Jazz Is Taken Seriously at CSUEB by Dinah deSpenza

March 12, 2012

The room was full and the music was swinging as New York trumpeter Marvin Stamm performed with CSU East Bay jazz ensembles at the 13th Annual “Night of Jazz” fundraiser Monday night.

This event has become one of the best regular jazz events held annually at Yoshi’s Jazz Club in Jack London Square, Oakland. Each year, prominent performers and composers perform with CSUEB jazz students, benefiting the Music Department Scholarship and Special Events Funds.

“I come every year. The students are excellent up-and-coming players,” says Ruth Major.
Major is a CSUEB alumna, who graduated in the late 1980s.

All proceeds go to the CSUEB Music Scholarship and Special Events Funds.

Here, students get to pursue the more academic and experimental aspects of their art and perform at world-class Yoshi’s, while developing professional connections and honing their improvisational skills.

This performance is just one of Marvin Stamm’s contributions to the jazz culture in the U.S.

“I’m not the important one on stage – these students are the important ones here,” said Stamm.

CSUEB Jazz Studies consist of several groups. This year there was the East Bay Electric Jazz Ensemble, the East Bay Contemporary Jazz Ensemble and the East Bay Jazz Orchestra.
“Every year they step it up more,” said Johannes Wallman, Director of Jazz Studies.

In a repertory of tough pieces like “Caravan” and Thad Jones’s “Cherry Juice,” the East Bay Jazz Orchestra rose to the occasion in an explosion of virtuosity.

For guitarist Leo Shulman and tenor saxophonist Chris Almada, the highlight of the evening was getting to work with a musician as experienced as Stamm.

According to Jan Attard, “This performance was very passionate.” Attard’s son, Alex Attard, plays alto sax with the Jazz Ensemble and the Jazz Orchestra.

The legendary trumpeter Stamm pulled it all together as he delivered high level improvisations with astonishing harmonic acuity and a uniquely liquid, even sound like only a veteran musician could.
Stamm’s high-energy performance forced the orchestra to swing like true professionals.
“I have to hit a high note every once in a while to show the young how it’s done,” Stamm said jokingly.

Stamm brought humorous microphone breaks between songs but concentrated all his efforts on his love of jazz and the need to keep it alive and strong.

“We are living in a cultural wasteland in this country,” said Stamm. “Our one contribution is very underappreciated. My message to you is if you appreciate jazz, think of one or two people who have never been to a concert like this and bring them into the fold.”

An excellent bop-based trumpeter, Stamm is a high-demand session player throughout much of his career and has been a trumpet soloist with the Stan Kenton Orchestra.

Having toured with Woody Herman, Stamm gained considerable recognition playing with the Thad Jones/Mel Lewis Jazz Orchestra and the Duke Pearson Big Band as well as performing with Frank Sinatra, the Benny Goodman Sextet and performing in the NYC recording studios.


German-born Wallman grew up on Canada’s Vancouver Island studying piano and guitar before attending Boston’s Berklee College of Music and earning a Ph.D. in Jazz Studies at New York University.

The two-time Canada Council artist grant recipient has toured extensively throughout North America, Europe and Asia.

Wallman has performed with the Dennis Mitcheltree Quartet, the Harlem Spiritual Ensemble and the American Music Group. Other noted musicians he’s performed with are jazz tubaist Howard Johnson and drummers Jeff Hirshfield, Danny Gottlieb, Tim Horner, bassists Jeff Andrews and Martin Wind and many more.

As an educator, Wallman taught at New York University and the New School for Jazz before his appointment to Director of Jazz Studies at CSUEB.

A Rare Convergence of Percussive Flurry By Dinah deSpenza

March 2, 2012

The second set of John Santos Latin Jazz Sextet held Friday night at Yoshi’s Oakland opened with an explosion of virtuosity, resulting in a standing ovation.

The five-time Grammy nominee sang, played congas and a variety of Afro-Cuban percussions, as well as Puerto Rican plena and bomba.

As a percussionist, Santos has long been associated with drumming in Sub-Saharan Africa and West African-influenced drumming.
Known for his innovative use of traditional


forms and instruments in combination with contemporary music, Santos’ innovation continues to challenge and makes even the most experienced musician’s knees rattle.




Santos tore through a set’s worth of compositions that set bass ostinatos, played by the bassist Saul Sierra, against percussion flurries.

The group’s pianist Marco Dias and special guest pianist Jovina Santos Neto blended together numerous harmonies against the rhythms of David Flores’ rolling drums.

Saxophonist Melecio Magdaluyo and trumpeter Marco Diaz pulled everything all together standing far beyond the ordinary.

Special guest violinist Anthony Blea, in a kinetic merger of melody and percussive syncopation with the sextet, extended the jazz harmonies even further.

This wide stylistic palette, bolstered by a surge of percussion, was brought to the table and reeled off their best playing of the night.

The Bay Area has a community of musicians who specialize in the Afro-Cuban/tropical realm of Latin Jazz.

Tropical is used to describe the forms of Spanish-language Latin music having African influence, including Afro-Cuban salsa, Dominican meringue and bachata, Puerto Rican plena and bomba and Colombian cumbia. Latin music from Brazil, where Portuguese is spoken, provides an altogether different flavor.

 

“The highlight of tonight’s show for me was sharing the stage with the guest artist Jovina Santos Neto, from Brazil and Anthony Blea,” said Santos. “They provided our sextet with a very unique combination of music.”

On piano, Neto dedicated one of his compositions to Santos that translates from Portuguese in English to “lightening and pepper.”
 
“What a combination—lightening and pepper. The spirit of truth through music creates unity,” said Neto.

While there were traces of predictable song forms with the occasional vocal and flute solo, the music was about percussion.

It was also about dancing, as thirty minutes into the set the dancers took over the dance floor.
Native San Franciscan Santos is one of the foremost exponents of Afro-Latin music in the world today. Raised in the Puerto Rican and the Cape Verde traditions of his family, he grew up surrounded by music.

This fertile musical environment shaped his career in a unique way.

Santos has worked multi-generational masters such as Dizzy Gillespie, Chucho Valdes, Tito Puente, Max Roach, Eddie Palmieri, Bobby Hutcherson, John Handy, Ed Thigpen Steve Turre, McCoy Tyner and Patato Valdés.

Santos has released many of his albums on his own independent label Machete Records.
As a spiritually conscious being, Santos paid homage through songs to those musicians who have passed on.

“Ancestor respect and community is part of the traditional spirituality base in West Africa,” said Santos.

As an activist, Santos stood in protest outside of this year’s Grammy Awards with other jazz musicians to send a message to Grammy President Neil Portnow and the Grammy Board in demand that they reinstate the 31 Musical Categories eliminated this year.

The categories are mostly black, Latino, Asian and Native American.

“Having a protest as an alternative was our way of showing the Grammy Board that we do not appreciate being left out,” proclaimed Santos.

The show closed with an encore, where the percussion sounds traded solos and jacked up the musical intensity.

Jaz Sawyer's Mardi Gras Party

Mardi Gras Party Swings – A Dedication To The Funky New Orleans Music

By Dinah deSpenza, Staff Writer

Jaz Sawyer took the audience on a journey through the bayou, swamplands to Mardi Gras as jazz musicians paid tribute New Orleans at Yoshi’s San Francisco.

Sawyer started turning up the volume leading up to New Orleans’ Fat Tuesday, officially celebrated on February 21^st this year by hosting a three part Mardi Gras series of parties on, Feb. 18, Feb. 19 and Feb. 21^st. 

Although Louisiana is the only state where Mardi Gras is a legal holiday, elaborate carnival festivities draw crowds in other parts of the United States during the Mardi Gras season as well.

Dating back thousands of years, Mardi Gras, also known as Carnival, is celebrated in many countries around the world on the day before the religious season of Lent begins.

As New Orleans play host to some of the holiday’s most famous public festivities, drawing thousands of tourists and revelers every year, San Francisco joins in the festivities also.

It’s been seven years since Hurricane Katrina hit the Gulf Coast leaving residents to rebuild their homes. Many of those residents were musicians who had to rebuild their homes and find the creative spirit after the devastation.

Jaz Sawyer, Mike Olmos, Maya Kronfield, Eugene Warren, Danny Grewen

Sawyer creates a major link between the Bay Area and the traditional African rhythms of Congo Square in New Orleans, keeping those traditions alive. 

Sawyer has drummed for luminaries such as Abbey Lincoln, George Benson, Bobby Hutcherson, Mose Allison, Lincoln Center Jazz Orchestra, San Francisco Symphony Orchestra, Dee Dee Bridgewater and M’lumbo.

He has also worked with New Orleans’ own, Wynton Marsalis.

Playing a mix of originals and standards, Sawyer and his gang of musicians known as “High Society,” took over the Yoshi’s restaurant for the event.

Mardi Gras would is not complete without the sound of horns, drums and jubilant voices.

            Bringing bright sunshine with them, trombonist Danny Grewen and trumpeter, Mike Olmos blew out the night with horns. 

Grewen was also the featured vocal soloist.

Olmos, is a CSU East Bay alumn graduated in 2001 with a degree in Jazz Studies under the direction of Dave Eshelman.

“I was very fortunate to be part of a great program at CSUEB,” said Olmos. 

Bassist Eugene Warren pumped out a spirited blend of the lush harmonies and boisterous blues sections interwoven with passages and sudden tempo shifts.

Maya Kronfield, pianist, poured her entire being into the keyboard bringing a wonderful depth of soulful sounds, making it impossible for the band to be the same without her.

“She completes us,” said Sawyer.

These consummate musicians are at home wherever they go.

With Sawyer, it’s always a party that includes all ages, especially his students from Oakland School for the Arts.

Fitzsimmons and Webb

Dizzy Gillespie’s “Night In Tunisia,” the one “Diz” standard got the sizzling treatment from Sawyer’s youth students who were invited onstage. 

Fitzsimmons and Olmos blow it out.

With Tracy Fitzsimmons 17, on trumpet, blowing it out in a duet with Olmos, the audience was left mesmerized at how the youth held his ground with a seasoned adult.

The cool, calm, collective, and confident 17-year-old Ayinde Webb, heated up the drums, taking the show to another level.


 





 While 14-year-old Jasim Peralas, trombonist, represented an even newer generation of young jazz musicians.

As different generations of artists create their own versions of this celebration, it chronicles of the development of music and the Mardi Gras Celebration itself.

Having that special link to the infamous jazz musicians of New Orleans, Sawyer will perform with the Crescent City All-Stars at the Playhouse in New Orleans March 24^th.

 

 

The Legendary Jazz Guitarist Who Still Jams

By Dinah deSpenza

February 12, 2012

Legendary guitarist Calvin Keys brought the house down on his 70^th birthday at the 57^th Street Gallery’s Blue Monday Night Jam Session on February 6^th.

Packing in a full house, the session was co-hosted by Calvin Keys and Melvin Butts, saxophonist extraordinaire.

For jazz musicians and enthusiast, the 57^th Street Gallery is the place to show up with your instrument, your voice, or just to enjoy the music and jam with the Bay Area’s best.
The 57th Street Gallery is highly supported by the jazz community in the Bay Area; one can never tell what stars will show up at the sessions, as no musicians and singers are turned away regardless of stature.
The gallery is the brainchild of Floyd Pellom, who to this day personally greets every guest who enters the door.
His friendly down to earth staff pours generous sized glasses of wine.

“This is a very special place. This space creates an atmosphere that’s international without trying to impress," said Heshims, bassist.

According to classical singer Yolanda Rhodes, who showed up with an entourage of musicians from Argentina, the event “ was a wonderful night."
"The 57th Street Gallery should be more well-known," proclaimed Rhodes.

“Tonight was everything coming together to celebrate Calvin, said Heshims.”

Calvin Keys is well known for performing with the Ray Charles band for many years.

A deity among guitarist, Keys is a shinning star of the West Coast Jazz scene. Keys’ eclectic style encompasses soul, gospel, R&B, funk, bebop, deep blues and even hip-hop.

Like most jazz guitarists near his stature, Keys has history with the bay area and beyond, but with special ties to Oakland, some of it preserved for posterity.

Crediting well-known ax men amongst his fan base, most notably jazz guitarist Pat Metheny, Keys is known as a "guitarist's guitarist."

Metheny pays homage to Keys with the original composition “Calvin's Keys” on the 2008 album “Day Trip.”

Keys has performed alongside such luminaries as Jimmy Smith, Taj Mahal, Jimmy McGriff and Ahmad Jamal.

With a sound that's as big and as an American Cadillac, his velvety smooth jazz chords prove to be one of jazz's most durable styles that feed naturally into dance music.

Playing more like a saxophonist or pianist than a guitarist, Keys generates a fierce swing.

Keys’ let his fingers flicker on his guitar and clearly know how to make music as art.

With an overwhelming virtuosity to jam every chorus with ideas, Keys plays with an ice-pick sharp tone.

Keys jumpstarted the set, joined by Butts on saxophone. Butts also performed at Keys’ 50^th birthday jam session 20 years ago.

With Heshims on bass, New York’s Keith Saunders on piano, Keys let them talk back and forth while Lorca Hart tapped away furiously on drums, shadowing the action.

According to Butts, “Celebrating Calvin Keys’ 70^th birthday here tonight is the greatest thing ever. All he stands for has paid off professionally. It’s all in the pudding and validates the greatness of Calvin Keys.”

 “I didn’t even think I’d make it to age 50, let alone age 70. God loves me and has blessed me. God is love. I am worth something,” said Keys.

“Everybody’s happy,” said Alex Friedman, a bass maker from Russia.

The night ended with the fabulous jazz singer, Lady Sunrise singing her rendition of “My Funny Valentine.”

 

 

Branice McKenzie Dazzles Vocal Fans and Audiences Everywhere

by Dinah deSpenza



February 6, 2012

Spreading her wings across multiple music genres, attracting crowds, Branice McKenzie touched the hearts and souls of people of all ages on Sunday, February 5^th.

McKenzie rocked Oakland’s Heart and Soul Center of Light congregation in freedom songs at their Sunday service in honor those of African descent for Black History Month.

Having toured with legendary singer Harry Belafonte, best known as an activist as well as a performer, McKenzie led the congregation in songs of freedom.

The theme of her selected songs for the service reflected on love and how to use it on the spiritual and emotional journey for transformation.

Some of the compositions featured were by Crystal Monet Hall, India Irie and many more.

The Heart and Soul Center of Light Ensemble backed the multi genre singer. McKenzie crafted and wove a fare of newer smooth sounds while injecting various degrees of the familiar into almost every number including “If I Had A Hammer,” written by Pete Seeger and Lee Hays in 1949 in support of the progressive movement.

The folky sweetness, pop sheen and open-ended, jazzy excursions, of love, freedom and peace songs embody transformation. The music spawns countless disciples and admirers.

Her ministering of the music found McKenzie and her musicians treating each piece as a separate dramatic entity deserving of its own richly impressionistic flavoring.

As one of the soul sisters of the Jazz genre, McKenzie swings heartily and dazzles vocal fans as she delights jazz bands at Oakland’s 57^th Street Gallery.

McKenzie fans are always in full force.

“Her resonating vocals penetrate my soul,” says community radio activist Kai Aiyetoro.

“An inimitable voice. Distinctive style,” says classical singer Brenda Carpino-Usher.

Audiences seem to hang on every word McKenzie says and sings.

As a wonderful storyteller, every tune in her performances begins with a delightful talk.

McKenzie’s soulful sultry, velvety, sensuous four-octave voice sends audiences into a hypnotic trance.

As a woman who is clear that she is to write, sing, teach, and minister through song as well as live and love fully, McKenzie walks with compassion and wisdom.

“I am here to be an example of what happens when you don't give up,” says McKenzie.

The songs she writes are equally daring in their personal revelations and their musical restlessness.

Her rich, finely tuned voice is always in superb form and she is applauded throughout congregations and audiences a like.

Earning a Bachelors Degree in Psychology from Brown University and a Masters Degree in Music Education from New York University, McKenzie has performed throughout the United States, Europe, Africa and Asia.

Having toured with and the late great Gregory Hines, McKenzie has also performed with Roberta Flack, Hugh Masekela, Carly Simon, BeBe Winans, Dianne Reeves, Peggy Lee and Miriam Makeba.

What is always evident in McKenzie’s style is a power that expresses her highly personal interpretations of varied materials and her piano underscoring subtly shades her unique compositions. You can hear McKenzie’s myriad of experience from performing with the greats shine through.

When singing the songs of the greats, she makes them her own.

As a singer songwriter, McKenzie encourages individuals to soar. Her CD, I FLY, is a collection of her original compositions, composed for a film entitled, “Gentelle’s Wings”.

“I FLY” is a gorgeous song, just sitting in my office now listening to it,” said Donn K. Harris, Executive Director, Oakland School for the Arts.

As an educator, McKenzie develops curriculums, shows, writings and residencies. Her style of working with children’s songs encourages them to use everything within to create, participate and nurture all that is good.

“A fabulous composer of beautiful melodies for those of all ages,” says Carpino-Usher.

Currently a faculty member at Oakland School for the Arts and a past recipient of the Meet The Composer Grant, she composes music for youth theater. 

 

 

Stars of Oakland Shine in DANZAS and ARIAS

by Dinah deSpenza

February 2, 2012

DANZAS and ARIAS, Oakland Public Conservatory of Music’s Symphony Orchestra’s first concert of the season, received a standing ovation from the audience on Sunday January 29^th.

The classical sounds of the concert permeated the Plymouth United Church of Christ, known as The Jazz and Justice Church in Oakland. The concert was a free event and donations poured in.

“Lush, exhilarating, and well worth the time. A very nice time out.” said Katherine Clark, an Oakland Entrepreneur.

This multicultural orchestral experience reflected more closely the rich cultural mix" of bay area communities.

The evening featured the music compositions of British African composer, Samuel Coleridge-Taylor born in 1875, in London, and Arturo Márquez, 1950, renowned Mexican composer.

Widely recognized in Europe and the U.S., Coleridge-Taylor achieved such success that he was once called the “African Mahler”.

Marquez, renowned Mexican composer of orchestral music is known for using the musical forms and styles of his native Mexico. 

“In searching for music of underrepresented composers that I wanted to bring to the community for their edification and for free and have it be something they would enjoy hearing, I narrowed in on compositions with a dance form,” says Sandra I. Noriega, Artistic Director and Conductor.

 

While the journey to great conducting can follow many routes, there usually are a few crucial elements – mentoring, creativity, talent, skills, charisma and a supportive musical community.

Noriega became CSUEB’s first to earn a Masters of Arts in Percussion Performance before completing a Post-Master’s Program in Instrumental Conducting at CSU Sacramento.

“As a conductor, I love Dr. Noriega, she makes us work hard,” said Shelly Crouse-Monarez, Concertmaster.

Recently Crouse-Monarez performed under Maestro Noriega with the Ukrainian State Academic Concert Orchestra in Kiev.

As the networks crumble and change, today’s communities have turned their attention back to the community and are redefining the ethnicity of American orchestras.

“I always like to include something from repertoire that already exists like the De Falla dances.

And I also wanted to give local vocalists a chance to perform with an orchestra. So I asked them to choose arias. Fortunately one of them was also in a dance form, Habanera.

And one of them was by an African  composer. So I wove it all into a concert theme-Danzas and Arias – Dances and Songs,” said Noriega.

The skill and artistry with which the players carried Noriega’s ideas through were everywhere admirable.

“Danzas and Arias” highlighted local vocal soloist and CSUEB alumna, Mezzo-Soprano Brenda Usher-Carpino in a performance of the aria “Divinites du Styx” from W. Gluck’s opera, Alceste.

Usher-Carpino received her Master Degree in French from CSUEB back when it was CSUH in 1972, before earning her doctorate from Stanford University in 1978.

Jean-Paul Jones performed Cherubino’s aria, “Voi Che Sapete” from Mozart’s opera, The Marriage of Figaro.

Jones holds positions in prestigious ensembles including the Santa Clarita Master Chorale, the Los Angeles Opera, the Grace Cathedral Choir of Men and Boys and the Philharmonic Baroque Orchestra Chorus.

Onaway! Awake, Beloved! From the Cantata and Hiawatha’s Wedding Feast, Op. 30 was performed by Gustavo Hernandez, Tenor. Hernandez has performed Mozart’s opera The Magic Flute in Viterbo, Italy. 

Victoria Theodore, renowned local pianist, keyboardist and background singer for the legendary musical genius and icon, Stevie Wonder, joined the orchestra for the performance.

Local legend Michelle Jacques, Mezzo-Soprano, known to perform African folk, jazz, and pop music preformed “Habanera”, from Bizet’s opera Carmen. 

The program closed with a jazz rendition performed by OPC’s youth ensemble.

OPC provides economical study in a variety of musical arts and value innovation and scholarship in their quest to preserve the musical traditions of Oakland.