EAT, DRINK, PARTY | 6:30-9:30p | No Cover on Patio
Enjoy the sounds of Hombres Sin Nombres every Thursday night on the JK Patio
1/2 Priced Paella, Sangria-By-The-Pitcher, Latin Cocktail Features
____________________________________________________
NOCHE LATINA @ THE JAZZ KITCHEN
indoor dancing starts 9p | $7 | ladies FREE until 10p | New “B” Side Lounge – reggaeton, house, hip-hop, more
Indy’s Longest running Latin Night! 18 years!!
NOCHE LATINA IS MESH OF FINE SALSA, MERENGUE, CUMBIAS, & BACHATA
LATIN BEATS PROVIDED BY DJ GIL | DJ COQUI | DJ LATIN SPY
FREE SALSA LESSON AT 9.30p – Join Kyle and Amanda of LE Latin Expressions as they guide you through the basics of Salsa and Bachata. Looking for advanced instruction? www.facebook.com/latinexp
FOR BIRTHDAY PARTIES OR TABLE RESERVATIONS PLEASE CALL 847.902.4632
ORGONE – second-line New Orleans old-school funk goes head to head with the gloss of L.A.’s Tower of Power styled horn charts
8p | $15 limited advance purchased seating | $10 GA standing room only
1. A universal life force, a cosmic unit of energy, the creative force in nature.
2. Eight souls from Los Angeles who will move your ass and melt your face.
Pronounced with a long second “O,” the Los Angeles band Orgone is dedicated to heavy, raw, adrenaline-fueled funk and sweat-dripping soul. With a core rhythm section of close friends and self-taught musicians steeped in local DJ culture, Orgone has spent the last decade expanding their roster and evolving a sound rooted in old school respect but pulsing with the force of the new millennium. Orgone has become a staple on the festival circuit while gaining a reputation among fellow artists as one of the baddest go-to backing bands on the planet. Always evolving musically and cosmically, Orgone continues to connect with kindred musical spirits throughout the universe with relentless touring and the upcoming release of their fifth full-length album.
Starting out as an instrumental five piece by friends with a love of funk records, Orgone cut their teeth putting their own gritty takes on cuts by the Meters, Booker T. & the MGs, Grant Green and Funkadelic among others. In 2002, the band independently released Orgone, a collection of tough, stripped-down, funk instrumentals that Relix Magazine called “intoxicating” and that quickly became a favorite of die-hard, funk fans. Orgone solidified that underground respect in 2006, adding a powerful horn section and releasing their second album, Bacano, a set of all-original, cold-blooded funk gems in the classic vein of War and Mandrill with improved, warm, organic production that matched the evolution of the band’s sound. The release of their cover of “Funky Nassau” on both 7” and 12” became a an instant dance floor classic, inspiring a club-edit by renowned DJ Danny Krivit and paving the way for The Killion Floor in 2007, Orgone’s first full-length album for the legendary Ubiquity Records.
“L.A.’s Orgone, by contrast, kill it in the flesh and on record. Fully cognizant of funk, soul, and Afrobeat history, Orgone infuse those styles with an athletic grace and stealthy, sensual power that bespeaks of serious hours in the lab. This large ensemble’s grunt work pays off. ”
Dave Segal – The Stranger (Seattle)
“L.A.’s Orgone keeps the hotness of the recent retro-soul revival coming; If smooth, soulful funk with jazzy arrangements makes you sweat, you just found your new favorite band. ” XLR8R
“It’s easy to imagine Orgone both igniting mass partying and stoking libidos for more intimate gatherings.”
OC Weekly
“Orgone has provided all the elemental power to drive the funk/soul revival to new levels. Orgone will invigorate your groove spirit and get booty out of its little box and out on the dance floor.” KEXP 90.3FM (SEATTLE)
“By the time the listener gets to the nasty, distorted, finger-popping, ass waggling “Crabby Ali” — where the deep brewed, second-line New Orleans old-school funk goes head to head with the gloss of L.A.’s Tower of Power styled horn charts — it feels like the party’s just getting start” All Music
“Orgone recalls acts like Fela Kuti, Trouble Funk, and War, but with a heavy dose of disco, where the deep groove and diva vocals are so authentic, they could be samples.” The Onion / A.V. Club
“It’s About Time,” the full-length debut album from Atlanta’s Ruby Velle & The Soulphonics, has quickly made waves around the globe since its recent September 2012 release. Billboard has recently ranked the album in the top 30 on the Heatseeker charts, a chart devoted to emerging artists. In the US, the lead off single “My Dear” was featured as iTunes’ “single of the week”, sparking a digital soul-grab of 200,000 single downloads, and 1200 full album download sales, landing the album at #4 on the iTunes R&B charts. The same week, Jim Farber of The New York Daily News named the album in his much sought-after top ten. In addition, Google Play has offered“My Dear” as a free track for the month of October for all smartphone users.
In Christmas week December 2012, the single “Heartlite” was featured as the Starbucks “Pick of the Week” which garnered over 250,000 downloads and presence in all Starbucks location wi-fi pages nationwide.
Ruby Velle & The Soulphonics roots are embedded in the rich sound and history of Georgia soul, beginning with the early 50’s and 60’s R&B that became so well known around the world. Having performed countless gigs since 2005, and with a slew of 45rpm singles already under their belts, the band has already contributed heavily to the steadily increasing awareness of genuine rhythm and blues music that exists today. They pack clubs and festivals with their original brand of soul, all of which is written and recorded in Atlanta. Ruby Velle & The Soulphonics are taking it world wide in 2012, with the release of “It’s About Time.”
EAT, DRINK, PARTY | 6:30-9:30p | No Cover on Patio
Enjoy the sounds of Hombres Sin Nombres every Thursday night on the JK Patio
1/2 Priced Paella, Sangria-By-The-Pitcher, Latin Cocktail Features
____________________________________________________
NOCHE LATINA @ THE JAZZ KITCHEN
indoor dancing starts 9p | $7 | ladies FREE until 10p | New “B” Side Lounge – reggaeton, house, hip-hop, more
Indy’s Longest running Latin Night! 18 years!!
NOCHE LATINA IS MESH OF FINE SALSA, MERENGUE, CUMBIAS, & BACHATA
LATIN BEATS PROVIDED BY DJ GIL | DJ COQUI | DJ LATIN SPY
FREE SALSA LESSON AT 9.30p – Join Kyle and Amanda of LE Latin Expressions as they guide you through the basics of Salsa and Bachata. Looking for advanced instruction? www.facebook.com/latinexp
FOR BIRTHDAY PARTIES OR TABLE RESERVATIONS PLEASE CALL 847.902.4632
8 & 10p | $15
THE BLUE SIDE featuring Cynthia Layne | Tad Robinson | Gordon Bonham
We’ve assembled this dynamic group featuring three of the country’s best blues, soul and beyond vocalists and paired this all-star cast with the perfect backing band. Anything can (and will) happen. Expect lots of deep, soul raising favorites blended with goin’-for-it backbeat gems.
Jazz-City Radio presents an evening with celebrated smooth jazz heros Marc Antoine and Brian Simpson. Known for perpetual grooves and flights of daunting improv this is the perfect way to spend Father’s Day.
Marc was honoured when George Benson mentioned him as one of his favorite acoustic guitarist.
Guitarist , composer and producer , Marc Antoine , was born in Paris (France) on the 28th of May 1963. His parents bought him his first guitar when he was 11years old which quickly became his third arm . Marc has had a guitar in his hands ever since.
Tragedy struck in the summer of 1981 when his debut career got cut short by a devastating accident to his left hand. The surgeon told him that his chances of playing again were very slim and next to nothing. However, through the adversity, his love and passion for music helped him overcome this tragedy and in 1984 he was back on the scene in Paris, performing in clubs and recording for artists like Charlelie Couture, France Gall, Jill Kaplan, Ray Lema and more.
In 1988 he moved to London where he joined Basia’s band and worked with the Reggae Philharmonic Orchestra ,soul to soul, Pato Banton and general Public.He was also part of the London Acid Jazz scene. His world tour traveling lead him to Tokyo (Japan) where he became an acclaimed session player.
As a true citizen of the world, Marc kept moving, this time to Los Angeles (California) in 1990. He stayed there for 12 years playing for music royalty such as Sting, Celine Dion, Rod Stewart, Cher, Selena, Queen Latifah, George Benson, Guru Jazzmatazz, Take 6 and others. He composed and performed for major movie soundtracks: “Get Shorty”, “The Fan”, “Patch Adams”, “Midnight In The Garden Of Good And Evil”, “Demolition Man” and “Celtic Pride”. He also worked with producers of the likes of Tommy LiPuma, Philippe Saisse, Marcus Miller, Mike Pela, Paul Brown, Guy Roche and many more.
Regularly touring with contemporary jazz artists like Dave Koz, Chris Botti, Jeff Lorber, Jeffrey Osborn, Phillipe Saisse, Brian Simpson and others, he also performs or records with jazz Legends such as Peter Erskine, Jimmy Haslip, Mike Mainieri, Dave Valentin, Christian McBride and Mark Egan to name a few.
In 2010 he creates his own label and publishing company called “Frazzy Frog Music”and releases his first independent record “My Classical Way”on it. It was voted number 2 record of the year on the “Jazz Times” magazine top 50.
He is now working on a new project called “Guitar Destiny”, a mixture of genres inspired by his many travels and musical destiny.Release is scheduled in the summer of 2012.
Marc Currently resides in Madrid (Spain) where he writes and produces in his studio when he’s not giving concerts.
Brian has been the musical director for jazz saxophonist Dave Koz for the past 15 years
bsimpsonmusic.com
Celebrated keyboardist, composer and studio musician, Brian Simpson has been the ‘go-to’ man for everyone from Janet Jackson and Teena Marie to George Duke, Stanley Clarke and Dave Koz, for whom he has had the distinction of being musical director for the past 15 years. The chart-topping musical chameleon who wrote the #1 R&B hit “The First Time” for Surface in the 1990s confesses, “Ultimately, my listeners inspire me to make my music.”
Known for his ability to sculpt timeless love songs, soulful party anthems and melodies that stay on your mind, Brian Simpson is truly a master at his craft. South Beach, his inaugural album for Shanachie Entertainment, delivers on every front. The album’s title track, with a jubilant vibe reminiscent of the Ramsey Lewis smash hit “The In Crowd,” is already top 20 on multiple jazz charts, two months prior to album release. ”I’m very happy we chose ‘South Beach’ as the first single,” confides Simpson, “because it’s probably the song that’s most indicative of my style. My travels take me to some pretty nice places, but my favorites are always the ones with beaches. In the last year I’ve been to Hawaii, Bali, Indonesia, and several beaches in Florida. The wind, sea, and sand really inspired the melodies you’ll hear.
Hailing from Gurnee, Illinois, Brian always knew music would play center stage in his life. “Our house was filled with music. My older brother and sister both played instruments, and my brother’s rock band rehearsed in our living room every weekend. I never really considered any other lifestyle,” shares the keyboardist. Simpson’s breakthrough as a solo artist began in 2005 with the #1 radio hit “It’s All Good.” The title track of It’s All Good proved instantly and joyfully prophetic, as it hit #1 on the Radio & Records Smooth Jazz Airplay chart and remained in the Top 5 for four months.
After graduating from Northern Illinois University, Simpson relocated to Los Angeles where he quickly immersed himself in the local jazz scene. Late night jazz sessions found him playing alongside everyone from saxophonists Everette Harp and Boney James to guitarist Norman Brown. The free-spirited musician soon found himself taking a temporary leave of absence from the jazz scene, touring the world with pop divas Teena Marie, Sheena Easton and Janet Jackson. His foray into the pop world didn’t end there; in January 1991 he co-wrote the #1 Pop hit “The First Time” by Surface, which conquered both the R&B and Adult Contemporary charts.
Placing his success in pop aside, Brian Simpson has always been a working jazz musician. He has toured with some of the greats of recent jazz history, including George Duke, Stanley Clarke, Larry Carlton, Kirk Whalum, and Jonathan Butler. Brian has been the musical director for jazz saxophonist Dave Koz for the past 15 years, and for the last 8 years the Musical Director, of the highly popular “Smooth Jazz Cruise” featuring Marcus Miller and David Sanborn.
EAT, DRINK, PARTY | 6:30-9:30p | No Cover on Patio
Enjoy the sounds of Hombres Sin Nombres every Thursday night on the JK Patio
1/2 Priced Paella, Sangria-By-The-Pitcher, Latin Cocktail Features
____________________________________________________
NOCHE LATINA @ THE JAZZ KITCHEN
indoor dancing starts 9p | $7 | ladies FREE until 10p | New “B” Side Lounge – reggaeton, house, hip-hop, more
Indy’s Longest running Latin Night! 18 years!!
NOCHE LATINA IS MESH OF FINE SALSA, MERENGUE, CUMBIAS, & BACHATA
LATIN BEATS PROVIDED BY DJ GIL | DJ COQUI | DJ LATIN SPY
FREE SALSA LESSON AT 9.30p – Join Kyle and Amanda of LE Latin Expressions as they guide you through the basics of Salsa and Bachata. Looking for advanced instruction? www.facebook.com/latinexp
FOR BIRTHDAY PARTIES OR TABLE RESERVATIONS PLEASE CALL 847.902.4632
Bernie Worrell first came to prominence as a founding member and Musical Director of Parliament/Funkadelic. While this massively influential supergroup was radically altering the course of music, Bernie was radically charting the course of emerging keyboard technology during the golden age of analog synthesis. Among the key ingredients in his sonic stew were perfect pitch and a well-honed facility with the classical canon.
A child prodigy who began studying piano at the tender age of three and gave his first public performance just a year later, Worrell wrote his first concerto at age eight and performed with the Washington Symphony Orchestra at ten. His classical studies would continue throughout his adolescence, including private lessons at the Julliard School of Music, before he entered the New England Conservatory of Music.
Upon leaving the Conservatory, Worrell served for several years as Musical Director for Maxine Brown before joining Parliament/Funkadelic crew. Worrell then proceeded to provide this freewheeling collective with a structural foundation which, while occasionally implied, was ever present. At the same time, he explored and expanded his own musical ideas in every conceivable direction with a brazenness which was both revolutionary and evolutionary. From fanciful forays on clavinet which leaped without warning from guttural gulps to squiggly squeals to liquid Minimoog bass lines which herded listeners to the dance floor, it all represented new musical language. All the while, his rapid advancements of the synthesizer’s potential were actually traceable to his classical foundation.
“When the synthesizers came about, my having been brought up classically and knowing a full range of orchestra, tympanis and everything, I knew how it sounded and what it felt like. So, if I’m playing a horn arrangement on keyboard, or strings, it sounds like strings or horns, ’cause I know how to phrase it, how a string phrases, different attacks from the aperture for horns, trumpets, sax or trombones.” – Bernie Worrell
The hits were many: “Flashlight,” “Atomic Dog,” “Aqua Boogie,” “Cosmic Slop” and “Red Hot Mama” are only a few of the Parliament/Funkadelic classics which Worrell co-wrote, played and co-produced on literally dozens of albums — not to mention his years of wild P-Funk performances, which quickly became the stuff of lore.
After departing Parliament/Funkadelic, Worrell resurfaced with the revamped Talking Heads lineup for several albums, including The Name of This Band Is Talking Heads, Speaking In Tongues and Jonathan Demme’s dazzling concert film, Stop Making Sense. Worrell’s ominous colorings, this time delivered via new digital keyboards such as the Prophet 5, were central to the recasting of group leader David Byrne’s musical ideas through African rhythms.
In the years since he left Talking Heads, Worrell has been a phenomenally prolific studio musician, serving as a primary change-agent in the many experimental works of producer Bill Laswell while contributing his singular flair to projects by the likes of Keith Richards, the Pretenders, Jack Bruce, Deee-Lite and Bootsy’s New Rubber Band. At the same time, he has been among the most sampled musicians ever, with Digital Underground, De La Soul, Dr. Dre, Snoop Dogg, Ice Cube, DMX and countless others having acknowledged his timeless grooves by building their tunes around his signature riffs.
Worrell also released a series of critically acclaimed solo efforts, including Funk of Ages, Blacktronic Science, Pieces of WOO/The Other Side and Free Agent: A Spaced Odyssey. And he has become quite a sensation on the jam band circuit, playing with groups ranging from Warren Haynes’ Gov’t Mule to Laswell’s Material, Method of Defiance and Praxis conglomerations.
In 1997, Worrell was inducted into the Rock and Roll Hall of Fame along with Parliament/Funkadelic (Talking Heads would follow five years later). That same year, he launched his own group, Bernie Worrell and the WOO Warriors, which has performed all over the US and abroad to rave reviews. The in-concert energy of this ensemble has twice been captured on live albums: Bernie Worrell and the WOO Warriors Live (1998) and True DAT (2002).
Worrell’s work has also continued to surface in other places. In 1993, when David Letterman moved his program to CBS, Worrell helped launch the CBS Orchestra with Paul Shaffer. He co-wrote the score for the cult classic, Car 54, Where Are You? and other films, including the Ice Cube vehicle, Friday. In 2003, his music was featured in the NBC television mini-series, Kingpin.
The “Wizard of WOO” continues to wear many hats as effortlessly as he mixes musical forms, performing with both Mos Def’s Black Jack Johnson band and Colonel Claypool’s Bucket of Bernie Brains.
2005 saw the release of Stranger: Bernie Worrell on Earth, a documentary film on the life of this master musician. And, between 2009 & 2010, Worrell assembled the musical project, SociaLybrium. SociaLybrium is comprised of Bernie on Keyboards, Melvin Gibbs on Bass, Blackbyrd McKnight on Guitar and JT Lewis on drums…….a Rock/Funk/Jazz Fusion Feast!!! In addition to other acts, Bernie co-produced, co-wrote and performed with local musician Joe Stuby & Rocking Horse (and that double CD was released in 2011). One of his newest collaborations is The Bernie Worrell Orchestra
And Albare? He sounds like a positive blend of the late Wes Montgomery and an early George Benson. Airy and light melodic improvisations and the themes reflect an inner harmony of boundless grace.” Jazzpodium (Germany) Aug-Sept. 2012
ALBARE is the nom de guerre of Albert Dadon, a virtuoso jazz guitarist with a strong melodic sense and a wealth of global influences. Born in Morocco and raised in Israel and France, Albare first worked as a musician in Paris, before emigrating to Australia at the age of 27. Not only is he well known as a jazz musician but has maintained a highly successful career as he is one of Australia’s preeminent business entrepreneurs. He is undoubtedly a major force in Australian jazz, having directed the Melbourne Jazz Festival for many years and as chairman of the Australian Jazz Awards. In 2008 he received the Order of Australia for his service to the arts. He currently lives in Melbourne but travels the word constantly as part of his business, musical touring and philantropic activities.
Albare’s recording career began with a string of ‘acid jazz’ albums for Festival Records. Longing to return to his first love, instrumental jazz, Albare began recording and performing with his own band while simultaneously becoming a major force in Australia jazz in general. As director of the Melbourne Jazz Festival he presented great artists such as such as Herbie Hancock, Chick Corea, Sonny Rollins and Gary Burton. He also founded the Australian Jazz ‘Bell’ Awards during this time.
In January 2012 Albare recorded and released Long Way, Albare’s first album for the prestigious German jazz label Enja Records. Recorded in Brooklyn at Systems Sound, the album features triple GRAMMY® winner drummer Antonio Sanchez (Pat Metheny Group), saxophonist George Garzone (the Joe Lovano Nonet), pianist Leo Genovese (Esperanza Spalding), prolific harmonica player Hendrik Meurkens and Albare’s long time musical collaborator, bassist Evri (Evripedes Evripidou). Albare calls this super group iTD, or the International Travel Diary, reflecting their global backgrounds. In the fall and winter of 2012 Albare iTD toured the United States with stops in New York, Boston, Miami, Cleveland and Washington DC. During this time Long Way maintained its place on the national Jazz Week Chart for over twenty weeks!
In early 2013 Albare went back into the same Brooklyn studio to record The Road Ahead with his new line up. This ensemble has proved to be a great setting for Albare’s melodic playing while continuing the international cosmopolitan theme. The band features pianist Phil Turcio (also one of Australia’s premier pop record producers), Cuban bassist Yunior Terry and Venezuelan drummer Pablo Bencid. They combine the fresh excitement of Long Way with a more sophisticated and interactive feeling within the band.
“Entering the Basement was more like sauntering down a European street, thanks to the hypnotic bohemian sounds of Albare.”
Matthew Perkins – ABC Radio
“Albare’s acoustic riffs dig deep into the heart, tugging at the strings with warm hands as a soaring flute captures love’s elevation.”
Leslie Connors – JazzTimes
“Innate musicality and passion are evident in Albare’s playing… his angular and often unpredictable runs reflected and update of the Reinhardt approach.” – Martin Jackson – Official Australian Jazz Website
“Innate musicality and passion are clearly evident in Albare’s playing… his angular and often unpredictable runs reflect an update of the Reinhardt approach.” – Martin Jackson – Australian Jazz Website
In 1977, The Dirty Dozen Social and Pleasure Club in New Orleans began showcasing a traditional Crescent City brass band. It was a joining of two proud, but antiquated, traditions at the time: social and pleasure clubs dated back over a century to a time when black southerners could rarely afford life insurance, and the clubs would provide proper funeral arrangements. Brass bands, early predecessors of jazz as we know it, would often follow the funeral procession playing somber dirges, then once the family of the deceased was out of earshot, burst into jubilant dance tunes as casual onlookers danced in the streets. By the late ’70s, few of either existed. The Dirty Dozen Social and Pleasure Club decided to assemble this group as a house band, and over the course of these early gigs, the seven-member ensemble adopted the venue’s name: The Dirty Dozen Brass Band. Thirty-five years later, The Dirty Dozen Brass Band is a world famous music machine, whose name is synonymous with genre-bending romps and high-octane performances. They have revitalized the brass band in New Orleans and around the world, progressing from local parties, clubs, baseball games and festivals in their early years to touring nearly constantly in the U.S. and in over 30 other countries on five continents. The Dirty Dozen have been featured guests on albums by artists including David Bowie, Elvis Costello, Dr. John, Buckwheat Zydeco, Dave Matthews Band, Modest Mouse, Widespread Panic, and the Black Crowes.
• New album TWENTY DOZEN (May 1, 2012) celebrates their 35th Anniversary
• Gregory Davis (trumpet) and Roger Lewis (saxophone) are featured on 2012 GRAMMY Winning Best World
Music Album Tinariwen’s, Tassili.
• Featured in NFL Season Kickoff festivities in New Orleans. The Dirty Dozen joined Trombone Shorty and Dave Matthews Band during the NFL Opening Kickoff 2010 pre-game concert, broadcast live on NBC. The Dozen, Trombone Shorty and Kermit Ruffins collaborated with DMB on the Talking Heads’ classic “Burning Down the House” while the Mardi Gras Indians danced on stage.
• The Dirty Dozen’s “Mardi Gras in New Orleans” was featured in Episode 8 of HBO’s Treme
• 2009 Best of the Beat Nominee for Best Brass Band, presented by Offbeat magazine, an award they have won a
number of times in the past. The Dirty Dozen Brass Band’s Kirk Joseph was nominated for Best Tuba/Sousaphonist in the
2011 Awards and is nominated again for the 2012 Awards.
• Honored with Music Heritage Award at the 2009 Big Easy Music Awards
