Musicians Club – After more than 100 years, the Colored Musician’s Club is not only strong, but expanding, physically and spiritually.
After more than a century as a social club and institution, the most charming brick block on Broadway is getting a makeover. Colored Musicians’ Club, Inc. Official plans for a multi-million dollar expansion of the historic 85-year-old home. (CMC or Club) will soon become a reality. A recent acquisition of much-needed financial resources has the corner of Broadway and Michigan delving into its old roots in hopes of finding new and buried treasures. combining past and future in real time. Linda Appleby, CMC board member and head of the festival committee, is excited about the opportunity to take CMC’s new expansion and renewed vision to the next level. He remembers the many conversations between supporters of this national treasure. “I have been on the board of the Club for 10 years and over the last 12 years or so, there have been discussions about the lift and improvements to our beloved home away from home.”
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Board Vice President Danny Williams sees continued growth. “The support of our century-old organization has been amazing and unprecedented,” says Williams. “We accept scheduled visits, tours and calls from all over the world. Sometimes people have questions about our open rehearsals and groups; they look forward to sharing the legacy of the old Local 533. It’s a deep tribute to the pride of our city and what this band represents to musicians. and the future.”
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The club is currently under consideration for its recent designation on the National Register of Historic Places and the State Register. As a venue of international importance, the club hosted a gala reception on October 15 last year in a strict Italian setting, welcoming local, state and national politicians, community leaders, media and music elites.
Among other celebrations, the Club held its Grand Centennial Gala at the Lafayette Hotel in the spring of 2017. A few months later, the club held a six-day midsummer festival, headlined by the biggest names in the jazz industry. “And we’re still celebrating!” stated Allita Steward, who has been the club’s head of development for many years. The milestones achieved by the Colored Musicians Club are certainly remarkable (no pun intended). Many organizations have not managed to survive such adversity while still growing. The manager should know. As an award-winning strategic planner, he recognizes the importance of slow growth and what he calls “waves of prosperity.”
“Right now, we’re in the middle of a wave of prosperity. When the waves come, we must let them carry us to new destinations. We have the ability to reach uncharted territory. The coming decades are golden for the City of Buffalo and the Colored Musician’s Club.”
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Fond memories of past CMC Jazz Fest performers: Janice Mitchell (right) international performer and West New York offstage with the late Nina Simone in France in the early 1980s.
For the club, this future includes physical as well as spiritual and artistic. The physical future of the Historic Colored Musicians Club lies in the completion of the second phase of its restoration project, which begins with the addition of a much-needed elevator and rear entrance, both fully funded by a combination of public and private funds. With the elevator, CMC visitors will be able to avoid the creaks and creaks of “call and response,” battle-tested stairs and upper floors. But if they’re lucky, they’ll still get to enjoy the old trick — that’s staying — as part of a bonus tour with the great George Scott.
Another focus of the second phase of the restoration is the extension, where the footprint of the existing structure will extend to the adjacent club car park. This long-awaited upgrade promises to add space, allowing for larger audiences at the festival’s upcoming shows, special events and extended weekly “Sunday Jam Sessions.” Plans for CMC’s new expansion include an impressive two-story foyer, the aptly named “Artist Green Room,” a more prominent stage with elegant decor and enhanced lighting design, facilities and infrastructure. This will make the club an even more attractive performance destination for an already extensive list of internationally renowned musicians.
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Phase 2 of the clubhouse restoration plans includes an addition to the southern elevation of the building, which will include a much-needed lift and an impressive two-story foyer.
On the current menu, you might find the once-popular “trotter plate” — a healthy portion of pork feet and beans, served with a beer — for 25 cents. These days, during the festival, the club offers updated world cheese boards with okra, olives, artichokes, fruit and artisan bread. This, together with beer, wine and spirits can be enjoyed at a table or at the bar. George Scott prides itself on having “the coldest beer in town”.
The historic bar – where the legends were – will be the main meeting place for the masses of musicologists who gather after hours to warm up, whisper and wind down. The second-floor entertainment area will look out onto the two-story foyer, which will feature new bathrooms and state-of-the-art office space.
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Board member Linda Appleby is excited: “The idea of the club now making real progress in terms of renovations and the ever-elusive lift is hugely exciting. We’ve always known the club’s historical importance and now we hope this will be the project that will encourage them to visit and love what we’ve loved for so many years.” .
This view of Broadway shows the parking lot that will be part of the club’s expansion plan. The historic Michigan Street Baptist Church is visible in the background.
And if anyone thought the golden age was over with the likes of Dizzy Gillespie, Billie Holiday, Ella Fitzgerald and Miles Davis, it’s time to take a stroll down Broadway’s iconic staircase for a night of jamming and some socially conscious jokes. But there are even bigger plans on the horizon. The CMC International Jazz Fest will be held from October 11 to 13 this fall and contemporaries of the genre will prepare several performances. The festival committee is excited to announce that the Nicholas Payton artist-in-residence will be featured.
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The club looks forward to the wealth of knowledge and experience that Payton brings to the music history line. An accomplished trumpeter and multi-instrumentalist, Peyton is a graduate of the New Orleans Center for the Creative Arts and the University of New Orleans. His residency promises to bring jazz classification issues (genres and sub-genres) to the fore, as he is the founder of the Black American Music Movement (or BAM). In his words, the BAM movement was born out of a growing tendency to “embody” what BAM plays. music that comes from a cultural tradition, similar to established genres, such as Brazilian music, that is directly related to geographical locations or linguistic ties.
Master trumpeter Nicholas Payton will be named Artist-in-Residence at the CMC International Jazz Fest in October. Its headquarters promises to study the issues of jazz classification, in addition to offering fine music.
“Descendence is what governs art in African culture. Jazz is political and has no roots,” he argued. His thought-provoking revelations lead us to question our true understanding of jazz as a name and jazz as a genre.
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“One of the problems with jazz is that there will always be a debate about what is and what is not jazz, and this prevents a true analysis of the art. When one gets over whether one likes one’s music or not, the jazz tradition always becomes a distraction. Even if artists say their music is not jazz, anything associated with the word will subject an artist to an argument that can never be resolved…
When music moves, Payton says, it moves with its culture, making the nomenclature slippery and extreme. Music is available to everyone and the path to musical creativity knows no bounds, so why should genre names set those boundaries? This music definitely lives and thrives in the Queen City. In this way, Payton will be performing, entertaining our ears with his trio and he has joined the singer Cyrille Aimée in a unique duet performance.
Committed to cutting-edge artistry and eclectically innovative repertoire, the fall festival will also feature a musical celebration honoring the great Reynold Scott, who passed away last June. The festival committee agreed to once again present a curated show—a collection of “never-before-seen” music. Led by Abdul Rahman Qadir, a band will play some of Rey’s original songs, which he will reimagine and collaborate to take the music to the extreme. Artistic director Walter Kemp 3 calls the collective “Reyvolation–outer play-ces” and brings with it the ability to maintain a unique retrospect while artistically reinventing music as it lends itself to futurism. This selected group represents the traveling band of musicians
