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Saturday, May 2, 2015

new tracks "One Mind" & "Already Burning"

Thursday, April 30, 2015

recent musical adventures ....


"Complicated Day" by Roy Nathanson's Sotto Voce at NDR Jazz

Posted by Roy Nathanson's Sotto Voce on Tuesday, April 21, 2015

ISWHAT?! ...

ISWHAT?! playing "DIG" for the children of Mulberry Elementary

Posted by ISWHAT?! on Tuesday, April 21, 2015

Nina's "Sinnerman" at a gallery show in Cincy

Sinnerman ~ by Tatsuya Nakata , Brent Olds , Michael McIntire & Napoleon Maddox

Posted by Napoleon Maddox aka NapoleonSolo on Tuesday, April 21, 2015

Friday, April 3, 2015

we are proud to welcome Graham Haynes to Cincinnati, May 23rd

May 23 at Woodward Theater w/ Graham Haynes

RxW (Raised by Wolves)
Deconstruction Period w/ special guest Graham Haynes (NYC)

Graham Haynes
bio & discography:

Regarded as an innovator on cornet and flugelhorn, an extraordinary composer, and an emerging force in contemporary electronic music and world music, Graham Haynes has redefined and deconstructed that genre we still call "jazz".

Graham Haynes was born in 1960 and raised in Hollis , Queens , NY.
He is the son of jazz legend Roy Haynes .
His two years at Queens College (1978-1980) studying composition, harmony and theory spurred his interest in classical and electronic music (Robert Moog was professor of electronic music at the time). Haynes became a disciplined student , studying privately with Gillespie alumnus Dave Burns while playing in the Pentecostal church.
In1979 he met alto saxophonist Steve Coleman. They formed a band called Five Elements, which launched the M-Base collective, an influential group of NY improvisers. Haynes spent much of the 1980's collaborating with Coleman and Cassandra Wilson. In the late 1980's he formed his own ensemble, Graham Haynes and No Image, and was a mainstay of the New York downtown music scene of that time. In 1989 he recorded his first album as a leader, What Time It Be ?

During the late 1980's Haynes immersed himself in a wide range of African, Arabic and South Asian music which prompted his move to Paris in 1990. There he recorded Nocturne Parisienne and The Griots Footsteps, for French Polygram records.

Haynes spent the next three years studying and performing with masters of African and Asian music, occasionally returning to NY to work with artists such as Ed Blackwell, George Russell, Uri Cain and David Murray among others. In 1993, Haynes moved back to New York City, where he began investigating sampling and hip hop music. The album Transition came out of this investigation. His next project, Tones for The Twenty-First Century, combined sound effects, textures, drones, and samples , layered over Haynes electronically manipulated horn.

Since 2000 Haynes worked as composer and music director on the following multimedia projects:

Electric Church ,an ongoing multimedia event series he created and curated at Walker Stage NYC.
Sights and Sounds, multimedia collaboration with visual artists at the Bronx River Arts Center (2000).
Afrofuturistic, with writer Tracie Morris, presented at the Kitchen (2003).
A Cruel New World, a dance work by choreographer Donald Byrd, performed by the Spectrum Dance Theatre in Seattle,WA (2003)
Improvizions with choreographer Roxanne Butterfly (2005)
51st Dream State multimedia project by Sekou Sundiata (2006).
Speak in Tones an ongoing Jam session at Walker Stage Tribeca NYC
The Greatest a dance work by chroreographer Peggy Choy (2010)

in 2003 Haynes composed score for Flag Wars, a film funded by PBS. During 2004-2005 he composed and produced original soundtrack for the film The Promise by Maria Norman.

Throughout his musical career Graham Haynes has brought together different musical traditions from Africa , Asia and Arabic countries. He has been a perennial guest at the Gnawa Trance Music Festival in Morocco.

Graham Haynes has received the following grants:
National Endowment for the Arts Study Fellowship (1979)
Meet The Composer Grant to compose and perform original music with No Image group at aJam'88
Meet The Composer Grant to compose original music for Afrofuturistic
Haynes was nominated twice for Alpert Award in (2000) and (2003)

Graham Haynes has recorded fifteen critically acclaimed CD's as a leader and countless CD's as a side person with such artists as Steve Coleman, Roy Haynes, Ed Blackwell, Abbey Lincoln, Cassandra Wilson .
Since 2013 Haynes has been a member of the Vijay Iyer Sextet.
Graham tours annually in Europe, Asia, and Africa and has appeared several times on national tv. He is in high professional demand as a musical director and composer for film, theatre, dance and multimedia .

In 2003 Graham lectured at New York University on the subject of Music and Trance .

2009 Master Class New School for Jazz and Contemporary Music

2010 Taught as adjunct professor The New School for Jazz and Contemporary Music .

2013 Guest lecturer Columbia University on composition.

2013 Workshop Città Biella , Italy

2013 Taught masters classes and lectured Banff Creative Center ,Banff, Alberta,Canada

2014 Guest lecturer at University of Bahia , Brazil

Graham Haynes

Selected Discography

Recordings as a Band Leader
What Time It Be ? Muse Records 5402 (1990)
Nocturne Parisienne Muse Records 5454 (1992)
The Griots Footsteps Verve Antilles 314523262, Polygram 523262 (1993)
Transition Verve Records 314 529 039-2 (1995)
Tones For The 21st Century Verve Antilles 314537692-2 (1996)
BPM Knitting Factory Records KFR-270 (2000)
Full Circle RKM Records KRM CD 1137 (2006)
Organik Mechanix Produced by Graham Haynes Ion Records (1997)
Within a Heartbeat Pharaoh Sanders and Graham Haynes Evolver Records
Austere Geometry Graham Haynes and Hardedge Hardedge 002 (2004)
Reality Eclipsed Graham Haynes and Hardedge Hardege 003 (2005)
Parylyzed By The Approach Of The Inevitable Graham Haynes and Hardedge Hardedge 007 (2007)
Is It That Dark ? Graham Haynes and Hardedge Hardedge 008 (2007)
But You Can`t Can You ? Graham Haynes and Hardedge Hardedge 009 (2008)
Burned To The Waters Edge Graham Haynes and Hardedge 010 (2009)
Lead Into Uncertainty Graham Haynes and Hardedge Hardedge 011 (2010)
Within An Inch Of It`s Life Graham Haynes and Hardedge Hardedge 012 (2010)

Records as a Side Musician
Then and Now Bob Stewart Postcards1014 (1996)
Arcana:Arc Of The Testimony Bill Laswell and Tony Williams 314 524 431 -2 Island Records (1997)
Sacred System Chapter 2 Bill Laswell Axiom Records ROIR 8233 (1997)
Operazone Alan Douglass, produced by Bill Laswell Knitting Factory Records (2000)
Tetragramaton Bill Laswell Axiom Records Ion (2001)
Turn The Screw Bill Laswell Axiom Records
Filmtracks 2000 Bill Laswell Tzadik Records TZ 7511 (2001)

Jumpworld Cassandra Wilson JMT Records 834 434-2 (1990)
Days Aweigh Cassandra Wilson JMT Records 834412 (1990)
New Moon Daughter Cassandra Wilson Blue Note Records 32861 (1996)

Motherland Pulse Steve Coleman JMT Records 834401-2 (1985)
On the Edge Of Tomorrow Steve Coleman JMT 834405 (1986)
Sine Die Steve Coleman Pangea Records 834410-2 (1987)
Recordings as Side Musician continued
Phantasies, Vol.2. Jaki Byard and the Apollo Stompers (1991)
Weather Clear, Track Fast Bobby Previte Enja Records R279667 (1991)
David Murray Big Band Conducted by Butch Morris Sony 48964 (1992)
Sphere Music Uri Caine (1992)
Anatomy of Groove M-Base Collective Rebel X Records DIW/Columbia 53431 (1993)
What It Is ? Ed Blackwell Enja Records ENJ-70892 (1993)
Dance Word Dance Rodney Kendrick Verve 314-517558-2 (1994)
What It Be Like ? Ed Blackwell Enja Records ENJ-80542 (1994)
South Of The Border David Murray DIW897 (1995)
Do You Want More ?!!!! The Roots MCA DGC 24708 (1995)
Music For Six Musicians Don Byron Nonesuch 73954-2 (1995)
Last Chance For Common Sense Rodney Kendrick Verve Polygram 531536 (1996)
Undark Russell Mills Bella Union Records Emit 3396 (1998)
Last Chance For Common Sense Rodney Kendrick Verve Polygram 531536 (1996)
Mistaken Identity Vernon Reid Sony 67396 (1996)
Spirit Of The Sunrise Bheki Mseleku Verve Polygram
Praise Roy Haynes Dreyfus 36598 (1998)
Who Used To Dance Abbey Lincoln Verve 533559 (1997)
The Secrets Of Rodney Kendrick Rodney Kendrick Verve 314-517558-2 (1997)
Project Logic DJ Logic Ropeadope Records [ DJ Logic check Ropeadope Records website]
Organix The Roots Remedy 001 Cargo 81100 (1997)
Solaris Jah Wobble 30 Hertz Records. (2002)
The World Has Made Me The Man Of My Dreams Meshell Ngedeocello Universal Music (2007)
17 Musicians In Search Of A Sound:Darfur Bill Dixon AUM Fidelity Records aum046 2007
Tapestries For Small Orchestra Bill Dixon Firehouse 12 Records FH12-04-03-008 2009
Can You Imagine The Sound Of A Dream Adam Rudolph Go Organic Orchestra Meta Records
014 (2011)
Both/And Adam Rudolphs’ Moving Pictures Meta Records 013 (2011)

Recordings as Producer
Cutting Through Elektra Kurtis Milo Records MR 119 (2010)
Spirit Of The Sunrise Bheki Mseleku Verve Polygram
What Time It Be ? Muse Records 5402 (1992)
Nocturne Parisienne Muse Records 5454 (1994)
The Griots Footsteps Verve Antilles 314523262, Polygram 523262 (1995)
Transition Verve Records 314 529 039-2 (1995)
BPM Knitting Factory Records KFR-270 (2000)
Full Circle RKM Records KRM CD 1137 (2006)
Organik Mechanix Produced by Graham Haynes Ion Records (1997)

Thursday, April 2, 2015

What's the Decon Period ???

The motivation behind The Deconstruction Period is to give platform to and cultivate a new school of urban intellectuals interested in Hip-hop.

Participants are encouraged to not only present their reflections on the topics of each installment of the Deconstruction Period sonically, but to dissect the themes in conversations, interviews, visual art or any other way they can “own the re-telling”.

The Deconstruction Period is not simply about destroying ideas but about exploring ideas; research, discovery & ownership. For certain there are some ideas that should be destroyed, at the top of the list is the projection and exploitation of Black culture as only interested in, and sexy when, reduced to the lowest common denominator
In total the Deconstruction Period is about socializing around themes, beats and breaks, breaking them down to challenge what we’ve been told about ourselves, culture and history.

Sunday, March 29, 2015

I have a dream of fresh dreams

These last few weeks have been incredible.
In several ways the work I’ve done in Besançon, France is just want I needed at this point in my life. The producer that I work with in the project Sorg & Napoleon Maddox is also and educator working in a school in the suburbs of Besançon. On this trip, LaRodia the venue that has welcomed us for the 3rd time as artist-in-residence, partnered with a private firm that took it upon itself to invest in a program that would pay Sorg and I to do special programming in the school where he works. First of all I’m impressed by the fact that in this country, - (France) where there is so much public money given to arts, that many artists refer to it as “the French exception” - there are people that STILL take it as their own private responsibility to invest in arts, culture and education.

The next notable thing happen during my first week here during our days of creation/preparation of the residency. The schedule was March 3 - 6 rehearsal and preparation of new material on stage at LaRodia. March 7, concert 2 hours away in Chalon-sur-Saône. Then back to Besançon for workshops at Sorg’s school on March 9 & 10. Then we would travel west, across the entirety of France to Bretagne for a show on March 12, and then all the way south just before the border of Spain, to Pau for a south on March 13. We’d then come back to Besançon for 2 more days of workshops with the junior high school students we’d been working with at the same school. Finally show to take place in Besançon on the stage where we did our preparations/rehearsal.

So … back to the notable moment that sort of caught me off guard. I knew we would be preparing the students for a performance they would do at the end of the school year, Sorg working with students on betaking and I’d be working with students on words and vocal performance. Somehow the text would be related to, or inspired by Dr. Martin Luther King. However, I was a bit frustrated as Sorg and I spoke during a lunch break at rehearsal on the second day, when he says to me “you’ll be working with them on I Have a Dream”.

My response was something like … “Mais, allez, pour quoi … (but, come on, why?) he had many more speeches and more powerful speeches than “I Have a Dream” that are seldom studied.”
Sorg explained to me that Dr. King’s “I Have a Dream” speech is included in the national eduction plan of France. That was puzzling, or perhaps more frustrating to hear because in my opinion Dr. King’s message has been reduced and exploited to the point that it’s lost a lot of power. The “I Have a Dream” speech has been used primarily to that effect. Dr. King was even aware that the same people that praised his non-violent strategy with regard to Civil Rights, hated him and cursed him for declaring that violence is morally reprehensible both home AND abroad. He was clear that it was as wrong for the US army to use violence in Vietnam as it was for Blacks to use violence in the US to exact justice at home. This is not the message of Dr. King that is fed to the mainstream.

In general this angers me, however engaging in the workshops I rediscovered the genius of this speech and that of Dr. King. I worked with 3 different groups of students. They had teachers that had shared some history with them about Dr. King, The Black Panthers, Angela Davis and Nelson Mandela. I was quite impressed with the basic knowledge they had. The moments that touch me the most however came when I decided that instead of teaching the how to say the words in the speech, I decide to give them as much context as possible so they could feel for themselves the gravity of the times; then and now, thus the relevance of “the dream”. The part that touched me was way these students opened up. The way they asked questions, the looks on their faces, the connections they made with details I shared with them (details their teacher don’t have access to), all of this brought to the forefront the power of the legacy of those who have fought to make the world better.

In this case, of course the focus was on the talent Dr. King had, being able to strategize with words and whole speeches, placing concepts, imagery and law together in a way that come after you, seeking you out, holding you accountable. I’d never really paid particular attention to the way he used citations of revered documents, as well as nostalgia, almost unfairly pricking the hearts of the hateful with their own iconography. This is why Dr. King had be made a cliché. It was not enough to assassinate him. In spite of this though, it’s impossible to pretend not to get the point.

With detail after detail in the speech I was able to cite what has gone on and continues in American history. We talked about why I was born in America and not West Africa. Although they had been taught about great Black leaders, they had not thought about, ‘why is this Black man in front of us IN America in the first place’. This is specifically relevant because of the line where Dr. King saying he has a “dream that sons of former slave and former slave owners will be able to sit down together at the table of brotherhood”. When I asked them about why I was born in America it took them a while to connect the Trans-Atlantic slave trade, American history, Civil Rights and Black Power movements.

We talked about Jim Crow laws and what they meant. I could see their brains churning through their eyes as I explained verbally and demonstrated with sketched on the white board the reality of separate drinking fountains, separate schools and sections of the bus. At that moment one girl spoke up, “ahhh oui, Je me souviens” (ooh yes!! I remember!! )
She then recalled the story of Rosa Parks...

This was just one of the moments in those classrooms that I had several feelings at once. Pride, frustration, purpose and hope pushed me ahead each of these 4 days without even a minuscule doubt that I'd return home to Cincinnati with greater drive, focus and purpose.