Marcus Strickland Twi-Life celebrating his new Blue Note album “People of The Sun”
Marcus Strickland – Saxophones, Bass Clarinet, Programming
Mitch Henry – Organ, Keys
Charles Haynes – Drums
Kyle Miles – Electric Bass
*$10 music fee for college students, must show ID at the venue to purchase tickets.
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 8:00pm |
Food and Beverages will be served from 8:00pm -10:00pm
Born in Washington, D.C. and raised in Greenville, NC, contemporary jazz vocalist Christie N. Dashiell honed her skills at Howard University and later at the Manhattan School of Music. Ms. Dashiell’s trajectory includes performances with Howard’s premiere vocal jazz ensemble, Afro Blue. She has also performed at the Kennedy Center as a participant in the 2010 Betty Carter’s Jazz Ahead program; at the Lincoln Theater in Washington, D.C.; and, as a part of Jazz at Lincoln Center’s Jazz for Young People program. She is the recipient of DownBeat magazine’s Best College Graduate Jazz Vocalist and Outstanding Soloist awards in the jazz vocal category.
Most recently, Ms. Dashiell appeared on season three of NBC’s The Sing-Off, as a member of Afro Blue. She can be heard on several nationally released recordings including John Blake’s Motherless Child, The Jolley Brothers’ Memoirs Between Brothers, and as a Kennedy Center Discovery Artist on NPR’s JazzSet hosted by Dee Dee Bridgewater. She has performed in concert with Esperanza Spalding, Fred Hammond, Smokey Robinson, Geri Allen, and Allan Harris.
On People of the Sun , Strickland blazes down that trail fully at the helm of his music—performing, writing, and producing with his outrageously able Twi-Life band on deck—even as he sonically and socially traces the African diaspora from present to past in an effort to unpack his identity. “I’m thinking about where we came from,” says Strickland, “and how that clashes and goes hand in hand with what we’ve created here as Black Americans.” The result is an album that’s busy and beautiful, inventive and contemplative, an amalgam of influences from West Africa (griot culture, Afrobeat, percussion) and America (post-bop, funk-soul, beat music) performed in the key of revelation. Another facet that sets the album part is Strickland’s lesser-known woodwind obsession with the bass clarinet, which adds its noirish hues to so many of these songs.
Growing up in Miami, Strickland always thought of music “in a very mixed up way.” He heard Haitian sounds, Afro-Cuban rhythms, and southern rap in the streets, while at home his dad would jump from Stevie to Coltrane to P-Funk on his reel-to-reel deck. Meanwhile, his mom put Marcus and his twin brother E.J. into art school so they’d be surrounded by proper “music nerds.” The talent they nurtured there on saxophone and drums (respectively) propelled the pair on to The New School at just the right time: college was basically one wild jam session with like minded upstarts like Robert Glasper, Keyon Harrold, and Bilal Oliver—guys who’d go on to remake jazz (and more) in their own post-modern musical image. To hear People of the Sun , that backdrop feels more like fate than chance.