The last decade has been good for band Soulive as they’ve played to all kinds of fans and venues all over the world. The trio’s jam band style has fused soul, jazz, funk, and rock that’s a mixed hybrid of each of the member’s distinctive taste. Recently, the guys just celebrated their tenth year as a band and have formed Royal Family Records, a label that features a myriad of bands and musicians that are on the cusp of becoming breakout artists in their own right. I’m Brian Pace, coming up next on The Pace Report, Soulive reflects on their musical journey and how they’ve been able to survive the perils of a constantly shrinking record industry.

Soulive has done more over the last decade than more bands have completed over an entire career. The trio consists of Eric Krasno (guitar), and brothers Alan (drums) and Neal Evans (Hammond B3 organ, bass keys, clavinet). They formed in Buffalo, New York as friends during the 1990’s and have been recording and touring ever since. Their latest disc, "Up Here,"  features The Shady Horns along with vocalist Nigel Hall, a new singer/songwriter who will drop his new disc on the band’s Royal Family Records imprint. The guys just recently celebrated ten years as a unit and explain why younger music fans are gravitating and buying their music.

When they recorded “Get Down,” an impromptu jam session in their upstate studio, the trio generated a lot of buzz through word of mouth about their live shows.  Soon, they recorded their debut disc “Turn It Out” which guest artists John Scofield, Oteil Burbridge, and Sam Kininger. Eventually the band over five years opened on national tours for groups like The Rolling Stones, Dave Matthews Band, The Roots, Common, John Mayer, and others. 

Over the last decade Soulive have recorded for Blue Note, Concord, and Velour Records. It was in 2008 when the guys decided to form Royal Family Records. The label is an imprint of the former soul labels like Stax, Motown, and Westbound Records; strictly focusing on artists and bands that are reminiscent of the glory days of soul and funk.

Soulive’s latest disc “Up Here” and “Live in San Francisco” is available on the Royal Family Records label. For more information and find out upcoming tour dates visit them on the web at royalfamilyrecords.com/soulive. Reporting from Brooklyn, for the Pace Report, I’m Brian Pace. 

Soulive: "The Little Band That Did"

Legendary Boogaloo Producer Bobby Marín elaborates on the legacy of Latin musician and composer Joe Cuba on the heels of the latest Fania Records double CD compilation “El Alcalde Del Barrio.” The project took over two years to put together and now a new generation of Latin music fans will appreciate Cuba’s legacy. I’m Brian Pace, coming up next on The Pace Report, my exclusive interview with Michael Rucker of Codigo Music Group and producer Bobby Marín talk about the Father of Latin Boogaloo and Fania Records impact on Latin music.

Welcome back to The Pace Report I’m Brian Pace. Fania Records recently held a Joe Cuba Tribute set at Le Poisson Rouge in New York City in honor and support of their latest release El Alcalde Del Barrio.” This 34 track double CD compilation celebrates the late bandleader’s music featuring million-sellers like “El Pito” and “Bang Bang.” Cuba is hailed as “The Father of Latin Boogaloo” creating a style of Latin music that fused popular American music and jazz, along with elements of the traditional music from Puerto Rico and the Dominican Republic. I sat down with Michael Rucker of Codigo Music, the owners of the Fania catalog, and legendary Boogaloo Producer Bobby Marín. We talked about both the label and Cuba’s impact on Latin music. Also, how Cuba contributed to this compilation up until his untimely death last year.

Joe Cuba was born Gilberto Calderon on April 22, 1931, in Spanish Harlem, New York City. His parents migrated from Puerto Rico in the early 1920’s. Both he and his brother were separated from their mother and went to live with foster parents in Staten Island after their natural father moved. After a couple of years, his mother remarried and eventually took her sons back. Their stepfather ran a store in East Harlem where both he and his brother would often work. After a leg injury after playing stick ball, he set his eyes on playing music and was taken aback by congo player Sabu Martinez. Calderon learned the congas well and took to playing with musicians like Joe Panama, Sabu, Tommy Berrios, and a young timbales player named Jimmy Sabater. After a falling out with Joe Panama, both he and Berrios formed the Cha Cha Boys. His promoter also changed his name to “Joe Cuba” because he thought the name would have a heavy stage presence. In deed it did. The Joe Cuba Sextet was a major force to be reckoned with. The new sextet consisted of Tommy Berrios on vibes, Nick Jimenez as arranger and pianist, Jules Cordero on bass, and Jimmy Sabater on timbalero and vocals and Willie Torres on vocals.

The Joe Cuba Sextet was to Latin music as Louis Jordan and the Tymphany Five were to Rhythm and Blues. Cuba, like Jordan, took the elements of the big band and lush arrangements, but funked it out with a smaller unit. The sextet played Cha-Cha with an intense backbeat. Records like “Bang Bang” and “El Pito (I’ll Never Go Back to Georgia), ” are not only staples and standards in Latin music, but were the origins of the classic Joe Cuba “Boogaloo” sound. Bobby Marin, Latin music veteran and prominent producer who put the compilation “El Alcade Del Barrio” together states, “Cuba’s mission was to always reach out to his Latino and American music base by adding English lyrics to be appreciated by the Anglo market.” Throughout his career, Cuba performed to sold-out performances at The Apollo Theater, The Hollywood Palladium, Carnegie Hall, and the World’s Fair.

Vocalist Jimmy Sabater was the backbone of Cuba’s sound and band. His vocals, along with his percussion skills and composing, added depth to the sextet. This large sound coming from six guys was just unheard of. Sabater mastered the art of sonero while blending it with salsa. He eventually left and formed his own group, but Cuba would back and produce music for his friend throughout the years.

Producer Bobby Marin explained, “putting this project together took two years and he worked extensively with Cuba up until his untimely death.” Marin later added, “Cuba was so hands-on in re-mastering his music from Fania, Tico, and Secco Records. He was so excited about this project because he was glad to see a whole new generation get exposed to his music.”

Ironically, the project was released last week, a little over a year after he died of a persistent bacterial infection. This latest Fania Records release is one of best compilation recordings of the “Father of Latin Boogaloo.” Cuba’s legacy is thoroughly documented in this two-CD set re-mastered set. His musical vision was what made “Boogaloo” a staple of his art and Latin music today. 

To order or to find out more on Fania Records and Joe Cuba, visit them on the web at www.fania.com. Reporting from Le Poisson Rouge in New York City for The Pace Report, I’m Brian Pace.

(Boogaloo Assassins from Los Angeles were the tribute band who headlined at Le Possion Rouge along with Chico Mann, DJ Bobbito Garcia and DJ Turmix.)
 

Joe Cuba: "Father of the Latin Boogaloo"

Cuban born and bred composer, pianist, and band arranger Roberto Fonseca has been playing jazz music since he was 15 years old. This year Fonseca is about to break out here in the states with his latest disc “Akokan.” His percussive piano style along with his Afro-Cuban soul and funk influences sets him apart from his musical counterparts here in the US. I’m Brian Pace, coming up next on the Pace Report, Roberto and I sit down and talk about his life in Cuba and  how American music helped shape his musical style.

Welcome back to the Pace Report, I’m Brian Pace. The name Roberto Fonseca has been around for quite sometime. As the former musical arranger for the Buena Vista Social Club and   Cuban crooner Ibrahim Ferrer, the pianist, composer, and educator has been making a name for himself around the world. His latest disc “Akokan” features special guests like vocalist/guitarist Raul Midon and Mayra Andrada. Fonseca and I sat down at his record release party here in New York City recently and we talked about his influences while growing up in Cuba.

While growing up in Havana, Cuba, music was always in the house and in his blood. Roberto’s father was a drummer and his mother Mercedes Cortes Alfaro is a singer (featured on his latest disc) and a was a dancer in Havana’s famous Tropicana Club. (Alfaro was also married to the legendary Chucho Valdes.)

Roberto’s latest disc “Akokan” was recorded in Cuba in four days. He produced the disc himself and wanted to record music that reflects all of his musical styles and moods. Vocalist Raul Midon wrote “Everyone Deserves a Second Chance” and Mayra Andrada wrote the lyrics  for “Siete Pote.”

His last recording “Zamazu” was his first international record and was one of the top 10 jazz records of 2007. 

Roberto Fonseca’s latest disc “Akokan” is available on i Tunes and Amazon.com. For more information and upcoming tour dates visit him on the web at robertofonseca.com. Reporting from Ideaya in New York City for the Pace Report, I’m Brian Pace.

Roberto Foncesa: "Akokan"

Vocalist Janis Siegel talks about The Manhattan Transfer’s 40th anniversary in the record industry as a pop and jazz vocal tribute group. Over the years they’ve taken standards of the great American song book and have presented them to audiences all over the world. Whether its blues, rock, jazz, or soul; TMT has maintained the group’s mission to keep the art of the song and vocalese prevalent in modern music. Spearheaded by vocalist Tim Houser in 1969 with co-partner Gene Pistilli, they’ve taken both forms of music and made it contemporary
for modern audiences. I’m Brian Pace, coming up next on the Pace Report, The Manhattan Transfer look back at their 40 years in the business.

Welcome back to a special edition of The Pace Report, I’m Brian Pace. The Manhattan Transfer have a lot to celebrate about. Their latest disc “The Chick Corea Songbook” is a fresh take on the pianist/composer’s music. Also, Corea plays and contributed to the new recording. The group is also celebrating their 40th anniversary in the business, a feat that rarely occurs in this industry. I sat down with Janis Siegel and Cheryl Bentyne after their performance at The Allen Room at Jazz at Lincoln Center featuring the legendary vocalist Jon Hendricks.

In 1972 Houser put the second phase of The Manhattan Transfer into motion. He enlisted vocalists Alan Paul, Janis Siegel, and Laurel Masse’ to become the new version of the group. At the time, the group was making a dent in the New York City supper club scene performing at clubs like Max’s Kansas City, Trude Heller’s, and Reno Sweeney. The late Ahmet Ertegun caught one of their performances and eventually signed the group. The group’s niche was mixing jazz vocalese while keeping the traditional songbook alive written by giants like Cole Porter, Billy Strayhorn, Irving Berlin; paying a homage to all of the Tin-Pan Alley heavyweights that helped shape the gift of song. Their debut self-titled album “The Manhattan Transfer” was released on Atlantic Records in the spring of 1976 to rave and stellar reviews.

Their second and third recordings “Coming Out” and “Pastiche” didn’t really grab American music audiences like it did overseas. The European audiences packed stadiums and concert halls due to their appreciation and love of jazz music. At the time of the band’s meteoric rise, band member Laurel Masse’ was involved in a car accident and was replaced by Cheryl Bentyne. In 1979 TMT released “Extensions,” a record that became a hit with record buyers as well as produce the groups signature record “Birdland.” Written by Weather Report founder Joe Zawinul with lyrics by Jon Hendricks, “Birdland” pays a vocal tribute to the history of the famous jazz club named after alto saxophonist Charlie Parker. This hit record would earn the group it’s first Grammy awards in 1980 for Best Jazz Fusion Performance, Vocal or Instrumental, and the award for Best Arrangement For Voices.

Jon Hendricks, pioneer of vocalese, and mentor to The Manhattan Transfer for over 30 years, recalls first meeting group founder Tim Houser. “Tim introduced himself to me after one of my performances at The Village Vanguard. He told me he formed a group call The Manhattan Transfer in tribute to myself and group Lambert, Hendricks and Ross, and told me they were going to be big!”  After 40 years, Hendricks adds “TMT have done things vocally that many of my counterparts aren’t here to witness anymore. The vocal stylings as well as staying true to the great American songbook. An art that’s being lost in American popular culture.”

Some of The Manhattan Transfer’s musical accomplishments include: the first group to win Grammies in two different categories. In 1981 the group won for Best Pop Performance for their Top 10 hit “The Boy From New York City” and “Until I Met You” for Best Jazz Performance Group or Duo from their “Mecca for Moderns” album. Their landmark 1985 release “Vocalese” was nominated for 12 Grammy’s and won 7 awards, including Best Arrangement for Dizzy Gillespie’s composition “Another Night in Tunisia.”

What I’ve liked about TMT is their ability to not record concept or tribute albums, but record records that have introduced or reintroduce listeners with songs of composers that tend to receive little recognition or no recognition at all. For instance, “Vocalese” introduced listeners to vocalist and lyricist Jon Hendricks. “Brazil” featured compositions of some the best contemporary South American composers like Ivan Lins, Milton Nascimento, and Gilberto Gil. The group’s latest disc, “The Chick Corea Songbook,” is a refreshing take on the composer/keyboardist’s music which spans some 40 years. Chick wrote and performed “Free Samba” which is the opening track on the disc. Again, this isn’t a tribute disc, but a record introducing listeners to vocal interpretations to Corea’s music. They provide a fresh take on classics like “Spain,” “Time’s Lie,” and “The Story of Anna and Armando.”

The Manhattan Transfer’s latest disc “The Chick Corea Songbook” is available on i Tunes and Amazon.com. To find out their upcoming tour dates and CD signings visit them on the web at www.themanhattantransfer.net. Reporting from the Allen Room, for the Pace Report, I’m Brian Pace.


The Manhattan Transfer Turns 40

Vocalist Freddie Cole is riding high lately due to the success of his critically acclaimed High Note Records release “The Dreamer in Me: Live at Dizzy’s.” Cole just also completed his European jazz tour and hasn’t shown any signs of slowing down. I’m Brian Pace, coming up next on The Pace Report, Freddy talks about his latest disc and producer Todd Barkan elaborates on Cole’s success.

Welcome back to The Pace Report, I’m Brian Pace. It’s a cold, snowy night at Dizzy’s at Jazz at Lincoln Center, and jazz vocalist and pianist Freddy Cole is as regal and dapper as ever. Cole, the youngest brother of the late Nat “King” Cole, has always danced to the beat of his own drummer. Freddy’s musical journey has been a long and tedious one, but after 60 years in the business and many critically acclaimed recordings including his latest, “The Dreamer in Me: Live at Dizzy’s in New York,” the 78-year-old musician still enjoys performing and recording. 

Lionel Frederick Cole was born on October 15, 1931. Cole was the youngest brother to a clan of brothers who included Eddie Cole, Ike Cole and Nat King Cole. Cole’s father was a Baptist minister and had a church on the south side of  Chicago. Music was always a staple in the house, where his mother was one of his earliest influences.

Throughout his childhood up until his late teens, Freddy was a well seasoned and accomplished athlete until an injury prevented him from playing sports. He began playing the Chicago club scene as a pianist and began his musical education at the Roosevelt Institute in Chicago.  Freddy moved to New York in 1951 where he studied at the Juilliard School of Music, then went on to get a master’s degree at the New England Conservatory of Music.

In 1952 Freddy released his first single, "The Joke's on Me.” He went on the road after college  with R & B great Earl Bostic with a band that featured Johnny Coles and Benny Golson. Throughout the 1970’s and early 1980’s Cole recorded albums that did well overseas yet not really making a dent here in the States. Record Producer Todd Barkan has produced Freddy’s recordings, including his latest disc “The Dreamer in Me: Live at Dizzy’s.” Barkan elaborates on how Cole has been able to master the song.

Although his brother Nat was 12 and half years older than Freddy, he soaked the Chicago music scene up and credits his hometown for the grounding that helped established his career.

Freddy Cole’s latest disc “The Dreamer in Me: Live at Dizzy’s” is available on High Note Records. To find out his upcoming tour dates or record signings, visit Freddy’s website at freddycole.com. Reporting from Dizzy’s at Jazz at Lincoln Center in New York, for the Pace Report, I’m Brian Pace.

Gentleman Cole

Fykes Foundation founder Gordon Fykes along with Healing Our Village, are winning the war on diabetes in the black and latino communities. Although many blacks and other ethnic minorities lack adequate funding for proper medical care and annual check-ups, both the Fykes Foundation and Healing Our Village are on the front lines in assisting quality health service to many across the country. I’m Brian Pace, coming up next on The Pace Report live from Charlotte, North Carolina at the C.I.A.A, find out how these organizations are raising the bar on health testing. Also, how these organizations are making an impact at events like C.I.A.A.

According to the American Diabetes Association, Approximately 2.7 million or 11.4% of all African Americans aged 20 years or older have diabetes.  However, one-third of them do not know it. The Fykes Foundation along with Healing Our Village held a free health screening and glucose testing event at this year’s Central Intercollegiate Athletic Association (CIAA) conference in Charlotte, North Carolina. The C.I.A.A is a athletic conference made up of historically black colleges and non-HBCU universities in the Eastern United States. The free diabetes test takes less than five minutes and most patients can have the results generally right on the spot. Gordon Fykes, founder of the Fykes Foundation, explains the origins of the foundation and how a service like this is crucial in black community.

Dr. Arnette Coleman, physician and staff at this year’s Fykes Foundation and Healing Our Village health screening, elaborates on how one should take preventive measures in dealing with diabetes.


The New England Journal of Medicine recently released a study indicating “blacks under the age of 50 experience heart failure at 20 times the rates of whites.” Even more staggering is according to the Centers for Disease Control, 30% of the latino and 17% of the black community don’t have adequate health insurance. Although the Obama administration is currently seeking medical reform to those who’ve been under served and can’t afford proper medical care,  Dr. James Gavin of Healing Our Village, stresses the importance of affordability and revamping the current medical system in assisting minorities and people of color to visiting medical clinics and facilities for testing. Also, support and provide a valuable service to programs like the C.I.A.A and others like this nationwide.

According to Twanda McCollum, advertising promotions for the C.I.A.A, over a half a million African-Americans from all over the country visit Charlotte for this event. She felt the Fykes Foundation and the Healing Our Village’s mission was key in providing free health testing to reduce the lack of health care services like this in the black community. 

Although the Fykes Foundation has been on the front lines in the African-American community raising the awareness of proper health testing and providing a service that tends to help those who can’t otherwise afford it, the foundation still needs support. Again, founder, Gordon Fykes.

The Fykes Foundation and Healing Our Village will be visiting and providing free glucose and medical testing at major venues throughout the year. For more information about upcoming Laughs 4 Life concerts and events and the Fykes Foundation, visit them on the web at www.fykesfoundation.com. Or, visit Healing Our Village’s website at www.healingourvillage.org. Reporting from the C.I.A.A in Charlotte, North Carolina for the Pace Report, I’m Brian Pace.

The Fykes Foundation and Healing Our Village: Winning the War on Diabetes and Health Testing

Seven-time Grammy Award winning vocalist Al Jarreau is one of the few singers that has won the award in the R & B, Pop, and Jazz categories throughout his 40 years in the business. Jarreau has been able to take his unique “vocalese” style of singing and fuse it with the contemporary sounds of most current music styles. I’m Brian Pace, coming up next on this special two part edition of The Pace Report; vocalist Al Jarreau reflects on his career and music. Also, how in 1976, he and some of his label mates changed the direction of contemporary music forever.

Welcome back to The Pace Report, I’m Brian Pace. Vocalist Al Jarreau can be placed in annals of great vocalists like Joe Williams, Jon Hendricks, Johnny Mathis and Tony Bennett. Throughout his 40 plus years in the business, Jarreau has recorded over 20 records and been able to fuse jazz, pop, R & B, and classical music genres with a form of singing style called vocalese. This style of singing was made famous by legendary jazz vocalists like Sarah Vaughan, Ella Fitzgerald, Lambert, Hendricks and Ross and many others. In 1976, Jarreau was signed to Warner Brothers Records under the tutelage of record producer, now seasoned record executive, Tommy LiPuma. Al and I sat down recently in New York to discuss his career and how 1976 was a pivotal year for contemporary music.

Alwyn Lopez Jarreau was born on March 12th, 1940 in Milwaukee, Wisconsin and was the fifth of six siblings. Jarreau’s father was a strict minister and singer but instilled a strong religious background and performing while growing up.

While attending college, Jarreau would dabble in music. He sang alongside a young and progressive pianist while pursuing his masters degree in San Francisco by the name of George Duke, who years later would produce and tour with. This was during the mid-to-late 1960’s when the Bay Area was a hotbed of music. Al would also make the television and nightclub circuit that got him more experience as well as develop him as a better vocalist.

Warner Brothers executives saw Jarreau perform at a club in 1975 and signed him. This was also the same year producer Tommy LiPuma signed saxophonist David Sanborn, guitarist and vocalist George Benson, and a new-comer named Michael Franks. 1976 proved to be a pivotal year for all these artists because Benson struck gold with is smash “Breezin” and Jarreau with his debut disc “We Got By.”

Coming up next on the conclusion of my interview with vocalist Al Jarreau, he talks about vocalese and how this has been his signature trademark. Also, singer Kem and how he’s become a force in the industry and how he’s been labeled as a “mini- Al Jarreau.” Reporting from New York, for The Pace Report, I’m Brian Pace.
 

Al on Jarreau part 1



Fusing both jazz, pop and R & B is what’s set and differentiated vocalist Al Jarreau from being categorized or being put in a box musically. Whether its his classics ranging from the “Moonlighting Theme,” “Mornin’,” and  “Take 5” he continues to  stretch out and not record the same kinds of music. I’m Brian Pace, coming up next on The Pace Report, Al talks about his vocal style and how it’s made an impact on his music. Also, he elaborates on his recordings “Accentuate the Positive” and the groundbreaking “Breakin’ Away” and how they contributed to his growth as both a vocalist and performer.


Welcome back to The Pace Report, I’m Brian Pace. When Al Jarreau released his third recording  “Live in Europe” on Warner Brothers, the album would win him his first Grammy-Award for Best Jazz Vocal Performance. It also catapulted him to another plane musically and his label was preparing to segue him from being a bona-fine jazz vocalist to a cross-over pop star. In 1981 Jarreau released the million-seller “Breakin’ Away” which earned him both a Grammy-Award for Best Male Pop Vocalist and Best Male Jazz Vocalist.


The 2003 Grammy-Nominated CD “Accentuate the Positive” reunited his friend and producer Tommy LiPuma. The disc featured Jarreau  classic standards.


Vocalese has been the vocal style Al’s been known for throughout his career. Groups like The Manhattan Transfer, New York Voices, Take 6 and vocalists like Kurt Elling and Kevin Mahogany continue to carry out this genre.


In 1996, Jarreau began a three-month stint on Broadway playing the role of Teen Angel in the hit musical Grease. Other acting credits include appearances on New York Undercover and Touched By An Angel.

Al Jarreau will be on the road this spring and summer. Make sure you go check him out. To find out his upcoming tour dates, visit him on the web at aljarreau. com. Reporting from The Nokia Theater in New York, for The Pace Report, I’m Brian Pace.


Al on Jarreau part 2

Kevin Powell’s fierce and powerful voice has elevated him to write and address many issues that have been taboo or “in the watershed” in the African-American community. Powell has used his pen to write well over ten books and endless essays and columns that have appeared in such newspapers and magazines like Esquire, Newsweek, The Washington Post, and Vibe.
I’m Brian Pace, coming up next on The Pace Report, reporting live from the 10th National Black National Writers Conference at Medgar Evers College in Brooklyn, New York; writer Kevin Powell addresses blacks in the publishing industry. Also, how lately some high ranking black politicians, including the President, has been subjected to the racist antics of the G.O.P as well as members of the Tea Baggers.

Welcome back to The Pace Report, I’m Brian Pace. Writer, activist, poet, and former Congressional candidate Kevin Powell has come a long way from his days as the bold and candid member of the first season of MTV’s “The Real World.” Powell has been on the front lines actively lecturing at universities and prisons encouraging black men to pursue their education. Also, conducting conferences on “Black and Male in America” and the “State of Black and Men National Townhall Meetings” across the country. Kevin was one of this year’s keynote speakers at this year’s 10th National Black Writers Conference held at Medger Evers College in Brooklyn.

Considered one of the most important 100 intellectuals according to Time Magazine, Kevin Powell’s writing and producing has made him only a handful of African-American writers to contribute work to noted magazines and newspapers like Rolling Stone, Essence, The Washington Post, and Newsweek. Born on April 24th, 1966, in Jersey City, Jersey. He overcame poverty and the odds and was offered a full scholarship at Rutgers University where he majored in English. Always outspoken and involved with community awareness; Powell’s writings have been vocal on political injustice, civil rights, and the lack of quality education among Blacks and Latinos.

His many books include: “Keepin’ It Real: Post-MTV Reflections on Race, Sex and Politics,” “Step Into a World: A Global Anthology of The New Black Literature,” “Open Letters to America,” and “No Sleep Till Brooklyn, New and Selected Poems.”

Kevin ran unsuccessfully against Congressman Edolphus Towns in New York City’s 10 district which represents Brooklyn, which he’s been a resident for well over 20 years.

To find out about Kevin’s upcoming speaking engagements and read his latest essays or columns, visit him on the web at kevinpowell.net. Reporting from the Tenth National Black Writers’ Conference at Medger Evers College in Brooklyn, for the Pace Report, I’m Brian Pace.


Kevin Powell

Only a handful of violin players have made a name for themselves in jazz music and Regina Carter is a pioneer in her own right. The Detroit native has made a name for herself unlike her contemporaries including the late Snuff Smith and Stéphane Grappelli to Jean-Luc Ponty. Carter’s unique blend of her musical upbringing is as diverse as the Motown sound to the classical and standards of Tin Pan Alley her mother raised her on. I’m Brian Pace, coming up next on The Pace Report, Regina talks about her musical journey and her latest project “Reverse Thread,” an exploration of music from the African Diaspora.


Over the years I’ve been a big fan of violinist Regina Carter. I’ve seen her evolve from when she used to play locally in groups around Detroit to her becoming a critically acclaimed musician and educator. She’s recorded a wide range of jazz recordings including “Motor City Magic” her tribute to the music she grew up listening to in Detroit and “Freefall” featuring NEA Jazz Master and pianist Kenny Barron. Carter, a recent MacArthur Fellowship winner, just completed “Reverse Thread,” a world record that explores music from Africa. She just completed a week of sold-out dates at Dizzy’s in New York City and just completed three grueling months of touring abroad. She explains she’s been wanting to record a project like this for years but never had the support from her record label.


It was her recording “I'll Be Seeing You: A Sentimental Journey” which featured songs from Tin Pan Alley and the great American songbook that earned her the MacArthur Fellowship in 2006. The Fellowship, nicknamed the “genius grant,” is an award given by the John D. and Catherine T. MacArthur Foundation every year given up to 40 people in the arts, literature, and academic who’s talent and contributions are making great and important strides.

According to their website, “the fellowship is not a reward for past accomplishment, but rather an investment in a person's originality, insight, and potential.”


Regina accepted the fellowship award and used the grant money to record “Reverse Thread,” her latest CD featuring folk songs from Africa. It was recorded from a chamber music perspective featuring a band consisting of her longtime bassist Chris Lightcap, drummer Alvester Garnett,  kora player Yocouba Sissoko from Mali, and accordionist Wil Houlshouser from Senagal.


Make sure you buy Regina Carter’s latest disc “Reverse Thread” available on the E1 label. To find out her upcoming tour dates visit her on the web at reginacarter.com. Reporting from Dizzy’s in New York City for The Pace Report, I’m Brian Pace.

Regina Carter: Reverse Thread

NEA Jazz Master and jazz icon drummer Roy Haynes seems to wrote the book on the fountain of youth. He just recently turned 85 last week and played a week of sold-out dates at the Blue Note Jazz Club featuring guest performances from pianist Chick Corea, trumpeter Roy Hargrove, and bassist Christian McBride. Coming up next on a special edition of The Pace Report, Roy Haynes talks about his life and what keep him playing after 60 years in the business.


Welcome back to The Pace Report, I’m Brian Pace. Last week drummer Roy Haynes was roasted by comedian and dear friend Bill Cosby as the NEA Jazz Master and jazz icon celebrated his birthday before friends, family, and music fans at the Blue Note Jazz Club in New York City. Haynes, who played with greats like Thelonious Monk, Sarah Vaughan, Charlie Parker and Stan Getz, sat down with me after his first set. He talked to me what keeps him going and his take on life.


Roy Owen Haynes was born on March 13th, 1925 in Roxbury, Massachusetts. He taught himself to play the drums at an early age. His idols at the “kit’ were Jo Jones, Sid Catlett and Chick Webb. His older brother Doug played the trumpet. While Doug studied at the New England Conservatory, he introduced Roy to his hero Jo Jones. “My brother was the one who kept inspiring me to pursue music and to play the drums. Meeting Jo was like a dream come true! Watching him play was the real reason I had to play the drums.” Although he played in school, he ventured off to the clubs in Boston and began playing professionally at 17 with guitarist Tom Brown. This was around the early to mid-1940’s when the big bands ruled the dance halls and radio. In 1945 he joined bandleader’s Luis Russell band. It was also the time he moved to Harlem, New York and endured the heavy music mecca that it had become. At the end of 1947 Haynes left Russell and joined saxophonist Lester Young’s band. His first major breakout was when he joined and played with the legendary Charlie Parker. In fact, he played on opening night of Birdland with Parker in which Hayes was the master of ceremonies of the 60th Anniversary last December. From Parker, he later became a well seasoned and in-demand drummer backing Miles Davis, Bud Powell, John Coltrane, Lennie Tristano, Kenny Burrell, Stan Getz, and Sarah Vaughan.


Most drummers were and are considered “time-keepers,” but Haynes was in a different league. His style was also ideal and most comfortable backing vocalists like Sarah Vaughan and Lambert, Hendricks & Ross.


Throughout his career he’s been honored and received many awards like the Living National Treasures of Jazz from the Museum of American History; an honorary Doctor of Music degree from Berklee College of Music; induction into the International Academy of Jazz Hall of Fame (University of Pittsburgh); the French Chevalier des l'Ordres Artes et des Lettres; endless Down Beat polls; and his 1995 induction to the National Endowment of the Arts Jazz Masters class.


At 85, Haynes and his Fountain of Youth Band are one of most requested and booked units at jazz festivals all over the world. Members like saxophonist Jaleel Shaw, bassist David Wong and pianist Martin Bejerano have enhanced his playing and continue to keep the legend in tact. His performance on Wednesday night featured Grammy-Award winning trumpeter Roy Hargrove. Both Shaw and Hargrove were on point. Their solos and musicianship blended perfectly and was the icing of the entire birthday celebration.


Congratulations Roy on your many accomplishments and giving the world your talents and presence. Roy, continue to live life to the fullest and keep that undying loving spirit that many have continued to respect and admire about you throughout the years. Reporting from The Blue Note in New York for The Pace Report, I’m Brian Pace.

Roy Haynes: "85th Birthday Celebration"

Ever since Brian Pace emceed his kindergarten production of Star Wars, the microphone was always the place where he’s felt most comfortable. In fact, Pace’s journey has not always been an easy one, but through God’s grace and speed, he’s allowed him to become one of the most innovative and well-researched journalists in America.

Brian was born on June 1st, 1972 in Indianapolis, Indiana. His father was a scientist who eventually became a teacher and mom was a school psychologist. “My parents always stressed the importance of reading and education as a means to be self-reliant and to become your own person,” he explains. “My mother, who retired last year from the Indianapolis Public School system, claims I was reading at 18 months.”


Brian’s social skills were both a blessing and curse for he and his parents. As a child, his teachers were always calling home telling them about his excessive joke telling or, how he was the one who took leadership on a major project. These skills eventually paid off as he would become a successful producer.


His first exposed to radio and television was through WJEL-TV and FM at North Central High School. It was also during his junior year of high school the Youth Telecommunications Workshop of Indiana Black Expo brought the nationally syndicated Black Entertainment Television program “Rap City” for a taping. North Central was undergoing lots of racial tensions at the time and Indiana Black Expo’s program was a way to break the ice. While they we’re taping, Pace, who was the class comedian, made his debut as co-host of the “Rap City” with co-host and comedian Chris Thomas. He would co-host the program again during his senior year of high school.


Although Brian wasn’t asked back for his senior year at WJEL, the Youth Telecommunications Workshop invited him to join their program. “Gary Holland and IBE staff were the guys who helped me gain the business and professional side of not just television, but life,” explains Pace. “It it weren’t for the steady discipline and precise hands on experience of the program, I wouldn’t be where I am now.” YTW was a progressive program that taught African-American students between the ages of 12 to 18, the fundamentals of television production. The students wrote, edited, and hosted their own programs which aired on public access. Brian created and produced “Teen Chat” a talk show that centered around issues that them.


After high school, Pace would become an instructor and senior producer/videographer for YTW. He would produce P.S.A’s and spots for clients like Ameritech, Radio One, Mc Donald’s, and the Gospel Music Workshop of America.


Brian grew tired of becoming stagnate and decided to further pursue his education at the University of Arkansas at Pine Bluff. It was there that he left television and became a Country/Western and Urban AC disc jockey at KPBQ/KZYP-FM in Pine Bluff while attending school full-time. “I knew nothing about country music and I just winged it. I had to pay my bills and playing Loretta Lynn and Red Sovine records helped put food on the table” explains Pace. He credits KZYP for his mentor and program director Floyd Donald for allowing him to voice and spot commercials. Also, Donald provided responsibilities for him that he’ll be able to use throughout his career. Floyd adds, “Brian was bright and mature beyond his years. His deep knowledge of music and politics is what would be his strong and passionate loves throughout his career.”


Another door would eventually open for the young broadcaster. WMC-AM in Memphis needed a producer and reporter for their weekends and during the week. So, Pace transferred to the University of Memphis and majored in Broadcast Media with a minor in Marketing. This proved to be a very hectic yet fulfilling for Brian. Not only did he work in radio, the news director at WMC-TV allowed him to intern at the same time. There was no free time for the young scholar and broadcaster. While in Memphis, Brian had an opportunity to work as a producer at WHBQ-AM and production assistant and DJ at WPLX-AM.


Upon completing college Brian moved to Detroit and worked as a production assistant and writer for WXYZ-TV. He then accepted the job at WXYT-AM as a producer and reporter where he wore many shoes. Answer phones, book guests, update the website, cover a story and make deadlines. This position allowed him to step into another role, as Executive Producer and Reporter for the I.E. America Radio Network.


He became the Stateside Reporter and Producer at Mississippi Public Radio covering issues ranging from race to environmental causes. A year later, Pace moved back to his hometown of Indianapolis where he was a stringer and statehouse reporter for Indiana Public Radio.


Currently Pace is a freelance journalist and producer for National Public Radio and Pacifica based in Harlem, New York.

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