![]() 16 press release.ĭuring the livestream, O’Connell was joined by Tammy Kernodle, a musician and professor of Musicology at Miami University in Oxford, Ohio, and Maya-Camille Broussard, founder of Justice of the Pies, a Chicago bakery at 65 Chicago Riverwalk.īroussard said her first encounter with hospitality in the kitchen was when she was younger and would visit her great aunt’s house on the West Side, where she would eat gumbo. “Our most cherished institutions, celebrations and rituals are marked by the presence of music and particular foods,” the Hyde Park Jazz Festival organization said in a Sept. 8, with “A Woman’s Place” discussion, which focused on characteristics of care and hospitality that Black women have and how they put those into practice in the world, as well as in their own spaces. The “Jazz Kitchen” series kicked off on Thursday, Oct. “It’s really just to bring food and jazz together through intimate conversation with fascinating people in some, hopefully, interesting ways.” “The idea behind jazz kitchen is quite simple,” said O’Connell, the former executive director of the Center for Black Music Research at Columbia. ![]() The virtual discussion-based series, hosted by Monica Hairston O’Connell, who holds a doctorate in ethnomusicology from New York University, dives into the aspects of influence that jazz music and food have on each other. Shadow Talk is a victory made possible in part by artistic incubators like the Hideout, the Empty Bottle, and Beat Kitchen it’s heavy but fitting that the album now takes on additional meaning advocating for their survival.The Hyde Park Jazz Festival organization has launched a new virtual livestream series, “Jazz Kitchen,” which explores the intersection of jazz music and food and how that relationship played a role historically and still manifests itself in everyday life. It can take years of trial and error, the kind of long-term conditioning made possible by the independent venues where the band came up-venues that suddenly find themselves endangered. For a five-piece like Cafe Racer, grasping this slippery balance doesn’t happen by accident. Shadow Talk is soluble yet rock-solid it evaporates and re-materializes with ease. Midway through the 10-minute closing track, a sustaining organ slips in unannounced, the whistling breeze that gently informs you that you have about four minutes before it turns into a droning downpour. ![]() Subtle but firm, Shadow Talk’s motion mirrors time and weather: the first three tracks sound like a lucid morning becoming a focused afternoon, then gliding into a depressurized evening. Credit not only Cafe Racer’s conviction to rewire their love of fuzz with new energy, but also the album’s phenomenal sequencing. Still, the best part of Shadow Talk is its gestalt: The individual pieces are all a notch stronger, but their sum is a ton stronger. They do heavy lifting without breaking a sweat when the rest of the band violently crashes down around them in the middle third of “Exile,” they keep the whole thing up while hardly raising their voices. While Santana still sings as though from behind Jim Reid’s and Jason Pierce’s sunglasses, he also doesn’t hesitate to tear them off for the occasional towering ripper and bark some heavy-sounding words, pushing his full weight into “boulder” and “vulture” on “Seminal Art.” Behind him, bassist Rob McWilliams and new drummer Elise Poirier hum in the shadows. Cafe Racer are now bigger, sharper, and far more flexible. Their third album, Shadow Talk, doesn’t just leave those critiques in the dust-it’s also the rare case of a band that sounds entirely aware of how much better it’s gotten.
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