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THE HASTINGS STREET JAZZ EXPERIENCE ‎– DETROIT JAZZ COMPOSERS LTD. ( 1976 ).WONDERFUL SPIRITUAL JAZZ.MITCHELL ATKINS,SUNDIATA O.M.,KIM WESTON,HERBIE WILLIAMS,EDWARD GOOCH,WALTER STRICKLAND,ED NELSON,JOHN WILSON,PHIL RANELIN,LOUIS BARNETT,JIMMY WILKINS,CHARLIE GABRIEL,CHARLIE BROWN,MILLER BRISKER,INCLUDE MEMBERS OF MOTOWN.The musicians on this date all agree that without their energy and persistence the album would have never been f inished. Miller Brisker, whose solo on "Ja-MH" lirmly demonstrates his lyricism and his abilit} lo swing, is also the founder ói the Detroit Jazz Composers Ltd.which is responsible lor all the compositions rendered here. It is especially wardmg to hear Teddy Harris, Nasir Hafiz (Abe Woodling) and Herbie Williams. Herbie's arrangement on "Nobody Had To Teil Me" offers a perfect backdrop for Kim Weston's sensitive nterpretation of Alma Foster's engaging composition...


 

The Hastings Street Jazz Experience ‎– Detroit Jazz Composers Ltd. 

 

 

Sello:

Midnite Records (2) ‎– MR 1976

Formato:

Vinyl, LP, Album

País:

US

Fecha:

1976

Género:

Jazz

Estilo:

Jazz-Funk, Modal

Pistas Ocultar Créditos

A1 Mark 1
Composed By – Will Davis (2)
 3:10
A2 Ja-Mil
Composed By – Miller Brisker
 3:34
A3 Song For "M"
Composed By – Sylvia Turner
 4:35
A4 A Little Love For You (Love Sounds)
Composed By – Ed Nelson (3)
 4:44
B1 Yes Lord
Composed By – Teddy Harris, Jr.*
 6:01
B2 Arjuna
Composed By – Nasir Hafiz
 2:57
B3 Nobody Had To Tell Me
Composed By – Alma Foster
 4:10
B4 Now You're Gone
Composed By – Donald Towns
 3:39

Compañías, etc.




Notas


Recorded January 2 / April 1, 1976 at Super Disc Sound Studio, Detroit, Michigan.
"Endorsed by the Detroit Bicentennial Commission Inc." 


 Duke Billingslea ( bass with Wendell Harrison )


https://aadl.org/node/202204


 https://aadl.org/node/202048

Hastings Street Jazz Experience

Hastings Street Jazz Experience image
Parent Issue
Ann Arbor Sun, September 10, 1976
Day
10
Month
September
Year
1976
OCR Text
The Detroit Jazz Composers (Midnite Records) Vocalist K un Weston Uísí mus Louis Barnetr, Charles Brown, Millei Brlsker, rheodore Buckner, Tlieodore H.irris r., Samuel SpragRins, Charles Gabriel, Earncst Rodgers, Walter Slikkland, Kon.ikl Fain, Sylvia Tufner, Nasir Hafiz, Charles Hooks, Eddie oncs, Hcrbic Williams, John Wilson, Ed Gooch, i'liil R.inelin, Jinmiy Wilkins, Duke Bülingslea, Vjuí;Iiii Klugll, Larl Thomas, Leonard McDonald, Will Davis, Ed Nclson, Mililull Atkins, Sherrcll Rowland, Sundiata O. Mausi, Edyar Spand, Margo Harris Ava Rose, Miller Brisker, Suiiiii.it. i O. Mausi, Sonya Gray, Ed Nelson.'Sandra McCarlhet, Blaine Nichols, Olaju Kali, Guyanne Collins, eromc Combs, Rohcri McCarther, Mikyo Adaku Photos: Leni Sinclair The"artists that comprise the nucleus of the Hastings St. Jazz Expcrience will be perhaps the last generation of musicians to know directly the spirit and rhythm of Paradise Valley.the rhinestone bel ly of Detroit's teeming blackbottom. Like Harlem of the 20's and its legendary Renaissance, Black Detroit (roughly an area bounded by Hastings, Brush, Gratiot and Vernor Highway) in the 30's and in the 40's was bustling with all the activity that whisky, the "numbers,"nightclubs and jazz could possibly inspire. The pace of this narrowly constricted community was frantic and often maddening, leaving little time to dweil on the oppressive dehumanizing conditions crowding each ghetto doorway . Through the fog of today's urban blight it is difficult to agine those crimeless times, and - Fenkell, of course, cannot be compared with the "Great Black Strip, "but with the appcarance of the Hastings St. Jazz Experience's first album we are offered at least a gUmpse of that era and the sophisticated, lightly transcedent quality of its music. No; this s not one of those "nostalgia" records. There is no delibérate attempt here to capture the vital ity of any particular period of time. The music in one sense is timeless and to associate t more with the 50's than to the 30's and 40's is to suggest a flavor and not a category. Listen again to "Arjuna"and "Song for 'M'." Looking over the roster of more than 50 people involved in completing this project of some two years I am reminded of Leonard Feather's comments on record companies. For him there are basically two kinds of record pañíes. One s the standard type _ of company which caters primarily to the general taste of the public. The other, determined ostensibly by some ndividual's love for a particular type of music, is nonetheless a company in pursuit of an untapped audience, Recently, n many parts of the country, there has ariien yet a third type of company: small, independent producers who are normally the artists themselves. Locally based, artisf-controlled companies like Strata and Tribe are solid examples that this type of . enterprise can at least survive if not prosper without the assistance of large, profit-grabbing tors-promoters. The arrival of the Hastings St. Jazz Experience not only perpetuates and strengthens the concept but marks for poste rity a group of musicians deserving wider recognition. The Hastings St. Jazz Experience was founded in 1972 by musicians Ed Nelson, Dedrick Glover, and Charles Miles. Miller Briskerand Ed Nelson, who is percussionist on all of the composilions, have to be seen as the driving force both musically and from a production standpoint. The musicians on this date all agree that without their energy and persistence the album would have never been f inished. Miller Brisker, whose solo on "Ja-MH" lirmly demonstrates his lyricism and his abilit} lo swing, is also the founder ói the Detroit Jazz Composers Ltd.which is responsible lor all the compositions rendered here. It is especially wardmg to hear Teddy Harris, Nasir Hafiz (Abe Woodling) and Herbie Williams. Herbie's arrangement on "Nobody Had To Teil Me" offers a perfect backdrop for Kim Weston's sensitive nterpretation of Alma Foster's engaging composition. An additional suggestion would be more solo space for such a talented array of superb instrumentalists. After what must appear to be a Mfetime, the Hastings St. Jazz Experience is finally on record. A short range objective has been fulfilled and as Mr. Nelson advises . . . "We realize that this s a grassroots production and we're not thinking about making a lot of Our fïrst objective was to get this done. In the long run we plan to put together a catalog of records and expand our operation nto other important community projects." With this nitial phase of the protracted struggle out of the way, the group s now preparing for the next step of the journey. The insight and dedication of the many musicians involved here practically guarantees that the next project will be of even greater quality and purpose. At this point, having exceeded the self-imposed limits of one who has been traditionally opposed to liner notes, let me say that words without can but approximate the music within: Listen to the music. For he who says does not know and he who knows cannot say.

 

Detroit Jazz Composers Hastings Street Lives!

Detroit Jazz Composers Hastings Street Lives! image
Parent Issue
Ann Arbor Sun, September 24, 1976
Day
24
Month
September
Year
1976
OCR Text
When the legendary C. D. Dean passed away two weeks ago, former residents of the old Black Bottom on Detroit's east side- from the Mayor's office to the suburbsof Oak Park- paused n quiet respect. One of the last code-carriers of Black Bottom nightlife, Dean is remembered as a man who could always be found "taking care of business" somewhere along old Hastings St., which was also known as "Paradise Valley." Dean's death brought back vivid memories of the exciting Paradise Valley scène, which found ts highest expression n steaming-hot nightclubs like the Turf, the Horseshoe Bar, Sportree's, and the Three Sixes that lined the swinging strip in the 30's and 40's. In the 50's, Detroit's centralized black community was shattered as bulldozers gouged out Hastings for the Chrysler Freeway and the surrounding neighborhoods were levelled for "urban renewal." The scène was broken up, but its culture and music live and grow today in many different forms. Recognizing the need to preserve the artistic heritage of the Motor City, a group of over fifty creative musicians known as the Detroit Jazz Composers, Ltd., has put together the Hasting Street Jazz Experience, a band that combines many of the diverse elements of the Dettroit music scène, past and present. Founded in 1972 by musicianjazz historian Ed Nelson along with Dedrick Glover and Charles Miles, the Hastings Street Jazz Experience has just released a unique and very challenging album on DCJ's Midnite Records label. Ed Nelson- small, quietly intense, a prime mover in both DCJ and the Hastings Street Experience- tells us: "Our focus is not on individual musicians. Most bands showcase their 'stars'- we're not about that. Our goal is to preserve and perpetúate the history of jazz, particularly Detroit jazz. We want to get to the people and influence them, help them remember what their roots are, where they carne from. "There is a lot of apathy among Dctroiters. The people of this city have generally taken for granted the outstanding talent here. Musicians and artists in Detroit must strive for excellence in order to satisfy their audience-which may be the reason why this place has produced such great talent." Despite the historical reference in their name, the Hastings Street Jazz Experience is no "nostalgia trip," and there is no attempt to "recréate an era" on any particular song. There are almost 40 musicians listed in the liner notes, representing "very decade of development in recent Detioit musical history. The overall effect of the collaboration is one of real fusión, with limitless combinations of styles creating a new- but very deeply rooted-music. The recording band ncluded tenor saxophonists Charles Brown, Miller Brisker, Charles Gabriel, and Walter Strickland; alto saxists Louis Barnett, Samuel "Sonny" Spraggins, and the late Ted Buckner; soprano sax man and multi-instrumentalist Ted Harris; baritone saxophonist Ernie Rodgers; Ronald Fain on flute; Sylvia Turner on harp and pianp; Nasir Hafiz (Abe Woodling) on vibes; trumpeters Charles Hooks, Eddie Jones, Herbie Williams, and John Wilson; Duke Billingslea on bass;guitarists Vaughn Klugh (Earl's brother) and Earl Thomas; pianists Leonard McDonald and Will Davis; Ed Nelson on drums; Mitchell Atkins, Sherrell Rowland, and Sundiata O. Mausi on congas; and percussionists Edgar Spand and Margo Harris; plus lead vocalist Kim Weston and nine other voices. "Our personncl is not like an ordinary band," understates Ed Nelson, a drummer who has played with countless Motown artists and visiting jazz musicians- includng Sonny Stitt, Wes Montgomery, Ike and Tina Turner and the Temptations- and who now teaches Jazz and Afro-American Music at Wayne Co. Community College. Detroit Jazz Composers, Ltd., which publishes all of the compositions by the Hastings Street Experience artists, was founded by tenor saxophonist Miller Brisker. Miller also teaches Jaz at WC3 and has played with a whole pantheon of people in both jazz and r&b, including the likes of Clark Terry, George Bohannon, Aretha Franklin, King Pleasure, the Five Royáis, the Suprcmes, Stevie Wonder, and T-Bone Walker. The composers' group voted that each creative writer would be limited to one song on this first album so that it would You can purchase The Hastings Street Jazz Experience album at local record stotes, or write directly to the Detroit azz Composers, Midnite Records, P.O. Box 9563, Detroit, Michigan 48202. Send $6.00 plus 50 cents postage & handling for each Lp ordered. remain open in format. Composer credts on the Lp go to Wil Davis ("Mark-1 "), Miller Brisker ("Ja-Mil"), Sylvia Turner ("Song for 'M' "), Ed Nelson ("A Little Love For You"), Teddy Harris ("Yes Lord"), Nasir Hafiz ("Arjuna"), Alma , Foster ("Nobody Had To Teil Me"), and Donald Townes ("Now You 're Gone"). Both Nelson and Brisker are deeply concerned with education. "There is a lot of talent here, but music and sports programs n the Detroit Public Schools were curtailed. There is presently no place for students to get a systematic music course. We would like to get music back in the schools," Nelson says with great consternation. During the 1 974-1 975 school year, the Hastings Street )azz Experience conducted assemblies in school auditoriums around the City. In many cases, the children were able to meet the composers of the songs which were played. Art and sculpture were displayed and a questionand-answer period after the performance added to the "educational" nature of the experience. Previously, Hastings Street had a cultural center in gang territory on Mack, where they were able to keep youths off the street by giving free art and music lessons. Nelson continúes: "We are a people's band- we are nöt thinking of making a lot of money. Hopefully, the people will support us, so that we can produce more. "We plan not only to showcase local talent with an emphasis on history, but also to use some of the proceeds to sponsor musical scholarships. We hope to establish a music program here so that people will not have to go to schools in other communities. "Wespecifically had in mind Wayne County Community College, because t is decentralized, it is viable, tuitions are low, schedules are flexible, and there is a center located in all neighborhoods. "Hastings Street Jazz is very interested in young talent, and we just hope that we get enough support so that we can continue to pursue this interest. "This album s only one of the steps planned by the Detroit Jazz Composers to promote and develop jazz, to give information.and to assist Detroiters in protecting their music." We'll be waiting for the next one- and any other program the Hastings Street }azz Experience has to offer. Detroit needs more people like these- right away!
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