PUBLIC TRANSPORTATION: Take the A/ B/ C/ D/ E/ F/ V train to West 4th St.,exit at West 3rd St., and walk east; or take the #6 train Lexington Ave. local to Bleecker St., walk up two blocks to 3rd St., and walk west; or take the M21 bus across Houston St. to Sullivan St. See map at zincbar.com/info.
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In the late ‘50s and throughout the ‘60s, after receiving his music education at the Mastbaum School in Philadelphia and at Juilliard, HENRY GRIMES (upright bass, violin, poetry) played acoustic bass with many master jazz musicians of that era, including Albert Ayler, Don Cherry, Benny Goodman, Coleman Hawkins, Roy Haynes, Steve Lacy, Charles Mingus, Gerry Mulligan, Sonny Rollins, Pharoah Sanders, Archie Shepp, Cecil Taylor, and McCoy Tyner. Sadly, a trip to the West Coast to work with Al Jarreau and Jon Hendricks went awry, leaving Henry in downtown Los Angeles at the end of the '60s with a broken bass he couldn't pay to repair, so he sold it for a small sum and faded away from the music world. Without a bass, a vehicle, or a telephone, he was truly lost. He survived by doing manual labor and redirecting his creative powers into writing poetry. He was discovered there by a Georgia social worker and fan in 2002, was given a bass by William Parker, and very soon afterwards made a triumphant return to New York City in May, '03 to play in the Vision Festival. Since then, Henry Grimes has played more than 500 concerts (including many festivals), touring throughout the U.S., Canada, Europe, and Asia, playing and recording with many of this era's music heroes, such as Rashied Ali, Marshall Allen, Fred Anderson, Marilyn Crispell, Andrew Cyrille, Bill Dixon, Bobby Few, Edward "Kidd" Jordan, Roscoe Mitchell, David Murray, William Parker, Marc Ribot, Wadada Leo Smith, and again, Cecil Taylor. Henry made his professional debut on a second instrument (the violin) at Lincoln Center at the age of 70, has seen the publication of the first volume of his poetry, "Signs Along the Road," and creates illustrations to accompany his new recordings and publications. He has received many honors in recent years, including four Meet the Composer grants, and has also held a number of recent residencies and offered master classes at Berklee College of Music, CalArts (with Wadada Leo Smith), Hamilton College of Performing Arts (with Rashied Ali), Humber College, Mills College (with Roscoe Mitchell), New England Conservatory, the University of Gloucestershire at Cheltenham, University of Illinois at Urbana-Champaign, University of Michigan at Ann Arbor, etc. Henry can be heard on 87 recordings, including a dozen recent ones, on various labels. henrygrimes.com....
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PUBLIC TRANSPORTATION: Take the A/ B/ C/ D/ E/ F/ V train to West 4th St.,exit at West 3rd St., and walk east; or take the #6 train Lexington Ave. local to Bleecker St., walk up two blocks to 3rd St., and walk west; or take the M21 bus across Houston St. to Sullivan St. See map at zincbar.com/info.
* * * * *
In the late ‘50s and throughout the ‘60s, after receiving his music education at the Mastbaum School in Philadelphia and at Juilliard, HENRY GRIMES (upright bass, violin, poetry) played acoustic bass with many master jazz musicians of that era, including Albert Ayler, Don Cherry, Benny Goodman, Coleman Hawkins, Roy Haynes, Steve Lacy, Charles Mingus, Gerry Mulligan, Sonny Rollins, Pharoah Sanders, Archie Shepp, Cecil Taylor, and McCoy Tyner. Sadly, a trip to the West Coast to work with Al Jarreau and Jon Hendricks went awry, leaving Henry in downtown Los Angeles at the end of the '60s with a broken bass he couldn't pay to repair, so he sold it for a small sum and faded away from the music world. Without a bass, a vehicle, or a telephone, he was truly lost. He survived by doing manual labor and redirecting his creative powers into writing poetry. He was discovered there by a Georgia social worker and fan in 2002, was given a bass by William Parker, and very soon afterwards made a triumphant return to New York City in May, '03 to play in the Vision Festival. Since then, Henry Grimes has played more than 500 concerts (including many festivals), touring throughout the U.S., Canada, Europe, and Asia, playing and recording with many of this era's music heroes, such as Rashied Ali, Marshall Allen, Fred Anderson, Marilyn Crispell, Andrew Cyrille, Bill Dixon, Bobby Few, Edward "Kidd" Jordan, Roscoe Mitchell, David Murray, William Parker, Marc Ribot, Wadada Leo Smith, and again, Cecil Taylor. Henry made his professional debut on a second instrument (the violin) at Lincoln Center at the age of 70, has seen the publication of the first volume of his poetry, "Signs Along the Road," and creates illustrations to accompany his new recordings and publications. He has received many honors in recent years, including four Meet the Composer grants, and has also held a number of recent residencies and offered master classes at Berklee College of Music, CalArts (with Wadada Leo Smith), Hamilton College of Performing Arts (with Rashied Ali), Humber College, Mills College (with Roscoe Mitchell), New England Conservatory, the University of Gloucestershire at Cheltenham, University of Illinois at Urbana-Champaign, University of Michigan at Ann Arbor, etc. Henry can be heard on 87 recordings, including a dozen recent ones, on various labels. henrygrimes.com.
Born in Marianna, Arkansas in 1942, OLIVER LAKE moved to St. Louis at the age of two. He began drawing at thirteen (and still paints daily, using oil, acrylics, wood, canvas, and mixed media), and soon after he began playing cymbals and bass drum in various drum and bugle corps. At 17, he began to take a serious interest in jazz. Like many other members of BAG and its Chicago-based sister organization, the Association for the Advancement of Creative Musicians (AACM), he moved to New York in the mid-'70s, working the fertile ground of the downtown loft scene and quickly establishing himself as one of its most adventurous and multi-faceted artists. A co-founder of the internationally acclaimed World Saxophone Quartet in 1977, along with Julius Hemphill, Hamiet Bluiett, and David Murray, Oliver continues to work with the WSQ and his own various groups and collaborates with many notable choreographers, poets and a veritable Who's Who of the progressive jazz scene of the late 20th century / early 21st, performing all over the U.S. as well as Europe, Japan, the Middle East, Africa and Australia. Always a strong proponent of artist self-empowerment and independence, Oliver Lake founded Passin' Thru, Inc. in 1988, a 501(c)(3) non-profit organization dedicated to fostering, promoting and advancing the knowledge, understanding and appreciation of jazz, new music, and other related disciplines. Passin' Thru has commissioned new works,sponsored performances by emerging artists, documented works by prominent artists, and established on- going educational activities. The organization also operates Passin' Thru Records, which has issued Oliver's albums, ranging from solo to big band, as well as recordings by the late legendary multi-reed master Makanda Ken McIntyre, piano great John Hicks, and the first recording by Lake's mentor, St. Louis tenor sax giant Freddie Washington. Oliver Lake currently performs, composes, and tours with his Organ Quartet, Steel Quartet, Big Band, WSQ, and Trio 3, a superb collaboration of Oliver Lake, Reggie Workman, and Andrew Cyrille. passinthru.org/oliverlake.
FRANCISCO MORA-CATLETT, born in Washington, D.C. and raised in Mexico, has merged Cuban rhythm, techno-funk, Mexican surrealism, African mysticism, Caribbean colors, and avant-garde jazz to formulate what is uniquely a new voice in jazz. The son of world-famous sculptor and justice activist Elizabeth Catlett of Cuernavaca, Francisco began his training at UNAM’s School of Music while at the same time recording for Capitol Records in Mexico. In Boston, his musical education was furthered by Alan Dawson at Berklee, who helped Francisco learn classical jazz technique, and Babatunde Olatunji, who helped bring his inherent African awareness to the surface. Thereon, Francisco Mora Catlett embarked on a journey through space, time, and sound with Master Sun Ra and the Arkestra (1973-80), later disembarking to found his own Pa’Lante Productions, rooted in Detroit and devoted to the spread of the African presence in the music of the Americas. His first release, “MORA," with Detroit musicians including Marcus Belgrave and Kenny Cox, marked the breaking of ground for future creations. With a grant from the National Endowment of the Arts in 1986, Francisco came to New York City to study with Max Roach and appeared on two Blue Moon CDs with Max Roach's M'Boom, "To the Max", and "Live at S.O.B.'s New York." In 1993 Francisco became a Visiting Minority Associate Professor in the School of Music at Michigan State University, and starting in 1996, he worked with Carl Craig’s Innerzone Orchestra, a world-touring ensemble for presenters of electronic music. Based back in New York City since 2000, Francisco leads several projects, including the Outerzone Band (featured in the North Sea Jazz Festival), Freedom Jazz Trio, and The Afro Horn. He is co-founder and music coordinator for Oyu Oro Afro-Cuban Experimental Dance Ensemble. In recent years, Francisco Mora Catlett has released several outstanding recordings under his own name. Francisco is a master drummer who brings alive the circle of African heritage in his music and art. franciscomoracatlett.com.
ARUAN ORTIZ is a critically acclaimed Cuban pianist, award-winning composer, and solid producer and educator, not only in New York City but internationally as well. Designated “the latest Cuban wunderkind to arrive in the U.S.” by BET Jazz, this classically trained violist and pianist from Santiago de Cuba portrays his music as an architectural structure of sounds, incorporating contemporary classical music, Afro Cuban rhythms, and improvisation as primary material for his compositions. He has received a number of awards, such as Latin Jazz Corner’s Arranger of the Year (2011), Best Jazz Interpreter, Festival de Jazz in Vic, Spain, and semi-finalist, piano solo competition, Montreux, Switzerland. Since arriving in New York in 2008 to play with the Wallace Roney Quintet, Aruán has made five recordings, all very well received by the critics. On his latest CD, "Banned in London" (Whirlwind Recordings 2012), Aruán co-leads a powerful Cuban/US collaboration featuring saxophonist Greg Osby, and this CD received five stars on BBC Jazz Radio, four stars in the Jazz Journal, Jazzwise Magazine, Financial Times, and The Guardian in the UK, where it was also at the top of the list of best jazz albums of 2012. As a composer, Ortiz has received commissions from the Woodwind Quintet Ensemble (Santiago de Cuba); Música de Camara Orchestra (NYC); Oyu Oro Folkloric Dance Company (NYC); YOUME & Milena Zullo Ballet (Rome); José Mateo Ballet Theater (Cambridge, MA); and University of Albany Symphony Orchestra (upstate New York). Aruán Ortiz has also played, toured and / or recorded with Cindy Blackman-Santana, Don Byron, Terri Lyne Carrington, Joe Lovano, the Mingus Big Band, Greg Osby, Wallace Roney, Esperanza Spalding, and Lenny White, among others. Presently he also curates the Music and Architecture concert series on Thursdays at the Zinc Bar in New York City. aruan-ortiz.com.
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Contacts:
Zinc Bar, (212) 477-9462, zincbar.com,
[email protected];
Margaret Grimes, Publicist, (212) 841-0899,
[email protected];
co-presented by Revive Music Group, [email protected].
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