Meshell Ndegeocello / Roy Hargrove / Gabriel Garzon-Montano
@ Rumsey Playfield in Central Park – Show @ 3PM (Doors @ 2PM)
An authentic musical thinker and an uncompromising artist, Meshell Nedegeocello continues to discover, examine and explore all that music has to offer her, and how she can return the gift.
Groove driven, infectiously melodic and lyrically meditative, Meshell’s latest album, Comet, Come To Me, finds her returning to the same well of creativity that launched her career. Her 11th release, it is possibly a culmination of all previous work: lush, vocal, seeking, wise, collaborative, and driven by the signature bounce and precise pocket of Ndegeocello on bass.
A vast array of influences have informed all of Meshell’s albums, and there are traces of her native go-go, hip hop, R&B, new wave and punk in each. Each album has been a step away from the last, each used as a chance to investigate and integrate new sounds and ideas, and fans have been treated to everything from the deep-funk of Plantation Lullabies to the raw and confessional Bitter to the melodic, lyrical Weather. Possessed with instrumental gifts as diverse as her interests, Meshell composed, arranged and produced a jazz record in 2005. Her most last release paid homage to Nina Simone, a kindred musical spirit and among Meshell’s most cherished inspirations.
A bass player above all else, Meshell brings her warm, fat, and melodic groove to everything she does and has appeared alongside the Rolling Stones, Madonna, Alanis Morrisette, James Blood Ulmer, The Blind Boys of Alabama, Tony Allen, John Medeski, Billy Preston, and Chaka Khan. As for her own bass-playing influences, she credits Sting, Jaco Pastorius, Family Man Barrett, and Stevie Wonder. Meshell was the first woman to be featured on the cover of Bass Player magazine and remains one of few women who write the music, sing the songs, and lead the band.
Trumpeter Roy Hargrove has firmly established himself as one of the premier players in jazz and beyond. Ever-stretching into more challenging and colorful ways to flex his musical chops, Hargrove has left indelible imprints in a vast array of artful settings. During his tenure on the Verve label alone, he recorded an album with a hand-picked collection of the world’s greatest tenor saxophonists (With the Tenors of Our Time), an album of standards with strings (Moment to Moment) and, in 2003, he introduced his own hip hop/jazz collective, The RH Factor, with the groundbreaking CD Hard Groove (swiftly followed by the limited edition EP, Strength). Hargrove has also won GRAMMY® Awards for two vastly different projects. In 1997, Roy’s Cuban-based band Crisol (including piano legend Jesus “Chucho” Valdes and wonder drummer Horacio “El Negro” Hernandez) won the Best Latin Jazz Performance GRAMMY® for the album Habana. And in 2002, Hargrove, Herbie Hancock and Michael Brecker won the GRAMMY® for Best Instrumental Jazz Album, Individual or Group, for their three-way collaboration entitled Directions in Music.
Born in Waco TX, Roy was “discovered” by Wynton Marsalis midway through his junior year of high school, when Marsalis was conducting a jazz clinic at the school. Impressed, Marsalis invited Roy to sit in with his band at Ft. Worth’s Caravan of Dreams Performing Arts Center. Subsequently, Hargrove was able to return to the venue over a period of the next three months, sitting in with Dizzy Gillespie, Herbie Hancock, Freddie Hubbard and Bobby Hutcherson. Word of Roy’s talent reached Paul Ackett, founder and Director of The North Sea Jazz Festival who arranged for him to perform there that summer.
Every one of Roy’s albums has been different from the one preceding it. And the same can be said of the array of talents who have invited him to grace the stage and/or their recordings – from jazz legends Sonny Rollins and Jackie McLean to song stylists Natalie Cole, Diana Krall and Abbey Lincoln. From pop veterans Diana Ross, Steve Tyrell and Kenny Rankin to younger stars John Mayer and Rhian Benson to the crème de la crème of jazz divas: Carmen McRae and the late, great Shirley Horn.
Introducing singer, composer, multi-instrumentalist and native New Yorker Gabriel Garzón-Montano. Born to a Colombian father and a French mother, Gabriel spent his early years mastering the violin, guitar, and drums, before turning to the piano and bass guitar to better complete his compositions. By the time he graduated from Purchase College’s Conservatory of Music, the foundations for his debut EP, Bishouné: Alma del Huila, were already laid.
A heartfelt tribute to the role of family, love, and the City’s unavoidable lifestyle, Bishouné: Alma del Huila collects six songs performed and recorded at Henry Hirsch’s famed Waterfront Studios. Renovated from an old church, Henry’s home provided Gabriel with the right tools and environs needed to realize his demos to the songs included on this EP.
Every clap, breath, harmony, and note was performed by Gabriel direct to 2″ tape through a Helios console in real time. Aside from a dip into Pro Tools to loop the 25 overdubs that build the claps & stomps of “6 8” and drum programming on “Me Alone” and “Pour Maman”, computers had little place in Gabriel’s world. Not to imply Bishouné is a product of vintage fetishism; rather, the songs are a humble and urgent bout of self-expression guided by the natural limitations of a solo performer.
Gabriel’s compositions revel in such unabashed personhood. “Everything Is Everything” captures the carefree nature of young summers in stark contrast to the inevitable maturity and subservience to life’s rat race in “Keep On Running”. Those thick grooves give way to slinky, bittersweet ballads and psychotropic-addled burners in “Naeja” and “Me Alone”, the latter decorated with tongue-in-cheek lyricism.
“Pour Maman” translates Bobby Elliot’s lyrics into a stirring treatise on motherhood, love, and loss.« Back to Events