CBJC Festival Magazine 2016

PJM3000

Central Brooklyn Jazz Consortium produces a Jazz Festival every year. 2016 brings our 17th Annual Festival. The Brooklyn grassRoots festival this year runs from April 15th until May 15. This years event was fantastic. View our magazine for a look inside.

17th Annual

Central Brooklyn Jazz

Festival Magazine

April 15th - May 15th 2016


Table of Contents

4. CBJC Mission Statement

5. CBJC Membersship and Sponsors

Board Officers 2016

Chairman

Clarence Mosley, Jr.

Treasurer

Bessie R. Edwards

Recording Secretary

Harold Valle

Communications Director

Bob Myers

Sargent at Arms

Michael Howard

Artistic Director

Jeff King

Media Director

Dwight M. Brewster

Board Member at Large

Garland Core Jr.

Executive Director

Beareather Reddy

CBJC Festival Magazine is published by

PureJazz Magazine.net Copyright © 2016

All Rights Are Researved

6. CBJC Officers

16. CBJC Preimier Events

18. Valle’s Corner

20. JAZZ! The Woman’s View Point

21. Brooklyn Jazz Hall of Fame and Musisum

22. Youth Jamboree

23. Gala Evening of Entertainment

24. Brooklyn Borough President/Council Member Messages

30. Centril Brooklyn 17th Festival Calander

36. CBJC Events in Pictures

38. PJM Presents: “IYALODE” Nina Semone

48. PJM Presents: “Jazz Woman” - 50 Years Later

50. CBJC Historic Moments

54. CBJC Founders in Memorium

59. PJM Presents: Newport Jazz Festival at 61

Pure Jazz Magazine is proud to partner with Central Brooklyn

Jazz Consortium with the publishing of the 17th Annual

Jazz Festival Magazine. Our mutuial desire is for the magazine

to grow and promote the CBJC mission world-wide.

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Central Brooklyn Jazz Consortium

The Central Brooklyn Jazz consortium is

committed to the development of audiences

and the nurturing of institutions

and individuals throughout Brooklyn

that specifically deal with Jazz as well as

other African American cultural expressions

(dance theater, visual arts, comedy

and poetry.) CBJC a dynamic, voluntary

consortium was organized in 1999

on behalf of community development

to promote live jazz and other cultural

activities. Historically, CBJC is the realization

of years of discussion about the

importance of establishing a consortium

of organizations whose mission is to

work collectively to preserve Black culture.

Representatives of Jazz966 Torrie

McCartney, Sistas’ Place Viola Plummer,

SoFocus Leroy Applin and Jazzpazzaz

Alma Carroll were the founding council.

This diverse group of lifelong Central

Brooklyn activists, musicians, community

leaders, major non-profits, faithbased

institutions, restaurants, café owners

and cultural arts institutions were

active members of CBJC. Educator and

cultural activist Jitu Weusi was elected as

the first chairperson in December 1999

along with Alma Carroll treasurer, Torrie

McCartney facilitator, Colette Penn

recording secretary and Loretta Washington

financial secretary.

Our Mission

Over the past 17 years the organization

has developed core programs that demonstrate

the components of its mission.

The annual gala celebrates the month

long Jazz festival which features a live

performance of a well established artist

in the Jazz tradition. Jazz: The Woman’s

ViewPoint is a unique program which

provides a panel discussion setting for

musician’s wives and husbands, female

musicians and artists to share their

views, talents and experiences with attendees.

The Youth Jazz Jamboree and

Wellness Day of music, fun and games

while raising awareness of health issues.

Our mission is to recognize the contributions

of artists and the role they play

in advancing the culture while promoting

the dignity of people; to develop

venues that are affordable, accessible and

attractive to children, teenagers, men,

women and elders to provide a forum for

cultural exchanges; to build coalitions by

working collectively and sharing information

with the aim of reestablishing the

spiritual and emotional connections between

African American artists and their

communities…..

Central Brooklyn Jazz Consortium/CBJC founded in 1999, is an amalgam of patrons, entertainment venues, faith based institutions,

community organizations and musicians. Over the past sixteen (16) years CBJC has presented an annual spring festival,

established a Brooklyn Jazz Hall of Fame & Museum and produced yearly programs that feature local jazz talent. CBJC is a nonprofit

corporation committed to preserving, promoting and supporting live music within the underserved communities of Brooklyn

broadcasting to the world.

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Central Brooklyn Jazz Consortium

is grateful for the support offered by our sponsors who

share our vision of Jazz music in Brooklyn

Festival Sponsors:

MCU Credit Union, Investors Bank, Our Time Press, Brooklyn Tourism and Visitors Center an initiative

of Brooklyn Borough President Eric Adams, Jazz Promo Services, Afroart Designs, Pure Jazz Magazine

Sponsors:

Central Brooklyn Jazz Consortium activities are supported in part by public funds from the New York City Department of

Cultural Affairs in partnership with the City Council. Robert Cornegy, Jr., Laurie Cumbo, and Darlene Mealy; CBJC member

organizations, Bedford Stuyvesant Restoration Corporation-Center for Arts & Culture, and Long Life Information & Referral

Network. 2016 Media sponsors: Jazzmobile, Inc., Pure Jazz Magazine, Jazz Promo Services, and WBAI-99.5 FM. Jazz! The

Women’s ViewPoint is also made possible by a donation from Sylvia Ryan; Youth Jazz Jamboree/Wellness Day made possible

by a donation from George Johnson.

Central Brooklyn Jazz Consortium Membership 2016

Gold Members:

Sylvia Ryan, Emmanuel Baptist Church, Welancora Gallery, Jeff King, BrownstoneJAZZ/Debbie Mclain, Pure

Jazz Magazine/Cheatham & Brewster, Janes United Methodist Church/Garland Core, Jr., Williamsburg Music

Center/Gerry Eastman, B.R. Edwards Associates Reality/Bessie Edwards, Lafayette Avenue Presbyterian Church,

Clarence Mosley, Jr., Up Over Jazz Productions/Bob Myers, Woody Woods Workin’ Music/Reggie Woods, Harold

“The Jazz Poet” Valle, Beareather Reddy, United Music Makers/Mike Howard, Sue Yellin, George Johnson,

Brother Napoleon Revels-Bey, Wayne Winston, PLGArts, Long Life Referral Network, Desserts By Michael Allen

Silver Members:

Rudy Walker, Steve Cromity, Guerilla Journalism, Eric Frazier, Michael C. Forth, Esq.

Bronze Members:

“The Singing Chef ”/Ras Chemash Lamed, Lauryn Jackson, Drake Colley

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Chairmen’s Message

“Jazz is what liberates you. It is

the most liberating music on the

planet.”

Clarence Mosley Jr.

Central Brooklyn Jazz Consortium

(CBJC) is proud to launch our 16th

Annual Jazz Festival. We are proud

to be the only grass roots organization

consistently supporting the

culture that is focused on recognizing

and paying homage to the creative

forces in our community. Jazz

has been and continues to be the

voice that sings our joys and sorrows

while incorporating the richness

of the African Diaspora. Jazz

musicians have always been ahead

of the curve in telling our story.

Central Brooklyn has been blessed

to have Giants like Max Roach,

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Randy Weston, Roland Alexander,

Joe Carroll, Betty Carter and many

more to share their voices in our

community. I am proud to be the

Chairman of CBJC and fortunate to

stand on the shoulder of those visionaries

who had an idea in 1999,

to have the courage to start a festival

that uplifts the community and recognizes

the artists, venues and the

community that have enriched our

culture. I want to thank Jitu Weusi,

Torrie McCartney, Rosalind Blair,

Viola Plummer and Alma Carol

for having the vision to launch the

Central Brooklyn Jazz Festival.

The venues and artists in our community

are being challenged as the

music moves out of our community.

CBJC continues to give an affordable

opportunity to artists and venues

to support the economic engine

in our community. I would like to

thank our patrons and the community

for your continued support.

Central Brooklyn Jazz Consortium

is a 501(c)3 Not For Profit and we

need the spiritual and financial support

of the community.


Bessie Edwards

Dear CBJC Supporters:,

Central Brooklyn Jazz is especially proud of this 17th Annual Central Brooklyn Festival. We are feeling

the excitement in the community as we kick-off this year’s event with a gathering of club and restaurant

owners, musicians, members of the press and CBJC supporters at Brooklyn’s Borough Hall. For the past

17 years CBJC has celebrated Brooklyn’s contributions to the African influenced art form called Jazz.

Although we view this music series as an opportunity to celebrate and promote Jazz, it also serves as

an economic contribution to Brooklyn’s restaurants, clubs and other supporting small business services.

With nearly 50 events and more than 700 musicians expected to perform throughout the borough, the

economic impact is worth mentioning as it benefits the entire community.

This year we are especially grateful for the support provided by our on-going partners, CBJC member

organizations and friends. This year’s programs are made possible in part by public funds from the NYC

Department of Cultural Affairs in partnership with the City Council. We are inspired to continue to

pursue our mission to preserve and promote JAZZ. Please invite your friends and family to come out to

the celebration and enjoy a month of Brooklyn Jazz!

Sincerely,

Bessie R. Edwards

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Communications

The position of Communications Director was

created by former Chairman Jitu Weusi in 2006

in response to Central Brooklyn Jazz Consortium

partnership with a government agency of the Republic

of South Africa. Bob Myers’ passion for the

African inspired art form called Jazz; his training

at Syracuse University’s Newhouse School of Public

Communications made him a good fit for the

position. Myers was the owner of the Up Over Jazz

Café and now heads Up Over Jazz Productions.

This department is responsible for all internal and

external correspondences from the company. Duties

of this office have expanded into public relations,

marketing, and contractual agreements.

Those duties plus active support for the 16th Annual

Central Brooklyn Jazz Festival ‘Where Jazz

Lives’, April 17th thru May 17th, 2015, presented

Bob Myers

by the Central Brooklyn Jazz Consortium. This music

series is New York City’s longest continuously

running grassroots festival dedicated to the African

inspired art form called Jazz. More than 500 artists

will perform in 50 events at venues throughout

Brooklyn and a few of the other boroughs.

This celebration is accessible and open to all. This

genre of music must be available to our community

especially the youth so as not to relinquish their legacy

and place in Jazz. International and regionally

recognized artists performing at entertainment establishments,

cultural, educational and faith based

institutions during Jazz Appreciation Month. The

backbone of our community based Jazz festival is

the musicians and venues that keeps Brooklyn’s

Jazz scene vibrate and fuels its nightlife economy.

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Recording Secretary

Harold Valle

THE ROLE AND RESPONSIBILITIES OF RECORDING SECRETARY

The Recording Secretary is responsible for all record keeping required by the organization

during its fiscal year, keeping an accurate written account of the many functions of CBJC and

what transpires during board or general meetings. This requires being accessible, having

excellent attendance and being on time at all meetings.

As Recording Secretary, I am committed to keeping Jazz alive and will continue to contribute

my time and energy in doing so. By diligently adhering to our mission, I will continue to

do my part to promulgate jazz to a larger audience with great emphasis in influencing the

younger generation to be cognizant and appreciative of Jazz, the classical music of America.

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Artistic Director

Jeff King

The musical Director sets an important standard for CBJC. Jeff King holds all of the position

functions in good stead. From our premier event “Brooklyn Jazz Hall of Fame” to our “Gala”

as well as our Jazz!

The Womans ViewPoint and our Youth Jazz Jamboree CBJC strives to improve our community.

In addition, the music department spends considerable amount of effort fund raising

and working to keep the musical presentations align with CBJC’s mission of keeping the

music alive.

Jeff has toured Europe, Africa and Australia. He has played and recorded with some of the

best musicians in the world. He currently fronts his own band while also directing the CBJC

all Star band. Jeff has appeared on Tony Browns Journal, Positively Blackand Channel two to

the people. You can visit Jeff at www.jeffkingjazz.net

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Digital Media Director

Dwight Brewster

The position of Digital Media Director was created by former Chairman Jitu Weusi in 2008 in response

to the Consortium’s need to embrace the “digital revolution”. The mandate for this department

was to upgrade CBJC content products, innovate communications and expand our outreach

through social media.

The CBJC media department is working very hard to make sure we have a successful 17th Annual

Jazz Festival. Our focus last year was to update our social media outreach. With the help

of volenteers we’ve accomplished that goal. This year we plan on expanding that outreach, with

a continued effort in persuing our mission with a global mindset. Central Brooklyn Jazz Festival

has grown from a two day neighborhood event to a highly anticipated month long city-wide

music long series. With your suport we seek to expand our mission through social media.

Review our calendar of events and select from more than 50 Jazz events that are planned during

April-May. Promoting Jazz as African American Classical Music is CBJC’s core mission.

Dwight Brewster is a band leader, Dr Mambo an Experience, Radio Host The World of Jazz

Radio on WBAI 99.5 FM NYC Tuesday’s at 10 pm. Dwight is also writing a book about his international

music experience. Visit him at: www.dwightbrewster.com

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Sergeant At Arms

CBJC

Mike Howard

Parliamentarian and charter member, Mr. Michael Howard, enforces the rules at

board hearings and conferences. His late wife, Torrie McCartney, was one of the

founders of CBJC. As CEO of United Music Makers, an arm of CBJC, he recently

completed 16 years as facilitator of the Jazzy Jazz Festival held at Medgar Evers College.

He constantly seeks grants for CBJC tailored for the arts.

Howard chairs the budget committee which monitors the capital and expense budget

for Community Board 16 in Brooklyn. He has written several articles for the Black

Star News and Pure Jazz Magazine. He has videographed/photographed many of the

venues and artists throughout the years.

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Beareather Reddy

CBJC Executive Director

Beareather Reddy is the acting Executive Director of the Central Brooklyn Jazz Consortium,

which was previously led and co-founded by educator/activist Jitu Weusi in 1999.

Ms. Reddy is proud to be a part of an organization that for over 16 years has presented

an annual spring festival, established a Brooklyn Jazz Hall of Fame and Museum (TM)

and produced yearly programs that feature local jazz talent.

Ms. Reddy is grateful for the opportunity to work with the Board of Directors in programming,

fundraising, community outreach and strategic planning of the organization

efforts in the development and preservation of Jazz and related art forms throughout the

borough of Brooklyn.

Ms. Reddy is a performer vocalist, festival founder and educator in the greater New York

region.

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Congratulations

Central Brooklyn Jazz Consortium

On your continued success with the

17th Annual Jazz Festival

Magazine

Barry Harris

Every Tuesday

Mario Bauza

The man that made it happen

Get the latest Jazz news from Pure Jazz Magazine

Log into: www.purejazzmagazine.net

View current or back issues and additional information

Spring 2015

www.purejazzmagazine.com

US$6.00 / $7.50 out of town / CanC$ 7.50

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Pure Jazz Magazine and Central

Brooklyn Jazz Consortium have

had a strong working relationship

for nearly two (2) decades. Both

companies have a similar start

date, share similar mission statements

and have maintained a working

relationship from their beginnings.

Jo Ann Brewster-Cheatham

Pure Jazz Magazine’s founder and

publisher always pushed for continued

support of CBJC. She felt

CBJC was one of the foundations

PJM was built upon. Jitu Weusi the

first chairmen of CBJC said many

times “Jo Ann Brewster-Cheatham

and her magazine Pure Jazz must

be supported; it’s a magazine by us

about us.”

One of the last things Jo Ann said

before her recent transition was to

implore her family to continue the

relationship robustly. On that note

Pure Jazz Magazine has pledged to

do its best to continue the relationship

by publishing the CBJC Festival

Journal renamed CBJC Festival

Magazine. The CBJC Festival

Magazine is a statement of CBJC

from it inception until today. Pure

Jazz Magazine has published stories

during the years that had an impact

on the CBJC membership. A few

articles from different eras of the

magazine are included in this issue.

Please continue your support of

Central Brooklyn Jazz Consortium

and Pure Jazz Magazine as we try

our very best to build on Ms Chatham’s

high standards.

With Appreciation,

Dwight Brewster

Interim Managing Director

Jo Ann Brewster-Cheatham

“Jo Ann Brewster-Cheatham and her magazine

Pure Jazz must be supported, it’s a magazine by us about us.”

....... Jitu Weusi... 2004

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and Museum

Brooklyn, New York - Wednesday, April 29th, 2016, 17th Annual Central

Brooklyn Jazz Festival. Presents at the Brooklyn Historical Society,

128 Pierrepont Street in Brooklyn Heights section of the borough will

host the Brooklyn Jazz Hall of Fame ceremony. This year musician Kenny

Kirkland will be inducted. Live music and refreshments are part of

the festivities. Central Brooklyn Jazz Consortium created the Brooklyn

Jazz Hall of Fame to recognize unheralded and renowned jazz musicians

who call Brooklyn home. This event is free and open to the public.

Central Brooklyn Jazz

Youth Jamboree – Thomas Fisher, CBJC’s youth program director states: “Central

Brooklyn Jazz Festival is here. A month long celebration of an African inspired art

form. The Youth Jazz Jamboree will take place on May 14, 11-5:00 PM at Bedford

Stuyvesant Restoration’s plaza under the tent from 12 Noon to 4:00 PM. Come out

and hear the future of jazz.”

The Youth Jazz Jamboree and Wellness day is a community event sponsored by

Central Brooklyn Jazz Consortium (CBJC) to bring the generations together with

“A Music of the Spirit” provided by our youth, in our efforts to keep jazz alive and

well in Brooklyn. The “Wellness Day” is our way of bringing resources in health

awareness to the community at this all day outdoor event. So share a day with us,

experiencing the music of our people while getting medical and health advice,

preliminary exams, referrals and a host of family service resources at our Wellness

Day.

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This event is sponsored by Bedford Stuyvesant Restoration Corporation-Arts and

Culture Center & Central Brooklyn Jazz Consortium, 1368 Fulton St., Restoration

Plaza under the tent, free, info: 718.773.2252 x103, comm@cbjcjazz.org


Central Brooklyn Jazz Consortium (CBJC) has presented it’s Gala event

from its inception in April of 2000. This special occasion is the premier

event to bring CBJC’s mission to Brooklyn and the world.

This “high style” affair is the culmination of the 17th Annual Central

Brooklyn Jazz Festival’s 2016 programs. A performance, reception, dinner

event for Brooklyn’s jazz circle and cultural populace. Host venue

this year, Weeksville Heritage Center, is Brooklyn’s largest African

American institution; located in one of America’s first free black communities,

Playthell G. Benjamin, noted for his commentaries and positive

essays on Black Folks, will deliver the keynote address. Live music by

the George Gray Jazz Coalition.

This CBJC event is at Weeksville Heritage Center, 150 Buffalo Ave.,

Brooklyn NY. Playthell G. Benjamin is the keynote speaker.

George Gray

Consortium Premier Events

Jazz! The Women’s Viewpoint an idea that was realized when Rosalind

Blair inaugurated a program in 2000 that would give a voice, venue and

visibility to women musicians, wives and loved ones. It was her admiration

of these women for their enormous roles in preserving and keeping

one of our life forces current and accurate that gave birth to this annual

programming extravaganza.

On Saturday April 16, 2016 “Jazz! The Women’s ViewPoint” RSVPopening

reception with a trio performance, panel discussion with Jazzmeia

Horn, Ebony JoAnn, others, 4PM, RSVP-master class with Geri

Allen, 7PM, $20-“Jazz Salon” performance w/ pianist Geri Allen and

vocalist Vivian Sessoms, Bedford Stuyvesant Restoration Corporation/

Center for Arts and Culture @Skylight Gallery, 1368 Fulton St., info:

718.773.2252 x102, RSVP

Jazz!

The Woman’s

Viewpoint

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Valle’s Corner

Harold Valle

DYNAMIC DUO

(Poets Extraordinaire)

Harold Valle

(Keeper of the Secrets)

&

Sister Imani

Email: halval92520@yahoo.com

or cimani175@gmail.com

Keep up the great work you do.....

ODE TO CENTRAL BROOKLYN JAZZ CONSORTIUM

Let it be known that Brooklyn’s very own

has been on the scene for many a year.

Yes, it’s very clear that their commitment

to bring jazz to all –

winter, summer & fall

at an affordable price

has been quite nice.

They are tops with no false props

for the foundation which they stand

is solid as a rock.

I talk about the organization

that is recognized throughout the world.

So it’s plain to see that CBJC

will be a shining star.

They will continue to go forward

by leaps and bounds

for keeping the legacy of jazz alive

is their thing.

To be exact, it is truly a fact

that they really do swing

in everyway each and every day,

By Harold Valle, Jazz Poet

(“Keeper of the Secrets”)

© Jan. 23, 2012

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LUCIANO

POZO GONZALEZ

Keeper of the Tradition

By Harold Valle, Jazz Poet

(“Keeper of the Secrets”)

Many momentous historical events

transpired in the year 1915. One

could fill volumes of large books.

For the musical world, three wonderful

births occurred in 1915 that

are close to our hearts, Billie Holiday,

Frank Sinatra, and Luciano

Pozo Gonzalez, popularly known as

Chano Pozo.

Chano was born on January 7, 1915

in a one room apartment located

in Havana, Cuba. The proud parents

were Encarnacion Gonzalez

and Cecilio Pozo. Chano had a

half-brother named Felix Chappotin

who later became known for

his excellent trumpet playing in the

1950’s with his conjunto “Chappotin

and Sus Estrellas.” It was stated

that Chano was a wayward youngster

who was always prone to doing

exciting things. As a teenager he

was confined for a period of time in

a reform school. Chano acquired

a reputation as a street fighter who

didn’t shy away from trouble.

Chano demonstrated his skills as

a drummer and dancer in street

bands such as El Barracon del Pueblo

Nuevo and La Sultans de Barrio

Colon. In the mid 1940’s Chano

and his brother Chappotin co-directed

a band named El Conjunto

Azul for several years.

Chano met Mario Bauza in December

1945 in Havana. Mario was familiar

with Chano’s compositions,

for the Machito Band had recorded

some of his songs. It should be

noted that Chano did not write music,

but would hum the tune which

would then be written out by a

copyist. Such tunes as “Para-Param-

Pampin” and “Nague” were hits for

bands such as Noro Morales, Xavier

Cugat, Augusto Coen, Miguelito

Valdes and Machito.

Chano came to New York City in

1946 and was later introduced by

Mario Bauza to Dizzy Gillespie, the

great jazz innovator who played

with Mario in the Cab Calloway

Band. Dizzy needed a conga player

to add to the new musical concept

he was exploring, Chano consented

to join. It was a beautiful relationship

despite the language barrier.

Chano was responsible for Dizzy’s

great hits such as Monteca; Cubano

Be, Cubano Bop; and Tin Tin Deo.

On December 2, 1948, Chano was

in the El Rio Bar & Grill located

on the corner of 111th Street and

Lenox Ave. (Now Malcolm X Blvd.)

New York City. Due to a dispute,

Chano was shot six times by an assailant

while he was listening and

dancing to Monteca being played

on the Juke Box. Chano was only

33 years of age at the time of his

tragic death.

In spite of his demise, Chano’s

drumming legacy and songs will

forever abide in the annals of Latin

Jazz everywhere in the world.

Mr. Valle is known as “the keeper of the secrets”...

This is his title bestowed on him by

the Jazz fans at “Club Jazz966” in Bed-Stuy.

Harold always makes sure the Jazz fans understand

where the music comes from.....

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JAZZ! The Woman’s

Viewpoint - 2016

Bessie Edwards 2016 Chairperson

Jazz! The Woman’s Viewpoint (JTWVP)

part of CBJC’s 17th Annual Central

Brooklyn’s Jazz Festival is planned for Saturday,

April 15, 2016, 1-4pm at Bedford

Stuyvesant Restoration, 1368 Fulton St.

Brooklyn, NY 11213.

JTWVP is a program that celebrates women

in Jazz. A panel comprised of female

musicians, educators, industry executives,

media personnel, and wives of artists

come together to share their experiences

with the intent of helping other women

artists.

On Saturday, April 16th , 2pm, Central

Brooklyn Jazz Consortium (CBJC) will

host its’ 17th Annual Jazz! The Women’s

ViewPoint in the newly refurbished Skylight

Gallery, now part of the Arts and

Culture Center at Restoration at 1368

Fulton Street, Brooklyn. An informative

and musical day from 2-8:30pm will explore

Jazz through the eyes of women. A

Kick-off Reception at 2pm will feature JT-

WVP All-stars followed by Jazz: Change

is Coming! A Panel Discussion at

2:30 PM. It is open to the public and will

take a look at women in Jazz in the 21st

century: their place in the field, their innovation;

and their challenges. Panelists include

award winning jazz vocalists, Jazz-

20

meia Horn, Vivian Sessoms and Ebony

JoAnn. Moderated by Sheila Anderson,

host, Jazz After Hours, WBGOJazz 88,

this session features women who have

survived and prospered in the business

of Jazz. They use music to raise conscientiousness

and highlight changes that will

strengthen the voices of women and the

survival of Jazz music.

CBJC in collaboration with the Arts and

Culture Center at Restoration introduces

a Master Class with Geri Allen, world

renowned composer, educator and Jazz

pianist who will teach a master class and

discuss the role of women in Jazz. To cap

off the day, all attendees are invited to

Jazz: The Woman’s Viewpoint Jazz Salon.

Join Grammy and NAACP Image Award

nominated artist Geri Allen and vocalists

Ebony JoAnn and Vivian Sessoms at

7pm $20 Tixs www.restorationart.org.

For more information visit www.cbjcjazz.

org or call 718-773-2252 Ext. 102.

This event is a tribute to CBJC long-time

supporter, Harold Valle and honors the

memory of JoAnn Cheatham, Publisher

of Pure Jazz Magazine whoserved as one

of the first chairman of this event and

help guide the JTHVP to new directions.

JTWVP is a forum started by one of the

CBJC founders, Rosalind Blair to cel-

ebrate women in Jazz. Founded in 1999,

the Central Brooklyn Jazz Consortium

is an amalgam of patrons, entertainment

venues, musicians, faith-based institutions,

and community organizations.

CBJC is a nonprofit corporation committed

to preserving, promoting and supporting

live music within the underserved

communities of Brooklyn.

Rosalind Blair, CBJC cofounder, created

Jazz! The Women’s Viewpoint as core

program of the Central Brooklyn Jazz

Consortium. One of the primary goals of

this event is to give women an opportunity

to participate in the discourse of the

music industry’s dynamics. Another aim

is to give females an opportunity to share

experiences. The panel is open to female:

musicians, educators, industry executives,

media personnel, and wives of jazz artists.

JTWVP Panel Discussion, 2014


Hall of Fame Inductee

and Museum

Brooklyn, New York --- Wednesday, April 29th, 2016, The 17th Annual Central Brooklyn Jazz Festival hosts at the

Brooklyn Historical Society 128 Pierrepont Street in Brooklyn Heights section of the borough The Brooklyn Jazz

Hall of Fame Ceremony. This year musicians Ronnie Mathews, James Spaulding, neil Clarke, Lesedi Ntsane and

the Flaming Lounge will be inducted. Live music and refreshments are part of the festivities. Central Brooklyn

Jazz Consortium created the BJHoFame in 1999 to bring attention to Brooklyn’s rich Jazz heritage. Every April

is known nationally as Jazz Appreciation Month, CBJC holds a ceremony to honor the artists who have made

an impact on the international and Brooklyn’s Jazz community. Noted and unheralded musicians are inducted;

contributors to the jazz community are recognized by an award.

2016 Awardees

Ronnie Mathews

Ronnie Mathews was a member of Art Blakey’s Jazz Messengers in the late 50s through early 60s. The

lifelong Brooklynite toured internationally with and recorded with Max Roach, Freddie Hubbard, and Roy

Haynes. Ronnie will be best remembered for his long association with the Johnny Griffin Quartet. In the

90s Mathews recorded with the Clifford Jordan Big Band. Pancreatic cancer took Ronnie away from us in

Brooklyn in June of 2008.

James Spaulding

Grammy album award holder, bass guitar great, Brooklyn born, Stanley Banks is best known for his thirtyfive

years of performing with music icon George Benson. His performances with music legends Aretha

Franklin, Freddie Hubbard, Chaka Khan, and Stanley Turrentine just to name a very few place Stanley on the

in demand, “A-list” of musicians.

Neil Clarke

Activist, culturalist, pro-Africanist, Jazz percussionist Neil Clarke is a student of percussion and has been

for more the a few decades. In his ongoing pursuit of excellence Mr. Clarke has had many opportunities to

perform, collaborate and of course study with percussion masters world-wide. His musicial contribution to

the independent republic of Brooklyn has been enormous. Neil Clarke performs with Jazz Master Randy

Weston.

Lesedi Ntsane

Lesedi Ntsane is a South African born trumpeter and a graduate of the New School for Jazz and Contempoary

Music. Lesedi chops favor musicians of the American hard bop scene of the 60s. Though raised in the

land of the “penny whistle,” known nationally as kwela music, he developed his own voice blending styles of

both continents.

Flamingo Lounge

Owner Levy open the Flamingo Lounge at 259 Kingston Avenue near St. Johns Place in the 70s. This neighborhood

outpost for “Real Jazz” hired acts such as Houston Person, Etta Jones along with a host of today’s

central Brooklyn jazz favorites performing in their early days. Filling the musical void left open when other

shrines closed down to the drug infestation in our community. Levy keep his venue classy and free of “the

element” thus providing the music in an atmosphere conducive to aficionados.

Ronnie Mathews

Lifetime

Achievement Award

James Spaulding

Jazz Impact Award

Neil Clarke

Young Lion Award

Lesedi Ntsane

Jazz Shrine Award

Flamingo

Lounge

21


Youth Jamboree – Wayne Winston, CBJC’s youth program chair, states: “Central Brooklyn Jazz Festival is here. A

month long celebration of an African inspired art form. The Youth Jazz Jamboree will take place on May 14th 2016 at

Bedford Stuyvesant Restoration’s Plaza under the tent from 11am to 5:00 PM. Come out and hear the future of jazz.”

Young people and wellness are components in the growth and prosperity of a community. The youth’s participation

in the arts, especially music can be a major factor in their educational development. Health care, particularly in inner

city neighborhoods, is at a crisis stage. Wellness outreach exhibits inform the public on health care issues and

treatment options.

Putting musical instruments in the hands of grade school children challenges them intellectually and can change the

path they choose. Central Brooklyn Jazz Consortium is devoted to improving the quality of life to those in its catchment

area and beyond. Thomas Fisher Director of the CBJC Youth Program is excited about the 17h year’s program.

The talent we of our young people is awe-inspiring as they reach for their heights. We have had many young musicians

leave our programs and go on to much higher learning. It is a joy working with the our most talented young

people who are searching for their heights.

22


2016

Gala 2008

Roy Haynes

Gala 2009

May 5, 6 PM – FUNDRAISER, This year’s Gala Event/Fundraiser

promises to be a very special affair and is an event the

community can get behind and enjoy. Historically this affair

was produced to raise funds for Central Brooklyn Jazz Consortium’s

programming. Held annually since 2000 this is one of

CBJC’s core events.

Central Brooklyn Jazz Consortium’s Festival 2016 Gala Concert

features Live music by the George Gray Jazz Coalition. Host

venue this year, Weeksville Heritage Center, is Brooklyn’s largest

African American institution; located in one of America’s first

free black communities, Playthell G. Benjamin, noted for his

commentaries and positive essays on Black Folks, will deliver the

keynote address.

Vanessa Rubin

Gala 2013

Pharoah Sanders

Gala 2015

Jeff King

Steve Kroon

23


24


THE COUNCIL

OF

THE CITY OF NEW YORK

CHAIR

WOMEN’S ISSUES

COMMITTEES

CULTURAL AFFAIRS

FINANCE

HIGHER EDUCATION

PUBLIC HOUSING

YOUTH SERVICES

LAURIE A. CUMBO

COUNCIL MEMBER

35 TH DISTRICT, BROOKLYN

April 15, 2016

Clarence Mosley, Jr.

Chairman

Central Brooklyn Jazz Consortium

1958 Fulton Street

Brooklyn, NY 11223

Greetings,

On behalf of the 35 th Council District, I would like to congratulate the Central Brooklyn Jazz

Consortium on the occasion of its 17 th Annual Jazz Festival, which celebrates our great borough

and deep appreciation for music.

As a member of the New York City Council and Committee on Cultural Affairs, it is my distinct

honor and privilege to recognize this organization for its steadfast commitment to

“preserving, promoting and supporting live music within the underserved communities of

Brooklyn.”

Through your hard work and dedication, artists have an opportunity to nurture and share their

talents with diverse audiences. As a result, Brooklyn has emerged as a hub for arts and culture –

attracting thousands of New Yorkers and tourists who contribute to the economic growth of our

city and state. I want to thank you for your many years of service to our community.

Once again, congratulations to this Consortium and I wish you all the best in your future

endeavors.

Yours in Partnership,

LAURIE A. CUMBO

MEMBER OF THE NEW YORK CITY COUNCIL

DISTRICT OFFICE: 1 HANSON PLACE, SUITE 201 BROOKLYN, NY 11243 · TEL: (718) 260-9191 · FAX: (718) 398-2808

CITY HALL OFFICE: 250 BROADWAY, SUITE 1792 NEW YORK, NY 10007 · TEL: (212) 788-7081 · FAX: (212) 788-7712

25


DISTRICT OFFICE

1360 FULTON STREET, SUITE 500

BROOKLYN, NY 11216

TEL: (718) 919-0740

DISTRICT OFFICE

FAX: (718) 1360857-2555

FULTON STREET, SUITE 500

BROOKLYN, NY 11216

CITY HALL OFFICE TEL: (718) 919-0740

250 BROADWAY, SUITE FAX: 1743 (718) 857-2555

NEW YORK, NY 10007

CITY HALL OFFICE

TEL: (212) 788-7354

250 BROADWAY, SUITE 1743

FAX: (212) 788-8951 NEW YORK, NY 10007

rcornegy@council.nyc.gov TEL: (212) 788-7354

FAX: (212) 788-8951

rcornegy@council.nyc.gov

THE COUNCIL

OF

THE COUNCIL

THE CITY OF NEW YORK

OF

ROBERT THE E. CITY CORNEGY, OF NEW YORK JR.

COUNCIL MEMBER, 36 TH DISTRICT, BROOKLYN

ROBERT E. CORNEGY, JR.

COUNCIL MEMBER, 36 TH DISTRICT, BROOKLYN

CHAIR

SMALL BUSINESS

COMMITTEES

CHAIR

CIVIL SERVICE & LABOR

SMALL BUSINESS

FINANCE

CO-CHAIR HEALTH

BLACK, LATINO AND HOUSING ASIAN CAUCUS

PUBLIC SAFETY

COMMITTEES

CIVIL SERVICE & LABOR

FINANCE

HEALTH

HOUSING

PUBLIC SAFETY

April 15, 2015

April 13 th , 2016

Central Brooklyn Jazz Consortium (CBJC)

1958 Fulton Central Street Brooklyn Jazz Consortium

Brooklyn, NY 11233

Members of CBJC,

I want to I congratulate am always proud the to Central support the Brooklyn Central Brooklyn Jazz Consortium, Jazz Consortium’s an organization (CBJC) quest to committed keep jazz

to the development music alive and this preservation year is no exception. of jazz As music we embark and related upon the art 17th forms, Annual as Central they Brooklyn celebrate

Jazz Festival, we celebrate CBJC as extraordinary asset to the community. Congratulations on

our borough’s contributions to the African inspired art form called Jazz. CBJC, since

emerging into a hub that provides an invaluable artistic experience that brings together an

1999, has enriched the lives of the people in Central Brooklyn and beyond.

From April 17 to May 17, 2015, New Yorkers will celebrate Jazz Appreciation Month

woodwinds come together. By sharing the African inspired art form called Jazz with the

through the nearly 50 events taking place during the 16th Annual Central Brooklyn Jazz

community, CBJC does more than entertain, it inspires. This is a vital contribution to Brooklyn

Festival (NYC’s and beyond, longest as its impact continuously the community running is irreplaceable. grassroots festival dedicated to Jazz), in

venues throughout the city. I am proud to give my continued support to this worthy

organization On behalf and the of the services residents it of provides the 36 th district, to the I thank 36th you Council for your District. continued service, your cultural

Sincerely,

1958 Fulton Street

Brooklyn, NY 11233

Dear Central Brooklyn Jazz Consortium,

intergenerational audience.

Youth, adults, and seniors alike, all benefit when the sounds of strings, brass, percussion, and

significance, and your historical impact on the arts community.

Sincerely,

Robert E. New Cornegy, York City Jr. Council Member

NYC Council 36 th District Member, – Brooklyn 36 th District – Brooklyn

26

Robert E. Cornegy, Jr.


City Council Member Darlene Mealy

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“ Music is the Healing Force”

Peace on Earth

35


Central Brooklyn

Jazz Events

Over the Years


2000

to

2016


Magazine

I had to share with you the sensation I’ve

been living with since the tribute I attended

this morning. I was privileged

to witness the rededication rituals of the

Amazon in their funeral salute to the impeccably

principled life, legacy and lore

of Dr. Nina Simone at Abyssinian Baptist

Church. I am still vibrating from such a

concentrated immersion in elegant, dynamic

estrogen. Men were present but

this was clearly a ‘woman’s event’ and

conducted under the protocols of the warrior

woman. The church was filled. There

were Amazons everywhere. Such a large

grouping of Amazons sets in play it’s own

gravitational force. The pull was tidal and

cleansing. As the mosaic of speakers made

testimony, magic in the pattern of presentation,

revealed Dr. Nina’s final comment

to America.

Nina Simone transcended this earthly

plane within her own life time. Her

achievements in self-esteem, when combined

with extraordinary talent, absolute

courage, a grounded humanity and a need

to tell the truth, sculpted a personality so

rare, so refined, it virtually willed itself.

That quality is the essence of the warrior;

the projection of the self, saturated in conviction.

To hear a church full of warrior

women ululate for one of their greatest is

music so pure, it plays through the body.

Raw Spirit seeks itself. The melding of

38

IYALODE

By Ed Dessisso

The following is a reprint

from a 2014 addition PJM


sound to Spirit is fundamental technology

for the Amazon. They all can do that and

differently too. The Amazon is a goddess.

A testimonial for Dr. Nina Simone required

no less than an army of goddesses.

Her army was there. Keep in mind what

it takes to be a goddess, then understand

that her army was there. These are the

troops that can eat their prisoners. Goddesses

do that too. A quality of your cool

is the level of your Nina Simone story because

she was impeccably divine, but humanly

accessible.

To speak of Nina’s strength, as with all

who came to praise her transition, is a redundancy.

In so many ways the feminine

image of accountability, she reigned supreme

as the Queen Mother for the tribe

of the unforgiving. In the Old World, the

title for such sovereignty is Iyalode: ‘the

adjudicator of market place issues’. It is a

chieftancy occupied exclusively by women

and not questioned in its authority. The

transition of an Iyalode is both the closure

and rebirth of eras by which people

live their lives-- conduct their business.

The so-called New World has no counterpart

translation for the Iyalode, due

mainly from the diminished valuation of

the woman gender. Iyalode is the woman’s

voice in the ruling Senate of Elders and

the appeal of last resort within the gender.

Such power carries the requirement of

impeccable demeanor and comportment.

Iyalode is a lonely place because it is the

top.

Nina Simone’s music is unlike anyone

else’s music. She infused her artistry in everything

she touched; possessed the soul

of any song she sang. Like it or not, you

always got the Nina Simone version of everything

she did. She continues to be quite

luminous, especially to those of us accustomed

to music that is alive. Nina accurately

interpreted love in the nappy-headed

fashion guys like me tend to experience

it. Love may start out a Gershwin tune but

always ends an opus Simone by the time

the kissing stops. Often long before. Dr.

Nina tinged the human need for intimacy

with reality bites, like the presence of diapers

latent in the love making act. You recognize

her priorities and make a surviving

culture by adherence to them. Nina’s is the

music that charts ‘love in a time of plague’,

the musical landscape of keeping it real.

When you connect the neighboring stars

in her constellation, you’ve linked to Billie

Holiday, Bessie Smith and Ma Rainey.

How these Iyalodes defined love is the

unimpeachable standard for Africans and

others in the

New World.

For male

members of

the tribe of

the unforgiving,

her music

declared the

reality that

we are not

forgotten, are

not strange,

are not alone.

She blended

the ‘sweet and

sour taste of

love’ in her

music more

consistently

and to more

memorable effect

than anyone you can name. No one

handles the scar tissue of romance like

Nina Simone. No one gives it more dignity.

The ‘going over ceremony’ for such an

accomplished spirit engages the most exacting

nuances of testimony because no

one is capable of saying it all. Ritual provides

the outlet by which many compose

a portrait of the one. Ritual is the social

mechanism that attacks the void and defeats

death. The footpath of ritual is much

grown over, but there are those who still

know the steps and tread it with the purity

of their initiation, for the salvation,

the restoration of us all. Words cannot

capture the ritual dance of the leaders as

they guide us up the ancient pathway, but

the landscape was indelibly, undeniably

Nina Simone. Without interpretation, the

non-initiate can only find release in tears

of loss. We’re only human after all. But that

is not the way of goddesses.

Perfectly, as an

invocation must

be, Sister Camille

Yarbrough ululated

a war cry for

the fallen before

she put everybody

on their feet

in a blood rushing

tribute to the

memory of Dr.

Nina Simone. She

scorched the earth

and made sacred

space for all to follow

within. Then

Ossie Davis, the

distinguished presiding

elder, leaned

Ms. Nina Simone on the mic

adroitly on his several

prerogatives to

interpret Simone’s signature, ‘Mississippi,

God Damn!’ right there at the pulpit. It

was quite a hit, built into his lesson on the

battle implications of the trumpet, and the

trumpet that Dr. Nina was for the world.

He sat down to a standing ovation and

the amazed approval of Rev. Butts. Then

flowed a river of other fascinating women,

39


each bearing an intimate and personal

facet of Nina Simone that was given to the

rest of us as a treasured artifact, a valued

relic.

Tahiya Nyahuma led a large contingent of

The Philadelphia Congress of the National

Congress of Black Women in a powerful

but sensitive recovery

of Nina’s lost dream

at conservatory. Sister

Nyahuma presented

the Honorary Degree

from the Curtis Institute

that had denied

her admission at 19,

along with the heartbreaking

story of Nina’s

unjust rejection. It

helped me understand

how rage can be born

from the thing you love

the most. . Sister Nyahuma

finished with

the dedication of commissioned

art work in

Nina Simone’s name

and the acknowledgment

of her chapter

members there in the

church. Those Philly

sisters were fine and a

great example of how

far-reaching the goddess

community extends.

Then Cecile Tyson spoke on behalf of

a long and dear friendship: “I can’t remember

a time when I didn’t know Nina

Simone.” From there, she launched into

a meaningful recitation of the Langston

Hughe’s poem, “I’ve Known Rivers”. It was

politely devastating. Then Dr. Verta Mae

Grosvenor, herself known to make a skillet

talk Gullah, charmed household insights

40

and child rearing techniques into a lustrous

and warm portrait of Nina Simone.

She began on the ‘mommy network’ but

finished by stating that “…Langston dug

Nina as much as Nina dug Langston”.

Then Dorethea Church, Dr. Nina’s personal

stylist, came before us and allowed

Ms. Nina Simone on the piano

the world a look at Nina dressing. With

absolute naturalness, Sister Church spoke

of Dr. Nina’s ability to remain elegant under

any circumstances, in every situation.

Nina Simone held court from the back of

limousines. Then Sonia Sanchez looked

through the veil and spoke with the ancestors

to manifest Nina’s voice. Sister Sanchez

shattered us with her poem “Indigee,

So Close to the Ancestors…” We are deep

in Old World tradition when the voice

of the deceased is invoked. This is major

Amazon technology but nothing new to

the goddess Sanchez. “Nina’s intelligence

was kissing our hearts. She was like Nut

arching over us.” Sonia has made the Mask

talk many times.

And the voice came

when Sam Waymon,

Nina’s brother sang.

He manifested her

with exact intonation

and phrasing. His

keyboard work has

always contained the

same personal virtuosity.

The combination

was pleasantly

unnerving to those

who had never experienced

it. There in

our midst was the living,

vocal presence of

Dr. Nina, thrilling us

like only she is able to;

yet she was gone. Sam

played generously

and graciously in spite

of his own grief. His

personal salute could

not have been better.

Then Patti La Belle

testified to Dr. Nina’s protective nurturing

in a story about champagne in a plastic

cup. Patti sang the ‘Lord’s Prayer’ for

Nina, after telling another wonderful story

about Nina and Andouille sausages. It was

all so right.

Attillah Shabazz faced her moments of

testimony in the same confident stride

as the people before her. Crisp and to the

point, she put the world on notice that the


fires lit by Nina Simone not only burned

brightly in her generation but gave form

to their work as well. And then Simone,

Nina’s daughter animated the mosaic by

pledging that the world has not heard the

last of Nina Simone. “She will be in all that

I do”.

There, was Dr. Nina Simone’s final comment

to America: a wide and continuous

flow of brilliant, beautiful, talented and

fearless Black warrior women [The Amazon

Goddess] deeply inspiredby Nina’s life

and rededicating their commitment to

devour her enemies. Puts lead in Ogun’s

pencil to hear the praises of the unbroken.

I’m writing to tell you that Dr. Nina

Simone’s army is unbroken and way larger

than America wants anyone to know.

Nina Simone transitioned by releasing

forth an army as fierce and multi-faceted

as she was. Everyone present drank deeply

in the blessing of the collected power on

display, while marveling at the size of the

personality that could umbrella it all. Dr.

Nina’s presence was made manifest by the

reflections and memories emanating from

the whole church, in what I will always

remember as a holy event; the melding of

sound to Spirit.

I left before the benediction. Having

searched among the faces to find her, I

handed the tapes I brought to Jo Ann

Cheatham and made my exit ducking

the encounter with “Young, Gifted and

Black”. I needed to walk off some of my

feelings before going to work. My head

was clouded with the mists of ritual, the

touch of the Creator and all that fine womanhood.

Spiritual for sure, but something

very earthy and sentient as well. As in

the words of her song, I had gotten quite

a bit of ‘steam on my clothes’. Vibrating is

the only way that I can describe the feeling.

In a church full of alpha women, the

male energy gets to explore how many

different ways there are to fall absolutely

in love. Among an army of goddesses,

mere man strains to keep his focus and his

feet turned to purpose. Nina’s army sets a

mere man’s world in tension that feels like

vibrating because each of them is Iyalode

material, each of them a queen and each

a compelling vortex of leadership, intelligence

and love. High-grade womanhood

of such intensity addles as it enriches. I

needed to walk and meditate on bearing

witness to the birth of a super nova. Galaxy

Simone ritually rendered, if you can

dig it.

I vibrate still, but deeper. It’s more in the

bones, pitched at the frequency of ululation,

ripples of sound meld to my Spirit

and I surrender, conjured and captured

in the web of the Amazon. The pull is

tidal and cleansing. With my head to the

ground, I salute Iyalode Dr. Nina Simone

and all those who keep her legacy a factor

in this world because so much of living

now is ugly and absurd. Nina Simone

willed beauty and purpose upon us in the

lavish manner of the royalty that she was.

Like the people who celebrated her, she

kept us in mind of what the best moments

of struggle is all about. She raised sacrifice

to its exalted position and used her

life as an Ebo by which the nation could

survive. I vibrate with the joy that comes

from knowing generations of Black women

who, though constructed from Iyalode

elements, are yet content to make life

among mere men and give what meaning

there is to our world. They give us children

and love and faith and labor and wisdom

and day to day understanding that breeds

the assurance of survival. They also give

us heartaches and worries and the weary

blues, just like Dr. Nina when telling her

truths. I vibrate because love at the level

of Iyalode is nothing a man can be cool

about nor should he be. Dr. Nina Simone

is rightfully the distillate of all Iyalode

women and she is enshrined in the pantheon.

The ones who circulate among us

are enshrined in the bones of the living.

Ed Dessisso is a Free Lance writer and is

the author of Vinyl Man, which is regular

column in this publication.

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Congratulations CBJC on your

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The following is a reprint from a 2014 addition of:

Magazine

JazzWoman

10 Years Later

By Jo Ann Cheatham

is free. Each Sunday is different;

the musicians have a rare opportunity

to play without restriction

of pleasing a club owner in order to

be rehired, they let the music flow

freely. If a well-known figure in the

jazz community makes their transition,

the life and works of that person

is celebrated. What started as a

promise has evolved into a musical

tribute to her son? It is fitting that

these concerts are held on Sunday

because this is the sacred day of the

week and this is the celebration of a

life, the most sacred thing we have.

Can you imagine conducting a

structured Jazz Concert for as

many as 55 people every Sunday in

your living room? This weekly task

could give New York restaurateur

B. Smith the jitters. Why in the

world would a person perform such

an awesome feat each Sunday come

rain or shine for nine years?

It all began in 1994 when Marjorie

Eliot was visiting her son Philip

in the hospital. He was there because

of a serious kidney ailment

and they both know he did not have

long. “My mission every day was to

go into the hospital with something

fun to talk about. He was very optimistic

always smiling, so I wanted

to make every day a pretty day.”

She told her son “You can sit in the

parlor and listen to some music on

Sunday.” Philip was an actor and

played the piano as did her four

other sons Rudel, Michael, Shaun

and Alfred. He said he liked the

48

idea. Marge as she is affectionately

known is accustomed to having

music in the parlor because that’s

where she took piano while growing

up. Sundays after church people

would come over to her house and

the family would ask her to play the

tunes she had learned. “Those little

tunes that you know that you can

play well.” When brainstorming a

project she notes you go to your own

resources.”

As soon as Marge got home she

started contacting the musicians

she knew and asked them to come

and play that Sunday, And her pool

of music people was extensive; besides

her own piano activity she is

married to Al Drears . The music

has been flowing ever since. The

musicians who come are serious

musicians well known well known

in their own right. “This is not a jam

session: this is a paid gig for them.”

she says, she says, and sometimes

this is difficult because admission

Every Sunday her couch is removed

and replaced with folding chairs.

In the beginning her family complained”

you’ve taken every comfortable

chair out of here.” My idea

was to have a concert stage and

have the audience meet the artist.

When I first started, it was Jazz

and theatre Sundays, every other

Sunday it would be a play and I was

crazy because I’d be writing all Saturday

night.”

The audience is comprised of her

regulars plus people from around

the world. Marge has a collection if

articles written about Parlor Entertainment

from the New York Times

Daily News and many papers in

Europe. In days gone by when Jazz

enthusiasts came to New York, the

firsts place they would want to visit

was 52nd Street. Today it’s Parlor

Entertainment. The people are true

jazz lovers, not just tourists. Someone

who has been there will spread

the word about Parlor Entertain-


ment. “These are people who really

want to come to Harlem. They

find a treasure trove here and they

come back.” One guy from London

told Marge that when he informed

his mother he was coming back to

New York, his mother said. “I know

where you will be on Sundays.

You’ll be at that nice woman, Marge

Eliot; s house, Marge continued, she

had also read about us in the papers

in Europe. It’s an embarrassment

of riches really, because the New

York Times goes everywhere. I had

a lot of people calling me from Europe

about the articles they have

read. A man came Sunday who later

hugged me and said ‘Thank you

for celebrating Philip: we lost our

little girl too’ and there he was in

tears and all. We just hugged, so if I

never see him again, we‘ve bonded.

People come here because they get a

chance to see great musicians. This

is a quite celebration of tie life,”

Marge concludes. “I don’t want it to

be anything else.

It is not surprising that she gets

no complaints from her neighbors,

given the roster of former tenants

who were well known jazz musicians:

Johnny Hodges, Duke Ellington,

Sonny Rollins. Andy Kirk

and actor/singer Paul Robeson

have called this building home.

The landlord lives upstairs in Andy

Kirk’s old apartment. “The community

celebrates it and I‘ve never had

any real complaints. Anyone who

doesn’t love this, there is something

wrong with them. People come and

embrace the idea and legally. I can

do this, I can have a party.” When

asked, if that’s the reason there is

no charge, she says, “I don’t want to

merchandise my kid.”

Marge is an only child whose father

played the trumpet and worked

in a laundry to support his family

hails from Philadelphia. Piano lessons

began at the age of five and

she started playing for her church

when she was twelve. A few years

later, she moved to New York to

study drama. As a resident of the

Washington Heights area for over

twenty years, she was inducted

into the People’s Hall of Fame) located

in the Museum of the City

of New York) by City Lore. A nonprofit

organization that recognizes

living individuals deemed cultural

treasurers. Marge was honored for

keeping alive a unique expression of

Harlem’s Jazz legacy. That mission

is furthered enhanced by her yearly

outdoor concert at the Jumel Mansion,

a historic site dating back to

revolutionary times.

In addition, Marge is the Founder

and Artistic Director of Children’s

Theatre and Music Workshop. “I

write plays for them and Jazz is the

music I use. I talk about the neighborhood

and what African American

classical music has had to go

through. It’s an academy without

walls,” The young actors rehearse

and perform during their vacation

breaks from school. “I want children

to know the musicians I know. It is

important that we embrace the children.

And I love it. I love working

with children, she states.

Marge feels that music is the diving

rod that brings us together “I

thank this audience each Sunday

for helping to create this miracle.”

Parlor Entertainment is located at

555 Edgecombe Avenue. For information

call 212-791-6595

It should be noted that this was the

first Jazz Woman and Marge Elliot

continues her work with Parlor Entertainment,

gathering great artists

for a swinging Sunday event. Please

support by stopping by on a Sunday.

Marge Elliot

Jo Ann Cheatham is Founder and

Publisher for Pure Jazz Magazine.

She recently made her transistion.

49


Historic Moments

Starting with the very first festival cover of 2000 we take a look back

with photos and graphics of events Central Brooklyn Jazz Consortium

has sponsored.

50


SUBSCRIPTION - 4 ISSUES

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PLUS 10 PJ Newsletters: $34.95

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PureJazz Magazine

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Visit P.O. Box us online: 22101

www.purejazzmagazine.net

Brooklyn, P.O. Box 22101 NY 11202

Brooklyn, NY 11202

Visit Us Online 718.636.9671

www.purejazzmagazine.com

PureJazz Magazine

Visit Us Online 718.636.9671

www.purejazzmagazine.com

51


Healthy Individuals Empower a People!

23 Years of Struggle,

Service and Healing

52


Congratulations & Thanks To

Congratulations & Thanks To

THE CENTRAL BROOKLYN JAZZ CONSORTIUM

THE CENTRAL BROOKLYN JAZZ CONSORTIUM

For Presenting Its 16 th Jazz Festival

For For Presenting Presenting its17th Its 16 ANNUAL th Jazz Festival JAZZ FESTIVAL

“Where “Music Jazz of the Lives” Spirit”

“Where Jazz Lives”

And For Providing Our Community With Jazz & Much Needed History

And For Providing Our Community With Jazz & Much Needed History

MICHAEL C. FORTH

MICHAEL Attorney-At-Law C. FORTH

Attorney-At-Law

NYS Licensed Real Estate Broker

NYS Licensed Real Estate Broker

The Key to Your Legal Challenges:

Trusts, The Wills, Key Estates, to Your Elder Legal Law, Challenges: Personal Injury,

Trusts, Wills, And Estates, Real Elder Estate Law, matters. Personal Injury,

And Real Estate matters.

More than 25 Years of Experience

More than 25 Years of Experience

Helping Families and Individuals

Helping Through Families Life Challenges. and Individuals

Through Life Challenges.

326 Atlantic Avenue

Brooklyn, 326 New Atlantic York Avenue 11201-5825

Brooklyn, New York 11201-5825

(718) 237-2323 (office)

(718) (718) 237-2323 237-2904 (office) (fax)

(718) 237-2904 (fax)

53


In Memoriam

CBJC/PJM would like to take

a few moments to reach back

and acknowlege our founders

all except one have made their

transition to the ancestors.

However their dream lives on

with the continued operation

of CBJC. In 2016 its future

looks bright however we refuse

forget how we got here...

Alma Carroll, Rosland Blair,

Torrie McCartney and Viola

Plummer founded the origination

with the dream of keeping

Jazz alive in Central Brooklyn.

In 1999 the founders now scetup

for operations requested

Jitu Weusi to serve as the originations

first chair.

Together they created, planned,

financed, promoted and delivered

the first CBJC Jazz festival

in 2000. Today we honor them

with the continuation of that

dream by producing the 17th

Annual CBJC Jazz Festival.

Alma Caroll

Jitu Weusi

Torrie McCartney

Alma Carroll - A founding member of Central

Brooklyn Jazz Consortium, lived as she believed

Love of community, family, friends and Jazz are

all that mattered. In her spirit and memory, we

must “Keep Jazz Alive.” Godmother of Central

Brooklyn Jazz; grand lady of community activism;

tireless warrior for aging populations; in

the pantheon of great women visionaries who

placed Bedford-Stuyvesant on the global map

her other true loves, Joe Carroll and Jazz. Together

they founded the Jazzpazazz Preservation

Society to give tribute to the Jazz greats of

yesteryear.

Jitu Weusi the first chairperson of CBJC was an

arts and cultural icon in Brooklyn whose musical

influence reached throughout the U.S. and into

Africa. He created and lead many arts organizations

including the EAST Cultural Center and

the International African Arts Festival Brother

Jitu encouraged creativity in thousands of performing

artists. He established a beautiful venue

in his beloved community Bedford-Stuyvesant,

FOR MY SWEET and his wife Angela continues

his legacy of making jazz available at an affordable

price at For My Sweet. His hearty smile and

warm embrace is missed.

Remember The East?

One of the founders of CBJC Torrie also established

the Dubios West African Ghanaian Jazz

Festival and facilitated The Jazz Festival at Medgar

Evers Collage. A renaissance woman who’s

dream was to place the culture on a pedestals,

l have activists and organizers collaborate with

artists and audiences. Have business and children

benefit from the results, and remind the

diaspora that we are one.

54


CBJC Founder

Viola Plummer

2015 CBJC Jazz Impact Award Winner

CBJC is blessed Ms. Plummer

is with us and very active in the

Brooklyn Jazz comunitty as well as

with her Jazz Coffie House, Sista’s

Place. Sista’s Place continues to

host the best regional Jazz talent.

It’s where the Jazz Masters and Jazzotes

perform.

Sistas’ Place is located at: 456 Nostrand

Avenue Brooklyn, N.Y.

http://sistasplace.org/

55


56


On your 17th Annual Jazz Festival

57


58

World of Jazz Radio is broadcast on www.wbai.org and on air WBAI Radio 99.5

FM NYC Turesday’s on the regular. We hit at 10pm until 12 midnight.

We seek the best in international music we can find.


At 61

By Eugene Holley, Jr.

The following is a reprint

from 2014:

Magazine

George Wein

In the summer of 1954, a young, brash

Jewish kid, from suburban Boston named

George Wein – who fancied himself as

a budding piano player-- collaborated

with Elaine and Louis Lorillard, a New

England socialite couple, and put on

something not seen in the U.S., a jazz

festival. The site for that festival was the

unlikely summer getaway destination of

Newport, RI. Against all odds, all social,

racial, artistic and economic hardships,

the festival has survived for sixty years.

Indeed, in an evolving art that morphed

into Bop, Hard-Bop, Third Stream, Cool,

Cubop, the Avant-Garde, Fusion and

beyond, Wein’s festival – which at one

time was a global event, from the Big

Apple and the Big Easy, to Pittsburgh

and Paris – has been one of the few

constants in the music. It has served

as kind of a sonic census of the scene

as documentary of infinite variety of

moods and grooves of the day and the

era.

59


if presented with quality and dignity

could be positively presented to the

public, beyond the clichéd confines and

nocturnal nuances of the nightclub, into

the light of the sun. He also proved that

black and white mix and swing in ebony

and ivory harmony. (It is no coincidence

that festival launched the same year of

the historic Brown v. Board of Education

ruling).

This year’s

Newport Jazz Festival 2014

festival lineup

is as dancing and diverse as ever. It

includes: pianists Michel Camilo, Gerald

Clayton, Jon Batiste, Aaron Diehl, Fred

Hersch, and Hiromi; saxophonists

Kenny Garrett, James Carter, Lou

Donaldson; drummers Herlin Riley and

Jack DeJohnette; guitarist Pat Martino;

trumpeters Irvin Mayfield and Ambrose

Akinmusire and vocalists Cassandra

Wilson and Jose James.

“The focus of this year’s festival is what

is the future of jazz,” Wein recently told

the Associated Press. “We can never

ignore the history of the music, but at the

same time, there is such energy and spirit

among young musicians today. We try to

find the ones that are creative and give

them a stage to be heard.”

The festival has been a place of discovery

of new talent, and of artistic rebirth.

It was where Miles Davis and Duke

Ellington revived their careers in the

fifties; where John Coltrane unveiled

his lovely supreme saxophone in

impressions in the sixties; where rock

and jazz merged in the seventies; where

60

the Marsalis brothers

launched their neoclassic,

‘Young Lions’ revolution in the

eighties and well into the nineties. Today,

well into the change of the century, a

new generation of improvisers including

Houston’s Jason Moran, Christian Scott

from New Orleans, and Portland’s

Esperanza Spalding are now writing their

sonic signatures on the artistic epidermis

of their generation.

“… [I] think we should allow these

young players to share the spotlight,

until the public can fully accept them,”

Wein says. These are all great players

who are trying to find their own voice,

trying to add something to the music

that becomes part of the mainstream of

what is happening. And it’s a privilege for

me to present them at Newport.”

Through all of the music’s twists of tone

and tempo, Wein has stood as a kind of

eternal MC – a master of ceremonies to

the longest jazz gig on the planet.

That said, Wein’s achievement must be

viewed in a broader context than just

the music. What he did was prove that –

contrary to even the haters today – jazz,

But just as a jazz solo is an exercise in

grace under pressure, Wein’s stewardship

at the helm has had its moments of

titanic turmoil. There was protest festival

spearheaded by Charles Mingus and

Max Roach in 1960. There was a time

when Wein tried to meld rock and jazz –

a move he later regretted. And there were

always critics who thought the festival

was a sell-out because it didn’t feature

more adventurous programming. To

their credit, sometimes they were right.

But with the ease of a Lester Young solo,

Wein adjusted, mended, and molded the

festival to walk the near irresolvable tight

rope between art and commerce. He

performed this balancing act when the

jazz masters were dying; when traditional

jazz record stores and terrestrial radio

stations have almost all disappeared, and

when the mention of a jazz musician on

TV or in the newspapers was hardly seen

unless the musician was in a drug bust

or deceased.

In the words of Ellington’s hit, “Things

Ain’t What They Used To Be.” Now,

a la Bud Powell, the scene changes.

It’s Newport, Rhode Island in 2014.

Although Wein is without his wife Joyce

, who passed away a few years ago, he

is in good spirits, as he rolls around the

festival in a golf caddy. Now, a 501c3 not-


for-profit organization, the festival is the

best example of jazz as a truly positive

avatar of globalization. This is evidenced

by the all-world lineup featuring: vocalist

Gregory Porter, whose performance

literally stopped the rain; chanteuse

Cecile McLorin Salvant, who sang her

impossibly young heart out; Wynton

Marsalis, whose clarion creole trumpet

tones brought Mr. Wein to tears, and a

whole sepia panorama of jazz artistsyoung

and old, black, brown, bone and

beige, all delivering their diverse and

dancing twenty-first century swing at the

speed of bop.

“I want to devote the few years left to

me to using Newport as a stage for the

unique artistry that is out there,” Wein

told Jazz Times in 2012. “Jazz, with

Newport the principle vehicle, has been

my life. If Newport is to continue, it must

have a purpose and not be just another

jazz festival.”

“Jazz will go where musicians take it because they’ll

always want to play. And as long as they want to play,

somebody’s going to listen.”

George Wein, National Public Radio 2014.

I’ll lay some good odds against tomorrow

that Mr. Wein will be here for the

seventieth anniversary of his enduring

and innovative festival.

Eugene Holley Staff WriterEugene is a

Harlem-based, arts and cultural journalist

who contributes to The Black World

Today (www.tbwt.net), Hispanic (wwww.

hisp.com) as well as PureJazz Magazine.

61


IN LOVING MEMORY OF MY SISTER

MELBA VALLE ROSA

(1933 - 2000)

Flamenco dancer, model,

abstract painter, sculptress,

actress, poet, stage manager

and civil rights advocate

Peace & Blessings,

Brother Harold Valle

Jazz Poet (Keeper of the Secrets)

Wishing continued success to the

Central Brooklyn Jazz Consortium

for the 17th Annual Jazz Festival

Nassau Performing Arts Inc

Napoleon Revels-Bey

62


Genesis and Evolution of Sound

The art print, Genesis and Evolution of

Sound-created by W. R. Myers who commissioned

Abdul Rahman to illustrate his

work. The print is a reproduction of the

award winning painting and cover image

on the soon to be published book on the

origins of musical instruments.

The theme of Genesis and Evolution of

Sound centers around black sound as it

evolved from its home, called Africa, the

maternal heart shaped continent; follows

the unwilling captives to unknown lands.

Five (5) centuries of gestation fed this

multicultural fetus from its rich and loving

homeland until--reborn and renamed

a new sound sprang forth: Reminiscences,

Survivals, Spirituals, Gospel, Ragtime,

Jazz, Blues, Boogie-Woogie, Swing, Be-

Bop, Contemporary Music-Spoken Word,

Reggae, Rock, Soul, Rhythm and Blues,

Latin, Hip Hop--all black sound!

You can now display Genesis and Evolution

of Sound in your home or office.

Available at the music venue “For My

Sweet” Monday’s 7 to 10:00 PM and

JAZZ966 on Friday’s 8pm to 11pm.

To purchase see ‘The Book Man’ or

e-mail upoverbob@aol.com.

63


Premier Festival Sponsor

Central Brooklyn Jazz Consortium - 1958 Fulton Street Suite 300A Brooklyn NY, 11233 - www.cbjcjazz.org

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