Results tagged “preview”

During a recent interview, we asked vocalist Bebel Gilberto what she wanted her audience to come away with after a performance.

Feeling the limitations of the jazz combo format that was prevalent in the late 1940s, Miles Davis assembled a nonet to play music that allowed for more orchestration and color, while still maintaining the improvisational elements of that era's be-bop sound. With orchestrations from the great arranger Gil Evans, as well as band members Gerry Mulligan and John Lewis, the band performed briefly in the fall of 1948. But it wasn't until 1949 that the group entered the studio to record what would become Birth of the Cool, a seminal recording that kicked off a movement that became known as "cool jazz."

As hip-hop began its ascent in pop culture, many jazz musicians embraced it, trying to infuse its infectious rhythms with an improvisational and harmonic sophistication. While such experiments have mixed results, we've seen several groups who continue to try to bridge the chasm between the two genres.

By DCist Contributor Adam Mazmanian

When Kailash Kher starts talking about music, it is tempting to dismiss him as someone waxing philosophical about metaphysical concepts, without any substance behind his words. But after a few minutes of listening, it becomes clear that he is the real deal. This palpable enthusiasm comes from a man who sees music as food for the soul, and an ultimate expression of spirituality.

Two years have passed since we last saw Portuguese vocalist Mariza, who delivered a memorable performance at the Music Center at Strathmore. The Queen of Fado, as Mariza is known, will be performing this Sunday evening at the Lisner Auditorium. She is the world's most prominent exponent of a style rooted in history and tradition, but fado clearly has universal appeal. Over the past decade, Mariza has not only performed in most of the world's great concert halls, but also at international events such as the 2002 FIFA World Cup, and Live 8 in 2005.

From The Beatles and Ravi Shankar, to John McLaughlin's Mahavishnu Orchestra, to Mickey Hart's collaborations with Zakir Hussain, South Asian classical music has long influenced western musicians. In recent times, the reverse is also true, what with hip-hop loops underpinning the latest bhangra and Bollywood grooves. But this West to East influence was less prevalent in the mid-60s, especially in the more traditional parts of South India, where a young Kadri Gopalnath had a life changing encounter.

There are not many performance ensembles to which the word "institution" is applicable. And when it is, we are often discussing groups that rest on past accomplishments, preserve what has come before, and live on nostalgia. All of this could not be further from the truth when discussing Sweet Honey in the Rock, the colorful and world renowned African American women's a cappella ensemble that was founded here in the District, 35 years ago. Sweet Honey will celebrate this milestone with a special concert tomorrow night at the Warner Theatre, along with another artistic treasure, the Alvin Ailey American Dance Theater.

By now, the Dakshina/Daniel Phoenix Singh Dance Company is a familiar presence in the local arts scene, having won numerous awards, including Best Emerging Group and Best Costume design from Dance Metro DC in 2008. In addition to its dance performances, the organization has branched out to present live concerts, film screenings, and other endeavors designed to expose traditional and contemporary South Asian arts to a wider audience. But the highlight of Dakshina's calendar is its Fall Festival of Indian Arts, the annual dance production whose sixth iteration will take place this weekend at the historic Lincoln Theatre.

by DCist contributor Brett Gellman The Coastal Division of the ACC is representing the conference well, as two teams are currently ranked in the Top 25. It's going to be a real battle between Virginia Tech, Miami (FL), and Georgia Tech to see who will ultimately reach the conference championship game in Tampa Bay. As for the Atlantic Division? Well, it's just an utter mess.

Bassist Stanley Clarke was not long out of high school in 1971, when he moved to New York from his native Philadelphia. In the Big Apple, his virtuosic talent made an immediate splash and landed him stints with jazz legends such as Horace Silver and Joe Henderson. But it wasn't until the following year that Clarke's career really took off. He joined Return to Forever, the supergroup that included famed keyboardist Chick Corea and Lenny White, the drummer who got Clarke the gig with Henderson. RTF helped pioneer the fusion movement of the '70s, one of the most adventurous periods in jazz history, in which Clarke also recorded his own fusion classic, the seminal School Days (1976).

Jazz supergroups always make me nervous. A promoter or artist assembles an all-star cast of musicians in order to sell tickets, and they generally do, but the music is often lacking. Group improvisation requires everyone to be on the same page, listening to one another. If there are too many cooks in the kitchen, and too many oversized egos, the resulting music is often less than the sum of its parts. But bassist Dave Holland assures us this is not the case when it comes to his most recent collaboration, the Overtone Quartet, which will be performing on Saturday at the Kennedy Center's Terrace Theater. While the members of Overtone convened for the first time as a band for a series of shows in New York last month, there are deep connections among its members.

There aren't many examples of contemporary bluegrass bands crossing over into more widespread popularity. In fact, there might be only two: Allison Krauss and Union Station, and the Yonder Mountain String Band. But while AKUS tends to attract an older and more traditional crowd, Yonder Mountain has built a loyal following on college campuses, regularly plays mainstream venues, and was even on the bill at the 2008 Democratic National Convention, which took place in the band's birth state of Colorado.

Three games into the season and we Redskins fans are wondering if this game matters. There are perhaps three or four teams that have looked worse than the Redskins so far this season and one of them, the Tampa Bay Buccaneers, travels to FedEx Field today. Remember that time your girlfriend dumped you and your best friend, as wingman, took you out on the town in search of a quick rebound? Seems a little like this game. Sure, you might find an acceptable and even fun distraction for a night, but you'll wake up tomorrow morning the same flawed, sad dude you were before.

By Eli Resnick and Elisabeth Meinecke With another hockey season upon us – the opening faceoff in Boston is mere hours away – it's time for the DCist hockey crew to look foolish and guess what the Caps will do this year. We'll take a wide turn of the stories heading into tonight's opener, offering our prognostications on the season to be along the way.

The Detroit Lions have lost 19 straight games. Rookie quarterback Matthew Stafford, the first overall pick in last year's NFL draft, is on pace to throw 40 interceptions this season. They are the worst overall defense in the league after two games, allowing an average of 36 points per contest and nearly 400 yards. Yet, I believe they will very nearly end these dismal streaks before succumbing to a last second field goal: Washington Redskins 23, Detroit Lions 21.

by DCist contributor Brett Gellman

The Kennedy Center kicks off its fall season with its annual Open House Arts Festival, a highlight of its performance calendar. Every year, as part of its Performing Arts for Everyone initiative, the Center opens its doors to the public and folks can see cutting edge artists from around the world in nearly every performance space the venue has to offer. This Saturday marks the 25th installment of the festival, dubbed Stage & Street Spectacular. In recognition of that milestone, the event’s organizers took a step back to assess their approach.

With the passing of Labor Day, the local arts scene starts to pick up as venues and companies begin their fall programs in earnest. The Nrityanjali Performance Troupe, a classical Indian dance ensemble based out of Gaithersburg, will also mark the change of seasons with a performance this Saturday.

by DCist contributor Brett Gellman

Woodwind artist John Surman is not a name one hears in this country very often, even in jazz circles, despite a career that spans 45 years. This is largely because his journey is centered in Europe, where the native of Devon, England first gained recognition in the fertile London scene of the mid-1960s. There, he played with band leaders like Mike Westbrook, Alexis Korner, and Ronnie Scott, all pioneers of British jazz. The soon-to-be 65-year old went on to record with guitar great John McLaughlin, Miles Davis collaborator Gil Evans, and others. In the late '70s, Surman began a relationship with the quintessential European jazz label, ECM Records, which continues to this day. Tonight, he begins a rare area appearance at Blues Alley, in support of his latest ECM release, Brewster's Rooster.

Written by DCist contributor Brett Gellman

Though rightfully associated with the jam band circuit, the Derek Trucks Band is much more than a musical backdrop for the youthful tie dye set. Built on top notch songwriting, impeccable musicianship, and a solemn commitment to putting music before personality, the group is a throwback to the blues/gospel tradition that forms its biggest influence. The sextet also has an openmindedness to music that seems increasingly rare on today's rock circuit. Every show feels like an exploration, and whether they are drawing on their American roots or influences soaked up in their world travels, their concerts always feel fresh and uplifting.

Drop Electric has long been committed to social issues, performing regularly at benefit events and donating their proceeds to local charities. While the band has been concentrating on out-of-town and festival dates in recent months, on Saturday they will return to the Rock and Roll Hotel to headline an eclectic bill. True to form, the night's proceeds will benefit Empower DC, a community organizing group that works to improve and promote self-advocacy among the District's low and moderate income residents.

Trumpeter Dave Douglas cites the great Miles Davis as a major influence, not just as a player, but also in terms of musical philosophy. The jazz legend had an extremely expansive and inclusive take on music, so it's no surprise that Douglas, like his idol, has carved out a career as a musical chameleon. Often referred to as an avant-gardist because of his work with John Zorn's Masada and other groups, Douglas's music cannot be confined to such narrow labels.

The late Malian guitarist Ali Farka Touré was among Africa's most internationally renowned musicians. Listening to him, it was easy to draw the connection between the blues and its West African roots. If he was the bridge between two traditional forms, then it is only fitting that his contemporary counterpart is his son, Vieux Farka Touré. One of world music's rising stars, Touré will be performing on Monday night at the Rock and Roll Hotel, playing what he describes as "the new reality of African music."

It's about that time, jazz lovers: The Duke Ellington Jazz Festival is upon us. The event is the District's premier jazz happening, and is now in its fifth iteration. Though its official dates are June 5 to June 15, pianist and local mainstay Allyn Johnson will open the festival on Thursday with a free prelude concert, which will take place at 5 p.m. at The Phillips Collection. This year's festival theme is "Celebrating New Orleans," in tribute to the Crescent City's rich heritage.

Every now and then a young musician comes along and accomplishes so much, so quickly, that the rest of us are forced to wonder what we are doing with our lives. That is the position in which we found ourselves when, during a recent interview, we tried to hide our envy while asking Esperanza Spalding what it was like to perform at the White House earlier this year before the President, first lady, and Stevie Wonder, at a ceremony awarding Wonder the Library of Congress Gershwin Prize for Popular Song.

Vocalist Sara Serpa's career track is a road less traveled in today's jazz world. Many singers are beholden to the past, choosing to express themselves through the standards of yesteryear, while trying to recreate the sound of the great crooners, whether it be Sinatra, Holiday, or Fitzgerald. Serpa, originally from Lisbon, Portugal, not only does not limit herself to old material, but has an approach closer to that of an instrumentalist instead of a chanteuse. Her intriguing sound will be on display tonight at Blues Alley.

Anoushka Shankar's musical explorations reflect her own personal journey, which includes an intercontinental upbringing that stretched from New Delhi, to London, to Southern California. The talented 28-year-old sitarist/composer has carved out a niche in impressively diverse musical settings. Her playing can be heard in the international electronica circuit, the orchestral world of Carnegie Hall, and, of all places, the twisted universe of prog-rockers Jethro Tull, with whom she toured India in late 2008.