The next show will air on Sunday, July 26, 2015 from 11:00 PM – 1:00 AM Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This broadcast will feature an interview with the versatile vocalist Kurt Elling.
GRAMMY® winner Kurt Elling is among the world’s foremost jazz vocalists. He has won every DownBeat Critics Poll for the last fourteen years and has been named “Male Singer of the Year” by the Jazz Journalists Association eight times in that same span. Every one Elling is a renowned artist of vocalese—the writing and performing of words over recorded improvised jazz solos. The natural heir to jazz pioneers Eddie Jefferson, King Pleasure and Jon Hendricks, Elling has set his own lyrics to the improvised solos of Wayne Shorter, Keith Jarrett and Pat Metheny. He often incorporates images and references from writers such as Rilke, Rumi, Neruda and Proust into his work. The late poet and Bollingen Prize winner Robert Creeley wrote, “Kurt Elling takes us into a world of sacred particulars. His words are informed by a powerful poetic spirit.” Said Robert Pinsky, former Poet Laureate of the United States, “In Kurt Elling’s art, the voice of jazz gives a new spiritual presence to the ancient, sweet and powerful bond between poetry and music.”
Elling has toured vigorously throughout his career, thrilling audiences throughout the world. In that time he has led his own ensemble and has collaborated with many of the world’s finest orchestras.
Elling’s new album Passion World is indeed all about “passions” – the forces that shake our souls. As one of the busiest touring jazz artists, Elling has encountered these passions around the world; he has observed how the same depth of feeling is shaped in different ways by each unique culture through which it is filtered. The result is an album vibrant with diversity and variety, and at the same time a singular celebration of what makes us all human.
Bio excerpt courtesy of www.kurtelling.com.
Show engineered, produced, hosted, and edited by Joyce Jones. Listen for our On the Bandstand segment with NYC metro area appearances of Suga’ guests at the end of the first hour with Associate Producer Hank Williams.
Watch Elling’s stunning version of “Nature Boy” recorded live with the Sydney Symphony Orchestra.
Watch the preview video for Elling’s Passion World release.
Watch Elling’s adaptation of Coltrane’s “Resolution” recorded live at the Newport Jazz Festival.
The next show will air on Sunday May 19, 2013 from 11 PM to 1 AM Eastern Standard Time on WBAI Radio, 99.5 FM in the NYC metro area or streaming online at wbai.org. On the heels of pianist Marc Cary’s recent Harlem Stage events and new release honoring Abbey Lincoln, this installment of “Suga’ In My Bowl” will continue to honor renaissance woman Abbey Lincoln. This special was originally offered in October 2010. You can hear a short preview below.
Most people are only familiar with Abbey Lincoln as a singer and actress. However, Ms. Lincoln was also published poet, writer, visual artist and composer. During this special, several artists will either share their personal tributes and/or read the work of Ms. Lincoln. Contributing artists include:
Sonia Sanchez, who will read Ms. Lincoln’s piece “To Whom Will She Cry Rape?” from the 1970 Toni Cade Bambara anthology “The Black Woman” and originally printed in a 1966 issue of “The Negro Digest.” Latasha N. Nevada Diggs will read Ms. Lincoln’s poetry which was included in Amina and Amiri Baraka’s 1983 anthology titled “Confirmation: An Anthology of African American Women.” Lashonda Katrice Barnett, author of “I Got Thunder: Black Women Songwriters on Their Craft,” which featured an exchange with Abbey Lincoln, will read excerpts from Ms. Lincoln’s unpublished autobiography. Rembrances from political prisoner Mumia Abu Jamal, writers the late Jayne Cortez, Amina and Amiri Baraka, Mark Anthony Neal, Farah Jasmine Griffin and Carl Hancock Rux, filmmakers Ifa Bayeza (“You Gotta Pay The Band”) and Carol Friedman (“Abbey Lincoln: The Music Is The Magic” in production), Maggie Brown (daughter of Oscar Brown Jr.), bassists Christian McBride and Charlie Haden.
These contributions will be offered as a 2-CD set in an effort to help continue this listener-supported experiment that is WBAI/Pacifica Radio. Please join us as we continue to remember Ms. Abbey Lincoln (Aug. 6, 1930 – Aug. 14, 2010).
Co-Hosted by Joyce Jones and Hank Williams. Produced and engineered by Arts Producer Joyce Jones.
The next show will air on Sunday March 24, 2013 from 11 PM to 1 AM Eastern Standard Time on WBAI Radio, 99.5 FM in the NYC metro area or streaming online at wbai.org. This installment of the program will feature vocalist and pianist Diane Schuur. Listen to a short preview below:
Born in Tacoma, Washington, in December 1953, Schuur was blind from birth. She grew up in nearby Auburn, Washington, where her father was a police captain. Nicknamed Deedles at a young age, Schuur discovered the world of jazz via her father, a piano player, and her mother, who kept a formidable collection of Duke Ellington and Dinah Washington records in the house.
She was still a toddler when she learned to sing the Dinah Washington signature song, “What a Difference a Day Makes.” Armed with the rare gift of perfect pitch, Schuur taught herself piano by ear and developed a rich, resonant vocal style early on, as evidenced in a recording of her first public performance at a Holiday Inn in Tacoma when she was ten years old. She received formal piano training at the Washington State School for the Blind, which she attended until age 11. By her early teens, she had amassed her own collection of Washington’s records and looked to the legendary vocalist as her primary inspiration.
Schuur made her first record in 1971, a country single entitled “Dear Mommy and Daddy,” produced by Jimmy Wakely. After high school, she focused on jazz and gigged around the northwest. In 1975, an informal audition with trumpeter Doc Severinson (then the leader of the Tonight Show band) led to a gig with Tonight Show drummer Ed Shaughnessy’s group at the Monterey Jazz Festival. She sang a gospel suite with Shaughnessy’s band in front of a festival audience that included jazz tenor saxophonist Stan Getz, who in turn invited her to participate in a talent showcase at the White House. A subsequent return performance at the White House led to a record deal with GRP, which released Schuur’s debut album, Deedles, in 1984.
Over the next 13 years, Schuur recorded 11 albums on GRP, including two Grammy winners: Timeless (1986) and Diane Schuur and the Count Basie Orchestra (1987).
After one album on Atlantic records in 1999 – Music is My Life, produced by Ahmet Ertegun – Schuur joined the Concord label with the 2000 release of Friends For Schuur. The move to Concord marked the beginning of a series of highly successful collaborative projects: Swingin’ For Schuur (2001), a set of finely crafted duets with trumpeter Maynard Ferguson; Midnight (2003), Schuur’s unique interpretations of thirteen songs (mostly new material) written or co-written by Barry Manilow; and Schuur Fire (2005), a decidedly Latin-flavored album featuring the Caribbean Jazz Project.
Schuur’s February 2008 Concord release, Some Other Time, is a recording of songs by jazz artists whom she first discovered via her parents during her childhood and adolescent years. The set also includes a surprisingly mature-sounding rendition of “September in the Rain,” recorded at the Holiday Inn in Tacoma in 1964 when Schuur was only ten years old.
Diane Schuur’s latest studio release, The Gathering, is unique in both material and style, and features special guests Alison Krauss, Vince Gill, Mark Knopfler, Larry Carlton and Kirk Whalum. The Gathering is a collection of 10 classic country songs, mostly written during the golden era of the 1960s, and is the first time Schuur has featured this genre of music to this extent.
Schuur’s most recent release is Diane Schuur Live, and it is a unique and special album as it’s a project close to Diane’s heart. This album is dedicated to Diane Schuur’s husband, Les Crockett. The recording takes place where she and her husband shared a magical night reflecting on memories of the very place they first met 16 years earlier.
Engineered, Produced, and Hosted by Joyce Jones.
WBAI’s financial situation remains dire due to back rent owed on their transmitter at NYC’s Empire State Building. Please give what you can to the WBAI Transmitter Fund and/or come out next Wednesday, March 27, for the WBAI Dance Party at S.O.B.’s.
Web extra: Watch Diane Schuur and Ray Charles perform live.
Note: Suga’ in My Bowl’s new Behind the Mic blog is now up and running. We’ll use it to expand on some of the shows, artists, and ideas you’ve heard on the show and post related content, new release info, and provide a space for discussion. We’re still tweaking it, but invite you to head over and check it out.
Our home station WBAI is in a serious crisis due to back back rent owed on their transmitter at NYC’s Empire State Building. They’ve struggled in the past, but this time the situation is serious. Details are on the Pacifica Radio Network home page. You can also donate directly to the transmitter fund.
The next show will air on Sunday March 10, 2013 from 11 PM to 1 AM Eastern Standard Time on WBAI Radio, 99.5 FM in the NYC metro area or streaming online at wbai.org. This installment of the program will feature composer, vocalist and warrior queen René Marie. Listen to a short preview below:
René Marie, the award winning singer whose style incorporates elements of jazz, soul, blues and gospel, has quickly become a heroine to many; a woman of great strength exuding stamina and compassion; often explaining how finding her voice and self through singing gave her the courage to leave an abusive marriage. But since the release of her recording debut, Renaissance, this Colorado based heroine has also evolved into one of the greatest and most sensuous vocalists of our time. Unmistakably honest and unpretentious while transforming audiences worldwide with her powerful interpretations, electrifying deliveries and impassioned vocals — René Marie has drawn a legion of fans and music critics who find themselves not only entertained, but encouraged and even changed by her performances.
It is hard to believe that Marie didn’t sing professionally until after she turned 40. But in fact, the Virginia native, married at 18, mother of two by 23 and a member of a strict religious group with her then husband only occasionally sang in public while she was focused on raising a family. It was in 1996 that Marie’s eldest son Michael urged her to take the plunge to pursue a career. “He told me that was exactly what I needed to do” she explains. Two years later following an ultimatum by her husband to either stop singing or leave their home, she chose to leave after 23 years of marriage.
Hosted, produced, and engineered by Joyce Jones.
Don’t forget to give to the WBAI Transmitter Fund. If there is no transmitter, there really is no WBAI.
Listen to the full song “Black Lace Freudian Slip”. (Background music for the Suga’ show teaser.)
Watch René Marie sing “This is Not a Protest Song” live.
Note: Suga’ in My Bowl’s new blog, which we’re calling Behind the Mic is now up and running. We’ll use it to expand on some of the shows, artists, and ideas you’ve heard on the show and post related content, new release info, and provide a space for discussion. Right now, there’s a short interview with Dr. Judith King-Calnek, presenter of the Brazilian Journey. We’re still tweaking it, but invite you to head over and check it out.
The next show will air on Sunday February 17, 2013 from 11:00pm – 1:00am Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This installment of the program will feature “The Brazilian Journey” presented by Dr. Judith King-Calnek. Join us as we do our part to continue an educational component of the Pacifica Mission during this Winter Membership Drive. Listen to a short preview below:
As Suga’ in My Bowl did with “The Journey” with Bobby Sanabria and “The Blues Journey” with Dr. Guthrie Ramsey, we tapped an expert to walk listeners through the presentation. “The Brazilian Journey” will take listeners on a trip through the development of the various styles of music that come from Brazil. While popularity in the US was spurred on by the Bossa Nova invasion and the legendary soundtrack of the film Orfeu Negro (Black Orpheus), there’s much more history and context and King-Calnek presents a lot of it. In signature Suga’ style, it’s accompanied by an infectious soundtrack and shaped by Joyce Jones’s meticulous editing.
The entire Brazilian Journey is a multi-CD set that listeners can receive as a gift for pledging to WBAI and will serve as a gateway to the music, culture, and history of Brazil for curious listeners. Even then, it presents a challenge for Dr. King-Calnek, who warns that she’s “just offering a very small taste, the tip of the iceberg, if you will, to whet your appetite for the delicious world of Things Brazil”.
This show will present highlights of “The Brazilian Journey” while attempting to raise badly needed funds for WBAI. Join us on this journey. Donate to WBAI or pledge if you can, but be sure to join us for Suga’ in My Bowl’s latest musical trip.
Judith King-Calnek teaches anthropology, theory of knowledge and history at the United Nations International School, where she is the Head of the Humanities Department. She has taught anthropology at Manhattanville College in Purchase, NY. Her publications have focused on education and citizenship in various contexts (international schools, Brazil and the United States). Her most recent publications on free people of color in 19th Century Virginia reflect her continued interest in the intersection of race/color and citizenship in socially stratified societies. King-Calnek holds a Ph.D. in comparative education and anthropology from Teachers College Columbia University as well as two master’s degrees (curriculum and teaching and anthropology and education) from the same institution, and a BA from Pomona College. In addition to her teaching and researching, Judith King-Calnek pursues her long time love of Brazilian music and jazz as a radio programmer and producer in the New York area, for which she has received numerous awards. Dr. King-Calnek also hosted a program on the Pacifica sister station WPFW-FM. She is fluent in Portuguese and Spanish.
Hosted by Joyce Jones.
The next show will air on Sunday February 3, 2013 from 11:00pm – 1:00am Monday Eastern Standard Time on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. This installment of Suga’ will feature one of the 2013 NEA Jazz Master recipients, alto saxophonist Lou Donaldson. This program originally aired in May 2009 and focused on recordings that were sampled by hip hop artists to lead up to the June Hip Hop Takeover.
You can hear a 30-second preview below.
Donaldson has long been an excellent bop altoist influenced by Charlie Parker, but with a more blues-based style of his own. His distinctive tone has been heard in a variety of small-group settings, and he has recorded dozens of worthy and spirited (if somewhat predictable) sets throughout the years.
Donaldson started playing clarinet when he was 15, soon switching to the alto. He attended college and performed in a Navy band while in the military. Donaldson first gained attention when he moved to New York and in 1952 started recording for Blue Note as a leader. At the age of 25, his style was fully formed, and although it would continue growing in depth through the years, Donaldson had already found his sound. In 1954, he participated in a notable gig with Art Blakey, Clifford Brown, Horace Silver, and Tommy Potter that was extensively documented by Blue Note and that directly predated the Jazz Messengers. However, Donaldson was never a member of the Messengers, and although he recorded as a sideman in the ’50s and occasionally afterwards with Thelonious Monk, Milt Jackson, and Jimmy Smith, among others, he has been a bandleader from the mid-’50s up until the present.
Donaldson’s early Blue Note recordings were pure bop. In 1958, he began often utilizing a conga player, and starting in 1961, his bands often had an organist rather than a pianist. His bluesy style was easily transferable to soul-jazz, and he sounded most original in that context. His association with Blue Note (1952-1963) was succeeded by some excellent (if now-scarce) sets for Cadet and Argo (1963-1966). The altoist returned to Blue Note in 1967 and soon became caught up in the increasingly commercial leanings of the label. For a time, he utilized an electronic Varitone sax, which completely watered down his sound. The success of “Alligator Boogaloo” in 1967 led to a series of less interesting funk recordings that were instantly dated and not worthy of his talent. These particular Blue Note recordings were often sampled by hip hop artists.
The next show will air on Sunday January 13, 2013 from 11:00pm – 1:00am Eastern Standard Time Monday on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. On Friday, December 28, 2012, Jayne Cortez left this world. As a tribute to her life and spirit, we will rebroadcast our exchange with this writer, poet, performance artist, and co-founder of Yari Yari, an international conference on literature by women of African descent. You can hear a 30-second preview of the show below.
Jayne Cortez was born in Arizona, grew up in California, and currently lives in New York City and Dakar, Senegal. She is the author of ten books of poems and performer of her poetry with music on nine recordings. Her voice is celebrated for its political, surrealistic, dynamic innovations in lyricism, and visceral sound. Cortez has presented her work and ideas at universities, museums, and festivals in Africa, Asia, Europe, South America, the Caribbean and the United States. Her poems have been translated into many languages and widely published in anthologies, journals, and magazines. She is the recipient of several awards including: Arts International, the National Endowment for the Arts, the International African Festival Award, The Langston Hughes Award, and the American Book Award. Her most recent books are “The Beautiful Book” Bola Press 2007, “Jazz Fan Looks Back” published by Hanging Loose Press, and “Somewhere In Advance of Nowhere” published by Serpent’s Tail Ltd. Her latest CD recordings with the Firespitter Band are “Taking the Blues Back Home,” produced by Harmolodic and by Verve Records, “Borders of Disorderly Time” and “Find Your Own Voice” released by Bola Press. Cortez is director of the film “Yari Yari: Black Women Writers and the Future,” organizer of “Slave Routes the Long Memory” and “Yari Yari Pamberi: Black Women Writer Dissecting Globalization.” Both conferences were held at New York University. She is president of the Organization of Women Writers of Africa, Inc. and is on screen in the films: “Women In Jazz” and “Poetry In Motion.”
Hosted, Produced, and Engineered by Arts Producer Joyce Jones.
Editors note: Here at Suga’ in My Bowl, we already miss Jayne a lot. We saw her often at various events and feel fortunate to have known her and heard her perform live. We’ve heard that plans are underway for public tributes and will post them on the site and via our Facebook and Twitter streams when we get concrete dates for these.
Watch Jayne perform live with drummer (and son) Denardo Coleman
The next show will air on Sunday December 9, 2012 from 11:00pm – 1:00am Monday on WBAI, 99.5 FM in the NYC metro area or streaming online at wbai.org. On this installment of “Suga’ In My Bowl,” we will present keyboardist, composer, “arti-vist” and one-third of the group Medeski Martin and Wood, John Medeski. Join in and help us “Reboot WBAI“!
As the keyboardist in the trailblazing instrumental trio Medeski Martin & Wood, solo performer, leader of his own project the Itch, film composer, and producer, collaborator and sideman with countless other artists, Medeski has channeled this transformative force with uncanny power and imagination.
A skilled composer and whirling-dervish improviser, he consistently wrings sonic revelations from acoustic and electric piano, Hammond organ, Clavinet, Mellotron, assorted synthesizers and other instruments. He’s nearly as dynamic visually as aurally, windmilling his hands across the keys, leaning into a B-3 stab, reaching inside the piano to tap the strings with a screwdriver.
Whether the music he’s playing at any given moment can be classified as jazz, funk, modern classical, avant-noise, roots music, rock or “world,” however, is of little concern. “I never separated music into categories,” he insists. “Whoever I’m playing with, I just think, ‘What can I add that will be part of this? Does it need anything?’”
He was born in Kentucky but raised in Florida, starting piano lessons at the tender age of five. Though his fervor for music wasn’t instantaneous, he had his first “out-of-body experience” playing a Mozart sonata while still an adolescent. “It was a competition, and I guess I arrived late, because I had no time to get ready and just sat down and played,” he recalls. “It was like I wasn’t even playing – I was just transported. After that, I did whatever I could to get that feeling back.”
Medeski sold his piano before leaving home to attend the New England Conservatory (NEC) in Boston. He continued to play piano there, but the discovery of a dust-covered Hammond B-3 organ in a rehearsal hall would significantly alter his course. “I’d checked out the B-3 before and listened to Jimmy Smith and Larry Young,” he notes, “but this time, when we started jamming with it, I was blown away. It was a universe of sound. I was playing a lot of free jazz at the time and really got into the coloristic possibilities of the instrument.”
A group that effortlessly straddles the gap between avant-garde improvisation and accessible groove-based jazz, Medeski, Martin & Wood have simultaneously earned standings as relentlessly innovative musicians and as an enormously popular act. Emerging out of the New York downtown scene in the early ’90s, MMW soon set out on endless cross-country tours before returning home to Manhattan to further refine their sound through myriad influential experimentations. Each of the musicians — keyboardist John Medeski, drummer/percussionist Billy Martin, and bassist Chris Wood — had crossed paths throughout the ’80s, playing with the likes of John Lurie, John Zorn, and Martin mentor Bob Moses. In 1991, the trio officially convened for an engagement at New York’s Village Gate. Soon, the group was rehearsing in Martin’s loft, writing, and then recording 1992’s self-released Notes from the Underground. As the group began to tour, escaping the supportive though insular New York music community, Medeski — a former child prodigy — switched to a Hammond B-3 organ rather than a grand piano.
WBAI is also in the middle of a short fund drive to help the station recover from time off the air during Hurricane Sandy. While we’re airing a regular show this time, If you haven’t pledged recently, please consider making a donation while we’re on the air. Copies of The Journey radio documentary with Bobby Sanabria that chronicles the trip of music from Africa to the Caribbean and Latin America are still available, as are copies of The Blues Journey with Dr. Guthrie Ramsey.
Produced by Joyce Jones and Hank Williams. Hosted and Engineered by Joyce Jones.