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With Labor Day in the rearview mirror, northeast Ohio returns to the comfortable (clambakes, sweaters) and maybe less comfortable (fretting about the Browns) routines of early autumn. Hey, traditions are traditions, and they don’t change much–unless you’re a NEO jazz fan in which case you’ll want to add the Rubber City Jazz & Blues Festival to your list.
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Labor Day is a circle-the-date weekend for jazz in the Midwest with free festivals in Detroit and Chicago. The organizers of the Hingetown Jazz Festival would like to add their event to the list, and judging by the success of the inaugural all-day, all-free festival last year, they just might have a chance.
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In the midst of a recording session with his New York big band, Columbus-born, Brooklyn-based trombonist, composer and arranger Sam Blakeslee noticed an interesting dynamic among the players.
“On the first take everyone in the band was like, ‘Who are these people? Why are they playing like this, because it just sounds so different? Why haven’t I heard stuff like this before?’” Blakeslee’s answer: “Because it’s Cleveland.”
“These people,” saxophonists Chris Coles and Nathan-Paul Davis, and the cream of Northeast Ohio’s jazz community, will join Blakeslee on the stage of BLU Jazz+ this weekend for a homecoming so packed with music that it will take two nights to play it all.
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“To me, music is home,” said guitarist Lucas Kadish in response to a question I posed by email last week.
It’s a pretty sentiment metaphorically, but Saturday, it becomes a statement of fact when the Hudson native brings his trio to BOP STOP to celebrate the release of his new recording Tundra.
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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.”
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.
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