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THE NEW YORK AMSTERDAM NEWS R T S & E N T E R T A
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April 21, 2022 - April 27, 2022 • 23
WILL CALHOUN AT SISTA’S PLACE, J3 OPUS 1 The drummer, composer, cultural historian activist, Will Calhoun personifies stage originality; a new arrangement, a nuance of African rhythms, an added instrument from the Motherland along with his exuberance to consistently take audiences on his personal journeys of unchartered sounds. On April 23, the Will Calhoun OF Ensemble will bring another perspective of this music to Sista’s Place (456 Nostrand Avenue, Brooklyn). Part of the Central Brooklyn Jazz Festival. Two sets at 9 p.m. and 10:30 p.m. The OF Ensemble will include bassist Rachiim Ausar-Sahu, sax and flute Jay Rodriguez, pianist Hector Martingon, trumpeter J.S. Williams, and Calhoun on drums and percussion. This is the drummer’s first gig as a leader since the pandemic. “Like Randy Weston I was born in Brooklyn and introduced to Sista’s Place by bassist Reggie Workman,” said Calhoun. “I felt it was time to have my own show at Sista’s.” Calhoun is dedicating his performance to the memory of his good friend of more than 35 years the bassist Charnett Moffett, who transitioned on April 12, and his native-born Brooklynite pianist and composer Randy Weston: “He was my mentor, who discussed with me the significance of Africa’s music and its culture,” stated Calhoun. “Randy kept the language in his music on and off the stage.” Calhoun’s love for the music inspired him to research various drumming techniques and indigenous percussive instruments in Mali, Senegal and Morocco where he was able to venture into the hills to study with the elders. The Moroccan musician Hassan Hakmoun, who specializes in Gnawa music and spent time (performing and recording) in New York City was the first person to invite Calhoun to Africa where he played in the Gnawa Festival. One musician he was most honored to meet was Senegalese drummer, composer Doudou Ndiaye Rose, who was the recognized modern master of Senegal’s traditional drum, the sabar. It was Max Roach who first brought Rose to Calhoun’s attention. During the African Fête Festival in 2007, he
than Butler, among others. Jamie, who will be attending Berklee College of Music in the fall, calls the drums her number one instrument as she effortlessly plays bass and guitar. Her varied influences include percussionist Sheila E., Stevie Wonder, Kora ColemanDunham, P.J. Morton and Kendrick Lamar. “It’s important for me to be able to play different genres of music so I can remain versatile,” explains Jamie. Jaden, who originally began collaborating with the other 2 J’s on social media, cites bassist Derrick Hodge as a mentor. His favorites include Robert Glasper, Moonchild, and Snarky Puppy. He has already recorded and toured with Gospel stars Israel Houghton and Fred Hammond and is the music director for student ministries at T.D. Jakes’ The Potter’s House. “I play the drums, bass guitar, piano, guitar, cello, tenor trombone, bass trombone, and I’ve just started Will Calhoun (Photo courtesy of Gretsch Drums) messing with trumpet and accormet the master drummer in Sene- six are originals; their big sound dion,” said Jaden. “I have many gal and had an opportunity to visit of a quintet or septet stems from influences for these instruments his home. Calhoun noted their them being multi-instrumen- that keep me going and inspire meeting and the conversations talists. Jamie is adamant about me to do better!” The first time the that followed were enlightening not being categoand always inspiring. “Anytime he rized or placed in a performed in New York City I was box and her broththere, Hunter College, Symphony er strongly agrees. Space or Hostos College, and he Well, it’s very difwas always incredible,” said Cal- ficult to be placed houn during a phone interview. in a box when you His repertoire will include a mix are writing and of tunes by Thelonious Monk, producing the maJackie McLean and Mongo Santa- jority of the tunes maría (who he recognizes as one of and playing multithe great percussionists of the 20th ple instruments on century), a few originals, music of each cut. On this the African ancestors, the inser- debut outing J3 tion of speeches by both Dr. Martin are defying genre Luther King Jr. and Malcolm X and structure bridging the introduction of a few indige- the influences of nous percussion instruments. pop, jazz, hip hop, For reservations call 718-348- and gospel. 1766 or visit the website sistasJustin considers the piano as his teen trio joined forces live was in place.org. main instrument while also play- 2020 at the NAMM (National Assoing bass, guitar (which he says he ciation of Music Merchants) conEvery year publicists send out picked up during the pandemic), vention in Anaheim, California, press releases on their latest art- harpejji and the talk box. “The pi- where an instant friendship was ists. Most are filled with fluff and anists that have influenced me the sparked. With their recent release, accolades of great proportion. most are Bob James, Herbie Han- they are making efforts to meet However, this time the debut art- cock, Chick Corea, George Duke, more in person although some of ists J3 on their new release “Opus Oscar Peterson, Cory Henry, their practices remain virtual. 1” (Shanachie Entertainment) are Art Tatum,” says Justin. “I am a “Opus 1” pays homage to the hitting all the right notes. The trio straight-ahead jazz guy but I love King of Pop Michael Jackson and consists of Justin-Lee Schultz (age mixing it all up and that’s what innovative jazz pianist Chick Corea 15), his sister Jamie-Leigh Schul- J3 is all about.” In 2020, Justin’s and Grammy award winning labeltz (age 18) (both born in South recording debut on Shanachie, mate keyboardist Jeff Lorber. Africa, now residing in Los An- “Gruv Kid,” landed at #1 on iTunes “Chick Corea was one of the artgeles), and Jaden Baker (age 16) Jazz and featured such stellar ists whose music was constantliving in Dallas, Texas. guests as Bob James, Pieces of a ly played at our house. The main J3 delivers 11 tracks of which Dream, Gerald Albright and Jona- challenge of doing ‘Got A Match?’
for this album was putting everything together on the spot. It was tough but everything came together nicely at the end,” explains Jamie. J3’s rendition of Corea’s “Got a Match?” (first recorded in 1986 on the album “The Chick Corea Elektric Band”) is an exciting voyage with Justin playing a mean piano, sister Jamie holding down the drums and Jaden hittin’ bass. Jaden says, “Chick touched so many hearts through his music and by being the person that he was.” Justin admitted he is totally obsessed with Michael Jackson. The album opens with M.J.’s “Don’t Stop Til You get Enough”—J3’s interpretation boosts Justin’s soft piano riffs and his guitar ramp, Jaden’s melodic bass, and subtle but swingin’ drums from Jamie. My favorite is “Vibe Cleanse,” a fresh soul hip hop strut reminiscent of the rap group Digable Planets. Justin playing piano, Fender Rhodes and keyboards, with Brandon Rose kicking the rap with positive vibes, “What they going to say when we all live in peace.” Jaden’s electric bass was right in the grove with Jamie playing the hip undertones. The track was composed and arranged by Justin and his father Julius Schultz (a guitarist and Justin’s main music influence), and lyrics by Brandon Rose. “Opus 1” ends with an M.J. medley of “Remember the Time,” “Love Never Felt Like This,” “Don’t Stop Til You Get Enough” and “PYT.” The tunes are jumping, a little electric R&B soul with addition of the talk box. No parking on the dance floor on this one, get up. Jaden composed, produced and arranged “Look to the Sky” and “Justice” while Justin and his father collaborated on most of the others, except for Justin’s “Junebug.” Jazz is spontaneous, it moves and grooves. “Opus 1” is all that—a joyful compilation of music from J3, a young teenage group exploring the music and themselves at the same time. They are playing, composing and writing the innocence of jazz. It’s a rollercoaster ride digging a life that most of us forgot but this jazz story jumping genres inserting multiple instruments and laughing all the way to the gig and back is well worth listening to dancing to and just remember the time. It’s more than jazz, it’s teens making jazzy mischief. Great music for the times we are in, dig.
