Peter Westbrook

Peter Westbrook

Since the demise of the One Step Down, Twins Jazz, along with its sister club Twins Lounge, remains one of the few active jazz clubs in the Washington DC area, and the main alternative to the considerably pricier Georgetown establishment Blues Alley. Founded in 1986 by Ethiopian twin sisters, the club is still run in the most hands-on style, with owner Kelley Tesfaye in the kitchen supervising the menu of American, Ethiopian and Carribean dishes (I am particularly fond of th
Since its dedication in January of 2004, the John Birks Gillespie Auditorium at the New York Bahá'í Center located at 53 East 11th Street (between University Place and Broadway)-- has featured a series of jazz performances every Tuesday evening. Organized by former Gillespie pianist Mike Longo himself a follower of the Bahá'í faith and dubbed "Jazz Tuesdays," these regular concerts offer high-quality performances in a pleasing space at very reasonable ticket prices $15 or $10 for student
Well, Ronnie Wells and her dedicated band of helpers have pulled it off again. For the 14th year in a row they have put together the East Coast Jazz Festival, a kaleidoscope of events including twenty-three ticketed performances on the main stage, eighty-six free, open to the public concerts, workshops and jam sessions, and forty high-quality exhibitors and vendors. Attendance exceeded expectations with an estimated three-thousand people participating in one way or another, including many comple
The Nyumburu Cultural Center has been a part of the University of Maryland College Park for 27 years, providing a program of "black social, cultural and intellectual interaction," including lectures, seminars, art exhibits, workshops in the dramatic arts, dance, music and creative writing. Academic courses in blues, jazz, gospel music performance and creative writing are also offered. Nyumburu, ("freedom house" in Swahili) produces the Black Explosion Newspaper and is also home to
Those who love big band jazz have slim pickins these days. Other than the excellent Dave Holland Big Band that had graced the Kennedy Center stage a couple of weeks earlier, since Toshiko Akiyoshi/Lew Tabackin called it quits last year, there is not much going on apart from the ghost orchestras (Duke Ellington, Count Basie, Lionel Hampton, Dizzy Gillespie), the retro experiments at Lincoln Center, occasional recordings by such as Gerald Wilson, and local groups such as Carol Sudhalter's Astor
Downtown Washington was eerily quiet this Saturday evening, the streets almost deserted following an earlier snowstorm. Moving around was still difficult and most people were smart and stayed home. But the lure of seeing an artist who had swept five Down Beat polls (bass, arranger, small group, big band, CD of the year) was too much and I managed to make it to the Terrace Theater at the Kennedy Center to hear Dave Holland's Big Band play selections from their most recent CDs, What Goes
Dave Valentin- flute; Dr. Saïs Kamalidiin - flute, alto flute, director; Shyesha Osler, Stacey Winningham, Maya Colemon - flute; Dr. Thomas Korth - piano; Prof. Gerard Kunkel - guitar; Hamilton Hayes - bass; Clyde Adams - drums; "Killer" Joe Falero, Ivan Navas - Latin percussion Guest artists: Arch Thompson, Dr. Peter Westbrook, Dr. Ronald Ziegler - flutes; Byron Vickers - sound technician

With the new year Washington DC welcomes what has become an annual event - the Flute Fête at Howard Univ

Every Sunday evening, at the Tabard Inn in downtown Washington DC, bassist Victor Dvoskin provides one of the great bargains of the Washington DC jazz scene, an evening of free jazz. No, not three hours of avant-garde expression, three hours of fine jazz music with no cover and no minimum. For the price of a glass of wine or, in my case, a cup of tea, one can sit in the Tabard Inn's lounge and hear Victor, a top-quality bassist, working with a duo with the best local guitarists and/or keyboard p
Friday evening at the Kennedy Center saw another performance in their Beyond Category series. The group in question was the Joe Lovano Nonet presenting their Miles Davis "Birth of the Cool" Suite. It turned out to be a highly enjoyable evening, although it was not exactly what I was expecting from the concert's title.

The Birth of the Cool refers to trumpeter Miles Davis' nine piece ensemble that made a series of historic recordings in 1949, while appearing briefly at Ne

During the first fifty years of its development, the vast majority of women performers who broke into jazz were either singers or pianists. It was only with the onset of World War II that women started to make major inroads into brass and reed sections. Like Rosy the Rivetter they were replacing men who had been drafted into military service. Post 1945, women retained many of their gains but, as in other fields, they have been engaged in an uphill struggle and, while there are many fine female m