Lucerna Music Bar, 20:30 hod TICKET ON LINE
14.4. 2014 CHRIS DAVE & THE DRUMHEDZ
Chris Dave - drums, Kebbi Williams - saxophone, flute, Isaiah “Shareky” Thomas - guitar, Jermaine Williams - bass
“Nejnebezpečnější a nejoriginálnější bubeník dneška”, Američan Chris “Daddy” Dave po dvou letech opět v Praze!
Support EUGEN VIZVARY "PART ONE" PROJECT feat. ANITA SOUL
Oskar Rozsa - bass, Martin Valihora - drums, Michal Bugala - guit, Stefan Bugala - vibes, Eugen Vizvary - keys, Anita Soul - vocal
AghaRTA Jazz Centrum, 20 hod TICKET ON LINE
26. & 27.4. 2014 POOGIE BELL BAND
Poogie Bell – drums, Bobby Sparks – hammond organ, mini moog, Patches Stewart – trumpet, Tony Watson – sax, Mey – vocals
“Suga Top” is the slang name for a “black” district in Pittsburgh. Hill District, as it is officially known, is on one of the hills that dominate the cityscape of the former “steel town” in the USA. Many of these largely middleclass Afro-American communities can still be found in many US cities today. Poogie Bell was born in Suga Top in 1961 and growing up in the atmosphere of this district in Pittsburgh was to have a formative influence on the young Poogie. Music could be heard and experienced everywhere in the neighbourhood; mainly Gospel and Soul, of course (both of which are practically identity-forming for the people in Hill District), but also Funk and above all Jazz – his father Charles Bell was an outstanding Jazz pianist. In short: the drummer Poogie Bell is firmly rooted in Suga Top.
“Authenticity” – that’s the key word that runs like the proverbial red thread through the entire career of the drummer Poogie Bell. Whether in the various bands of bass guitarist Marcus Miller, for whose ingenious Jazz fusion Bell provided the percussion for almost 20 years, or in the “super group” SMW with Stanley Clarke, Marcus Miller und Victor Wooten, whose soloist flights on the bass guitar were grounded by Bell with casual elegance and a reduced style.
For Poogie, however, who, over the course of a long career as side man with, among others, Tom Browne, Chaka Khan, David Sanborn, Keith Sweat and, above all, Erykah Badu, helped to codetermine the course of “black” Jazz and Pop music from the USA, two unusual collaborations stand out: one with trumpeter Hugh Masekela, with whom he toured South Africa along with Miriam Makeba (“Mama Africa”) and one with the singer Angélique Kidjo from Benin. These experiences brought him as an Afro-American musician even closer to the polyrhythms of Africa.
Poogie Bell’s new CD - his fifth album as leader – is not mere “biography”, however. The fifteen tracks represent, rather, the quintessence of Poogie’s career to date with all the ingredients of Funk and Soul, Blues and Pop, combined with the spirit of Jazz. But above all, Poogie digs deep into his own (family) history.
As the album title suggests, Poogie Bell, who moved back to the city of his birth with his family in 2001, is taking a look back at all he learned and experienced as a small boy in Pittsburgh’s Hill District - but through the “spectacles” of a 52-year-old Afro-American musician. This is why a subtle gospel phrase often opens itself to Soul music, or a strong backbeat groove flows into the Blues.
The band, of course, makes a major contribution towards the authentic atmosphere of “Suga Top”. On the one hand this is because most of the participating musicians – keyboard player Bobby Sparks, saxophonists Chris Hemmingway and Keith Anderson, and the acclaimed Jazz trumpeter Michael “Patches” Stewart – all look back on a more or less concrete Gospel background. On the other hand it’s because Poogie deliberately intended to take the spirit of an Afro-American community into the studio, drawing on their experiences as black US citizens and as musicians.
The highly expressive song material on “Suga Top” can only be played one way. Usually there was just a simple basic idea – sometimes a catchy melodic phrase or a plucked-out groove, and then again a brief harmonious reverse – over which the musicians jammed during the recording. With this the band initiated a creative production process at the end of which was the finished song - for example “One Love” or “Greasy Chicken”, a kind of “intuitive” paraphrase of D’Angelo’s hit “Chicken Grease”. And last but by no means least, there are the singers that Poogie Bell invited to take part in the production of “Suga Top” This includes Mey, who is Bulgarian-born (sic!), but is immersed in the traditions of Afro-American Pop and Jazz music.
“Suga Top” is also a kind of “Manifesto of Groove” which presents no problems for Poogie Bell. “With the bass drum I follow the quarter notes from the bass that I can usually only feel, to create a basis for the music,” he explains. “As soon as the link is created between bass drum and bass, you can use the left and right hand on the drum more variably. If, for example, in the tandem of bass drum/bass the right hand hits the cymbal before the beat and the left hand is “laid back” playing the snare drum, then the music suddenly begins to breathe and to level.” This is the “miracle” manifested in “Suga Top”.