Jazz Zone Network

Original Poetry By KeJohnna Owens From his Book "Expressions in Poetry

Wed, 02 Sep 2009 23:40:00 -0700

Through the humble beginnings of self-expression in very simplistic ways while I

was incarcerated my inner spirit began to free itself from the person Id become and the

jungle survival mentality began to lose its hardened shell. I began writing down my

thoughts as a way to vent my frustrations with the way my life had turned. When I

started seeking change from within I found myself getting involved with a whole new set

of opportunities.

Clarence Johnson

Mon, 01 Dec 2008 11:50:00 -0700

I recently received this article and it was so good I thought I would post it with us in the Zone.

Jazz is Ageless: A Recounting of the Interview and Performance of Clarence Johnston

On a beautiful Sunday night right off the heart of the famous Sunset Boulevard, came an elderly black man walking onto the patio of a former Spanish-style shopping center and studio converted into a restaurant and English pub. Slowly pushing a cart full of his belongings, the man walked in a slow and slightly hunched manner, veering through rows of young men and women enjoying their final hours of the weekend. As the man made his way to a corner of the patio, surrounded by subtle lights scattered in the trees, the young guests seemed to be more concerned with their petty conversations and drinks, to notice the underappreciated legend amongst them. Boy, were they in for a treat when Clarence Johnson, who is pushing eighty, sat down and came alive when he played his drums.

This evening at the Cat and the Fiddle, Clarence and his co-band leader Pat Brit, led a five-piece band through a tearing set of jazz and a little bit of blues during their weekly Jazz on the Patio gig. That prior Sunday, in spite of the pouring rain, Clarence and Pat continued playing even when they were pushed into a side room inside the restaurant. With a smaller than usual crowd and missing band members these musicians still played with a great amount of passion and enthusiasm. Regardless, there was still a notable difference between the performance on that rainy night and tonight. Before the musicians took up their instruments, the guitarist told Clarence that, Were gonna play our asses off tonight, Ive been practicing like a motherfucker. With a band that included drums, sax, bass, keyboard, and electric guitar, the musicians seemed to thrive on the larger audience and truly lived up to the guitarists remark. As the band built up their pace and intensity of its performance with each tune, onlookers throughout the patio gradually took notice of the dynamic. Between Clarences forceful drum solos that easily could challenge any popular drummer of today, to Pats bursting segments on the sax, it comes as quite a surprise that nearly all the members of the band had grey hair and were entering the twilight years of their lives. After their first set, Clarence commented, now that is Jazz, either you have it or you dont!

Long before Clarence Johnston had his twenty-three year stand at the Cat and the Fiddle, he was a young boy growing up in the city of Boston. Although neither of his parents was musically inclined, Clarence still ended up being exposed at an early age to many types of music thanks to his fathers habit of constantly listening to the radio. Yet, he never quite had the passion for playing an instrument, like he does now. When talking about learning his first instrument; the piano; Clarence stated, Every kid had to play piano. Even though Id go to the lesson and not pay any attention that was my first instrument. When he finally went off to college in order to study business, Clarence experienced a few life changing occurrences. For one, he was snatched up by the service two years into his college education. However, it was what happened after he returned that left the biggest impact on him. One day, his childhood friend, Roy Haynes, who ended up becoming one of the most famous jazz drummers, came over to his house and showed me one lick and I got hooked (laughs) into playing drums! Following this, Clarence decided to attend music school, as opposed to returning to his business education. For about six months, he attended the New England Conservatory of Music, but eventually dropped out because of his disappointment with the curriculum. Clarence was irritated by the fact that the school required him to spend more time reading history books, as opposed to playing music. As a result, he transferred to the Boston Conservatory where he unfortunately encountered similar problems. It wasnt until he arrived at the Conn Music School that he found a curriculum that suited his desires. Between having mandatory percussion practice one hour before school and one after, Clarence received a valuable education and work ethic that remains with him to this day. In fact, while telling him about my casual attitude when in came to practicing the guitar, Clarence sternly remarked that I must not have a passion for the instrument since I dont make it a top priority to practice around two hours a night. Anyways, during his time at Conn, Clarence could have gone onto to get his masters and become a teacher at the school, but instead turned down the offer because I wanted to play, I wanted to play.

As Clarence recalled his early career, his fondest memories came from the time he spent on the East Coast playing drums with legends of the popular jazz scene. As Clarence currently states, he is one of the few cats, that when they (musicians and jazz aficionados) want to know something about that particular era, they call me. During this time period, Clarence began to make a name for himself thanks to his opportunity to play with jazz icons, like Miles Davis, John Coltrane, Dizzie Gillespie, Ben Webster, Dexter Gordon, and Sonny Stitz. In addition to going on a world tour with Joe Williams that brought him to Buckingham Palace, twice, and the time he spent playing with Miles Davis on Sketches in Spain, one of Clarences favorite musical memories is when he played a 4-5 day stand with Charlie Parker in Boston. With only two years of music school under his belt, Clarence still was finding time to play late-night gigs at small clubs in the area. Even though New York City was the hub of the jazz scene, Boston began to earn its own reputation thanks to the many musicians who would visit Boston after their New York performances. In recounting the way in which formidable musicians would discover up and coming artists, Clarence stated that they heard you. Theyd be in club standing in the back. You dont even see them. They stay back in the dark, near the entrance, and listen to you. Then all of a sudden out of the clear blue sky you get a phone call, and say WOW! From the sparkle in his eye and his big grin, it was quiet clear that this experience has left a lasting impression. He had heard many of Parkers drummers on recordings, so it was an unbelievable delight when Clarence received the call. According to Clarence, playing with the worlds greatest sax player is a high as you can get and he exclaimed that it was beautiful. In describing this memorable moment, Clarence notified me that he was quite nervous right before they played. Amazingly, Parker went back to where the nervous drummer was waiting, patted his shoulder and said, Dont worry about it, just play. Just go ahead and play. Since then, Clarence claims that hes never played the same way because he brought something out of him. Correspondingly, the way in which Parker performed made a huge impact on the drummer. He says, I would have never believed someone could play like that every single nightHe never repeated himself. Hed play solos and Id always hear something different. Sometimes Id sit down, look down, and think to myself, How could somebody think like that. Every night something different, completely differentThats amazing.

In 1972, Clarence headed out to Los Angeles as a result of a particular gig he was promised. It only ended up lasting nine months, so he moved back to New York City. Regardless, Clarence still held onto his apartment in LA and was able to return to California after he was offered a job as a music teacher. Soon afterwards, Clarence and Pat Brit were invited to play at the Cat and the Fiddle, after the owner heard them. Yet they never knew that this gig would last so long. Though it has been an enjoyable stay, Clarence is still a bit more found of the jazz scene on the East Coast. In addition to their different ways of thinking, East is sharpI like that. The West is more laid back. This evening, Clarence showed how he still hasnt completely succumbed to the West Coast style. In one of his engaging solos during the first half of the set, he began banging away at his drums and nearly killed the chill vibe that had been set up. As Clarence notes, I have to be careful what I play here because Ill go there.

Clarence has also met some very unique and inspiring locals. Regarding hero Horace Tapscott in South Central, Clarence exclaimed he was not a fan of his, I was a friend of his. While working as a drum teacher, he got to meet and befriend Tapscott, who was also teaching at the same school. Along with playing and recording with him, Clarence admired the way Tapscott taught and helped the African-American community. In fact, this admiration of aiding and supporting the community is still seen every Sunday night when Clarence plays at the Cat and Fiddle. For example, Clarence and his fellow band mates have willingly given other musicians, possibly less accomplished than themselves, the opportunity to jam with them. In fact that night, Clarence let a fellow drummer take his spot for a few tunes. Yet, it is not just the local talent that he has supported; Clarence has become an enthusiast for the young up-and-coming jazz musicians. Even as people sweep Jazz under the rug Clarence sees jazz making a comeback someday and thinks that it will continue to flourish. By playing with and teaching new musicians, Clarence has noticed that these youngsters are catching on and have a great amount of ability. Though he is shocked at how, weve had some great musicians in our country, and its amazing how the people here dont really, really appreciate it. Throughout his career, Clarence has performed around the world and states that Jazz is recognized as one the only true American music styles, which he thinks might be enjoyed more abroad than in this country. He is also worried about current electronic music that is created by pushing a button as opposed to instrumental compositions. Even if African-American music, like hip/hop, has taken over the popularity jazz once held, Clarence has not abandoned his beloved music.

At the conclusion of the interview, I asked Clarence why he continues playing music. He told me that Jazz comes from the heartits so beautiful because youre not restricted. At this stage of his life, he still wakes up every morning and thinks about practicing and playing his next gig. He still listens to other drummers on recordings and says to himself, Why didnt I think of that? Even as times change, Clarence remains dedicated to his craft. Authentic jazz might have grey hair, but this music style should never be ignored or forgotten.

Kejohnna

Fri, 21 Nov 2008 09:00:00 -0700

Quote's from Kejohnna

We must take the reigns of our lives & apply the gifts & blessing that God has bestowed upon us in order to fulfill His divine calling that is uniquely & divinely each of ours as individual children of God. Through our individual strives toward doing our BEST work in alignment with His calling we will collectively effect the world in profoundly positive and personally fruitful ways."
KeJohnna Owens

First Annual Allensworth Blues Celebration

Fri, 29 Feb 2008 07:20:00 -0700

August 2 2008

Allensworth is the first town in California founded by an ex-slave and is the only Black Historical Park in California.

WE CAN Foundation invites you to attend our First Annual Allensworth Blues Celebration. It will be held on Saturday and Sunday, August 2nd and 3rd, 2008 from 10:00 a.m. til 7:00 p.m. at The Black Historical Township Park in Allensworth,California.

This fun filled event will feature the Divas of song, Legendary Blues artists and singers, park tours and various exhibits plus vendors. There will be a special Tribute to the decendants of the original town pioneers. Join us as we Celebrate our first Tribute to Blues as we move beyond joining communities to caressing continents.

This is a fundraising program that is intended to bring people of all ages from communities throughout the world for Education, Entertainment, Relaxation and Kindship while supporting the work of WE CAN.

Net proceeds will benefit the WE CAN Essay Competition Series and WE CAN Read a Book Club program and WE CAN Scholarship Program. Allensworth Blues Festival presents many excellent opportunities for participation, collaboration and sponsorship which will expand exposure and prospects for all involved.

Africa Channel to Broadcast PAFF Night of Tribute

Sat, 26 Jan 2008 03:40:00 -0700

Africa Channel to Broadcast PAFF Night of Tribute

Two-Hour Special Will Air Nationally
in the Caribbean and United Kingdom
February 22

The PAN AFRICAN FILM & ARTS FESTIVAL (PAFF) has announced that THE AFRICA CHANNEL, the new 24/7 independent television network dedicated to delivering quality content and bringing the rich and diverse perspectives of Africa and its people into U.S. homes, will broadcast its annual NIGHT OF TRIBUTE on February 22 in a two-hour special that will air in the U.S., the Caribbean and the United Kingdom.

The Pan African Film Festival

Mon, 21 Jan 2008 04:50:00 -0700

2008 PAFF FEATURED ARTIST: DIANA SHANNON-YOUNG

I have always been intrigued by color and texture and when used simultaneously the rough feel and the soft but vibrant hues set the mood for my paintings.

---Diana Shannon-Young

Established in 1992, The Pan African Film Festival (PAFF) is a non-profit corporation dedicated to the promotion of cultural and racial tolerance and understanding through the exhibition of film, art and creative expression.

It is PAFF's goal to present and showcase the broad spectrum of Black creative works, particularly those that reinforce positive images and help to destroy negative stereotypes. We believe film and art can lead to better understanding and foster communication between peoples of diverse cultures, races, and lifestyles, while at the same time, serve as a vehicle to initiate dialogue on the important issues of our times.

Each year, PAFF presents:

· Over One Hundred (100) quality films from the United States, Africa, the Caribbean, Latin America, Europe, the South Pacific and Canada, all showcasing the diversity and complexity of people of African descent.

· One of America's largest fine art shows featuring prominent and emerging black artists and fine crafts people, including local, national and international poets, musicians and storytellers.

PAFF

Sat, 12 Jan 2008 06:30:00 -0700

PAFF has announced that award-winning filmmaker Charles Burnett's NAMIBIA: THE STRUGGLE FOR LIBERATION will open its 16th annual festival on Thursday, February 7, 2008 in Hollywood at the Directors Guild of America. Starring Carl Lumbly, Danny Glover , Joel Haikali, and Obed Emvula, NAMIBIA depicts the long struggle waged by the people of Namibia for their independence that was ultimately won with the help of Cuban military volunteers fighting in Angola. The 1987 battle of Cuito Cuanavale, in which the South African army was decisively defeated, turned the tide in the liberation struggle for all of Southern Africa. This was one of the key factors that led to Namibian Independence and the election of Sam Nujoma as Namibia's first President and forced the white supremacist South African government to free President Nelson Mandela and to negotiate with the African National Congress. PAFFs red carpet star-studded Opening Night Gala will take place Thursday, February 7, 2008 at 7 p.m. in Hollywood at the Directors Guild of America. Tickets are on sale at www.paff.org. Radio veteran Lee Bailey of Eurweb.com will again host the red carpet. Entertainment provided by Malcolm Jamal Warner's Miles Long. The Opening Night Gala is sponsored in part by the Namibian Film Commission. Thursday, February 7, 2008 Directors Guild of America 7920 Sunset Boulevard Hollywood

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