Keith LaMar has said that listening to John Coltrane’s “A Love Supreme” helped save his life. Yet for all its power and magnificence, Coltrane’s music cannot literally save LaMar’s life, which is scheduled to end Nov. 16 when he is to be executed for murders he says he did not commit.
Even if music can’t bring justice for LaMar, it can help keep his case in the public eye and perhaps forestall his execution. That is the purpose behind two concerts this week by a project called Freedom First that has attracted some of New York’s finest musicians.
For a long time, jazz education was an oral tradition. Students learned at the feet of their master or in the adjacent chair in a section of a big band, a lineage that you could witness as well as hear. These days, that formerly oral tradition has largely moved to the university or conservatory classroom but the professionalism of jazz education hasn’t totally done away with the notion of lineage.
Sean Jones
This week offers vivid proof in the form of the University of Akron Jazz Week an event that brings together three UA alumni, two of whom, Theron Brown and Chris Coles, are now teaching at their alma mater, with internationally prominent trumpet player and Warren Ohio native Sean Jones.
Eleven months ago, A.J. Kluth was at New York’s New School at a conference presented by Black Quantum Futurism, the literary and artistic collective created by Philadelphians Rasheedah Phillips and Camae Ayewa, the composer and poet who performs as Moor Mother.
“That was my first time meeting Camae and really feeling like the work that the collective was doing [and] that she was doing as a musician was deeply important and urgent,” Kluth said on a video call earlier this month. “I said, ‘I would love to bring you to Cleveland sometime.’ She’s like, ‘That sounds cool. I’ve never been to Cleveland. Let’s do that.’ But she’s really busy. She’s got a really heavy touring schedule and it didn’t seem plausible.”
AJ Kluth
Several months of phone calls, planning meetings and grant applications later, the Case Western Reserve University musicologist’s implausible idea has become reality, and a reality greater than even he imagined.
On Friday evening, Moor Mother will be joined on the stage of Gartner Auditorium at the Cleveland Museum of Art by Lonnie Holley, Lee Bains, and the Cleveland-based collective Mourning [A] BLKstar for a presentation Kluth called “Toward a Different Kind of Horizon, an extraordinary collection of artists who to varying degrees are associated with the cultural movement known as Afrofuturism.
Granada is a Caribbean nation 100 miles off the coast of Venezuela with a population about that of Dayton’s. If Americans have heard of Grenada at all it’s probably in connection with Ronald Reagan’s Cold War saber-rattling invasion of the island in 1983.
That might change Sunday when Cleveland saxophonist Ronell Regis presents a world premiere performance of “Grenada to the World: The Suite” at Cleveland’s Bop Stop.
Saxophonist Jim Snidero was born in May, but a January birthdate would have provided an appropriate mythological backstory for his career. Like the two-faced god who gave the month its name, Snidero’s alto saxophone style looks forward and backward simultaneously.
Perhaps that is inevitable for the native of the Maryland suburbs who, at 65, has aged out of young-lion status but is a long way from being considered a wizened master. When he returns to the Bop Stop Saturday, Snidero will demonstrate how a mastery born of more than 40 years on the scene can be endlessly refreshed by restless musical curiosity.
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