The best improvised music in the Black American Tradition offers something for the head, heart and feet. A pair of concerts this weekend at BOP STOP offer a potent distillation of how much music can move us.
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Friendly experiencers,
Has it really been this long? A few weeks ago, I announced a sort of summer vacation for let’s call this and the Thursday Countdown while we dealt with renovating and moving into a house and dealing with some family health issues. Those haven’t gone away, but the urgency around them has momentarily eased a bit, making room for . . . well, this. With the move postponed until the end of August, I could sneak in this preview of some notable events, two of which are at my favorite price point and yours: free. See you out there.
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Because my interview with this week’s feature artist fell through, I decided to improvise and do something different. Instead of stuffing the Trading Fours roundup of capsule event previews at the end of a 700-word feature article, today they’re the main event. Short and sweet. I’m going to open the comments for this post so you can tell me if you like it or think this should be a one-and-done.
Dan Bruce :beta collective with Alyssa Boyd, Cain Park, Tuesday, July 25
In the language of software developers, a beta project is one that is in development. That’s a pretty good description of the jazz playbook, too, especially as practiced by Lakewood guitarist Dan Bruce. His :beta collective balances a mutable blend of electric and acoustic instruments, composition and improvisation, jazz and prog rock influences. For the latest iteration of his tinkerer’s project in sound, Bruce has added a new wrinkle: the voice of Alyssa Boyd. That makes for an intriguing proposition for us musical beta testers, and as part of the free concert series supported by the Local 4 Music Fund, you can’t beat the price.
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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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