Chicago-based drummer Ted Sirota formed the avant-garde post-bop group Rebel Souls in 1995 and quickly became one of Naim’s stalwart jazz artists, with three stunning True Stereo recordings with Naim engineer Ken Christianson; Rebel Roots (1996), Propaganda (1999) and Vs. the Forces of Evil (2000).

The latest release, Seize The Time (pictured at right) was release earlier this year and is dedicated to the many musicians who stood up boldly in the face of oppression and injustice and refused to surrender or back down despite harsh consequences”

The Rebel Souls have a unique formula comprising afro-pop, funk, reggae, ska and hip-hop underpinned by the rebellious jazz and socially-aware improv of the 1960s. Cultivating what the Chicago Reader describes as “immediately recognizable sound”.

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Russell was born in Cincinnati in 1923 and attended Wilberforce University. He played drums in Benny Carter’s band and later wrote “Cubano Be/Cubano Bop” for Dizzy Gillespie’s orchestra. It premiered at Carnegie Hall in 1947 and was the first fusion of Afro-Cuban rhythms with jazz.

Russell developed the Lydian concept in 1953. His 1959 publication of The Lydian Chromatic Concept of Tonal Organization, released under Concept Publishing, was the first theoretical contribution from jazz and was responsible for introducing modal improvisation which resulted in the seminal recording of Miles Davis’ Kind Of Blue. Since it’s publication, there have been scores of books on the market which have “borrowed” bits of the Concept’s information, but there is only one original.

Russell is survived by his wife, his son and three grandchildren. A release says a memorial service will be planned.

More Information About George Russell

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In addition to his many recordings with Ray Brown, Jeff has been on nearly 200 recordings with artists such as Natalie Cole, Diana Krall, Milt Jackson, Rosemary Clooney, Barbara Streisand, Mel Torme, John Pizzarelli, Benny Carter, Lalo Schifrin, George Shearing, Dr. John, Clark Terry, Gene Harris, Toshiko Akioshi, Scott Hamilton, Harry “Sweets” Edison, Keely Smith, Bill Holman, Herb Ellis, Barney Kessel and Mark Murphy.

Jeff is a frequent guest of the WDR Big Band in Cologne, Germany. He also appeared in Natalie Cole’s Great Performances PBS special, Unforgettable and an Oscar Peterson documentary, Life In The Key Of Oscar. His trio, whose new CD Symbiosis is set for a September 12th, also features pianist Tamir Hendelman and bassist Christoph Luty.

(Hamilton Live At Steamers)

Artist Information:

Originality is what versatile drummer Jeff Hamilton brings to the groups he performs with and is one of the reasons why he is constantly in demand, whether he is recording or performing with his trio, Oscar Peterson, Ray Brown, the Clayton Brothers or co-leading the Clayton/Hamilton Jazz Orchestra.

Jeff’s recording, It’s Hamilton Time (Lake Street Records), received enormous airplay while reaching #5 on the Gavin national jazz radio chart. His trio’s second release, Jeff Hamilton Trio Live! (MONS) was nominated by critics for best jazz recording in Germany in 1997. The trio’s second MONS release is entitled Hands On. Hamilton House / Live At Steamers (MONS) is the trio’s 2000 release. As well as recording and performing throughout the world, Jeff also teaches, arranges and composes.

Location:
Steamers Jazz Club & Cafe
138 W. Commonwealth
Fullerton, CA
(714) 871-8800
jazz@steamersjazz.com

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Red-hot drummer, Cuban native Francisco Mela brings his Quartet to the Vanguard for six nights. Featuring Greg Osby on saxophone, Sam Yahel on organ and Matt Penman on bass.

Francisco Mela has been hailed as one of the most charismatic musicians to hit the Big Apple in some time. Mela is already the drummer of choice for heavyweights Joe Lovano and Kenny Barron, and is also a bandleader of rapidly-increasing stature, whose debut CD Melao was played in Starbucks cafes throughout the U.S., and whose new Half-Note CD Cirio has Mela playing in various combinations with Jason Moran, Larry Grenadier, Lionel Loueke, and Mark Turner. His own working quartet featuring organ sensation Sam Yahel plays the Vanguard for six nights. If you are in NYC, make it a point to check them out.

Artist Information:

Although he’s been in the U.S. for less than a decade and just recently released his second album here, Francisco Mela has become one of the most talked about and in-demand Cuban musicians of his generation. He has performed with Kenny Barron, Joe Lovano, Paquito D’Rivera, George Garzone, John Patitucci, John Scofield, Jane Bunnett, Jason Moran, Mark Turner, Stefon Harris, Regina Carter, and Lionel Loueke, among others. His influences include Jose Luis Quintana (Chango), Roy Haynes, Elvin Jones, Thelonious Monk, Tony Williams, and Miles Davis.

Melao, his release for the Barcelona, Spain-based AYVA Musica label, features a cadre of jazz giants, among them tenor saxophonist Joe Lovano, who quickly became one of the drummer’s biggest fans. Canadian woodwind virtuoso Jane Bunnett, whose passion for Cuban music has made her a leading practitioner of the island nation’s most revered styles, invited Mela into her Spirits of Havana band and recorded Grammy nominated album Cuban Odyssey with him anchoring the rhythm section.

He initially planned to study at either Berklee College or The New England Conservatory of Music, but professional opportunities headed him in another direction. It wasn’t long before Francisco was the house drummer of Wally’s Café, one of Boston’s hottest jazz clubs. While honing his own sound as a jazz drummer and broadening his leadership role as leader of a quintet, he also had an opportunity to back such world class talent as Pérez, fellow Cuban Gonzalo Rubalcaba, and his longtime idol, drummer Roy Haynes. Eventually, he started playing with music professors at Berklee.

Then, one day, he received a call to teach at the prestigious institution. He balances a hectic schedule of appearances with pianist Kenny Barron, saxophonists Lovano, David Sanchez and George Garzone, bassist John Patitucci, guitarist John Scofield and many other noted leaders and performances with his own group with teaching a class in Afro-Cuban and Brazilian percussion and teaching private lessons to two dozen students.

(Melao, 2006)

On Melao, Francisco is joined by some of the most talked about musicians of the day. In addition to Lovano, the date features saxophonists Garzone and Anat Cohen and the Benin, Africa-born guitarist Lionel Loueke, who was recently the subject of a cover feature in Jazziz Magazine. In addition to his intuitive, tasteful and airy drumming, one of the highlights of Melao is the opportunity to hear nine of the leader’s self-composed works.

Francisco’s professional horizons continue to broaden as he collaborates with more and more musicians. One of them is saxophonist Paquito D’Rivera, a fellow Cuban and, as it turns out, a distant cousin. Mela has attracted the attention of an increasingly wide circle of admirers, including Jazz Times Magazine, which has dubbed him “one of the most important Cuban drummers in jazz”.

Location:
Village Vanguard
178 Seventh Avenue South
New York, NY
(212) 255-4037
http://villagevanguard.com

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To listen to the festival online visit www.columbia.edu/cu/wkcr and click on “Live Broadcast”.

Seemingly ageless, Roy Haynes has played the drums from the bebop days of the 1940s to the present day with the same restless energy. Haynes has remained fresh in his outlook and in his thirst for collaborating with younger artists and those who play in challenging styles, as is shown in his work with such disparate artists as Roland Kirk, Danilo Pérez, and Pat Metheny. He also has been a favorite sideman for any number of artists because of his crisply distinctive drumming style. Thelonious Monk once described Haynes’ drumming as “an eight ball right in the side pocket.”

Artist Background:

Haynes became interested in music through his father, a church organist. In his earliest professional playing years in the mid-1940s, he worked in Boston with pianist Sabby Lewis, Frankie Newton, and Pete Brown. In 1945, he joined the Luis Russell band, remaining until 1947, whereupon he joined Lester Young’s band. In the late 1940s to mid-1950s, he worked with such greats as Miles Davis, Charlie Parker, Bud Powell, and Kai Winding. He later played in Monk’s band at the Five Spot Cafe before forming his own band in 1958.

Some of his most noted work in the early 1960s came when he subbed for Elvin Jones in the John Coltrane Quartet, both on gigs and on records. His drumming style was a marked change for Coltrane from Elvin Jones’ approach — lighter, less aggressive than Jones — and it gave the quartet a different sound. Among his other affiliations during the late 1950s to early 1960s were with George Shearing, Kenny Burrell, Lennie Tristano, and Stan Getz. In addition, his style of drumming was an ideal accompaniment to singers, accenting the vocals without overpowering them, and he worked with Sarah Vaughan, and Lambert, Hendricks & Ross.

He later joined vibist Gary Burton, who had been a member of Getz’s band. After Burton’s band, which was one of the precursors of the jazz-rock movement, Haynes formed the Hip Ensemble, featuring such musicians as George Adams, and Hannibal Marvin Peterson. The band had a decidedly contemporary flavor, often employing various guitarists. He also has enjoyed an occasional playing relationship with Chick Corea, dating back to their Stan Getz days. He joined Corea’s Trio Music band in 1981. Haynes received the prestigious Danish award, the JAZZPAR Prize, in 1994.

While periodically leading his own bands, he has also worked with artists such as Billy Taylor, Hank Jones, and Ted Curson, and as an innovative drummer in a variety of settings. His bands have included some of the more exceptional young musicians on the scene, ranging from his Hip Ensemble to his various quartets. He continues to influence the next generation of drummers with his distinctive sound.

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Twin Cities jazz fans may not always appreciate our great fortune—to live in a community blessed with some of the finest musicians in the country, artists who play with such legends as Charlie Rouse, Kenny Barron, Benny Golson, Benny Carter, Jay McShann, and Dewey Redman. Such is the resume of drummer Phil Hey, who brings his quartet into the Artists Quarter for a rare weekend gig January 16th-17th. And you can be sure that if Artists Quarter owner/drummer Kenny Horst keeps a drummer-led ensemble on his regular rotation, it has to be magic!

the Phil Hey Quartet has been an Artists’ Quarter favorite for the past 8 years. No surprise really. Over the years they have attracted a loyal following of hardcore jazz fans and students who show up on the monthly Thursday night when they perform.

Band Background:

The Phil Hey Quartet was originally assembled around the year 2000 when Artists’ Quarter owner (and fellow drummer) Kenny Horst suggested to Hey that the four jazz veterans perform a “one off” gig. Needing to print the AQ’s monthly calendar, Horst listed the band as the Phil Hey Quartet. Finding that they shared a chemistry and love for the hard bop material, PHQ dug in with monthly AQ gigs and regular rehearsals to hone their unique sound.

Performing a songbook usually driven by a horn player, the PHQ features piano (Aaron) and vibes (Hagedorn) on the lead lines with the equally expressive rhythm section of Tom Lewis (bass) and Phil Hey (drums). Whether by virtue of the band’s “assigned” name or otherwise, Hey took on the role of leader.

While there are many jazz quartets in town, few have the Modern Jazz Quartet configuration of vibes plus rhythm section. The PHQ puts the music of Coltrane, Shorter and more (music typically featuring horns) in the virtuoso hands of Hey, Phil Aaron, Tom Lewis, and Dave Hagedorn. Together as an ensemble since 2000, leader Hey notes that “this is a real band. Everyone in the group is a bandleader in his own right and we have really come together as an ensemble.”

Latest Album:

In Fall 2005, the PHQ released arguably the best local CD of the year, Subduction: Live at the Artists’ Quarter. Said Don Berryman of jazzpolice.com, “The word ’subduction’ deals with the movement of tectonic plates that is a slow process that can result in earthquakes and volcanic activity. Likewise, music on this CD builds tension subtly and releases that tension in great rhythmic eruptions.”

The first sounds you hear on this CD is Dave Hagedorn’s haunting vibraphone solo that introduces Bobby Hutcherson’s Highway One, the last is Phil Hey’s turbulent and triumphant drum solo for the final chorus of John Coltrane’s Fifth House and the cheers of the crowd. What lies between is a demonstration of musical mastery that each musician has honed and the collaborative chemistry that has kept this band vital over the past 5 years.

If you long for the ensemble eloquence of the Modern Jazz Quartet infused with new millennium grooves, be sure to come down to the Artists Quarter this weekend and warm up with the PHQ. The show will begin at 9:00 pm, and entry is $10.

Location:
Artists’ Quarter Jazz Club
408 St. Peter Street
St. Paul, Minnesota 55102
(651) 292-1359
http://www.artistsquarter.com

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Jazz drum legend Al Foster and his quartet will play Smoke in New York on Thursday, January 15th through Saturday, January 17th with sets at 8:00 pm, 10:00 pm and 11:30 pm. The Al Foster Quartet features Eli Degibri on saxophones, Xavier Davis on piano, Doug Weiss on bass and Al Foster on drums.

Al Foster was member of the Miles Davis band from 1972 to 1985. Respected and admired for his keen sensitivity, Foster is known for his unique ability to listen to and play off others in an almost telepathic way, responding to them with a style that is at once both charismatic and understated. Foster is a great believer in the purity of the music, a genuine artist who continues to push the boundaries of creativity again and again, devoted to preserving and perpetuating the highest standards in jazz today. He is a magnificent all-round drummer, and his rhythmic chops are renowned.

Background:

As a member of the Miles Davis band from 1972 to 1985, Foster’s contribution to Davis’ music is articulated by Davis himself in his 1989 autobiography, Miles: The Autobiography, where Davis describes the first time he heard Foster play live in 1972 at the Cellar Club on 95th Street in Manhattan: ‘He [Foster] knocked me out because he had such a groove and he would just lay it right in there. That was the kind of thing I was looking for. AI could set it up for everybody else to play off and just keep the groove going forever.”

Other artists Foster has performed and recorded with include Joe Henderson, Freddie Hubbard, McCoy Tyner, Wayne Shorter, Bobby Hutcherson, John Scofield, Pat Metheny, Charlie Haden, Randy & Michael Brecker, Bill Evans (the saxophonist), George Benson, Kenny Drew, Carmen McRae, Stan Getz, Toots Thielemans, Dexter Gordon and Chick Corea. Over the years, Foster has toured extensively with Herbie Hancock, Sonny Rollins, and Joe Henderson, becoming a major attraction in all three bands as well as an integral part of them.

Respected and admired for his keen sensitivity, Foster is known for his unique ability to listen to and play off others in an almost telepathic way, responding to them with a style that is at once both charismatic and understated. Foster is a great believer in the purity of the music, a genuine artist who continues to push the boundaries of creativity again and again, devoted to preserving and perpetuating the highest standards in jazz today. He is a magnificent all-round drummer, and his rhythmic chops are renowned in musical styles ranging from bebop to free form to jazz/rock.

Performance Details:

-The Al Foster Quartet features Eli Degibri on saxophones, Xavier Davis on piano, Doug Weiss on bass and Al Foster on drums.

-Tickets for the event are $30.

Location:
Smoke Jazz & Supper Club-Lounge
2751 Broadway (between 105th and 106th)
New York, NY 10025
(212) 864-6662
http://www.smokejazz.com

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Perhaps New York is the epicenter of jazz, no argument. But here in the Twin Cities reside some of the truly international figures of jazz, including Anthony Cox and Eric Kamau Gravatt, to name a distinguished pair. And this weekend at the Artists Quarter (January 9th-10th), we have the opportunity to hear Gravatt with his stellar ensemble, Source Code.

An alumn of Weather Report and the bands of McCoy Tyner, Joe Henderson, Freddie Hubbard, Blue Mitchell and others, Gravatt essentially has had two careers in jazz with a couple decades of separation. Like John Coltrane and long-time associate McCoy Tyner, he is a native of Philadelphia. Originally a conga player, Gravatt taught percussion and music in Philadelphia and Washington, DC in the 1960s.

Miles Davis invited him to join his band, but Gravatt turned down the Prince of Darkness to follow Wayne Shorter into Weather Report, with whom he toured and recorded. But Gravatt’s sound was not exactly what WR founder Joe Zawinul had in mind, and after a while Gravatt was replaced in favor of a more “bottom heavy” drummer. He moved on to the fusion band Natural Life (with Bobby Peterson and Bob Rockwell), a move that brought him to the Twin Cities some 30 years ago.

Demands of family and a desire for financial stability took Gravatt out of fulltime music and into fulltime work as a guard at the Minnesota Correctional Facility in Lino Lakes. “I had kids, and Corrections were the only thing being offered that paid that good, and they had (benefits) you couldn’t get in jazz,” Gravatt told the St. Paul Pioneer Press. Only recently, after retiring from Lino Lakes, has Gravatt returned to his calling, again touring with McCoy Tyner and performing with his band, Source Code.

Details:

-Set starts at 9:00 pm (nightly)
-cover is $12

Location:
The Artists Quarter
408 St. Peter Street (downtown)
St. Paul, MN
(651) 292-1359
www.artistsquarter.com

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Nick Halley spent a year in Brazil studying percussion with masters Marcio Bahia, Oscar Bolao and Pedro Lima as well as performing with Viradouro, one of Rio’s top samba schools. He returned to New York City to attend The New School University’s jazz and contemporary music program, and entered into long-lasting musical friendships with some of the great young musicians in New York’s ever-evolving jazz scene. Nick tours and records with groups ranging in style from traditional Scottish and Irish to gospel, jazz, Brazilian and popular music.

He has performed with artists as wide-ranging as Oscar Castro-Neves, Paul Halley, Maucha Adnet, Chris Norman, Suzie LeBlanc, Theresa Thomason, Rhonda Larson, Café, and Jamey Haddad. When not on tour, Nick is currently based in Halifax, Nova Scotia apprenticed to his father, Paul Halley, as organist and choral conductor at the University of King’s College, St. George’s Anglican Church, and the Atlantic School of Theology.

He directs workshops in percussion, music theory, and Brazilian, North African, and South Indian rhythm. The new recording of original music, Barnum Hill, can be heard and purchased at cdbaby.com.

Artist: Nick Halley
Album: Barnum Hill
Released: October 21, 2008

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