I recently attended a friend’s get together in Manhattan where I was privileged to be in the company of a number of great people, one of which is the very talented Darryl Yokley. Darryl is a freelance musician in New York City having worked with such ensembles as the Captain Black Big Band lead by pianist Orrin Evans, Valery Ponomarev’s Big Band, as well as Frank Lacy’s Quintet and Big Band. He has also worked with a number of artists such as Christopher Hemingway, alto saxophonist of the New Century Saxophone Quartet, concert saxophonist Joseph Lulloff, and Timothy K. Adam’s J.R., former principal timpanist of the Pittsburgh Symphony.
He has recently formed a quartet of his own featuring George Burton on Piano, Luques Curtis on Bass, and Wayne Smith Jr. The band performs at Chris’ Jazz Cafe in Philadelphia this Thursday June 30th followed by a show at Fat Cat July 24th with guests artists JD Allen and Bill McHenry on saxophones, and Corcoran Holt on the bass. The band has been playing fairly steadily since it’s debut gig in November of 2010 and is set to record their first album in August of 2011.
Darryl kindly took time out of his busy schedule to talk a little bit about his career, forthcoming gigs and the industry.
Q: How did you get into the industry and choose the saxophone as your instrument?
The saxophone was an instrument I had always wanted to play growing up and my parents saw that I had a strong desire for playing the saxophone and started renting one for me one when I was 11 years old. As far as how I got into the industry, I guess you can say I just naturally became envolved in it from sitting in at jam sessions in North Carolina, Philadelphia, and New York, and from maintaining the social networks I established while in school. I also think a big part of it is that firstly, you have to be able to play at a certain level and, secondly, be respectful of your colleagues and this should be reciprocated. If there is one thing I’ve learned and am constantly working on it is to not let your kindness be taken as weakness… especially in the music industry because if you do then people will try to get one over on you then you’re stuck in the position of a truly starving artist for not standing up for what you are worth. There are definitely some honest cats out there who will look out for your well being, but you also have to maintain a balance of giving respect and making sure the people you interact with show you that same level of respect . I believe this and showing a constant progression as a performer goes along way with how you progress and move up in the industry.
Q: Which artists have been most influential on your career to date?
There have been so many that I don’t think there would be enough room to list them all here!! I’d say the artists who’ve been most influential for me to date would have to be the members of my quartet first and foremost. George Burton, Luques Curtis, and Wayne Smith JR first off just for the musical and personal relationships that we share on and off the bandstand. From Philly, great musicians such as Sid Simmons, Mike Boone, Byron Landham, Tim Warfield, Orrin Evans, and many others who have influenced me on a musical level, a business level, and/or a personal level. My time in Philadelphia I would have to say is still probably the fastest I’ve ever grown musically sitting in at Ortliebs Jazz Haus, Chris’ Jazz Cafe, Reuben’s Marc….the list can go on and on. When I moved to New York I had some great people taking care of me and watching out for me and that helped me reach the next level after moving out of Philly. The two that stick out most in my mind are fellow saxophonists Stacy Dillard and JD Allen, both GREAT players and beautiful people, and they have been a big influence on my outlook on things, artistic and otherwise. Then there is an abundance of artists both living and now deceased whom I’ve never met, but have influenced me nonetheless. However, for this particular interview I want to pay homage to some influences that are a little more close to home to me.
Q: So what is the history of the band members, forming the quartet as a result?
I met George and Wayne in Philly and we played together often, hung out together all the time, and we became (and still are) very close friends. I had met Luques a few times when I was in Philly, and then I would run into him a little more often when I moved to New York, and when I had the idea of forming a group I had a couple of bass players in mind, but there was something about his playing that I really liked, and I thought it would fit in perfectly with Wayne, George, and myself…..and it did!! Needless to say I’m very happy with the group as it is now.
I’ve always felt that a great group is a group that you can have a very strong musical relationship with in the sense that everyone brings something to the plate and the group as a whole could grow together, but also a group that you like to just spend time with off the bandstand hanging out with. All of us get along group, we play together well, and we enjoy playing the music that we are playing…..at least I hope they are enjoying playing my music!! ( he laughs)
Q: Your portfolio of work and collaboration with recognised figures in the industry is impressive. How do you describe your quartet’s style of music; does it differ to work performed with others?
It’s hard to put into words….some compositions are swing, some are Latin, some can have a certain groove to them, at times it can be very free, some are short forms, others more through composed, some show very obvious that we have strong ties to the roots of jazz history, some show us testing the waters, and some compositions can very easily have the listener asking the question “Is this jazz I’m listening to??” (laughs)
It’s really hard to figure out what kind of “style” because for one I am not a big fan of the idea of styles. For me it is a decadent institutuion that confines human expression to enclosed parameters. When you say I have this style it also implies what styles or skills you do not have. Lately I’ve been trying to break myself out of the habit of saying I’m a jazz and classical musician…at the end of the day, I’m just a musician!! When people ask me what style of music I play I am forced to answer jazz and classical just because it is what the norm is, but I think people would do better to just listen without any prefixed ideas about what something is going to sound like based on what “style” is has been classified as….either the music touches you or it doesn’t. I like to think of the scene in Enter the Dragon where Bruce Lee tells the student “It’s like a finger pointing to the moon. Don’t concentrate on the finger or you will miss all that heavenly glory.” As far as the question of whether the quartet’s work differs from other groups I’ve performed with or that are of a similar ensemble I would have say yes. The reason I say yes is because this group is different from any other ensemble just from the fact that the personnel have different personalities, outlooks on music life, and so on, and that in turn will affect the music. I can go on this subject for awhile so I will stop while I’m ahead, but as and end though, and not to liken myself to someone as great as Duke Ellington, but I’d like to think of the compositions we play as well as the groups playing in general as “beyond category” and it is a philosophy I strongly embrace and try to be conscious of….to maintain constant honest expression.
I can fully appreciate what you’re saying as a fellow artist. I agree and I also like your Bruce Lee analogy from what is a classic film.
Q: Historically your genre of music hasn’t been mainstream. There are numerous bands out there, all aspiring to be both financially and commercially successful whilst retaining a grass foots following. Some have achieved such success but their music has changed dramatically. As an artist, do you envisage this as a potential challenge?
It is definitely a challenge that many artists are confronted with and I am no different. While I would definitely like to be more financially well off from just performing, the reality is that there is a very, VERY small tier of people in that company and an even smaller tier of those who actually get to create the art they want to on their terms (meaning they don’t feel the need to cater to critics and/or the audience if they really don’t want to), so I hold no delusions of grandeur about this point and anyone who thinks that they will be the exception would do well to face this reality as soon as possible. I will say that for me I’d like my artistic endeavors to be honest all the time so even if I can’t support myself just based off playing gigs and record sales I am okay with that. I teach, do clinics, I write and/or arrange music for various ensembles, and I am about to start getting involved in my first film scoring project so I have plenty of ways to make money in the industry. I guess what I’m trying to say is that for me I have no problem supplementing my income from these other facets of the music industry because I see them as other ways of, one, expression in a different medium, and two, a way that allows me to maintain some financial stability while still playing the music I envision playing and with the musicians I wish to play with on my own terms.
Q: I’ve heard it argued American Jazz musicians gain notoriety overseas before making a successful career partly because this genre isn’t mainstream. Is that view true particularly today when access to music of various kinds is so easily accessible?
I don’t think one has to go overseas to make a name for themselves. I don’t think it hurts a musician to have that overseas experience on their resume, but I don’t feel you necessarily need to go there to get more notoriety here. I think there is a deeper appreciation for jazz and just the arts in general overseas, the pay is much more substantial than what one would receive in the states, and just experiencing another culture is a great thing, but I don’t think you have to go overseas in order to gain recognition here. Because of people emigrating to other countries and technology like CD’s, iPods, the internet, etc, the diversity of music you can hear in a country has vastly increased. So the need to travel outside your own country I feel is of less importance because people overseas can just listen to your material online and decide if they like it and would like to have you come to perform there. The other thing to consider why in respects Americans do get more notoriety abroad and have this outlook that you must go overseas to make it is that you always appreciate what you don’t have. America is the birthplace for jazz, and I think a lot of Americans take that for granted, which I think is a shame because I believe (and if someone else sees otherwise and shows proof I’ll accept it) it is Americas first artistic contribution (at least musically) to be recognized and accepted by the world. But it’s not just Americans who under appreciate their homeland art. For example, if you go to South America I doubt there are going to be huge record sales for salsa or latin music because they are surrounded by it all the time or shakuhachi and kabuki in Japan because it’s so close for them as natives that they can hear it anytime. So it’s no wonder these countries seek to get American performers, and I think that has a great deal to do with the idea that you need to first go overseas to become established.
Q: You’re performing at Chris’s Jazz Café this week. Could you tell me a little more about your immediate plans and where you aim to be in five year’s time?
Yes I will be at Chris’ Jazz Cafe with the group minus Luques who is out of the country at the time. I’m looking forward to playing in Philly again…it’s been a minute!! As far as my plans for the next five years goes I have an idea of where I would like to be….(LoL). The quartet with George, Wayne, Luques, and myself are going to go into the studio in August and record our first CD so I’m excited about that. I’ve had some interest in recent months from some festivals in Italy and some clubs in the mid west so once the CD is done I will finally have a product to give them. In addition to that I’ve signed with Artists Recording Label and they will be helping me with the process of recording this first album. All these things are starting to fall into place and I’m looking forward to the future. My goals are to record at least one CD every year, and one of those years I would also like to record a big band album in conjunction with the quartet CD. With these products I’ll hopefully be playing a wider variety of venues in the states and overseas and possibly make a DVD. I am also in the process of writing some classical music such as a concerto for two alto saxophones and orchestra, so I have a Myriad of projects that will probably take me about 5 years to finish! All in all I feel good about how things are developing in my career and I fully embrace all that future holds in store for me.
I wish Darryl and the band the greatest success and I hope he remembers I’m available to design his album covers when his success continues on an upward trajectory!!! 🙂
His Performances for this week: Tomorrow night at Zinc bar with the Valery Ponomarev Big Band!! Show starts at 9pm. Thursday, June 30th, the Darryl Yokley Quartet at Chris’ Jazz Cafe Philadelphia
Darryl Yokley- saxophone, George Burton- piano, Ryan Berg- bass, and Wayne Smith JR- drums. Show starts at 7pm.
Sunday Duo Presto will be performing at the Kittay House, the Bronx NYC at 2pm.
For further information please visit his webpage
September marks my second exhibition at the Red Gate Gallery, London .The title of the show is ‘Elements of Life’ and addresses my appreciation of people, places and experiences. Fundamentally, it is a celebration of love, family, friendship and human creativity: components I feel make our short time on this earth worth living.
I fully subscribe to the Taoists belief that everything we value is a combination of many if not all the positive ‘elements’ of life. The ‘elements’ identified with this philosophy i.e. wood, fire, earth, metal and water, are not purposefully incorporated but I invite you to explore these and more social and interpersonal components as life enhancing, therapeutic and healing sources. A percentage of sales from original work will be donated to the Sickle Cell Society. The show will run from September 22nd to 29th
Friend and fellow artist, photographer Elizabeth James will have her first solo show entitled ‘Form follows function’ immediately after. A percentage of sales from her show will go towards Refuge, an organisation working with women and children currently living with domestic violence. Look out for further information on live performances by guest musicians and poets during both shows. Further details will be announced very shortly. Have a great weekend!
Red Gate Gallery
209a Coldharbour Lane,
London. SW9 8RU. UK
The following arcticle was orginally posted this week on the Repeating Islands blog.
A group of artists across North America, Europe, Africa, and the Caribbean have created an online petition to request a full pardon for Marcus Garvey, founder of the UNIA, and a national hero of Jamaica. The goal is to get 10,000 signatures and to deliver the petition to President Barack Obama, the South Florida Caribbean News reports.
“When I read about the efforts of the Hon. Olivia ‘Babsy’ Grange in Jamaica, I decided to begin a similar movement here in North America,” said Mr. Geoffrey Philp, a Jamaican author and poet.
“Marcus Garvey has long been an inspiration because of the values of self-reliance and industry to which he devoted his life. After corresponding via email with other writers and artists, we decided to create a Facebook page (https://www.facebook.com/pages/Clear-Marcus-Garveys-Name/123156414434047?sk=wall) and to put the petition online (http://signon.org/sign/clear-marcus-garveys), so that anyone who cares about justice can join in the cause.”
Clear Marcus Garvey’s Name
To be delivered to:
President Barack Obama
“We are petitioning President Barack Obama to issue a full pardon and to clear the name of Marcus Mosiah Garvey, a national hero of Jamaica.”
Marcus Garvey, founder of the UNIA, was arrested by the FBI under the Hoover administration and charged with mail fraud for which he was sentenced to five years in prison. Although his sentence was eventually commuted by President Calvin Coolidge, it is now abundantly clear that Garvey did not commit any criminal acts, but as Professor Judith Stein has stated, “his politics were on trial.
“This is a cause that President Barack Obama can fully embrace,” Philp continued. “In Dreams From my Father, President Obama has acknowledged Garvey’s influence by quoting one of Garvey’s more famous lines: “Rise up, ye mighty race.”
For more information, please call 786-556-7192 or visit http://signon.org/sign/clear-marcus-garveys?source=c.fb&r_by=217693
Over the last few days, I have befriended a number of people. It seems a majority of them are visual artists, dancers and musicians! I’ve said this before but it’s most encouraging and a huge blessing to meet people with such a craving for life, persevering in what they feel propelled to do. Yes, some of them work in other fields too ( if and when needs must) but it’s a joy when I see drive, tenacity and a commitment to create something from nothing with the impact of bringing pleasure to potentially so many others. Equally, it is self believe and discipline that is the bridge between having goals and reaching noteworthy accomplishments. With this in mind, I feel happy to add an entry about Syracuse based artist Octavia Wright- Hirry. Like artists before her, I’m happy she was open to sharing her thoughts on art, her work and where she finds her inspiration.
Octavia, how long have you been painting and what inspires you?
I have been painting for 20 years now. I get my inspiration from everyday people, my travels and sometimes cues from nature.
What is your favourite medium and why?
I use watercolours, colour pencils, and ink but acrylic paint is my favorite medium because it dries fast and cleans up easily. Not to mention acrylic colours are bright and I love bright colours.
Your work it seems is very figurative as well as colourful; is there a conscious message you try to communicate in your work?
I love figurative style with a touch of pop art. My colour choices are meant to attract attention and get the viewer to see that art doesn’t have to be boring or uptight or overly expensive.
How do you handle the commercial/income generating aspects of being an artist?
When you are an artist you are pretty much a one man/women business. You are the CEO,VP, employee and chief of marketing. You have to balance your time between creating and marketing your work which isn’t always easy. I have a schedule that I try to stick to that helps me keep things balanced.
Where do you see the future of original art, particularly Afrocentric art. Do you think commercial art galleries represent a wide enough variety of artists?
I think people will never lose their love of art. People are always on the lookout for new and original art. Afrocentric art is still a growing field and the demand for it doesn’t seem to be slowing down. No, I don’t think most galleries offer enough variety. Most of them have a certain type of art they represent and usually doesn’t cover all types of art work.
What are the best and worst elements of being a full time working artist and designer?
I love being a full-time artist/designer. I get to set my own hours and there is no limit on my level of creativity. The only drawback to being self employed is sometimes there can be periods of slow sales.
Where do you see yourself in years to come?
Ten years from now I hope to see my art in even more markets and my name on dozen of children’s books. 10, 20, 30, 40 years from now I hope that I am still able to hold a paint brush and create. I love art!!!
For further information on Octavia please visit http://www.myspace.com/dreadmommie
I was reminded by a friend of the present crisis facing the African Centre in London’s Covent Garden. The following article, written by Jonathan Prynne is taken from London’s Evening Standard Newspaper. It would be extremely disappointing to see the centre close.
‘ Archbishop Desmond Tutu and London Mayor Boris Johnson today issued a plea to stop the closure of Britain’s leading African cultural centre in Covent Garden. The Africa Centre, the focal point for arts and politics for almost half a century, is due to be sold by its trustees in a “secret” deal. The Mayor and the South African human rights campaigner and other prominent figures with African connections said they were “deeply dismayed” to hear of the decision. In a joint letter they said: “This building – now worth millions of pounds – was originally a gift from the Catholic Church: there could not be a worse time to risk losing it. “Africa is coming into its own as one of the fastest developing parts of the world. Those of us who care about the continent want to be able to say: ‘The Africa Centre was there when we were down – it must be there as we soar to the heights’.”
The centre was opened at 38 King Street in 1964 and became the focus for independence movements and the anti-apartheid campaigns. Prominent Africans who have performed or taught there include Nigerinan novelist Ben Okri and South African playwright AtholFugard. A statement from the trustees said the Grade II listed building, which was once a tomato warehouse for the Covent Garden market, was no longer a viable home as it was too costly to maintain. “Too much of the funds we were raising were going into maintenance of the building and not enough on events and promotion of Africa.” As a result they had “reluctantly” decided to move to “an alternative location but remaining in the centre of London “
It’s a humid Tuesday evening in New York and I’ve had a rather lazy day listening to Jazz CDs. Earlier I was in conversation with friend and truly inspirational artist Alisa Moseley Mbinakar. Just the conversation I need to spirit me on to greater heights in the arts world. As I look forward to a few new projects, she kindly shared with me her own motivation and some of her current activities.
How long have you been painting, what inspires you and how do you keep motivated?
That’s three questions at once! I graduated from Art College in 1989. I started painting in my freshman year and loved oils. I’m drawn to figures, people and portraits. I like drawing the positive images of life, people, raw emotions, particularly children. After many years painting I’m motivated by what’s around me. I’m always looking at artwork and how other artists use colour.
What is your favourite medium and why?
I love oils. They stay wet longer than any medium and I enjoy the way you can mix colours. I don’t keep the colours as rich when using acrylics or water colours. I’m developing a love for digital drawing. I love the process.
Your work is very figurative, colourful and family orientated; is there a conscious message you try relaying in your work?
I’m always trying to portray positivity in live. The brightest and best parts of people and love for life!
The arts industry is likely to struggle over the coming years. How have you handled the commercial and business side of being an artist/business owner during this financial climate?
Some of the industry will struggle. Take our schools; it’s usual for the arts courses to be cut. A lot of the work I do goes beyond it being a decorative piece. As a digital artist and graphic designer, I’m always in a position to help a business market itself and grow during difficult times.
Okay but how will other artist, without the diverse range of services you provide, make money?
There are always markets out there. As an artist you need to identify what the potential buyers want. People will always buy art as there is always a market, not just for domestic audiences but companies, hotels and other sources of custom.
What are the best and worst elements of being a full time working artist and designer?
The most wonderful thing is doing something you really love. The worst would be the difficulty of growing a business that challenges or removes that emotional link. Sometimes you need to put aside you own artistic preferences or ideas for the long term progression of the business.
You recently exhibited as part of ‘Creative Women of Colour ‘ which received funding from the Andy Warhol Foundation. Could you tell me more about the collective, the exhibition and what the future holds for the group?
The Creative Women of Colour’ collective was formed in 2006. Creative Women of Colour is a collective of African American women artist whose mission is to educate, encourage, inspire and provide a creative connection with the community for the purpose of advancing the arts
Our mission as artist and community members is to influence our rich African heritage. We seek to partner with individuals and organisations to further the appreciation of art. It started at the King Arts Complex in Columbus and moved to several other venues.
And finally, where do you see yourself in ten years?
I would like to have my graphic business established enough to allow me freedom to concentrate on my fine art!
More of Alisa’s work can be seen on the following links: