Wednesday, December 17, 2008
Five on Fire @ Christopher's
Had a blast tuesday nite with trumpeter Mickey Hanson, Othneil Lewis (keys), Obed Davis (drums), Carl Gibson (bass)and percussionist Richie Cunningham, all to kick off final week of Live music nation for 2k8 at Christopher's. Pics and full review to follow
Thursday, December 11, 2008
BLACK ZEBRA EARN THEIR STRIPES
Black Zebra ended the final of a 2- gig run @ Grosvenor Galleries last nite as the Live Music nation wound up 2K8 for Wednesday. There is an Observer review (written by yours truly of the first gig) although unfortunately it wasn't added to Observer website. Will get hold of a copy and post for E-Square readers (yes the name has changed - the address has not). Look out also for pics of those and other live shows around town soon.
the Wednesday night series ends this coming Wed (17th) with Tessanne Chin headlining supported by Gas Money and Crimson Heart Replica.
go to www.myspace.com/blackzebramusic or www.griotpublishing.com for more
the Wednesday night series ends this coming Wed (17th) with Tessanne Chin headlining supported by Gas Money and Crimson Heart Replica.
go to www.myspace.com/blackzebramusic or www.griotpublishing.com for more
TRUMPETER MICKEY HANSON BRINGS 'HORN OF PLENTY' TO LIVE MUSIC NATION
In what will be the final week of events for 2008 in the Live Music nation series, trumpeter Mickey Hanson will lead his band in the popular Tuesday Night jazz showcase at Christopher's Jazz Cafe inside the Quad in New Kingston. No stranger to live gigs or to the Griot Music-produced LMN series, Hanson's lyrical voicings on the horn, and his wide knowledge of contemporary music and easygoing rapport have endeared him to audiences far and wide. Hanson has been one of the principal persons involved in the resurgence of live music in small venues through the successful series “Live Thursdays at the Deck.”
The Live music nation series, which began with the lone Tuesday night engagement over two years ago, has grown to encompass three nights: A Thursday Singer's Night at Christopher's is also popular, while the recently added Wednesday Night Rocks has seen growing interest form aficionados of the the 'rock/alternative' scenes.
Among the other artistes that have been featured are pianists Kathy Brown, Kamla Hamilton and Dennis Rushton, saxophonist Nicholas Laraque, vocalists Janine Cunningham, Bijean Gayle, Katrina Harley, Hezron and Mario Evon. The 2008 series will close out with performances from Althea 'di Chic' Hewitt on Thursday night and, before that, a special Wednesday concert headlined by Tessanne Chin at Backyaad on Constant Spring Road. Opening for Chin will be rockers Gas Money and Crimson Heart Replica.
Mickey Hanson’s accomplished music career spans the past four decades. A self-taught musician, he learned to play the trumpet at the age of 16, and soon attracted the attention of the popular bands that were playing the live music circuit during the sixties. Hanson took to the stage with the Presidents (1963-67) and the Cascades (1967-70) before spending several years (1973-1977) under the tutelage of the great American composer, arranger and trombone player Melba Liston at the Jamaica School of Music. His talent earned him a place by her side as a colleague on her tour of schools, colleges and university music departments in Pennsylvania and New York in 1975.
On his return to Jamaica, Hanson took a five-year stint at Kingston’s New Kingston hotel which he credits as the genesis of his solo career. Between 1979 and 1984, he and the Caribs band kept the city’s nigh crowd jumping at the Johnkanoo Lounge, then Kingston’s premier night club. As his success with the public grew, his fans called for recordings from the much-loved trumpet player and Hanson’s recording career began. His first venture into the studio in 1985 produced a popular single release, Kyu Sakamoto’s Sukiyaki. This was followed by releases of Stevie Wonder’s Harmor Love, Prez Prado’s Mambo classic Patricia and fellow Jamaican Glen Brownie’s Love Song. All enjoyed respectable success on the charts and served to establish Hanson as a name on the Jamaican music scene.
Hanson, now an established talent on the music scene, was an obvious choice when backing musicians were booked for the appearances of major international performers in Jamaica, including Gladys Knight, Denise Williams and Aretha Franklin, among others. He also performed and recorded with Jamaica’s own legend Bob Marley, who was himself only just beginning to surface as a force in the music world.
The occasion was the only Jamaican appearance by Michael Jackson, who at the time was still performing as a member of the Jackson Five. Hanson also became a regular in the recording sessions of other established artists; Bob Marley, (Survival album); Myrna Hague, (Send in the Clowns); Louise Bennett, (Miss Lou); Skatalites, (Last of the Great Guns); Fabulous Five (On the album Yu Safe!, which won a Jammy in 1986, the top award in Jamaica’s music industry).
Mickey Hanson has been a familiar face and valued presence on many Jamaican bandstands. With the legendary Skatalites, he was one of two musicians who although they were not original members, were invited to play on the group’s first recording since they disbanded over 20 years before. Other bands included the Caribs, the Sonny Bradshaw Seven, the Big Band, the Mutual Life Players, Cedric Brooks’ Divine Light of Saba and the Ritz All Star Group.
His concert work includes appearances with the Shortwood 30 voice choir. Hanson’s career took another leap forward with the completion of his first album “For The Love of It”, which features his own distinctive interpretation of Jamaican Standards. “For the Love of It” enjoyed success both locally and overseas, and won two Jammy awards for best produced and arranged album. The album also encouraged a wide cross section of instrumentalists locally to produce albums as a result of its success.
His talent and standard of excellence were recognised as he was a specially invited guest on the Prime Ministers’ Independence Gala at Jamaica House. In 2004, his peers recognised his achievement by awarding him with the Jamaica Federation of Musicians Union Special Award in 2004 for “Outstanding contribution to the development of the Jamaican Music Industry.”
go to www.griotpublishing.com for more
The Live music nation series, which began with the lone Tuesday night engagement over two years ago, has grown to encompass three nights: A Thursday Singer's Night at Christopher's is also popular, while the recently added Wednesday Night Rocks has seen growing interest form aficionados of the the 'rock/alternative' scenes.
Among the other artistes that have been featured are pianists Kathy Brown, Kamla Hamilton and Dennis Rushton, saxophonist Nicholas Laraque, vocalists Janine Cunningham, Bijean Gayle, Katrina Harley, Hezron and Mario Evon. The 2008 series will close out with performances from Althea 'di Chic' Hewitt on Thursday night and, before that, a special Wednesday concert headlined by Tessanne Chin at Backyaad on Constant Spring Road. Opening for Chin will be rockers Gas Money and Crimson Heart Replica.
Mickey Hanson’s accomplished music career spans the past four decades. A self-taught musician, he learned to play the trumpet at the age of 16, and soon attracted the attention of the popular bands that were playing the live music circuit during the sixties. Hanson took to the stage with the Presidents (1963-67) and the Cascades (1967-70) before spending several years (1973-1977) under the tutelage of the great American composer, arranger and trombone player Melba Liston at the Jamaica School of Music. His talent earned him a place by her side as a colleague on her tour of schools, colleges and university music departments in Pennsylvania and New York in 1975.
On his return to Jamaica, Hanson took a five-year stint at Kingston’s New Kingston hotel which he credits as the genesis of his solo career. Between 1979 and 1984, he and the Caribs band kept the city’s nigh crowd jumping at the Johnkanoo Lounge, then Kingston’s premier night club. As his success with the public grew, his fans called for recordings from the much-loved trumpet player and Hanson’s recording career began. His first venture into the studio in 1985 produced a popular single release, Kyu Sakamoto’s Sukiyaki. This was followed by releases of Stevie Wonder’s Harmor Love, Prez Prado’s Mambo classic Patricia and fellow Jamaican Glen Brownie’s Love Song. All enjoyed respectable success on the charts and served to establish Hanson as a name on the Jamaican music scene.
Hanson, now an established talent on the music scene, was an obvious choice when backing musicians were booked for the appearances of major international performers in Jamaica, including Gladys Knight, Denise Williams and Aretha Franklin, among others. He also performed and recorded with Jamaica’s own legend Bob Marley, who was himself only just beginning to surface as a force in the music world.
The occasion was the only Jamaican appearance by Michael Jackson, who at the time was still performing as a member of the Jackson Five. Hanson also became a regular in the recording sessions of other established artists; Bob Marley, (Survival album); Myrna Hague, (Send in the Clowns); Louise Bennett, (Miss Lou); Skatalites, (Last of the Great Guns); Fabulous Five (On the album Yu Safe!, which won a Jammy in 1986, the top award in Jamaica’s music industry).
Mickey Hanson has been a familiar face and valued presence on many Jamaican bandstands. With the legendary Skatalites, he was one of two musicians who although they were not original members, were invited to play on the group’s first recording since they disbanded over 20 years before. Other bands included the Caribs, the Sonny Bradshaw Seven, the Big Band, the Mutual Life Players, Cedric Brooks’ Divine Light of Saba and the Ritz All Star Group.
His concert work includes appearances with the Shortwood 30 voice choir. Hanson’s career took another leap forward with the completion of his first album “For The Love of It”, which features his own distinctive interpretation of Jamaican Standards. “For the Love of It” enjoyed success both locally and overseas, and won two Jammy awards for best produced and arranged album. The album also encouraged a wide cross section of instrumentalists locally to produce albums as a result of its success.
His talent and standard of excellence were recognised as he was a specially invited guest on the Prime Ministers’ Independence Gala at Jamaica House. In 2004, his peers recognised his achievement by awarding him with the Jamaica Federation of Musicians Union Special Award in 2004 for “Outstanding contribution to the development of the Jamaican Music Industry.”
go to www.griotpublishing.com for more
Monday, October 27, 2008
Hez with the Vibes
Hezron brings his specical "rudeboy-soulboy" vibe to Weekenz this Wednesday for the jamaica Vibes experiencce, beginning at 9:00pm
Catch it and look out for his new album
Catch it and look out for his new album
Tuesday, October 14, 2008
One of the Excellent 'Fu'
Finally made good on my word last Sunday and took in Seh Supm in the new home
at Village Blues Bar (no longer Village Cafe)
Great location, for some great spoken word from the likes of Raquel Jones (how does so much eropticism ooze from such a tiny body?) and the excellent Fuzion (as Few Zion), justly recognized as Poet of the Year (and in the running again) by Red Bones.
A great Sunday night lyme, once it starts on time, so check it out
PS - also props to Lucas (?) Kortesi of Rare Groovers for laying down some killer tracks on wax.
at Village Blues Bar (no longer Village Cafe)
Great location, for some great spoken word from the likes of Raquel Jones (how does so much eropticism ooze from such a tiny body?) and the excellent Fuzion (as Few Zion), justly recognized as Poet of the Year (and in the running again) by Red Bones.
A great Sunday night lyme, once it starts on time, so check it out
PS - also props to Lucas (?) Kortesi of Rare Groovers for laying down some killer tracks on wax.
Monday, October 13, 2008
Tastee Reflections
I've been given the opportunity to produce a reflective piece on my Tastee experience this year. Here goes
KEEN EARS, OPEN MIND
Reflections of a tastee Judge
"Endings are beginnings" the great Randi Crawford once opined, and that duality becomes apparent to me having completed the four preliminary auditions in this year's tastee Talent Trail.
As the sole returning judge from last year, I have a somewhat different perspective from my two cohorts, Dahlia Harris and Dwight Richards. Faces and sounds which might have seemed new to them were to me returns from '07. Singers, dancers, DJs, an instrumentalist here, a comedian there. Its kind of like a favourite shirt, you pick it up an slip it on almost without thinking.
But nothing could have prepared any of us for Israel.
I don't even remember his full name and it hardly even matters. Israel sauntered in from Hanover and turned three self-professed entertainment 'professionals' into doubled-over, teary-eyed blobs of laughter. His schtick: dance, but whereas the youth-oriented dancers of today have a near tiresome barrage of 'Nuh Lingas' and Gully Creepas' Israel's routine is a hybrid of 70s skank and funky chicken set to bass-heavy roots music. Completing the gag is a red velour suit (he did change to blue in subsequent visits), a black stovepipe hat and a twisty goatee that if cut, could probably lash bamboo together.
Laugh as we must, Israel is symbolic of the Tastee talent spirit over the last 29 years. His serenely audacious self-confidence typifies Jamaican accomplishments in the arts, entertainment and sports over the last two or three generations. Its the reason why the name Jamaica evokes intense reactions of all sorts (never passive) from admirers - and the occasional detractor - worldwide, and its the reason why, as long as opportunity beckons (in the form of Tastee and other contests) there will be madcap minstrels like Israel believing that a spot on the big stage is their God-given right.
But, I digress.
The reason why I relish this position is that like its competitors, Tastee talent Trail provide a worthwhile barometer of the post-modern Jamaican cultural atmosphere. In other words, it gives one a good sense of 'wha really a gwaan out a road'. The way the candidates dress, rehearse, interact with each other, the way they adress us, the judges, the way they deliver their routines and the way they respond to our assessments, al give interesting cues about the runnings of the society today.
As much as we may dismiss individual acts with shouts of "Next!!!" cumualtively, they are a valuable - no, make that invaluable - social research base. These are the prime consumers of mass media - the videos, the ads, the shows, the local slang - and the contest give them a chance to come and regurgitate. The hot songs form the soundtrack for both vocalists and dancers, the topical issues form fodder for the DJs (how many times was the JPSCo. roundly scored during our audition process) and the outfits reflect both prevailing trends and income factors.
All told, we the judges saw and heard approximately 700 entrants over four auditions. Montego Bay, the fianl one, proved the most satisfying to me in terms of talent (my colleagues concurred) although Kingston, expectedly had the greatest number of entrants. The females seemd underepresented, especially in the vocal categories, and I wonder about the impact of this ongoing trend.
Encouraging for me as a fan of instrumental music, there was an upswing in the number of entries from last year - and the crop yielded some interesting 'disappointments' most notably a drummer by the name of Prince Black. With proper training and guidance, he could develop into something special, but then, will there be outlets for him to make a living other than as a sessions man or as part of a 'backing band'
"We don't have a musician problem," a famous Black American musician said, "we have an audience problem." As the judging panel, our mission, beleive, extends beyond selecting the best talent to go through to the next rounds; in those selections we are helping to shape national and dare I say global musical tastes for generations.
Its no easy task - mind, ears and heart were sorely challenged this year but also handsomely rewarded.
I can't wait.
KEEN EARS, OPEN MIND
Reflections of a tastee Judge
"Endings are beginnings" the great Randi Crawford once opined, and that duality becomes apparent to me having completed the four preliminary auditions in this year's tastee Talent Trail.
As the sole returning judge from last year, I have a somewhat different perspective from my two cohorts, Dahlia Harris and Dwight Richards. Faces and sounds which might have seemed new to them were to me returns from '07. Singers, dancers, DJs, an instrumentalist here, a comedian there. Its kind of like a favourite shirt, you pick it up an slip it on almost without thinking.
But nothing could have prepared any of us for Israel.
I don't even remember his full name and it hardly even matters. Israel sauntered in from Hanover and turned three self-professed entertainment 'professionals' into doubled-over, teary-eyed blobs of laughter. His schtick: dance, but whereas the youth-oriented dancers of today have a near tiresome barrage of 'Nuh Lingas' and Gully Creepas' Israel's routine is a hybrid of 70s skank and funky chicken set to bass-heavy roots music. Completing the gag is a red velour suit (he did change to blue in subsequent visits), a black stovepipe hat and a twisty goatee that if cut, could probably lash bamboo together.
Laugh as we must, Israel is symbolic of the Tastee talent spirit over the last 29 years. His serenely audacious self-confidence typifies Jamaican accomplishments in the arts, entertainment and sports over the last two or three generations. Its the reason why the name Jamaica evokes intense reactions of all sorts (never passive) from admirers - and the occasional detractor - worldwide, and its the reason why, as long as opportunity beckons (in the form of Tastee and other contests) there will be madcap minstrels like Israel believing that a spot on the big stage is their God-given right.
But, I digress.
The reason why I relish this position is that like its competitors, Tastee talent Trail provide a worthwhile barometer of the post-modern Jamaican cultural atmosphere. In other words, it gives one a good sense of 'wha really a gwaan out a road'. The way the candidates dress, rehearse, interact with each other, the way they adress us, the judges, the way they deliver their routines and the way they respond to our assessments, al give interesting cues about the runnings of the society today.
As much as we may dismiss individual acts with shouts of "Next!!!" cumualtively, they are a valuable - no, make that invaluable - social research base. These are the prime consumers of mass media - the videos, the ads, the shows, the local slang - and the contest give them a chance to come and regurgitate. The hot songs form the soundtrack for both vocalists and dancers, the topical issues form fodder for the DJs (how many times was the JPSCo. roundly scored during our audition process) and the outfits reflect both prevailing trends and income factors.
All told, we the judges saw and heard approximately 700 entrants over four auditions. Montego Bay, the fianl one, proved the most satisfying to me in terms of talent (my colleagues concurred) although Kingston, expectedly had the greatest number of entrants. The females seemd underepresented, especially in the vocal categories, and I wonder about the impact of this ongoing trend.
Encouraging for me as a fan of instrumental music, there was an upswing in the number of entries from last year - and the crop yielded some interesting 'disappointments' most notably a drummer by the name of Prince Black. With proper training and guidance, he could develop into something special, but then, will there be outlets for him to make a living other than as a sessions man or as part of a 'backing band'
"We don't have a musician problem," a famous Black American musician said, "we have an audience problem." As the judging panel, our mission, beleive, extends beyond selecting the best talent to go through to the next rounds; in those selections we are helping to shape national and dare I say global musical tastes for generations.
Its no easy task - mind, ears and heart were sorely challenged this year but also handsomely rewarded.
I can't wait.
Wednesday, October 1, 2008
Janine's Just Right for Christopher's
Live Music Nation
[YOUNG ] LADY SINGS THE BLUES…AND MORE
As far as birthing legends go, Tuesday night at Christopher’s Jazz Café was pretty much true to form. Janine Cunningham came into the venue pretty much unheralded – except, of course, for those who had checked Griot Music’s raves online and verbally – but left the room pretty much a conqueror. Her voice, sinuously insistent to match her frame and her gently cascading locks, was key to the victory. It’s a voice which has refracted the divas of jazz past – most notably Billie Holiday – through a prism of modern expression, be it rock or dancehall.
Janine took the enthusiastic and (surpisingly) large audience on a musical cross-country, dipping into classic balladry (Dinah Washington’s What A Difference A Day Makes), roots reggae (a slowed-down version of Marley’s So Much Trouble) and great pop (Michael Jackson’s Man In The Mirror) in addition to her stirring and provocative originals, including “Warning” and the kiss-off “Parasite”. This latter has radio potential, its caustic lyrics being delivered in her sultry drawl, thus heightening the inherent tensions.
There was also a soaring, yet stripped down version of India.arie’s “Brown Skin” in which her presentation was ably supported (indeed enhanced) by her musical cohorts: Sheldon Bernard on flute; Luke Dixon on piano/keyboard; Obed Davis on drums; Keino on bass and Seretse Small on guitars. Cunningham saved another highlight for her encore, a near-delirious reading of Smokey Robinson’s classic, “Cruisin’”
The intimate setting of the urban power bar that Christopher’s proved perfectly suited for her delivery and the band remained on point throughout. That, combined with the fact that she had a capacity audience of a size worthy of her talent made the showcase (postponed previously due to the stormy weather) a September to remember.
[YOUNG ] LADY SINGS THE BLUES…AND MORE
As far as birthing legends go, Tuesday night at Christopher’s Jazz Café was pretty much true to form. Janine Cunningham came into the venue pretty much unheralded – except, of course, for those who had checked Griot Music’s raves online and verbally – but left the room pretty much a conqueror. Her voice, sinuously insistent to match her frame and her gently cascading locks, was key to the victory. It’s a voice which has refracted the divas of jazz past – most notably Billie Holiday – through a prism of modern expression, be it rock or dancehall.
Janine took the enthusiastic and (surpisingly) large audience on a musical cross-country, dipping into classic balladry (Dinah Washington’s What A Difference A Day Makes), roots reggae (a slowed-down version of Marley’s So Much Trouble) and great pop (Michael Jackson’s Man In The Mirror) in addition to her stirring and provocative originals, including “Warning” and the kiss-off “Parasite”. This latter has radio potential, its caustic lyrics being delivered in her sultry drawl, thus heightening the inherent tensions.
There was also a soaring, yet stripped down version of India.arie’s “Brown Skin” in which her presentation was ably supported (indeed enhanced) by her musical cohorts: Sheldon Bernard on flute; Luke Dixon on piano/keyboard; Obed Davis on drums; Keino on bass and Seretse Small on guitars. Cunningham saved another highlight for her encore, a near-delirious reading of Smokey Robinson’s classic, “Cruisin’”
The intimate setting of the urban power bar that Christopher’s proved perfectly suited for her delivery and the band remained on point throughout. That, combined with the fact that she had a capacity audience of a size worthy of her talent made the showcase (postponed previously due to the stormy weather) a September to remember.
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