The article explains how the majority of jazz harpists play, and then makes it clear that I’m not trying to copy that known style. Reading it made me think back to a transitional point in my playing: somewhere between the end of college and the beginning of graduate school. I remember sitting in a room, working on a couple of new compositions with the saxophonist Kenny Garrett, my teacher and mentor Nat Reeves on bass and a few other musicians. One piece was Tsunami Song, where toward the end, Garrett wanted the sound of the harp to represent water. This was achieved by glissandi. The entire piece was through composed, followed by a few choruses of improvisation where the harp freely glissed in the right hand while playing a rhythmic pattern in the left.  The other piece was not through composed and more rhythmic in nature.  This was possibly the first opportunity I had to freely think about making use of the harp, in different contexts.

After leaving school with a classical degree, and applying to graduate school for another classical degree, in the spaces between, I found myself dipping my hands into any kind of work that sparked my interest. This included top 40 recording sessions, small jazz ensembles, big band, singer songwriter settings — you name it — and I always remember asking “what would you like me to play here? How would you like me to play?  Would you like something rhythmic? Arpeggios? Flat or rolled chords?” I couldn’t help that! When you’re used to reading note for note with specific direction, that kind of freedom can be scary.

Soon, I found myself working with Ravi Coltrane and I think this is where my style began to take form. There were three main elements that he asked to have: his mother’s signature sound, traditional classical style and Dorothy Ashby’s style.

His mother, Alice Coltrane, was already a heavy influence on me. I listened to her music but had never played it before this point. My favorite piece of hers was Blue Nile. On Blue Nile, it is clear that the harp represents water, as in Tsunami Song mentioned above. On harp, she favored glissandi and that pentatonic sound was her definitive sound. To this day, there’s something about Journey in Satchidananda that takes listeners to another level of consciousness. Her approach was spiritual and this is the impact it had on listeners.

In an interview, John Coltrane was asked who his main influences were at the time and his reply was: Ornette Coleman, Ravi Shankar and Carlos Salzedo. It is no secret that Coltrane was a fan of the harp and it is even evident in his playing that he studied harp music. He favored the Classical compositions and arrangements of the French harp pioneer, Carlos Salzedo.

Dorothy Ashby, also from Detroit like Alice Coltrane, was the premiere jazz, popular and session harpist, composer and activist. With more than 10 albums as a leader, Ashby played incredible bebop on the harp and worked with some of the best musicians of her time. With her first couple of solo albums being straight ahead, she also did some big band recordings, funk/groove recordings and became the premiere session harpist on all of our favorite albums from the 70’s.

It only made sense that Ravi would favor the stylistic approach of these artists, which was very much alive in his consciousness for his entire life: Alice Coltrane(spiritual), Dorothy Ashby (jazz & groove, and whom Alice Coltrane admired) and Carlos Salzedo(traditional classical).

The article in the Washington City Paper states: Most…jazz harpists who’ve tackled the tradition work mainly in short, jabby chords, with clipped melodic phrases over top—as close to guitar technique as possible…These rules are important to know because Brandee Younger does not follow them. Is this true? Sometimes, yes. It also says: Younger prefers the … lingering tones that are more common for the orchestral harp.

I’ve always said that if you want the sound of a guitar, hire a guitarist and if you want the sound of a piano, hire a pianist. I play the harp. While there are plenty of times that I sound like a guitar or piano — mainly on gigs that aren’t my own compositions, or on very fast tunes — for the most part, I prefer the instrument to sound like what it is. I’ll be a work in progress for forever, and I’ve spent the past six or seven years connecting my classical background with the spiritual sound and rhythmic groove that is evolving into something very distinct: My own sound.

Free at Le Poisson Rouge.  Doors @7pm.

]]> http://brandeeyounger.com/2013/04/bk-nation-live-music-culture-sessions/feed/ 0 http://brandeeyounger.com/2013/03/2308/ http://brandeeyounger.com/2013/03/2308/#comments Mon, 11 Mar 2013 00:50:39 +0000 Brandee http://brandeeyounger.com/?p=2308 Took a break today from music and attended the Everyday People brunch on the Lower East Side. It’s a monthly brunch co- hosted by Chef Roble.  By the way, you’ll catch me on an upcoming episode of Chef Roble & Co on Bravo which will be in its 2nd season, that starts in June. Stay tuned for that

I went along with tv producer, Blair Younger aka my sister and author, Jay Fingers (who has a brand new book coming out next month!) and also ran into some friends from around the way.  A good retreat from the daily grind. And now…back to practice!

Mimosa Time with Blair

Blair & Jay. Yep, the sunglasses were necessary!

Just arriving…battling the sun!  

Next concert:

March 19 at the Zinc Bar

Full Calendar

Brandee Younger, harp
Ameen Saleem, bass
Chris Beck, drums
Chelsea Baratz, tenor sax

Visit the website for more info.

As the new year approaches, we have a very busy January ahead of us, and hope you’ll be able to make it out to a show

The Brandee Younger Quintet at the Zinc Bar, NYC

On Tuesday, January 15, we invite you to the Zinc Bar for an evening of music — both brand new & old!

Brandee Younger, harp
Stacy Dillard, tenor sax
Dezron Douglas, bass
EJ Strickland, drums

$10 at the door. 10pm. Please visit http://zincbar.com/ for more information and if you’re on Facebook, you can join the event here.

The Bryan, Younger, Uzuri Trio @ CFAN

On Saturday, January 19, please join Brandee Younger, harp; Courtney Bryan, piano and Imani Uzuri, vocals; for a unique evening of acoustic music in the beautiful Church for All Nations. 8:00pm. @ 417 W 57th St. betw 9 & 10th aves. If you’re on Facebook, feel free to join the event or visit TheStoopNYC

WJF: Afro Harping, A Tribute to Dorothy Ashby

On January 11, we will be playing a wonderful tribute to Dorothy Ashby as part of NYC’s annual Winter Jazz Festival. So many bands over the course of 2 days! Afro Harping will be one set at 10:15 on 1/11 and features a wonderful band!

Casey Benjamin, alto sax
Sharel Cassity, flute
Kim Thompson, drums
Ameen Saleem, bass
DJ Raydar Ellis, DJ
Brandee Younger, Harp

Visit www.winterjazzfest.com for the full weekends’ event details & artist bios!

Upcoming dates, at a glance

January 11, Afro Harping; Sullivan Hall, NYC

January 15, BY Quartet at the Zinc Bar, NYC

January 19, Bryan, Younger, Uzuri Trio @ CFAN, NYC

January 28, BY Quintet at Fat Cat, 9pm, NYC

February 24, BY Quartet @ Uniondale Pub Library, Uniondale, NY (Please donate to help bring music to LI! http://www.indiegogo.com/MusicUnboxed)

March 3rd, Long Island Winter Fest, East End, LI

Keep updated on events on www.brandeeyounger.com

Eco Friendly Journals, yours with a $25 donation!

Please consider donating to Music Unboxed, an organization bringing students and professionals together! The exclusive journal above is yours with a $25 donation! Next performance for the series: The Brandee Younger Quartet – with your help! View the video&story!

Love Always Wins!

Brandee Younger

AFRO HARPING Dorothy Ashby Tribute w/ Brandee Younger
Brandee Younger, harp featuring very special guests: Casey Benjamin, alto sax / Sharel Cassity, flute / Ameen Saleem, bass / Kim Thompson, drums / Raydar Ellis, DJ

Friday, January 11 at Sullivan Hall. 10:15pm

Perhaps the most influential jazz harpist of all time, Dorothy Ashby ‘s

music continues to appeal to musicians and music producers alike.

Ashby’s unparalleled musicianship is one reason that the 1968 album “Afro Harping” is a particularly sought after record among producers and beat makers. One of the most progressive artists of her time, Detroit native Dorothy Ashby proved herself a trailblazer, using the concert harp in jazz, r&b and other popular styles.

Ashby, who played bebop lines comparable to a horn player, recorded 10 albums as a leader that featured powerhouse rhythm sections including Art Taylor, Roy Haynes, Jimmy Cobb and Richard Davis. In 1968 she released, with LP producer Richard Evans, “Afro Harping” on the Cadet label. Describing this ground breaking jazz soul album, as “bluesey” & “funky” would be an understatement. Dorothy Ashby took songs of the time, laid African and Afro-Latin grooves underneath them and played soulful and creative lines on top, placing the harp at the forefront. Decades later, hip hop and r&b artists continue to use “Afro-Harping” to enhance their music with its timeless sounds. Music makers such as Pete Rock, Jill Scott, Angie Stone, Kendrick Lamar, GZA and Flying Lotus have all sampled this monumental recording.

New York based harpist Brandee Younger has paved a path all her own using the harp extensively in modern styles, having shared the stage with the likes of Jack Dejohnette, Ravi Coltrane, Charlie Haden & Reggie Workman, as well as performing on tracks by Common, Ski Beats & John Legend. Younger has become one of New York’s most sought after musicians and continues to challenge the role of the current harpist.

Visit the Winterjazz Fest Site! 

I hope you all had an enjoyable summer — it all went by so quickly and now it’s Back To School/Back to Work (for the teachers at least).  I started the season off with an inspiring trip to Milwaukee, where I played for Growing Power‘s Urban & Small Farm Conference!  I could go on for hours about how amazing it was and all the incredible things that Will Allen is doing for communities all over the country…but I’ll post some photos below and spare you!  :-)  In the meantime, I’d like to invite you out to a live taping!

Please join us on October 17th for a live interview and performance at Manhattan’s Neighborhood Network Studios at 8pm.  Hosted by Doug Bailey (WBLS), this taping is free & open to you
The performance will be by the Brandee Younger Quartet with Brandee Younger, harp; Stacy Dillard, tenor sax; Dezron Douglas, bass & EJ Strickland, drums.
Please email any questions you may have regarding this live taping to info@adelightproduction.com
Hope to see you there!

For all of you that are in New Jersey, Saturday, October 6 at 6:00pm I will be playing with Courtney Bryan at Bethany Batpist Church for their Jazz Vespers.  I’m excited to be back at Bethany!   This evening will be a night of special, sacred music along with two very amazingly talented women: Courtney Bryan on piano and Imani Izuri on vocals.   Please visit their website for more info and here’s the Facebook Invite

On Sunday, October 14th, we will be at Abyssinian Baptist Church for their jazz vespers! 4:00pm – same group as above

On Saturday, November 3, my quartet will be giving a concert in New Rochelle at the PAC House Theater! Please save the date

At Growing Power’s Small & Urban Farm Conference, with Will Allen

Tweets by @Harpista

Download “He Has a Name”

Trayvon Martin: Musicians React in Heartfelt Tribute

It has taken the fatal, senseless shooting of an unarmed 17 year old African American male by the name of Trayvon Martin to reawaken our generation to the fact that racial injustice still exists. From Billie Holiday’s “Strange Fruit”, Marvin Gaye’s “What’s Going On”, Curtis Mayfield’s eponymous “Curtis”, Gil Scott Heron’s “Pieces of a Man” to Ice T’s “Cop Killer”, music has a rich history of responding to socially conscious issues that affect the African American community.

Affected by the recent Trayvon Martin case, New York based harpist Brandee Younger composed “He Has A Name (Awareness)” in memory of the late Trayvon Martin. The classically trained harpist you may have heard on the recordings of Common, Ryan Leslie, jazz saxophonist Ravi Coltrane and even behind the flow of Drake on an early mix tape has responded to the Trayvon Martin case on a rather personal note, commenting in the song’s expressive liner notes “For me, having a teenage brother who appears not unlike Trayvon, I can’t help but be fearful that he will be judged unfairly, based on stereotypes and appearance. ” Recorded with bandmates Dezron Douglas (bass), E.J. Strickland (drums), Stacy Dillard (tenor sax) and Nicole Camacho (flute), the piece was written to help continue to bring awareness to the issues of racial profiling and injustice today and urges us to open our eyes to reality instead of holding to irrational beliefs due to preconceived notions.

Read the liner notes

“He Has a Name ” (Awareness) is available for download on bandcamp.com and all proceeds will be donated to the NAACP Legal Defense Fund to help the organization continue its work for racial justice.

Maria Callas would have been 88 today