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DTSTART;TZID=America/New_York:20080411T200000
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SUMMARY:African Film Festival Presents Mamadou Diabate Ensemble
DESCRIPTION:As part of the African Film Festival\, we present a live performance by Grammy-nominated kora master Mamadou Diabate from the West African country of Mali with his ensemble as part of the 2008 African Film Festival. The Mamadou Diabate Ensemble includes Mamadou Diabate on kora\, Balla Kouyate on balafon\, Baye Kouyate on talking drum and calabash\, and Noah Jarrett on bass. Mamadou Diabate is a master of the kora\, the ancient 21-string West African harp. He was born in 1975 in Kita\, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates\, Mamadou comes from a family of griots\, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people’s consciousness of the past\, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali\, covering much of West Africa.  \n\n\n\nBecause The Sanctuary for Independent Media has been shut down by the City of Troy in an action currently under investigation by the New York Civil Liberties Union\, historic A.M.E. Zion Church at 189 Fifth Avenue (corner of 103rd Street in north Troy) has offered sanctuary to the Sanctuary. \n\n\n\nLocal presentation of the Mamadou Diabate Ensemble is co-sponsored by the AME Zion Church and made possible by volunteer labor\, small financial contributions from hundreds of patrons of The Sanctuary For Independent Media. \n\n\n\n\n\n\n\nMamadou Diabate. Photo by Johndan Johnson-Eilola.\n\n\n\nAbout Mamadou Diabate:\n\n\n\nMamadou Diabate is a master of the kora\, the ancient 21-string West African harp. He was born in 1975 in Kita\, a Malian city long known as a center for the arts and culture of the Manding people of West Africa. As the name Diabate indicates\, Mamadou comes from a family of griots\, or jelis as they are known among the Manding. Jelis are more than just traditional musicians. They use music and sometimes oratory to preserve and sustain people’s consciousness of the past\, a past that stretches back to the 13th century when the Manding king Sunjata Keita consolidated the vast Empire of Mali\, covering much of West Africa. The stories of these glory days and the times since remain important touchstones for people today\, not only for the Manding\, but for many citizens of Mali\, Guinea\, Gambia\, and Senegal. So to be born to a distinguished jeli family in Kita is already an auspicious beginning. \n\n\n\nMamadou’s father Djelimory played the kora\, the jeli’s venerable 21-string harp. He was widely known as N’fa Diabate\, performing in the Instrumental Ensemble of Mali and recording on the National Radio of Mali. At the age of four\, Mamadou went to live with his father in Bamako\, where the Ensemble was based. When it came time for him to return to Kita and go to school\, Mamadou knew that the kora was his destiny. His father had taught him how to play the instrument\, and from there he listened and watched and devoted himself to practicing the kora\, to the point that his mother worried that he was not concentrating enough on school. When she took it away\, it only reduced his interest in studying\, and he quickly resorted to making his own kora so he could continue. \n\n\n\nBefore long\, Mamadou left school and began playing kora for local jeli singers\, and traveling throughout the region to play at the ceremonies where modern jelis ply their trade\, mostly weddings and baptisms. When he was fifteen\, Mamadou won first prize for his kora playing in a regional competition and instantly became something of a local celebrity. The next year\, he went to Bamako\, and under the tutelage of his famous kora playing cousin\, Toumani Diabate\, he worked the jeli circuit\, backing singers at neighborhood weddings and baptisms and entertaining the powerful at the city’s posh Amitié Hotel. Toumani gave his cousin the nickname “Djelika Djan” meaning “Tall Griot\,” a reference to Mamadou’s impressive physical stature. The name has stuck. \n\n\n\nIn 1996\, a touring group from the Instrumental Ensemble of Mali offered Mamadou the chance to travel to the United States with a group of Manding musicians and cultural authorities. Following a successful tour\, Mamadou decided to continue his work in the United States and\, since then\, he’s made his home in and around New York. Mamadou gets frequent invitations to perform with visiting Malian stars including Ami Koita\, Tata Bambo Kouyate\, Kandia Kouyate\, and Babani Koné. He has performed at the United Nations\, Lincoln Center\, the Metropolitan Museum\, and at the Smithsonian Institute in Washington. In addition\, he’s delved into uncharted waters\, jamming with all manner of expert musicians\, including jazz luminaries Donald Byrd and Randy Weston\, Zimbabwean legend Thomas Mapfumo\, and blues masters Eric Bibb and Guy Davis. Mamadou’s recording credits have expanded as he has laid tracks with artists ranging from Irish soloist Susan McKeown\, jazz bassist Ben Allison\, and Benin’s celebrated Angélique Kidjo. \n\n\n\nMamadou says that his father advised him to listen to all the best kora players and to learn from each one. The kora itself came to Mali from Gabu\, the region centered between Gambia\, Senegal\, and Guinea Bissau\, and the Malian kora tradition has always put a premium on holding onto the old ways while constantly innovating and developing the art. \n\n\n\nHe recorded his debut\, “Tunga” (Alula Records\, 2000)\, where he was joined by an impressive cast of handpicked musicians and friends who helped him show both reverence for the traditional sounds of his craft and to display an adventurous spirit in keeping with the practice of always furthering the griot’s art. \n\n\n\nMamadou Diabate’s solo kora recording ‘Behmanka’ (World Village\, 2005) was nominated in the 2005 48th Annual GRAMMY Awards 2005 World Music category. \n\n\n\nMamadou Diabate’s kora recording “Heritage” (World Village\, 2006) showcases his ensemble work with trio. Heritage features Mamadou’s touring band\, Guinean guitarist Djikoryam Mory Kante\, balafonist Bala Kouyaté\, Baye Kouyaté on calabash and talking drum\, and on bass\, American jazz musician Noah Jarrett. \n\n\n\nAbout the AME Zion Church of Troy\, NY:\n\n\n\nThe location of this event in north Troy has special significance. \n\n\n\nDevoted to religious\, educational and social causes\, the African Methodist Episcopal Zion Church and its members have been instrumental in many of the freedom struggles of this nation\, dating back to the days when former slaves Frederick Douglass\, Sojourner Truth and Harriet Tubman led the first wave of Black social activism. Since that time\, A.M.E. Zion members have made other significant contributions. AME Zion Bishop Alexander Walters\, along with Dr. W.E.B. DuBois\, helped to found the NAACP. Bishop Walters was also a pioneering member of the Pan-African Congress\, and many of the denomination’s clergy and lay people were active participants in the Civil Rights Movement of the ’60s. \n\n\n\nA.M.E. Zion Church made the salvation of the whole person–mind\, body and spirit–its top priority. At the crux of its ministry lay racial justice\, peace and harmony\, thus earning it the title\, the Freedom Church. \n\n\n\nAs the ministry expanded\, so did the denomination’s emphasis on education. “In order to succeed in American society as productive citizens\, we [the newly freed slaves] need to become an educated citizenry\,” an early AME Zion member once said. In keeping with that goal\, the Church maintains four colleges and universities today\, which are Livingstone College in Salisbury\, N.C.\, Clinton Junior College in Rock Hill\, S.C.\, and Lomax-Hannon Junior College in Greenville\, Alabama\, and A.M.E. Zion University in Monrovia\, Liberia. Additionally it maintains two theological seminaries\, Hood Theological Seminary in Salisbury\, NC and Hood Speaks Theological Seminary in Akwa Ibom State\, Nigeria. \n\n\n\nAlong with its emphasis on ministry and social change here in the United States\, the denomination has focused much of its attention and energies on outreach abroad. To date\, the A.M.E. Zion Church has member churches on all continents except Australia. In West Africa\, in particular\, the denomination has set up numerous schools and clinics throughout Ghana and Nigeria. The Church also has facilities in Liberia\, though some of its main structures have been destroyed by civil war. Overseas missions are a crucial component of the A.M.E. Zion Church’s outreach\, but the denomination believes in charity starting at home. That is why\, over the years\, several individual churches have implemented programs to help families to find low-income housing\, jobs\, financial planning assistance\, health care and day care services. “Our concern is for the whole person\,” says Bishop Cecil Bishop\, the (retired former) senior bishop of the A.M.E. Zion Church. “We have a holistic approach and a holistic gospel. We don’t feel that we live in a kind of compartmentalized sense\, but that life is a complete whole. So we have to be concerned about all of those amenities of life that help make up wholeness in an individual.” \n\n\n\nAbout The Sanctuary for Independent Media:\n\n\n\nThe Sanctuary for Independent Media is a telecommunications production facility dedicated to community media arts\, located in an historic former church in north Troy\, NY. The Sanctuary hosts screening\, production and performance facilities\, training in media production and a meeting space for artists\, activists and independent media makers of all kinds. On March 11\, 2008 the City of Troy closed The Sanctuary for Independent Media for alleged code violations just hours after the opening of a controversial series focusing on government intimidation and censorship under the guise of counter-terrorism. While the matter is being investigated by the NY Civil Liberties Union\, public events are being presented at Sanctuaries-in-exile throughout the Capital Region.
URL:https://www.mediasanctuary.org/event/african-film-festival-presents-mamadou-diabate-ensemble/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:African Music,Performance
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DTSTART;TZID=America/New_York:20080426T200000
DTEND;TZID=America/New_York:20080426T223000
DTSTAMP:20230310T162735Z
CREATED:20080426T134800Z
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UID:10001003-1209240000-1209249000@www.mediasanctuary.org
SUMMARY:Free Jazz at the Sanctuary presents Fay Victor Ensemble
DESCRIPTION:The Fay Victor Ensemble uses vocal jazz tradition as a basis for improvising in the sense of Ornette Coleman/late Coltrane and beyond\, held in check by a healthy earthy soulfulness expressed through a focused set of originals that offer taut construction and witty lyrics. Featuring Fay Victor\, vocals; Anders Nilsson\, guitar; Ken Filiano\, bass; Michael “TA” Thompson\, drums.  \n\n\n\nCo-sponsored by the Department of the Arts at RPI\, made possible in part by the NYS Music Fund and the Performance program at the NYS Council on the Arts. \n\n\n\n\n\n\n\n\n\n* More Documentation Below\n\n\n\nMore About the Fay Victor Ensemble:\n\n\n\nFay Victor is the rare singer who can instill silence and focused attention into an audience\, and she commands infectious joy and occasionally raucous energy whenever she performs. Ms. Victor\, armed with great communicative powers\, in charge of a full-tilt band\, resulting in something that Betty Carter might have done\, had she grown up in the seventies. Her new release Cartwheels through the Cosmos on the Artist share label is easily the consummate outing of her career\, bringing together in one concise package: the vocal jazz tradition as a basis for improvising in the sense of Ornette Coleman/late Coltrane and beyond\, held in check by a healthy earthy soulfulness expressed through a focused set of originals that offer taut construction and witty lyrics. \n\n\n\nMs. Victor started her first band “Venus” at the tender age of 9. For this outfit consisting of neighborhood girlfriends\, the precocious preteen wrote the songs\, and lead the band with a firm hand while belting out its anthem – Venusized. In the early 90’s Victor found herself back in NYC with a minor dance hit under her belt as vocalist/co-writer (“You make me happy”\, with producer David Anthony)\, and a budding career as a jazz vocalist in the traditional standards vein.During an eight-year stay in Europe\, Ms. Victor made the transition from singer of standards to the unique vocal artist she has become today. She expanded her musical interests into musical areas not commonly associated with jazz singing\, from rock and blues (Jimi Hendrix\, Howlin Wolf) to avant garde jazz (Eric Dolphy\, Ornette Coleman) and modern classical (Charles Ives\, Olivier Messiaen). 1998’s “In My Own Room” still featured a selection of sparsely arranged standards in a Carmen McRae influenced vocal style\, be it with an added warmth and loose style of phrasing all of Victor’s own. But 2001’s Darker than Blue and 2004’s Lazy Old Sun offered more advanced material\, with more and more self-penned tunes trickling through the standards and progressively far-fetched covers. JazzTimes called her a “real find\, a true original\,” and Dusted’s Derek Taylor hit the nail on the head with his assessment that is she’s “ a vocalist imbued with the best elements of past matriarchs like Abbey Lincoln and Betty Carter with an ear tilted towards Euro-improv innovations.” \n\n\n\nFay Victor has appeared at venues/festivals including the Bowery Poetry Cub\, The Stone\, Zebulon\, Galapagos Art Space\, Barbes\, CBGB’s\, Cornelia Street Café\, Tonic\, the 55 Bar\, The HOWL Festival and the River to River Festival. Ms. Victor has performed with such notables as Lawrence “Butch” Morris\, Misha Mengelberg\, Gary Lucas\, Michael Moore and Steve Coleman. \n\n\n\nAnders Nilsson – guitar A bandleader in his own right\, Anders Nilsson heads up Swedish-based improv-rock-jazz outfit\, Aorta and he has had two recording with the band on the Swedish based-Kopasetic Label. Blood\, released in 2004 and the sophomore effort Janus was released in 2005. Currently Anders is teaching\, performing and writing for Aorta. Anders Nilsson grew up in Eslöv\, Sweden and early on joined a rock band. He studied Jazz studies at Malmö Academy of Music. In 2002\, he moved to New York City and since then he’s earned a Master of Jazz Studies at City College of New York. Anders has played with musicians including Kermit Driscoll\, Sabir Mateen\, Ken Filiano\, Michael Evans\, Raoul Björkenheim\, Ras Moshe\, Daniel Carter and Matt Lavelle\, amongst others. He has composed film music and collaborated with dancers and is a member of Sebastian Schunke’s Orchestra (Berlin). \n\n\n\nKen Filiano – double bass\, effects Noted for his accomplishments in jazz\, spontaneous improvisation\, classical\, and inter-disciplinary performance with dance and spoken word\, Ken Filiano fuses the rich traditions of the double bass with his own seemingly limitless\, often astonishing\, inventiveness. Ken leads two groups for which he also composes: a quartet with Michael Attias\, Tony Malaby\, and Michael T.A. Thompson\, and a quintet with Attias\, Jackson Krall\, Steve Swell\, and Tomas Ulrich. His prolific output also includes performances and/or recordings with Roy Campbell\, Nels Cline\, Ted Dunbar\, Bob Feldman\, Georgian Chamber Orchestra\, Dennis Gonzalez\, Vinny Golia\, Lou Grassi\, Hayes Greenfield\, Phil Haynes\, Fred Hess\, Jason Hwang\, Joseph Jarman\, Sheila Jordan (with the Aardvark Orchestra)\, Raul Juarena\, Joe Labarbera\, Joelle Leandre\, Frank London\, Manhattan Chamber Orchestra\, Tina Marsh\, Warne Marsh\, Bob Meyer\, Dom Minasi\, Hafez Modirzadeh\, Butch Morris\, Barre Phillips\, Roberta Piket\, Don Preston\, Bob Rodriguez\, Roswell Rudd\, ROVA Saxophone Quartet\, Ursel Schlicht\, Paul Smoker\, Chris Sullivan\, Peeter Uuskyla\, Biggi Vinkeloe\, Kenny Wessel\, Andrea Wolper\, Pablo Ziegler. Ken has also been a guest lecturer\, performer\, and workshop leader at the Actor’s Institute of New York\, San Francisco State University\, UCLA\, Centro de Arte Moderna (Lisbon)\, and at Rutgers University\, where he received his Master’s Degree. \n\n\n\nMichael TA Thompson – drums Drummer/Percussionist Michael Thompson is an anomaly. You might find him in the company of a wide variety of musical artists which include Joe McPhee\, John Stubblefield\, Henry Grimes\, Daniel Carter\, Alex Foster\, Roy Campbell Jr.\, Matthew Shipp\, Uri Caine\, John Patitucci\, William Parker\, Harvie Swartz\, Barbara Sfraga\, Mala Waldron; legendary Calypsonians The Mighty Sparrow\, The Shadow\, Becket; reggae artist Owen Gray. He has also played with Pauline Oliveros\, and Deep Listening Music. He has recorded for television including shows such as Blues Clues (Nickelodeon)\, commercials and film scores. \n\n\n\nPress:\n\n\n\n“It’s a borderless\, cacophonous\, in-your-face experiment in tone poetry and free-form expression. It’s tough. It’s gutsy. It’s brilliant.” –Christopher Loudon\, JazzTimes \n\n\n\n“Complex\, ambitious record…we can add Victor to the Betty Carter family of jazz singers\, if we could find anyone else to fill out a family.” (A-) –Tom Hull\, Village Voice \n\n\n\n“…actually stretches the definition of jazz vocals” –JazzWise\, UK \n\n\n\n“Victor is the traffic director of a group methodology that surges into the interstellar regions of sound.” –Glenn Astarita\,New & Noteworthy Monthly Column\, March 2007\, www.allaboutjazz.com \n\n\n\n“Taking jazz singing forward with a unique form of expression\, Fay Victor delivers with authority. She reaches out with open arms to celebrate the freedom that comes with singing what you feel.” –Jim Santella\, Cadence \n\n\n\n“Cartwheels Through the Cosmos is that rarity amongst contemporary vocal jazz releases: an album that doesn’t rely on a tired repertoire and looks\, instead\, for innovation in every corner. The beauty of Victor…is her blending of soulful delivery with avant-garde tactics. Her fearless exploration of a myriad of musical nexus points makes Cartwheels Through the Cosmos an album for those who normally stay away from vocal jazz.” –John Kelman\, allaboutjazz.com \n\n\n\n“I love it. It’s very special what you are doing. It’s a killer band and the whole concept is just fantastic!” –Dave Douglas\, Trumpeter Lazy Old Sun \n\n\n\n“…but a handful of albums by women including: Gunda Gottschalk’s Wassermonde\, Satoko Fujii’s Illusion Suite\, Susie Ibarra’s Folklorico and Fay Victor’s Lazy Old Sun earned my unreserved admiration. The first and last in the list were particularly revelatory. Gottschalk’s skills on violin\, exhibiting incredible incisiveness in a solitary recital setting\, blew my mind. Victor’s European swan song with a crack Dutch combo in tow exposed a vocalist imbued with the best elements of past matriarchs like Abbey Lincoln and Betty Carter with an ear-tilted toward Euro-improv innovations. –Derek Taylor\, Dusted Magazine-The Year in Music Feature 2004 \n\n\n\n“A boldly inventive Betty Carter-Billie Holiday hybrid…the tremendously versatile Victor takes off into all sorts of curiously exciting directions…she’s a real find\, a true original.” –Christopher Louden\, JazzTimes\, March ‘05 \n\n\n\n“Lazy Old Sun puts a fresh new twist on jazz singing…her rich alto and perfect pitch allow the 4tet to play with the fringes of dissonance…it keeps hope alive that something fresh may still be coming for jazz singing. –Phillip McNally\, Cadence magazine\, March 2005 \n\n\n\n“Fay Victor is a gifted musician\, possessed of flawless intonation\, musical imagination\, and inventive phrasing … this album deserves a first\, a second\, and a third listening.” –William Grim\, allaboutjazz.com\, April 2005 \n\n\n\n“Unlike so many vocal CD’s on the market\, this is a true collaboration. That speaks volumes about Victor’s maturity and confidence\, trusting and then delivering on the idea that she can hang with such a solid cast of improvisers(…)LAZY OLD SUN has been in heavy rotation since it arrived(…)It accounts both for the wide technical toolkit she employs (…)and for why this music hits such a poignant spot within the listener. –Charles Walker\, www.Sudden-thoughts.com\, April 2005 \n\n\n\n“Sounds like a young Betty Carter with a bad case of wanderlust…a live set strong enough to win over all but the most anti-vocal jazz-fans…” –Kurt Gottschalk\, Signal to Noise\, Spring 2005 \n\n\n\n“Fay Victor is clearly a singer who holds abstraction and soulfulness in equally high regard…Victor finds the jazz vocal possibilities in everything… (There’s) a lot to admire about LAZY OLD SUN.” –Alex Henderson\, All Music Guide\, January 2005 \n\n\n\n“…some intriguing vocalizing…invests every song with such emotional commitment that they all sound like her own originals even if they are an evergreen…the message from this session is clear—check out Fay Victor.” –David Dupont\, www.onefinalnote.com\, November 2004 DARKER THAN BLUE \n\n\n\n“She applies freedom and improvisation and constantly attacks her songs from unexpected directions…This is a fine CD from a singer who takes chances.” –Cadence Magazine \n\n\n\n“The music is almost self-propelled\, sporting a sharp efficiency (…) a certain economy that can only derive from practice and reference. Fay Victor is a thinking persons’ jazz vocalist. –C. Michael Bailey\, allaboutjazz.com IN MY OWN ROOM \n\n\n\n“4 and a half stars… She bends the lyrics\, swings\, sings ballads and the blues. Her delivery can be strong\, sassy\, smokey or sophisticated depending on the musical situation and the musical picture she wants to paint. Fay Victor has all the tools to be a major player in the jazz vocal scene.” –Dave Nathan\, All Music Guide \n\n\n\n“Fay Victor emphasizing the lyrics as if she wrote them…identifies herself as a worthy addition to a legacy of fine jazz vocalists that are worth hearing.” –Glenn Astarita\, All about jazz.com \n\n\n\n“From Miles Davis’ “All Blues” until Cole Porter’s “Everytime We Say Goodbye”\, Fay Victor effortlessly puts her own stamp on them…proves jazz is timeless…” –Elegance Magazine\, the Netherlands
URL:https://www.mediasanctuary.org/event/fay-victor-ensemble-performance/
LOCATION:The Sanctuary\, 3361 6th Ave\, Troy\, 12180\, United States
CATEGORIES:Jazz Music,Performance
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