Wednesday, April 25, 2012

"Jazz in the Modern Era" Turning 10

We take a lot for granted in Southern California.
We take the weather for granted. We take the ocean for granted.
And we take it for granted that in our midst we have a group
of legendary musicians and artists that play a music called jazz.
Chet Hanley

For the past decade, professor and historian Chet Hanley has been literally putting these words to music. He had hosted over 250 episodes (many of them 3 hours long) of Jazz in the Modern Era, (now archived on YouTube), a college curriculum course and jazz music television show broadcast from the campus of Cal-State Dominguez Hills (Locally, it airs Tuesdays, 9:00 - 10:30PM on Time-Warner Cable Channel 36, and online). And Chet's in good company: cornetist Bobby Bradford once taught at the Dominguez-Hills campus in the late-60's-early 70's. JITME viewers are encouraged to call in to speak with in-studio guests and discuss their favorite selections or artists.

Chet Hanley (L) with the great bassist John Heard
[photo courtesy of The Jazzcat]

Chet has featured jazz musicians, club owners, photographers, promoters, writers, historians and collectors from all over the country. But what makes his show so special is its documenting of the Southern California jazz scene: the show's archives amount to a massive treasure trove of local jazz history from Central Avenue to Leimert Park. Here's a recent show with the brilliant bassist Roberto Miguel Miranda:

Many of the writers, collectors and historians who stop by bring along rare performances of jazz greats, which makes it a terrific window into the tributaries of the SoCal jazz underground, who trade their wares they way Dave Matthews fans trade live bootlegs. And then there's Chet, an urbane and genial host with an encyclopedic knowledge of not just jazz history but poetry, boxing, photography and art. And, true to jazz, the show often goes in unexpected directions, like the time funk great Rick James made a call in to the live broadcast to argue a small point...or Big Jay McNeely phoning in to confirm that he wasn't dead.

Chet with childhood friend Jeffrey Winston on the JITME set.
Together, they have hosted the Leimert Park Jazz Festival
and 72 live oral-history interviews at The World Stage
[photo courtesy of The Jazzcat]

Monday, April 23, 2012

Mediocre Photos from a Flawless Day [*UPDATED]

The Beast never pretended to be a photo nut, but we were taking notes Sunday at the benefit for ailing L.A. pianist Nate Morgan when drummer Cornell Fauler, who was dueting with flautist Joel Ector, hit his snare so hard that the mallet flew out of his hand he split his tympani stick in half, the broken part of which soared about 20 feet in the air over a back fence into an adjoining yard. We thought, Holy shit! If only we had our camera out. We proceeded to put our notebook away and just let the images flow. (NOTE: We left out the accidental shots of our own feet and random people's crotches.)

[*UPDATE: Our friend Starlady1 and her Community101 YouTube channel have now posted several sets from the day-long benefit featuring Wadada Leo Smith, Dwight Trible, John Beasley, Miguel Atwood-Ferguson, Raspoet Ojenke, Azar Lawrence, Kamau Daa'ood, Phil Ranelin and more!]

The guards at the KRST Unity Center

Azar Lawrence & friends

Chet Hanley watches Azar

Azar flew in from NYC for this!

Ras Poet Ojenke reads a tribute to Nate

Wayne Peet runs sound

Rudolph Porter!

Kammau Daa'ood & Philomine Morgan

The Michael Session Sextet

Dwight Trible & KPFK's Mark Maxwell
watch the Phil Ranelin Ensemble

Michael Session listens to Trevor Ware

LeRoy "The Jazzcat" Downs writes a note to Nate

Shades of Mrafu

Jesse Sharps gives Carl Randall directions

Don Littleton schlepping the gear
(popular musician pastime)

Rickey Woodard & Fritz Wise

The musicians gather

The Next Generation

Maestro Jesse Sharps (in blue Obama shirt) leads
the Guten Morgan Big Band

Jesse ponders, conducts Nate's "UGMAAGERS"



[For a more writerly account of the 5 1/2-hour concert,
check out out our pal Greg Burk's review here.]

Lastly if not leastly, here's something we found on YouTube, Rufus featuring Chaka Khan live in Central Park 1974, playing "Tell Me Something Good." If you look closely, you will notice the prodigously Afroed Nathaniel Morgan as one of the pianists:

Saturday, April 21, 2012

115° in the Shade...

Since the weather has gone from January to August in less than 24 hours, stay inside, crank up the A/C, and check out the live simulcast of Weekend 2 of the Coachella Festival here.

Thursday, April 19, 2012

THE VOICE: The '80s Chanteuses (3 of 4)


September 9, 1978, Universal Amphitheatre, Los Angeles. To the opening chords of Otis Redding’s “I Can’t Turn You Loose,” Dan Aykroyd is onstage laying down the intro to the Blues Brothers Show Band & Revue: “Well, here it is, folks, the late 1970s going on 1985. So much of the music we hear nowadays is pre-programmed electronic disco; it’s so rare to see master bluesmen practicing their craft…”

Setting aside the spectacle of two wealthy white comedy stars hiring a crack band of music vets to play watered down versions of classic soul music for frat boys and their dates, the question over “authenticity” has been with rock music since its inception. It wasn’t until the Disco Era, when technology and sexually ambiguous, jumpsuit-clad gamines seemed poised to take over the earth, that the word and all its meanings went into overdrive. The late seventies-early eighties war over authenticity was over “traditional” music like guitar-based blues rock and the “new” mechanized world of the Fairlight synthesizer, the Linn LM-1 drum machine, the Vocoder and, later, wacky New Romantic hairstyles on this new phenom called “MTV.” “Disco Sucks”was encoded with stealth arguments involving the “maniliness” of rock versus the “unmanliness” (read: gay, female, black, Latin, etc.) of synthpop and all its offshoots.

Alison Moyet

While Aykroyd made this speech, across the Atlantic in the South Essex burg of Basildon, England, a 16-year-old dropout named Geneviève Alison-Jane Moyet was test-piloting her nascent vocal style in front of various blues, punk, and pub-rock bands. A self-described “Bolshie” (Brit slang for “defiant and uncooperative”) from “an aggressive French peasant family,” the full-figured Moyet was from a council estate -- the English version of public housing -- and had left school at 16. Her prospects rested somewhere between hairdresser and piano tuner (she attended the local “College of Furniture”). By the dawn of the next decade, music fans would know her as “The High Priestess of Electro Pop.”

It would be too easy now to refer to Alison Moyet as “The first Adele” or the “pre-Winehouse” or “Joss Stone’s grandmammy”; certainly, her soulful pipes makes such comparions inevitable. In Yazoo, the electropop duo she formed with ex-Depeche Mode songwriter/keyboardist Vince Clarke after putting an ad in Melody Maker ("Female singer looking for a rootsy blues band”), she would confound the so-called “purists” with her deep, wind-tunnel contralto. (Tellingly, Moyet and Clarke named their band after the venerable U.S. acoustic-blues label Yazoo Records.) In their eighteen-month stint together, Clarke and Moyet hit upon an unbeatable strategy: powerful, earthy vocals mashed with chilly-yet-sensual electronics. Their blueprint would influence bands like Eurythmics (where Annie Lennox’s soul-diva roots would only reveal themselves over time), Animotion, I Am the World Trade Center, Hercules and Love Affair (which was practically a Yazoo tribute band), Frou Frou, Soul II Soul, Massive Attack and La Roux, not to mention the entire genre of Detroit House. (DJ/producer Derrick May used Moyet’s laugh in the pioneering House track "Nude Photo.")

The Nightengale onstage

Although there have been obvious links between Moyet’s voice and the likes of Big Mama Thornton, Bessie Smith, Billie Holliday (whose “That Ole Devil Called Love” Moyet covered) and Etta James, her tastes were more diverse than those obvious comparisons. Moyet listened to Gladys Knight, Janis Joplin, Poly Styrene and pub-rock vet Ian Dury, not to mention the Gallic heroes of her parents like Edih Piaf and Jacques Brel. Her oft remarked-about weight – she titled her first solo album after her self-deprecating nickname “Big Alf” – only added to her earth-motherish glow and gravitas to her vocal style, a husky, inviting yarl that was the warm human center of Clarke’s Jaguar-smooth pulses and minimal thwack-beats. This tension is the reason that nearly 30 years after Yazoo first recorded songs like “Only You,” “Situation,” “Nobody’s Diary” (Clarke’s “favorite ‘Alison’ song”), “Midnight,” “Good Times,” “Don’t Go” and “Walk Away from Love,” they embarked on a critically and artistically successful 2008 reunion tour – where Moyet swigged triumphantly from a bottle “medicinal cognac” onstage while singing songs that had never been performed live. With one foot in the Delta and another on the dance floor, Yaz never sounded old.

After she and Clarke had split in 1983 after two flawless albums, Moyet was primed to become massive in in Britain and (hopefully) in the U.S. She did the former through two successful if very ‘80s (read: overproduced and uneven) solo albums, Alf (1984) and Raindancing (1987). She sold over 25 million records worldwide, scored top ten hits with “All Cried Out,” “Love Resurrection,” “Invisible” (penned for her by Motown songwriter Lamont Dozier) and “Is This Love?” won 3 awards for top British female artist, even appearing before 2 billion people at Live Aid dueting with Paul Young on the Isley Brothers’ “That’s The Way Love Is.” Yet, to this day Moyet declares that “I never ever had the ambition to be a solo singer” and refers to the beginnings of her promising solo career as “a miserable time.”

What happened? Turns out, Yaz was a studio project mainly directed by Clarke, the admittedly brilliant wizard (writer Peter Sharpiro called him “the pied piper of synthpop” for his use of early sampling and owning one of the first Fairlights on the market) that brought Italodisco to English shores by penning most of Depeche Mode’s classic first album Speak & Spell, including the influential tracks “Dreaming of Me,” “Just Can’t Get Enough” and “New Life.” Although both Moyet and Clarke contributed lyrics to Yazoo, Clarke basically created electro-musical beds that merely needed a vocalist to make it work. He got lucky with Moyet (as he has stated many times), but their partnership was unequal from the beginning. “[Vince] was the one dealing with the record company, the publishers, he was the one who had the mates and I was completely reliant on whether he was communicative with me or not,” Moyet told The Quietus in 2011.

This pattern of reliance – odd for a self described “argumentative” and prole-punk but not so once you realize she was only 22 – bled into her first solo record. “[The record company] did that horrible A&R thing that they do, which is pick up a Music Week and see who's got one album that we can put together with a certain producer," she later remembered. "I was too mad to really consider what was happening.” It was this approach that planted veteran knobtwirlers Jolley & Swain (Spandau Ballet, Bananarama) behind the boards for Alf -- and later, current American Idol stalwart Jimmy Iovine for Raindancing – who drowned Moyet’s singular gift in sheets of electrowash.

She spent the ‘90s in inactivity, due to nearly a decade of litigation with her record labels and suffered from debilitating bouts of manic depression and agoraphobia, refusing to sing and donning goth makeup and short hair so as not to be recognized when she did venture out. “This took up a good decade of my life; my best singing years,” she told writer Nix Lowry. "Improvement can only come with work. And I’m aware that I’ve been hindered in my career by depending on other people to do things I could have easily mastered myself, but chose not to." Her personal life was in equal turmoil—she’s had three children by three different relationships—but it managed to upgrade Moyet’s talent for raw torch-confessionals that she first displayed in Yaz; in the midst of her legal mishmash, she managed to regain artistic control for the cult masterpiece Hoodoo, practically a concept album about deceit and broken relationships, exactly twenty years before Adele released 21.

When she finally reemerged in 2001 as Mama Morton in the musical Chicago in London’s West End, it was as a sophisticated (and newly svelte) grand damme who turned her voice to interpretations of classic and diverse material, covering Dusty Springfield’s “I Just Don’t Know What To Do with Myself,” John Lee Hooker’s “Boom Boom,” Kirsty McColl’s “Walking Down Madison,” Harold Arlen’s “The Man That Got Away” (made popular by Judy Garland) and “I Will Wait for You” from the 1964 musical The Umbrellas of Cherbourg. She even toured with French jazz pianist Michel Legrand in 2009 and offered her voice as a narrator for Jazz FM documentaries.

She even had an opportunity to address the ceaseless digs on her weight. “Being fat all my life…I am used to people having their say over me,” she wrote in an August 2004 blog post. “But we live in new times and instead of giggles behind hands, a spiteful byline and the odd shout-out, it is now in your face and unashamed. I feel no more confident or lush than I did as big me...I feel utterly unchanged. I am certainly not flattered that a few more 'would'. It is utterly irrelevant.” She even coped to her ‘80s fashion crimes—with a caveat. “What I did like about the 1980s…was that people developed their own style,” she told a Scottish newspaper in 2009. “We might have looked minging, but at least we were authentic."

Right, Elwood?

Saturday, April 14, 2012

If Only They Had This For the US Festival...

For those who can't make the California desert this weekend, the Coachella Festival 2012 is being streamed live on the fest's YouTube page. You can check out the performances here.

Friday, April 6, 2012

It's Going To be A Great Day In Watts... (UPDATED*)

SoCal's own Nate Morgan, one of the premier jazz pianists/composers of his generation, suffered a stroke a month before Christmas 2008. Following two previous 2009 benefits for his medical costs -- one in Leimert Park [video below] and the other in Hollywood -- the *KRST Unity Center of Afrakan Spiritual Science (7825 S. Western Ave., L.A. 90047, 323-759-7567) will host a third fundraiser on Sunday, April 22, 2012 (2pm-6pm). Check out the powerhouse roster of musicians slated to perform: Phil Ranelin, Michael Session, Jesse Sharps and the Gathering, Marla Gibbs, Raspoet Ojenke, Nedra Wheeler, Ndugu Chancellor, Carl Randall, Waberi Jordan, Roberto Miguel Miranda, Kamau Daa'ood, Kafi Roberts, Larry Nash, Fundi Lejohn, Randall Fischer, Kamasi Washington and a whole of a hell lot more. For more info, check out the flyer for the benefit here.

Morgan was a cornerstone of Horace Tapscott's Arkestra (it was he who told a teenage Jesse Sharps about this cat named "Horace" and this band he practiced out in front of the Watts Happening coffeehouse) and led the famous late-night jam sessions in the mid-nineties at the 5th St. Dick's Coffeehouse. He spent a few years in the 1970s with Rufus and Chaka Khan and collaborated in the early 90s with rappers Bone Thugs N' Harmony. He is also one of the best-kept secrets of Los Angeles jazz -- the walking definition of the oft-used phrase "musician's musicians." Besides his frequent residencies at the now-shuttered Charlie O's jazz club in Van Nuys, Morgan most often popped up in a private home salons in Encino given by writer/historian Mimi Melnick, spinning his intoxicatingly (heavily influenced by Stanley Cowell and McCoy Tyner) on a prime-condition 1922 Steinway with the likes of Miranda, Session, Wheeler, Arthur Blythe, John Heard, Charles Owens, Onaje Murray and the late great Sonship Theus. Morgan provided some of the salon's best moments, including a memorable "double piano" duet with Elias Negash and a 2-hour solo performance that many who attended consider the best live show they have ever seen, especially when Morgan played his ode to the late Horace Tapscott, "Tapscottian Waltz," a song that has never been recorded. "I think it's one of the most beautiful compositions I've ever heard--and the way he played it that day, everybody was crying," writer Steven Isoardi recalls. "I had to get up and leave. I was pacing in the front room. It was just too overwhelming."

For a taste of the master, check out his Nimbus West CDs Journey To Nigrita and Retribution, Reparation. (Also look into Sharps & Flats, his collaboration with lifelong friend, woodwind player Jesse Sharps.