6:30pm Show | 60-70 minute performance | Doors open at 5pm |
Food and Beverages will be served from 5pm -7:30pm
8:30pm Show | 60-70 minute performance | Doors open at 7:45pm |
Food and Beverages will be served from 7:45pm -10:00pm
10pm -12pm FREE Music presented by NYC Group TOOKES (Friday & Saturday only)
DARRYL TOOKES – PIANO/VOCALS
GIL GOLDSTEIN – KEYS/ACCORDION
LOUIS CATO – BASS
DANA MURRAY – DRUMS
ANDREW BAILIE – GUITAR
TOOKES – VOCALS
(TESSA TOOKES, CHRISTIAN TOOKES, CHANNING TOOKES)
Celebrating the 30th Anniversary of Darryl’s hit record LIFEGUARD from 1989!
Photograph by Tessa Tookes
Celebrating the 30th Anniversary of Darryl’s hit record LIFEGUARD from 1989
TOOKES – Tessa Tookes, Christian Tookes & Channing Tookes
Exceptional facility, preternatural vocal range, and expression make American singer, pianist, composer, arranger, producer, and educator Darryl Tookes one of the few artists of his stature in the world today. In a career spanning more than three decades, Mr. Tookes has worked with Quincy Jones, Leonard Bernstein, Michael Jackson, Diana Ross, Roberta Flack, Sting, Aretha Franklin, Dionne Warwick, Burt Bacharach, George Benson, Luther Vandross, Nile Rogers, Al Jarreau, Natalie Cole, Carly Simon, Steve Tyrell, Rod Stewart, Elton John, Ramsey Lewis, Laurie Anderson, Ray Charles, Carmen McRae, Nancy Wilson, Grover Washington, Todd Rundgren, Lionel Richie, Christina Aguilera, Patti Austin and many other music legends.
One of the first African-Americans to chart in the Adult Contemporary category of Billboard magazine, Darryl Tookes experienced pop success on his own terms as a songwriter, artist and producer in his formal introduction to the music industry with the debut of his self-penned classic Lifeguard reaching #3 on the Billboard Charts. He sees being recently named Director of the Institute for Music Research and Music Industries Studies at Florida A&M University as a continuation of this legacy. A creative original, Darryl Tookes’ voice has often been described as angelic. Broadway Orchestrator Joseph Joubert whose credits include The Color Purple, Motown The Musical, Billy Elliot and Carmen Jones puts it this way, among colleagues “We all see Darryl as an artist of unequaled stature.” Perhaps the words of Blue Note Records Chairman Emeritus, the legendary Bruce Lundvall say it best, “Darryl Tookes a signature artist.”
In addition to recently being name to helm the FAMU Music Institute, Mr. Tookes has taught Voice at New York University in the Clive Davis Institute of Recorded Music, and the Tisch School of the Arts. He has been a Lecturer in Music at The State University of New York at Purchase College, and on the Voice Faculty of Fairfield University. Mr. Tookes was founding Musical Director of Black to Broadway, presenting the talents of an array of legendary African-American performers including Melba Moore, Jennifer Holiday, Sheryl Lee Ralph and Billy Porter. A number of today’s Broadway stars are former students of Mr. Tookes.
Darryl Tookes maintains a vibrant career as a prolific composer, producer, poet, and concert artist. He has performed at Carnegie Hall, the White House for sitting Presidents Clinton and Obama, in New York at The Apollo Theater, Radio City Music Hall, Madison Square Garden, The Café Carlyle, The Blue Note Jazz Clubs in New York and Japan, London’s Royal Albert Hall, The Oslo Concert Hall, among venues worldwide. He has appeared on Saturday Night Live, Oprah, Late Night with Letterman, and many national television shows, and has performed for dignitaries Nelson Mandela, Muhammed Ali, Elizabeth Taylor, Audrey Hepburn, Maya Angelou, and Sydney Poitier, to name only a few. Along with these career highlights, Mr. Tookes is preeminent in the music field as a member of the Board of Governors of the Recording Academy, the Board of the Society of Singers, and is recognized for his service as Chairman of the New York Singers Collective, and for his activism as a longtime member of the Screen Actors Guild and American Federation of Television and Radio Artists.
Mr. Tookes’ “Symphony Of Love” is the composer’s epic collaboration with world-renowned orchestrator Gil Goldstein, the Orchestra of St. Luke’s, rhythm section, singers, dancers, and Grammy Award-winning engineers Richard King, Roy Hendrickson, and Steve Rodby.; produced by Mr. Goldstein and Brian McKenna, the companion piece, “Symphony Of Love – A Concert Of Music and Dance” is currently in development with Grammy, Juno, Emmy, and Gemini Award- winning directors Pierre and François Lamoureux of FogoLabs, a Montreal based film company.
For nearly four decades, pianist/producer/arranger Gil Goldstein has drawn the musical blueprint for some of the most prominent artists in jazz – and in so doing, has become a highly influential figure in his own right. Gifted with an innate sense of compositional structure and harmonic balance, he has forged a diverse career that extends well beyond his own body of recorded work to include alternating turns as an insightful producer, a brilliant arranger and a prolific composer of more than a dozen film scores for the big and small screens.
Born in Baltimore in 1950, Goldstein began playing the accordion at age five and made the switch to piano a few years later. His family moved to Silver Spring, Maryland – just outside of Washington, DC – when he was in grade school. After high school, his quest to further his musical knowledge took him to no less than five colleges, starting with two years at American University, followed by a year at Berklee, then two years at the University of Maryland, where he studied piano with Dr. Stewart Gordon and received a bachelors degree in music. He earned a masters degree in music in a single year at the University of Miami, followed by a doctorate from The Union Graduate School.
Goldstein’s year in Miami, from 1972 to 1973, proved to be the most important of his early years. “Pat Metheny was a student when I was there,” he says, “and there was also this incredible group of people playing in the Miami area, including Jaco Pastorius and the legendary Ira Sullivan. I had walked into his great jazz scene, completely by accident.”
After Miami, Goldstein moved to New York, and spent the remainder of the decade gigging with a variety musicians: Pat Martino, Pat Metheny Billy Cobham, Ray Barretto, Lee Konitz and others. His recording career began in the winter of 1976 when he appeared on three of Martino’s records back to back – Starbright (Martino’s Warner Brothers debut), We’ll Be Together Again and Exit.
These three projects proved to be the genesis of his work as an arranger and producer. The electric piano accompaniments he improvised on We’ll Be Together Again signaled the string writing that would eventually follow. Shortly after finishing Martino’s projects, Goldstein cut his first solo record, Pure As Rain, in 1978. Seven more albums would follow, generally following his fascination and association with musicians around the world such as Brazilian masters Toninho Horta and Romero Lubambo, resulting in the album, Infinite Love, and the great flamenco musicians Carles Benavente and Jorge Pardo, who together recorded the album, Zebra Coast.
But even as his recording career was getting under way, Goldstein’s various friends and collaborators began looking beyond his skills as an instrumentalist. And playing jobs began to morph into arranging and producing jobs. Case in point, Jim Hall offered him the dream gig of joining his quartet in the mid 1980s, and Goldstein eventually produced the 1993 Pat Metheny/Jim Hall duet recording, Something Special. He also co-produced, co-arranged and conducted on Hall’s 1997 recording, Textures.
However, the turning point came when Goldstein met Gil Evans in 1982 and began playing with the master until his death six years later. The association with Evans changed everything about Goldstein’s musical perspective and his approach to arranging. “Gil Evans was a philosopher,” he says. “He possessed cultural secrets which I have tried to absorb and pass on further.”
Goldstein’s career split off in another direction in the ‘80s when he took an assignment to score an ABC After-School Special, Summer Switch, which was also the directorial debut of Ken Kwapis (The Sisterhood of the Traveling Pants, He’s Just Not That Into You, The Office). Goldstein scored two more After-School Specials, and eventually composed music for a series of feature-length motion pictures, including Radio Inside (1994), I Love You, I Love You Not (1997) and Simply Irresistible (1999). He also provided orchestration for film composer Ryuichi Sakamoto’s music for Peter Kosminsky’s Wuthering Heights (1992) and Bernardo Bertolucci’s Little Buddha (1994), and Metheny’s score for A Map of the World (1999). He is also an in-demand accordionist – particularly by film composer Eliot Goldenthal, who has featured him in his music for Frida (2002), Across the Universe (2007), and many others.
Despite his work in film, arranging continued to be Goldstein’s creative anchor. “I kept coming back to working with musicians whom I liked and admired, but I didn’t necessarily want to just play with them,” he says. “I thought I could be more effective as an arranger and find ways to make their music resonate and vibrate according to the principles of the overtone series, which he learned through studying with Otto Luening, the 20th century composer who pioneered electronic music in the 1950s.”
The list of musicians for whom Goldstein has arranged is as impressive as it is lengthy: David Sanborn, Bobby McFerrin, Chris Botti, Milton Nascimento, James Moody, Richard Bona, Randy Brecker, Manhattan Transfer, Al Jarreau and many others. He reconstructed orchestrations for Miles Davis’ Miles Davis and Quincy Jones Play the Music of Gil Evans, which won a Grammy Award in 1993. In addition, he produced and arranged Michael Brecker’s last two recordings – Wide Angles (2003) and Pilgrimage (2007) – both of which also scored Grammys.
“I really admired and respected Mike,” says Goldstein. “I was a total fan of his playing, and I loved him as a person. Mike was a bit of a control freak, but the kind that I admire. He knew exactly what he wanted and could express it, and when he changed something I wrote, it was clear to me and I understood the intent of the change.”
He adds that Metheny, Sanborn and Botti are similar to Brecker in that respect. “The chance to work with people who have clearly defined musical identities is a gift,” he says. “That way, I can morph into their musical personalities. Then I can develop alternate musical styles when I work with them, which increases my scope. Because of this skill, Pat Metheny nicknamed me ‘the Zelig of jazz.’ I’m flattered by that. As a child, I remember telling my mother that I was going to play piano at an assembly, and that I wished I could be invisible when I played, because I felt I could be more creative, more out of sight and less self conscious. I feel that way to this day. As a producer and arranger, I guess I would prefer that the listener ‘pay no attention to that man behind the curtain,’ just like The Wizard of Oz, and instead focus on the artist who’s making the music.
In early 2010, Goldstein co-arranged and produced bassist Esperanza Spalding’s latest recording, Chamber Music Society, which is scheduled for release on Heads Up in August 2010. “She is so clear in her direction and offers so much richness in terms of the compositions and what she brings to them. We developed a give-and-take relationship that always progressed the plot and clarified the story of the music.
In addition to his work as a producer and arranger, Goldstein has also been a teacher since the mid-1980s – at the Mead School for Human Development, the New School, and New York University. He is the author of The Jazz Composer’s Companion, a collection of interviews with 15 notable jazz composers, a foreword by Bill Evans, and an overview of the musical materials that – as Evans wrote – “impose no style and thus can be used to extend and musician’s vocabulary.”
“Multi-instrumentalist, producer, and singer, Louis Cato is a ball of versatility and a special brand of bright.”
Portuguese-born, Carolina-bred, and current Brooklyn, NY resident Louis Cato is no stranger to planes, tour buses, recording studios, TV sets, liner-notes, and airwaves. He’s a Grammy-nominated and internationally acclaimed multi-instrumentalist, producer, and songwriter. He has recorded with Beyonce, Q-tip, John Legend and Mariah Carey, among other household names. He has toured with some of the most influential acts in music, such as Bobby McFerrin, Snarky Puppy, Marcus Miller, John Scofield, David Sanborn, and George Duke. Currently, Cato is featured nightly on CBS’s “The Late Show with Stephen Colbert” as a member of Jon Batiste and Stay Human.
Cato completed two semesters at Berklee College of Music, but his education and influence is deeply rooted in the gospel and contemporary Christian genres. He was raised in a musical household, drumming by age two and learning wind instruments by age twelve. Much as the Beatles are known for honing their skills during their multi-hour multi-day residencies in London pubs, Cato mastered his bass, drum, and guitar chops during a five-year period of nightly performances in the underground jazz and soul scene in Boston. It was in 2007 at the North Sea Jazz Festival where Cato first met Marcus Miller and a slew of other heavyweights he would eventually work with.
“He’s a great, sensitive, powerful drummer who also plays bass and trombone and tuba too…very talented…”
Cato has an undeniable ability to craft sonic landscape into timeless masterpiece. After two decades of lending his talents to other projects, Cato is set to birth his first solo release which features six original songs recorded, produced and mixed entirely by the renaissance man himself: “I set out to make an honest record, a documentation of who I am and what I do…I feel like I’ve done that.”