Arts and Culture

Since I last checked-in much of my time has been spent attending arts and culture events. I have also continued snapping pictures (one of which-the Alvin Ailey banner is mine) and caught up on a couple of Woody Allen films, Cassandra’s Dream and Melinda and Melinda. But even more enjoyable over the last few weeks I have had my pick of some serious Jazz and stage performances. During the last few weeks there has been an Ella Fitzgerald birthday celebration, and the 12th annual Virginia Arts festival taking place here is the seven cities. When it came in deciding which shows to attend my eyes were bigger then my stomach so I had to make decisions on what events to attend. Just to give an indication of the level of entertainment that blew through here the following is a list of artist I didn’t get the pleasure of checking out; Dave Brubeck (yeah that Dave Brubeck), Foreplay with Bob James, Kathleen Battle, and the Ramsey Lewis Trio. Again, that’s who I didn’t get to see.




For the last two years or so when I make my annual winter track to NYC, I tell myself that I’m going to plan it around seeing a performance of the Alvin Ailey American Dance Theater. Of course like many things for one reason or another this plan has fallen by the wayside, largely because of late I seem to find myself lost in a sea of dreads in Flatbush section by day, and dipping into Jazz clubs, in the Ft. Greene section of planet Brooklyn at night. So immersed in BK that when I get back to VA I find myself shouting out “718,” knowing I’m not from there (see Joell Ortiz on that.) So needless to say, when I saw that Alvin Ailey was scheduled to appear at this years Virginia Arts Festival, getting lost in Brooklyn was no longer an excuse. When I eyed the calendar I realized that the show would be on a weekend that I had my babies, perfect, this is mandatory exposure for them. As I see it they may not appreciate or understand certain things that I expose them at the time, but at some juncture down the road, inshallah, a light will turn on. The hope is that I can somehow provide them with a foundation for appreciation of art, if not now, maybe later in their lives.

Ok, normally the only time I wear a tie is when I have dealings with the Judicial System, which over the last two years has been a bit too often. But this was a Sunday, the theater, and an Alvin Ailey performance, and dressing to kill was quite necessary. I must say my Wiz had my daughter looking as cute as I have ever seen her, and my son and I, actually looked as if we had a bit of class. After being groomed it was off the theater.

I have to say from the opening curtain until the end of the performance based entirely on reputation I expected to be blown away. I must say however the first piece, Firebird, although enjoyable did not capture me. Not to mention the worst of all fates for a dancer occurred as one of the performers actually fell mid-way through the performance. The next piece, The Golden Section, was filled with high energy. What I found interesting about this performance was their use of the wings of the stage. A good portion of the dancing was stage left or right not center stage.

As this is the 50th anniversary of the Alvin Ailey theater we were privileged to see them perform their signature piece Revelations. This was without a doubt worth the price of admission. One cannot help but be mesmerized by the vibrant colors and the fluid movements of the dancers. The strength and elegance of their bodies is absolutely phenomenal. Not only are you lurid in by the dancing, and the accompanying gospel music has you dancing along in your seat. My daughter was absolutely engrossed in the performance which is saying something because normally I can’t her to sit still or be quiet for anything. My son seemed to enjoy it as well, so hopefully the seed of an appreciation for arts and culture has indeed been planted.

Much of modern interruptive dance can often be very dense in deciphering, Revelations, however, is accessible without losing quality or emotion. It’s theme of course is the refection of Black American struggle through the prism of the church. But it also conveys the universal desire and struggle for “betterness” in humanity, as the Honorable Robert Nesta Marley would say.


The week prior to this was adult night. April 19th through the 25th The Ferguson Arts Center at Christopher Newport University held their 11th annual Ella Fitzgerald music festival. Like I said earlier had to make a decision on which show I was going to attend which was no easy process. After going through the list which included the likes of Dave Brubeck, Bob James, and Ramsey Lewis, I decided on the show the featured Al Jarreau. Two reasons I made the choice I did; Cassandra Wilson and Cindy Blackman. Don’t get me wrong, I have been listening to Al Jarreau since probably 83 or 84, but the chance to see both of those ladies made the decision a little easier.

I stumbled across Cassandra Wilson years ago while reading the Jazz Times and found her voice to be quite sultry, and her appearance quite attractive. I After reading the article I grabbed a couple of her albums and have been a fan ever since. Consequently I had been itching to see her live for quite some time. But outside of a Jazz Festival years ago in D.C, I never really had the opportunity to catch her.
On record her voice is sultry and warm much like the feeling one feels when snuggled in a warm blanket, in front of a fire, with a good book, and glass of wine. Although the beauty of her voice comes through live, the smoothness of it served more of a lullaby then capturing vocal experience. For me the best part of the show was when her band opened playing Duke Ellington’s Caravan. They kept the core of the original but layered it more with Arabic sounds making it one of the best renditions of the song I have ever heard.

Cassandra’s pianist, John Baptiste, went into an upbeat crowd pleasing solo after the other members of band had exited from the stage upon completion of Cassandra’s set. Baptist’s solo captured the crowd more then Cassandra’s entire performance which turned out to be the perfect segue way for Al Jarreau's entrance.

Prior to Cassandra almost putting me to sleep, Cindy Blackman provided a mouth watering opening to the show. My first exposure to Cindy came when she began drumming for Lenny Kravitz. Cindy’s style is still bad ass rock n roll but her music is all Jazz. Her band was tight, at times they sounded like something from a Bitches Brew era Miles Davis, while at others like the “gentle side” of John Coltrane. Cindy directed her band flawlessly. Her bass player did all the heavy lifting holding the melodies of each song, while Cindy and her saxophonist took turns soloing. To me their sound dialogued so well with the past that if you closed your eyes you got the feeling you walked into a band jamming at the Five Spot circa late 50’6 to early 60’s. I imagine even Stanley Crouch would have enjoyed this performance.

From the moment AL Jarreau hit the stage it was obvious he is a veteran who has perfected craft. His voice was immaculate, his stage presence absorbing, and his personality intoxicating. He acted a fool telling joked and interacting with the crowd in a way that never interrupted the show, but in fact, enhanced the entire experience. I was completely blown away. The words fail me in articulating how well Al sounds in person. I can only recommend that if you have the chance to hear him that you not hesitate to go.

I must say living outside of a large metropolitan area it can be quite exhausting to locate venues with consistent, real, jazz music. Unlike say NYC, I can’t just head downtown and walk into a place like Blue Note or Frank’s Place and catch real jazz musicians in a jam session. Recently the city of Suffolk closed down the only viable Jazz club in the area. Besides periodic events like The Ella Fitzgerald birthday celebration, real Jazz music in this area is at a premium to locate. All of which leads me to a bit of a rant. In June across the water the annual ‘Hampton Jazz Festival” is set to take place. Problem is there is no organic Jazz to speak of on the bill. Here is the line up to play over three days time; Gladys’s Knight, Boney James with Jonathan Butler, Raheem Devaughn, Chrisette Michele, Jill Scott, Kenny G, KEM, Maze, Joss Stone, and Dave Koz with Peabo Bryson.

First of all how the f&#k did Joss Stone find her way on this bill? Secondly, and more importantly, where is the jazz!!! If you are thinking or going to argue Kenny G is jazz then I have no further words for you. Kenny G is to Jazz what, well, what Joss Stone is to soul music, a horrible, uninspired, imitation. Yeah, yeah, one can make a somewhat viable argument that Boney James and Dave Koz are jazz. But all too often their work approaches the elevator friendly music of Kenny G. But more to the point, even if those two artist qualify as Jazz, the concerts are suppose to be part of a “Jazz festival”, but only highlight two questionable Jazz acts.

I have lived in the area since ‘84 and it has always been this way. I think that it is past time for them to reconsider the title of this event. Maybe the “Hampton Soul Fest, or “Hampton R & B Festival” would serve as a better title. I mean in a place starving for true Jazz, labeling this event as a “Jazz Festival” serve only to further frustrate the search for legitimate Jazz in this area.

Aiight I’m out.