Happy New Year! (You can thank me later for not saying “jazzy.”) Lots going on, so here goes:
Here Comes Duocracy!
Duocracy, my soon-to-be-released duo album with my good friend pianist Ben Stolorow, is being pressed as we speak! (You can read a lot more about the album here: Ian Carey, Ben Stolorow, and Duocracy.) Ben and I are currently gearing up for our two CD release shows:
If you’re not going to be able to make either of those, we’re also playing a private preview show in Richmond on the afternoon of January 20 (MLK Day)–email me (ian [AT] iancareyjazz.com) if you’re interested in attending.
Later this month, I’m happy to be involved in a rare off-season performance with the great Circus Bella, featuring outstanding original music by accordionist/keyboardist/guitarist/composer/”Nice Guy” Rob Reich, with the Circus Bella All-Star Band (with Rob, Greg Stephens on trombone, Ralph Carney on a potpurri of woodwinds & sundries, Michael Pinkham on drums, & me on trumpet). We’ll be doing two shows on Saturday, January 26 at the Jewish Community Center in San Francisco. Last chance to see us before summertime!
New to Me: Arranger Edition
You may remember I have a periodic series of posts about standout albums which, while not necessarily new to the world, are new to me. As I’m about to get to work on a new, extended composition for my Quintet+1 (funded by a generous grant from the San Francisco Friends of Chamber Music’s Musical Grant Program—you should apply too!), which will be premiered this fall, I’ve been spending a lot of time seeking out new-to-me recordings by great arrangers and composers in order to help get my creative wheels turning. Here are a few:
Continue reading January Update: Duocracy Coming, Gigs, New to Me
Hi folks, I’m happy to announce an upcoming show for my new-ish trio Takoyaki 3, which I like to think of as the streamlined, street-food-style version of my quintet. It features the talents of my friends Adam Shulman on organ and Bryan Bowman on drums. The book consists of a sizable chunk of original tunes by the three of us, plus select chestnuts from the jazz (BAM!) tradition and even some American Popular What-Have-Yous.
We’ll be playing at the beautiful Yoshi’s Lounge in San Francisco as part of their local talent series. So come on down for some delicious sushi & sake and support live music (by which I mean me)!
What: Ian Carey’s Takoyaki 3
Who: Adam Shulman, organ; Ian Carey, trumpet & flugelhorn; Bryan Bowman, drums
Where: Yoshi’s Lounge, 1330 Fillmore St., San Francisco
When: Sunday, March 4, 6:30-11pm
How Much: Free!
Ah, summertime by the Bay–the cold, the rain, the rock-hard peaches. Hope you’re all making the most of it. I wanted to drop a line to let you know about some exciting shows coming up in the next month–many of them free!
As you may know, and as my wife likes to say, “Ian ran off and joined the circus!” Specifically, I’m playing with the Circus Bella All-Star Band, which accompanies the local independent circus of the same name as they go about their Death-Defying feats of Derring-Do. The band is led by composer/accordionist extraordinaire Rob Reich, and features a fine cast of Bay Area perennials (including the amazing multi-instrumentalist wizard Ralph Carney). The music is an eclectic (I know, but in this case it’s true) mix of early jazz, brass band, Balkan, Gypsy, and indie rock influences, chock full of improvisation and surprises.
You can catch Circus Bella (& yours truly) at the following dates & places during their 2011 Circus in the Parks series, beginning THIS WEEK! (All free, unless otherwise noted.)
- Thurs 6/30, 5:30pm: Outside Revolution Cafe, West Oakland (preview show)
- Fri 7/1, 12pm: Yerba Buena Gardens, San Francisco
- Sat 7/2, 12pm & 2pm: Yerba Buena Gardens, San Francisco
- Sat 7/9, 2pm: Pickleweed Park & Community Center, San Rafael
- Sun 7/10, 12:30pm: SF Sunday Streets, Golden Gate Park, San Francisco
- Fri, 7/15, 6pm: Studio One Art Center, Oakland
- Sun 7/24, 12pm: Dimond Park, Oakland
- Sun 7/24, 8pm: CD RELEASE SHOW–SEE BELOW
- Sun 7/31, 2pm: Napa Valley Opera House, Napa ($15)
The band has also recorded a fine new album (click here to sample or purchase) featuring an expanded version of the group, and will be having a CD release show on July 24th (Happy Birthday to me!) at Berkeley’s Freight & Salvage at 8pm. There may even be assorted juggling and other unexpected circusness!
Finally, with the assistance of my lawyers, I will close by saying, Come one, Come all, one of you should come, all of you should come, to the Greatest Show on Earth! to a very good show on this planet!
I wanted to give you a heads-up about a show coming up in a few weeks which I’m excited about—the IC Quintet is returning to Coda (the site of our CD release party and one of our favorite new venues), right in San Francisco’s Inner Mission/Duboce neighborhood. (The food and wine are excellent, the Hammond B3 is the real deal, the music is happening, and the stage banter is… well, it is what it is. I’m working on it!)
We’ll be playing music from our new CD, Contextualizin’ (“a digital masters’ seminar” —All About Jazz), and 2006’s Sink/Swim (“Catchy and original” —Lewis Porter), plus several new original compositions and arrangements of tunes by American heavyweights like Charles Ives, Wayne Shorter, and Neil Young. (That’d be an interesting trio of dinner guests.)
So come on by if you can, and please share this with people who like jazz (or could just stand to get out of the house and away from “Jersey Shore” for a few precious hours). Here are the details:
WHAT: The Ian Carey Quintet
WHO: Ian Carey, trumpet & flugelhorn; Evan Francis, alto saxophone & flute; Adam Shulman, piano and Hammond B3; Fred Randolph, bass; and Jon Arkin, drums
WHEN: Wednesday, October 13, 7-11pm
WHERE: Coda Live Music Supper Club, 1710 Mission St., San Francisco; tel: (415) 551-2632
HOW MUCH: Just $7
Last week, in response to several pieces of news about large-scale, institution-centered jazz philanthropy, I wrote a post thinking about the possibility that jazz might be better served in the long run by steering money toward smaller venues and less established “stars” (Jazz stars! LOL.) Since then, people far and wide have weighed in on the issue, which is good, and exactly what I was hoping would happen.
One response was from Patrick Jarenwattananon of NPR’s A Blog Supreme, who mentioned one big reason why Big Jazz is ahead in the funding game right now:
Big, central institutions, by their nature, have massive potential for outreach. They can spend money on making money, whether by hiring publicity people, financial officers or big-name performers. … In contrast, Mom and Pop’s Bar sometimes doesn’t even have the wherewithal to put up a serviceable Web site with updated show listings. If you were a potential investor, sponsor or major giver, wouldn’t you want to donate to a place with accountability, a proven track record and highly visible accomplishments?
No argument here (just yesterday I came across a website for a venue which didn’t include the address). The small-club, unfamiliar-name approach has a lot less high-visibility appeal than Sonny Rollins at the Citibank Jazz Palace or whatever. (More about this in a moment.)
Over on Facebook, several musicians weighed in–one idea which got me thinking came from vocaphonist Lorin Benedict:
Continue reading Jazz Philanthropy & the Gig, cont’d.
This morning, NPR’s A Blog Supreme featured a story about a wealthy music lover who has donated $2.5 million to Drake University’s jazz program, to be used for a professorship and a new facility. Confronted by that number, I started to wonder if there might be ways to spend that money which would actually benefit the music and musicians more–like subsidizing 12,500 gigs at $200, for example.
It was with those numbers ringing in my head that I saw the even more staggering news that SFJAZZ has secured a $20 million donation for a permanent center in the City. (Think about it! $20 million! I wonder whether every single jazz album sale in the past 10 years even made that much money.)
First of all, genuine congratulations to SFJAZZ on the jazz center–that really is incredible, especially in this economy, in this country, in this culture. But again, as a thought experiment here–that money would pay for ONE HUNDRED THOUSAND $200 gigs. Just imagine for a second what kind of a rejuvenation any jazz scene could get from even a smidgen of that.
Why am I harping on the $200 gig?
Continue reading A Thought Experiment: Jazz Philanthropy & the Gig