Jazz Festival and a week at the famed Blue Note Jazz Club in New York City. Regina is about embark on a two month tour abroad.
While I was in Detroit, I took some time out of Regina’s busy schedule to talk about her musical journey and her latest project “Reverse Thread,” an exploration of music from the African Diaspora. She explains “I’ve been wanting to record a project like this for years but never had the support from her former record label.” She adds “E-1 Music was so gracious to allow me to release this project, which is an exploration of music from the Africa and other parts of the world.”
It was her recording “I'll Be Seeing You: A Sentimental Journey” which featured songs from Tin Pan Alley and the great American songbook that earned her the MacArthur Fellowship in 2006. The Fellowship, nicknamed the “genius grant,” is an award given by the John D. and Catherine T. MacArthur Foundation every year given up to 40 people in the arts, literature, and academic who’s talent and contributions are making great and important strides.
According to their website, “the fellowship is not a reward for past accomplishment, but rather an investment in a person's originality, insight, and potential.”
Regina accepted the fellowship award and used the grant money to record “Reverse Thread,” her latest CD featuring folk songs from Africa. It was recorded from a chamber music perspective featuring a band consisting of her longtime bassist Chris Lightcap, drummer Alvester Garnett, kora player Yocouba Sissoko from Mali, and accordionist Wil Houlshouser from Senagal.
Make sure you support Regina’s latest disc “Reverse Thread” available on the E-1 label. To find out her upcoming tour dates visit her on the web at reginacarter.com. Reporting from the 2011 Detroit Jazz Festival in Detroit, Michigan for The Pace Report, I’m Brian Pace.

The Pace Report: "Packin' Vibes" The Warren Wolf Interview

2011-09-10T07:10:00.000-05:00

Mack Avenue Records is proud to release the debut of vibraphonist Warren Wolf in his first self-titled recording produced by legendary bassist Christian McBride and veteran record producer Al Pryor. The two let the young Wolf play and compose some of the most innovative and fresh music to hit the jazz scene for quite sometime. Warren and his group WOLFPAC is a musical hybrid of some of the most intense set of musicians who are as equally as passionate about the music as he is. He made his debut at this year's 2011 Detroit Jazz Festival to rave and stellar reviews and great great performance featuring Lawrence Fields on piano, Tim Green on saxophones, Kris Funn on bass, and John Lamkin on drums.

The Baltimore, Maryland native began his career performing with the Baltimore Symphony Orchestra at the age of nine. His father enforced a very strict and diverse music schedule including studying piano, drums, and eventually the vibraphone. By the time he was 12 he was playing in his father's band which allowed him to play all kinds of jazz and R & B. When Warren completed his studies at The Baltimore School for the Arts he attended Berklee College of Music in Boston.

In addition to becoming a scholar, he also began playing and backing some of the most important jazz musicians of the day including Danilo Perez, Bobby Watson, Nicholas Payton, and Roy Haynes. But it's his association with bassist Christian McBride in his group Inside Straight where he's been generating a serious buzz for the last four years, where he continues to tour and play with to this day.

Warren is a loving father of three and continues to live in his native city of Baltimore. He is about to embark on his first major club tour and will be visiting a city this fall. To order his latest disc or to find out about his upcoming dates please visit him online at www.warrenwolfmusic.com.

The Pace Report: "The 2011 Detroit Jazz Festival Opening Ceremonies wsg ...

2011-09-07T19:06:00.000-05:00

This year’s 2011 Detroit Jazz Festival kicked off this year in Downtown Detroit, Michigan allowing music fans from all over the world to partake in four days on non-stop music ranging from straight-ahead jazz, soul, and world music. The four day festival has five music stages including a education stage that allows jazz students from other major universities and their jazz program to play and learn with some of the most prolific and groundbreaking musicians ranging from Joe Lovano, Regina Carter, Joe Locke, and Sean Jones. Also, a Jazz Talk Tent which allows journalists and music commentators to interact in a open forum where music fans can ask questions about the artist’s craft and their history.

Drummer and percussionist Jeff “Tain” Watts was this year’s 2011 Detroit Jazz Festival’s Artist-In-Residence. Other previous AIR’s include Regina Carter, Mulgrew Miller, and Christian McBride. Watts opened up this year’s festival with a program he produced and conducted called “Drum Club.” He composed music fused with classical, jazz, and world elements and invited a hybrid of musicians from all musical genres to play. Special guests included the legendary Cuban congero player Pedro Martinez, Nigerian drummer Tony Allen, Susie Ibarra, Horacio “El Negro” Hernandez, and vibraphonist Joe Locke.

New Orleans own the Soul Rebels Brass Band took to beautiful Campus Martius as they played music and got music fans dancing throughout the entire evening.

Closing out the evening was the “Sing the Truth!” program which featured vocalists Lizz Wright, Angelique Kidjo of Benin, and Dianne Reeves. This multi-talented music ensemble was lead and arranged by drummer Terri Lyne Carrington and backed by pianist Geri Allen, bassist James Genus, percussionist Munyungo Jackson, and guitarist Romero Lamambo. The show was steeped in the tradition of the music which includes jazz, folk, gospel, and soul.

For more info on this year’s jazz festival please visit them on the web at detroitjazzfest.com.

The Pace Report: "The Revolution Will Be Jazz" The Giacomo Gates Interview

2011-09-01T05:38:00.000-05:00

On the afternoon of May 27th, 2011, the world lost an icon that shined a light on many in the rap community as well as writers and poets like myself. Gil Scott-Heron made his transition at the age of 62 at St. Luke's Hospital in New York City.

Born on April 1st, 1949 in Chicago, Illinois, his parents divorced at an early age and was sent to live with his grandmother in Jackson, Tennessee. His father, Giles Heron, became the 1st Afro-Caribbean player to play soccer here in the US and in Scotland during the 1950's. When Heron's grandmother passed away, he moved to the Bronx to live with his mother. Gil's gift for poetry got him a full-scholarship at Fieldston School, a prep school whose curriculum prepares most students for the top ivy league schools in the country. He would later drop out of Lincoln University to pursue his writing and later music career with songwriting partner Brian Jackson. In addition to becoming a prolific songwriter, Gil was successful author. His first two books, "The Vulture" and "The Nigger Factory" were both written when he dropped out of undergrad.

In 1970 Gil was living in Harlem, where a major arts scene was taking place. Coffee shops were the new platform for poets like The Last Poets and Gil. His landmark recording "Small Talk at 125th and Lenox" set the wave for the spoken word and the rap genre that would dominate the radio waves now. Although Gil's rise to prominence was a slow and gradual one, his messages of the political struggle and social consciousness still electrifies fans from all over the world.
The record, "Winter In America," featured their signature single and million seller, "The Bottle." The song depicted how alcohol was taking out the black community out during the mid-1970's in a neighborhood he lived in in Washington, D.C.

For most of his adult life he battled alcoholism and drug abuse and even did some prison time for his indiscretions. But that didn't stop him from spread the words of hope and positivity. Last year marked his return to music with "I'm New Here," his first recording in 16 years. The disc was well-received and was a mix of blues, soul, electronica, and some hip-hop. Gil was currently putting the final touches on his latest book, "The Last Holiday," his autobiography on singer and activist Stevie Wonder. The book focused on how soul singer Stevie Wonder advocated and spearheaded to make Dr. Martin Luther King's birthday a national holiday.

Jazz vocalist Giacomo Gates released what has been hailed as one of the best recordings of 2011. Gates recorded a tribute album called "The Revolution Will Be Jazz: The Music of Gil Scott-Heron" on the Savant label. Produced by Mark Ruffin, the Program Director XM's Real Jazz channel, currently heard by millions of jazz listeners all over the world. The disc represents some of Gil's most prolific tunes including "Winter In America," Show Business," "Madison Avenue," and "Lady Day and John Coltrane."

Gates, who grew up in Connecticut, was a construction worker for over 20 years living and both working in Alaska, Washington state, and Arizona. He's always been into music first getting his start playing the guitar in his teens. Even though he decided to move to Alaska to work and make decent living in construction, his heart was in music. So, one day he decided to participate in music workshop during a music festival in Fairbanks and some of the musicians told Giacomo he had a great voice and encouraged him to pursue his dream as a vocalist. He packed up and moved back to Connecticut and began singing locally and then eventually regionally. Luck would have it that the late Helen Keene got a tip on Giacomo and decided to go listen to him perform. Keene immediately loved him and recorded and produced his first disc "Blue Skies."

Over the last 15 years Giacomo has performed almost all over the world and has continued the vocalese style of jazz vocal in the tradition of Eddie Jefferson and Jon Hendricks. In fact, Gates style is both honest and sincere without trying hard to present his gift to his fans at his shows. Giacomo has swagger that's all his own and is evident when you hear him perform live.

Giacomo did a fantastic job on "The Revolution Will Be Jazz." His take on Gil Scott-Heron's music is a one that fans of his generation will get a kick out of. Also, introduce new and older fans to the wit and intellectualism Gil's songs at the time when many of the issues he wrote and sang on are still prevalent in today's society. Giacomo is well on his way and is in good company with some of his contemporaries like Kurt Elling, Kevin Mahogany, and Al Jarreau.

For more information on Giacomo or to find out about his upcoming club dates please visit him on the web at giacomogates.com

The Pace Report: "Soul to Soul: Reflections of Stax Records" Part 2 The ...

2011-08-27T08:19:00.000-05:00

Lincoln Center's Out of Doors summer series concluded with it's tribute to one of the most prolific record labels that give the world its own unique blend of soul, blues, gospel, comedy, and deep roots music. Stax Records was formed by the brother and sister team of Estelle Axton and Jim Stewart, a country and western fiddler. These two visionaries, along with former record disc jockey and records promotion guru Al Bell, would produced and record some of the most influential and ground-breaking soul records to come out of the mid-south. The cadre of artists that Stax and its other labels would include Carla and Rufus Thomas, Otis Redding, The Bar-Kays, The Mar-Keys, Eddie Floyd, Albert King, and Isaac Hayes.

When brother and sister Estelle Axton and Jim Stewart moved their 'mom and pop' based business to the old Capitol Movie theater on 926 East McLemore in 1959, the neighborhood changed. Working class whites moved to the suburbs and many blacks migrated there right in the middle of the segregated south. Both Axton and Stewart were bold and rash and hired both black and white performers and had a integrated staff at a time when this wasn't fashionable as well as dangerous. Groups like the Mar-Keys and Booker T. and the M.G.'s backed the likes of all of acts like Otis Redding, Johnnie Taylor, and Wilson Pickett. Stax had developed their own style of music and sound unlike other famous Memphis labels like Sun and Advent Records.

Al was the promotions director for Stax Records while as a disc jockey in Washington, DC when co-owner Jim Stewart asked him to join the label at a time when Stax split ways with Atlantic Records in 1967. This was time when Otis Redding was killed in a airplane crash, Atlantic due to a clause in their contract owned all the masters to Stax Records, and the label was over 90,000 in debt. Al came in and aggressively put Stax back on the map. He and the Stax house staff recorded over 27 projects and in over a year made the label millions of dollars. Signing groups and vocalists like The Emotions, The Staple Singers, Mel and Tim, Isaac Hayes, and Shirley Brown.

On August 20th, 1972, Los Angeles Coliseum held one of the largest African-American events next to the Great March on Washington in 1963 and the Million Man March in 1996. Stax Records sponsored and produced Wattstax, a concert that drew 112,000 blacks for their annual "Watts Arts Festival." The event took place seven years after the notorious Watts riots and featured all Stax recording artists. Albert King, The Staple Singers, Rufus Thomas, The Bar-Kays, Issac Hayes, and Kim Weston took part of the this monumental event. It also featured the Reverend Jesse Jackson who gave his famous "I Am Somebody" speech.

Although Al was co-owner of Stax, the label underwent hard time and finally went bankrupt during the latter part of the 1970's. The entire Stax catalogue was sold to Fantasy Records and was later sold to Concord Records.

The second part of my interview of The Pace Report, Al reflects on Wattstax and the end of Stax Records.

The Pace Report: "Soul to Soul Part 1" The Al Bell Interview wsg Melvin ...

2011-08-22T20:18:00.000-05:00

Lincoln Center’s Out of Doors summer series concluded with it’s tribute to one of the most prolific record labels that give the world its own unique blend of soul, blues, gospel, comedy, and deep roots music. Stax Records was formed by the brother and sister team of Estelle Axton and Jim Stewart, a country and western fiddler. These two visionaries, along with former record disc jockey and records promotion guru Al Bell, would produced and record some of the most influential and ground-breaking soul records to come out of the mid-south. The cadre of artists that Stax and its other labels would include Carla and Rufus Thomas, Otis Redding, The Bar-Kays, The Mar-Keys, Eddie Floyd, Albert King, and Isaac Hayes.

Two entertainment visionaries that changed the game of how soul music and black cinema had the power to dominate a heavily white controlled Hollywood. Al Bell, the former Vice President of Operations of Stax Records and independent filmmaker Melvin Van Peebles discussed the important role of Stax Records in a session called “Soul to Soul: Reflections of the Legacy of Stax Records.”
When brother and sister Estelle Axton and Jim Stewart moved their ‘mom and pop’ based business to the old Capitol Movie theater on 926 East McLemore in 1959, the neighborhood changed. Working class whites moved to the suburbs and many blacks migrated there right in the middle of the segregated south. Both Axton and Stewart were bold and rash and hired both black and white performers and had a integrated staff at a time when this wasn’t fashionable as well as dangerous. Groups like the Mar-Keys and Booker T. and the M.G.’s backed the likes of all of acts like Otis Redding, Johnnie Taylor, and Wilson Pickett. Stax had developed their own style of music and sound unlike other famous Memphis labels like Sun and Advent Records.

Al was the promotions director for Stax Records while as a disc jockey in Washington, DC when co-owner Jim Stewart asked him to join the label at a time when Stax split ways with Atlantic Records in 1967. This was time when Otis Redding was killed in a airplane crash, Atlantic due to a clause in their contract owned all the masters to Stax Records, and the label was over 90,000 in debt. Al came in and aggressively put Stax back on the map. He and the Stax house staff recorded over 27 projects and in over a year made the label millions of dollars. Signing groups and vocalists like The Emotions, The Staple Singers, Mel and Tim, Isaac Hayes, and Shirley Brown.

Under Al’s direction he’d change how Hollywood and black film goers saw and bought soul music. Film director Melvin Van Peebles directed a film that no one in Hollywood would touch. This movie was a independent film about a black man who was wrongly accused for a crime that he didn’t commit and sets out on a chase from the “man” (the police who tried to tag him for this heinous crime.) The film “Sweet Sweetback’s Badassss Song” was released independently in city to city by Van Peebles himself. He rented the theater and made his profit from each head that attended the movie. In a move to save money because their was no money in the budget, Melvin composed the music himself. His secretary’s boyfriend was suggested to play the music for the score. In hopes that people would become aware of the music before movie hit their city, Melvin approached Al at Stax Records to release the record so disc jockeys would play the music so listeners would become interested in the music. Al agreed and the soundtrack featuring an unknown group named Earth, Wind and Fire was an instant smash. Every city Melvin took Sweet Sweeback drew record crowds and sold many records. After the success of Melvin’s film, Al repeated the same marketing tactics as Sweetback for another Stax artist Isaac Hayes for what would become Shaft. What Al and Melvin did was set the pace of how black motion picture soundtracks would draw big number for other iconic records like Curtis Mayfield’s “Superfly,” “Aretha Franklin’s “Sparkle,” and Marvin Gaye’s “Trouble Man.”

In the first part of my interview with Melvin and Al, they talk about opening up the doors in black cinema as well as the legacy of the label. For more info on these visionaries please visit them on the web at albellpresents.com and melvinvanpeebles.com

The Pace Report: "Julie is New Again" The Julie Dexter Interview

2011-08-20T08:32:00.000-05:00

British soul and jazz vocalist Julie Dexter is back with a new recording “New Again,” her first to be released in six years, on the Ketch A Vibe label. Produced by Steve Maestro, the disc is a mix of Julie’s diverse range of soul, jazz, world music, and reggae.

Dexter’s been on the cutting edge of independent soul and has built a tremendous following here in the states. Her added success is so widespread due President Barack Obama’s last presidential campaign when they used Julie’s song “Ketch a Vibe” from her debut disc “Dexterity.” Although she’s a well-known vocalist, it took her many years to achieve the success she’s earned and deserved in her short span of over a little of a decade.

The Birmingham, England born and bred musician is a classically trained violinist and clarinetist. Before she took to singing, her musical influences ranges from Bob Marley to Nancy Wilson to Sade. At 18 she move to London where she attended Middlesex University and earned her degree in Music Communications. While in college she studied a semester here in the state at Radford University where she took a class in jazz vocals. From then, Julie has been hooked ever since. It then when she developed a style of improvisation and her voice thats unique to her music today.

While attending college she met and hooked up a musician named Jason Yard who had a group call the Jazz Warriors which later became Tomorrow’s Warriors. The group toured internationally and gave developed her musical chops as well as gain some exposure as an up-and-coming vocalist.

It was on one of her tours of the states where she performed and fell in love with Atlanta, Georgia; where she’s resided for almost 15 years. In that time, Julie has took on a life of her own as well enjoyed the fruits of coming a mother and a U.S. citizen.

“New Again” is material that showcases where Julie is currently in her professional, personal, and spiritual life.
Julie is on tour right now in support of her latest disc. For upcoming dates and cities, please visit her on the web at juliedexter.com

The Pace Report: "A Wonderful Organ Trio" Bobby Broom Interview featurin...

2011-08-16T19:55:00.000-05:00

During the mid-1950’s a musical innovator was making waves in jazz music by playing the organ. Jimmy Smith had sonically taken the Hammond B-3 and played with either a quartet or trio that changed and gave way for how blues, gospel, soul, and jazz music was played forever. Although the organ trio wasn’t nothing new at the time, Jimmy took what heard from his influences like Wild Bill Davis, Count Basie, and Fats Waller and did some heavy woodshedding in 1955 after he bought his first Hammond organ. Smith decided to rent some warehouse space and set up shop for a year in New York City. In that year he’d transform himself with sound and work ethic that was unparalleled for its time in its time. One night Alfred Lion, president of Blue Note Records, saw Jimmy play at a nightclub in Philadelphia and the rest is what we call, history. From 1956 until 1962, Jimmy recorded an unprecedented 40 recordings for Blue Note including the landmark “The Champ,” “Midnight Special,” and “The Sermon.”

As the 1950’s gave way to the 1960’s, Smith’s recordings influenced the next generation of Hammond organ players and would allow other icons give way to their own style of playing that would become the rage during the decade. Organists like Jack McDuff, Jimmy McGriff, Don Patterson, Richard “Groove” Holmes, Shirley Scott, Charles Earland, and Trudy Pitts gave the organ trio and quartet a mainstay in modern and contemporary jazz music. Other soloists became the rage like guitarists like Kenny Burrell, Pat Martino, George Benson, Wes Montgomery, Grant Green, and Melvin Sparks.

Last Monday I witnessed one of few great jazz organ trios’ as they made their New York City debut at Dizzy’s. Harlem, New York native Bobby Broom is no stranger to jazz music. His Deep Blue Organ Trio raised the roof to two sold-out shows and had music fans on pins and needles as the talented and gifted Chris Foreman took his organ skills to the days of Jack McDuff and the soulness Jimmy McGriff. Drummer Greg Rockingham swings like no tomorrow and keep the unit on alert when they played the upbeat material of both sets.

This performance was also the record release party for The Deep Blue Organ Trio’s new Origin Records release for “Wonderful!” Guitarist and leader Bobby Broom wanted to pay tribute to the legendary soul singer as well as his hero by picking some the trio’s favorite Stevie Wonder songs. “I’ve always played some of Stevie’s music in both the Deep Blue Organ Trio setting as well as my guitar trio.”

Whether jazz guitarist Bobby Broom is heading his own trio or playing as a sideman for the legendary Sonny Rollins, his approach to the music is honest and humbling. While in high school, he took the guitar very seriously and began to play professionally. One day saxophonist Sonny Rollins overheard him play and asked the young Broom to audition for has band. He got the job, but had to turn it down because he was 17 years old. While in college he got a better education playing with some of the legendary artists. Throughout his career he’s played with Art Blakey and the Jazz Messengers, Hugh Masakela, Donald Byrd, Miles Davis, Charles Earland, Stanley Turrentine, Dr. John, Tom Browne, and Kenny Burrell.

Bobby currently plays with two groups. The Deep Blue Organ Trio and his trio featuring Kobie Watkins on drums and Ed Carroll on bass. His last disc “Bobby Broom Plays For Monk” was another tribute record to the legendary pianist Thelonious Monk.

Bobby and The Deep Blue Organ Trio are currently opening for rock group Steely Dan and will be appearing at a city near you. To order “Wonderful!” please visit them on the web at thedeepblueorgantrio.com.

The Pace Report: "Etienne's Kaiso Flow" The Etienne Charles Interview

2011-08-14T07:13:00.000-05:00

Jazz has always been a influx of some forms of musical influences and cultural experiences from all over the world. Trumpeter Dizzy Gillespie was instrumental in playing the Latin rhythms of Cuba in his music. Saxophonist Stan Getz introduced the Brazilian rhythms and their country’s composers and musicians with the Bossa Nova craze that took over the American music scene during the early 1960’s. That’s what makes jazz music so unique and diverse, the fact that music from Cuba, South America, India, and Africa has taken a shape in this glorious music.

Trumpeter, leader, composer, and educator Etienne Charles continues to bring his ‘musician gumbo’ to the mix with his latest disc “Kaiso.” Charles, a native of Trinidad, has made a successful career playing and recording music of his country as well as taking elements of jazz and fusing them together. His last to recordings “Culture Shock” and “Folklore” showcases the trumpeters love of calypso music and how it had an impact on him growing up in Trinidad.

“Kaiso” focuses more on classic calypso songs made famous by composers and performers that made and shaped the music what it is today. The term “kaiso” means “go on” or to “continue” and originated in Nigeria. Etienne pays tribute to Lord Kitchener, Mighty Sparrow, and Roaring Lion. He adds, “these were the guys that I grew up listening to with my father and grandfather as a kid.” He holds Lion in high regards “because he was able to incorporate all kinds of musical genres in his music. Whether it be African, South American, American, or Indian; the music he heard and experienced somehow was heard in his calypsos.” Etienne re-recorded Lord Kitchner’s “Sugar Bum Bum,” Mighty Sparrow’s “Russian Satellite,” and Roaring Lion’s “J’Ouvert Barrio.”

The disc features some heavyweight musicians in both the jazz and calypso music scene. Musicians ranging from pianist Monty Alexander and percussionist Ralph MacDonald to Lord Superior and group 3 Canal. Saxophonists Ben Hogans and Jacques Schwarz-Bart, bassist Ben Williams, pianist Sullivan Fortner, and drummer Obed Calvarie make up Etienne’s band Kaiso.

Although Etienne was born and raised in Trinidad, he studied and earned his degree undergraduate degree at Florida State University as a Brautlecht Scholar of the College of Music. He then earned his Masters Degree from the Juilliard School where he was awarded the William Schuman Prize. Currently he’s the Assistant Professor of Jazz Trumpet at Michigan State University in Lansing, Michigan.

Etienne is currently on the road. To find out upcoming club dates or to order his latest disc “Kaiso,” visit him on the web at etiennecharles.com

The Pace Report: "A Composer's Choices" The Terence Blanchard Interview

2011-08-11T19:20:00.000-05:00

New Orleans native Terence Blanchard has had his hands full for well over the last decade. The former educator, musician, and composer has been hard at work promoting and touring for his latest Concord Records release "Choices." The disc features special musical guests like Lionel Loueke, Bilal, and noted scholar and writer Dr. Cornel West. "Choices" is the follow-up to his Grammy-Award Winning recording "(A Tale of God's Will)" and further explores the responsibility of the residents of New Orleans on taking actions in their own hands on rebuilding post-Hurricane Katrina.

Born on March 13th, 1962, Blanchard is one of the many great musicians that came from the cradle and birthplace of jazz music, New Orleans. He began playing music when he was five and was inspired to play the trumpet after he heard local native Alvin Alcorn, who played with the Olympia Brass Band and the Heritage Hall Jazz Band. He grew up with another musician who'd also make a name for himself later in jazz music, trumpeter Wynton Marsalis. While in college the young Blanchard toured and played with the Lionel Hampton Orchestra and Art Blakey. It was while he was playing with Blakey where he met and played with tenor saxophonist Donald Harrison and pianist Mulgrew Miller.

During the 1980's the new resurgence of jazz musicians were appearing on the scene in New York City and both he and Donald Harrison formed the Harrison/Blanchard Group and recorded five albums. Since their break-up, Terence has been on the front lines of jazz music both in front and behind the scenes. He served as the artistic director of the Thelonious Monk Institute of Jazz and has been a prolific composer in Hollywood scoring over some 50 films. His latest film "Red Tails" is produced by legendary film producer/director George Lucas and is scheduled to released in winter of 2012. He continues to score movies for director Spike Lee who's partnership goes back to 1991 when he scored the film "Jungle Fever."

Terence is currently on the road and is about to record a new record to be released sometime next year. For upcoming tour dates or to order his latest disc "Choices" visit him on the web at www.terenceblanchard.com

The Pace Report: "UnBobed and UnreHurst" The Robert Hurst Interview

2011-08-09T19:23:00.000-05:00

I can honestly say that bassist, composer, and now educator Robert Hurst has taken “the road less traveled” as quoted by poet Robert Frost in his long and illustrious career. At a time when most jazz musicians focus intently on their career as a leader, many work hard and endlessly on their craft. On the other hand, Robert is wearing many shoes and those shoes include roles that are pretty much in sync with his calling, both on the bandstand as a leader as well as an educator.

In 2008, Robert took on the the position of Associate Professor of Music at The University of Michigan in Ann Arbor, Michigan. This Detroit, Michigan native felt it was the right time to come back home, while guiding and teaching up-and-coming musicians and students their role in jazz music.

As a child, his parents played and exposed the young Hurst to jazz and the popular music of the day. It was a Modern Jazz Quartet show that his parents took him too as a teenager that opened his eyes to playing the bass. “I remember meeting bassist Percy Heath after the show and he showed me and explained what the upright bass was” Robert explains. It wasn’t long after that when he decided to play and study the bass. Trumpeter Marcus Belgrave became a mentor to the young Hurst and began playing professionally when he was 15 years old.

During the early 1980’s jazz music began to see a resurgence in mainstream popular culture and a new group musicians hailed as “The Young Lions” came onto the scene and helped give the music new life. Robert was playing the Detroit Jazz Festival when he met a young Jeff “Tain” Watts who happened to be playing with trumpeter Wynton Marsalis. A year later Watts recommended him to Wynton and was eventually hired by him. Robert would go on to record on those classic Marsalis recordings “J Mood,” “Black Codes From The Underground,” and “Hot House Flower.” In 1989, he left Wynton’s group and joined his older brother Branford’s group and enjoy a five year run with his quartet. Hurst even moved to Los Angeles, California when Branford became the Tonight Show Band music director, here he stayed for another 6 years.

It was in 1993 when he recorded his debut recording “Robert Hurst Presents: Robert Hurst on the Columbia Records imprint featuring the late Kenny Kirkland, Jeff “Tain” Watts, Marcus Belgrave, Ralph Jones, and Elvin Jones. He’s now back with two recordings, his first he’s recorded and released as a leader in 10 years. “UnreHurst Volume 2” is the second installment of his trio featuring pianist Robert Glasper and drummer Chris Dave. Recorded live at Smoke in New York City, the recording gives listeners a more personal and intimate listen into the classic trio style of piano, bass, and drums like the legendary Ahmad Jamal and Oscar Peterson units of the glory days of jazz music. “Bob Ya Head” is a experimental and electronic recording that includes some spoken word and funk elements in the tradition of hip-hop meets soul.

In addition to becoming an educator and movie composer over the last 15 years, Robert continues to back jazz artists Diana Krall and Chris Botti.

He’s in the process of releasing his upcoming project “Bob: A Palindrome” on his BeBob Record label. Its a sextet with Robert Glasper, Marcus Belgrave, Jeff “Tain” Watts, Branford Marsalis, and Bennie Maupin.
To order Robert’s latest releases or to find out his upcoming show dates, please visit him on the web at roberthurst.com.

The Pace Report: "Living Louis's Musical Legacy" The Louis Hayes Interview

2011-08-07T08:33:00.000-05:00

For almost 60 years drummer Louis Hayes has backed and played with some of the most prolific jazz musicians in the music's short history. The Detroit, Michigan native comes from a great musical class which includes: Dr. Barry Harris, Yusef Lateef, Curtis Fuller, Kenny Burrell, and Ron Carter; musicians he began playing with professionally while still in his teens. Louis knew from an early age that he was destined to become a great musician and his parents encouraged him and geared towards that.

By the time he was 19 Louis was recruited by pianist Horace Silver to join his unit and sent for him to come to New York City in 1956 where he's been a resident ever since. For three years he was part of Horace's historic quintet he started after his stint with Art Blakey. But is was another musician that was also making waves on the jazz scene that on his way out and was about to form his own group. Julian "Cannonball" Adderley was playing with the Miles Davis Quintet which featured the legendary John Coltrane on tenor saxophone. By the end of Miles's critically acclaimed "Kind of Blue" recording peaked jazz heads as well as gain new listeners, both Trane and Adderley would leave Miles and forge their own history in jazz music.

On a recommendation from bassist Sam Jones, Louis would be asked by Cannonball to join his quintet that would become legendary in their own right. The group would include: Cannonball on alto saxophone; Nat Adderley on coronet; Louis Hayes on drums; Yusef Lateef on reeds; Joe Zawinul on piano; and Sam Jones on bass. This unit would become one of the most influential groups in modern jazz and serve as springboard for many new jazz groups to come.

After a fruitful six year run with the Adderley's, he then joined the legendary Oscar Peterson Trio for two years. Throughout his career he's also played with Junior Cook, James Spaulding, Woody Shaw, and McCoy Tyner.

Louis continues to carry Cannonball's legacy with the Louis Hayes Cannonball Legacy Band featuring Vincent Herring on alto sax; Jeremy Pelt on trumpet; Rick Germanson on piano; and Richie Goods on bass. Louis tours all over the world playing Cannonball's songbook like: "Work Song," "Hi-Fly," "Tradition," and "Jive Samba."

The Pace Report: "3 Pianos: A Birthday Tribute to Dr. Billy Taylor"

2011-08-06T07:17:00.000-05:00

On December 28th, 2010 the jazz community lost a dear friend and innovator. Dr. William Edward Taylor, Jr, known affectionately as "Billy," died of heart failure at his Riverdale home in the Bronx at the age of 89.

For well over six decades Dr. Taylor was the ambassador to jazz music being played in the inner cities across with country with a program he created called Jazzmobile. In 1965 his goal was to provide free jazz concerts with top notch artists to perform in black neighborhoods at a time when jazz clubs were closing due the fading popularity of rock and soul music which dominated the radio at the time. With his vision, Dr. Taylor allowed these concerts to be a means to keep jazz musicians employed as well as introduce the music to the peoples.

Last week Lincoln Center presented as part of their outdoor summer programming, "Out of Doors" series; "3 Pianos: A Birthday Tribute" in conjunction with Jazzmobile, Inc at Damrosch Park Bandshell. Three pianos featured three generations of piano players that played and dedicated their entire set to the legacy of Dr. Billy Taylor featuring Norman Simmons, Eric Reed, and Christian Sands. Dr. Barry Harris was supposed to partake in the evening's festivities but due to health issues, he couldn't be there.

The first part of the tribute had the pianists Christian Sands and Eric Reed play three solo compositions of Dr. Taylor. Norman Simmons played with the last trio of Dr. Taylor that included Winard Harper on drums and Chip Jackson on bass. For the second part of the program all three pianists including special guest pianist Aaron Diehl played in what would be hailed as a musical kaleidoscope of three generations of pianists giving their talents and love to Dr. Billy Taylor.

The evening's musical director was trumpeter Cecil Bridgewater who also served as the show's emcee. In addition to drummer Winard Harper and Chip Jackson on bass, alto saxophonist Tia Fuller, trombonist Craig Harris, and vocalist Melba Joyce were part of the stellar rhythm section.

Dr. Taylor was born on July 24th, 1921 in Greenville, North Carolina to a middle-class family, his father was a dentist and his mother was teacher. They stressed education and a strong work ethic to he and his younger brother and sister. Billy developed a passion for music when he began studying piano at age seven. He studied music at Virginia State College earning his B.S and eventually earning a Ph.D in Music Education from the University of Massachusetts-Amherst.

His signature phrase was "Jazz is America's classical music," making the world take this art-form seriously.

He was a well-respected pianist playing with such icons like Ben Webster, Art Tatum, Duke Ellington, and Ramsey Lewis. But Dr. Taylor's legacy will always be remembered for his song "I Wish I Knew How It Would Feel to Be Free," a song Dr. Martin Luther King would ask him to play many times throughout the 1960's during the Civil Rights Movement. Vocalist Nina Simone would make this one of her signature records.

Many of Dr. Taylor's friends and family came out to Lincoln Center to support and celebrate his vision of Jazzmobile, love for jazz, and life as an endless educator and ambassador to the music.

Jazzmobile still needs your financial support during these lean and hard economic times. To make a donation or to find out upcoming Jazzmobile events, please visit them on the web at jazzmobile.org. Or, make checks payable to:

Jazzmobile, Inc
154 West 127th Street
Harlem, New York 10027

The Pace Report: "Here and Now: The Tales of a Great Jazz Guitarist" The...

2011-07-31T20:02:00.000-05:00

During the mid-1960’s jazz music was changing towards “fusion” and “soul jazz” and the idiom of most post-bop jazz quartets and quintets changed as well. Rock and soul music has dominating the clubs and on radio and jazz music as a whole was reflecting the mood and times of the generation and listeners.

Guitarists like Wes Montgomery, Grant Green, and Jim Hall were the masters at their game and created a voice and a distinctive technique style in their playing that gave way to the changes to what the 1960’s were to bring musically. The changing of the guard for jazz guitarists came when young and innovative musicians like Melvin Sparks, George Benson, and Pat Martino gave way to the new music trends that were part of the new jazz music taking shape.

2011 marks an important milestone for jazz great Pat Martino. In his many years as an accomplished jazz guitarist inventing the “Conversion to Minor” technique, Martino took time out to write his autobiography “Here and Now” with jazz writer and biographer Bill Milkowski. According to Pat, he believes the time was right to document and reflect on his many life experiences. “I felt it was time to document my life as a musician and hope readers understand my sense of purpose as a musician, teacher, and person.”

Born Pat Azzara on August 25th, 1944 in Philadelphia, Pennsylvania; Pat’s father was local musician and took him and exposed him to music at an early age. Being real close to the local music scene, his dad would take him to see jazz icons like Wes Montgomery which would leave a heavy impact on Pat musically. By the time he picked up the guitar at 12 years old he was studying with music teacher Dennis Sandole who’d also was the teacher to saxophonist John Coltrane. Trane would develop a friendship and over time they’d discuss music.
Martino hails both Wes Montgomery and Johnny Smith as his musical influences that inspired him to play the guitar.
Not out of high school, the young Martino was playing professionally with the likes of Lloyd Price, Slide Hampton, Red Holloway, Bobby Darin, Chubby Checker, and Bobby Rydell. He later moved to Harlem, New York where he was part of the new “soul jazz” sound that was shaping the country. Jazz units that used the organ trio as a way to incorporate both a soulful and smaller sound. In fact, Pat played with some of the most influential organ players in the history of jazz including Don Patterson, Brother Jack McDuff, and Charles Earland. Since he was 18, Pat has been a leader and has played all styles of jazz music.

In early 1980, Pat had undergone and experienced a series of aneurysms that left him without memory of his accomplishments as a guitarist. It took many years of therapy and rehabilitation to make his drastic comeback in music.

“Here and Now” is Pat’s recollection of his past, present, and future as musician. In addition to him writing his book, Pat’s first recording in well over a decade, “Live at Blue’s Alley,” will be released on the HighNote label sometime this fall.

Pat will be on the road this fall in support of both the new book and CD. For upcoming dates or to order “Here and Now,” please visit him on the web at patmartino.com.

The Pace Report: "In a Bleuphoria Mood" The Rahsaan Patterson Interview

2011-07-26T19:37:00.000-05:00

The music world has followed the many talents of vocalist and songwriter Rahsaan Patterson over the last 25 years. The Bronx, New York native has come a long way from his days as “The Kid” on Disney Channel’s hit show “Kids Incorporated” during the mid-1980’s.

Over the last decade and a half Rahsaan has been hard at work both as a successful writer as well as recording artist. His six critically-acclaimed records include is self-titled debut “Rahsaan Patterson,” “Love In Stereo,” “After Hours,” “Wine and Spirits,” “The Ultimate Gift,” and his latest Mack Avenue Records release “Bleuphoria.” “Bleuphoria” is a very personal recording based on phases of a past relationship.It’s also his take on how he feels the color blue resonated with him instead of peoples perception of the color red. Rahsaan’s songwriting on this disc is funky and blends the many musical sides as a well-rounded and seasoned musician. Although he hails Prince as one of the major influences on “Bleuphoria,” the disc finds him recording his signature ballads like “Miss You” and “Goodbye” to a gospel-based tune titled “Mountain Top” featuring the legendary Andre Crouch and Tata’ Vega. Other guest vocalists include 1980’s diva Jody Watley, Shanice Wilson, Faith Evans, and Lalah Hathaway.

In addition to him being a successful artist, Rahsaan has been a dynamic songwriter pinning hits for artists like Ledisi, Brandy, and Tevin Campbell.

Rahsaan’s latest disc “Bleuphoria” is available on Mack Avenue Records and is currently about to go on tour. For upcoming tour dates or to order the new disc, please visit him on the web at rahsaan.com.

The Pace Report: "The 7th Brooklyn Hip Hop Festival Featuring Q-Tip and ...

2011-07-24T19:16:00.000-05:00

Since the early 1970’s the origins of Hip-Hop have elevated from the barrios of the South Bronx to Madison Avenue and all over the world. The mystique of the music and culture has been that you can make and create art with the ingenuity of a pin and pad of paper. Emcees would become wordsmiths and create a rhyming experience that would eventually take ordinary people off the streets of a place of gangs, drugs, and violence. A unique street artistry would take hold in a form of dance, art, clothing, and day-to-day life that would evolve into modern day Hip-Hip. Pioneers of the music like The Sugar Hill Gang, Grandmaster Flash and the Furious Five, Afrika Bambaataa and the Soulsonic Force, Fab Five Freddy, and the Rock Steady Crew took their voices and art and generated what would turn out to become a ten billion dollar a year industry. The music then and today still reflects all the issues that continue to plague the black and Latino communities but it also still represents fun and unorthodox means of creating music. From the early block parties where the emcees would verbally battle other emcees from all the five boroughs in New York City, to the DJ’s recking havoc over break beats so emcees could master what would become rap, to the dancing and free spirit of Hip-Hop, the music gave and still gives many disenfranchised youth a channel to become creative.

One of few Hip-Hop festivals that takes place here in the states is the Brooklyn Hip Hop Festival Family Day presented by Brooklyn Bodega. Founded by Wes Jackson in 2006, he and his diverse staff have been on the front lines producing and keeping the legacy of Hip-Hop to fans all over the world via their website brooklynbodega.com. What I’ve really enjoyed about Brooklyn Bodga’s scope on the music is that they bring a more intellectual and historical view to the music unlike the negative images that continue to perpetuate the music. BB’s events during the entire year bring out all the true Hip-Hop heads that have been molded, shaped, and influenced by the music.

This year’s 7th Brooklyn Hip Hop Festival featured the legendary Q-Tip of rap group A Tribe Called Quest. Other acts included: Random Axe(Sean Price, Black Milk, and Guilty Simpson), Shad, Homeboy Sandman, M.O.P, Diamond District, Ali Shaheed Muhammed, Lords of the Underground, Torae, Uncle Ralph McDaniels, and Kendrick Lemar. Brooklyn Bodega also produced events during the week like the Show and Prove Bowl with Hip-Hop legends Camp Lo, The Artifacts, and J-Live. Another major highlight of the festival’s events was the Salute the DJ honoring the Marley Marl who produced legendary records for L.L. Cool J, Big Daddy Kane, Lords of the Underground, Biz Markie, and Kool G. Rap.

Emcee Q-Tip took to the stage and brought out many of his best friends whom he’s collaborated throughout his 20 years in Hip-Hip. He performed many of his classic hits as part of his days in A Tribe Called Quest. But he paid tribute to the music by bringing out female Emcee Monie Love of the original Native Tongs Crew. Monie performed her hit “Monie in the Middle” along with her solo of the classic “Buddy.” Tip later let Emcees Black Thought of The Roots, Lil Shawn, and Busta Rhymes bless the mic. But the surprise of the night was when multi-platinum and Grammy-Award Winning Kayne West took to the stage to guest perform with the legendary Emcee. The crowd lost it and was in awe as Kayne leaped off the stage and hit the crowd of his many Hip-Hop fans.

The Brooklyn Hip Hop Festival is something that’s a gem in the Hip-Hop Community and in the states. Jazz, country, soul, the blues, and Hip-Hop are the only original art forms that was created in this country. There are several festivals that cater and represent these art forms but BHH is the only one that takes place were the music was originated, New York City. Brooklyn Bodgea took a risk to form programming like the festival and other events throughout the year to keep real Hip-Hop visible and tangible at a time when the music has become real commercial. Again, this is the only festival where you can spend $15 a ticket and being your family and have a nice and relaxed time, while not hitting your wallet. The Brooklyn Hip Hop Festival includes two stages were music fans can watch and interact with the up-and-coming and iconic Hip-Hop emcees past and present. Also, there’s a section for kids between the ages of 3 and 10 years old that includes many play stations including a jumping trampoline and other kiddie rides thats part of the admission price.

At a time when the media and record industry has tainted Hip-Hop, Brooklyn Bodega has been on the front lines keeping the legacy of the music and culture out there. Please continue to support Brooklyn Bodega and their many events. For more information or to volunteer your time and efforts please visit them on line at brooklynbodgea.com.

The Pace Report: "The Shape of Hip-Hop to Come" The Cornel West Theory I...

2011-07-18T19:56:00.000-05:00

Last week during Ghetto Metal at S.O.B’s, the hip-hop world was introduced to the next extension of where groups like Public Enemy, Boogie Down Productions, The Roots, and Rage Against the Machine have left off. The Cornel West Theory made their New York City debut after a grueling two years playing around their native stumping grounds of Washington, D.C. Named after the noted activist, writer, and Professor at Princeton University, Dr. Cornel West, these six musicians are a collective of a some of the most innovative artists and intellectuals in hip-hop music. The group consists of Rashad Dobbins, Yvonne Gilmore, Tim Hicks, Sam Lavine, John Wesley Moon, and Katrina Lorraine Starr. The guys met during the late 1990’s but became a group officially in 2004.

The group chose the name The Cornel West Theory based on the band’s collective thoughts and philosophies of the noted professor. One day the group was trying to decide on what their name was going to be an all of a sudden “the Cornel West Theory sounded cool and innovative” adds John Wesley Moon, who’s also the band’s DJ. “Because we liked Dr. West and what he stands for, our music falls along the lines of his ideologies and where we were as a band.”

One day, band member Tim Hicks waited at a book signing with Dr. West at a Borders Books in his native Washington, D.C. Hicks then asked him for his blessing to use his name for the group. But that didn’t come easy. Dr. West asked Hicks about the content and group’s vision musically. Convinced on the spot, the two exchanged info and later hooked up and recorded what would be their debut disc “Second Rome.” Dr. West performs on the record and is no stranger to spoken word projects. Over the last three years he’s been featured on artists recordings as diverse as jazz trumpeter Terence Blanchard and soul singer Raheem DeVaughn.

“Second Rome” along with their latest mix-tape “In Her Hands: Embryo Capitol Volume #1” have gotten lots of rave and critical praise.

After their debut at S.O.B’s, Dr. West was elated about the group’s performance and felt that this is the break the group needed. “It’s so good to see how rock and hip-hop can come together for the masses.” He later added: “the fans of all races an color can appreciate the message and feel good knowing that the state of hip-has been elevated and raised to the next level.”

This group has incorporated all forms of popular music where it pretty much can relate to the hip-hip generation both young and old. What I really dig is that in their quest to create new music, they pioneered a new music that they call “Type 1.” John Wesley Moon describes it as “our love and appreciation of the music we’ve been exposed to and listen to. It’s basically a world of our music...presented in the vain of where hip-hop, culture, intellect, and society places our music.”

Their second album “The Shape of Hip-Hip To Come” is a continuation of where they left off from their debut and will be released this Tuesday. The guys plan to go on the road in support of the new project and connect to new and old fans along the way. For upcoming tour dates or to order their new disc please visit them on the web at thecornelwesttheory.com

The Pace Report: "The Shape of Hip-Hop to Come" The Cornel West Theory I...

2011-07-18T19:40:00.001-05:00

The Pace Report: "The Shape of Hip-Hop to Come" The Cornel West Theory I...

2011-07-18T19:40:00.000-05:00

The Pace Report: "Jazz Meets Classical" The Tom Harrell Interview

2011-07-15T19:48:00.000-05:00

As part of the first Blue Note Jazz Festival, trumpeter and composer Tom Harrell and his quintet played a very special set at The Highline Ballroom. In lieu of his next upcoming project, a classical project featuring the music of Debussy and Ravel, Tom’s set was titled “Jazz Meets Classical: Debussy and Ravel.” He even introduced and played nine new pieces with his quintet and a string section. Even though He went back to his classical training roots, the new pieces were explosive and the strings enhanced the jazz component of his work.

Since he was a youngster, trumpeter and composer Tom Harrell has never stayed stagnant musically. His latest Highnote Records release “The Time of the Sun” has topped the jazz charts for last month. Harrell’s group consists of jazz music’s rising superstars that feature Wayne Escoffery on tenor sax, Danny Grissett on piano and Fender Rhodes, Ugonna Okegwo on bass, and Jonathan Blake on drums. This unit has been recording together since 2007. Tom was nominated for Best Instrumentalist of the Year at this year’s Jazz Journalists Association Awards.

Tom’s ability to lead has been evident throughout the years with over 25 recordings under his belt and is a staple in the jazz world. He’s played with a plethora of artists ranging from Stan Kenton, Phil Woods, Dizzy Gillespie, Gerry Mulligan, Art Farmer, and his mentor Horace Silver. As a composer, his music has been played by Vince Guaraldi, Carlos Santana, and Phil Woods.

Currently Tom is on tour with his quintet. For upcoming dates or to order his latest disc “The Time of the Sun,” visit him on the web at tomharrell.com.

The Pace Report: "The Confessions of a Hip Hip Renegade" The Pharoahe Mo...

2011-07-10T07:25:00.000-05:00

At a time when hip-hip has lost its glamor and voice, Emcee Pharoahe Monch has continued to raise the bar on performing and writing music with a purpose. His latest disc “W.A.R” (We Are Renegades) proves one that he doesn’t have to affiliated with a major record label to stay current. Two, if your music fans dig what your saying that they speak truth in numbers at his shows as well as online. “W.A.R’ is selling extremely well on i Tunes and features the likes of vocalist Jill Scott and Emcee Jean Grae. His latest video “Clap,” about the way the police department and other law enforcement agencies have and continue to use excessive force against minorities and people of color. The 10 minute video has received lots of hits on You Tube and is a hit on MTV.

Born Tory Donald Jamerson in Queens, New York, the Emcee’s rise in hip-hop goes back to the early 1990’s when he and Prince Poetry formed the group Organized Konfusion. The duo produced three underground classic albums including the self titled debut “Organized Konfusion,” “Stress: The Extinction Agenda,” and “The Equinox.” Their music fused some rock, elements of hip-hop, and lyrics that were often ahead of their time.

After the group broke-up in 1998, Pharoahe recorded the landmark “Internal Affairs” on the Rawkus label. It was his time to shine as a budding Emcee as well as show the world his concept as a musician with a purpose. The disc spawned the hip-hop anthem “Simon Says.” He also recorded tracks and was featured on “Soundbombing II” and the “Lyricist Lounge” compilations. His second disc “Desire” was released on Motown Records and was success amongst his underground following.

Although Pharoahe’s only recorded three solo projects in a span of 12 years proves that he’s not one to mass produce his music to generate sales. Along with the added notoriety of being a indie artist, his work and his art haven’t gone in vain. Pharaohe continues to sell-out venues overseas and is well connected to his fans online.

Look out for Pharoahe to take to the stage this upcoming fall. To order his latest disc “W.A.R” or to find out his upcoming tour dates, please visit him on line at pharoahe.com. To watch the video “Clap” in its entirety click on to the link youtube.com/watch?v=VG_iDZbSZ3I

The Pace Report: "A Musical State of Art" The Ben Williams Interview

2011-07-06T19:50:00.000-05:00

Bassist and Bandleader Ben Williams is one of the most sought after musicians on the scene. The 2009 Thelonious Monk Institute International Jazz Competition winner was a recipient of a recording deal with Concord Records and after two years has flown the coupe with his group Sound Effect. His highly anticipated debut "State of Art" features some of the biggest and brightest names in jazz music including percussionist Etienne Charles, drummer Jamire Williams, saxophonists Jaleel Shaw and Marcus Strickland, pianist Gerald Clayton, and guitarist Matt Stevens.

The Washington, DC native took to music at an early age. Ben used to listen to his moms soul and jazz collection and decided that he wanted to pursue the bass while in middle school. Upon graduation, he attended Michigan State University where he studied under both Rodney Whitaker and Jack Budrow. After completing his undergrad degree he attended Juilliard where he earned his masters. While attending school he's backed and recorded with the likes of Cyrus Chestnut, Jacky Terrasson, Dee Dee Bridgewater, Mulgrew Miller, Roy Hargrove, and Herbie Hancock.

Ben held his CD Release Concert at the Gatehouse at Harlem Stage in Harlem, New York to a sold-out performance. Special guests included trumpeter Keyon Harrold and emcee John Robinson. Also, part of the performance included a string quartet with Meg Okura, Maria Im, Dan Arocha, and Justina Sullivan.

Currently Ben is about to go on tour in support of his latest disc "State of Art." For upcoming show dates please visit him on the web at benwilliamsmusic.net.

The Pace Report: Mos Def Michael Jackson Tribute Highlights Clips from t...

2011-07-03T09:16:00.000-05:00

Here's highlight footage from Emcee Mos Def from his Tribute to Michael Jackson set at the 2011 Fort Greene Festival in Brooklyn. Enjoy!

The Pace Report: "Res: Reset and Revised" The Res Interview

2011-07-03T08:28:00.000-05:00

As a journalist and interviewer, I’ve seen and witnessed some of the highs and lows of the literary, music, and political issues that have shaped and influenced this country. As art is something both personal and cerebral, many people have been left with the power to support or break ones career. Just take a look at the American Idol and Glee infestation thats taken hold of the the American viewing audiences over the last decade. Some artists have had to work harder at working at their craft; while some have unfortunately had a silver spoon placed in their mouth.

I’ve had the wonderful opportunity to watch and hear vocalist/songwriter Res evolve as both a major and indie recording artist. I saw her perform for the first time at St. Andrews Hall in Detroit in 2001 on the heels of her debut album “How I Do.” The disc was a both a critical success, but a commercial failure in the eyes of her then record company MCA/Geffen Records. What I saw at that performance was a woman who didn’t have a hard time performing rock music at a time when the industry was inundated with Erykah Badu, Maxwell, and a future gem named Jill Scott.

Over the last decade Res has maintained and reinvented herself and continues to knock people down with her live performances. I just caught up with her recently at this year’s 2011 Fort Greene Festival held at Fort Greene Park in Brooklyn, New York. She opened for Emcee Mos Def to the tune of a little over 12,000 music fans. During her performance she performed selections from her upcoming disc “Refried Mac,” a tribute to rock group Fleetwood Mac.

But to really understand her background, this Philly native hasn’t let the industry dictate what she’s to record and how to perform. Originally a finance major while attending Temple University, she decided to record a demo tape with a friend and shopped it to a few record labels. Res originally got a demo deal with Epic Records but landed a better deal with MCA Records in late 1998. She relocated to Los Angeles to further pursue her dream as a singer. Her debut “How I Do” was released in May of 2001 and sold a little over 300,000 copies. The disc produced the singles “Golden Boy” and “What They Say.” As her former label MCA merged with Geffen, Res was shuffled and then dropped. This didn’t make her upset in the least. During this period she was back-up vocalist for Cee-Lo Green and Danger Mouse’s debut project Gnarls Barkley. She toured extensively for their St. Elsewhere tour for two years.

Res later partnered with her former roommate, emcee Graph Noble, along with emcee Talib Kweli, and formed the group Idle Warship. Although Graph isn’t part of the group, the two are still best friends. Idle has allowed her to grow as a musician adding a element of hip-hop, rock, funk, and soul to music fans all over the world.Idle Warship also consists of Yuki and Dj Spintellect, part of Kweli’s road band.

As of a couple of years ago, Res decided to move back to her hometown of Philadelphia. “My father died and so much had happened since I moved to LA” adds Res. “My sister and brother both started a family and my mom needed my help.” Since she’s moved back, Res has released two underground projects that have received lots of positive press. “Black.Girls.Rock!” and her mixtape “Box Of Chocolates” features DJ NI** Sky. The mixtape includes many remixed and unreleased tracks and demos she’s recorded over the last decade.

As a I see it, Res has decided long ago to take destiny of her own career and it’s paying off. Her roots in rock music is a brave and bold feat that many women of color have stayed away from to just choose to play it safe in R & B. Res’s diverse and bold approach to her music is what makes her stand out and keeps her evolving as a artist.

Res is about to go on tour in support of her latest disc “Refried Mac.” For upcoming tour dates or to order her disc, please visit her on the web at the1res.com.

The Pace Report: "A Diva Supreme" The Dee Dee Bridgewater Interview

2011-06-28T18:45:00.000-05:00

2011 is the year for jazz vocalist Dee Dee Bridgewater. She won the 2010 Grammy Award for Best Jazz Vocal recording for her disc "Eleanora Fagan: To Billie With Love From Dee Dee," her tribute to the legendary jazz singer Billie Holiday. The disc featured 12 songs including some of jazz musics finest soloists which include Edsel Gomez on piano, Christian McBride on bass, James Carter on reeds, and Louis Nash on drums. Dee Dee played Billie Holliday in a major theatrical production called "Lady Day" which was a hit in Paris and London. The music of the show was the nucleus of this project. In addition to winning the Grammy, she won the 2011 Jazz Journalists Association Female Vocalist of the Year.  Bridewater's career spans some thirty years.

The now three-time Grammy-Award Winner and Tony Award Winner has tackled all genres of music and continues to stretch out as both an artist and performer. Including her latest project “Midnight Sun” on her DDB Records imprint. Produced by her daughter, this disc is the first time that Dee Dee has released a project of ballads. This disc is one for the lovers and those who want to listen to quality standards.

Dee Dee took part in this year’s 2011 Blue Note Jazz Festival in New York City and performed at The Town Hall. Grammy-Award Winner vocalist Chrisette Michelle opened the set paying tribute to jazz greats Ella Fitzgerald, Billie Holiday, and Dinah Washington.

For the last 6 years Dee Dee has been the host of National Public Radio’s syndicated show “Jazzset” in which she interviews and breaks bread with some of the movers and shakers in the jazz industry. She’s also been a United Nations Ambassador for the Food and Agriculture Organization.

  Currently Dee Dee is on tour and about to promote her new album “Midnight Sun.” For find out her upcoming shows or to order the new disc, please visit her on the web at deedeebridgewater.com.

The Pace Report: "The Jumping Keyboardist" The Pete Levin Interview wsg ...

2011-06-26T08:13:00.000-05:00

Pete Levin has been a name in the record industry that can be affiliated with many roles and positions ranging from arranger to leader. For well over four decades Pete has worn many shoes and continues to evolve as a musician.

His latest disc “Jump!” is a continuation of his love as a leader as well as him carrying out the standard organ trio. Backing him is the legendary Lenny White on drums and guitarist Dave Stryker. “Jump!” is the third of the trio recordings and also features percussionist Manolo Badrena. Pete also included the track “Honeysuckle Rose” with the late Joe Beck. Joe, who was ill and couldn’t record on Pete’s latest recording, had recorded the song at a past session and pulled it out one night as he was mixing the record and decided to release it as a tribute to him.

Throughout his four decades in the business, Pete has backed and recorded with some of the heavyweights in the world of jazz, pop, soul, and country.Backing the likes of Liza Minnelli, Gil Evans, Jaco Pastorius, Freddie Hubbard, Wayne Shorter, Miles Davis, Vanessa Williams, and Annie Lennox. He’s also scored and composed music for television shows and documentaries like: “Guiding Light,” “American’s Most Wanted,” “Spin City,” “The Comedy Zone,” and “Secrets of the Humpback Whale.”

Pete’s just returned from touring overseas and is about to hit the road again during the late summer. To order “Jump” or to find out his upcoming club dates, please visit him on the web at petelevin.com.

The Pace Report: "Deedles' Country Gathering" The Diane Schuur Interview

2011-06-23T19:51:00.000-05:00

Two-time Grammy Award winning jazz vocalist Diane Schurr has taken a major leap in her career and released “The Gathering,” a country/western record where she pays tribute to this musical genre. She gives music fans a new twist to some of the legendary classics. The Vanguard Records release was produced by noted country producer Steve Buckingham and enlisted some of the who’s who of both country and jazz music. Including Grammy Award Winning artists Vince Gill, Alison Krauss, Kirk Whalum, Larry Carlton, and Mark Knopfler.

Schurr covers many legendary singer/songwriters ranging from Patsy Cline’s “Why Can’t He Be You?” to Merle Haggard’s “Today I Started Loving You Again.” “The Gathering” was recorded in Nashville, Tennessee, hailed as ‘Country Music U.S.A,’ and was recorded in one day.
“Deedles” as she’s affectionately known all over the world, has recorded and performed all styles of musical genres from pop, soul, jazz, and gospel. So “The Gathering” wasn’t a far stretch musically and is a fresh and innovative take on the music Diane loves so dearly.
Throughout her career she has always been on the cutting edge of mixing standards and contemporary in jazz music.

Discovered by the late Stan Getz during the early 1980’s, Her first major break came when she performed at the White House for former first lady Nancy Reagan while performing with the late Stan Getz. Deedles performed “Amazing Grace” and after her performance the first lady gave her a gigantic hung.

In 1983, GRP Records signed the young vocalist and her career skyrocketed. For over 25 years she continues to be a dominant force in jazz music.

Deedles is currently about to tour to promote “The Gathering.” To find out her upcoming dates or to order her latest disc, visit her on the web at dianeschurr.com.

The Pace Report: "I'm Still Making a Difference" The Cormega Interview a...

2011-06-20T18:39:00.000-05:00

This is the year for rapper and activist Cormega. Last week the musician released his “I Made a Difference” single featuring a slew of rappers from the Hip-Hop community. Cormega held a press conference at Red Music/Stache Media where he addressed the need to help the victims in Haiti. It was on a trip there after the massive earthquake on January 12th, 2010; where the rapper gave his time and efforts to the people of Haiti. Since then, Mega has organized a coat drive along with performing at this year’s Hip-Hop for Haiti concert at S.O.B’s in New York City. Cormega adds “it was time for me to step up. I wanted to make a change and make a difference.”

Over 300,000 Haitian residents in the capitol of Port-Au-Prince were either dead or left homeless. Many are still in need of medical attention and supplies, clothing, food, and basic housing.

After his trip to Haiti, Cormega decided to write a song that would help the Hip-Hop community raise the awareness that’s still needed in the country. Also, rise to occasion to help the people of Haiti. But the project was hard to start from the jump. Cormega asked many rappers and musicians to contribute, but some were seeking other reasons than to donate their time and resources to the cause. He elaborates on how some of the egos made him shy away from some artists. “I asked some artists could they just spit a verse. Many were like, “who’s going to be on the record?” Moving forward, he chose vocalist/songwriter Maya Azucena to sing the hook on the record. Azucena, who’s had a major track record for donating her time and resources to causes like Haiti to domestic abuse, was more than adamant to participate in the project. Maya believes “this was something I had to do! I couldn’t sleep on this one! I’ve done many benefit concerts for the people of Haiti, but something like this tugged at my heart and when Cormega asked me to part of this, I jumped on it.”

Cormega then asked Red Media/Sony if they wanted to contribute that they were more than obliged to. Lamar Leggard of Red Media adds: “we at Red Media decided that not only are we going to record and promote “I Made a Difference,” were going to sell the song via i Tunes for .99 and all the digital proceeds will go to actor Sean Penn’s non-profit charitable foundation, The J/P Haitian Relief Organization.” Of all the major foundations and charities that are active in Haiti, Cormega choose Penn’s organization “because I saw the action he was taking in Haiti. Here’s an Academy Award Winning actor that not only took time out from his busy schedule, but was and is on the front lines helping the people of Haiti.”

Many members of the Hip-Hop community such as rappers Redman, General Steele of Cocoa Brovaz, Lil’ Fame of MOP, Stic Man of Dead Prez, keyboardist Jazimoto, and the band The Revelations performed and made a difference. The song “I Made a Difference” is now available on i Tunes as well as in a downloadable ringtone format for all cell phones.

For more information or to find out about “I Made a Difference,” please visit Cormega on line at legalhustle.net To learn more about Sean Penn’s J/P Haitian Relief Fund, visit them at jphro.org.

The Pace Report: "Malika's Musical Journey" The Malika Zarra Interview

2011-06-18T09:17:00.000-05:00

Malika Zarra’s world music background has allowed her to make a splash here in the states. She mixes her Moroccan, French, and American musical influences on her debut disc ‘On The Ebony Road.’ But her latest Motema Records release ‘Berber Taxi’ further expands Malika’s musical pallet by writing some of the most intense and melodic music of her career.

The Moroccan born and French raised musician has allowed all of her musical experiences culminate on both her discs as well as in her live performances.

It was her first visit in the states during late 1990’s where she encountered an instructor who encouraged her to incorporate native rhythms from her country in her music. Upon moving to New York in 2004, Malika has performed or recorded with musicians like Gino Sitson, Somi, Will Calhoun, Lonnie Plaxico, and Kenny Davis to name a few. But she still focusing on her music and developing her style. She performs her music in Arabic, French, Berber, and English.

While growing up in France, she studied music in Tours and Marseille and studied privately with Sarah Lazarus and Françoise Galais, something her parents were totally opposed to at the time.

‘Berber Taxi’ fuses both Berber and Gnawan rhythms with contemporary American jazz elements, something that was instilled in her by her parents as a child. Zarra began singing jazz standards in their original musical style but started to write and sing them in Arabic to rave reviews.
The response internationally has been outstanding playing some prestigious festivals like the International Black Arts Festival in Dakar to the Jewish Museum in Berlin, Germany.

Malika is currently on tour. To find out her upcoming concert dates, visit her website at malikazarra.com.

The Pace Report: "Malika's Musical Journey" The Malika Zarra Interview

2011-06-18T09:16:00.000-05:00

Hawk's Beautiful Imperfection

2011-06-18T08:25:00.002-05:00

What I’m really disappointed about in the recording industry is that many of today’s artists are making too records that lack content or is too producer oriented. It seems that all the records produced now are with artists that are younger and music content seems to be dominated by dance or sex oriented material. Gone are the golden days of the D’Angelo and Lauryn Hill type artists where they were groomed through A & R directors. It was through them that allowed the talent to develop over span of recordings that allowed them to pair with the right writers and producers. Plus, that was the last time the artists really took root of their career and recorded music that was personal and constantly evolving.

Last week at the Rockwood Music Hall in New York City I witnessed the exact opposite of where music has returned to. Where maturity in songwriting and live performance was an intricate part of the intimacy and connection to the fans and artist. This performer has the natural ability to reach out and speak the truth, not out of hate or commercial gain, but out of life and growing up as a human being.

Hailed as one of the most important singer/songwriters of her generation, Asa(pronounced Asha) is a musician that’s the most honest and authentic person on and off the stage. Her latest disc ‘Beautiful Imperfection’ is a tribute and testament that folk, soul, and afro-beat can be a means of music that appeals to music fans all over the world. Often compared to Lauryn Hill and Nina Simone, Asa’s music reflects her views on politics, her sensitivity as both a strong and weak African woman, and the ability to encourage one to love themselves. Over the last four years she’s been able to independently become her own voice to the tune of millions of fan all over the world.

Born in Paris, France, young Bukola Elemide at an early age knew that she was going to become a musician. At the age of two, she and her family moved to Lagos, Nigeria where for 20 years Asa was accustomed to her parent’s native country. Asa means “Hawk” in Yorba.

While growing up in Lagos, she used to listen to her parent’s records that consisted of a mix of African musician ranging from Fela Kuti to Sunny Ade, to the great American soul artists like Donny Hathaway to Aretha Franklin. By the time she was 18, Asa signed herself at the Peter King’s School of Music, a music school where she learned to play the guitar. It was also there where she began developing her vocal style fusing both English and her native Yorba.

At 19 Asa moved to Paris, France where she began her real roots a struggling and up-and-coming artist. One of her best friends introduced her to producer and manager Cobhams Emmauel Asuquo, who later became her musical partner. By this time she sent her demo tape to the Visa program that was run by the AFAA, the cultural division of the French Foreign Ministry. During the beginning of 2007 Asa and Cobhams went into the recording studio for six weeks and recorded her debut self-titled album “Asa.” With jaw-dropping songs like “Jailer,” “360,” and “So Beautiful,” music fans and critics took notice of her politically charged and mature songwriting and performances. When Asa plays the guitar with out a band, you can hear a pin drop! Audiences are glued to her singing as well as messages of hope.

It was around this time Asa and other musicians like 2 Face, 419 Squad, and 9ice were beginning to bring a new and fresh voice that brought a resurrection to the Nigerian music scene.

‘Beautiful Imperfection’ is continuation of Asa’s growth as a vocalist and songwriter. The new disc fuses all of the musical styles at she grew up listening to and enjoying as a kid. Her latest hit “Why Can’t We” is an upbeat soulful/folk oriented groove that takes you back to the soul sounds of the 1960’s. Other songs like “Preacher Man” and “Questions” continue to showcase her ability to raise ones consciousness of the injustices that take in the world.

I first saw Asa three years ago at Summerstage at Central Park when she opened for Les Nubians, another French/African soul group that proceeded her a decade earlier. It was then that I witnessed a musical treasure on the rise. After listening to her debut disc ‘Asha’ I noticed that some of her content was a bit bleak and rather eye-opening compared to her latest ‘Beautiful Imperfection.’ This disc seems to be more upbeat and her outlook on life a bit optimistic. But what I must say is that her live performance has drastically stepped up a notch even with out a live band.This young lady is on her way both musically and as a person.

Asa is currently on tour and promoting her latest disc. For upcoming dates or to order ‘Beautiful Imperfection’ visit her online at asa-official.com.

The Revolution Will Be Televised,

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "A Major Milestone" The Adam Cruz Interview

2011-06-16T19:17:00.000-05:00

Born to jazz and Latin drummer Ray Cruz, Adam Cruz has given the jazz world his own voice as a musician. After playing on well over 40 session as a in-demand drummer, Adam released his first solo project titled 'Milestone' on the Sunnyside Records imprint. The New York City native finally took a major leap of faith and wrote and composed what would become 'Milestone.' The recording was made possible by the Aaron Copland Recording Fund, a grant that allows young jazz musicians the opportunity to record and document the elements of roots music which includes jazz. His writing and playing on this recording is enhanced by the stellar line-up which includes: Steve Wilson, soprano saxophone; Ben Street, bass; Edward Simon, fender rhodes/piano; Steve Cardenas, guitar; Chris Potter, tenor saxophone; and Miguel Zenon, alto sax. Many of the musicians that are on 'Milestone' are musicians that he's recorded and played with during his 20 years in the business.

As a child Adam's father took him to legendary jazz greats like Buddy Rich to Willie Bobo, and that laid some of foundation for him getting the exposure to play and learn jazz music. It was while he was in college that he studied both piano with Grammy-Award Winning and NEA Jazz Master Kenny Barron at Rutgers University before he transferred to the Manhattan School of Music, where he graduated in 1993. It was also during this time Adam was becoming a young and in-demand session and sideman playing with likes of Paquito D' Rivera, the Mingus Big Band, amd Hilton Ruiz.

But it wasn't until he got the call from legendary pianist Chick Corea to join his Origin group that many people took notice. It was in this group where Adam met and played extensively with saxophonist Steve Wilson, who's currently on Milestone. Over the last decade he's been part of the Danlio Perez Trio.

Currently, Adam is on tour promoting his new CD. For upcoming dates or to order MIlestone, please visit him on line at adamcruz.net.

Rondi Charleston: "A New Voice, For A New Generation"

2011-06-12T16:12:00.005-05:00

At a time where the masses have grown to accept the “force feeding” of talent via the “American Idols” and “Americas Next Talent,” the art of learning the great American Songbook as well as listening to other forms of music has been a lost art. Popular music today is a fuse of younger artists and producers that cater to record sales and a younger demographic. With the major record labels losing steam and the advent of online sources like You Tube and i Tunes, people have the choice to watch and buy the music content that they want. Radio hasn’t been much of a help since only a handful of companies own them and have streamlined their radio formats and listeners. Just when you think that the days of vocalists like Barbara Streisand or Celine Dion are no more comes a singer named Rondi Charleston. Last week I had the privilege and honor to witness Mrs. Charleston’s record release party at Joe’s Pub in New York City for her Motema Records debut “Who Knows Where the Time Goes?” This is Rondi’s second release as an artist, but this recording is mesmerizing from beginning to end. And her live performance takes me back to those classic female vocalists like Streisand, Dion, and Whitney Houston.  

The Chicago, Illinois native is a classically-trained musician and actor who studied at Juilliard. Rondi grew up around music all her life listening to jazz, pop, and classical. Instead of becoming the great musician that she has become today, Rondi was a Peabody-Award winning journalist who worked with Diane Sawyer and ABC’s Primetime Live program. While working crazy hours as a broadcast journalist, she maintained her passion for singing in the many New York City supper clubs. It wasn’t until she left to pursue the music full-time that she went out on a leap of faith and now she’s reaping the success of her passion, music.  

“Who Knows Where The Time Goes” covers many original compositions written by both Rondi and pianist Lynne Arriale, who also records on the Motema imprint. She also dives into other genres of music ranging from Stevie Wonder’s “Overjoyed,” Percy Mayfield’s “Please Send Me Someone to Love,” and Carlos Antonio Jobim’s “Wave.”

  I think one of Rondi’s hidden successes is that she’s surrounded herself with some of the best musicians that have a hidden track record of knowing how to bring her full talent out. Pianist Lynne Arriale and Rondi’s collaboration of songs for “Who Knows Where the Time Goes, is almost reminiscent of the great writing partnerships of McCartney and Lennon, Strayhorn and Ellington, and Hayes and Porter. The two penned “Song for the Ages” and “Your Spirit Lingers,” which are some of finest and most personal selections on the disc.

  In addition to the songs she’s recorded for her latest disc, having jazz guitarist Dave Stryker as her music director was a match made in heaven. Dave’s scope of music is so vast that selecting great musicians like bassist James Genus, pianist Brandon McCune, and Mayra Casales on percussion, helped make the vision of Rondi’s music come full circle. In fact, Rondi and her band sound and perform better live than they do on record! Her stage presence and passion for the music shows in the first 10 minutes of the show.

  Its about time that a vocalist like Rondi Charleston is on the scene right now. The fact that her music isn’t industry driven and is back to the basics of original and authentic material. I admire what she and Motema Records founder Jana Herzen have done to and with the music over the last couple years. The idea of letting the artist evolve and grow is so missing in the record industry right now and Mrs. Charleston’s path to excellence is in the step in the right direction.

The Revolution Will Be Televised,

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "Hawk's Beautiful Imperfection" The Asa Interview

2011-06-12T09:48:00.000-05:00

Hailed as one of the most important singer/songwriters of her generation, Asa(pronounced Asha) is a musician that’s the most honest and authentic person on and off the stage. Her latest disc ‘Beautiful Imperfection’ is a tribute and testament that folk, soul, and afro-beat can be a means of music that appeals to music fans all over the world. Often compared to Lauryn Hill and Nina Simone, Asa’s music reflects her views on politics, her sensitivity as both a strong and weak African woman, and the ability to encourage one to love themselves. Over the last four years she’s been able to independently become her own voice to the tune of millions of fan all over the world.

Born in Paris, France, young Bukola Elemide at an early age knew that she was going to become a musician. At the age of two, she and her family moved to Lagos, Nigeria where for 20 years Asa was accustomed to her parent’s native country. Asa means “Hawk” in Yorba.

While growing up in Lagos, she used to listen to her parent’s records that consisted of a mix of African musician ranging from Fela Kuti to Sunny Ade, to the great American soul artists like Donny Hathaway to Aretha Franklin. By the time she was 18, Asa signed herself at the Peter King’s School of Music, a music school where she learned to play the guitar. It was also there where she began developing her vocal style fusing both English and her native Yorba.

It 19 Asa moved to Paris, France where she began her real roots a struggling and up-and-coming artist. One of her best friends introduced her to producer and manager Cobhams Emmauel Asuquo, who later became her musical partner. By this time she sent her demo tape to the Visa program that was run by the AFAA, the cultural division of the French Foreign Ministry. During the beginning of 2007 Asa and Cobhams went into the recording studio for six weeks and recorded her debut self-titled album “Asa.” With jaw-dropping songs like “Jailer,” “360,” and “So Beautiful,” music fans and critics took notice of her politically charged and mature songwriting and performances. When Asa plays the guitar with out a band, you can hear a pin drop! Audiences are glued to her singing as well as messages of hope.

It was around this time Asa and other musicians like 2 Face, 419 Squad, and 9ice were beginning to bring a new and fresh voice that brought a resurrection to the Nigerian music scene.

‘Beautiful Imperfection’ is continuation of Asa’s growth as a vocalist and songwriter. The new disc fuses all of the musical styles at she grew up listening to and enjoying as a kid. Her latest hit “Why Can’t We” is an upbeat soulful/folk oriented groove that takes you back to the soul sounds of the 1960’s. Other songs like “Preacher Man” and “Questions” continue to showcase her ability to raise ones consciousness of the injustices that take in the world.

Asa is currently on tour and promoting her latest disc. For upcoming dates or to order ‘Beautiful Imperfection’ visit her online at asa-official.com.

The Pace Report: "The Time Keeper" The Rondi Charleston Interview wsg Ly...

2011-06-08T19:00:00.000-05:00

At a time where the masses have grown to accept the “force feeding” of talent via the “American Idols” and “Americas Next Talent,” the art of learning the great American Songbook as well as listening to other forms of music has been a lost art. Popular music today is a fuse of younger artists and producers that cater to record sales and a younger demographic. With the major record labels losing steam and the advent of online sources like You Tube and i Tunes, people have the choice to watch and buy the music content that they want. Radio hasn’t been much of a help since only a handful of companies own them and have streamlined their radio formats and listeners. Just when you think that the days of vocalists like Barbara Streisand or Celine Dion are no more comes a singer named Rondi Charleston. Last week I had the privilege and honor to witness Mrs. Charleston’s record release party at Joe’s Pub in New York City for her Motema Records debut “Who Knows Where the Time Goes?” This is Rondi’s second release as an artist, but this recording is mesmerizing from beginning to end. And her live performance takes me back to those classic female vocalists like Streisand, Dion, and Whitney Houston.

The Chicago, Illinois native is a classically-trained musician and actor who studied at Juilliard. Rondi grew up around music all her life listening to jazz, pop, and classical. Instead of becoming the great musician that she has become today, Rondi was a Peabody-Award winning journalist who worked with Diane Sawyer and ABC’s Primetime Live program. While working crazy hours as a broadcast journalist, she maintained her passion for singing in the many New York City supper clubs. It wasn’t until she left to pursue the music full-time that she went out on a leap of faith and now she’s reaping the success of her passion, music.

“Who Knows Where The Time Goes” covers many original compositions written by both Rondi and pianist Lynne Arriale, who also records on the Motema imprint. She also dives into other genres of music ranging from Stevie Wonder’s “Overjoyed,” Percy Mayfield’s “Please Send Me Someone to Love,” and Carlos Antonio Jobim’s “Wave.”

I think one of Rondi’s hidden successes is that she’s surrounded herself with some of the best musicians that have a hidden track record of knowing how to bring her full talent out. Pianist Lynne Arriale and Rondi’s collaboration of songs for “Who Knows Where the Time Goes, is almost reminiscent of the great writing partnerships of McCartney and Lennon, Strayhorn and Ellington, and Hayes and Porter. The two penned “Song for the Ages” and “Your Spirit Lingers,” which are some of finest and most personal selections on the disc.

In addition to the songs she’s recorded for her latest disc, having jazz guitarist Dave Stryker as her music director was a match made in heaven. Dave’s scope of music is so vast that selecting great musicians like bassist James Genus, pianist Brandon McCune, and Mayra Casales on percussion, helped make the vision of Rondi’s music come full circle. In fact, Rondi and her band sound and perform better live than they do on record! Her stage presence and passion for the music shows in the first 10 minutes of the show.

Its about time that a vocalist like Rondi Charleston is on the scene right now. The fact that her music isn’t industry driven and is back to the basics of original and authentic material. I admire what she and Motema Records founder Jana Herzen have done to and with the music over the last couple years. The idea of letting the artist evolve and grow is so missing in the record industry right now and Mrs. Charleston’s path to excellence is in the step in the right direction.

Remembering The Poet Gil Scott-Heron

2011-06-07T03:27:00.005-05:00

During the early 1970’s, African-Americans were craving and embracing a more powerful and conscious message that was being conveyed by musicians like Sly Stone to James Brown to Curtis Mayfield. These musicians, unlike the vocal and political stylings of Gil Scott-Heron and Brian Jackson, enlightened a new generation of listeners to become more aware of their social and economic surroundings, as well as becoming a new voice for change. Heron is considered the father of conscious rap that paved the way for MC’s and singers like Mos Def, KRS-One, Talib Kweli, Jill Scott, Erykah Badu, Black Thought, and Paris. Not only is he an accomplished singer/songwriter, Gil’s an exceptional novelist and poet.

On the afternoon of May 27th, 2011, the world lost an icon that shined a light on many in the rap community as well as writers and poets like myself. Gil Scott-Heron made his transition at the age of 62 at St. Luke’s Hospital in New York City.

Born on April 1st, 1949 in Chicago, Illinois, his parents divorced at an early age and was sent to live with his grandmother in Jackson, Tennessee. His father, Giles Heron, became the 1st Afro-Caribbean player to play soccer here in the US and in Scotland during the 1950’s. When Heron’s grandmother passed away, he moved to the Bronx to live with his mother. Gil’s gift for poetry got him a full-scholarship at Fieldston School, a prep school whose curriculum prepares most students for the top ivy league schools in the country. He would later drop out of Lincoln University to pursue his writing and later music career with songwriting partner Brian Jackson. In addition to becoming a prolific songwriter, Gil was successful author. His first two books, “The Vulture” and “The Nigger Factory” were both written when he dropped out of undergrad.

In 1970 Gil was living in Harlem, where a major arts scene was taking place. Coffee shops were the new platform for poets like The Last Poets and Gil. His landmark recording “Small Talk at 125th and Lenox” set the wave for the spoken word and the rap genre that would dominate the radio waves now. Although Gil’s rise to prominence was a slow and gradual one, his messages of the political struggle and social consciousness still electrifies fans from all over the world.

The song “Home Is Where The Hatred Is,” covered by the late Esther Phillips, would be one of many records that depicted and told the gripping and haunting tales of plight and despair in the black community. The song paints a vivid and graphic depiction of heroin addiction that was prevalent during the early 1970’s. Phillips, was also recovering from her addiction from heroin at the time, was nominated for a Grammy for best R & B vocal losing to Aretha Franklin. Franklin, a big fan of the record and of Mrs. Phillips, gave her her Grammy.

The record, “Winter In America,” featured their signature single and million seller, “The Bottle.” The song depicted how alcohol was taking out the black community out during the mid-1970’s in a neighborhood he lived in in Washington, D.C.

As hip-hop evolved into rap music, it’s been hailed as the black CNN as MC’s use descriptive words to paint a story verbally to music. Gil Scott-Heron’s landmark, “The Revolution Will Not Be Televised,” was really a wake up call to all blacks on how the mass media paints a major deception to the masses and how people tend to believe in what they read and hear.

What was so brilliant and groundbreaking about those first three albums: “Small Talk at 125th and Lenox,” “Pieces of a Man,” and “Revolution;” was that Gil recorded with some of the most prolific jazz and soul session musicians around. Producer Bob Thiele, founder of Flying Dutchman Records, and also former producer at Impulse Records, had ties to many musicians like Bernard Purdie, Ron Carter, and Hubert Laws. The fact that Gill took spoken word poetry and recorded it with live instrumentation, was a bit advanced. The art of taking verbal art and fusing it to where younger music listeners supported it, was both commercially profitable, as well as empowering a generation to question the “status quo.”

I can honestly say, Gil and Brian got lots of black folks through the 1970’s. With anthems like “H20 Blues,” “Angel Dust,” “We Almost Lost Detroit,” and “Winter In America.” With the fatigue of Vietnam, Nixon, and inflation that hit the country, Gil’s message of change and reality made music fans take notice and embraced his views.

For most of his adult life he battled alcoholism and drug abuse and even did some prison time for his indiscretions. But that didn’t stop him from spread the words of hope and positivity. Last year marked his return to music with “I’m New Here,” his first recording in 16 years. The disc was well-received and was a mix of blues, soul, electronica, and some hip-hop. Gil was currently putting the final touches on his latest book, “The Last Holiday,” his autobiography on singer and activist Stevie Wonder. The book focused on how soul singer Stevie Wonder advocated and spearheaded to make Dr. Martin Luther King’s birthday a national holiday.

I’m saddened by the passing of Gil because he was one of the few brothers, like his contemporaries, Bob Marley, Stevie Wonder, and Marvin Gaye, that spoke on the many injustices and atrocities that took place in the heart of black America as well as around the world. Through music,my generation saw the evolution of hip-hop as an extension to embrace a message to white people on the realism that’s happening day to day in urban black America. Whether it was the realism of police brutality and the injustices of legal justice system towards blacks; or the raising of self knowledge of knowing our African roots and empowering ourselves, Gil’s influences in hip-hop range from Brand Nubian, N.W.A,Ice Cube, Brother Ali, and Ice T.

Gil, thank you for tireless wisdom and gift to encourage to wake us up politically and consciously. Also, give the world your wit and candid views of the world around you. You will definitely gone, but not lost.

The Revolution Will Be Televised,

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "Duke Vision" The George Duke Interview

2011-05-30T19:43:00.000-05:00

The Blue Note Turns 30

2011-05-30T05:10:00.004-05:00

This month marks the beginning of the 30th Anniversary of the famed Blue Note Jazz Club. For 30 years, this Greenwich Village staple has been the home of some the most musical icons ranging from Dizzy Gillespie, George Benson, Rosemary Clooney and Roy Ayers. Many of the greats of jazz, soul, and pop have graced the stage for what many music fans have hailed as the jazz “capitol of the world.”

What better way to properly kick off the anniversary festivities is to have none other than jazz/R & B vocalist Al Jarreau perform in what would be his debut at The Blue Note. Al’s fifty years in the business has allowed him to earn seven Grammy-Awards and sold millions of records worldwide. With hits like “Mornin,” “Roof Garden,” “We’re In This Love Together” and “So Good,” Mr. Jarreau’s debut was a hit selling out every show during his weeklong engagement. Al also shared the stage with the legendary George Duke and his Trio featuring Grammy-Award winning bassist/vocalist Esperanza Spaulding and drummer Terri Lyne Carrington. Bassist Michael Manson played with both Al and George while Miss. Spaulding performed at another engagement.
The performances were also on the heels of the new recording “Al Jarreau and the George Duke Trio, Live at The Half Note, Volume. 1.” This is the first of three vintage recordings that George is releasing when the two were both getting started in music when they performed in San Fransisco, California in the mid-1960’s. George had the material sitting in his closet for decades and decided to have Al listen to the material. After endless hours of mixing the material, George was able to come up with three discs of material. Volume 1 is the first of the next two discs that will be released in the next couple of years.
Al Jarreau is one of the few singers that has won the award in the R & B, pop, and jazz categories throughout his 50 years in the business. Jarreau has been able to take his unique “vocalese” style of singing and fuse it with the contemporary sounds of most current music styles. Al can be placed in annals of great vocalists like Joe Williams, Jon Hendricks, Johnny Mathis and Tony Bennett. In 1976, Jarreau was signed to Warner Brothers Records under the tutelage of record producer, now seasoned record executive, Tommy LiPuma.

Alwyn Lopez Jarreau was born on March 12th, 1940 in Milwaukee, Wisconsin and was the fifth of six siblings. Jarreau’s father was a strict minister and singer but instilled a strong religious background and performing while growing up.
While attending college, Jarreau would dabble in music. He sang alongside a young and progressive pianist while pursuing his masters degree in San Francisco by the name of George Duke, who years later would produce and tour with. This was during the mid-to-late 1960’s when the Bay Area was a hotbed of music. Al would also make the television and nightclub circuit that got him more experience as well as develop him as a better vocalist.

Warner Brothers executives saw Jarreau perform at a club in 1975 and signed him. This was also the same year producer Tommy LiPuma signed saxophonist David Sanborn, guitarist and vocalist George Benson, and a new-comer named Michael Franks. 1976 proved to be a pivotal year for all these artists because Benson struck gold with is smash “Breezin” and Jarreau with his debut disc “We Got By.”

George Duke has been one of the most requested session musicians, producers, and musical directors over the last three decades. As a leader, Duke has recorded 40 projects with artists such as Jean-Luc Ponty, Stanley Clarke, Jill Scott, Billy Cobham, Milton Nascimento and Airto Moreira. As a producer he’s produced records for the likes of Miles Davis, Steps Ahead, Anita Baker, Rachelle Farrell, Regina Belle, Dianne Reeves, George Clinton and Jeffrey Osborne.

Duke’s role during the weeklong engagement at was both an exciting, but, also tedious as well. As the music director, he had to rehearse music of Al Jarreau, his music, and also Brenda Russell’s music. The chemistry between both Esperanza Spaulding and Terri Lyne Carrington were a match made in heaven. Considering this was the first time Miss. Spaulding played with George and saw the music the day of the Thursday performance, she played like she’s been in his band for years! Esperanza performed on the Thursday, Friday and Saturday performances. During his set, he performed many of his classics including “Sweet Baby,” “No Rhyme and No Reason,” and a medley of songs he produced and wrote on the monumental “Amandla” recording from Miles Davis.

Brenda Russell, the prolific singer/songwriter of such notable classics like “Piano In The Dark” and “If Only For One Night,” also headlined with the George Duke Trio on Thursday and Friday night at The Blue Note. Mrs. Russell’s performance was both stunning and captivating as George’s trio kicked in to overdrive with Russell’s “Walking In New York.” Fans really got an up close and personal take on the legendary songwriter’s music as well as her view on music. Both Brenda and George wowed the audience on “Piano In The Dark.”

The week proved to be a great success for The Blue Note as they kicked off their anniversary festivities. Mr. Jarreau stated: “I’ve wanted to play the Blue Note, but it wasn’t the right time. Under different circumstances and the right time, this was the perfect opportunity to perform with my good friend and musical counterpart.” Both Mr. Jarreau and Mr. Duke gave their fans the musical experience that they’ll remember for the rest of their lives. Both of these masters performed both the straight ahead jazz and contemporary material satisfying their many diverse music fans. The fact that their latest recording “Al Jarreau and the George Duke Trio, Live at The Half Note, Volume. 1” represents how their careers have come full circle some 45 years later.

The Blue Note was the perfect venue to hold this monumental event. Congratulations on your 30 years on serving the world with some of the greatest music and hope you continue for another 30.

The Revolution Will Be Televised,

Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com

The Pace Report: "The Vocal Master" The Al Jarreau Interview wsg George ...

2011-05-25T18:57:00.000-05:00

The Blue Note Jazz Club just celebrated their 30th Anniversary and what better way to bring it in is to have seven-time Grammy Award winning jazz/R&B vocalist Al Jarreau perform to a week of sold-out performances. Mr. Jarreau was backed by the legendary George Duke and his trio featuring Mike Manson, Esperanza Spaulding, and Terri Lyne Carrington. The performances were also on the heels of the new recording “Al Jarreau and the George Duke Trio, Live at The Half Note, Volume. 1,” the first of three vintage recordings that George recorded of them when they were both getting started in music when they performed in San Fransisco, California in the mid-1960’s. George had the material sitting in his closet for decades and decided to have Al listen to the material and gave the go ahead to release the material. After endless hours of mixing the material, George was able to come up with three discs of material. Volume 1 is the first of the next two discs that will be released in the next couple of years.

Al Jarreau is one of the few singers that has won the award in the R & B, Pop, and Jazz categories throughout his 40 years in the business. Jarreau has been able to take his unique “vocalese” style of singing and fuse it with the contemporary sounds of most current music styles. Al can be placed in annals of great vocalists like Joe Williams, Jon Hendricks, Johnny Mathis and Tony Bennett. In 1976, Jarreau was signed to Warner Brothers Records under the tutelage of record producer, now seasoned record executive, Tommy LiPuma.

Alwyn Lopez Jarreau was born on March 12th, 1940 in Milwaukee, Wisconsin and was the fifth of six siblings. Jarreau’s father was a strict minister and singer but instilled a strong religious background and performing while growing up.

While attending college, Jarreau would dabble in music. He sang alongside a young and progressive pianist while pursuing his masters degree in San Francisco by the name of George Duke, who years later would produce and tour with. This was during the mid-to-late 1960’s when the Bay Area was a hotbed of music. Al would also make the television and nightclub circuit that got him more experience as well as develop him as a better vocalist.
Warner Brothers executives saw Jarreau perform at a club in 1975 and signed him. This was also the same year producer Tommy LiPuma signed saxophonist David Sanborn, guitarist and vocalist George Benson, and a new-comer named Michael Franks. 1976 proved to be a pivotal year for all these artists because Benson struck gold with is smash “Breezin” and Jarreau with his debut disc “We Got By.”

Al Jarreau and George Duke’s latest disc “Live at the Half Note, Volume 1, 1965, is available online. For upcoming tour dates, please visit Al online at aljarreau.com or georgeduke.com

The Pace Report: "Songbird Found" The Gretchen Parlato Interview

2011-05-22T19:43:00.001-05:00

Vocalist Gretchen Parlato’s latest Obliqsound Records release The Lost and Found is a contemporary mix of jazz, soul, world, and popular music that is a reflection of this artist’s growth as a musician. Parlaro also features and plays with some of the most important jazz musicians on the scene including bassist/vocalist Alan Hampton, tenor saxophonist Dayna Stephens, drummer Kendrick Scott, pianist Taylor Eigsti, and bassist Derrick Hodge. This time, Gretchen enlisted the talents of pianist and Grammy Award Nominated Robert Glasper as associate producer.

The Lost and Found showcases the vocalist's songwriting skills and which includes her lyrics to the Wayne Shorter classic “Juju” al well as her other originals like “Winter Wind” and “How We Love.” But her collaborative efforts with Taylor Eigsti and Robert Glasper make this disc a both well-rounded and very impressive disc from Miss. Parlato.

Gretchen was the first vocalist to graduate from the prestigious Thelonious Monk Institute of Jazz Performance. She won the 2004 Thelonious Monk Institute Vocal Competition in 2004. After completing her studies, she moved to New York City where she became a fixture in the jazz scene performing with the likes of Esperanza Spaulding, Kenny Barron, Terence Blanchard, and Lionel Loueke.

Currently Gretchen is embarking on a world tour. To order The Lost and Found or to find out her upcoming dates, visit her online at gretchenparlato.com

The Pace Report: "Songbird Found" The Gretchen Parlato Interview

2011-05-22T19:43:00.000-05:00

The Pace Report: "Gladwell Speaking" The Julian Lage Interview

2011-05-15T09:34:00.000-05:00

Guitarist Julian Lage is the next generation of jazz musicians whose voice has made an impact in the short 10 years since he first hit the scene. The Santa Rosa, California native grew up around a progressive music scene in the Bay Area and since the age of six, has played with likes of Carlos Santana to Toots Thielemans.

It was the Academy Award nominated documentary “Jules at Eight” that first showcased the young seven year old. Julian was hailed then as a “child prodigy.” The classically trained guitarist was spotted by vibraphonist Gary Burton at age 12 and was asked to perform with him. In under five years, he would become part of Gary’s new group in which he still continues to perform with.

The 23 year old’s latest release “Gladwell” features saxophonist Dan Blake, bassist Jorge Roeder, cellist Aristides Rivas, and percussionist Tupac Mantila. The disc further showcases his love for the music he’s passionate about. His ability to play all music genres including world and classical while maintaining his roots as a jazz guitarist.

Julian is currently on the road and will join Gary Burton later this summer as he tours for his upcoming disc. For upcoming dates or to order “Gladwell” visit him on the web at julianlage.com

The Pace Report: "Gerald Unbounded" The Gerald Clayton Interview

2011-05-10T20:05:00.000-05:00

What took me by surprise about pianist and composer Gerald Clayton is his ability to play what he thinks, and almost all of the musicians fall in line instantly. That’s what I witnessed lately at his performance recently at The Jazz Gallery in New York City in support of his latest Emarcy Records release “Bond: The Paris Sessions.” His first two recordings as a leader were recorded with his trio, but this set was the nucleus of a new quintet that featured Dayna Stephens, Chris Dingman, Marcus Gilmore, and Joe Sanders.

The 26-year-old pianist has been a brainstorm of both classical and jazz knowledge since the age of two. Born in the Netherlands, but raised in Los Angeles, young Gerald was brought up in the musical household that included his father, bassist and composer John Clayton, and his uncle, saxophonist, Jeff Clayton. Music was destined to be in has blood. Gerald began taking classical piano when he was in his pre-teens. For eleven years he was heavily involved with the rigorous study under the tutelage of instructor Linda Buck.

It was his love for jazz that lead him to study at the USC Thornton School of Music earning his Bachelor of Arts degree in Jazz Studies. He was blessed to study jazz under Kenny Barron, Shelly Berg, and Billy Childs.
Gerald’s debut disc “Two Shade” was hailed as a marvel for the young 25-year-old’s debut. In addition to him being a leader, he also continued to back The Clayton Brothers, trumpeter Roy Hargrove, and vocalist Diana Krall.

Gerald is the next generation of jazz musicians who’s vision is beyond playing the piano. His writing is fresh and music forward similar to the early works of pianists Chick Corea and Andrew Hill. As a pianist, he’s got a humble and quiet fire like the elder statesman of jazz like Oscar Peterson, Kenny Barron, and Monty Alexander.

“Bond: The Paris Sessions” includes many of his own originals as well as two standards. Gerald is about to go on tour in support of the new disc. For upcoming tour dates or to order his latest disc, please visit him on the web at geraldclayton.com

The Pace Report: "Charlie's Musical Domain" The Charlie Hunter Interview

2011-05-09T19:58:00.001-05:00

Guitarist Charlie Hunter has been a innovator and trailblazer in jazz music. He’s gone against the grain by playing the seven-string guitar in which he’s created a voice unlike any guitarist that’s graced the annals of major guitarists like Les Paul, Wes Montgomery, and Slash. Hunter fuses rock, soul, blues, country, and jazz music styles as his signature trademark on guitar.

His latest disc, “Public Domain,” was inspired by Charlie’s grandfather who will turn 100 this year. He approached his grandfather about some of the songs that he grew up listening to and they came up with the list of song titles that were public domain. Also, record this as a solo guitar project where Charlie could add his own flavor to the mix. Recorded in one afternoon at The Bunker Studio in Brooklyn, this isn’t the follow-up from his 2000 solo guitar release “Solo 8-String Guitar.” Some of the new material includes: “Indiana,” “Danny Boy,” and “Ain’t We Got Fun.”

The Berkeley, California native was always surrounded by the guitar and took up the instrument at 10 years old. His mother played lots of blues and country music, so he was also influenced by the popular rock and soul music scene that dominated the Bay Area. At 12, he took guitar lessons from the legendary Joe Satriani. While in high school, he attended the same high school as saxophonist Joshua Redman and pianist Benny Green. It was upon graduating from school that he had his first seven string guitar designed and made for him. The seven string guitar concept is two bass strings, five guitar strings, and two pick ups. Charlie would leave the states and head overseas where he’d develop and create his own musical style that is now considered a very unique approach, yet, complicated way of playing the guitar.

When he returned from overseas, Charlie hooked up with rapper Michael Franti where he formed the group the Disposable Heros of Hiphoprisy. After a year, he left the group when he met saxophonist Dave Ellis and later formed The Charlie Hunter Trio.After his stint on Blue Note and Ropeadope Records, Charlie decided to take the music business in his own hands. He’s recorded his music independently to great success.

Currently, Charlie is on the road with his duo set which features himself and a drummer. For upcoming dates or to order his latest disc “Public Domain,” visit him on the web at charliehunter.com.

The Pace Report: "Charlie's Musical Domain" The Charlie Hunter Interview

2011-05-09T19:58:00.000-05:00

The Pace Report: "The Americanization of Shad Kabango" The Shad Interview

2011-05-08T08:37:00.000-05:00

Hip-Hop as of recently has been getting pretty limited on musical and lyrical content. For a music that has been hailed as "the black CNN," it's gone to the depths of bling and no message.

Canadian MC Shadrach Kabango, better known as Shad, this year won the Juno(Canada's Grammy) for the 2010 Best Rap Album, beating out fellow Canadian and international rapper Drake. Shad's disc, "TSOL," has garnered lots of praise and acclaim due to his music forward presence as well as going against the grain in hip-hop's negative and senseless phase that has been dumped the masses.

Shad has been compared to the Fresh Prince a.k.a Will Smith, but his music is much more deeper than at. The first time I heard the MC, I thought of more the lines of Speech from Arrested Development and Common. Songs like "Rose Garden," which he candidly talks about perseverance. Shad lyrically uses references ranging from super heros to biblical quotes. Not once in his music does he use profanity nor degrade or elders or women. That's why he's built his career on presenting music that uplifts and encourages listeners, something that's been missing in hip-hop for quite awhile.

Born in Kenya, Shad was raised in London, Ontario to Rwandan parents. He's the middle of three kids where his parents know from an early age he was musically inclined. Upon graduation, he attended Wilfried Laurier University here he majored in business administration. While in college, he won $17,000 during a radio competition thus recording his 2005 debut disc "When This Is Over." Shad's second release "The Old Prince," was the disc that generated a tiny buzz here in the states.

Currently, Shad is building his American base heavily on the strength of "TSOL's" success. He's on tour and is about to hit the spring and summer festivals and major venues. For upcoming tour dates, please visit him on the web at shadk.com.

The Pace Report: "J.C.'s Still In The Cut" The James Carter Interview

2011-05-03T20:00:00.000-05:00

During the early 1990’s a young saxophonist from Detroit, Michigan came to New York City with dream and a vision to become one of the most noted and hardworking musicians in jazz. After a little over two decades, James Carter is the most respected and admired soloists.

Thirteen recordings and playing with some of the most important music figures in the business, he’s about to turn another leaf musically. His latest Emarcy Records release “Caribbean Rhapsody” is a departure from the straight-ahead jazz recordings that his fans have become accustomed to. Carter paired up with classical composer Roberto Sierra for a orchestral piece written in four parts titled “Concerto For Saxophones.” Recorded both in Warsaw, Poland and New York City, the piece was first introduced back in Carter’s native Detroit, where he performed the piece with the Detroit Symphony back in 2002 at Orchestra Hall.

2011 is also the the anniversary of James’s famed Organ Trio which features Gerard Gibbs on the Hammond B3 and Leonard King, Jr. on drums. The group just played a week of sold-out engagements at The Blue Note Jazz Club in New York City with special guests Nicholas Payton on Trumpet and James Blood Ulmer on Guitar. James took time to reflect on the Organ Trio and takes the origins of the music back to when he recorded the critically-acclaimed “Live at Baker’s” in Detroit.

Throughout his career, he’s played with a bevy of jazz luminaries like Lester Bowie, Harry “Sweets” Edison, Johnny Griffin, and Marcus Belgrave.

James will play selected cities this year to perform “Concerto For Saxophones.” He’ll also be touring extensively with the Organ Trio this summer and fall. For upcoming tour dates and news, please visit his website at jamescarterlive.com.

Black and Brown: The New Color of Modern Composers

2011-04-26T18:39:00.004-05:00

"A man's best accessory is confidence." -- Greg Sato

The music industry has produced many composers and arrangers in the popular music and jazz genres. It’s also had close ties to the television and film industry as well. Composers like Maria Schneider, John Williams, Henry Mancini, John Barry, Michel Legrande, Nelson Riddle, Don Costa, Gil Evans, Mitch Miller, and Johnny Mandel, have given the world a musical pallet thats crossed all music genres as well enhanced their art in both film and popular music. When it comes to composers and arrangers of color, the doors are few and far between. In fact, the names I just mentioned, have their works still played and commemorated by jazz and orchestral ensembles like the Boston Pops and Jazz at Lincoln Center. But the African-American experience in music, especially jazz and pop, still fall short on the radar.

Musicians like Louis Armstrong, King Oliver, Duke Ellington,Mary Lou Williams, and Earl Hines created compositions and musical themes that took place in black America. The big bands were conducted and performed by people of color and produced some of the greatest jazzmen and woman as jazz music became the darling of popular music during the early 1900’s. Still, many of these corporate and privately funded orchestral ensembles today only focus on a few of our pristine black musical icons like Duke Ellington and Louis Armstrong. Rarely, do I hear about a music tribute to Oliver Nelson, Thad Jones, Quincy Jones, Benny Carter, or Melba Liston on their works of their compositions or arrangements. Ironically, those names I just mentioned have somehow performed, conducted, arranged, or produced music for film, jazz, pop, and soul music. What’s even more disgusting is that Quincy Jones has scored iconic movie scores like “The Color Purple,” “In The Heat of the Night,” “The Pawnbroker,” and “Roots,” and continues to be only recognized for his commercial efforts, not the brilliant suites or serious music scores which he’s contributed to for nearly 50 years. I won’t even mention the endless jazz records he’s arranged, produced, and performed on ranging from Ray Charles, Aretha Franklin, Frank Sinatra, and Count Basie.

Another lost and yet forgotten arranger was the late Oliver Nelson. The St. Louis native played for and arranged for the likes of Wild Bill Davis, Cannonball Adderley, Wes Montgomery, Jimmy Smith, and Johnny Hodges. Oliver was well studied and learned alto saxophonist as well as heavily involved in jazz and orchestral education. He went on to score music for television shows like: “The Bionic Woman,” “The Six Million Dollar Man,” “Night Gallery,” and “Columbo.” Yet, he was never given the credit nor respect that he was due and died at the age of 43 of a heart attack on October 28th, 1975.

As of last few months, I’ve witnessed a lot people of color again changing the musical landscape behind the scenes here in New York on Broadway and in jazz music. Grammy-Award Winning trumpeter and composer Terence Blanchard is conducting and scoring the runaway Chris Rock and Annabella Sciorra Broadway play, “The Motherfucker With the Hat.” This is a feat that was last experienced by Stew, the Tony-Award Winning writer and composer of “Passing Strange,” the first time since “Dream Girls” in the early 1980’s presented music written and perform by and for people of color on the “great white way.”

Another Grammy-Award winning trumpeter and composer has also decided to raise the bar as a musician is Nicholas Payton. The Nicholas Payton Television Studio Orchestra is the most innovative and brash project in jazz music. Trumpeter, composer, arranger, and vocalist Nicholas Payton is coming out of his own shell and making the music he wants to record. The Orchestra played a week of sold-out dates at Dizzy's Club Coca Cola at Jazz at Lincoln Center in New York City. Nick's compositions range from hip-hop inspired tunes to his homage to the classic and historic sound of his hometown of New Orleans. His love and vision for the music has allowed him to fuse all of the projects that he's recorded throughout career like Sonic Trance, The Nicholas Payton Sexxtet, The Nicholas Payton Quartet, Bitches Mix Tape, and his tribute to musicians like the late Louis Armstrong and Doc Cheatham. The ensemble features some critically acclaimed and seasoned musicians like Robert Hurst, Patience Higgins, and Anat Cohen, to up-and-coming talent making waves on the New York jazz scene like Erika Von Kleist, Michael Dease, Chelsea Baratz, Ulysses Owens, Jr, Mike Moreno, and Lawrence Fields.

Philadelphia native Orrin Evan’s latest Posi-Tone Records release “Captain Black Big Band” continues the legacy of the Thad Jones and Oliver Nelson tradition. Both Jones and Nelson were heavily influenced by their deep roots connection to jazz and soul music, Evans features 38 musicians that range four decades who embodies the true essence of black roots music. Recorded live at The Jazz Gallery in New York City and Chris’s Jazz Cafe in Philadelphia, the big band’s arrangements are extremely bold and rash. The band just played on the anniversary of the day of the recording over Easter weekend last year at the Jazz Gallery. Compositions like “Jena 6” and “Art of War” are just a few numbers in where Orrin reflects the tenacity and confidence of a musician that’s in control of his musical destiny.

It’s about time that both Orrin and Nicholas have stepped up to the plate in creating music for large big bands and ensembles. Both of these guys are in their mid-thirties and have a new approach to music outside the traditional trio and quartet setting. Terence Blanchard, like his contemporaries Wynton Marsalis and Robert Hurst, have been scoring films and lead and conducted music on a grand scale since the early 1990’s. Although they were part of that great 1980’s ‘young lions’ class of jazz musicians, these guys chose to adventure musically to uncharted territory like Quincy Jones and Oliver Nelson during the 1960’s. Theres still a lack of musicians of color being acknowledged as fine conductors and arrangers via jazz and Hollywood. But, with the latest tide of musicians of color impacting the music scene like Christian McBride, Roy Hargrove, Nicholas Payton, Orrin Evans, Robert Glasper, and Igmar Thomas; there’s new and uncharted doors that are opening due to their vision and dying courage to carry on the rich and short legacy of our jazz icons.

The Revolution Will Be Televised,
Brian Pace
The Pace Report
www.thepacereport.com
thepacereport@yahoo.com