NYC Winter Jazzfest presents:
with Ron Carter, Sheila Jordan & Louis Hayes
Sun January 12th, 2020
Minimum Age: 18+
Doors Open: 5:00PM
Show Time: 6:00PM
Event Ticket: $45
Day of Show: $55
Winter Jazzfest celebrates Detroit’s jazz history and the legacy of late trumpeter Marcus Belgrave. The evening begins with a conversation led by author and historian Mark Stryker on the rich history of Detroit Jazz. Vocalist, composer, producer Joan Belgrave (widow of Marcus Belgrave) will present the vocal segment of this journey swinging with her Detroit Sound Ensemble. Then the Marcus Belgrave Legacy Ensembleperforms with Marcus Belgrave’s protégés Robert Hurst, Karriem Riggins, JD Allen, Dwight Adams, Theo Croker, Kelvin Sholar, and Ali Jackson. Next performing the Detroit Jazz Royalty Ensemblecomposed of Jazz Masters Ron Carter, Louis Hayes and Sheila Jordan joined with Detroit-born pianist Johnny O’Neal. Closing will once again be Marcus Belgrave’s protégés in the ensemble “Taking it Forward” with Robert Hurst, Karriem Riggins, Ali Jackson, JD Allen, Dwight Adams, Theo Croker, Greg Glassman, Kevin Sholar, and joined by Kassa Overall.
TABLE SEATING POLICY
Table seating for all seated shows is reserved exclusively for ticket holders who purchase “Table Seating” tickets. By purchasing a “Table Seating” ticket you agree to also purchase a minimum of two food and/or beverage items per person. Table seating is first come, first seated. Please arrive early for the best choice of available seats. Seating begins when doors open. Tables are communal so you may be seated with other patrons. We do not take table reservations.
A standing room area is available by the bar for all guests who purchase “Standing Room” tickets. Food and beverage can be purchased at the bar but there is no minimum purchase required in this area.
All ticket sales are final. No refunds or credits.
From Detroit To The World: Celebrating The Jazz Legacy of Detroit and Honoring Marcus Belgrave
Marcus Belgrave is Detroit’s internationally recognized jazz trumpet great. He came to prominence in the late 50’s, touring and recording with the late great Ray Charles’ Orchestra, at the height of Ray’s hit-making era. Marcus is heard as a trumpet soloist on some of Ray’s most famous “hits”… both albums and singles. He always pays tribute to Ray, who mentored him from the young age of 19. He is the only living member of Ray Charles’ small band horn section. He was also mentored by the Great Clifford Brown. Clifford’s early influence on the young Belgrave can still be heard in his tone. Belgrave then spent the early 60’s spearheading the modern jazz movement in New York working and recording in the bands of such major innovators as Charles Mingus, Eric Dolphy and Max Roach. Many of these classic recordings (on Atlantic, Columbia and other major labels) have now been re-issued on CD. Belgrave moved to Detroit in the early 1960’s to join Motown Records as staff trumpeter, (playing on most of the Motown hits. Marcus has established himself as Detroit’s foremost jazz musician. He was recently awarded the singular title of the official Jazz Master Laureate for the City of Detroit., as well as a fifty thousand dollar Kresge 2010 Eminent Artist award for his 46 years of service to the young musicians of Detroit. His performances encompass the history of jazz musical styles…. from early New Orleans, to Swing, Bebop and on, to the latest contemporary sounds. Marcus continues to tour and record in the world’s major jazz centers. He was an original member of the Lincoln Center Jazz Orchestra. Marcus has performed the music of Louis Armstrong to ovations with Symphonies across America. He was a featured soloist as part of the Detroit Jazz Master’s concerts with the Lincoln Center Jazz Orchestra at Frederick Rose Hall in New York, A concert that included other Detroit Jazz Master’s Yusef Lateef, Ron Carter, Curtis Fuller, Charles McPherson, and his protégé’ Geri Allen., Always the teacher, Marcus continues to mentor the “next generation” of jazz musicians. His protégés include the who’s who of young jazz musicians: violinist, Regina Carter, bassist, Robert Hurst, saxophonist, Kenny Garrett, pianist Geri Allen, saxophonist James Carter, guitarist, Ray Parker Jr., drummer Ali Jackson, the list goes on and on. Marcus Belgrave, Jazz Master, Mentor.
RON CARTER is among the most original, prolific, and influential bassists in jazz history, with more than 2,200 albums to his credit, an accomplishment honored in the 2015 Guinness Book of World Records. He has recorded with greats including: Tommy Flanagan, Gil Evans, Lena Horne, Bill Evans, B.B. King, the Kronos Quartet, Dexter Gordon, Wes Montgomery, and Bobby Timmons, Jaki Byard, Eric Dolphy and Cannonball Adderley.
From 1963 to 1968, Ron was a member of the classic and acclaimed Miles Davis Quintet. He was named Outstanding Bassist of the Decade by the Detroit News, Jazz Bassist of the Year by Downbeat magazine, and MVP by the National Academy of Recording Arts and Sciences. He earned two Grammy awards, one in 1993 for Best Jazz Instrumental Group, and another in 1998 for Call Sheet Blues from the film Round Midnight.
Raised in poverty in Pennsylvania’s coal-mining country, Jordan began singing as a child and by the time she was in her early teens was working semi-professionally in Detroit clubs. Her first great influence was Charlie Parker and, indeed, most of her influences have been instrumentalists rather than singers. Working chiefly with black musicians, she met with disapproval from the white community but persisted with her career. She was a member of a vocal trio, Skeeter, Mitch And Jean (she was Jean), who sang versions of Parker’s solos in a manner akin to that of the later Lambert, Hendricks And Ross.
After moving to New York in the early 50s, she married Parker’s pianist, Duke Jordan, and studied with Lennie Tristano, but it was not until the early 60s that she made her first recordings. One of these was under her own name, the other was “The Outer View” with George Russell, which featured a famous 10-minute version of “You Are My Sunshine”.
In the mid-60s her work encompassed jazz liturgies sung in churches and extensive club work, but her appeal was narrow even within the confines of jazz. By the late 70s jazz audiences had begun to understand her uncompromising style a little more and her popularity increased – as did her appearances on record, which included albums with pianist Steve Kuhn, whose quartet she joined, and an album, Home, comprising a selection of Robert Creeley’s poems set to music and arranged by Steve Swallow.
A 1983 duo set with bassist Harvie Swartz, “Old Time Feeling”, comprises several of the standards Jordan regularly features in her live repertoire, while 1990’s “Lost And Found” pays tribute to her bebop roots. Both sets display her unique musical trademarks, such as the frequent and unexpected sweeping changes of pitch, which still tend to confound an uninitiated audience. Her preference to the bass and voice set led to another remarkable collaboration with bassist Cameron Brown, whom she has been performing with all over the world for more than ten years so far and they have released the live albums “I’ve Grown Accustomed to the Bass” and “Celebration”. Entirely non-derivative, Jordan is one of only a tiny handful of jazz singers who fully deserve the appellation and for whom no other term will do.
Louis Sedell Hayes was born May 31, 1937 in Detroit Michigan. He was always surrounded by music, actually first starting with the piano, before his father gave him a set of drums at age 10. A cousin noticed his talent, took him under his wing and made sure that his approach to the instrument would serve him well. And well it did, for after developing his skills in the fertile musical ground of Detroit in the 1950’s with the likes of Yusef Lateef, Kenny Burrell, Doug Watkins and others, Louis found himself at the tender age of 18 in New York as a member of the great Horace Silver Quintet. His first recording with Horace, the classic Six Pieces Of Silver would introduce him to the jazz world as a new force to be acknowledged.
Louis continued to enhance his reputation with Horace from 1956 until 1959 when he joined Cannonball Adderley where he propelled the quintet to joyous musical heights and timeless recordings through 1965. He joined piano master Oscar Peterson from 1965-67 during which time he and bassist Sam Jones became known as the “dynamic duo”, recognized as the most powerful rhythm duo in jazz. Louis would rejoin Oscar in 1971 for a year.
For the next decade or more he became leader or co-leader of a series of electrifying groups which included musicians such as Freddie Hubbard, Kenny Barron, Junior Cooke, Woody Shaw and Dexter Gordon. Louis also spent several years touring with McCoy Tyner. The Louis Hayes Group with Herald Mabern and Frank Strozier culminated four years of artistry with the album; Variety Is The Spice which received five stars, truly an accomplishment during a period when his style of hard driving, “bebop” was less preferred. He continuously traveled throughout the United States, Europe and Japan making musical history wherever he performed.
Louis has played and recorded with jazz greats such as John Coltrane, Thelonious Monk, J J Johnson, Sonny Rollins, Jackie McLean, Wes Montgomery, Joe Henderson, Cedar Walton, George Benson as well as Ravi Shankar, John Lee Hooker and others.