Dallas, Austin, Houston, San Antonio, Etc. Jazz & Other Concerts

[JSngry]

I am going to make a good effort to get up there for this. But travel to Denton from here to get there by downbeat means leaving anywhere from 90 minutes up lead time. Perpetual construction, perpetual traffic stoppages. Not a fun trip...

And even what used to be the "back way" is a mess now. This area continues to expand northward, and traffic is easily outpacing expansion of roadways.

Still, I really do want to hear him and this band. so...we'll see.

[kh1958]

Yes, probably have to head that direction starting at least at 6. So maybe.

[Steve Reynolds]

1 hour ago, JSngry said:

I am going to make a good effort to get up there for this. But travel to Denton from here to get there by downbeat means leaving anywhere from 90 minutes up lead time. Perpetual construction, perpetual traffic stoppages. Not a fun trip...

And even what used to be the "back way" is a mess now. This area continues to expand northward, and traffic is easily outpacing expansion of roadways.

Still, I really do want to hear him and this band. so...we'll see.

My trip to NYC is short mileage wise but it’s usually 75 minutes minimum. Brooklyn can be 90 minutes easy on a rainy day/night. Last night I left work early at 4:30 and was parked by 5:45. Then I relaxed until the set. Free parking when you get there early in Manhattan.

Only 1 set at The Stone for I think about 3 years but I choose wisely as the music needs to be worth the drive/time, etc. It’s also a good time to listen to more music. Last night was a very good decision. 

Jazz Gallery has 2 sets but most of the venues that host the music I prefer are 1 set events these days so again I try to choose wisely.

Word has it that when Tyshawn player the Jazz Gallery, with what I believe is the band he’s touring with, they played a 2 hour continuous set. Big buzz about that show. I sure wish I chose that night. Plus it was sold out and packed solid. 

[JSngry]

I'm been getting older lately, and I wake up around 5 AM because my day job starts @ 6:30 AM and even with a full rest, getting up still sucks. I'm no longer able of being the Sleepless Warrior I used to be.

However, I think I'm going to be able to make Big Ears in 2020, so hoping to get my mojo back by then. This Denton thing might be a good place to start the training regimen.

[JSngry]

43 minutes ago, kh1958 said:

Yes, probably have to head that direction starting at least at 6. So maybe.

Since the venue is (probably) actually on campus, I'd advise calling ahead about what the parking options are for non-students. When I went up there for the Truesdell thing, I did that, and was glad I did, because it would not have been nearly as easy as I would have thought. Then again, few things ever are...

[Steve Reynolds]

15 minutes ago, JSngry said:

I'm been getting older lately, and I wake up around 5 AM because my day job starts @ 6:30 AM and even with a full rest, getting up still sucks. I'm no longer able of being the Sleepless Warrior I used to be.

However, I think I'm going to be able to make Big Ears in 2020, so hoping to get my mojo back by then. This Denton thing might be a good place to start the training regimen.

Plus if you go they better be great:)

The band of it's the same one are all young musicians - two saxophones, piano & bass.

[JSngry]

11 minutes ago, Steve Reynolds said:

The band of it's the same one are all young musicians - two saxophones, piano & bass.

Exactly. And Sorey's compositions interest me more than a little. The opportunity to hear this group playing these things interests me more than a little. So, the spirit is definitely willing. Just gotta get the flesh on the same page.

[Steve Reynolds]

18 minutes ago, JSngry said:

Exactly. And Sorey's compositions interest me more than a little. The opportunity to hear this group playing these things interests me more than a little. So, the spirit is definitely willing. Just gotta get the flesh on the same page.

Often it’s the same thing here. For the late shows - especially now that I’ve been going to Dead related things - (Phil Lesh’s Groups, Dark Star Orchestra & JRAD), those shows start ~ 8:30 or even 9:00 and the 2 full sets can go to 12:30 or so.

My wife and I saw JRAD (Joe Russo’s Almost Dead) @ Metropolitan Opera House in Philadelphia on Friday September 27th. 3 hour drive from Wayne, NJ with traffic. We got there by 7:45 or so. Show started at 9:05 and with the encore ended close to 1:15. At least no traffic going home. Home @ 3:30 A.M.

YES - I took that Friday off and had a nice 2 hour nap to prepare for the drive and the show. And yes for that night I chose wisely. Second set was incredible for what they were doing. Russo is just about the best rock drummer I’ve ever seen. 

But NO he is not quite Tyshawn Sorey and he is NOT Randy Peterson.

Edited October 24, 2019 by Steve Reynolds

[kh1958]

2 hours ago, JSngry said:

However, I think I'm going to be able to make Big Ears in 2020, so hoping to get my mojo back by then. This Denton thing might be a good place to start the training regimen.

Great! Looking forward to it.

[JSngry]

My daughter has this Monday & Tuesday day off, and she wants to come along just out of curiosity. I told her sure, if she'd help with the driving if need be, and she was all, like, yeah, no problem (she's a road dog now like I was when I was her age). So barring weather trauma or something equally disadebillitating, weema gonna see Tyahawn!

[kh1958]

I'm hoping to make it there also.

 

MAR14

Jennifer Koh, violin + Vijay Iyer, piano & composer

Public

 · Hosted by The Cliburn and The Modern Art Museum of Fort Wort

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  The Modern Art Museum of Fort Worth 3200 Darnell St, Fort Worth, Texas 76107     Hosted by The Cliburn   Message Host   ticket   Tickets www.cliburn.org   Find Tickets Discussion                   Details   “She is a tireless champion of new music, but is also a nimble enough artist to hop among repertory staples and world premieres with stunning ease.” — The New York Times “There’s probably no frame wide enough to encompass the creative output of the pianist Vijay Iyer.”— The New York Times Recognized for intense, commanding performances, delivered with dazzling virtuosity and technical assurance, violinist Jennifer Koh is a forward-thinking artist dedicated to exploring a broad and eclectic repertoire, while promoting diversity and inclusivity in classical music. She was named 2016 Musical America Instrumentalist of the Year, won top prizes at the Tchaikovsky Competition and Concert Artist Guild Competition, and received an Avery Fisher Career Grant. She has expanded the contemporary violin repertoire through a wide range of commissioning projects and has premiered more than 70 works written especially for her. In spring 2018, she launched Limitless, a project celebrating the collaborative relationship between composer and performer; duo commissions are played by Koh and the composers themselves. Her partner for this special Cliburn debut is leading-edge composer-pianist Vijay Iyer, whose 22 remarkably diverse recordings have earned him top-album accolades from the likes of The New York Times, Los Angeles Times, Chicago Tribune, Rolling Stone, and NPR; ECHO Klassik Awards; and a Grammy nomination, among other honors.

[JSngry]

I have this by Jennifer Koh and enjoy it very much (should probably have more than just this one....

Tickets are $25.00, not at all unreasonable, and that might be some very stimulating music. And on a Saturday afternoon too!

[kh1958]

November 2, 2019: Dr. L Subramaniam, Westlake Community Performing Arts Center, Austin

                                James Carter, James Francies, Wortham, Houston

                                Anjan Saha  (Sitar}, Pt Arup Chattopadhyay (Tabla), Allen Public Library

                                 Bnois King, Larry Lampkin, E.J. Matthews, Sons of Hermann Hall, Dallas

November 8, 2019: Mr. Sipp, Guitar Sanctuary, McKinney

November 10, 2019: Sean Jones, McKinney Performing Arts Center

November 13, 2019: Kingfish Ingram, Gas Monkey Bar and Grill, Dallas

November 15, 2019: Miguel Zenon, Duet, Tulsa

                                   Jason Marsalis, Walton Arts Center, Fayetteville, Arkansas

November 22, 2019: Kara Grainger, Six Springs, Richardson

November 26, 2019: Gary Smulyan/One O'Clock Lab Band, Winspear, Denton

December 14, 2019: Mike Stern/Jeff Lorber Fusion, Dosey Doe, Houston

December 15, 2019: Mike Stern/Jeff Lorber Fusion, One World Theater, Austin

December 31, 2019: Lucky Peterson, Poor David's Pub, Dallas

January 10, 2020: Stanley Clarke, One World Theater, Austin

January 17, 2020: Andrew Cyrille Quartet, McCullogh Theatre, Austin

                              James Weidman, Cezanne, Houston

January 18, 2020: James Weidman, Cezanne, Houston

January 25, 2020: Branford Marsalis, Wortham, Houston

January 29, 2020: Hiromi, Arlington Music Hall, Arlington

January 31, 2020: Hiromi, Dosey Doe, Houston

                              Fred Hersch Trio, Walton Arts Center, Fayetteville, Arkansas

February 15, 2020: Joey DeFrancesco, Arlington Music Hall

February 29, 2020: Vijay Iyer Sextet, Wortham, Houston

March 4, 2020: Lila Downs, Paramount Theater, Austin

March 6, 2020: Lila Downs, Jones Center, Houston

                         Marc Ribot, Chaplin's The Kid, McCullough Theatre, Austin

March 7, 2020: Lila Downs, Winspear Opera House, Dallas

March 20, 2020: Messenger Legacy Band (Bobby Watson (alto sax), Essiet Essiet (bass), Geoff Keezer (piano), Brian Lynch (trumpet), Bill Pierce (tenor sax) and Ralph Peterson (drums)), Walton Arts Center, Fayetteville, Arkansas

March 21, 2020: Dafnis Prieto Big Band, Wortham, Houston

March 26-29, 2020, Big Ears Festival, Andrew Cyrille, Anthony Braxton, Aurora Nealand, Christian Scott, Harriet Tubman, Jason Moran and the Harlem Hellfighters, Marc Ribot,, Mdou Moctar, Moonlight Benjamin, Myra Melford, Peter Brotzmann, Shabaka and the Ancestors, Steve Coleman and Five Elements, The Necks, Knoxville, Tennessee

April 3, 2020: Fred Hersch Trio, University of Texas at Dallas

April 17, 2020: Miquel Zenon, Wortham, Houston

April 18, 2020: Dave Douglas with the Texas Jazz Orchestra, Bates Recital Hall, Austin

April 23-26, 2020: New Orleans Jazz and Heritage Festival

April 30-May 3, 2020: New Orleans Jazz and Heritage Festival

May 2, 2020: Christian Sands, Carver Center, San Antonio

May 16, 2020: Brubeck Brothers, Wortham, Houston

May 17, 2020: Brubeck Brothers, One World Theater, Austin

August 28, 2020: Stanley Jordan Trio, Arlington Music Hall

Edited November 1, 2019 by kh1958

[JSngry]

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating,

By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating.

Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages  of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything.

Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with  "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative.

One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through.

Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

 

[Steve Reynolds]

11 minutes ago, JSngry said:

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating,

By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating.

Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages  of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything.

Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with  "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative.

One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through.

Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

 

Nice to read your comments. I’ve never seen a 2 hour continuous performance by any jazz/improv ensemble. I’ve also never heard any of the young group of musicians within this group. I’m sure at least one or more of them with effort will develop some sort of distinctive individuality which is often the last thing to come for many of these very talented young improvising musicians - if it comes at all. I like that Tyshawn is working with young guys/girls. As you know he also records and plays with many dudes/dudettes that have acquired those individual qualities. I’ve seen him with Mary Halvorson & Jon Irabagon as one example and his interplay especially with Mary was mind-blowing. I’m also becoming more interested in modern jazz based composition. As far as the NYC people I’m most familiar with we have Matt Mitchell, Ingrid Laubrock, Mary Halvorson, Kris Davis, Taylor Ho Bynum and others have created some extraordinary composed works with massive amounts of improvised music incorporated into those structures - music that I’ve heard live and on record that are brandy new, exciting and groove and move like jazz is supposed to.

An artist I’m not that familiar with, Harris Eisenstaedt, is another who is creating new structures - I saw a Nonet of his a few years back that included Nate Wooley, Jeb Bishop & Sara Schoenbeck (to name 3 incredibly talented and distinctive improvising musicians) - that played a continuous suite that was less than an hour - probably not more than 45 minutes. It was subtly spectacular and thoroughly unique. If I was able to see more live performances I’d experience even more of what is happening. I probably still prefer freely improvised live music but even that strain of music has and is undergoing shifts and changes that might seem minor but in retrospect are not.

Plus their was a generation before them including Gerry Hemingway, Ellery Eskelin, Tim Berne, Tony Malaby, Etc. all of whom created (some of who are still creating vibrant works - especially Berne). 

So glad you went. Plus beyond everything else, Sorey is simply one of the greatest drummers on the planet and maybe the most powerful sounding one at that.

[kh1958]

1 hour ago, JSngry said:

Really enjoyed the Sorey gig last night, in spite of Berliner appearing to have an equipment malfunction that took her out of commission for the last half hour or so of a more or less two hour, non-stop set. Don't know that any of the individuals in this band (other than Sorey) stand out as really distinctive individuals, but Sorey's compositions are such that just being able to navigate the structures with confidence and strength is more than enough for me. And Sorey himself was exhilarating,

By the time the performance concluded, there were some unhappy-looking faces on the stage, possibly related to the aforementioned mallet malfunction, or maybe people just had to take a leak. I know I did! It seemed like either one long suite or just one long medley-set. There were recurring motifs and melodic fragments, so my guess would be for the former. But it was a long time for this bladder, especially considering that the gig started 15-20 minutes late and went about a half hour over the anticipated (announced?) end time. The band had us at a distinct disadvantage there, especially since I was on the front row and could not have left/returned with disrupting the very real zone that the music was creating.

Also, the older, impatient part of me wonders if this type of music is presented at maximum benefit in one extended multiple hour unit like this. I do think this was either a formal suite or a constructed one made of existing individual pieces, since the players kept moving whole sections/pages  of their parts backwards and forwards, but the individuals playing had not unlimited vocabularies, which resulted in moments of "oh, THIS again, eh?" which didn't last too long, mostly due to the compositions themselves and Sorey's drumming which simply does not allow for complacency or redundancy. Just saying, a little, uh...dedicated silence in between would not have necessarily detracted from anything.

Still, those are minor quibbles. As I told my daughter afterwards when she used the "avant-garde" word, this is not "avant-garde jazz" not in the least. All the "jazz" elements involved here are long-standing vocabularies..But what's new and exciting is how Sorey is putting them together. This is very, very structured music, but the structures are there to be improvised over. This is nothing to do with  "free jazz" and it has absolutely nothing to do with cyclical song-form based structures. Nor is it really cell based, like Cecil's music, or motif/intervallic like late Trane, it's way past that. It definitely shows awareness of both Roscoe's and Braxton's practices, but it is not even remotely imitative.

One of my pet hangups/obsessions over the last 15 or so years is the realization (or seeming realization) that the only new ground left to be found in music as we know it is in form, structure, because there's nothing - nothing - new to be had anywhere else. So music like this, this is what I want to hear people doing. Not only this like this, but just putting the Tinker Toys together in ways they've not yet been put together and doing so in a way that a viable and vigorous functionality still shines through.

Simply put, this is modern creative music that is both modern and creative! At the same time!. Sorey must have good people working for him to get him the higher profile "classical" gigs that he's getting, but he's delivering the goods. I'd go see him present again without hesitation.

 

I looked but did not see you; I only arrived about a minute or so before the concert started.

It took me almost two hours to get to Denton from downtown Dallas, so the combination of commute and concert length was a bit much. 

I thought the audience size, while large enough, was embarrassingly small for a school with a prominent music school, and free tickets for students.

For me, the best soloist was the vibes player, Sasha Berliner. The tenor player at times was sounding to me like Mark Turner, who is not a favorite of mine.

Overall, I enjoyed the experience.

[Steve Reynolds]

7 minutes ago, kh1958 said:

I looked but did not see you; I only arrived about a minute or so before the concert started.

It took me almost two hours to get to Denton from downtown Dallas, so the combination of commute and concert length was a bit much. 

I thought the audience size, while large enough, was embarrassingly small for a school with a prominent music school, and free tickets for students.

For me, the best soloist was the vibes player, Sasha Berliner. The tenor player at times was sounding to me like Mark Turner, who is not a favorite of mine.

Overall, I enjoyed the experience.

The Glass Box Theatre (aka The Stone) is at The New School which is in large part a music school as far as I know. The Stone regularly features some of the greatest musicians in the world and the vast majority of the Students just walk on by. 

Hopefully with Mary Halvorson being in Trevor Dunn’s trio tonight, there will be a nice crowd. Last week with Assif Tsahar making a rare visit from Israel I went to night 2 on Wednesday when Assif was joined by Mat Maneri & Ches Smith, the crowd was also an embarrassing maybe 25. The set was as strong as any set I’ve seen in the past year or two and I’ve seen a few. Mat played as well or better than I’ve heard him in the past 3-4 years. I’m biased but his level of improvising and true spontaneous composition is on levels that are ultra rare. Ches Smith is in the Tyshawn Sorey category of drummers and Assif Tsahar has developed into a truly outstanding voice on the tenor. He was always terrific but he’s honed his sound to a more subtle and sophisticated place.

and yet the guys & girls carrying violin/viola cases saxophone cases just walk on by......

[JSngry]

My daughter and I were down on the second row, center. We left Plano at 4, had dinner on the square in Denton by 5-ish, hopped into Recycled for a quick minute (found a Norman Simmons record with Clifford Jordan for $8, seemed like a steal), and then moseyed on over to the campus. Got there in plenty time before they opened the doors to the Lyceum and we had our pick of seats. Leaving early was a luxury, but I've made the drive too many times to do anything else, especially now that ALL that "in-between space is developed...just too many damn cars for the existing highways. Traffic started getting thick on the outskirts of Denton a  little before 5, and you know it only gets worse the later it gets. So, yeah, we left at 4 to make a 7:30 gig with what in theory should be a 1 hour drive.

I also heard the Turner thing going on. Not my favorite either, but what made it interesting for me was how he was navigating those structures, odd/overlapping meters and asymmetrical harmonic sequences. I could only sort of pick up on the specifics, but definitely heard recurring base/pivot points. To be able to stay afloat, much less swim, in those waters...hey. And to my surprise, I really enjoyed his EWI playing, which put me in mind of prime Joe Zawinul, only in the context of those structures. Did not see that one coming!

Berliner cracked me up a few times, she sometimes sounded like Lionel Hampton with her time and her arpeggiations. Lionel Hampton! Of course, that was just in spots. Too bad that whatever it was that malfunctioned malfunctioned.

Nick Dunston was really on it. Him & Sorey were locked in.

Certainly agree that the crowd was too small. Just keep in mind that the gig was not sponsored by the School Of Music in any of it's manifestations, although apparently the proposal for and submission to the fine arts Series was put together by this guy: https://music.unt.edu/faculty-and-staff/christopher-walker Current gig is Adminstrative Assistant for Jazz Studies, degree is in Composition, so he's sorta in No Man's Land as far as that goes. But he made this happen, so good for him. I just doubt that he had any real "institutional juice" behind him along the way, at any point.

Ticket prices were already low, but I found out they were $5 for alumni. The test question was "what were the school's teams called in the 70?" which was DUH, Mean Green, of ocurse, THAT was easy),. And then they gave that price to my daughter for being the child of an alumni.

[kh1958]

Yes, I did like the EWI better than the tenor (on this one occasion only).

UNT made me feel welcome and capped off the evening by leaving a parking ticket on my car in the virtually empty nearby parking garage with no gate or evident way to pay for parking. Cancel those donation plans.

[JSngry]

Parking garage? Which one? How did you get in without going through a gate? That's nuts!

Parking up there is a bear. There's less street parking now than ever, and the campus police are quite, uh...diligent in ticketing non-students parking in student-specific parking areas.

[kh1958]

Apparently there is some sort of Parking App you are supposed to download to pay for parking in this garage (helpfully noted on my ticket), which is quite close to the Student Union. As I was 15 minutes late, I took my chances and parked where I could.

[JSngry]

Ah, ok. The Highland Parking garage was where we parked, kind catty-cornered to the SUB, less that a five minute walk even for an old guy, $2/hr, and yeah, you weren't getting into that without the whole gate/ticket thing.

I had not actually ventured onto the campus since Quartet Out had a gig there, like 15+ years ago, SO much new construction. All the old stuff was still there, but it was swallowed up by a bunch of new stuff. I swear I could've gotten lost....

Don't pay that ticket, man, it's bullshit.

[kh1958]

December 14, 2019: Mike Stern/Jeff Lorber Fusion, Dosey Doe, Houston

December 15, 2019: Mike Stern/Jeff Lorber Fusion, One World Theater, Austin

                                  Thumbscrew, Carousel Lounge, Austin

December 16, 2019: Thumbscrew, Carousel Lounge, Austin

December 31, 2019: Lucky Peterson, Poor David's Pub, Dallas

January 10, 2020: Stanley Clarke, One World Theater, Austin

January 17, 2020: Andrew Cyrille Quartet, McCullogh Theatre, Austin

January 25, 2020: Branford Marsalis, Wortham, Houston

January 29, 2020: Hiromi, Arlington Music Hall, Arlington

January 30, 2020: Hiromi, Charline McCombs Empire Theater, San Antonio

January 31, 2020: Hiromi, Dosey Doe, Houston

                              Fred Hersch Trio, Walton Arts Center, Fayetteville, Arkansas

February 13, 2020: Teri Lyne Carrington Quintet, UNT, Denton

February 15, 2020: Joey DeFrancesco, Arlington Music Hall

February 22, 2020: Afro-Bop Alliance Big Band, Arlington Music Hall 

                                Ike Stubblefield and Walter Wolfman Washington, Antone's, Austin

February 29, 2020: Vijay Iyer Sextet, Wortham, Houston

March 4, 2020: Lila Downs, Paramount Theater, Austin

March 6, 2020: Lila Downs, Jones Center, Houston

                         Marc Ribot, Chaplin's The Kid, McCullough Theatre, Austin

March 7, 2020: Lila Downs, Winspear Opera House, Dallas

March 8, 2020: Kamasi Washington, Empire Control Room, Austin

March 10, 2020: Kamasi Washington, House of Blues, Dallas

March 11, 2020: Kamasi Washington, House of Blues, Houston

March 12, 2020: Kamasi Washington, Aztec Theater, San Antonio

March 20, 2020: Messenger Legacy Band (Bobby Watson (alto sax), Essiet Essiet (bass), Geoff Keezer (piano), Brian Lynch (trumpet), Bill Pierce (tenor sax) and Ralph Peterson (drums)), Walton Arts Center, Fayetteville, Arkansas

March 21, 2020: Dafnis Prieto Big Band, Wortham, Houston

March 26-29, 2020, Big Ears Festival, Andrew Cyrille, Anthony Braxton, Aurora Nealand, Christian Scott, Harriet Tubman, Jason Moran and the Harlem Hellfighters, Marc Ribot,, Mdou Moctar, Moonlight Benjamin, Myra Melford, Peter Brotzmann, Shabaka and the Ancestors, Steve Coleman and Five Elements, The Necks, Knoxville, Tennessee

April 3, 2020: Fred Hersch Trio, University of Texas at Dallas

April 17, 2020: Miquel Zenon, Wortham, Houston

April 18, 2020: Dave Douglas with the Texas Jazz Orchestra, Bates Recital Hall, Austin

April 23-26, 2020: New Orleans Jazz and Heritage Festival

April 30-May 3, 2020: New Orleans Jazz and Heritage Festival

May 2, 2020: Christian Sands, Carver Center, San Antonio

May 16, 2020: Brubeck Brothers, Wortham, Houston

May 17, 2020: Brubeck Brothers, One World Theater, Austin

August 28, 2020: Stanley Jordan Trio, Arlington Music Hall

 

Edited December 7, 2019 by kh1958

[kh1958]

Anyone in Dallas with free time Sunday afternoon (the last day), this exhibition is rather fabulous and well worth a trip to Irving.

 

I just noticed this exhibition, but unfortunately this is the last weekend.

BILLIE HOLIDAY AT SUGAR HILL: PHOTOGRAPHS BY JERRY DANTZIC

Billie Holiday at Sugar Hill: Photographs by Jerry Dantzic, features 56 vivid, breath-taking photographs.  They offer a rare glimpse into both the public and private life of one of the 20th century’s most iconic, significant artists: thAnye consummate jazz and blues singer, Billie Holiday. Captured by photojournalist Jerry Dantzic during a week-long run of performances at the Newark, New Jersey nightclub, Sugar Hill in April of 1957, the remarkable images reveal the warmth, complexity, elegance, star power, and humanity of an artist who would pass away tragically just two years later at the age of 44.

The exhibition is organized by the Smithsonian Institution Traveling Exhibition Service in cooperation with the Jerry Dantzic Archives and will be on display, free to view, in Irving Arts Center’s Main Gallery Sept 14-Nov 17.

All photographs © 2018 Jerry Dantzic/ Jerry Dantzic Archives. All rights reserved.

**Pictured above: Billie Holiday embraces a fan on Broad Street after receiving a gift; Carl Drinkard is behind her flicking his cigarette into a trashcan, Newark, New Jersey, April, 1957.  

RELATED EVENT
An Evening with Author/Archivist Grayson Dantzic–
Behind the Scenes Billie Holiday at Sugar Hill:
Photographs by Jerry Dantzic
October 10 @ 6:30PM

Gallery Hours:
Mon, Tues, Wed and Fri: 9:00 a.m. to 5:00 p.m.
Thursday: 9:00 a.m. to 8:00 p.m.
Saturday: 10:00 a.m. to 5:00 p.m.
Sunday: 1:00-5:00 p.m.

WHEN

September 14 - November 17

Main Gallery 

3333 North MacArthur Blvd. 
Irving, TX 75062 United States

Free

QUESTIONS?

Call the box office at 972-252-7558

 

ADD TO CALENDAR

Edited November 17, 2019 by kh1958

[kh1958]

DEC15

Thumbscrew & Susan Alcorn

 

2 Dates · Dec 15 - Dec 16

DEC15

Sun8:00 PM

DEC16

Mon8:00 PM

 

Carousel Lounge

1110 E 52nd St, Austin, Texas 78723

 

December 15th and 16th, 8pm

GENERAL ADMISSION $20.00
PATRON / RESERVED SEATING* $50
*This makes free tickets available

Thumbscrew with
Mary Halvorson – Guitar
Michael Formanek – Double Bass
Tomas Fujiwara – Drums

Susan Alcorn (pedal steel) will start the evening with a solo set and then join Thumbscrew for a tune or two.

“Thumbscrew is a very exciting group that highlights intricate and emotionally-driven compositions focused on intense interactions between instruments. One of the most exciting bands currently playing” — Cisco Bradley, jazzrightnow.com

The trio Thumbscrew came about by accident, after bassist Michael Formanek subbed in a band including guitarist Mary Halvorson and drummer Tomas Fujiwara. Something special happened among them right away, so they formed a trio, a co-operative in the truest sense. They play originals by all hands, compositions whose rhythms may surge or lag or veer sideways according to their own internal logic. Bass and drums solo within the ensemble, not in quarantine. No one needs to be loudest. The blend is tight: one string (or metal) sound may bleed into another. It’s something to hear—something twisty and turny and always on the move.