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Tag: Nneka

Monday, September 26th

A prediction I made in 2011—she’d be a big star someday—seems to have come true: this has over 8 million views.

Nneka, “Walking,” live, Berlin, 2015


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lagniappe

reading table

autumn rain
he’s just like me . . .
the snail

—Kobayashi Issa (1763-1827; translated from Japanese by David G. Lanoue)

Wednesday, 3/14/12

what’s new

Nneka, “Soul Is Heavy” (Soul Is Heavy, 2/12)

More? Here. And here.

Tuesday, 12/27/11

more favorites from the past year

Wild Flag, live, SXSW (Austin, Texas), 3/11

“Romance” (Mellow Johnny’s Bike Shop)

***

“Future Crimes” (IFC Crossroads House)

Someday an all-female band will seem no more remarkable than an all-male one.

(Originally posted 10/24/11.)

*****

She’s going to be a big star someday.

Nneka, live

Vodpod videos no longer available.

(Originally posted 2/15/11.)

Tuesday, 5/31/11

favorites
(an occasional series)

She’s going to be a big star someday.

Nneka, live

Vodpod videos no longer available.

(Originally posted 2/15/11.)

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It used to be that music came from a particular place. No more. Whether it’s Sohrab Saadat Ladjevardi (the Iranian saxophonist who’s lived in Germany, in Japan, and now in New York City [2/18/10]), or Burkina Electric (whose members come from Burkina Faso, from Germany, and from New York City [by way of Austria] [2/22/10]), or this singer, who’s lived (and has homes) in Nigeria and in Germany, much of today’s most intriguing music has its ears and heart and feet on more than one continent.

Nneka, “Heartbeat”

Take 1: recording/video

*****

Take 2: live, Philadelphia, 2009

*****

Take 3: J. Period Remix, featuring Talib Kweli

(Originally posted 2/27/10.)

Saturday, 3/26/11

The notes are easy enough to replicate—the touch impossible.

Pinetop Perkins (piano, vocals), July 7, 1913-March 21, 2011

“Grindin’ Man” (with Willie “Big Eyes” Smith, harmonica), live, New Jersey (New Brunswick), 2008

Vodpod videos no longer available.

*****

“How Long Blues,” live

Vodpod videos no longer available.

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lagniappe

He was one of the last great Mississippi Bluesmen. He had such a distinctive voice, and he sure could play the piano. He will be missed not only by me, but by lovers of music all over the world.

B.B. King

*****

If you don’t want to die, don’t be born.

Red Paden, owner of Red’s Blues Club, Clarksdale, Mississippi

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my back pages

Many years ago I had the pleasure of working with him, co-producing his tracks on Living Chicago Blues, Vol. 2 (Alligator 1978). Warm, amiable, unassuming—he was easy to like.

*****

listening room: what’s playing

• Ornette Coleman, Town Hall 1962

• Mos Def, The Ecstatic

Lupe Fiasco, Lasers

Steve Reich, Double Sextet, 2×5

Rudresh Mahanthappa & Bunky Green, Apex

Nneka, Concrete Jungle

Theo Parrish, Sound Sculptures, Vol. 1

Powerhouse Gospel On Independent Labels, 1946-1959

WFMU-FM: Sinner’s Crossroads (Kevin Nutt), Mudd Up! (DJ/rupture)

WKCR-FM: Bird Flight (Phil Schapp), Jazz Alternatives (various), Out To Lunch (various), Western Swing Festival (various)

Sunday, 3/20/11

Sherman Washington Jr. (Zion Harmonizers)
December 13, 1925-March 14, 2011

Zion Harmonizers with Aaron Neville, “Wonderful,” live, New Orleans (Gospel Tent, New Orleans Jazz & Heritage Festival), 1991

Vodpod videos no longer available.

*****

lagniappe

Sherman Washington Jr., the leader of the Zion Harmonizers and the godfather of the New Orleans Jazz and Heritage Festival’s Gospel Tent, died early Monday at his home in Boutte after a long illness. He was 85.

sherman washington 2002 fest.jpg

What Ellis Marsalis is to jazz, Mr. Washington was to gospel. For three decades, he hosted a Sunday morning gospel show on WYLD-AM that served as the gospel community’s town hall. He led the Zion Harmonizers, New Orleans’ longest-running gospel vocal group, since the 1940s. The Harmonizers appeared at the very first Jazz Fest, staged in 1970 in what is now Armstrong Park.

After the festival moved to the Fair Grounds in 1972, he oversaw the growth of the Gospel Tent, building it into a cornerstone of the festival’s roots-music presentation. The tent introduced a music largely unknown outside the African-American churches where it was born to a much broader audience.

Until deteriorating health finally slowed him down in recent years, he administered the Gospel Tent with a steadfast integrity and intimate knowledge of the music, musicians and singers. Given that many acts consist of large choirs, the tent features more performers than any other stage at the festival.

“Gospel, even after jazz and blues came down to the front of the bus, was still in the back of the bus,” said Jazz Fest producer/director Quint Davis. “To a large extent, Sherman’s work through the Gospel Tent has helped bring gospel music to the front of the bus. An enormous debt is owed to him by the festival, and the whole gospel world.”

Davis expects the upcoming Jazz Fest to feature a tribute to Mr. Washington.

“You can talk about soul with either a lower-case ‘s’ or an upper-case ‘S,'” Davis said. “Sherman had soul with a capital S.”

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In the late 1960s, the Harmonizers roster included a Mississippi-born bass singer named John Hawkins. In early 1970, Hawkins met Quint Davis at Mason’s Hotel on Claiborne Avenue and came back to Mr. Washington with news of this young music fan who was organizing a music and heritage festival.

Mr. Washington went to meet Davis and partner Allison Miner, and the Zion Harmonizers were booked for the first Jazz Fest at Congo Square. The forerunner of today’s Gospel Tent was a 15-by-20-foot open-sided tent with an upright piano and no floor, stage or sound system.

When Jazz Fest moved to the Fair Grounds in 1972, Davis approached Mr. Washington with an idea.

“Quint said, ‘I had a dream,’” Mr. Washington recalled. “And I thought, ‘This isn’t Dr. King, is it?’ He said, ‘I had a dream that I’m going to build a Gospel Tent, and I want you to run it.’ ”

Mr. Washington’s diplomatic skills came in handy. In the early 1970s, gospel choirs rarely performed outside of churches or church functions. They certainly didn’t perform at “hippie” events where beer was served. Pastors resisted the idea of choirs performing at Jazz Fest.

“The preachers were against me,” Mr. Washington said, “because people would drink beer in the Gospel Tent. I would ask the choir’s president or manager, and he’d tell me yeah. Then he’d come back and say, ‘Our pastor doesn’t want us to sing in the Gospel Tent.’ ”

So instead of church choirs, Mr. Washington booked vocal quartets that weren’t affiliated with churches.

“Those are the ones I had to depend on,” he said. “They would tear the place up, pack it out. We didn’t pay those preachers no mind. We kept going.”

Opinions eventually changed and choirs lobbied Mr. Washington to be included. “I think the choir members got on the pastors about it. Because if a person drinks a beer or something, that’s their soul, not yours. If you’re singing, you’re doing what God wants you to do.”

Eventually, a small staff was assigned to assist Mr. Washington, but he still screened most acts in person. He attended rehearsals and private auditions, offering advice along the way.

“He had never been in a role like this,” Davis said. “He was a true man of God who was not in it to advance himself or build an empire. He worked through his community and spiritual connections to put it all together. He knew who was the real deal, who needed to play.”

Mr. Washington insisted on a high level of professionalism and skill, as he knew any group could well be some Jazz Fest’s attendee’s first exposure to gospel. He wanted the music to make a good first impression.

“This Gospel Tent has brought more white people to gospel than anybody had ever seen, ” Mr. Washington said in 2002. “Now, it’s more white people than black people. And they get into it. It brings the white and black together. People get together and stand up, you don’t know who is who.”

—Keith Spera, The Times-Picayune (New Orleans), 3/14/11

On March 14, 2011 at 2:36 AM, the music stopped and his lyrics became a reality.

Obituary (The Times-Picayune)

*****

listening room: what’s playing

• Bach, Cello Suites, Steven Isserlis, Jean-Guihen Queyras

• Von Freeman, Walkin’ Tuff, Vonski Speaks, Young & Foolish

• Milton Babbitt, Piano Works, Robert Taub

• Buddy & Julie Miller, Written in Chalk

Nneka, Concrete Jungle

Jason Moran, Ten

Steve Lehman, Travail, Transformation, and Flow

Friedrich Gulda, Piano Recital 1959 (Bach, Haydn, Beethoven)

• Theo Parrish, First Floor

• Theo Parrish, Sound Sculptures, Vol. 1

• Roger Sessions, Works for Violin, Cello, Piano; Curtis Macomber (violin), Joel Krosnick (cello), Barry David Salwen (piano)

• Roger Sessions, Sonatas Nos. 1 & 3; Ralph Shapey, Mutations and Mutations II, 21 Variations, David Holzman (piano)

• Yascha Heifetz (violin), Chamber Music Collection, Vol. 1 (Mozart, et al.)

• Morton Feldman, For Bunita Marcus, Stephane Ginsburgh (piano)

Sinner’s Crossroads, Kevin Nutt, WFMU-FM (Thursday, 8-9 p.m. [EST])

Gospel Memories, Bob Marovich, WLUW-FM (Saturday 10-11 a.m. [CST])

Give the Drummer Some, Doug Schulkind, WFMU-FM (Friday, 9 a.m.-noon [EST]; web stream only)

Bird Flight, Phil Schaap, WKCR-FM (M-F, 8:20-9:30 a.m. [EST])

• WFMU-FM, Annual Fundraising Marathon

Tuesday, 2/15/11

She’s going to be a big star someday.

Nneka, live

Vodpod videos no longer available.

More? Here.

Saturday, 2/27/10

It used to be that music came from a particular place. No more. Whether it’s Sohrab Saadat Ladjevardi (the Iranian saxophonist who’s lived in Germany, in Japan, and now in New York City [2/18/10]), or Burkina Electric (whose members come from Burkina Faso, from Germany, and from New York City [by way of Austria] [2/22/10]), or this singer, who’s lived (and has homes) in Nigeria and in Germany, much of today’s most intriguing music has its ears and heart and feet on more than one continent.

Nneka, “Heartbeat”

Take 1: recording/video

*****

Take 2: live, Philadelphia, 2009

*****

Take 3: J. Period Remix, featuring Talib Kweli

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