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The Fisher Center and Catskill Jazz Factory present Jazz and the birth of hip-hop led by Keyon Harrold

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Keyon Harrold
February 7, 2019 04:45 pm

ANNANDALE-ON-HUDSON — The Fisher Center and Catskill Jazz Factory present Jazz and the Birth of Hip-Hop, the first in a three-concert winter jazz series, Sound the Trumpet! The world premiere series explores the rhythmic influences and musical storytelling that have shaped hip-hop, reggae, merengue, and beyond.

This unique concert takes place one-night only on Saturday, February 9 at 7:30 p.m. in the Fisher Center’s intimate LUMA Theater. Tickets start at $25 and can be ordered online at fishercenter.bard.edu or by calling the box office at 845-758-7900. Subscribe and purchase great seats for all three shows in this special series for $99.

The Sound the Trumpet! jazz series in March and April:

Jamaican Roots

Led by Etienne Charles, featuring Shenel Johns

Saturday, March 16

Trinidadian trumpeter Etienne Charles leads this concert featuring rising Jamaican vocalist Shenel Johns, rightfully described as “history in the making” by the Boston Globe. Exploring the styles of mento, ska, reggae, rocksteady, dub, and their various contemporary influences, Charles and Johns feel the flow of Jamaican influence on today’s global sound of blues, jazz, and pop.

The Vibes of Venezuela

Led by Etienne Charles, featuring Linda Briceño and Jorge Glem

Friday, April 19

Journey through the rhythms of 19th-century popular waltz, 1920s merengue, and the lively cantor of traditional joropo in this celebration of Venezuelan jazz. Vocalist and trumpeter Linda Briceño and cuatro virtuoso Jorge Glem join trumpeter Etienne Charles to examine African, Native South American, and European influences on the modern music of Venezuela.

Tickets start at $25 and can be ordered online at fishercenter.bard.edu or by calling the box office at 845-758-7900.

About the Artists:

Keyon Harrold was born and raised in Ferguson, MO, the St. Louis suburb that tore into America’s national consciousness in 2014 with the police shooting of Michael Brown and the bitter protests and riots that followed. While Ferguson looms large in Harrold’s album The Mugician, it examines our troubled times through a far wider lens than any one tragedy. Sweeping and cinematic, the music draws on elements of jazz, classicval, rock, blues, and hip hop to create something uniquely modern, unmistakably American. Guests including Pharoahe Monch, Gary Clark, Jr., Big K.R.I.T., Guy Torry, Georgia Anne Muldrow and Robert Glasper add to the record’s eclectic nature, but it ultimately triumphs as a unified, cohesive whole both because of Harrold’s virtuosic skill as a trumpeter and songwriter and because of his relentlessly optimistic belief in brighter days to come.

Harrold grew up one of 16 children in a family that prioritized music and community across generations. His grandfather was a police officer who retired from the force to found a drum and bugle corps for local youth, both of his parents were pastors, and nearly all of his siblings sing and perform music today. Culture shock hit Harrold hard at 18, when he left Ferguson for New York City to enroll in The New School. In New York, he landed his first major gig with Common, an experience which he says broadened his musical horizons beyond jazz to include funk, Afrobeat, R&B, and hip hop. Soon he was performing with stars like Snoop Dogg, Jay Z, Beyonce, Rihanna, Eminem, Maxwell, and Anthony Hamilton.

In 2009, he released his solo debut, Introducing Keyon Harrold and then won wide acclaim for his trumpet performances in Don Cheadle’s Miles Davis biopic Miles Ahead. The Mugician is a portmanteau of “musician” and “magician, a nod to a nickname Cheadle bestowed upon the young virtuoso, and it’s an apt descriptor for a record that pushes beyond the traditional boundaries of jazz trumpet. In fact, the album doesn’t even begin with trumpet, but rather with a track called ‘Voicemail,’ which features an inspirational message from Harrold’s mother set to a stirring, orchestral soundscape. Entirely unedited, her words lay the groundwork for an album that celebrates the importance of family (ten of Keyon’s siblings appear on the record) and the absolute necessity of optimism in the face of darkness and doubt. These days, Harrold is a parent himself, and he pays tribute to his son with a pair of tracks on the album, “Lullaby” and “Bubba Rides Again.” Issues of identity and equality percolate throughout the record, sometimes subtly beneath the surface, sometimes more pointedly, as in “Circus Show.” However, the album’s most powerful moments come with the one-two punch of “MB Lament” and “When Will It Stop,” songs written in the wake of Michael Brown’s death and the senseless killings of so many others like him.