Sugar Hill Mornings is a summer musical performance series presented by the Sugar Hill Children’s Museum of Art & Storytelling in collaboration with the Jazz Foundation of America celebrating the longstanding history of musical genius inherent to Sugar Hill. The series has been devised to foster inter-generational exchange and reiterate themes present in the Museum’s exhibitions, amplifying the power of listening, memory, and the human voice as a tool for societal uplift.
This edition of Sugar Hill Mornings features neighborhood legend and a muse of exhibitions at the Sugar Hill Children’s Museum, Marjorie Eliot who exemplifies “playing from the heart.” She is best known for welcoming listeners into her apartment every Sunday since 1992, in celebration of life. Marjorie’s piano performance at Sugar Hill will tell the story of jazz.
When Craig Harris exploded onto the jazz scene in 1976, he brought the entire history of the jazz trombone with him. From the growling gutbucket intensity of early New Orleans music through the refined, articulate improvisation of the modern era set forth by J.J. Johnson, into the confrontational expressionism of the ‘60s avant-garde, Craig handled the total vernacular the way a skilled orator utilizes the spoken word. He has performed with a veritable Who’s Who of progressive jazz’s most important figures and his own projects display both a unique sense of concept and a total command of the sweeping expanse of musical expression. It is those two qualities that have dominated Craig’s forty years of activity, bringing him far beyond the confines of the jazz world into the sphere of multimedia and performance art as composer, performer, conceptualist, music curator, and artistic director. Craig, who comes from a tradition of art as a cultural facilitation to help promote change, has employed his musical voice to comment on social injustice with projects including God’s Trombones, based on James Weldon Johnson’s book of sermons.
Featuring: Adam Klipple – piano, Calvin Jones – bass, Tony Lewis – drums, Jay Rodriguez – reeds, and Craig Harris – trombone
First set: 12:00 pm-12:45 pm (15 min break); Second set: 1:00 pm-1:45 pm
Praised by the New York Times as “a singer with a strong and luscious tone and an amiably regal presence on stage”, Alicia Olatuja has been astounding audiences with her exquisite vocals,artistic versatility and captivating demeanor. She first came into the national spotlight in 2013, whilst performing as the featured soloist with the Brooklyn Tabernacle Choir at President Barack Obama’s Second Inauguration. Shortly thereafter, she assembled her own jazz based ensemble and recorded her first solo album, Timeless (2014). Over the past year, Alicia’s own band has been steadily in demand, and they have performed at the Montreal Jazz Festival, Saratoga Jazz Festival, Jazz Standard, Vermont Jazz Center, Rockport Jazz Festival, Markham Jazz Festival, Monty Alexander Jazz Fest, and the Harlem Stage Gatehouse, to name a few. Alicia was a featured vocalist on Gregory Porter’s 2017 Grammy-winning “Take Me To The Alley”.
Now focusing on the rich contributions of a diverse selection of female composers, Alicia is set to release her sophomore album, Intuition: From the Minds of Women in 2019 on the Resilience Music Alliance label. The album celebrates the achievements of a long list of esteemed female composers, while offering a musical perspective unique to Olatuja. She is joined by Kamau Kenyatta and Ulysses Owens Jr. as producers and the material includes songs of Brenda Russell, Sade, Tracy Chapman, Kate Bush, Angela Bofill and Linda Creed.
To celebrate International Jazz Day, revisit Louis Armstrong’s meteoric rise to stardom during the Harlem Renaissance of the 1920s with jazz historian Ricky Riccardi of the Louis Armstrong House Museum. Afterwards, join us for a special live performance by the Louis Armstrong Eternity Band.
This event is part of Core Conversations, a series featuring the city’s most original thinkers as they engage with topics related to our New York at Its Core exhibition. To view all the programs in the series, clickhere.
About the Speaker and Performers:
Ricky Riccardi is the Director of Research Collections for the Louis Armstrong House Museum and author of What a Wonderful World: The Magic of Louis Armstrong’s Later Years (Vintage, 2012). He runs the online blog, “The Wonderful World of Louis Armstrong,” and has given lectures on Armstrong at venues around the world.
David Ostwald’s Louis Armstrong Eternity Band has been performing since 1980, inspired by the noble jazz pioneers Louis Armstrong, Bix Beiderbecke, Duke Ellington, Jelly Roll Morton, and their colleagues. They have a weekly engagement at Birdland and have performed at Lincoln Center’s Midsummer’s Night Swing and the Schomburg Center for Research in Black Culture.
$20 for Adults | $15 for Seniors, Students & Educators (with ID)
$10 for Museum of the City of New York and Louis Armstrong House Museum Members Includes Museum admission. Note: All galleries close at 6:00 pm.
Jazz Then and Now is a conversation series, presented as part of the Stretch Music Residency that brings together innovative thought leaders in the field in dialogue on the history, the present and the future of jazz. Christian Scott aTunde Adjuah will be in conversation with composer and trombonist Steve Turre on improvisation, technology, collaboration, the importance of the historical lineage and more. The conversation will be preceded by a live performance with the Steve Turre Quintet.
This work was supported by a building Demand for the Arts implementation grant from the Doris Duke Charitable Foundation
Grammy nominated Christian Scott aTunde Adjuah curates and performs his final Stretch Music Festival under his three year residency with Harlem Stage.
[Decolonializing Sound] The 3rd year of the Stretch Music Residency is focused on liberating sound from antiquated belief systems that inhibit our ability to truly hear one another. I have always felt the best way to communicate is to truly listen. So this year we’re intent on breaking down value distinctions surrounding how we hear and interpret composition, dispelling long held and completely false notions that cultures that prioritize melody & harmony are more valid then cultures that prioritize rhythm. Ending this notion is essential to truly hearing one another.
I feel strongly that the path we are embarking on will not only impact the artistic community by pushing the boundaries of what’s possible, but also the general community by working fervently to create a broader scope of what this art has to offer by improving access and engagement through inclusion, sonically and literally.