CHRISTIAN McBRIDE and INSIDE STRAIGHT

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					                     CLARICE SMITH PERFORMING ARTS CENTER
                                                             PRESENTS




                                  CHRISTIAN McBRIDE and
                                        INSIDE STRAIGHT




friday, november 12, 2010 . 8PM
ina & jack kay theatre

PHOTO BY CHI MODU


                                       CLARICE SMITH PERFORMING ARTS CENTER   35
PROGRAM                                                                     ABOUT THE MUSIC

                                                                            During the 2008 Detroit International Jazz Festival, the city-based Mack Avenue
      CHRISTIAN McBRIDE and INSIDE STRAIGHT                                 Records announced that Christian McBride, one of the most prominent jazz artists of
                                                                            his generation, had signed onto the label. For his June 16 Mack Avenue recording
      Christian McBride, leader and bass                                    debut, the 36-year-old bassist/bandleader/educator/artistic director/Grammy® Award
      Warren Wolf, vibraphone                                               winner delivers the remarkable Kind of Brown, a 10-track album featuring his new
      Christian Sands, piano                                                acoustic jazz quintet Inside Straight, comprising old friends, pianist Eric Reed, alto
      Jaleel Shaw, alto and soprano saxophone                               saxophonist Steve Wilson and drummer Carl Allen, as well as newcomer vibraphonist
      Ulysses Owens, Jr., drums                                             Warren Wolf, one of McBride’s former students.
                                                                                Produced by McBride, Kind of Brown is a collection of hard swing-to-bluesy
      Tonight’s performance will include selections from Kind of Brown by   groove tunes that the leader says he put together to give the members of his new
      Christian McBride and Inside Straight.                                ensemble “something to sink their teeth into.” He adds, “I wanted to present solid
                                                                            melodies with some decent chord changes that could be good vehicles for the guys
      The program will be approximately 90 minutes with no intermission.    to blow on.”
                                                                                While McBride has helmed a longstanding acoustic/electric quartet — label
                                                                            mate and tenor saxophonist Ron Blake, pianist Geoffrey Keezer, drummer Terreon
                                                                            Gully — the bassist extraordinaire decided to create a new quintet that was focused
                                                                            on playing straight-ahead acoustic jazz. Formed in June 2007, the group made its
                                                                            debut at the Village Vanguard in New York, marking the first time in 10 years that
                                                                            McBride appeared there as a leader. “For the occasion I wanted to put together a
                                                                            special group,” he says. “I had no intention of forming a future working band, but
                                                                            during that week people raved about the show and kept telling me that the group
                                                                            had to be documented.”
                                                                                While various labels courted the quintet, McBride decided to hook up with
                                                                            Mack Avenue. “I was not interested in signing an old, classic recording contract,”
                                                                            he said. “But Mack Avenue made it clear that it was not only excited about me
                                                                            joining its family of artists, but also wanted to give me the freedom to be creative,
                                                                            which would be beneficial to both parties.”
                                                                                Recorded in September 2008 at Fantasy Studios in Berkeley, Calif., Kind of Brown
                                                                            stands as McBride’s first album as a leader since his 3-CD Live at Tonic outing for
                                                                            Ropeadope Records in 2006 and his first studio recording since 2003’s Sci-Fi for
                                                                            Verve Records.
                                                                                Kind of Brown opens with “Brother Mister,” which McBride says is the perfect
                                                                            opening tune for a gig or a record. “The chordal sequence is a basic 12-bar blues,”
                                                                            he says. “I started playing a version of the song with my quartet when we’d have a
                                                                            guest play with us, but it never had a melody. So, for this recording, I put a melody
                                                                            over the chord changes, changed keys from F to E and it came out nice.”
                                                                                McBride and Inside Straight deliver a buoyant, exciting take on the Freddie
                                                                            Hubbard number, “Theme for Kareem.” “I always had a soft spot for Freddie,”
                                                                            McBride says of the late, legendary trumpeter. “Carl was instrumental in me getting
                                                                            to play with Freddie when I first moved to New York. Carl was kind of like my
                                                                            sponsor. He recommended me to Freddie, who initially felt that an 18-year-old player
                                                                            wasn’t ready for the big time. But he took a chance with me, and it was a great thrill

36   WWW.CLARICESMITHCENTER.UMD.EDU                                                                                        CHRISTIAN McBRIDE AND INSIDE STRAIGHT     37
ABOUT THE MUSIC                                                                                   ABOUT THE MUSIC

       to play with him. I wanted to record at least one Freddie song on Kind of Brown.               The tour de force “Stick & Move” opens with bright rhythmic leaps. “It’s a basic
       I decided to do ‘Theme for Kareem.’ It has a lot of meat on it, and it’s hard because      blues,” says McBride. “I told the guys, hey, it’s a blues, go for broke. So everyone
       the chord changes go by real quick. It’s a tricky song by a great composer.”               jumped in and played.”
            The gently grooved “Rainbow Wheel” is a tune McBride came up with while                   Kind of Brown closes with a piano-bass duo on the standard “Where Are You?”
       playing chord changes on the piano. “Jazz players love playing minor thirds, but           It was a tune that McBride’s bass mentor Ray Brown taught him from a Jazz at the
       I thought, how many songs go up and down in major thirds? So that’s what I did.            Philharmonic concert with Ben Webster. McBride also has a Frank Sinatra recording
       It reminds me of the way Freddie played. He would have eaten alive a song like this.”      of the tune. “I’m always on a quest to find songs that are obscure standards,” he says.
            The lyrical, slow-tempo “Starbeam” is another song whose genesis can be traced        “This has a gorgeous melody that’s nice and simple. It’s a great song for a duo. I love
       back to the Christian McBride Band library. “I wrote it three years ago, and we            duets. Eric already knew this song, so it was a perfect fit.”
       played the tune, but I could never find the time to finish it,” he says. “I could never        Kind of Brown is one of many projects that McBride has set into motion for
       find the end. When I was planning to put the music together for Kind of Brown,             2009, which marks his 20-year anniversary since his arrival on the international jazz
       I was inspired to sit back down at the piano to finish this, to play the melody all the    scene. Other endeavors include the innovative “Conversations With Christian”
       way through.”                                                                              interview-duet performance series available as digital downloads culminating into
            On “Used ‘Ta Could,” play is the operative word. It opens with a funky acoustic       a full 20-song album, plus a summer big band residency in New York. While the
       bass line and has an oozing blues-gospel feel throughout. “I wanted to make the guys       quintet’s performances had been limited to the weeklong Vanguard stint and one-off
       laugh when they were playing this,” says McBride. “This song is silly, but fun silly.      shows at the Monterey Jazz Festival and in Brazil, McBride and his new ensemble
       It’s a ¾ vamp that I thought we could have fun on, especially in the middle when we        Inside Straight will be on the road throughout the year performing songs from
       get to deliberately play a little bit sloppy.”                                             Kind of Brown.
            The whimsical “Shade of the Cedar Tree” is a new version of the tune from
       McBride’s first album, 1995’s Gettin’ To It on Verve. A tune that, according to            Christian McBride and Inside Straight • Kind of Brown (MAC 1047)
       vibraphonist Stefon Harris, “is clearly on its way to becoming a standard. I get a         U.S. Release Date: June 16, 2009
       lot of requests for this song, and a lot of kids play it in jam sessions,” he says.        R/O/W Release Date: May 19, 2009
       “But there was a mistake in the original version where Roy Hargrove tripped over           For media information, please contact:
       one note in the melody. I figured this was the perfect time to give the tune its           DL Media • 610-667-0501
       definitive performance.”                                                                   Don Lucoff • don@jazzpublicity.com
            “Pursuit of Peace” is a tune that Reed brought to the session. “Because all the       Steph Brown • steph@jazzpublicity.com
       guys in the band are so creative, I didn’t feel like I had to write everything,” McBride   MACK AVENUE • the road to great music • www.mackavenue.com
       says. “So, as soon as I requested song suggestions from them, Eric immediately asked       19900 Harper Avenue, Harper Woods, MI 48225 • 313-640-8414 • 313-640-8415 fax
       me to listen to this, and I loved it. It fit the mode for the album, and it’s not too
       traditional. Plus, it’s got an interesting bass line. It’s quite involved, which was
       another reason why I wanted to record it. It put me on the spot. It made me work.”
            The other slow-tempo tune on the album is another McBride original, “Uncle
       James,” which is a tribute to the late pianist James Williams. “This song exemplifies
       what James was all about,” McBride says. “Young jazz artists have all been taught
       that we have to write something challenging to be modern, that to be different you
       have to come up with something new. But James never believed that. He wasn’t out
       to reinvent the wheel each time he wrote a song. He was all about fine melodies and
       chord changes. He wrote songs that were pretty. He wrote a song titled ‘Arioso.’
       I used the last four bars of his melody in this tune as my tribute to James.”




38   301.405.ARTS (2787)                                                                                                                          CHRISTIAN McBRIDE AND INSIDE STRAIGHT     39
ABOUT THE ARTISTS                                                                               ABOUT THE ARTISTS

      Grammy Award winner CHRISTIAN McBRIDE (bass) is a chameleonic virtuoso of                     Later that year, pop star Sting invited Christian to become a key figure in his
      the acoustic and electric bass. Beginning in 1989, the Philadelphian has thus far been    2001 All This Time CD, DVD and tour. Then in 2002, Christian supported George
      first-call-requested to accompany literally hundreds of fine artists, ranging in an       Duke by becoming a member of his band and recording on his landmark album
      impressive array from McCoy Tyner and Sting to Kathleen Battle and Diana Krall.           Face the Music: the legendary keyboardist’s first album on his own recording label,
      He currently leads one of the hottest bands in music — the propulsive Christian           BPM. “Christian is a monster on that bass,” Duke states with pride, “It isn’t often
      McBride Band (saxophonist Ron Blake, keyboardist Geoffrey Keezer and                      these days to find a young musician so dedicated to his craft. Christian is my kind
      drummer Terreon Gully).                                                                   of musician, one that is open to new ideas, good at playing different styles, reads
          Christian McBride was born on May 31, 1972 in Philadelphia. Electric bass was         music prolifically and is dedicated to furthering the growth of music not only as a
      Christian’s first instrument, which he began playing at age nine, followed by acoustic    musician, but as a young representative of his profession. There isn’t anyone better.
      bass two years later. His first mentors on the instrument were his father, Lee Smith      And besides that, he’s a great cat!”
      (a renowned bassist in Philly) and his great uncle, Howard Cooper (a disciple of the          In 2003, Christian released one album on Warner Bros. Records titled Vertical
      jazz avant-garde). While intensely studying classical music, Christian’s love for jazz    Vision, a blazing recording that introduced the current incarnation of the Christian
      also blossomed. Upon his 1989 graduation from Philadelphia’s fertile High School          McBride Band. Over the years, McBride has been featured on hundreds of albums,
      for the Creative and Performing Arts (CAPA), Christian was awarded a partial              touring and/or recording with artists such as David Sanborn, Chick Corea, Chaka
      scholarship to attend the world-renowned Juilliard School in New York City to study       Khan, Natalie Cole, George Benson and the late greats Joe Henderson, Betty
      with the legendary bassist, Homer Mensch. That summer, before making the move             Carter and Milt Jackson. He also undertook his first pop Musical Directorship at the
      to the Big Apple, the already in-demand bassist got his first taste of touring going to   helm of a Christmas show featuring gospel royalty BeBe Winans and pop star Carly
      Europe with the Philadelphia Youth Orchestra, and traveling the U.S. with the             Simon. As a composer, Christian received a commission from Jazz at Lincoln Center
      classical jazz fusion group, Free Flight.                                                 to compose “Bluesin’ in Alphabet City,” performed by Wynton Marsalis with
          McBride never had a chance to settle into his Juilliard studies. Within the first     the Lincoln Center Jazz Orchestra. And in 1998, the Portland (ME) Arts Society and
      two weeks of the semester, he joined saxophonist Bobby Watson’s band, Horizon.            the National Endowment for the Arts awarded McBride with a commission to write
      He also started working around New York at clubs such as Bradley’s and the Village        The Movement, Revisited, Christian’s dramatic musical portrait of the civil rights
      Gate with John Hicks, Kenny Barron, Larry Willis and Gary Bartz. After one year at        struggle of the 1960s written and arranged for quartet and a 30-piece gospel choir.
      Juilliard, McBride made a critical decision to leave school to tour with trumpeter            The year 2005 witnessed his adding two more prestigious appointments to his
      Roy Hargrove’s first band, electing “experience with as many musicians as possible”       resume. In January, he was named co-director of The Jazz Museum in Harlem. While
      as the best teacher. In August of 1990, he landed a coveted position in trumpeter         assisting Leonard Garment and Loren Schoenberg in obtaining government grants
      Freddie Hubbard’s band until January 1993.                                                and the participation of top-flight historians/musicians, Christian will be focusing
          In 1991, legendary bassist Ray Brown invited the young wunderkind to join             on a longtime concern: exposing jazz to young people.
      him and John Clayton in the trio SuperBass. After being hailed Hot Jazz Artist of
      1992 by Rolling Stone, Christian continued to prove it as a member of guitarist           WARREN WOLF (vibraphone) is a multi-instrumentalist who lives in Baltimore,
      Pat Metheny’s “Special Quartet,” which included drum master Billy Higgins and             Maryland. Since a very young age, Warren played many different instruments which
      saxophonist Joshua Redman. While recording and touring with Redman the                    included the vibraphone/marimba, drumset/percussion and the piano/keyboards.
      following year, McBride signed to Verve Records in the summer of 1994, recording          As a youth, Warren attended the Peabody Preparatory of The John Hopkins Institute
      his first CD as a leader, Gettin’ to It. He also graced the big screen playing bass in    in Baltimore, Maryland, where he studied with former Baltimore Symphony member
      director Robert Altman’s 1940’s period piece, Kansas City (1996).                         Leo LePage. While at Peabody, Warren played many popular styles of music
          Christian recorded three more career-shaping albums at Verve: Number Two              including classical, jazz and ragtime.
      Express (1996), the soul-jazz fusion project A Family Affair (1998) and the critically       After graduating from The Baltimore School for the Arts in the spring of 1997,
      acclaimed SCI-FI (2000). The following year, he continued to expand his audience          Warren headed north and enrolled at Berklee College of Music. At Berklee, Warren
      with two endeavors. He dipped into hip-hop with a side project dubbed The                 studied with Caribbean Jazz Project vibist Dave Samuels. While he studied at Berklee
      Philadelphia Experiment, a jam band-inspired CD that reunited Christian with his          he began to experiment with many different music styles, outside of jazz and classical,
      high school friend, drummer Ahmir ?uestlove Thompson (leader of The Roots)                such as hip-hop, R&B, drum-n-bass, funk, rock, gospel, world music, Latin and
      and featured keyboardist Uri Caine and guitarist Pat Martino.                             many others.

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ABOUT THE ARTISTS                                                                                ABOUT THE ARTISTS

           During his time at Berklee, Warren had the opportunity to play at the legendary           As a pianist, Christian Sands possesses an extensive vocabulary of patterns,
       jazz club Wally’s Café to help “get his foot in the door.” After years of training at     textures and structures which allow him to play in almost any style, as those of us
       Berklee and sitting in with musicians at Wally’s, Warren landed the weekend gig at        who have heard his Tatumesque stride, his Rubalcaba-like montunos, his Oscar
       the club for the next three years…but playing drums, not the vibraphone. Warren           Peterson bluesy runs and Monk-like quest for new sounds can affirm. Christian
       co-led a quintet with trumpeter Jason Palmer at Wally’s.                                  Sands has received sage counsel and performed with Dr. Billy Taylor, Chip Jackson,
           Being at Berklee Warren had the chance to play and record with many of the            Alvin Atkinson, Winard Harper, Dr. Rex Cadwallader, Joe Locke, Stefon Harris,
       world’s best musicians including Wynton Marsalis and the Lincoln Center Jazz              Wycliffe Gordon, Lou Donaldon, The Heath Brothers, Rufus Reed, Randy Brecker,
       Orchestra, Nicholas Payton, Mulgrew Miller, Lewis Nash, Christian McBride,                Louis Hayes, Craig Handy, Ugonna Okegwo, Bill Evans, Jesse Hameen II,
       Terri-Lyne Carrington, Bobby Watson, Roy Hanynes and Danilo Perez.                        Jeff Fuller, Bill Fluker, Mike Asetta, Lou Donaldson, Clark Terry and Dave Brubeck.
           Warren has recorded two records as a leader. Incredible Jazz Vibes, recorded on           It seems at times he channels the spirits of jazz masters from all eras. He
       the Japanese label M & I Records, features Mulgrew Miller on piano, Vicente Archer        exemplifies the risin’ musical and spiritual aspirations of a singularly gifted musical
       on bass and Kendrick Scott on drums. Warren’s second recording is entitled Raw in         soul. “To whom much is given, much is expected.” Christian Sands doesn’t
       which he performs on both the vibraphone and drumset. Raw features musicians              disappoint — and you can be sure this star will continue risin’ for years to come!
       such as Darren Barrett on trumpet, Walter Smith on tenor saxophone, Lawrence
       Fields on piano and a host of others. Warren can also be heard on recordings by           JALEEL SHAW (alto and soprano saxophone) grew up in Philadelphia, Pennsylvania,
       drummer Adonis Rose (On The Verge — Criss Cross), trumpeter Jeremy Pelt (Identity         where he was constantly surrounded by music. He picked up the alto saxophone
       — MAXJAZZ) and the new Bobby Watson Group Live & Learn (from The Heart-                   when he was nine and joined a youth jazz band directed by jazz educator Lovette
       Palmetto Records) which features Harold O’Neal on piano, Curtis Lundy on bass,            Hines about a year later. In addition to performing with Hines’ band for nearly six
       Quincy Davis on drums and Leron Thomas on trumpet.                                        years, Shaw also immersed himself in Philly’s local jazz scene, studying and
                                                                                                 performing with some of the talented musicians that city has historically produced.
       CHRISTIAN SANDS (piano) is a “rising star” in the world of jazz. He possesses                 Upon graduating from high school, Jaleel received a full tuition scholarship to
       technique in abundance, but it perfectly matches his conception. His use of               attend Berklee College of Music in Boston, Massachusetts.. He attended Berklee for
       understatement accomplishes a much deeper musical goal. He takes a fresh look at the      four years and earned a dual degree in Music Education and Performance in 2000.
       entire language of jazz: stride, swing, bebop, progressive, fusion, Brazilian and Afro-   While attending Berklee, he received the Billboard Endowed Scholarship for
       Cuban. He says, “My music is about teaching the way of jazz and keeping it alive.”        Outstanding Academic and Musical achievement (1998), two Woodwind Department
            This young man began playing the piano at age three, composing at age five, and      Chair Awards, The Outstanding Student Teacher Award and The Boston Jazz Society
       his meteoric rise in the jazz world already includes two appearances at the 48th and      Award (1999).
       49th GRAMMY Awards, including an outrageous, highly publicized duet with                      After graduating from Berklee, Jaleel received a scholarship to attend the
       legendary pianist Oscar Peterson. He was also featured as a special guest of jazz         Manhattan School of Music in New York City, where he received his Master’s in
       adjudicator and pianist Dr. Billy Taylor for his return performance in Washington         Jazz Performance in May 2002.
       DC for Jazz at the Kennedy Center. He received a GRAMMY nomination for Best                   Since arriving in New York City in 2000, Shaw has performed in groups that
       Latin Solo for the work “Kenya Revisited,” conducted by Manhattan’s School of             include the Mingus Big Band, the Count Basie Orchestra and The Village Vanguard
       Music Bandleader, Bobby Sanabria. He has four CDs to his credit of which Risin’ and       Orchestra, as well as groups led by Christian McBride, Roy Hargrove, Dave Holland,
       Furioso were released in Tokyo, Japan. Sands wrote, arranged and produced several         Stefon Harris and Jason Moran.
       songs demonstrating his ability as a performer and composer. He has played on                  Jaleel’s debut CD, Perspective, was released in June 2005 and received rave reviews
       countless stages and festivals such as the 48th and 49th GRAMMY Awards, Clifford          from Jazzwise Magazine, the New York Times, and was named one of the top five
       Brown Festival, Utah Jazz Festival, National Black Arts Festival in Atlanta, Great        debut CDs of 2005 by All About Jazz Magazine, Jazzwise Magazine and the Jazz
       Barrington Jazz Festival, Kennedy Center Millennium Stage, New Haven Jazz                 Journalist Association. He was also awarded an ASCAP Young Jazz Composer Award
       Festival, Jazz Mobile with Wycliffe Gordon and New Orleans Jazz Festival with             for his composition “The Heavyweight Champion,” featured on the CD. That same
       Bill Summers and the New Headhunters.                                                     year, Jaleel joined the Roy Haynes Quartet and in 2006, Jaleel was featured on
                                                                                                 Roy Haynes’s Grammy Nominated “Whereas” recording.


42   301.405.ARTS (2787)                                                                                                                          CHRISTIAN McBRIDE AND INSIDE STRAIGHT     43
ABOUT THE ARTISTS




          In 2008, Jaleel started his own record label, Changu Records, on which he
      released his second CD, Optimism. That same year, Jaleel won another ASCAP
      Young Composer Award for the composition “The Flipside,” which is heard on
      Optimism. He was also nominated for Up and Coming by the Jazz Journalist
      Association later that year.
          Today, Jaleel continues to perform with the Roy Haynes Quartet as well as with
      his own Quartet and Trio. He has been mentioned in Downbeat Magazine’s Critics
      Poll as a Rising Star of the Alto Saxophone for the past four years and is also on
      faculty at the New School University in New York City.

      ULYSSES S. OWENS, JR. (drums) is a native of Jacksonville, Florida, and
      a 2006 graduate of The Juilliard School with a Bachelor’s of Music degree with a
      concentration in Jazz Studies. He has performed with many world-class musicians
      such as Wynton Marsalis, Terence Blanchard, Benny Golson, Russell Malone,
      Mulgrew Miller, Maceo Parker, Dianne Reeves, Patti Austin and many others.
      He is currently the drummer for Grammy-winning artists Kurt Elling and Christian
      McBride. Ulysses is also very fortunate to receive 2010 Grammy Award for his
      performance on Kurt Elling’s “Dedicated To You.” He has toured extensively
      internationally in countries such as Japan, Brazil, Singapore, Thailand, Netherlands,
      Norway, French Guyana, South Africa, Europe and other places globally.
          He is an educator and serves as artistic director for his family’s 501(c)3
      organization, Don’t Miss A Beat Inc, in which they teach inner-city students in
      Jacksonville, Florida, about the arts to discourage them from violence. Ulysses
      exclusively plays and endorses Yamaha Drums, Craviotto Snare Drums, Zildjian
      Cymbals, Remo Drumheads, HQ Products, Puresound Snare Wires, Vic Firth
      Drumsticks and Avid Technology (Sibelius, M-Audio, and ProTools). He also just
      completed and released his debut album It’s Time For U, and is receiving great reviews
      and responses internationally. Ulysses feels incredibly blessed to be granted the
      vast opportunities that he has accomplished. He feels that he has truly been chosen
      not only to compose music, but also to perform and educate others of this wonderful
      creation. Hoping to continue with his philosophy of “Give the gift of music,
      receive the gift of life.”




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