Sistas' Place

Craig Harris and Tailgator’s Tales

Sista — Sun, 24 Nov 2019 21:06:22 +0000

Sat., December 21, 2019,
Two sets 9 & 10:30 pm,
$20 with advance reservation –
call (718) 398-1766
or only $25 at door.

Sistas’ Place, 456 Nostrand Avenue, at the corner of Jefferson Avenue, where Jazz: A Music of the Spirit Lives and Culture is our Weapon, announces its 24th season of bringing the greatest artists on the planet back into the African American community of Bedford-Stuyvesant.

Join us at for a fantastic LIVE JAZZ performance featuring trombonist/composer/bandleader CRAIG HARRIS and his “Tailgaters Tales” Quintet featuring Craig Harris (Trombone), Jay Rodriguez (Saxophone), Yoichi Uzeki (Piano), Calvin Jones (Bass), and Jerome Jennings (Drums). They meld intricate composition driven by imaginative improvisation.

Tailgaters Tales is a vehicle focusing on the Trombone where concept, composition and improvisation intersect in the gray area and become one. This is Craig’s core group and an outlet for him as an improviser and composer to stretch out and tell musical stories from a trombone place.

“I want every voice heard. I want to touch on tradition but keep the sounds in constant transition. That way I can give the improvisers room enough to tell their own personal stories.”

Don’t Miss This!

Make Reservations at (718) 398-1766!

Craig Harris’ “Brown Butterfly” Liner Notes

Sista — Wed, 17 Apr 2019 03:12:13 +0000

Brown Butterfly

“Moving clockwise, continuing that famed shuffle of his,

Clay–with his hands down…looks like a dancer up there, the way he bobs and weaves, for a man of 212 pounds.”

Announcer Les Keiter at the start of the Ali- Cleveland Williams fight.

The music in this two-CD collection is a tribute to the genius of Muhammad Ali.

And much more.

Brown Butterfly is Craig Harris’s tribute to the magical attributes that have sustained African Americans for more than 400 years: Weightlessness, grace, speed an ability to walk in space.

“I’m telling the story about one of my greatest heroes,” Harris says. “I’m celebrating the physical contributions of this sound architect. Muhammad Ali was a composer.”

In preparation for recording the music in this collection, Harris studied several aspects of Ali’s life. He studied his personal life and his religious beliefs. He took fight films apart, watched them in slow motion and watched the fights speeded up.

Craig assembled footage of several Ali fights and watched them without the sound. He wanted to take in the breath-taking magic of Ali’s dance. “He was like music in motion,” Harris says.

As Harris watched fight film, he jotted down rhythms that corresponded with Ali’s feints, jabs and shuffles. With the rhythmic patterns on paper, Harris added melody and harmony, then he gave the charts to his band. During rehearsals, he had the musicians look at the film and allowed them to improvise their own interpretation of the ballet they were watching.

When Ali made a particularly incredible move, Harris pointed it out and shouted “‘Play that! Play that!’ What I had to convey was that this was about a dance, not a fight. It’s a dance. His physical gestures are so musical. He’s just not boxing, he’s an extension of the African American continuum, which comes out of Africa.”

Brown Butterfly is the reflective journey that every African American living in the United States must make if he or she is to be truly free. A journey through fear, through brainwashing and finally to embracing the power and majesty of blackness. Harris, 63, took that journey, for as a young boy growing up on Long Island, he was afraid of Ali. Many blacks were. “He scared me at first,” Harris says, “I’d never seen an African American talk that much shit.”

Ali took the heavyweight title from Sonny Liston in February 1964, in a fight that remains one of the great upsets in boxing history.

More than a title changed hands.

Muhammad Ali changed boxing the way Charlie Parker and John Coltrane changed music.

Harris’s family–his uncles in particular–were Sonny Liston fans.

Liston was the Bear, powerful, lumbering menacing. He was an ex-bouncer, an enforcer with possible mob ties. Liston was the classic heavyweight, out of the Joe Louis mold, who looked to knock out an opponent as quickly as possible.

Liston lumbered.

“Ali was unorthodox, he did it all wrong. Moving backward and throwing punches. No fighter ever moved backward throwing punches,” Harris says. “People told him ‘You’re going to get knocked out.’ That’s what really drew me to him: fighting with his hands down, his whole style, his innovation as a heavyweight boxer.”

Ali represented a new, unapologetic view of boxing and blackness. “Ali broke the mold,” Harris says. “He comes along with this whole other kind of look. He scared a lot of people.”

I have watched that 1964 fight with Liston several times over the years.

What I didn’t see until recently was that Ali ignored the parade of fighters being brought into the ring during the introductions–until the great Sugar Ray Robinson was introduced. When Robinson went over to Ali’s corner, Ali bowed—twice—in deference and respect to Robinson.

Sugar Ray Robinson was to Muhammad Ali as Lester Young had been to Charlie Parker. Speed up many of Lester Young’s solos and you hear Bird.

“Charlie Parker took inspiration from Lester Young’s rhythmic innovations and added notes and velocity,” Harris says.

“All Ali did was take Sugar Ray Robinson’s style and put it on his 6 foot 3 inch 225 pound frame,” Harris explains. “That is the essence of innovation and, Harris argues, the African American creative mystique. “Our goal is to take something and do something with it,” Harris says. “That’s what we do. It’s the Hoodoo that we do, with that past present and future view.”

For all the history of the 1964 Ali-Liston fight, Craig said his favorite fight was Ali’s November 14th bout with Cleveland “Big Cat” Williams.

The Williams fight marked the first time Harris became aware of the magic of Ali’s movement. Here was a 6 foot 3 inch, 212-pound heavyweight boxer moving like the wind. In the pre-fight hype, writers pointed out that Big Cat Williams, at 6 foot 3, 225 pounds, was fast and quick for his size. Hence the nickname, Big Cat.

Ali made Williams look like a tortoise and knocked him out in the second round.

“I said ‘this is it. This cat is really bad.’ ”

Less than a year after that fight, in June 1967, Ali was convicted of draft evasion and was sentenced to five years in prison. He was a pariah to some, a hero to many more.

As the former heavyweight champion Floyd Patterson said much later when asked the difference between himself and Ali, “I was a boxer. Ali was history.”

So it was for 12-year-old Craig Harris, who began to see Ali in a totally different light. “When he refused to be drafted, he became an icon.”

Harris joined the Sun Ra Arkestra in 1976 at age 22. His tenure in the band set the stage for a convergence of artistic genres: dance, poetry, drama. A year after Harris joined Sun Ra. The Arkestra went to Nigeria to participate in FESTAC 1977. FESTAC celebrated African culture.

While he was in Nigeria Harris saw a man about 5 foot 4 run up the side of a wall. “He went about 10 feet, straight up the wall. No gimmicks, no nothing.” Harris says. “He defied gravity and ran up that wall—perpendicular.”

“This was more than athleticism. It’s the coming together of the body and the mind– and you have to have technique to do that. You defy nature. That’s what Ali did. That’s what Connie Hawkins did and Elgin Baylor and Michael Jordan and LeBron James did.”

The FESTAC experience put Harris on a path that eventually led to the creation of Brown Butterfly. He began to see Ali– and other black innovators—through an entirely different prism. “I began looking at Charlie Parker artistically, I began looking at what these people do, not just the technical thing. It’s about the magic and spirit of what they do.”

Harris returned from that trip to Africa with a widened worldview of the African creative instinct and a deep appreciation for creating one’s own shot. “It’s not enough to just imitate, you have to create. Imitation is fine, but in our world, that ain’t it. What do you add to the Continuum?”

The foundation of Craig’s inspiration from Ali is summed up by the phrase “Float Like a Butterfly, Sting Like a Bee.” This is more than a clever slogan. It is the national anthem of the black presence in sports.

Defying physics.

It’s the 300 pound lineman who can run down a speedy halfback—the 7-footer who is as nimble as a 5 foot 11 player; the 5 foot 11 player who dunks.

But it’s also John Coltrane and Sonny Rollins. It’s J. J. Johnson, the innovator on Craig’s instrument, the trombone, playing fast, graceful lines. It’s that innovation that we create as African people.”

In 1988, Harris began writing pieces that went outside the so-called straight jazz world.

He went beyond playing traditional concerts and started incorporating other disciplines into his music and reaching out to younger artists. He was combining forms and discovering powerful ways to attract a wider audience without compromising the music.

“Our audience was dwindling. A good way to expand the audience for the music is to start working in other genres: modern dance, poetry, theater,” Harris says. Today Harris is dedicated to passing the torch through teaching, expanding the audience beyond category and labels.

“Craig has always tried to remain open to everything that’s happening simultaneously,” says musician/producer Bill Toles. “He’s a really good vehicle for younger performers.”

Toles was a member of the Black Rock Coalition in 1988 when he met Harris. Toles played a major role in the original stage production of Brown Butterfly in 2002.

“When we first did Brown Butterfly we had a young saxophonist with us who was just incredible,” Toles said. “Craig hunts these people, out in the tradition of Art Blakey and all the people who made sure that they’re relating to the next generation and pulling them through this music.”

Says Harris: “That’s what we’re supposed to be doing. Reaching out to the next generation and telling our stories. I always go into the heritage of African Americans to find work, and I’m unapologetic about it because if I don’t do the piece on Ali, who’s going to do it? If we don’t tell these stories, who’s going to do it?”

In this collection, Craig Harris tells a convincing story. Brown Butterfly is a timeless soundtrack to Muhammad Ali’s divine, eternal dance.

– – – – – – – – – – –

Hear excerpts and purchase the Brown Butterfly tribute to Muhammad Ali CD by Craig Harris.

Liner notes by Craig Harris.

Get a PDF version of these liner notes.

Craig Harris’ Tailgator’s Tails

Sista — Fri, 15 Mar 2019 20:07:10 +0000

Sat., April 20, 2019,
Two sets 9 & 10:30 pm,
$20 with advance reservation –
call (718) 398-1766 or $25 at door.

Sistas’ Place, 456 Nostrand Avenue, at the corner of Jefferson Avenue, where Jazz: A Music of the Spirit Lives and Culture is our Weapon, continues its 23rd season with the music of Resistance, Resilience, and Resurgence.

On Saturday, April 20th, Craig Harris’ Tailgator’s Tails graces the stage at Sistas’ Place featuring Craig Harris on Trombone; Eddie Allen on Trumpet; Calvin Jones on Bass; Tony Lewis on Drums; Adam Klipple on Keyboards; and, Jay Rodriguez on Reeds.

This is also a Release Performance of Craig’s new Tribute CD, Brown Butterfly, dedicated to Muhammad Ali.

Make Reservations at (718) 398-1766!

Get the full-sized flyer.

Brown Butterfly is a timeless soundtrack to Muhammad Ali’s divine,
eternal dance–and the liner notes soar also. Read the liner notes.

Hear excerpts and purchase Brown Butterfly tribute CD. Vinyl coming soon.

Craig Harris Group

Sista — Mon, 23 Apr 2018 17:10:53 +0000

Sat., June 9, 2018,
Two sets 9 & 10:30 pm,
$20 with advance reservation –
call (718) 398-1766; $25 at door.

Sistas’ Place, 456 Nostrand Avenue, at the corner of Jefferson Avenue, where Jazz: A Music of the Spirit Lives and Culture is our Weapon, continues its 22nd season with the music of Resistance, Resilience, and Resurgence. On Saturday, June 9, 2018, at 9 and 10:30 pm, come experience the Craig Harris Group!

Craig Harris Band

Sista — Wed, 04 Apr 2018 20:06:34 +0000

Sat., September 24, 2022,
Two sets at 9 & 10:30 pm,
$25 with reservation,
Call (718) 398-1766 to reserve.

Sistas’ Place, 456 Nostrand Avenue, at the corner of Jefferson and Frederick Douglass Square, where Jazz: A Music of the Spirit Lives and Culture is our Weapon, is in its 27th year with the music of Resistance, Resilience, and Resurgence. Sistas’ Place is a Historic Landmark Institution!

On Saturday, September 24th our 2022-23 season begins with a very special presentation of an original composition Ode to Ohnedaruth, by composer/trombonist/bandleader Craig Harris, dedicated to John Coltrane. The top-notch group Brother Harris has assembled for this occasion includes saxophonist James Brandon Lewis, pianist Alex Marcello, bassist Jordyn Davis, and multi-percussionist Jerome Jennings. The title of the composition, Ohnedaruth, is the Sanskrit name meaning compassion, that John Coltrane adopted in the latter part of his life. Make reservations by calling (718) 398-1766 today!

Celebrate New Year’s Eve with the Craig Harris Band!

Sista — Wed, 27 Dec 2017 17:10:41 +0000

New Year’s Eve Jazz Party,
Sun., December 31, 2023,
10:30 pm Showtime,
$75.

Sistas’ Place, 456 Nostrand Avenue, Frederick Douglass Square (formerly Nostrand & Jefferson Aves.), where Jazz: A Music of the Spirit Lives and Culture is our Weapon, is in its 29th year with the music of Resistance, Resilience, and Resurgence. Sistas’ Place is a Historic Landmark Institution!

On Sunday, December 31st, Sistas’ Place throws a New Year’s Eve Jazz Party featuring the incredible Craig Harris Band. Showtime is at 10:30 pm. $75 per person. Traditional Buffet & Champagne Toast.

Reservations are a must–please call (718) 398-1766.

Reserve Early. Don’t miss this!

Get 8.5″ by 11″ flyer (PDF).

Craig Harris and Band “Enter the Black Door”

Sista — Wed, 12 Apr 2017 17:44:48 +0000

** CLICK FOR FLYER **

Sat., April 22, 2017
Two sets 9 & 10:30 PM
$20 with advance reservation –
call (718) 398-1766; $25 at door.

Sistas’ Place, 456 Nostrand Avenue, at the corner of Jefferson Avenue, where Jazz: A Music of the Spirit Lives and Culture is our Weapon, continues its 21st season with the music of Resistance, Resilience and Resurgence. On Saturday, April 22, 2017 at 9 and 10:30pm, we present trombonist/composer/bandleader Craig Harris in a quartet setting with saxophonist David Murray, bassist Melissa Slocum and drummer Ronnie Burrage, to continue our contribution to the Central Brooklyn Jazz Festival. Craig Harris has been in the Sistas’ Place lineup for more than a decade and throughout those years he has always brought innovative and exciting bands. This one promises to be a real treat with his long time comrade saxophonist David Murray, on the frontline with him.

We call this month-long series Brass Players at Sistas’ Place. The other brass players featured in this festival series include trumpeter Ahmed Abdullah, trumpeter Robert Rutledge and French hornist Vincent Chancey.

Don’t Miss This!!!

Music of the Spirit will sustain you through the challenging times we are experiencing.
Make Reservations at (718) 398-1766!

Get flyer.

Craig Harris Official Website

Jazz Tribute to Sista Viola Plummer–SOLD OUT!

Sista — Sun, 09 Jan 2011 15:06:20 +0000

SOLD OUT!
For more info contact Sistas’ Place at (718) 398-1766 .

Sun., February 25, 2024,
$35,
3 – 7 pm,
Bed-Stuy Restoration Corp.

1368 Fulton St., Brooklyn, NY
Map/directions.
Take A,C to Nostrand Ave. & walk 1.5 blocks. LIRR to Nostrand Av.

Sistas’ Place where Jazz: A Music of the Spirit Lives and Culture is our Weapon, is in its 29th year with the music of Resistance, Resilience, and Resurgence.

On Sunday, February 25th, 2024, Sistas’ Place presents A Jazz Tribute to Sista Viola Plummer. This event is in memory of our Sista Viola and honoring our Brother Ahned Abdullah for the jazz institution they led in building for a quarter century. This event is at Bed-Stuy Restoration Corp. and is $35; cash preferred.

MC Ahmed Abdullah hosts an amazing list of jazz musicians including Reggie Woods, T.K. Blue, Sharp Radway, Patsy Grant, Dwayne Broadmax, Alan Palmer, Venito Gonzalez, George Gray, Gene Ghea, Bill Saxton, Robert Rutledge, Jimmy Owens, Winard Harper, Craig Harris, Danny Mixon, Will Calhoun, Paul Beaudry, Lesedi Ntsane, Steven Kroon, Bryan Carrott, and more (list still in formation).

$35 cash at door. Can’t make it? Donations to Sistas’ Place in Viola’s name at https://cash.app/$HTFLH

For more info contact Sistas’ Place at (718) 398-1766 .

Sistas' Place

Craig Harris and Tailgator’s Tales

Sat., December 21, 2019, Two sets 9 & 10:30 pm, $20 with advance reservation – call (718) 398-1766 or only $25 at door.

Craig Harris’ “Brown Butterfly” Liner Notes

Brown Butterfly

Craig Harris’ Tailgator’s Tails

Sat., April 20, 2019, Two sets 9 & 10:30 pm, $20 with advance reservation – call (718) 398-1766 or $25 at door.

Craig Harris Group

Sat., June 9, 2018, Two sets 9 & 10:30 pm, $20 with advance reservation – call (718) 398-1766; $25 at door.