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Jim Snidero is about to hit the road, and he’s doing it the old-fashioned way—loading up the van and driving through the Midwest, playing night after night, city after city. And when he rolls into BOP STOP for a Friday, March 7 performance, he’ll bring the kind of musicians who turn heads: Peter Washington on bass and Jason Tiemann on drums.
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Do an Internet search for jazz and baseball and you’ll get no shortage of citations. Some of them are fascinating, most of them are sentimental and nearly all of them the are work of older men—further evidence that the once-“National Pastime” and “America’s Classical Music” (scare quotes intentional) are strictly for the AARP set. Enter Lucas Apostoleris a 31-year-old drummer who responds to that notion the way Jose Ramirez does to a hanging curve over the plate. Track, wall, gone!
Don’t look now, but baseball has become a young man’s game, at least on the field, and the athletic young band Apostoleris will bring to BOP STOP Sunday are a Futures Game-level lineup of talent on the rise.
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For fans of improvised music in the Black American tradition, the arrival of Tri-C JazzFest to Playhouse Square with a roster of artists including Herbie Hancock, Christian McBride and phenomenal shooting-star vocalist Samara Joy is hands down the biggest week of the year.
The touring artists whose shelves are heavy with Grammy Awards and other honors deservedly grab the clicks and dominate the buzz, but for dozens of musicians from throughout Northeast Ohio, JazzFest will be the biggest gig of their year. For some of them, it will be the biggest opportunity of their young careers.
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Pianist Javier Red was in his mid-40s and had been a working musician for years, both in his native Mexico and in the United States, when he arrived at a musical crossroads.
It happened at a workshop in 2015 with saxophonist and composer Steve Coleman at the University of Chicago. “I told Steve that I’ve got two options. I can deny everything that I saw there and keep my music flowing in a comfortable way, or I can accept that what Steve was saying is a completely new and different conception of music,” he remembered. “I said, ‘Man, what I’m losing? Nothing!’ And I decided to go that way.”
He’s still going that way on a musical and life journey that will bring Red and his Chicago quartet Imagery Converter to BOP STOP Thursday for a New Ghosts concert that will have meaning well beyond music.
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Johnny Hodges is widely acknowledged as perhaps the preeminent alto saxophone player in the decades before Charlie Parker’s emergence. Yet unlike Parker, whose influence on saxophonists is apparent 68 years after his death, Hodges’ style is almost universally celebrated in print and online yet never heard on the bandstand.
Until now. Saxophonist Owen Broder is putting Hodges where he rightfully belongs: front and center with an ambitious recording project and a new band that swoops into BLU Jazz+ on Friday.
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