[SPEAKER_04]: I'm
[Carter]: Good evening, everyone. My name is Terry E. Carter, and I direct elder services here at the West Medford Community Center. I want to talk a little bit about the building that you're in. West Medford is the historic African-American community in Medford. And this building, this is actually the second building on the site, is and has been probably the centerpiece of the community. You see on the top row a bunch of older folks. Those are the West Medford Elder Photo Project. Then on the lower portion of the wall, what you see is the West Medford Afro-American Remembrance Project. and there's some interesting connections because we have folks from Brandeis here and actually it was a professor from Tufts and a professor from Brandeis that actually got together with folks in the community and with the genesis of this history project that rings the community center at this point. So we had a great night last night. We were actually outside and the only thing that it wasn't was warm, but it was you know, the jazz was stirring. I'm the Poet Laureate of Medford, Massachusetts, so with Jonathan Fagan, Greg Toro, and John Dalton, we're the Ally Project, and so we were the second act to go on last night, and then we had Beacon Blues Band, which was fantastic. So it was just a great night of music, and we expect much the same tonight. So don't fret about the fact that the seats aren't all filled. It is what it is. But we will make masks optional. I envisioned a room full of folks and wanted to make sure that everyone would be comfortable, which is why we put the mask mandate on. But if you're comfortable and you want to take the mask off, then feel free to do that. founder and the major domo of the Medford Jazz Festival. He's my friend. He is a pianist, a composer, an arranger, a band leader, and a teacher. And we've been making some beautiful music together. So with no further ado, Mr. Jonathan Fagan.
[Fagan]: Thank you, Terry. So first of all, just a couple more people to thank, first of which is Terry, actually. for really facilitating this entire partnership between the Jazz Festival and the West Medford Community Center. We could not have done this without their support. And I really can't think of anywhere better to do it because, again, as he was saying, it's such an iconic space, and there's so much history here that was just perfect for his poetry. And I think you're gonna enjoy, well, both what this group, Dakota's Trio, and what Leo Blanco is gonna play later. A couple of other sponsors that definitely need to be mentioned. First of all, our loyal Patreon supporters. These are people that just put a couple dollars in every month, and they really allow us to do things like this. They're the reason that we were able to sustain our monthly jam session series here, which I think a couple, as I'm looking, a couple of you have been there before. It's a great opportunity for professional musicians to network and then also for students to get to play with some people that they wouldn't get to play with otherwise. To the Mystic River Watershed Association, which really stepped in and made this feasible for us towards the last minute. To the Arts Alive Foundation, which is headed by the great Mae Marbeck, they fund so many great arts initiatives across the city to the Medford Arts Council for their continued support. I always joke that this festival started four years ago in my friend's laundromat with the help of the Medford Arts Council, and they've really been, you know, just a steady, steady force through this whole thing. And I'm trying to think, am I forgetting anybody? I'm having one of those moments. Oh, and Caché, thank you. Caché Medford, which is another organization that's helped us to promote all of this. And the Medford Community Media, who's doing all of the streaming for us tonight. So thank you very much to them. And thank you to our viewers online, too, at this point. I looked at just a little bit of the stream from last night, and it was fantastic. Thank you also to Audient Sound Company, who's done a lot to make this sound as good as it does now, and hopefully, well, it'll sound better when I'm not talking. So, there you go. So, it's my pleasure to introduce Dakota and, well, I called them the Brandeis University Trio, but I understand since that they've come up with a better name. Or Dakota and... Dakota and the rest of us. There we go. It's what happens when you put these musicians together. No, but seriously, Dakota's one of those students that within about 10 minutes of our first lesson together, I got a pretty strong sense that she would be doing some special stuff in the first couple years. And here she is, and I am sure there's more in store very soon. So I'll turn it over to them. And well, do you want to say, I'll let you do your thing.
[SPEAKER_02]: Hello, that was Sweet Pumpkin. Who wrote it? Ronald Bright, Dr. Ronald Bright. I actually got that song from Samara Joy, really good vocal jazz singer. Okay, well on the bass, we have my jazz director, advisor, guidance, Bob Neske. On the drums, we have Gordon. My new friend. My new friend. Okay. So next tune, we are playing Let's Cool One, Thelonious Monk. Very fun tune. Yeah.
[SPEAKER_03]: The next number we're going to do is Polka Dots and Moonbeams.
[SPEAKER_02]: Featuring Bob on the bass playing the melody.
[SPEAKER_03]: Trying not to make it a melody.
[Fagan]: The next tune is a great standard called I've Never Been In Love Before.
[SPEAKER_04]: Is that good? One, two, one, two. do
[SPEAKER_02]: Um, our final tune for tonight is Spain, dedicated to Chick Corea, who is from this area, I'm pretty sure. Well, that's in the area from Massachusetts. Um, yeah, okay.
[SPEAKER_03]: Okay, cool. Okay. Alright, cool.
[Fagan]: Yeah, it's you first. Gordon Engelgau on the drums. Bob Neske on bass. And of course, Dakota Lajow on the piano. Dakota and the rest of us, as they like to say. All right. So we're going to take a quick break. Please take advantage of the restrooms. We have a water fountain over here. I believe we have some more hot cider and coffee in the back over there, and then also snacks available for purchase. So we're just going to take about 10, 15 minutes, swap out keyboards and some cymbals, and then we'll be right back with Leo Blanco.
[SPEAKER_04]: you
[Carter]: Okay, so if you are interested in refreshments, they're actually being dispensed in the kitchen. So as you go out toward the outside door, the first room on your right is the kitchen, there's coffee, there's hot water for tea, there's a hot apple cider, and then there's a bunch of different snacks. So it's nothing too expensive, but something to nosh on and something to have a little beverage.
[SPEAKER_04]: do do
[Fagan]: But anyways, it's my distinct pleasure to introduce Leo Blanco and his trio. These guys are just amazing musicians. Leo has been at Berklee for many, many years, is an established composer and educator, and has just recently come out with another CD, which, with a violinist, I think you were saying that you brought a different one tonight. Africa Latina. Thank you.
[SPEAKER_04]: The part in the center has to go at the bottom to make it solid.
[SPEAKER_03]: And if you touch the part in the center, it'll be very dirty. Yeah, I've done that. It's not dirty. Yeah. Any drummer knows that. As long as there's not an earthquake, I think we'll be okay.
[SPEAKER_04]: you.
[SPEAKER_00]: Yes. Hello, people online. Hello to my son. He's online all the time. So, yeah, I'll introduce the tunes by, as we go. The first one is one inspired on all the influence we have in South American countries by the Arab world, Middle East world. Not many people talk about that influence. Everybody talks about the influence Europe, Africa, of course, and indigenous that was almost lost, wiped out. But through, I guess, through Spain, we got a lot of influence from, from the Arab world. Spain itself was invaded for eight centuries by, by, by Arabs. And when they, spell them out after eight centuries, many of them were persecuted and many of them embarked to South America because it was easy to escape and so it kind of was under the table on the records, but we actually have a lot of Arab words in Spanish, like for example, ohala, I wish, which is to Allah, right? if God wants. So this one is called Azul de Manicuare and it's inspired on the Arab influence in the Americas, especially in South America. Thank you.
[SPEAKER_04]: do
[SPEAKER_00]: Thank you. Yes, all right, thank you. That was Azul. Let's continue with one called Colors of South. Sorry, have you gone crazy there? Before I continue, I have to introduce this wonderful team that really gets me inspired and rock and back me up and that, get me inspired all the time. On the drums, my friend Mark Walker. Mark Walker is just coming, returning from a tour with Arturo Sandoval all around the world, and now here in the city of Medford. You made it. Fernando Huergo from Argentina, my longtime friend, Fernando Huergo. Thank you. Thank you, thank you very much. You see why I love playing with these guys. All right, I'm gonna turn it down a little bit. This is a composition called Waltz Number Five. So I don't wanna get too technical musically speaking, but waltz is usually something in three, four. And I wrote this, which is in five, but it has that feeling of three. Anyway, you shouldn't be counting. Just sit back and enjoy. Let the counting for us. Yeah, don't count on me. Thank you very much. It's a pleasure to play for you. Let's go south to Peru. I was producing that album that Jonathan mentioned before, Africa Latina, because I was fascinated with all the heritage we got from Africa in different groups and groups that sometimes even people, inhabitants of those countries wouldn't even know about it, right? So for example, you know, when we talk about Andean countries of South America like Ecuador, Peru. Sometimes people don't even, are not even aware that there are African, African descendant people there, and a lot of, many of them. So many people don't know, have no idea, for example, that tango from Argentina, which is such an elitex and sexy dance and that they very much be loved in Europe, it comes actually from Africans living in Argentina, because believe it or not, there were a lot of Africans living in Argentina. And nowadays, it's like even difficult to see a black person in Argentina. They were all wiped out, basically. And in Ecuador, and Peru, and Bolivia, we see only black people in the World Cup, because they are part of the team. 70, 80% part of the teams, of the soccer teams, are African descendant people from these countries. And they're not given opportunities to go into other type of jobs, so they go into art or sport. So anyway, with this research that I've been doing about African heritage in South America, I encountered these different rhythms from Peru that were not very well known at that time. And nowadays, it's different. Things have changed in a good way. And so this one is called Lando. And it's called Peru Lando. The tune is based on a rhythm called Lando. I hope you like it. So now we come back up in South America to my native country of Venezuela. Yeah, so before METFOR, my native country was Venezuela. So yeah, this, you'll hear a little bit of jazz and Venezuelan music on this tune. It's called Roots and Effect. Thank you, thank you very much. It's been a blast. Just intimate, but nice vibe, right? That is what it's all about. It's all about, yes. Thank you very much for being here. We're gonna play the last tune now. But please, another round of applause for these incredible musicians. Mark Walker on drums. Mark Walker. Fernando Huergo on bass. Fernando Huergo. Thank you very much. My name is Leo Blanco again and I'm actually the last tune. Thank you. Thank you. Thank you, Jonathan, for inviting us, for creating this festival. Yeah, we need more culture. That's what makes communities strong, and the identity of the communities, too, the diversity, the identity and diversity, right? The last tune is the title of the album that Jonathan mentioned that is available there. It's called Africa Latina. Thank you very much again for being here.
[SPEAKER_04]: you
[Fagan]: Once again, please, warm round of applause, Leo Blanco and his trio. Amazing. What a perfect way to end our festival for this year. Just before I let you go, I have to remind you that there is a donation jar over there on that table over there. That allows us to hire amazing musicians like this and to keep this festival going. For those of you who are interested, please also sign up for our newsletter. We will keep you in the loop about future jam sessions and other events that we'll be hosting. Thank you again to Terry Carter, the West Medford Community Center, our Patreon supporters, Mystic River Watershed Association, Cache, Medford Arts Councils, and all of our other sponsors, Arts Alive Foundation, Dakota and her trio earlier today. All right, so thank you all again and have a great night.