The Black Rock Coalition presents:
The Million Man Mosh II: Living Colour, 24-7 Spyz
A Benefit for Donovan Drayton. With Burnt Sugar The Arkestra Chamber, Nona Hendryx & Ronny Drayton ft. Rev. Kim Lesley. Special Guests: Lenny White, Eddie Martinez & Jef Lee Johnson + Legendary NYC DJ’s: Rockin’ Rob & Chuck City
Monday, January 21, 2013
Showtime @ 7:00 PM
Doors open @ 6:00 PM
$35 in advance, $40 day of show, $50 VIP
$50 VIP Ticket Includes:
Reserved seat in side wings and show poster
Full dinner menu available
General Admission Standing Room
Limited seating available
First come, first seated
As the flagship band of the Black Rock Coalition, Living Colour fused free jazz, funk, hard rock, and heavy metal into a sound that is uniquely its own. The band’s debut album Vivid was released in 1988 and contained the hit single “Cult of Personality,” which won a Grammy for Best Hard Rock Performance. The band’s followup Time’s Up (1990), garnered more critical acclaim and another Grammy Award. After an extended hiatus in the late ’90s, Living Colour reformed in 2000 and released Collideoscope in 2003. Having recently released the critically acclaimed album The Chair In The Doorway (2009), the band is currently preparing material for a new album and tour in 2013.
South Bronx natives Jimi Hazel (guitar) and Rick Skatore (bass) formed 24-7 Spyz (“twenty-four-seven spies”) in 1986 and developed an immediate following based on their musical versatility. The group mixes soul, funk, reggae, and R&B with heavy metal and punk – a mix that came to be labeled as heavy metal soul. 24-7 Spyz broke up in 1998 after releasing several albums, including Harder than You (1988), Gumbo Millennium (1990), and the cult classic Strength in Numbers (1992). Reforming in 2003, the group dropped Face the Day (2006), its latest release and first album of original material in over a decade. 2011 saw a reunion of the Strength in Numbers lineup at a show in New York City. The band is now writing songs for a new disc that will be released in 2013.
BURNT SUGAR, THE ARKESTRA CHAMBER is the creation of writer/guitarist/producer Greg Tate. Formed in 1999, Burnt Sugar was conceived as a contemporary version of Miles Davis’ Bitches Brew band, exploring the connective tissue binding jazz, rock, funk, twentieth century composition, and African music in a lyrical, seductive, exploratory, improvisational manner.
Employing “Conduction”, an interpretative system for improvisers developed by Lawrence“ Butch” Morris, Tate guides the band through improvisations on each of its song forms. As a result, each performance is an original mutation in tune with the collective personality of the audience as well as the individual character and talents of the players.
Each of the players are masters of their instruments, many of whom are name artists on the contemporary scene. Notably, the trumpeter Lewis ‘Flip’ Barnes of William Parker’s lauded O’Neal’s Porch Group; tenor saxophonist Micah Gaugh, who’s performed with Cecil Taylor, Arto Lindsey, Lady Keir, Mark Ribot and currently has his own release “Everything” on noted DJ’s Mathew Herbert’s Accidental Records label in the U.K.; electric bassist Jared Michael Nickerson who has toured and recorded with The The, Freedy Johnston, Wadada Leo Smith, Charlie Musselwhite and the Yohimbe Brothers (Vernon Reid & DJ Logic ) and drummer Trevor Holder with the Broadway road versions of “Memphis” and “Dream Girls,” to name a few.
Their travels have taken them to venues and festivals such as The Royal Festival Hall and the Marquee Club in London, Brighton Music Festival in Brighton, England, Musique de Nuits in Bordeaux France, The Kennedy Center in Washington D.C., The Concert of Colors in Detroit, Michigan, The Empty Bottle in Chicago, Illinois, Serralves Em Festa in Porto Portugal, Club Paradox in Tilburg, the Netherlands, The Dame & Southgate House in Lexington and Covington, Kentucky, The University of Pennsylvania, Jazz Al Dia in San Sebastian, Spain New Jersey Performance Arts Center in Newark, New Jersey, the Painted Bride Art Center in Philadelphia Pennsylvania, Real Art Ways in Hartford, Connecticut, Guelph Jazz Festival in Guelph Ontario, Central Park Summerstage and Lincoln Center in New York City and Banlieues Bleues and the Sons d’hiver Festivals in Paris France.
One-third of the pop/soul act Labelle (their big hit was “Lady Marmalade”), Nona Hendryx, by far and away, made the hippest solo records of any member of that group (the others being Patti LaBelle and Sarah Dash). After Labelle called it quits in 1976, Hendryx released her self-titled debut record, which was an amazingly strong amalgam of soul and hard rock. It also went almost completely ignored by critics, soul fans, and even Labelle fans, and Hendryx took her strong, clear, booming voice and did lots of session work in the late ’70s and early ’80s. It was here that she fell in with a hip crowd of musicians, specifically as a result of her time singing backup for Talking Heads. This association with David Byrne led to her working with Bill Laswell, who, along with his band Material, helped Hendryx put together a second solo record entitled Nona. A strong album that’s not as wild-eyed as her debut, Nona did spark greater interest in Hendryx’s considerable talents, and after that, her solo career flourished to the point where she no longer needed studio work to supplement her income. Although some of her late-’80s records sound a little formulaic, Nona Hendryx is a dynamic, daring, and extremely talented performer, who, as is often the case, didn’t receive the credit she’s due. But unlike Patti Labelle, who has chosen a career as the most histrionic singer in MOR soul/pop, or the relative invisibility of Sarah Dash, who sang backup for Keith Richards’ X-Pensive Winos, Hendryx has taken the road less traveled, and that has meant a more aesthetically rewarding and interesting career. ~ John Dougan, All Music Guide