Both renowned musicians, poets and long time friends Elliott Levin (Philly) and John Sinclair (Detroit) join musicians and improvisers Tim Flood - Bass, Kenn Thomas - Piano and Dave Hurley - Drums for a sure to be mind expanding evening of avant jazz & words.
$10 cover
Meet Elliott:
If one was to believe descriptive snippets, the thing to do when Elliott Levin approaches is find a place to hide. In a worst case scenario, try to climb a tree -- at least, that is the advice hikers would receive about the oncoming approach of something "ferocious...frenzied...bearlike." However, the comparison with bears is based on the size and appearance of the Philadelphia performer, while the other adjectives are filling one of their more esoteric purposes in the English language, attempting to describe just what it is free jazz performers do when they blow into their horns. Whatever it is, Levin does a lot of it, on tenor saxophone and flute. He also has a quite active career as a published poet and likes to combine the two aesthetics in his performances, much to the delight of the growing live poetry audience and to the chagrin of hipsters who insist jazz poetry is a form of torture, worse than cold showers. Other listeners might find the entire free jazz experience itself torture, in which case it's back to the beginning as far as advice regarding Levin: there is nothing watered-down or weak about his performances, no attempt to make the music a bit more accessible to the novices, tender-hearted or just plain wimpy. He also doesn't seem to play music as if it was connected to some kind of career strategy, other than to just play all the time. Besides playing professionally with a variety of groups, embarking on semi-regular journeys around the country, he also jams. No description of the Philly jazz scene exists that does not include something along the lines of "And Elliott Levin has been known to sit in, buggin' out with his sax and flute..." A Philadelphia drummer described Levin as "the guy that calls you at two in the morning, wanting you to haul your drums over to some jam session."...
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Both renowned musicians, poets and long time friends Elliott Levin (Philly) and John Sinclair (Detroit) join musicians and improvisers Tim Flood - Bass, Kenn Thomas - Piano and Dave Hurley - Drums for a sure to be mind expanding evening of avant jazz & words.
$10 cover
Meet Elliott:
If one was to believe descriptive snippets, the thing to do when Elliott Levin approaches is find a place to hide. In a worst case scenario, try to climb a tree -- at least, that is the advice hikers would receive about the oncoming approach of something "ferocious...frenzied...bearlike." However, the comparison with bears is based on the size and appearance of the Philadelphia performer, while the other adjectives are filling one of their more esoteric purposes in the English language, attempting to describe just what it is free jazz performers do when they blow into their horns. Whatever it is, Levin does a lot of it, on tenor saxophone and flute. He also has a quite active career as a published poet and likes to combine the two aesthetics in his performances, much to the delight of the growing live poetry audience and to the chagrin of hipsters who insist jazz poetry is a form of torture, worse than cold showers. Other listeners might find the entire free jazz experience itself torture, in which case it's back to the beginning as far as advice regarding Levin: there is nothing watered-down or weak about his performances, no attempt to make the music a bit more accessible to the novices, tender-hearted or just plain wimpy. He also doesn't seem to play music as if it was connected to some kind of career strategy, other than to just play all the time. Besides playing professionally with a variety of groups, embarking on semi-regular journeys around the country, he also jams. No description of the Philly jazz scene exists that does not include something along the lines of "And Elliott Levin has been known to sit in, buggin' out with his sax and flute..." A Philadelphia drummer described Levin as "the guy that calls you at two in the morning, wanting you to haul your drums over to some jam session."
Levin grew up in Philly, but studied music and creative writing on the west coast at the University of Oregon. He took private lessons with a former Philadelphia Orchestra saxophonist, Michael Guera, and embarked on further research with the great jazz pianist, Cecil Taylor, in whose groups Levin has also performed. Claire Polin is Levin's primary instructor on flute. The weekend grocery list of Levin credits includes playing with Harold Melvin & the Blue Notes for a decade as the saxophonist in the Sound of Philadelphia band, as well as with Odean Popes' Saxophone Choir, Tyrone Hill, Don Preston, Scram!, New Ghost, Atzilut (Fourth World), Talking Free Bebop, and various collaborations with bassist Jamaladeen Tacuma. Levin's gigs with Taylor included the groups Phthongas and Unit Core Ensemble, and he can be heard on the Taylor FMP album Live in Berlin. On the poetry scene he has performed with Miguel Algarin, Gloria Tropp, Mbali Umoja, Marty Watt, and Frank Messina. Levin has published several books of his verse, which also appears in publications such as L.A. Weekly, Blue Beat Jacket, The Painted Word, Po' Fly, Vital Pulse, and Poets and Prophets. He has received awards from New American Radio in New York, The City of Los Angeles Cultural Affairs Department, the Pennsylvania Council for the Arts, and the California Endowment for the Humanities.
Meet John:
As an emerging young poet in the mid-1960s, Sinclair took on the role of manager for the Detroit rock band MC5. The band's politically charged music and its Yippie core audience dovetailed with Sinclair's own radical development. In 1968, while still working with the band, he conspicuously served as a founding member of the White Panther Party, a militantly anti-racist socialist group and counterpart of the Black Panthers.
Arrested for possession of marijuana in 1969, Sinclair was given ten years in prison. The sentence was criticized by many as unduly harsh, and it galvanized a noisy protest movement led by prominent figures of the 1960s counterculture. Sinclair was eventually freed in December 1971, but he remained in litigation – his case against the government for illegal domestic surveillance was successfully pleaded to the US Supreme Court in United States v. U.S. District Court (1972).
Sinclair eventually left the US and took up residency in Amsterdam. He continues to write and record and, since 2005, has hosted a regular radio program, The John Sinclair Radio Show, as well as produced a line-up of other shows on his own radio station, Radio Free Amsterdam.
Born in Flint, Michigan, Sinclair was involved in the reorganization of the Detroit underground newspaper, Fifth Estate, during the paper's growth in the late 1960s. Fifth Estate continues to publish to this day, making it one of the longest continuously published alternative periodicals in the United States. Sinclair also contributed to the formation of Detroit Artists Workshop Press, which published five issues of Work Magazine. Sinclair worked as a jazz writer for Down Beat from 1964 to 1965, being an outspoken advocate for the newly emerging Free Jazz Avant Garde movement. Sinclair was one of the "New Poets" who read at the seminal Berkeley Poetry Conference in July 1965.
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