BEGIN:VCALENDAR
VERSION:2.0
PRODID:-//Crosstown Arts - ECPv6.16.3//NONSGML v1.0//EN
CALSCALE:GREGORIAN
METHOD:PUBLISH
X-ORIGINAL-URL:https://crosstownarts.org
X-WR-CALDESC:Events for Crosstown Arts
REFRESH-INTERVAL;VALUE=DURATION:PT1H
X-Robots-Tag:noindex
X-PUBLISHED-TTL:PT1H
BEGIN:VTIMEZONE
TZID:America/Chicago
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20220313T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20221106T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20230312T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20231105T070000
END:STANDARD
BEGIN:DAYLIGHT
TZOFFSETFROM:-0600
TZOFFSETTO:-0500
TZNAME:CDT
DTSTART:20240310T080000
END:DAYLIGHT
BEGIN:STANDARD
TZOFFSETFROM:-0500
TZOFFSETTO:-0600
TZNAME:CST
DTSTART:20241103T070000
END:STANDARD
END:VTIMEZONE
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230302T130000
DTEND;TZID=America/Chicago:20230302T150000
DTSTAMP:20260625T060331
CREATED:20230102T221352Z
LAST-MODIFIED:20230102T221352Z
UID:10004269-1677762000-1677769200@crosstownarts.org
SUMMARY:Crosstown Arts Film Series presents WINGS OF DESIRE
DESCRIPTION:The Crosstown Arts Film Series presents WINGS OF DESIRE at Crosstown Theater. \nWIM WENDERS / 1987 / 128 minutes / PG-13\nTickets: $5 at the door\nDoors at 6:30 p.m. | Films begin at 7:00 p.m. (sharp!) at Crosstown Theater \nWings of Desire is one of cinema’s loveliest city symphonies. Bruno Ganz is Damiel\, an angel perched atop buildings high over Berlin who can hear the thoughts — fears\, hopes\, dreams — of all the people living below. But when he falls in love with a beautiful trapeze artist\, he is willing to give up his immortality and come back to earth to be with her. Made not long before the fall of the Berlin wall\, this stunning tapestry of sounds and images\, shot in black and white and color by the legendary Henri Alekan\, is movie poetry. And it forever made the name Wim Wenders synonymous with film art. \nThe Crosstown Arts Film Series showcases a diverse collection of independent\, international\, historically significant\, artistic\, experimental\, cult\, underground\, and documentary features.
URL:https://crosstownarts.org/calendar/crosstown-arts-film-series-presents-wings-of-desire/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2023/01/WIngsofDesire-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230309T130000
DTEND;TZID=America/Chicago:20230309T150000
DTSTAMP:20260625T060331
CREATED:20230102T220139Z
LAST-MODIFIED:20230102T221510Z
UID:10004268-1678366800-1678374000@crosstownarts.org
SUMMARY:Crosstown Arts Film Series presents THE DISCREET CHARM OF THE BOURGEOISIE
DESCRIPTION:The Crosstown Arts Film Series presents THE DISCREET CHARM OF THE BOURGEOISIE at Crosstown Theater. \nLuis Buñuel / 1972 / 102 minutes / PG \nTickets: $5 at the door\nDoors at 6:30 p.m. | Films begin at 7:00 p.m. (sharp!) at Crosstown Theater \nIn Luis Buñuel’s deliciously satiric masterpiece\, an upper-middle-class sextet sits down to a dinner that is continually delayed\, their attempts to eat thwarted by vaudevillian events both actual and imagined\, including terrorist attacks\, military maneuvers\, and ghostly apparitions. Stringing together a discontinuous\, digressive series of absurdist set pieces\, Buñuel and his screenwriting partner Jean-Claude Carrière send a cast of European-film greats — including Fernando Rey\, Stéphane Audran\, Delphine Seyrig\, Jean-Pierre Cassel\, and Bulle Ogier — through a maze of desire deferred\, frustrated\, and interrupted. The Oscar-winning pinnacle of Buñuel’s late-career ascent as a feted maestro of the international art house\, The Discreet Charm of the Bourgeoisie is also one of his most gleefully radical assaults on the values of the ruling class. \nThe Crosstown Arts Film Series showcases a diverse collection of independent\, international\, historically significant\, artistic\, experimental\, cult\, underground\, and documentary features.
URL:https://crosstownarts.org/calendar/crosstown-arts-film-series-presents-the-discreet-charm-of-the-bourgeoisie/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2023/01/Discreet.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230315T140000
DTEND;TZID=America/Chicago:20230315T160000
DTSTAMP:20260625T060331
CREATED:20230310T182246Z
LAST-MODIFIED:20230310T182246Z
UID:10003578-1678888800-1678896000@crosstownarts.org
SUMMARY:MicroCinema: A String of Pearls - The Films of Camille Billops and James Hatch
DESCRIPTION:Crosstown Arts and Indie Memphis present MicroCinema: A String of Pearls – The Films of Camille Billops and James Hatch.  \nCrosstown Theater\nWednesday\, March 15\, 2023\nDoors at 6:30 pm | Screenings begin at 7:00 pm\nTickets: Pay-What-You-Can \nPURCHASE TICKETS HERE \nIndie Memphis and Crosstown Arts are proud to present three films from A String of Pearls: The Films of Camille Billops and James Hatch. Newly restored\, these three shorts\, Take Your Bags\, Older Women and Love\, and Suzanne\, Suzanne\, highlight the longtime creative partnership of artists\, writers\, and filmmakers Camille Billops and James Hatch. \nMany of the six films they made together pull from and explore Billops’ specific point of view\, her life\, and the lives of her family. These films are singular\, deeply creative\, and incisive in their examination of the stripping of culture and identity because of slavery (Take Your Bags)\, the experiences of love and dating later in life (Older Women and Love)\, and the deep ripple effects that abuse has on a relationship between mother and daughter (Suzanne\, Suzanne). \nWe’re grateful to Malkah Manouel and Third World Newsreel for making this MicroCinema possible!
URL:https://crosstownarts.org/calendar/microcinema-a-string-of-pearls-the-films-of-camille-billops-and-james-hatch/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2023/03/Older-Women-and-Love-2.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230323T140000
DTEND;TZID=America/Chicago:20230323T170000
DTSTAMP:20260625T060331
CREATED:20221214T175243Z
LAST-MODIFIED:20230317T230057Z
UID:10003536-1679580000-1679590800@crosstownarts.org
SUMMARY:(SOLD OUT) Iron & Wine: Back to Basics – Part Three With Anna Mieke
DESCRIPTION:Crosstown Arts presents Iron & Wine: Back to Basics — Part Three at Crosstown Theater. \nCrosstown Theater\nThursday\, March 23\, 2023\nDoors at 6 pm | Show at 7 pm\nTicketing: $40-70 \nPURCHASE TICKETS HERE \nIron & Wine is the musical project of singer-songwriter Sam Beam. Born and raised in South Carolina\, Beam was teaching film when his home recorded debut\, The Creek Drank the Cradle\, was released on Sub Pop records in 2002. Garnering both critical and popular acclaim\, Beam was vaulted into the spotlight of the burgeoning indie-folk and Americana scenes. Now entering its 20th year\, Iron & Wine have released seven full length recordings\, numerous EPs / singles\, and collaborations with Calexico\, Ben Bridwell (Band of Horses) and Jesca Hoop all on their way to becoming a four-time GRAMMY nominee. Iron & Wine’s music has captured the emotion and imagination of listeners with their distinctly cinematic songs; in particular they’ve become synonymous with the movies Twilight and Garden State and continue to find a home in your favorite film\, TV show or streaming playlist. As the world continues to spin — so do Iron & Wine continue on their path of releasing new music and touring. \nAnna Mieke’s world radiates with an intense heat that lies closer to the desert or the jungle than her hometown of Wicklow\, Ireland. On her second album Theatre\, she invites listeners into this warmth\, enveloping us in a vivid dreamscape that mirrors her lush and adventurous upbringing. Her music is the⁠ surreal soundtrack of a vast personal plain steeped in nostalgia\, family\, memory\, death and dreaming—where gritty reality and romanticism meet. This duality is the thematic core of Theatre\, which focuses on the conflict between permanence and temporality\, the immaterial and material\, and how memories of places and people fade\, warp\, and reinvent themselves over time.
URL:https://crosstownarts.org/calendar/iron-wine-back-to-basics-part-three/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2022/12/IRON-WINE-2023-Photo.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230324T133000
DTEND;TZID=America/Chicago:20230324T150000
DTSTAMP:20260625T060331
CREATED:20220705T232620Z
LAST-MODIFIED:20230210T223942Z
UID:10003475-1679664600-1679670000@crosstownarts.org
SUMMARY:Memphis Symphony Orchestra: MOZART AND ELECTRIC GUITAR CONCERTO
DESCRIPTION:Paul and Linnea Bert Classic Accents Series · 3\nMOZART AND ELECTRIC GUITAR CONCERTO\nFriday\, March 24\, 2023 · 6:30pm\nCrosstown Theater \nPurchase tickets here \nFriday\, March 24\, 2023 | 6:30pm | Crosstown Theater \nKalena Bovell\, conductor\nD.J. Sparr\, composer and electric guitar \nHAHN  Overture to Mozart\nSPARR Violet Bond: Electric Guitar Concerto\nVILLA-LOBOS  Sinfonietta No. 1\nMOZART  Symphony No. 31 “Paris” \nA concert of musical dedications: Mozart’s “Paris” Symphony headlines this concert\, paired with works dedicated to him by two South American composers\, Reynaldo Hahn and Heitor Villa-Lobos. Young composer and performer\, D.J. Sparr brings his breathtaking electric guitar concerto\, also dedicated to his musical inspiration: his grandmother\, Violet Bond.
URL:https://crosstownarts.org/calendar/memphis-symphony-orchestra-mozart-and-villa-lobos/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2022/07/DCX_4217.jpg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230328T143000
DTEND;TZID=America/Chicago:20230328T163000
DTSTAMP:20260625T060331
CREATED:20230113T225311Z
LAST-MODIFIED:20230117T221132Z
UID:10003565-1680013800-1680021000@crosstownarts.org
SUMMARY:Makaya McCraven
DESCRIPTION:Crosstown Arts presents Makaya McCraven at Crosstown Theater. \nCrosstown Theater\nTuesday\, March 28\, 2023\nDoors open at 6:30 pm | Show begins at 7:30 pm\nTickets: $25 advance | $30 day of the show \nPURCHASE TICKETS HERE \nMakaya McCraven is a prolific drummer\, compuser\, and producer. \nHis newest album\, In These Times\, is the triumphant finale of a project seven-plus years in the making. It’s a preeminent addition to his already-acclaimed and extensive discography\, and it’s the album he’s been trying to make since he started making records. \nMcCraven believes that the word “jazz” is “insufficient\, at best\, to describe the phenomenon we’re dealing with.” The artist\, who has been aptly called a “cultural synthesizer”\, has a unique gift for collapsing space\, destroying borders and blending past\, present\, and future into poly-textural arrangements of post-genre\, jazz-rooted 21st century folk music. Profiled in Vice\, Rolling Stone\, the Guardian\, and NPR\, among other publications\, he and the music he makes today are at the very vanguard of that phenomenon. According to the New York Times\, “McCraven has quietly become one of the best arguments for jazz’s vitality.” The artist explained to NPR in 2019\, “I don’t think what I’m doing is necessarily that far off of the legacy of jazz that I grew up in … I think one of the things that gives it strength is that people want to argue over it. That’s a good sign. That means there’s life here.” \nBorn in Paris in the Autumn of 1983 to Hungarian singer and flutist Ágnes Zsigmondi and African-American expat jazz drummer Stephen McCraven\, Makaya was raised in a vibrant\, creative community in the Northampton\, Massachusetts area\, where his father often played with artists like saxophonist and ethnomusicologist Marion Brown\, multi-instrumentalist Yusef Lateef\, and saxophonist Archie Shepp\, as well as a cadre of African Gnawa musicians. That scene\, with its enticing blend of cultures\, helped establish his philosophy around jazz as folk music. Meanwhile\, his mother’s music blended Eastern European folk traditions\, concurrently shaping his conceptions about the role of music in building and reflecting communities. \n“I’m really drawn to folk music. Music of aural tradition\, music that is of the people where it’s more of a collective experience of music and dance and culture that we all participate in and know as part of our being or as part of who we are.” He sees his work as a continuation of those traditions\, noting\, “I like to teach the music to musicians by ear\, and hope even when I bring in more challenging rhythms\, or difficult time signatures\, I am able to do it in a way that is of the body and of the people of the earth in a way that’s not necessarily some intellectual experiment\, but more something that’s dealing with people.” \nWhile immersed as a youth in global folk traditions\, he was also a child of the nineties\, deeply influenced by sample-based hip-hop. He observed that jazz was sometimes perceived by his peers as “something that was old\, corny\, white… going to get you beat up.” This directly countered his own experience with the music: “That was such a strange idea to me\, because the guys I grew up around were cool\, and [weren’t] buttoned up like that.” \nEventually he discovered bridges between jazz and hip-hop\, including classic jazz records being sampled by hip-hop producers such as Pete Rock\, and began to devote energy to “reappropriate this music to be what it is\, what it means to me\, and what it means for my people.” \nAfter cutting his teeth in the Western Massachusetts music scene\, co-founding a jazz-hip hop band called Cold Duck Complex that ultimately opened for The Pharcyde\, Digable Planets\, and the Wu-Tang Clan\, he and his partner (now wife\, comparative race studies scholar Nitasha Tamar Sharma) moved to Chicago in 2006. McCraven soon found himself immersed in both the creative and straight-ahead jazz scenes\, proving his versatility\, and along the way finding a community that mirrored the pulsating scene that birthed him artistically. Within five years’ time\, he’d established a name for himself\, gigging alongside scene stalwarts like Willie Pickens\, Marquis Hill and Jeff Parker. \nHe first connected with the founders of Chicago’s International Anthem label in late 2011\, and across 2012-2013 they hosted and recorded a series of improvised jazz nights featuring his combo at The Bedford\, a club situated in what was once an old basement bank vault. McCraven took 48 hours of recordings and sculpted beguiling hip-hop beats\, not unlike how Teo Macero looped and assembled Miles Davis’ On the Corner from improvised magic. At the time\, McCraven thought of the project\, which became the 2015 double LP release In The Moment\, as an opportunity to connect and to “find a young audience in this music. It just felt like the right time and a place where I could really connect with people.” That notion proved prophetic: JazzTimes called the album “one of the year’s most mesmerizing releases\,” the record was an “Album of the Week” pick by taste-making DJ Gilles Peterson on BBC 6 Music\, and it was chosen for “Best of 2015” lists by PopMatters\, NPR\, and the Los Angeles Times. \nMcCraven continued to hone his process of live improvisation and sampling with Highly Rare in 2017 (crafted from a live set recorded at Danny’s Tavern in Chicago)\, 2018’s Where We Come From(CHICAGOxLONDON Mixtape)\, which was built from recordings of a showcase at London’s Total Refreshment Centre\, and Universal Beings (also released in 2018). Universal Beings\, consisting of augmented live sessions in Chicago and New York\, in addition to pop-up studio sessions in London and Los Angeles\, concretely reflects his borderless multi-national ethos. The work featured varying configurations of international players\, including Nubya Garcia and Shabaka Hutchings from London\, Junius Paul and Tomeka Reid of Chicago\, Anna Butterss and Miguel Atwood-Ferguson from Los Angeles\, and Brandee Younger and Dezron Douglas from New York. \nThe title of the album was culled from a sampled passage on the track “Brighter Days Beginning\,” in which percussionist Carlos Niño offers\, “We’re universal beings\,” a theme of borderlessness that resonated deeply with McCraven\, who grew up in a multicultural household and community. “I’m not beholden to this border or this city\,” McCraven told Vice in 2018\, “What is a place? Other than the people. It’s just dirt\, you know?” The resulting album was called “radiant” and “hypnotic” by Pitchfork. \nIn 2019\, McCraven both delivered a triumphant Jazz Night in America performance at South Shore Cultural Center in Chicago\, and mounted a multimedia performance of an early iteration of what became his new album In These Times\, at the Walker Arts Center in Minneapolis. \nIn the meantime\, he remixed Gil Scott-Heron’s final album (2010’s I’m New Here) for 2020’s We’re New Again: A Reimagining by Makaya McCraven\, issued Universal Beings E+F Sides(also in 2020)\, and delved into the venerable Blue Note Records catalog in 2021 for Deciphering the Message\, each project also employing new improvisations and sampling\, helping to further cement his “beat scientist” moniker. Concurrently\, the seeds for 2022’sIn These Times were budding\, and their nurseries were stages around the globe. McCraven explains\, “As I’ve been touring\, I’ve been performing music off of the record In These Times… When In the Moment took off and I started touring a lot\, we would go on the road and 50% of the music was just my concept and my compositions.” \nIn These Times\, a collection of polytemporal compositions inspired as much by broader cultural struggles as McCraven’s personal experience as a product of a multinational\, working class musician community\, is the recording that McCraven has been trying to create for 7+ years\, as it’s been slowly cooking in the background while his other works were released. He began recording In These Times seven years ago\, but “for whatever reason\, Universal Beings just came to fruition much quicker. It just took more time for this to mature into everything it’s become. With the success of Universal Beings and the Universal Beings concerts that we did (with Red Bull) in Chicago at South Shore Cultural Center and le poisson rouge in New York\, I had an opportunity to realize the record not as a collection of four sides of trios and quartets\, but I turned that record as a performance into a 10 to 12-person concert\, and that experience ended up evolving my approach to In These Times.” \nIn These Times encompasses all he’s lived through\, as well as his lineage\, while also pushing the music forward. Music critic Passion of the Weiss suggested that “McCraven’s work\, both with younger players and the sounds of older recordings\, is part of a necessary conversation about the next evolution of the Black improvised music known colloquially as ‘jazz.’ He’s found the threads connecting the past with the present\, and is either wrapping them with new colors and textures\, or he’s plucking them gleefully like the strings of a grand instrument.” McCraven concurs: “To me\, that is the tradition that I want to try to take part in. Being well-rooted\, but walking into the future\, is really what all of the leaders in this music have done that I admire. And I think that resonates with people. Something that’s like how we know it\, but is evolving… It’s just where I am at\, where we’re at\, and the evolution of that\, and that’s what I’m trying to be.”
URL:https://crosstownarts.org/calendar/makaya-mccraven/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2023/01/smallerMakayaALTPROMOPHOTOcredit@sulyiman_.jpeg
END:VEVENT
BEGIN:VEVENT
DTSTART;TZID=America/Chicago:20230330T143000
DTEND;TZID=America/Chicago:20230330T170000
DTSTAMP:20260625T060331
CREATED:20230109T231227Z
LAST-MODIFIED:20230110T171013Z
UID:10004282-1680186600-1680195600@crosstownarts.org
SUMMARY:The Bad Plus & Marc Ribot and the Jazz Bins
DESCRIPTION:Crosstown Arts presents The Bad Plus & Marc Ribot and the Jazz Bins at Crosstown Theater. \nCrosstown Theater\nThursday\, March 30\, 2023\nDoors open at 6:30 pm | Show begins at 7:30 pm\nTickets: $35-45 \nPURCHASE TICKETS HERE \nThe Bad Plus \nReid Anderson (bass)\, Dave King (drums)\, Ben Monder (guitar)\, Chris Speed (saxophone) \nThe Bad Plus are the ultimate originals. A democratic unit with a clear vision and a refusal to conform to convention. For the past two decades they have played with spirit and adventure\, made their own rules and done so with a bold sense of creativity and intent. Avoiding easy categorization\, The Bad Plus has won critical acclaim and a legion of fans worldwide with their unique sound and flair for live performance. \nNow in their 21st year\, The Bad Plus continues to push boundaries as founding members Reid Anderson (bass) and Dave King (drums) embark on a new piano-less incarnation of the band with Ben Monder (guitar) and Chris Speed (tenor saxophone) – instigating a new wave of excitement and anticipation within the band that is re-energizing their sound and inspiration. The Bad Plus have constantly searched to bridge genres and techniques while exploring the infinite possibilities of exceptional musicians working in perfect sync. \nThe Bad Plus is set to release their 15th studio recording and debut self-titled album as a dynamic new quartet via Edition Records on Friday\, September 30th. “Evolution is necessary for life and creativity\,” say Dave King and Reid Anderson. “We’ve evolved\, but we’re still The Bad Plus.” \nMarc Ribot & The Jazz Bins \nMarc Ribot (guitar)\, Greg Lewis (organ)\, Joe Dyson (drums) \nMarc Ribot’s four months with jazz organ legend Brother Jack McDuff were his first ever with an internationally touring artist. Their 1979 itinerary included Ribot’s first concerts in Europe\, and his only to date in Gary\, Indiana and Rochester\, NY. Although the two never recorded together (due to artistic differences that became apparent in Ribot’s later work…Brother Jack reportedly spent much of their stage time fixing Ribot with what side musicians referred to as his “death ray”)\, Ribot never lost his affection for McDuff’s music and the Hammond organ dominated Soul Jazz scene from which it emerged. Says Ribot: “McDuff’s US audiences—the so-called ‘Chitlin Circuit— were just the hippest in the world: sophisticated about the music\, definitely…but also demanding the deepest soul while rewarding restraint in its expression. What this brought out in the musicians was every bit as intense as the music taking shape at CBGBs at the time. In fact\, I always felt the two scenes had something in common\, and I’ve been trying to express exactly what ever since.” \nFellow Jazz-Bin\, Greg Lewis\, is not only one of the greatest virtuosos of the Hammond b3 organ alive\, but perhaps the only one willing and able to haul a real Hammond b3 and Leslie speaker cabinet to live gigs in NYC! Says Ribot: “Greg is NYC’s best kept secret. He can tell a story on the Hammond like nobody else.” Rounded out with a TBA guest drummer\, The Jazz-Bins use deep grooves and over the top improvisation to channel the spirits of Newark’s Key Club Sparky J’s Lounge\, and NYC’s CBGB’s c/a 1977 into a quest for punk/soul salvation. The Jazz-Bins go— not exactly ‘ancient’\, but ‘back’— to the future\, to tap into a scene that never really existed (but should have\, will\, and does whenever people drop their preconceptions about ‘genre’ long enough to feel the groove)\, and a vibe that never really stopped. Dig it! \nNew Orleans native Joe Dyson has certainly been one to watch. He started playing music in his family’s church at just two years old. After being noticed for his peculiar talent\, Joe was placed in the Louis “Satchmo” Armstrong Summer Jazz Camp where he was shadowed by the late\, great clarinetist Alvin Batiste\, and his longtime band leader and mentor\, alto saxophonist Donald Harrison. He went on to graduate from the New Orleans Center for Creative Arts (NOCCA)\, and earned a Presidential Scholarship to his alma mater Berklee College of Music. \nJoe has shared the stage with Dr. Lonnie Smith\, Ellis Marsalis\, Christian Scott aTunde Adjuah\, Jon Batiste\, Leo Nocentelli\, Sullivan Fortner\, Dirty Dozen Brass Band\, Pedrito Martinez\, Grammy Award winners Nicholas Payton and Pat Metheny among others.
URL:https://crosstownarts.org/calendar/the-bad-plus-marc-ribot-and-the-jazz-bins/
LOCATION:Crosstown Theater\, 1350 Concourse Ave.\, Memphis\, TN\, 38104\, United States
CATEGORIES:Crosstown Theater
ATTACH;FMTTYPE=image/jpeg:https://crosstownarts.org/wp-content/uploads/2023/01/TheBadPlusAndMarcRibot_03_30_23_CrosstownTheater_SocialMedia5-2-scaled.jpg
END:VEVENT
END:VCALENDAR