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The Friday Night Swing Dance Club hosts the St. Patrick's Day 50s and 60s Dance featuring "Josh and Good Old Stuff." No partners necessary and lessons and light refreshments are included in the fee.
The Baltimore Folk Music Society will walk students through a range of New England, Southern Appalachian, and Celtic styles.
Learn the art of belly dance. For more information, visit meridiandance.com or e-mail firstname.lastname@example.org.
Ongoing and open to all.
Everyone welcome to the entire seires or just individual classes, and no experience is required.
Relax in the Psychedelic atmosphere with painters, clothing designers, jewelers and sculptures.
Learn to waltz, rumba, tango, and more during these weekly dance lessons.
Learn the basics every Monday and Friday. No registration required.
"Accomplished studio musician specializing in trumpet performance. With a resume reflecting influences of jazz, fusion, orchestral and military music styles, versatility is Altruist's strength. Performance is a personal forte, however, composing for commercials and utilizing midi based music is also an asset. Altruist is endeavoring to establish a new plateau for music performance and musician outlook and disposition.
A native of Maryland, specifically Harford County, most of Albert's technique was developed in the backdrop of quiet woods within a community called Harford's Landing. With windows raised as a "child of the horn", support from the community has always been "humbly" received.
Notable influences in Altruist's life include family,(Asher, Yezre'el, Neferah, and Yahnedibah. Innumerable school teachers, close friends, the musicianship of Wynton Marsalis, Chick Corea, Hank Levy, Professor of Jazz (Towson University), Jim Murdza, the "Old Lady down the hall, and of course, the "upper one".
Altruist has been commissioned to perform in various venues on the east coast, including commercial recordings & is immediately available for recording, instruction and gig-work."
"Music is the Doorway to Enhanced Spirituality. Let us allow ourselves to open this door many times".
"Quote from Altruist"
"Welcome to the cabaret of the third millenium. Between Brecht, Satie and the circus Pinder, Anne Watts and Boister impose a style that only belongs to them. Derailing the mainstream, the charm [of] this sound catches up to you insidiously." (in the words of the band)
"This unique group singing five to nine part arrangements, is recruiting male and female singers. Contact us at bvje.net"
"When reedman Benny Russell was 15 years old he took his first major step toward what has become a prolific music career--one that embraces a range of styles that span R&B, jazz, gospel and classical music. As Russell tells it, his brother David, who was attending Morgan State University at the time, was instrumental in setting him on this path. "I was still in high school when David asked the director of Morgan State's Jazz Ensemble if I could sit in," he reports. "The director said I was welcome if I could play." Evidently Russell could play. He ended up sitting in with the school's concert and marching bands on clarinet, and continued to perform on several reed instruments with the jazz ensemble until his own graduation from Morgan State.
He now recognizes those years as a pivotal time in his musical life. "It was in the University's jazz ensemble," Russell recalls, "where my composing and arranging ambitions really took flight."
Born February 21, 1958 in Baltimore, Maryland, Russell started clarinet lessons at age 7 under the instruction of Mr. James H. Holliman.
At 12 he began playing tenor. And by the time he was 15, sitting in with the Morgan State bands, Russell was playing tenor, alto and soprano saxophones as well as clarinet, bass clarinet and flute. 1976 was the year he became a full-time undergraduate student at Morgan State, and during that time he also started gigging for the Manhattans, the Four Tops, and Richard "Groove" Holmes in addition to several other artists who toured the area. Shortly after his college graduation, Benny moved to New York and quickly formed a jazz orchestra called the NEW YORK ASSOCIATION--a seventeen-piece ensemble that featured such noted jazz artists as trumpeters Cecil Bridgewater and Tom Harrell, saxophonist John Purcell, trombonists Steve Turre and Robin Eubanks, pianist Onaje Allan Gumbs, and drummer Mike Clark.
Since then, Russell has been steadily building an impressive list of credits. Besides arranging and performing for off-Broadway shows like Beehive, he's worked with Otis Rush, Harry Belafonte, Mino Cinelu, Craig Harris, Jimmy Owens, Junior Cook, Mor Thium and a host of others. Russell can also be heard on The Cosby Show and A Different World. In 1995 Russell chaired the jazz division at the Brooklyn Conservatory of Music, where he also taught jazz history. While working at the Conservatory, he was able to launch a string of other cultural activities that served Brooklyn, including a program of workshops for high school students in the Brooklyn public school system, the Charlie Parker Birthday Festival, and regular performances with the Next Legacy Orchestra. Next Legacy Orchestra is a big band for which Russell writes and arranges as co-director with saxophonist Jorge Sylvester. He first worked with this group when it was known as the David Murray Big Band. When Murray decided to move to Paris in '96, he asked Russell to take on the role of leader, the name was changed and the group got a home on the Conservatory's stage. After a recent performance there, the Next Legacy Orchestra was described by New York Times critic Ben Ratliff as "one of the best overlooked bands in the city."
In February, 2002, Russell presented his work Langston Hughes: The Soul of His Words to a large audience at the Museum of Natural History in New York. The three-movement piece written for 19 piece Jazz orchestra and three actors was received with a standing ovation and a citation from the Borough President Marty Markowitz of Brooklyn, New York. In February 2004, the piece was extended to five movements and received equally as well at the St. Francis College in Brooklyn, New York.
In February 2005, Russell was commissioned to write a Jazz score for Zora Neale Hurston’s play Cold Keener and it was received well at Baltimore’s Loyola College.
Presently, Russell chairs the Jazz department at the Maryland Conservatory of Music. Already he has produced a successful Count Basie 100th Birthday Celebration that featured the legendary Frank Foster and Grammy award winners Antonio Hart and Mark Gross."
"Not just returned from a tour as not the official George W. Bush re-election campaign band, Big Hats and No Cattle is a Folk and Trad Jazz trio. Tom McHugh, impresario of The Mainstay, has described the band as 'Peter Paul and Mary Meets the Smothers Brothers.' Their influences are much wider, though, including Louis Armstrong, Yip Harberg and Bill Morressey."
Bill is a unique and accessible soloist. His music grooves the body and delights the mind. His vehicle of expression is the 8-string touch guitar - an instrument that allows multiple part compositions. Essentially, Bill's left hand plays bass and his right hand guitar.
"Black-Eyed Susan is a band that has successfully earned its place amongst its fans as well as throughout the music industry. Over the last ten years the Baltimore, MD based group has achieved its goals through the
creation of a sound unlike any other today. With Aaron's soulful nuances, Matt's high flying guitar work and Adam's solid and creative drumming, BES is a very impressive musical entity. Their sound is a blend of musical colors ranging from soul, funk, rock, blues and jazz. Along with writing both simple and intricate compositions, the band blends beautiful harmonies that any music lover would appreciate. Each song converges on the listener with the warmth and acceptance that harmonic enthusiasts spend lifetimes seeking out. Adventurous, temperate, intimate and dependable, Black-Eyed Susan continues to suprise
and delight even the most veteran devotee. Recently, the band has become a trio which has challenged them and forced them to mature to an even greater level of intensity and feeling. BES has always shared a strong sense of community, friendship, and a warm family vibe amongst its three members as well as its fans. The band prides itself onstage to create a live performance that will touch and tingle the soul of anybody who listens."
Brian Sacawa is a saxophonist and the co-founder of the new music duo Hybrid Groove Project, co-curator of Mobtown Modern, and author of the blog Sounds Like Now. I also currently serve as saxophonist with The United States Army Field Band from Washington, D.C. and on faculty at the University of Maryland Baltimore County.
Comprised of Baltimore bassist Mark Ziegler, Chicago keyboardist Rob Cookman, and drummer Jeff Moehle of Kalamazoo, the group ranges from gritty second-line and Detroit-style funk grooves to haunting ballads and traditional standards. The trio is equally comfortable in the small jazz club and on the rock stage.
Two to five piece jazz combo, straight modern jazz.
Gary Thomas-Tenor Sax
"Ella Fitzgerald meets Neil Young. Blues/Jazz influenced acoustic duo"
"Mainstream and Latin jazz quartet offers a veritable paella of sound and rhythm. Award-winning originals and stand-out arrangements of the great standards. 'With her exotic sensual tones Ms. Marten can get across what most feel but rarely admit.'"
Towson State jazz band director. Born 1927, Died 2001
The Hank Levy Alumni Band is dedicated to performing the music of Hank Levy. Most of the band members are professional musicians who studied and played with Hank. Hank Levy was best known for his work as a jazz composer and arranger, notably with bands led by Don Ellis and Stan Kenton, and later for his work as a jazz educator. He was interested in giving jazz what he called "a kick in the rear end" by using odd meters like 5/4, 7/4, 9/4 and 13/8, and by employing unusual harmonies and voicings. His music was considered difficult to master but rewarding to play by the various bands with which he was associated, including his own groups.
Four peice straight Ahead Jazz ensemble with accoustic Bass, Piano,Tenor Sax & Drums
"Detuned, disjointed garage jazz punk. Boy/girl good time duo. Heavily influenced by vegetables. Membrane of blakk swett, kreace peeps, decapitated hed, marlo eggplant etc."
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