11 minute read
» Jazz
EUGENIE JONES, NEW AMSTERDAM, WESTONISM
The singer/songwriter Eugenie Jones, who doesn’t perform in New York City enough, will return to debut her new two-set CD, “Players,” during a three-day stand in various sections of the city; on April 1 at Pangea (178 2nd Ave.) on Manhattan’s lower eastside; April 2, Harlem’s Cloak Room (126 Hamilton Place, 142nd Street), the cozy spot dates back to when Harlem was better than heaven and cocktail bars like this were dimly light for intimate jazz stylings. On April 3, Jones closes out at noted jazz club, The Jazz Forum (1 Dixon, Tarrytown, N.Y.).
Her repertoire will primarily consist of songs from “Players.” “I’m very tenacious about doing what it takes to achieve an aspiration. In many ways this CD is a continuation of my last two recordings in that it only contains songs that truly resonate with me, namely hardswinging songs, earthy emotive ballads, and uplifting songs of inspiration. These themes consistently flow through all my recordings.”
For the three-day performances she will be joined by an allstar cast: pianist Jason Yeager, bassist Lonnie Plaxico and percussionist Bobby Sanabria (latter two musicians are also on CD).
This “Players” 15-track doubleCD has been an adventurous labor of love that was four years in the making (including through COVID19 delays). Jones independently produced and recorded on her own Open Mic Records label. She recorded in four cities within the United States—New York City, Dallas, Seattle and Chicago. Her 32 established musicians called on to play in the various cities included NEA Jazz Master Reggie Workman (her mentor and fan); archetypal elder trombonist Julian Priester (who’s played in the bands of Max Roach, Duke Ellington, and Herbie Hancock); drummer Bernard “Pretty” Purdie, trumpeter Marquis Hill, trombonist Jovan Johnson, pianist James Wideman and bassist Stanley Banks. These outstanding players join the singer on her magical tour as they swing standards by Irving Berlin, Billy Strayhorn, George Gershwin, and Nina Simone, and 10 of Jones’ original compositions.
Having resided in Seattle for some time, Jones was born and raised in Morgantown, West Virginia. Her singing career began later in life after the death of her mother in 2008. “At one stage of my grief, I recognized a void, a void I attributed to missing the sound of my mother singing. Seeking solace and a positive way forward, I found myself wondering if I could carry on that part of her.” That speculation led Jones to the Seattle jazz scene and ultimately to the pursuit of something she had never before imagined—a singing career.
“As a lifelong learner in pursuit of being better today than I was yesterday,” she says, “I will always look to answer that internal question of ‘what’s next?’”
For tickets and information, email eugeniejones@gmail.com or call 347-733-8326.
On April 7 the New Amster-
dam Musical Association (107 W. 130th St.) presents vocalist Keith A. Dames and the Richard Clements Quartet in a birthday tribute to Billie Holiday entitled “Happy Birthday Lady Day: Paying Homage To Billie Holiday,” at 7 p.m.
The pianist Clements is a protégé of the late NEA Jazz Master Barry Harris. His quartet will include the consummate go-to bassist Curtis Lundy, guitarist Daryl Pooser and drummer John Cooksey. Although Clements has played with such notables as Charlie Persip, Clifford Jordan, Abbey Lincoln and Archie Shepp during his stay in Paris, he remains a great but under-rated pianist. Dames, a Billie Holiday aficionado, began singing at The New Amsterdam Musical Association, and progressed to The Apollo Theater, Metropolitan Room, and Club Bonafide.
The show, produced by SeMad Productions, will feature special guest vocalists Steph Walker, Mel Greenwich, and Michael Morgan. All vocalists and instrumentalists are welcome to sit in.
During a time in history when America was committed to segregation and inequality the NAMA was founded in Harlem in 1904. It is the oldest African American musical organization in the United States. Its formation was in response to the American Federation of Musicians Local 310 not accepting Black musicians. The association was booming from 1904 to 1970; it was the only place musicians had to socialize. After the building’s purchase (at its current location) it also became a rooming house for out-of- town Black musicians since they weren’t allowed to rent in downtown hotels. It was a headquarters where they could exchange ideas, make contacts for engagements, and enjoy social events. The Kansas City Musician’s Foundation, originally home to the Black Musicians’ Protective Union Local 627 A.F. of M., is the second oldest Black musicians’ union founded in the 1930s. Like NAMA it is still active at its original address in Kansas City known for its all-night jam sessions. A $10 suggested donation is requested at the door and $5 donation for students and seniors, cash only. RSVP, masks & temperature checks will be required. Contact NAMA at 212281-1350, 347-746-9749 or email namaharlem@gmail.com.
The pianist/composer and NEA
Jazz Master Randy Weston kept us close to our ancestors with his longstanding group African Rhythms. In celebration of his birthday and musical contribution, his long-time percussionist Neil Clarke will pay tribute to him at the Iridium (1650 Broadway), on April 7, Neil Clarke Trio Plus: Westonism.
For this unique memorial outing Clarke will be joined by his former band mate bassist Alex Blake, vibraphonist Bryan Carrott and Khuent Rose on steel pan. During the 90minute set, the band will play Weston’s music from another perspective but with his spirit dancing in the midst of the ancestors.
“I had the pleasure of playing with Randy for many years and the percussionist beat was most important to him, the sound of the African drum, as he noted, was the soul of the community; the melodic beats spread news, celebrated birthdays and weddings,” said Clarke. “Randy was one of the few jazz bands that always included African percussion.” Clarke went on a musical journey around the world studying many forms of drumming from Africa to Cuba, Haiti and the Dominican Republic. During his instruction in Africa with the elders Neil was acknowledged with the title of Chief Baba Neil Clarke.
Clarke and his tight knit group were all inspired by Weston and with the addition of the steel pan, the music of the NEA Jazz Master is sure to swing in the heart of the African diaspora.
For tickets visit the website https://bit.ly/cbnciridium2022 or call 212-582-2121.
Eugenie Jones (Steve Korn photo)
Continued from page 15
years of legacy between our Anitas, my Anita is not dependent on it. She celebrates what was and what is and what can be, how we move forward, so it is historical. It’s overwhelming because I could see Rita tonight. It was really special to be able to see her sort of willing me to say what I wanted to say. And I think the other layers, I’m an openly queer woman of color and not for nothing. That’s frickin’ awesome, you guys. So I’m the second Latina to win an acting award. I’m Afro Latina. I’m an openly queer woman of color, and I think that just proves that there’s space. There’s space for us, and it’s a beautiful moment to be seen, and I’m really honored by that. AmNews: Have you seen Rita since your win?
DeBose: No, I hadn’t. I have not spoken to her yet. I’m really hoping I can catch her at the Governor’s Ball, but we did have a beautiful moment on the carpet. And she just said, “Are you ready? You are in for the ride of your life, and I’m rooting for you.” And I think that’s—I don’t know, that type of support, it is, I don’t know, it’s everything, it’s generationally between actresses. You know, the industry has changed so much, and, quite frankly, her existence has opened many doors, not just for me, but for many women in this industry, many Latinas, and I don’t know. It makes me really happy to be able to stand beside her because she’s not alone anymore. People don’t talk about that. When you are the first of something, it’s lonely. It’s lonely. I mean, at least that’s what I’ve learned sometimes. So it’s really, I don’t know. It’s a privilege and it’s an honor to be the person that gets to stand beside her. And guess what? We are ready and waiting for more folks, so, because there’s space. Let’s go.
Ariana DeBose taking a selfie after winning the Oscar for Actress in a Supporting Role during the live ABC telecast of the 94th Oscars at the Dolby Theatre at Ovation Hollywood in Los Angeles, on Sunday, March 27, 2022 (Richard Harbaugh / A.M.P.A.S. photo)
Eleanor Roosevelt and a Woman Voice to Human Dignity
“Certain rights can never be granted to the government but must be kept” -attributed to Eleanor Roosevelt
Women’s History Month, Dedicated to recognizing women in our beloved land.
In my quest to listen and speak for the voices of women I encountered the voice of Eleanor Roosevelt. Mrs. Roosevelt said the following:
“The fundamental purpose of feminism is that women should have equal rights with every other citizen “
What does Mrs. Roosevelt’s voice say to me?
Certain rights:
Eleanor Roosevelt employs the word, “certain”. This is reminiscent of the Ninth Amendment in our constitution’s Bill of Rights, or highest laws, where the exact expression, “certain rights” is presented verbatim.
With these words, Mrs. Roosevelt is making it known that there are definitely rights existing. In addition, we can take this to mean that these definite rights are among other rights, but they are not being specifically identified.
Next, Eleanor Roosevelt is emphatic and definitive, but she is also ostensibly well versed on the issue regarding provenance of rights. She reminds the audience those rights will always carry the potential of being granted. She imposes her position and tells us that at no time presently or in the future can these rights be transferred or delegated to by to the government.
This reflects that Eleanor Roosevelt understood that the issue was not only holding onto these rights, but also preventing these rights from remaining in the hands of our leaders.
In other words, certain rights must not only be retained by an individual, but these rights must also be protected from our leaders. Furthermore, in reminding the audience that certain rights can be granted to the government, Mrs. Roosevelt reminds them that a government can, in effect, have derived powers founded on rights granted from individuals. This is effectively the uniqueness of our founding principles and our Ninth Amendment law of our Bill of Rights that epitomize this spirit.
We are the only country in the world where the system is based on rights, in the form of power, that was initially transferred or moved in the direction of leadership as the destination. In other countries, rights are transmitted in the direction of the individuals. There, individuals receive rights from laws such as a constitution, a leader, or some other deferentially revered entity.
Since the powers of kings were separated from one governing power into three separate powers, we must infer that Mrs. Roosevelt speaks of government as now comprised of our presidents, our law makers, and our courts. Not only does Article I of our constitution, or founding laws, tell us that powers to be held by our leaders are granted to our leadership thus eliminating our leaders as a source of our rights, Mrs. Roosevelt further asserts that government is not to have the reservoir of all our rights to use as just power for ruling over us.
In other words, these rights are not to be surrendered to our leaders they are to be guarded.
This means that no one is giving us these rights. Rather, we hold and contain these rights and the issue is whether we surrender or relinquish these rights or embrace them with careful intention of not allowing them to be lost or taken away.
These words resonate necessity. For these rights are self-evidently essential to a degree whereby it is necessary that they are to be held back from leaders. The sense of necessity is revealed in the connotation of Mrs. Roosevelt’s use of the word, “must”. Mrs. Roosevelt might have employed should or ought. Instead, she selected an emphatic helper verb that stresses not only necessity, but in many ways, there is correspondence with an impression of duty.
In fact, kept further elucidates that our leaders depend on the source of their power as the rights that emanate from earh individual human life. For the audience comprehends that there are rights to be held back from the hands and interference of leadership by the individuals being governed, and these rights would continue to be kept, or retained, by each of those individual lives.
Some say Mrs. Roosevelt’s words produce concern regarding her advocacy of human rights but I find that Mrs. Roosevelt’s voice is partly an echo of the laws in our Ninth Amendment imposed upon our leaders, but our leaders have categorically refused to obey, or rather uphold.
I recognize in Mrs. Roosevelt’s words that some rights were expected to no longer be under the influence and control of the managers and our public affairs, and no longer under rules or laws emanating as regulations of presidents, legislative law makers, and precedents of our courts. In other words, we are expected to have some rights that are outside the ambit of each of our leaders. Mrs. Roosevelt’s words in this regard are supported by our highest laws that are contained in the Ninth Amendment, but the description “kept” is replaced by the word, “retained”.
Around the world some say, “No one is above the law”. Mrs. Roosevelt’s words inform there are some areas in our lives where the laws or other acts and actions produced by our presidents, our elected officials, and our courts are below each living human life that is endowed by our Creator with natural rights that a human must retain for our presidential executive powers, our Congress, and our courts to be able to legitimately make rules and create agencies that influence any human life.
