The Hastings Street Jazz Experience – Detroit Jazz Composers Ltd.
Sello:
Midnite Records (2) – MR 1976
Formato:
Vinyl, LP, Album
País:
Fecha:
Género:
Estilo:
Pistas Ocultar Créditos
A1 | Mark 1Composed By – Will Davis (2) |
3:10 |
A2 | Ja-MilComposed 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 LordComposed By – Teddy Harris, Jr.* |
6:01 |
B2 | ArjunaComposed By – Nasir Hafiz |
2:57 |
B3 | Nobody Had To Tell MeComposed By – Alma Foster |
4:10 |
B4 | Now You're GoneComposed By – Donald Towns |
3:39 |
Compañías, etc.
- Recorded At – Super Disc Inc.
- Produced For – Noon Productions
- Produced For – Dr. Moto Music Research Corp.
- Published By – Elliot Lawrence Publ.
- Published By – Dr. Moto Music Publ.
- Published By – Reksirb Music Publ.
- Published By – Hafiz Music Publ.
- Phonographic Copyright (p) – Midnite Records (2)
- Manufactured By – Midnite Records (2)
Créditos
- Alto Saxophone – Louis Barnett, Samuel Spraggins, Theodore Buckner*
- Baritone Saxophone – Earnest Rodgers
- Bass – Duke Billingslea
- Congas – Mitchell Atkins, Sherrell Rowland, Sundiata O. Mausi*
- Design [Cover Design] – Desmond Jones (2)
- Drums – Ed Nelson (3)
- Electric Piano – Leonard McDonald, Will Davis (2)
- Engineer [Recording], Mastered By [Remix-mastering] – Robert Dennis*
- Flugelhorn – Herbie Williams
- Flute – Earnest Rodgers, Ronald Fain, Samuel Spraggins
- Guitar – Earl Thomas (3), Vaughn Klugh
- Harp – Sylvia Turner
- Liner Notes – Herb Boyd
- Percussion – Ed Nelson (3), Edgar Spand, Jerome Combs, Margo Harris, Olaju Kali, Theodore Harris Jr.
- Piano – Miller Brisker, Sylvia Turner, Theodore Harris Jr.
- Piccolo Flute – Theodore Harris Jr.
- Producer – Ed Nelson (3), Miller Brisker
- Soprano Saxophone – Theodore Harris Jr.
- Tenor Saxophone – Charles Brown*, Charles Gabriel*, Louis Barnett, Miller Brisker, Walter Strickland
- Trombone – Ed Gooch*, Jimmy Wilkins, Phil Ranelin
- Trumpet – Charles Hooks, Eddie Jones (2), Herbie Williams, John Wilson (7)
- Vibraphone [Vibes] – Nasir Hafiz
- Vocals [Vocalist] – Kim Weston
- Vocals [Voices] – Ava Rose, Blaine Nichols, Ed Nelson (3), Guyanne Collins, Jerome Combs, Mikyo Adaku, Miller Brisker, Olaju Kali, Robert McCarther, Sandra McCarther, Sonya Gray, Sundiata O. Mausi*
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
"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
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!
Parent Issue
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!
No hay comentarios:
Publicar un comentario