Anthology: Behind the Scenes

Although April is officially National Jazz Month, Anthology, Southern California’s premier supper club, is getting started a month early. Throughout March some of the world’s finest jazz musicians perform at Anthology, which regularly wins surveys and polls as San Diego’s best place to hear music.

March 1 and 2, legendary pianist Chick Corea will perform in a rare duet concert with Gary Burton. Keyboard great McCoy Tyner performs March 9, followed on March 10 by the Brubeck Brothers, sons of jazz pioneer Dave Brubeck. Anthology is covering the smoother side of this great American music as well. On March 12, Tizer, an up-and-coming contemporary jazz band, performs as part of the Official Anthology, a premier Oasis Awards After Party. Smooth supper club and music jazz superstar Mindi Abair makes two venue in Little Italy. noteworthy appearances on March 19.

March 23, Anthology showcases jazz ukulele sensation Jake Shimabakuro, followed by salsa shows by Grammy-winner Poncho Sanchez on March 24 and 25. Want more jazz? The Anthology House Band, with some of California’s finest musicians, raises the roof every Tuesday night, when many food and beverage prices are lowered. Speaking of food, Anthology’s menu is as inspiring as the music, thanks to Chef Todd Allison, who improvises on classic American dishes the same way great jazz musicians improvise on classic American melodies.

A supper club/music venue like no other, Anthology is at 1337 India St between “A” and Ash Streets at the south end of Little Italy in Downtown San Diego. For more information, call (619) 595-0300 or go to www.anthologysd.com.

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Via signonsandiego.com

Kidney stone hasn’t kept the dedicated saxophonist from taking the stage

by George Varga | signonsandiego.com

NEW YORK — With any luck, David Sanborn will be missing something when he arrives in San Diego for a three-night concert engagement at Anthology that kicks off Wednesday.

“I had to go to the emergency room because I had a kidney stone,” the veteran alto saxophone star told the capacity audience at the second of his Sept. 16 performances at the Blue Note, one of New York’s most prestigious jazz nightclubs.

“If they give you the choice of a bullet wound or a kidney stone, take the bullet! I’m telling you, I was crying like a 2-year-old.”

Sanborn paused for emphasis.

“The ‘bullet’ is still lodged in there,” he said of his kidney stone, prompting drummer Byron Landham to hit a loud, metallic rim shot. Sanborn smiled ruefully. “That,” he said, “is what (the stone) will sound like when it comes out.”

Remarkably, his painful condition only caused him to miss one night of his six-day, 12-show engagement at the Blue Note. The second of Sanborn’s two Sept. 16 performances sizzled and soared, so much so that his band mate, organ dynamo Joey DeFrancesco, expressed aloud his amazement to the Blue Note crowd.

“I can’t believe he’s up here playing at all, let alone playing his ass off,” DeFrancesco said.

A lesser musician might have canceled the remaining dates on his national tour, or at least postponed them until the kidney stone had passed. Not Sanborn, who rose to fame in the 1970s with his stellar session work on albums by Stevie Wonder, B.B. King, the Eagles, David Bowie, Linda Ronstadt, James Taylor and Bruce Springsteen & The E Street Band.

Apart from the one night he missed at the Blue Note while in the emergency room — trumpeter Randy Brecker, a longtime pal, subbed for him — the 65-year-old saxophonist has not skipped a single scheduled performance.

“I felt the need to not let people down — and I wanted to play. I didn’t just want to sit around (waiting for the stone to pass),” Sanborn said, speaking Sept. 21 from Washington, D.C., where he was doing a multi-night club date with DeFrancesco and Landham.

“Without going into too much gory detail, it hasn’t ended yet. But, hopefully, it will soon. The best course of action is to live with the discomfort and low pain level, and wait until it passes, rather than go through some surgical procedure. Continuing to play seemed like the most sensible thing to do, given my circumstances.”

He laughed. “It sort of gives ‘being stoned’ a whole new meaning!”

Considering how inspired Sanborn sounded at the Blue Note, where he soloed with consistent verve throughout a rollicking set of vintage blues, soul and R&B classics, it seems like playing music is cathartic for him.

“To a certain extent, yeah” he said. “The hardest part is not really the playing; it’s the hours of traveling and all that stuff. The playing is actually the fun part.”

Adding to the fun is the music Sanborn is now playing live, most of which is from his two most recent albums, 2008’s “Here and Gone” and this year’s “Only Everything.”

“Gone” is an ebullient tribute to the late, great Ray Charles and to Charles’ superb alto saxophonist, Hank Crawford, a key influence on Sanborn. “Everything,” which features DeFrancesco on organ, extends the salute to Charles and Crawford. It also pays homage to tenor saxophonist David “Fathead” Newman, who played alongside Crawford in Charles’ band.

Newman was another inspiration for Sanborn, whose first solo album came out in 1975 and helped make him one of the most soulful (and imitated) saxophonists in pop-jazz. (Charles died in 2004; Crawford and Newman passed away within days of each other in early 2009.)

“If there was a moment of epiphany for me, it was when I was 11 and heard the Ray Charles band play in St. Louis,” Sanborn recalled. “There was something about that combination of styles Ray embodied — jazz, gospel and rhythm-and-blues — and the way Hank and Fathead made those styles instrumental counterparts to what Ray was doing vocally. They were my role models. …

“Even though they changed and shaped the music, in small and big ways, they didn’t always get the credit they deserve, especially Fathead. He and Hank were as important to me as anybody. I owe them everything.”

At the Blue Note, Sanborn played only one tune from his earlier solo albums. That song, 1987’s slick, radio-friendly ballad “The Dream,” sounded so lightweight and formulaic compared with the liberating brand of soul-jazz on his two newest albums, it seemed to come from another musical world.

“It is a different world,” Sanborn agreed. “Look, I love the old music I did prior to these two (new albums). But, sometimes, you just have to leave it for a while, so you don’t (grow) to hate it. Sometimes, it’s best to let it rest, so that when you go back to playing it, you can feel excited and passionate about playing that music. …

“With my two latest albums, I felt like: ‘OK, now I’m ready to pay tribute to Hank and Fathead, and not make it sound like I’m just trying to imitate them.’ I wanted to bring enough confidence to pay tribute to them in a meaningful way and be more than just a copier. You have to acknowledge the past, without copying it, and that’s the real trick as an artist.”

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Via signonsandiego.com

by By Josh Board | sandiego.com

I first heard about Stanley Jordan when an art teacher I had a crush on, told me “It seems like he must have 18 fingers to play those six strings with.” That piqued my interest. At that time, I couldn’t get into his jazz fusion stuff. This Harvard graduate has been nominated for many Grammys, and in the guitar world, he’s known for his tapping technique (the same style Eddie Van Halen got known for). He’s played with Dizzy Gillespie and Quincy Jones, and he’s supporting his first release in over a decade (which of course, is up for a Grammy). He’ll probably sit on the piano for a few tunes as well. If you want to see a variety of local bands, from the alternative sounds of Crystal Wyatt, to the headbanging metal of Comfort of Rage, as well as Sunday Girl, and The Fooks (think Dropkick Murphy’s), they’re all doing a 9/11 benefit called Flight 93 at Brick by Brick that same night. (more info: 888-237-2696)

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WHAT: Stanley Jordan
WHEN: Saturday, September 11th, 2010, 7:30 & 9:30pm
TICKETS: $22 – $29 BUY TICKETS
MORE INFO: Artist Profile

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Via sandiego.com

Before hitting Anthology Friday, Grammy-nominated pianist Eldar talks respect, Radiohead and Virtue.

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Source: Local Kid Is All That Jazz | NBC San Diego

Jazz is considered America’s classical music, and it may take a 23-year-old former San Diego resident to keep it alive for the next generation.

His name is Eldar Djangirov, better known as Eldar, and this Russian-born graduate of Francis Parker High School in La Jolla has quickly earned an international rep for both his classical and his jazz recordings.

In fact, he signed a recording contract with Sony Masterworks at the age of 17 to do a classical album and his 2008 album “Re-Imagination” was nominated for the Best Contemporary Jazz album.

To have that impact at that young an age takes a lot of focus and dedication, but to keep the ball rolling – especially in a genre like jazz that rewards originality — requires a willingness to stretch your boundaries and keep exploring new ground.

Eldar, who performs at Anthology on May 7, is ready and able to do that. Whether the audience is ready to go with him is something he thinks about deeply.

“Jazz in 2010 is a misnomer,” he said. “The label limits the music at least where press is concerned. People think that jazz has to sound a certain way for it to be jazz, but the vocabulary has changed – even in the last 10 years.”

To Eldar’s way of thinking, jazz, as he knows it, should be affected by the contemporary world the same way other forms of popular music such as hip-hop or rock are. But not everybody who considers them a jazz fan feels that way.

“Music should effect an edge of what’s around,” he said. “Someone who hears my new album, ‘Virtue,’ will hear a jazz record, but it also has elements of classical, rock and hip-hop because that’s where I’m coming from.”

The title “Virtue” was deliberate and seriously thought out, much like everything Eldar does.

“To me, the word ‘virtue’ means a certain honesty or excellence that reflects personality and character, and that’s what I strive for.”

To that end, he made sure to record with other top younger jazz musicians such as sax giant Joshua Redman, trumpeter Nicholas Payton and sax great Felipe Lamoglia.

However, much of the key to his musical growth in recent years hasn’t necessarily come from the musicians, but the engineers who press play on the tape deck.

“Talking with a lot of sound engineers has been a big influence because they know exactly how things should sound, and that’s been important,” he said.

Eldar was born in Kyrgyzstan in the former Soviet Union, in 1987 and started playing when he was 3, mostly classical. However, at the age of 9, he was discovered by Charles McWhorter, an American jazz supporter who arranged for him to attend a summer camp at the Interlochen Center for the Arts in Michigan (where Jewel is also an alum).

Eldar ended up staying in the U.S., first in Kansas City and then in San Diego. He remembers the area fondly, and his parents still live in Rancho Bernardo.

However, when asked a provincial question such as “What in this city inspires you musically?” he demurs, preferring to answer in the big picture.

“I’ve performed in hundreds of cities all over the world for audiences between 30 and 3000 people and all the meeting and talking with the people … all those elements affect the music.”

Back to the music: Eldar’s piano style is considered hard bop and is heavily influenced by pianists like Dave Brubeck, Oscar Peterson and Thelonious Monk. Still, he also is fond of Bjork and Radiohead.

Still, he admits that it is hard sometimes to remain current with music “because a lot of what I hear doesn’t sound like music.”

That’s not something he wants to say, because he realizes that in order to keep jazz relevant, he must attract folks in his age bracket. Therefore, Eldar can’t sound like his elders.

Still, it goes back to the fundamental argument facing the artist: Do you play jazz to please folks who fell in love with the music 50 years ago, or do you accept the music that has come along since then.

He’s hoping that rather than having to, say, record jazz versions of popular hits, there is a way to get the folks into indie music that jazz – especially since he agrees with the idea that the bebop he really loves – is the original indie music.

By David Moye

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WHAT: Eldar
WHEN: Friday, May 7th, 2010, 7:30pm
TICKETS: $10 – $35 BUY TICKETS
MORE INFO: Artist Profile

He was 9 years old when he was discovered, not-quite 18 when he signed his first recording contract, and at 23 is considered one of the brightest stars in the jazz piano galaxy. Eldar sure has come a long way since his days as a Russian protege from outback of Kyrgyzstan.

If you’re a “fan” of Frogger Dogger’s Facebook Page, you can win free tickets to catch this rising star at San Diego’s most elegant music club, Anthology on India Street in Little Italy. Go to Frogger Dogger’s Facebook Page and click the “Like” button, then send the Dogger your name and e-mail address to tickets@froggerdogger.com. That automatically puts you in the running for two free tickets to Eldar’s Anthology show this Friday, May 7, at the club.

Free tickets are just one of the perks for being a Frogger Dogger fan. We’ll be giving away several pairs of tickets to San Diego County venues each month. Any  fan of the Dogger’s Facebook Page qualifies, but you need to send that e-mail to let us know you’re interested. The deadline for Eldar tickets is noon Thursday, May 6, and we’ll notify the winners by 3 p.m. Your name will then be added to the Guest List the night of the show.

The Dogger also is offering readers ticket discounts to select shows around the county, so click on the Dogger’s Fan Page and become a Dogger. As a Facebook fan of Frogger Dogger you’ll be notified when new stories are up to read, and news on ticket giveaways and discounts.

Once you’re a fan, check your Facebook news feed daily or log on to froggerdogger.com and keep an eye out for more stories and more discounts and free tickets. See a Frogger Freebies you’re interested in? Simple, just send an e-mail and you’re entered. Remember, only fans of the Dogger’s Facebook Page qualify for freebies.

This swanky Little Italy supper club is making your life easy this Mother’s Day by offering two ways to celebrate mom that will leave her singing your praises. A specialty brunch will be served from 11am – 2pm, and during brunch, the Anthology House Band will be performing a musical tribute to female R&B legends – featuring all the favorites from Billie to Aretha and Beyonce. Goodies on the brunch menu include Carpaccio of Hawaiian Pineapple with mango and strawberry crudo, honey infused yogurt and toasted coconut; Dungeness Crab Benedict with poached cage free organic eggs, crab salad, Crows Pass Farms bordeaux spinach, roasted rosemary potatoes schaner and Farms citrus hollandaise; and House Fried Chicken and Waffles with pure maple syrup, vanilla bean cream, rosemary and apple buerre blanc; among many more dining options. For dessert, make sure to save room for the Buttermilk Panna Cotta with strawberry and lemongrass coulis, dried fruits and toasted rosemary. If you can’t make it to brunch, then treat mom to Anthology’s dinner and show duo with a multi-media presentation by Luscious Noise starting at 7:30pm. Dining options are a la carte; brunch show tickets are $10 and dinner show tickets are $15. For details and reservations, please call or visit Anthology in Little Italy. Get more details here

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Via DiscoverSD.com

Rock Mom’s world with a tribute to female R&B legends performed by The Anthology House Band. Dine on upscale comfort food such as Dungeness crab Benedict, house fried chicken and waffles, and pastries including gooey raisin brioche cinnamon rolls.

1337 India Street, Little Italy. (619) 595-0300; Brunch is $24; cover charge $10.

For more info: click here

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Via sdnn.com

By T. Loper | Owl and Bear

Philadelphia-born saxophonist and composer Benny Golson will play Anthology tonight.

Golson, who was born in 1929, is known for writing in the bebop/hard bop styles, and he has a long history with jazz. For starters, he went to high school with John Coltrane and other Philly greats. In a 2009 interview with NPR, Golson said of Coltrane, “John and I were like blood brothers … we spent our time in my living room, listening to lots of 78 [rpm] records, trying to figure out what was going on. And we had a beat-up piano in the corner…. We really annoyed the neighbors.”

After college, Golson joined Bull Moose Jackson’s rhythm and blues band, an experience that would shape his writing for the rest of his life. He went on to work with legends like Lionel Hampton, Dizzy Gillespie and Art Blakey. As a composer, Golson is probably best known for writing “I Remember Clifford,” a eulogy to his friend and former bandmate Clifford Brown, who died in a car crash in 1956. In the 1960s, Golson took a break from jazz and focused on composition, penning the scores for television shows like M*A*S*H and The Six Million Dollar Man.

Golson’s talents have not gone unrecognized: He has received the Jazz Masters Award of the National Endowment for the Arts, he’s been inducted into the International Academy of Jazz Hall of Fame, and he even appeared with Tom Hanks (as Hanks’ character’s musical hero) in the film The Terminal.

In 2009, the 80-year-old Golson also released a new album, called New Time, New ‘Tet. For the album, he recreated the setup of his legendary 1960s band — the Jazztet — with new members. The critically acclaimed album debuted at No. 8 on Billboard’s Top Jazz Albums.

Check him out at Anthology on April 23 at 7:30. It should be worth your while. Get your tickets here.

T. Loper is a writer for the San Diego music blog Owl and Bear.

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Via Sound Diego

By By Robert Bush | San Diego Reader

Golson is the composer of at least eight jazz classics that are played every night by jazz musicians all over the world. At age 81, he looks and plays like someone 20 years his junior. A solid crowd gathered to catch his performance.

As he reminded the audience several times, Mr. Golson enjoys talking. Indeed he spent almost as much time introducing the tunes as he did actually playing them. You pay attention because he’s earned the right to do as he pleases — but also because his stories are entertaining. This is a guy who could count the entire pantheon of jazz as true friends. Golson performed and provided the backstory on “Whisper Not,” “Along Came Betty,” and a poignant “I Remember Clifford.”

The man can also play the saxophone. He was sublimely aided in that pursuit by an all-star band. Local legends Mike Wofford on piano and Bob Magnusson on bass provided support and offered breathtaking solos. Ex-Cannonball Adderly drummer Roy McCurdy kept the time rock-steady and traded fours and eights with aplomb. The combo finished their 90-minute set with an up-tempo romp on Coltrane’s “Mr. P.C.”

• Concert: Benny Golson Quartet
• Date: April 23
• Venue: Anthology
• Seats: general admission

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Via San Diego Reader