Jazz – Eric Johnson Web http://ericjohnsonweb.com/ Thu, 20 Jan 2022 11:24:05 +0000 en-US hourly 1 https://wordpress.org/?v=5.8 https://ericjohnsonweb.com/wp-content/uploads/2021/05/cropped-icon-32x32.png Jazz – Eric Johnson Web http://ericjohnsonweb.com/ 32 32 The best new jazz albums: February 2022 https://ericjohnsonweb.com/the-best-new-jazz-albums-february-2022/ Thu, 20 Jan 2022 11:24:05 +0000 https://ericjohnsonweb.com/the-best-new-jazz-albums-february-2022/ Jazzwise’s February issue Editor’s Choice albums, featuring Mark Lockheart, Evan Parker, Georgia Cecile, Jane Ira Bloom and Allison Miller

James Beckwith


Bridging the gap

James Beckwith (p, syn, prod), Joe Downard (b), Harry Pope (d), Todd Speakman (perc) with Chelsea Carmichael (bcl, ts), Sheila Maurice-Grey (t, flhn), Sam Rapley (cl , ts), Joe Bristow (tb) and James Copus (flhn)

If the name of James Beckwith is not at the forefront of current media coverage of “the new thing in jazz“, a look at the credits of the interpreter of this second solo album shows how deeply he is rooted in the young London scene. However, Beckwith digs her own furrow: the album’s title checks her London postcode, but the sound owes more to the dense, bright sounds of LA and New York during the heyday of studio fusion in the late 1980s. 1970… Eddie Myer

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Brigitte Berah

Through the paved path

let me out

Brigitte Beraha (v, elect, p)

No one would recognize the horrors of the pandemic faster than Brigitte Beraha. But she also made the most of her possibilities. His response was Through the paved path, one of the most beautiful works of art to emerge from the wounds of the past two years… Andy Robson

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Jane Ira Bloom / Allison Miller

Tuesday Days

To present

Jane Ira Bloom (ss) and Allison Miller (d, perc)

The fact that she plays a supposedly non-melodic instrument does not prevent her from providing varied textures and grooves; indeed, one of the joys of the album is that, despite the totally free and unrehearsed joint improvisations, Miller’s pulse is still engaging and inspiring… Brian Priestley

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Georgia Cecile

Only the lover sings


Georgia Cécile (v) plus various staff including: Ryan Quigley

With 10 superbly crafted original songs, exceptional arrangements courtesy of Cécile’s longtime partner, pianist and composer Euan Stevenson, and a central vocal performance that blends passion, power and playfulness, this debut album is a stunning achievement. . Pierre Quinn

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Charged Particles with Tod Dickow

Live at Baked Potato! Charged Particles with Tod Dickow Play Music by Michael Brecker

Summit files

Tod Dickow (ts), Murray Low (ky), Aaron Germain (b), Jon Krosnick (d), plus Omar Ledezma (cga)

This is a very dynamic and ambitious live tribute to legendary saxophonist Michael Brecker, who sadly passed away at the age of 57 in 2007. The Bay Area jazzmen Charged Particle left as little chance as possible to prepare it: “We rehearse a lot,” frontman Jon Krosnick confirms. The core trio recruited tenor saxophonist Tod Dickow when the idea of ​​a Brecker tribute was floated a few years ago, and here it turns out to be a revelation. … Robert Shore

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Sinne Eeg & Thomas Fonnesbaek

To stay in contact

To delay

Sinne Eeg (v), Thomas Fonnesbæk (b), with Livestrings: Andrea Gyarfas Brahe, Karen Johanne Pedersen (vn), Deanna Said (vla), Live Johansson (clo) and Jesper Riis (string arr)

Eeg is a genuine jazz vocalist, quite capable of bold shifts and surefootedness in her vocal adventures. His control and intonation are perfect, his sound varying from quite melancholic on ‘The Long and Winding Road’, taken slowly, to resolutely upbeat on ‘Too Close For Comfort’, exultant and lively, his voice marked by a ‘coolly lustrous tone’ in the words of our own John Fordham… Pierre Vacher

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Marc Lockheart



Mark Lockheart (s), Elliot Galvin (p), (synth), (ky), Tom Herbert (b) and Dave Smith (b)

The statement is clear from the opening, the eponymous title track. Elliot creates an almost retro Kraftwerk vibe, but when complemented by Lockheart’s measured, resonant tenor, it gains a romantic ‘English’ filter, stirring memories of Bowie in Berlin. Smith and Herbert hold the line even as everything threatens to fall apart as we wait downwind of a dark, rain-soaked highway… Andy Robson

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Evan Parker

win win

Byrd out

Evan Parker (saxophone)

Recorded in the Walthamstow home where Victorian designer and socialist activist William Morris lived and worked – and dedicated to the memory of his friend and fellow improviser, guitarist John Russell – this latest solo recording by Evan Parker pays a personal tribute to the two artists. . Edwin Pouncey

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Emmanuel Wilkins

The 7th hand

blue note

Immanuel Wilkins (as), Micah Thomas (p, Mellotron), Daryl Johns (b), Kweku Sumbry (d, djembe), Farafina Kan Percussion ensemble: Agyei Keita Edwards (Djembe), Adrian Somerville Jr. (Sangban), Jamal Dickerson (Doundunba), Yao Akoto (Kenkeni) plus Elena Pinderhughes (f)

Following the buzz around his 2020 debut Omega released on Blue Note, 24-year-old Philadelphia-born and raised alto saxophonist-composer Immanuel Wilkins is raising the bar even higher with the same quartet for his latest release. The 7th hand. Much like his greatest hero Kenny Garrett, Wilkins on The 7th hand plays the alto with a deceptively wispy but soulful tone. Among other achievements, he delivers intricate solos with eloquent narrative development that remains consistently succinct and melody-driven… Selwyn Harris

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Lakers beat Jazz as reserves and youth lead them to biggest win of season https://ericjohnsonweb.com/lakers-beat-jazz-as-reserves-and-youth-lead-them-to-biggest-win-of-season/ Tue, 18 Jan 2022 15:03:00 +0000 https://ericjohnsonweb.com/lakers-beat-jazz-as-reserves-and-youth-lead-them-to-biggest-win-of-season/

It wasn’t LeBron James who saved the Los Angeles Lakers on Monday. It wasn’t even Russell Westbrook and his mop. No, in their biggest win of the season against a fully loaded Utah Jazz team that hovered near the top of the Western Conference for most of the season, the rally was led by the less accomplished Lakers. .

Frank Vogel used four reserves against the Jazz: an undrafted rookie (Austin Reaves), a 10-day signing (Stanley Johnson), a former lottery pick playing for the minimum in an effort to change his career (Malik Monk) and a third-year pro mired in trade rumors (Talen Horton-Tucker). These four players posted point differentials of plus-13 or better. They combined for 44 of the Lakers’ 101 points, and in the 15 minutes the foursome spent on the court with James, they outscored the Jazz by 18 points. It might not be a coincidence that they were the four youngest players to speak on Monday for Los Angeles, and as Johnson noted, that energy was the difference in the game.

“I just wanted to bring some energy to the game,” Johnson said. noted. “I feel like I finally got a deflection and finally got a loose ball and finally got some movement and assists and stuff like that. Once the energy comes into play, you’re kind of like, ‘I play with LeBron and Russ, it’s easy to play with them. So it’s like I just want to bring energy. If I bring energy, everything will be fine .”

That energy was felt on the glass, where Reaves and Johnson’s offensive rebounds in the fourth quarter kept the Lakers ahead and helped them wrap up the game, but Johnson’s skill was just as important. Johnson went to three-time Defensive Player of the Year Rudy Gobert in the pick-and-roll four times in three minutes in the fourth quarter Monday, and on each of the four occasions he scored. Those points were the backbone of a game-changing 17-4 fourth quarter streak.

“I think if you look at basketball the last two years, some teams have been able to attack it with smaller guys on the rebound,” Johnson said. Explain. James, one of the most prolific pick-and-roll ball handlers in NBA history, largely served as a filter through this critical streak. These play calls were James’ idea. “LeBron is a smart player,” Johnson said joked.

It certainly is, and historically it has also been quite active.

“I know the types of players I like to play with,” James noted after the win, and on Monday, the four reserves made a compelling case for bigger roles. All four play with huge stakes.

Johnson only has a 10-day contract and must continue to contribute if he plans to be re-signed for the remainder of the season. Horton-Tucker and Monk both battle for minutes in a backcourt that will only get more crowded when Kendrick Nunn returns. Horton-Tucker, as the team’s fourth-highest-paid player, is a strong trade candidate if he is ousted. If Monk does, he will lose significant value as a free agent this offseason. Reaves is still trying to prove he belongs in the NBA.

And in the team’s biggest game of the season, all four stepped up and helped lead the Lakers to a win. Being a Laker comes with significant pressure, and right now it’s the younger and less experienced Lakers who are carrying it out.

Jazz at Lincoln Center Orchestra with Wynton Marsalis performs at the McCallum Theater in Palm Desert https://ericjohnsonweb.com/jazz-at-lincoln-center-orchestra-with-wynton-marsalis-performs-at-the-mccallum-theater-in-palm-desert/ Sun, 16 Jan 2022 20:21:49 +0000 https://ericjohnsonweb.com/jazz-at-lincoln-center-orchestra-with-wynton-marsalis-performs-at-the-mccallum-theater-in-palm-desert/

The Jazz at Lincoln Center Orchestra with Wynton Marsalis (JLCO) features 15 of today’s top jazz soloists and musicians – and the band will perform at the McCallum Theater at 7 p.m., Saturday, January 23.

The show is presented thanks to the generosity of Wayne Prim.

Led by Wynton Marsalis, this remarkably versatile orchestra performs a vast repertoire ranging from original compositions and works commissioned by Jazz at Lincoln Center to rare historical compositions and masterpieces by Duke Ellington, Count Basie, Fletcher Henderson, Thelonious Monk , Mary Lou Williams, Dizzy Gillespie , Benny Goodman, Charles Mingus and others.

The Jazz at Lincoln Center Orchestra with Wynton Marsalis has been the resident orchestra of Jazz at Lincoln Center since 1988 and spends more than a third of the year touring the world. Featured in all aspects of Jazz at Lincoln Center’s programming, this remarkably versatile orchestra performs and conducts educational events in New York City, the United States and around the world.

In recent years, the Jazz at Lincoln Center Orchestra with Wynton Marsalis has collaborated with many of the world’s leading symphony orchestras, including the New York Philharmonic; the Russian National Orchestra; the Berlin Philharmonic Orchestra; the Boston, Chicago and London Symphony Orchestras; the Esperimental Orchestra of São Paulo, Brazil; and others.

Television broadcasts of Jazz at Lincoln Center programs have helped to broaden awareness of his unique musical endeavors. Jazz at Lincoln Center Orchestra concerts with Wynton Marsalis were broadcast in the United States; England; France; Spain; Germany; the Czech Republic; Portugal; Norway; Brazil; Argentina; Australia; China; Japan; Korea; and the Philippines. Jazz at Lincoln Center has appeared on several live XM Satellite Radio shows and eight live shows from Lincoln Center aired by PBS stations nationwide.

Jazz musician, trumpeter, composer, bandleader, arts advocate and educator, Wynton Marsalis helped propel jazz to the forefront of American culture. His prominent position in American culture was cemented in April 1997 when he became the first jazz artist to receive the Pulitzer Prize for Music for his work Blood on the Fields, commissioned by Jazz at Lincoln Center. In 2012, he was appointed Managing and Artistic Director of the world-renowned arts organization. He had been Artistic Director as well as Music Director of the Jazz at Lincoln Center Orchestra (formerly known as the Lincoln Center Jazz Orchestra) since its inception. In 2011, CBS Television named him a cultural correspondent. Since July 1, 2014, Marsalis has served as Director of Jazz Studies at The Juilliard School.

Please note that proof of vaccination is required for access to all performances at the McCallum Theater. Masks must be worn at all times, regardless of vaccination status. For up-to-date information on health and safety protocols, please visit www.mccallumtheatre.com.

Tickets for this performance are priced at $120, $95 and $55. Tickets are available at www.mccallumtheatre.com or by calling the McCallum Theater box office at (760) 340-2787. The McCallum Theater, located at 73000 Fred Waring Drive, Palm Desert CA 92260, accepts cash, personal check, VISA, MasterCard, Discover, and American Express.

The McCallum Theater box office, call center and website are the only authorized outlets for tickets to performances presented at the theatre.

Tickets purchased from other sources, such as brokers or secondary market websites, are purchased at the consumer’s own risk and cannot be guaranteed to be valid.

Tucson Jazz Festival returns with renewed emphasis on collaboration | Musical function https://ericjohnsonweb.com/tucson-jazz-festival-returns-with-renewed-emphasis-on-collaboration-musical-function/ Thu, 13 Jan 2022 07:03:43 +0000 https://ericjohnsonweb.com/tucson-jazz-festival-returns-with-renewed-emphasis-on-collaboration-musical-function/

After barely doing it in the early days of 2020, and being canceled last year, the Tucson Jazz Festival is scheduled in multiple venues from Friday January 14 through Sunday January 23. The festival returns with an expanded variety of styles, both indoor and outdoor shows, and a special jam day that delves into the heart of jazz.

Of course, this is happening as infection cases increase statewide and two headliners, Herb Alpert and Jon Batiste, have rescheduled. But there are still plenty of events and artists planned all over the city, at places like the Fox Theater, Hotel Congress and Rialto.

“Everyone on our lineup, I’m super excited, to be honest. We have some of the best performers. Unfortunately a couple had to postpone their performances, but we still have some fantastic musicians coming, ”said Khris Dodge, Executive Director of the Tucson Jazz Festival. “I think the festival has been cohesive enough to offer a wide range of different styles in the jazz idiom, and this year is no exception. We are working hard to provide options for different tastes.

Highlights include Grammy-winning artists like singer Dianne Reeves, guitarist Lee Ritenour, and songwriter Dave Grusin. Beyond individual artists, the Tucson Jazz Festival has also programmed complete groups and orchestras, such as the New Orleans Jazz Orchestra, the Spanish Harlem Orchestra, and Tucson’s Orkesta Mendoza.

Dodge says the goal of the Tucson Jazz Festival is to attract some of the best performers from across the country, but also to showcase the jazz of our city.

“We have some of the best in the country here in our own city, and we need to showcase and celebrate our wonderful local musicians, in addition to those we bring in from out of town,” said Dodge. “Both are definitely valuable. ”

New to the festival this year is the Tucson Jazz Festival Jam, scheduled for five to noon on Saturday, January 15 in the hotel’s convention plaza.

“I’m really excited about the outdoor jam, which features artists booked for the Fox Theater mingling with some of our top performers here in town, creating different bands on three different stages throughout the day,” Dodge said.

The long collaborative jam will give people the opportunity to listen to new combinations of performers. Due to its time, the audience can even listen a little, leave, come back, and there will still be new music being played.

“It’s something that happens at other jazz festivals. From an artist’s point of view, it’s really cool because you play with your own band all the time, and all of a sudden you get the chance to play with other great musicians that you wouldn’t normally have. the opportunity to meet, ”said Dodge.

On Monday January 17, Martin Luther King Jr. Day, the open-air Downtown Jazz Fiesta will be free to the public. The Jazz Fiesta features drummer and songwriter Kendrick Scott alongside the University of Arizona’s Fred Fox Jazz Ensemble.

While there are indoor and outdoor events planned, Dodge says there are currently no virtual components planned, which fits with the vivid, improvised nature of jazz.

“Over the past two years, we’ve been doing a lot of virtual. And that was wonderful and we needed it, but I also think as a community we need that live connection, ”said Dodge.

Due to the seemingly endless nightmare that is COVID, Dodge admits that schedule changes may be needed as the Jazz Festival approaches. However, participating sites are working with the safety recommendations and mandates of the City of Tucson and Pima County.

“The biggest part is that we believe in our community, and we want to uplift our community. The arts and music do that, ”Dodge said. “Of course, they don’t solve everything, but it’s a small piece of the pie that makes Tucson great. And if we can play a small role in improving our community, we will try to engage in any way we can. ”


Lee Ritenour and Dave Grusin. Two jazz legends team up for a special performance at the Fox Theater on Sunday, January 16. Over a five-decade career, guitarist Lee Ritenour has amassed 16 Grammy nominations through his technical fusion of jazz, pop, rock ‘n’ roll and world music. Dave Grusin has worked as a composer, record producer and pianist, and has produced several film scores. In an effort to spread the love of jazz, Grusin is also a co-founder of the National Foundation for Jazz Education, a philanthropic group dedicated to helping young jazz musicians.

Diane Reeves. Singer Dianne Reeves is known for wielding her voice like an instrument, delivering a rich tone as well as improvisation between jazz and R&B. Her work has earned her five Grammy Awards for Best Vocal Jazz Album, as well as an honorary Doctor of Music degree from the Juilliard School of Music. Reeves’ performance has been rescheduled until Friday, May 13 at the Leo Rich Theater at the Tucson Convention Center.

The Dave Stryker Quartet and the Eric Alexander Quintet. This ensemble performance brings together two collaborating musicians, each with their own group. Exhilarating guitarist Dave Stryker pairs his quartet with tenor saxophonist Eric Alexander’s quintet for a unique performance filling the Fox Theater stage on Friday, January 14.

Kendrick Scott. Drummer, songwriter and conductor Kendrick Scott has been named one of jazz’s most notable rising stars, performing on several Grammy-winning records. He has released several albums, both avant-garde and more traditional, and is currently working on the faculty at the Manhattan School Of Music. Scott will perform with the UA Fred Fox Jazz Ensemble headlining the Downtown Jazz Fiesta on Monday, January 17th.

Orkesta Mendoza. Tucson’s Orkesta Mendoza performs a special style of percussive fusion that could only really come out of the Old Pueblo. Dubbed “indie mambo,” Orkesta Mendoza’s great sound offerings draw inspiration from ranchera, cumbia, psychedelic music and more. Their unique music includes drums, accordion, keyboard, clarinet, guitar, saxophone, piano and several singers. Orkesta Mendoza performs at the Congress Hotel on Saturday January 22.

Sammy Rae and friends. Eight-strong, this collective is completed by a rhythm section, a brass section and several singers. Conductor Sammy Rae traces her influences everywhere, from classic rock to folk to jazz. All of this combines in a smooth but energetic performance with multiple intertwined melodies that remain dancing. Sammy Rae & The Friends will take the stage at 191 Toole on Tuesday, January 18. ν

For more information, full lineup and to purchase tickets, visit TucsonJazz Festival.org

Jazz, R&B and Sophistifunk: James Mtume’s Greatest Recordings | Music https://ericjohnsonweb.com/jazz-rb-and-sophistifunk-james-mtumes-greatest-recordings-music/ Tue, 11 Jan 2022 15:05:00 +0000 https://ericjohnsonweb.com/jazz-rb-and-sophistifunk-james-mtumes-greatest-recordings-music/

Kuumba-Toudie Heath – Baraka (1969)

Biological son of saxophonist Jimmy Heath, raised by James Forman, the accompanist of Dizzy Gillespie, James Mtume was raised in jazz. His first appearance on record was on the 1969 album Kawaida, credited to his uncle, drummer Albert Heath – and on subsequent reissues by Herbie Hancock or Don Cherry, both of whom performed there.

But, really, Kawaida is Mtume’s album: he wrote all but one of the tracks, and it was his interest in Maulana Karenga’s Pan-Africanist theories that informed the project. It ranges from intense free jazz to calmer modal releases: Baraka fits into this last category, a perfect introduction.

Miles Davis – Mtume (1974)

Mtume first rose to prominence as a percussionist in Miles Davis ‘early’ 70s band, which still sparked controversy decades later – for years it seemed no Davis documentary was. complete without someone, usually the critic Stanley Crouch, decrying them as crowded noise or cowardly surrender to commercial forces. It must be said, there are obviously more cowardly capitulations to the commercial forces than the music of the incredible Get Up With It of 1974, an album by Mtume is all over. Hear his congas float, as one writer put it, “like bats” during the mind-blowing, subdued and inspiring Duke Ellington tribute to He Loved Him Madly – but let’s go with the track named in his honor, that Mtume feeds.

Lonnie Liston Smith and the Cosmic Echoes – Sais (Egypt) (1974)

Saxophonist Sonny Rollins recorded it first, Mtume’s own 1977 version was 22 minutes long, but the best version of his Afrocentric jazz tribute to ancient Egypt might be from Lonnie Liston Smith’s Cosmic Echoes album. : a blissful eight-minute drift, fed by an insistent bass line, embellished with a soaring synth and electric piano.

Mtume – Umoja (1977)

As his career as an R&B songwriter and producer took off, Mtume released one last burst of spiritual and Afrocentric jazz, the album Rebirth Cycle. Never legally reissued and unavailable on streaming services, a bootleg or YouTube are your only real options, but it’s worth checking out: the long version of Sais is awesome, and the collection of shorter, influenced tracks. ‘soul on the second side – including Umoja – are fabulous, with the vocals of Jean Carne from Don’t Let It Go to Your Head.

Roberta Flack & Donny Hathaway – Together Again (1980)

Recruited for Roberta Flack’s band, Mtume made it a point to rekindle the singer’s relationship with his struggling duo partner Donny Hathaway, encouraging them to record his ballad The Closer I Get to You together. A huge hit in 1978, it paved the way for a 1972 Roberta Flack & Donny Hathaway follow-up album, but Hathaway’s erratic behavior caused Mtume to temporarily drop sessions: hours after recording her vocals on Back Together Again, Hathaway returned to his hotel and committed suicide. It seems extraordinary that such a transcendent, life-affirming piece of music could have emerged from such desperate circumstances, but Back Together Again is 10 minutes of euphoric disco joy.

Stephanie Mills – Never Known Love Like This Before (1980)

As the ’70s turned into the’ 80s, Mtume and her writing / production partner Reggie Lucas – another Miles Davis alumnus – turned singer Stephanie Mills into a Broadway star, who spent five years in the cast of The Wiz, a regular on the R&B charts. The four albums they’ve made with her are packed with highlights – What Cha Gonna Do With My Lovin ‘, Starlight, Two Hearts – but the commercial peak has been Grammy-winning Never Knew Love Like This Before: A Pillow mellow, richly orchestrated in the middle disco tempo, inspired by the birth of Lucas’ first child. A few years ago it was used, with heartbreaking effect, in the second series of Pose.

Mtume – So you wanna be a star (1980)

The debut album from Mtume’s own R&B project was about funk chic and luscious ballads – check out the often-sampled Love Lock – but the band really hit their stride as disco gave way to the more electronic sound of boogie. The climax of Mtume’s second album, In Search of the Rainbow Seekers, So You Wanna Be a Star mixes opulent strings, muffled brass and a chic guitar with a sharp, sharp synth. It would be intriguing to know if Mtume and Lucas had someone in mind when they wrote the lyrics, which apart from a celebrity on their way to a fall (“your entourage looks pretty fishy”): whatever the subject, the results are both sophisticated and cheeky.

Phyllis Hyman – You Know How To Love Me (1981)

Prior to joining Mtume and Lucas, Phyllis Hyman had worked with a succession of fantastic writers and producers – Skip Scarborough, Philip Bailey of Earth Wind & Fire and, on his heartbreaking anthem Loving You Losing You, Thom Bell. But the sound of You Know How to Love Me from 1981 is the definition of what Mtume called his ‘sophisticatedunk’ style: dancefloor rhythms, ‘pretty melodies’, a hint of jazz always lurking somewhere in the mix. It’s a question of whether the title song or Under Your Spell is the best thing here, but if the first deserved a much bigger hit – which was pretty much the story of the underrated career of Hyman – he’s right nonetheless has become one of his signature songs.

Mtume – Juicy Fruit (1983)

Mtume didn’t care much for the burgeoning hip-hop scene by loudly demanding in the late ’80s that sampled artists be paid, but that didn’t seem to stop people from sampling him: at last count, Mtume’s biggest hit – a ballad that reduced its sound to little more than a drum machine, synth, guitar scatter, and dubby echo – has been borrowed over 100 times, by everyone from Stetsasonic to Jennifer Lopez, but the most famous on the 1994 Notorious BIG crushes Juicy. Wrigley attempted to sue the track, before Mtume explained to their lawyers that the song had nothing to do with chewing gum – “it’s about oral sex” – an experience he described more late as “one of the highlights of my life”.

Mtume – New Face Deli (1986)

Mtume’s Theater of the Mind album was actually James Mtume’s farewell to the music industry. Almost entirely electronic, it sounded perfect for the moment, but the cynical lyrics, no doubt the work of a man who had grown up in the politically militant Black Power era, suggested someone who had had enough of the pop music scene. ’80s – MTV is coming for a bashing – and in fact the Reagan 80s themselves. New Face Deli finds him angry with plastic surgery as a “cop out,” perhaps with an eye on the biggest black star of the day – “who said a big nose was ugly?” Who Said There Is A Thin Nose? He turned to the theater the following year: the loss of R&B.

Five-game jazz cap trip with pit stop in Detroit https://ericjohnsonweb.com/five-game-jazz-cap-trip-with-pit-stop-in-detroit/ Sun, 09 Jan 2022 18:45:01 +0000 https://ericjohnsonweb.com/five-game-jazz-cap-trip-with-pit-stop-in-detroit/

January 8, 2022; Indianapolis, Indiana, United States; Utah Jazz goalie Donovan Mitchell (45) dribbles the ball while Indiana Pacers goalie Lance Stephenson (6) defends in the second half at Gainbridge Fieldhouse. Mandatory Credit: Trevor Ruszkowski-USA TODAY Sports

The Utah Jazz had a rough patch this weekend during their five-game trip. They will complete the trip in Detroit on Monday evening.

Utah started the trip with quality wins over New Orleans and Denver. The next two saves weren’t so successful, as the Jazz lost to Toronto 122-108 on Friday and Indiana 125-113 on Saturday.

“It’s a winnable game for us,” said Jazz guard Donovan Mitchell. “We shot ourselves in the foot with too much stuff. We knew what we had to do, but we weren’t there to do it.

Mitchell did all he could offensively, providing 36 points and nine assists. He did not play the day before due to a back injury.

Utah has played without its defensive pillar, center Rudy Gobert, who is in league health and safety protocol. Forward Joe Ingles is also in protocol, but Mitchell didn’t want to use that as an excuse.

“If we want to be a champion team, we have to do it every night, and we didn’t (Saturday),” said Mitchell. “I know we didn’t have Joe and Rudy, but it was a winnable game for us.”

In Toronto, turnovers were a big factor as the Jazz entered 21 to nine for the Raptors. Toronto converted these freebies into 28 points.

The Pacers entered an attacking pace early on, scoring 33 points in the first quarter. They shot 55% from the field for the game. Domantas Sabonis scored a career-high 42 points without Gobert to patrol the interior.

“They had a player at Sabonis who had a great night,” Utah coach Quin Snyder said. “We tried to do a lot of different things against him. Around the basket, he was so efficient. … We were trying to help and obviously struggled to get it under control.

The Jazz will reach the middle of the season on Monday. Their 28-12 record is the third best in the Western Conference behind Phoenix and Golden State.

Detroit is headed for the lottery again. The Pistons have the second-worst record in the league, despite recording their eighth victory on Saturday. The 97-92 triumph came at the expense of the team behind them in the standings, the Orlando Magic.

The Pistons were blown away on their previous two outings in Charlotte and Memphis.

“They have to grow up. That’s where we are, ”said Pistons coach Dwane Casey. “I was proud of the way our guys came in (Saturday) and competed and closed.”

Detroit kept a slim lead over the Magic in the dying minutes. The game was not decided until Orlando missed a potential 3-point pointer and Cory Joseph made two decisive free throws.

“We needed it,” said forward Saddiq Bey. “We came out of two difficult games. They did a run on the stretch. We had to make sure we got together and finished the game.

Detroit had eight players in protocol over the past two weeks, and all but one have returned. The Pistons were led on Saturday by Hamidou Diallo with 17 points and Trey Lyles and Bey with 16 apiece. Diallo and Bey were the only rotation players who did not test positive for the virus.

This is the first of two meetings between Utah and Detroit this season. The Pistons will visit Salt Lake City on January 21.

–Field level media

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Jazz vs Raptors – Match Recap – January 7th, 2022 https://ericjohnsonweb.com/jazz-vs-raptors-match-recap-january-7th-2022/ Sat, 08 Jan 2022 03:07:46 +0000 https://ericjohnsonweb.com/jazz-vs-raptors-match-recap-january-7th-2022/

TORONTO – – Fred VanVleet had 37 points, 10 rebounds and 10 assists in his first career triple-double, OG Anunoby scored 22 points and the Toronto Raptors overcame a 17-point deficit to beat the disadvantaged Jazz digital 122-108 Friday night, ending Utah’s 10-game winning streak on the road.

Pascal Siakam scored 17 points, Chris Boucher had 13, Scottie Barnes had 11 and Gary Trent Jr. added 10 as the Raptors extended their winning streak to five and ended a three-game losing streak against Jazz.

Eric Paschall scored a career-high 29 points, Elijah Hughes set a career-high 26 and Jared Butler scored 17 for the exhausted Jazz, who didn’t have eight regulars.

VanVleet has scored 30 or more goals five times in the last seven games.

He scored 24 points in the third quarter, when he shot 8 for 8, made his three 3-point attempts and had three rebounds, three assists and two steals. He scored 17 consecutive points in Toronto at once.

VanVleet completed his triple-double with a lob assist to Precious Achiuwa with 2:01 left in the fourth.

Utah came 14-3 away, tied with Brooklyn for the NBA’s best road record. It was Utah’s first road loss since Orlando defeated them 107-100 on Nov. 7.

Absent from Utah included Rody Gobert and Joe Ingles, who are part of the health and safety protocols. Donovan Mitchell (back), Mike Conley (right knee) and Bojan Bogdanovic (left finger) did not make the trip to Toronto.

Other absences included Rudy Gay (right heel), Royce O’Neale (right knee) and Jordan Clarkson (back).

Hassan Whiteside returned for the Jazz after missing the previous three games while in concussion protocol.

Forward Danuel House and center Norvel Pelle each made their jazz debut after signing hardship contracts 10 days earlier in the week.

Paschall scored 17 points in the first quarter, eclipsing his previous season’s record of 13 points, and Malik Fitts conceded a 3 at midfield as Utah took a 40-25 lead after one.

Toronto shot 2 for 11 with 3 points in the first, then 3 for 15 from a distance in the second. Jazz led 62-49 at halftime.

A Hughes 3 gave Utah an 84-70 lead with 4:43 left in the third, but VanVleet responded with a 15-0 run, giving Toronto their first lead since the game’s opening basket. VanVleet scored 17 straight points for the Raptors and finished the quarter with a long 3 as Toronto took a 94-92 lead in the fourth.


Jazz: Blow 7 for 13 from a range of 3 points in the first quarter. … Hughes shot 7 for 12 on 3 points, the two best scores in his career, and added eight rebounds.

Raptors: F Svi Mykhailiuk returned after missing the previous two games while in health and safety protocols. … F Yuta Watanabe (health and safety protocols) missed his third consecutive game. … Toronto signed a second 10-day difficulty contract with F DJ Wilson.


Jazz: Visit Indiana on Saturdays.

Raptors: Hosts New Orleans Sunday.


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Famous owner of New Orleans’ Preservation Hall jazz club Sandra Jaffe dies at 83 https://ericjohnsonweb.com/famous-owner-of-new-orleans-preservation-hall-jazz-club-sandra-jaffe-dies-at-83/ Thu, 06 Jan 2022 00:33:45 +0000 https://ericjohnsonweb.com/famous-owner-of-new-orleans-preservation-hall-jazz-club-sandra-jaffe-dies-at-83/

JTA – Sandra Jaffe, a Jewish woman who, along with her husband, ran one of New Orleans’ top jazz clubs for decades and joined the club before segregation ended, died on the month last at 83 years old.

Jaffe and her husband, Allan, were considered pioneers and protectors of jazz in the city that gave birth to the genre, although they landed in the city of Philadelphia as the musical style was threatened by more recent forms. like rock and roll. Their club, Preservation Hall, has hosted renowned jazz musicians. The Preservation Hall Jazz Band, the club’s touring group, have recorded with major artists such as Pete Seeger, Tom Waits and Louis Armstrong.

“There is no doubt that Preservation Hall saved New Orleans jazz,” George Wein, an influential jazz promoter who died earlier this year, told Vanity Fair in 2011 of the club.

Jaffe was born Sandra Smolen in Philadelphia in 1938 to Jewish parents who immigrated to the United States from Ukraine. She graduated from Harcum College in 1938 and married Allan Jaffe in 1960. Returning from their honeymoon in Mexico, the couple stopped in New Orleans, where they strolled through an art gallery for hear a band play jazz. The couple were fascinated by the music and decided to stay a few more days to hear the band perform again.

“On their way back to Philadelphia, they stopped in New Orleans and, like others before and after, found themselves swept away by the beauty, romance, excitement, mystery, freedom, l ‘history, unstable affairs and the charm of the city,’ the Jaffes, ‘wrote the sons in an obituary posted on the Preservation Hall website.

When they visited the gallery a few days later, the owner, Larry Borenstein, told the couple he was moving the gallery next door and offered them the space for $ 400 a month. Although they had no experience running a club – and despite Sandra’s parents expecting the couple to return to Philadelphia – they decided to rent the space and opened Preservation Hall in 1961.

“We didn’t come to New Orleans to start a business, or have Preservation Hall, or save music,” Sandra told Vanity Fair in 2011. “We just came to hear it.”

After starting the club together, the Jaffes had their first son, Russell, in 1969, after which Sandra stopped working. She did not return to work at the club until 1987, when Allan died of melanoma at the age of 51. Their second son, Ben, returned to work at the club after graduating from college in 1993.

Sandra Jaffe outside Preservation Hall, the revered New Orleans jazz club she co-founded with her husband Allan. (Danny Clinch via JTA)

In the decades since the hall’s inception, countless locals and tourists alike have descended on the small hall to hear a rotating cast of musicians. Spectators line up outside to hang on to one of the banquettes inside the rustic interior where musicians and the audience share an intimacy closer to a living room than a performance hall .

Children are often seated on the floor directly in front of the musicians, who alternate between playing music and telling jazz stories or answering questions from the audience. Crumbling plaster walls, worn hardwood floors and the random assortment of paintings add to the simple and healthy vibe and stand in stark contrast to the atmosphere of daiquiri and flashing neon lights on Bourbon Street a few more homes away. low.

Sandra Jaffe, who along with her husband, Allan, owned and managed Preservation Hall since the early 1960s, stands with her son, Ben, as they welcome guests to the first show at the historic venue in 15 months since the lockdown of the coronavirus, Thursday, June 10, 2021, in New Orleans. The guest, right, is crossing his fingers in hopes the music and touring are back for good. (Chris Granger / The Times-Picayune / The Advocate via AP)

According to the obituary posted on the Preservation Hall website, the club was the first integrated hall in New Orleans, in defiance of the Jim Crow laws still in effect before the passage of the Civil Rights Act of 1964. Sandy Jaffe was arrested once for breaking the segregation laws still in effect at the time.

Speaking to the Crescent Jewish Times, a local New Orleans Jewish newspaper, about his involvement in a local Shabbat jazz festival in 2015, Ben Jaffe said his mother saw music as a way to bring communities together. and his parents, both of observant Jews. communities, valued the maintenance of Jewish traditions.

“In many ways it’s a continuation of my parents’ vision to unify communities through music,” he said.

Ben recalled his bar mitzvah at one of the local synagogues as “one of the most diverse bar mitzvahs ever attended for service in New Orleans” because of all the jazz musicians in attendance.

“We spent a lot of time in churches performing for different functions,” Ben Jaffe told the Baltimore Jewish Times in 2013. “I think in New Orleans it was just a natural extension of [my parents’] Jewishness [by them] get involved in the African American community.

Like other concert halls in New Orleans, Preservation Hall has been closed due to the coronavirus pandemic. It reopened in June but is closed again for a few days amid a nationwide resurgence of the virus.

Sandra Jaffe was on hand for the reopening in June, hugging the local musicians who showed up to perform.

AP contributed to this report

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Watch Pelicans vs. Jazz: TV channel, live broadcast info, start time https://ericjohnsonweb.com/watch-pelicans-vs-jazz-tv-channel-live-broadcast-info-start-time/ Tue, 04 Jan 2022 03:10:00 +0000 https://ericjohnsonweb.com/watch-pelicans-vs-jazz-tv-channel-live-broadcast-info-start-time/

through 3 quarters

There is only a quarter left between the Utah Jazz and the victory they were meant to achieve before tonight. Neither team has the game up, but Utah leads 82-77 over the New Orleans Pelicans.

Point guard Mike Conley has led the way so far for the Jazz, with 18 points and six assists as well as seven boards. One thing Utah has against them is the foul issue: Rudy Gobert, Royce O’Neale, and Rudy Gay all made fouls.

New Orleans is counting on the performance of center Jonas Valanciunas, who has 21 points in addition to six rebounds. A double-double would be Valanciunas’ third in a row.

New Orleans wasted 88% of the time when it was down before the fourth quarter of this year, so this one looks pretty much over

Who plays

Utah @ New Orleans

Current records: Utah 26-10; New Orleans 13-23

What there is to know

The Utah Jazz have enjoyed the comforts of home in their last two games, but now they have to hit the road. They will face the New Orleans Pelicans at 8 p.m. ET Monday at the Smoothie King Center. The Jazz should win again but hope to live up to expectations this time around.

Utah fell to the Golden State Warriors last Saturday, losing 123-116. Center Rudy Gobert put in a good effort for the losing team with a double-double with 20 points and 19 rebounds.

Meanwhile, New Orleans was supposed to have a hard time last Saturday, and that’s exactly how it turned out. 2022 “greeted” them with a 136-113 beating thanks to the Milwaukee Bucks. Shooting goaltender Nickeil Alexander-Walker just couldn’t get the ball rolling, playing for 26 minutes with a 4-for-16 shot.

This next competition looks promising for Utah, which is favored by 10 points. This might not be the best time to face Utah ATS as they’ve let punters down in the last two games in a row.

Utah is now 26-10 while the Pelicans are 13-23. The Jazz are 6-3 after losing this year to New Orleans 9-13.

How to watch

  • When: Monday at 8 p.m. ET
  • Or: Smoothie King Center – New Orleans, Louisiana
  • TV: ATTSN Rocky Mountain
  • Online broadcast: fuboTV (Try free. Regional restrictions may apply.)
  • To follow: CBS Sports app
  • Cost of the ticket: $ 7.21


The Jazz are a 10-point favorite against the Pelicans, according to the latest NBA odds.

The punters had a good idea of ​​the line for this one, as the game opened with the Jazz as the 10.5-point favorite.

Over / Under: -110

See the NBA’s picks for each game, including this one, of SportsLine’s advanced computer model. Get choices now.

History of the series

Utah has won 16 of its last 23 games against New Orleans.

  • November 27, 2021 – Utah 127 v New Orleans 105
  • November 26, 2021 – New Orleans 98 vs. Utah 97
  • March 01, 2021 – New Orleans 129 vs. Utah 124
  • January 21, 2021 – Utah 129 v New Orleans 118
  • January 19, 2021 – Utah 118 v New Orleans 102
  • Jul 30, 2020 – Utah 106 vs. New Orleans 104
  • January 16, 2020 – New Orleans 138 v Utah 132
  • January 06, 2020 – Utah 128 v New Orleans 126
  • November 23, 2019 – Utah 128 v New Orleans 120
  • March 06, 2019 – Utah 114 v New Orleans 104
  • March 04, 2019 – New Orleans 115 vs. Utah 112
  • October 27, 2018 – Utah 132 v New Orleans 111
  • March 11, 2018 – Utah 116 v New Orleans 99
  • February 05, 2018 – Utah 133 v New Orleans 109
  • January 03, 2018 – New Orleans 108 v Utah 98
  • 01 Dec. 2017 – Utah 114 v New Orleans 108
  • March 27, 2017 – Utah 108 vs. New Orleans 100
  • March 06, 2017 – Utah 88 vs New Orleans 83
  • February 08, 2017 – Utah 127 vs. New Orleans 94
  • March 05, 2016 – Utah 106 v New Orleans 94
  • February 10, 2016 – New Orleans 100 vs. Utah 96
  • December 16, 2015 – New Orleans 104 v Utah 94
  • Nov 28, 2015 – Utah 101 v New Orleans 87

New Orleans injury report

  • Brandon Ingram: Decision during the match (Achilles)
  • Tomas Satoransky: absent (Covid-19)
  • Zion Williamson: absent (foot)
  • Kira Lewis Jr .: Out for the Season (knee)

Utah injury report

  • Hassan Whiteside: absent (concussion)
  • Eric Paschall: Out (Staff)
  • Udoka Azubuike: Out (ankle)
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Warriors survive Jazz behind Stephen Curry’s 28 https://ericjohnsonweb.com/warriors-survive-jazz-behind-stephen-currys-28/ Sun, 02 Jan 2022 05:49:24 +0000 https://ericjohnsonweb.com/warriors-survive-jazz-behind-stephen-currys-28/

Steph Curry breaks his own NBA record by scoring three points for 158th game in a row

Stephen Curry scored 28 points, delivered 9 assists and broke another NBA record to bring the visiting Golden State Warriors to a 123-116 victory over the Utah Jazz on Saturday night January 1 (Sunday January 2, Manila time) at Salt Lake City.

Curry hit 6 of 12 deep to break his own NBA record, scoring three runs for the 158th straight game.

Curry scored 12 points in the fourth quarter as the Warriors recovered from an eight-point deficit – after relinquishing a 16-point lead in the second half – to overtake the Jazz.

Andrew Wiggins scored 25 and Otto Porter Jr. added 20 for the Warriors, who played without Draymond Green (health and safety protocols).

Rudy Gobert led the Jazz with 20 points and 19 rebounds, while Donovan Mitchell, Bojan Bogdanovic and Jordan Clarkson also scored 20 each.

Utah shot 43.5% against 53.5% for the Warriors, ending a six-game winning streak. The Jazz were on the second night of a straight set, after beating Minnesota on Friday. Golden State had not played since Tuesday.

The Warriors took a five-point lead after trailing eight points earlier in the fourth quarter, but the Jazz tied 111-111 on a Bogdanovic three-man.

Curry then hit a jumper and a three-point pointer to give the Warriors their five-point lead before the last minute. Andre Iguodala hit a triple key in the last minute and Curry sealed the win on the free throw line.

Mitchell, now in his fifth season, has entered the list of the top 10 all-time scorers in jazz history.

Gary Payton II, who played junior college basketball at Salt Lake Community College, started the second half with an alley-oop dunk from Kevon Looney for a 66-50 lead.

The game then took a crazy turn.

In 49 seconds, the Jazz scored eight straight goals out of three from Conley and Royce O’Neale followed by a basket from Bogdanovic. Conley finished the run 10-0 35 seconds later, bringing the Jazz under six.

Curry did a 30-foot triple to stop that Jazz push, but the home team recovered. Utah had a 19-5 run to take a five-point lead it maintained until the fourth quarter.

Utah went up eight after a Conley trey early in the fourth quarter, but the Warriors attacked the basket with Gobert taking a break and scoring seven in a row to set up the home and back finish. – Rappler.com

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