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When Reggie Watkins came on screen for our video interview last week he wore a Pittsburgh Pirates baseball cap. When I jokingly expressed my sympathy for his devotion to the once-proud team now seemingly committed to mediocrity, Watkins would have none of it. He’s a Pittsburgh ride or die, but intercity rivalries aside, he also loves Cleveland jazz and returns to a familiar stage at BOP STOP for a gig Friday.
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Altin Sencalar is a big guy. A Texan by birth, he wouldn’t look out of place on the offensive line of the Dallas Cowboys football team. He has two big dogs, Navy and JJ, and they slept on the bad behind him when we chatted on a video call (note to readers: it failed to save and a lot of great direct quotes were lost).
Sencalar plays the trombone, an instrument that is associated with swaggering bluster, but when he comes to BOP STOP Saturday, you might be surprised by the subtlety that he brings to the instrument.
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Like many Black musicians, pianist, bandleader and theologian Julian Davis Reid paid close attention to poet and essayist Amiri Baraka’s 1963 book “Blues People: Negro Music in White America.” Reid was particularly taken with, as he told me, “this idea that Black music is a place where people in this country, Black and otherwise, rest. But at the same time, the music emerges from our sense of homelessness, of not feeling welcomed.”
Baraka was a man of action as well as of ideas, and Reid, a graduate of Yale Divinity School, took his words as a call that Reid answered in words and music with “The American Dream, the American Nightmare, and Black American Music,” which he will present Thursday at 7:30 p.m. in Reinberger Chamber Hall at Severance Music Center. as part of the Cleveland Orchestra’s weeklong Mandel Opera & Humanities Festival: The American Dream.
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In all manner of settings, from solo concerts to large group situations, multi-instrumentalist Ken Vandermark has proven his mettle as a fearless and resourceful improvisor. So when two-fifths of his new Edition 55 band were not available to tour, he added a new piece to the remaining players and rechristened the band Edition Redux.
But the story doesn’t end there. The new player, keyboardist Erez Dessel, couldn’t make the tour’s first gig, Vandermark did the math and made 3=2+1. Call it new math or even New Addition, but any way you look at it, Saturday’s New Ghosts concert at BOP STOP—one set by drummer Lily Glick Finnegan with tubist Beth McDonald and a solo set by Vandermark—adds up to an intriguing look at the ever-dynamic Chicago scene.
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If you can’t figure out why the song titles at tomorrow night’s Bop Stop concert by Mostly Other People Do the Killing might provoke laughter among some audience members, don’t worry. They’re just Pennsylvanians who are in on the joke.
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