Todd Marcus is the sort of guy who likes to walk an unconventional path. That path will bring him to BOP STOP on Wednesday with a unique quintet that features clarinetist Virginia MacDonald and Marcus’ bass clarinet on the frontline.
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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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At this point, Dave Rempis, who will appear with drummer Tyler Damon at Saturday gig presented by New Ghosts, is a known quantity in Cleveland. By his own count, the Chicago multi-reedist said, “I must’ve played there 12 or 15 times. It’s often more than once a year. Oh man, the list goes on and on.”
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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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