{"@context":"http://iiif.io/api/presentation/3/context.json","id":"https://marmia.aviaryplatform.com/iiif/v11vd6q61t/manifest","type":"Manifest","label":{"en":["Jazz Special, 1984-10-07"]},"logo":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","metadata":[{"label":{"en":["Source Metadata URI"]},"value":{"en":["https://marmia.libraryhost.com/repositories/2/archival_objects/5195"]}},{"label":{"en":["Agent"]},"value":{"en":["Ayers, Roy, 1940- (Interviewee)"]}},{"label":{"en":["Date"]},"value":{"en":["1984-10-07 (Broadcast)"]}},{"label":{"en":["Description"]},"value":{"en":["On tape label: City Line #105 (Container Summary)","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program. (Funding Note)","Jaki Hall and B.T. Bentley host a Jazz Music Extravaganza with jazz musicians Ron Ayers, Tom Brown, and Lonnie Smith who also perform with Leslie Yellowbird Glover. Dr. John Bonas of Baltimore Jazz Heritage is an additional guest. (Scope and Content Note)","Be advised that this video may contain sensitive, triggering, and offensive language and content. (Content warning)"]}},{"label":{"en":["Format"]},"value":{"en":["1 U-matic"]}},{"label":{"en":["Identifier"]},"value":{"en":["WJZ-CTYLN-002-001 (Identifier)"]}},{"label":{"en":["Series Title"]},"value":{"en":["City Line"]}}],"summary":{"en":["On tape label: City Line #105","Digitized with funding provided by the Council on Library and Information Resources' \"Digitizing Hidden Special Collections and Archives: Amplifying Unheard Voices\" grant program.","Jaki Hall and B.T. Bentley host a Jazz Music Extravaganza with jazz musicians Ron Ayers, Tom Brown, and Lonnie Smith who also perform with Leslie Yellowbird Glover. Dr. John Bonas of Baltimore Jazz Heritage is an additional guest.","Be advised that this video may contain sensitive, triggering, and offensive language and content."]},"provider":[{"id":"https://marmia.aviaryplatform.com/aboutus","type":"Agent","label":{"en":["MARMIA"]},"homepage":[{"id":"https://marmia.aviaryplatform.com/","type":"Text","label":{"en":["MARMIA"]},"format":"text/html"}],"logo":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/organizations/logo_images/000/000/053/original/cropped-marmia-logo-copy1.png?1586173104","type":"Image"}]}],"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/172/474/small/thumbnail_172474_1671039597.jpg?1671039611","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474","type":"Canvas","label":{"en":["Media File 1 of 1 - open-uri20230816-805753-mk5yq6.mp4"]},"duration":3584.824,"width":640,"height":360,"thumbnail":[{"id":"https://d9jk7wjtjpu5g.cloudfront.net/collection_resource_files/thumbnails/000/172/474/small/thumbnail_172474_1671039597.jpg?1671039611","type":"Image","format":"image/jpeg"}],"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/content/1","type":"AnnotationPage","items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/content/1/annotation/1","type":"Annotation","motivation":"painting","body":{"id":"https://aviary-p-marmia.s3.wasabisys.com/collection_resource_files/resource_files/000/172/474/original/open-uri20230816-805753-mk5yq6.mp4?1692201334","type":"Video","format":"video/mp4","duration":3584.824,"width":640,"height":360},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474","metadata":[]}]}],"annotations":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247","type":"AnnotationPage","label":{"en":["AUTO_TRINT_WJZ-CTYLN-002-001.mp4 [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/1","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"It's 12 noon. We're live on City Line. Hi, I'm Jackie Hall. Hello, I'm Betty Bentley. Welcome to City Lines, jazz music extravaganza. With us today are three of the top jazz artists in the world. Vibes player, a singer composer, was also keyboardist and Morgan State graduate Lonnie Liston Smith and star trumpeter Tom Brown. They're here to talk with us. And, you know, they've got to perform live here on City Line. Also with us is Dr. John Bonus from the Baltimore DJ Heritage. He'll discuss Baltimore's past and future in jazz music. That's Roy Ayers, Lonnie Liston, Smith, Tom Brown and Dr. John Bonus. Join us next live on city of. Good morning. Good afternoon and welcome to City Life. We're very excited about our show today. We have some very exciting entertainment for you and I'm just looking forward to it. I know we've been waiting for this for weeks and now today is the day. Well, we're not going to keep the audience waiting. It is our pleasure at this time to introduce to you Mr. Wares. Oh. Just see you. I get set up there. I hope you recover from your brief problem with the camera there. Well, we almost had an encounter there, but everything turned out to be okay. How have you been? Just fine, thanks. Walk them out. I know that you're just getting off the plane from Chicago. Hasn't really had a chance to sit still yet. People don't generally get to see the side of the musicians which have been on all nights free getting here this morning for the show. Well, you look chipper. Well, I chipped it up when I came in here. All these beautiful people. And we've got plenty of folks both here in the audience and at home who want to talk to you.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=40.39,166.74"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/2","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And by the way, we do encourage folks at home to give us a call if they're interested in talking to Miss Rogers. You're here tonight in a sold out performance. That's right. Yes, I know it's going to be myself. A lot of Allison Smith, of course, Tom Brown and, of course, Mr. Jean Gong. Fantastic. But we're glad we're glad that you could take time out of your schedule to be with us. How does that make you feel? Having a concert that sold out, does that reaffirm the importance and popularity of jazz? Exactly. And not only that, but all of these musicians on this particular concert tonight are we've worked together before and we've done it before. So it's nothing new to us, you know, And when we work together, it makes it even that much more exciting. Is it still fun? It's always fun. Always fun. Yeah, it's it's always something different. Happily. I mean, you take Lonnie and Jean and Tom, they are all very unique people in their own right. But they always say something clever or something funny. We always have a little jokes on the side. We have a little, you know, skits and what have you. And that keeps everything going for us. How did the union come together? Of all the artists you could have hooked up with even in the past, how did these four artists happen to come together? In 1980, we formed this group of people. I think it was myself, Lonnie Lester Smith, Gene Kahn at that time, Bobby Humphrey and Stan Lee touring team. And we took a two out and call it the superstars of jazz fusion. Wow. And I think we sold out something like about 35, 40 concerts. 1980, in 1980.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=166.98,258.61"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/3","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Then we did it again. In 1981, it was myself. And with G. G. KAHN Stanley turned to Patrice Russia and joined us and Lenny White. And it didn't sell out so well. I think the problem was that we didn't have the original packaging, you know, So I don't think it was marketing. It was advertise as well. But getting back to the America we're getting back to, yeah, to the original. Plus we added the trumpet, you know, the magnificent Thom Browne. We had a chance. Listen to you, you folks, just for a couple of seconds before the show, just getting tuned up and know you got into it. Oh, yeah, that's great. Oh, you're going to welcome folks to give us a call. Indeed. And please call us at 481 1313 and talk to Roy is he's here just to do that in addition to talking to us. You know what I want to ask, a lot of the stars were with you, Thom Browne, for instance, and and loneliness and Smith. And you are very popular, kind of like crossover in a way. I mean, you know, there's a popular side and there's the jazz side. Is there the risk of so-called selling out? Well, talk to me about that many times in different interviews and articles and what have you. I, I try to keep my music as versatile as possible. I play jazz, rock, blues, funk, pop, so you name it. I believe that it's important to incorporate many different styles and forms and within the structure of my music, if I'm capable of doing it, I am. I'm an extremely versatile on it, so that makes me unique. So we have asked our callers to give us some range and they have.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=259.35,355.02"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/4","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Hi, you're live on satellite. Yes, I have two questions for me there. First of all, Africa Center of the World was my favorite Roy Ayers album. I'd like to know, what does Mr. Ask feel is the role of black nationalism in jazz music? Secondly, how does he feel about the classification of jazz, primarily by white critics? What do you feel jazz is? Okay. Okay. Thank you. Well, you know, I've I've been to Africa on several trips. And one thing that I'll say with reference to Nigeria and Gabon and Senegal and Ghana and several of the countries that I've been in for that, the musicians there really want to come over here and of course, participate with each other. And musical activities is very difficult from time to time. But I've seen, especially from Nigeria, many musicians coming, coming, coming over here, performing like a fellow. So he's studied in Senegal. CASA and we're looking forward to seeing Fela Anikulapo Kuti, and hopefully that can be of communication between African musicians and American black musicians and other musicians over here and forming more unity within the structure of the music. How do they meld into the what we know as American jazz? Oh, they play the same instruments as well as some of the traditional instruments. But they, uh, they, they just seem to not as I don't think, technically oriented as we are, but they're getting there. I mean, it's the Afrobeat Afro rhythms that they come up with are very unique and very nice. Now, there was a second part of the question, right? Why critics? Oh, you know, I've always had a funny thing about critics. Most critics, especially jazz critics, they seem to be frustrated jazz musicians themselves. You know, and I think that many of the critics don't understand a lot of things that are happening musically quite often.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=355.45,466.49"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/5","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And in some cases they do. But in several cases, I've seen situations where critics have criticized people like John Coltrane, who went on to higher acclaim because he had an unusual sound and an unusual tone. But eventually people started coming into it and say, wow, that's really what's happening. So I think critics are necessary because they can also make they can also break. That's the only disappointment about it, because they don't I hate to see them breaking artists. Who is coming up with a new sound, a new style, and they haven't yet given that audience the opportunity to really prove themselves. But there was an element to his question concerning race, though, because he said white critics critiquing jazz as if jazz is black. Is there an element of that in all? Can they relate to that? They I'm not understanding the basic question. What do you think he meant by that? I was just wondering whether or not he felt there was any racism from a white critic critiquing jazz. I don't think there is now. I think there used to be, you know, but I think that it's you know, it's gotten away from that to some degree. Okay. We got a question from our studio audience You'd like to talk to, Mr. Rogers? Yes. Well, I'd like to know when and where will you be performing tonight? I'll be performing tonight at the High Symphony Hall and tonight at 8:00. But the show is sold out. Yeah. So if you haven't been lucky enough to get your ticket, you may have to appreciate him here today for sure. So you're going to miss me? Larry Smith and Tom Brown. But you're going to catch us today. Thank you. Much. Come to city hall.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=466.97,555.74"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/6","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Thank you. Where are you going from here after your performances? Back to New York. And I'll be off for a week, believe it or not. It's nice to be off, which has only been on the road. I'm a very funny performer. I perform year round. A lot of entertainers perform just, you know, touring maybe for three months. I perform all the time. My agent might call me and say, Roy, we have a job for you in January, on January 15th in Chicago. Then we'll try to book something on January 14th in Milwaukee, you know, and try to put things around it like that. Okay. We have another we have another call waiting. I do want to talk to Roy Air. Yes, I do. How are you doing, Ray? Hey, I'm fine. How are you? All right. About eight years ago, I picked up one of your albums, and I really don't know you well, but I've had a couple of your albums, and I was wondering what your working relationship with ubiquity is you're still working with now? Oh, yes. Ubiquiti is still with me. Ubiquiti is my band, you know, And Ubiquiti means a state of being everywhere at the same time. And I've always used the name Ubiquiti for my band. You know, it's like Herbie Hancock in the records is Rocket and what he calls Rocket, not his band. So it's the same thing. I wasn't sure because I knew that they put out an album or two. Yes. On Elektra, that's going back to 77, Right. Thank you. So Ubiquiti will actually be there tonight backing you up. Yes, But see, what happens is that when a music, when musicians are with me, they automatically become members of Ubiquiti. And, you know, this is when they leave.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=557.06,648.41"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/7","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"They're not Ubiquiti. And so the object of the story is never leave, never leaving. What have you come back to Ubiquiti again? True or false, is it? When I say ees, I guess has a poor word to use when it comes to a musicians, but is it similar for a jazz a jazz artist to mix with another group of artists than it is for, say, a pop or rock artist? Is it easier? Mm hmm. I wouldn't say it's necessarily easier, but I think the jazz musicians have incredible years, you know, because they can they hear a lot of things. So it's there's probably more there for them to pick up faster, you know, quite a few other musicians. Okay. Okay. You you enjoy the the constant running. And I think that getting you here today was an example of that. I hope we didn't want you too much. I want you sit back and relax for a minute. We're going to take a break. Okay. We're going to come back very shortly with more gigs, more jazz. We are continuing with our City Line jazz extravaganza to add to our group. Right now is Lonnie Liston Smith, and we'd like to move on. Somewhere along a Johnny Carson. We've added a new member to this family here. Welcome to city life. Oh, it's good to be here. I know that you've been back and forth to Baltimore some time. Morgan State graduate, but welcome back to Bowls. Okay. All right. Well, it was it was interesting reading that you're from a musical family. Yes. Your father is a member of was a member of the original harmonizing force. Well, he still is. They've been together 57 years. How much of an influence was was he on you and deciding to go into music? Well, it was he was the main influence because the whole family was in music.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=648.68,856.16"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/8","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"My grandfather, my father and my two younger brothers. So that's all I've ever done. And like, we would come home from school and that would be Mahalia Jackson, the Soul Stirrers. Sam Cooke when he's with us in gospel. So it was just a natural occurrence, was like coming back to Baltimore. Oh, yes, this is what I've been in so long. It's a whole new town. Tell you what, the last time you were in Baltimore performing, maybe about a year ago. Okay. Yes. So we're always looking forward to having a talent such as you to drop in on us. Oh, yeah, I enjoyed. What about you? Do you enjoy the travel on the road? Yes. It's okay. Long as it. There's not too many problems. Yes, I'm the type, you know. I don't want anything to run out smooth. So, I mean, I will admit that. Keep your blood pressure down. Right. I don't need any problems. So if everything is. All of business is taken care of and everything runs along smoothly, then it's okay. Now, Baltimoreans will relate to the fact that you backed one of our favorite folk at the NFL. Yes. He was up in the air with Redd Foxx. Redd Foxx. Is that where you worked when you worked with her? Yeah. Fantastic. I was The Apprentice, and I forget the rest of the musicians, but we had a lot of fun. It was good working during those day. It really was. It was a good experience, a learning experience. Now, just before you came out, Roy is kind of sang the praises of what it was like working with Loni less than Smith do as well. You know, working with Roy is a lot of fun because as you can tell, you know, Roy's were extroverted.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=856.55,951.05"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/9","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"So besides being a very talented musician, you know, he's always killing us and always telling jokes. So it is is is very compatible. Well, he said the opposite. He said that you all were always telling jokes like no one we all know and would say something like, Did you see that? Oh, yes. Like earlier. I maybe a guy, you know, a guy with a big hat on. Tell us about the cosmic echoes. Oh, yeah. Well, it's sort of like the same thing that Roy was saying about ubiquity. And so anyone that comes into the band is automatically a cosmic echo. So, you know, like I say, that when you leave, you know, you're not cosmic, you know, anymore. So you are not you're cosmic egg. But that wasn't right there. And, you know, because, you know, like you said, everyone has a different title. They return to forever or whatever was happening at that particular moment. Okay. We have another question from our audience from Mr. Lonnie Liston Smith. Yes, hello. Usually when an artist encounters a culture from another country, it influences the style of that artist. And I'd like to know from either or both of you how much influence the African culture has had on your style. Well, I like to answer that one. The first of all, very much of a large a very big influence and influence so much that I did two albums and contain African oriented work. One one was entitled Africa the Center of the World, and the other one is entitled The Black Family, which was dedicated to the black family that came from Africa long, many years ago on the ships and boats, you know, I ancestors and and the basic the basic idea of the black family concept was to make sure that the young people understood that slavery did take place and must never take place again, and that their natural heritage and roots come from Africa.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=951.92,1069.88"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/10","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Within the structure of the music, I tried to make sure that, you know, they can relate to it through music because quite often the kids don't don't know about their heritage or their history or the ancestry history. That's delightful and refreshing to hear. Thank you. What about the answering? There were, of course, you know, is is automatic because by coming from you know, I was born in England to the black race. And so we are the music and the heritage is automatically influences us. And so it's always there. But specific artists, are there anyone or any people in your past who had a very definite influence on your music? Oh, yes. I mean, and just the whole music structure. Oh, yes. I mean, of course, you know, people like John Coltrane, Miles Davis of. Fast while I. Tatum Oscar Peterson. I mean it just it just goes on forever. You know so I'm really excited. I mean, they're just fantastic, talented people. Well, how much of an influence do you or inspiration do you get from the artists that you appear with? Roy, for instance, Thom Browne, Jean Collin. Oh, yeah. Well, you are, naturally. That's why we enjoy performing together. Because when whenever they perform each night, we perform. You know, Roy might do something and say, Wow, okay, taking our time, I do something and it's all spontaneous and creative that you you wait for those moments. I mean, he's like walking through day. You want something exciting. And so when we perform together, we we never know exactly what we're going to do. And so whenever they do it, I'm happy, you know? That's great. What about recording? Is there any possibility of you guys getting together on an LP any time in the near future? See what I said to the record companies or the producers or entrepreneurs, you know? I mean, we are ready.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1070.81,1182.9"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/11","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But now Roy has a record label, don't you, Roy? That's correct. But now I am on CBS. Okay. Could you explain the trade? Yes, I went with CBS because the deal was right. You know, you look at the bottom line. But that's really the bottom line. You know, when when the deal's right, you go with the majors and, you know, and it takes a lot to run a record company. And I still have my record company. But in going with CBS, it enables me to help my company that much more. Okay. Baltimore wants to talk to the two of you. Hi, your live on City Line. Hello. I'd like to talk to Mr. Brown and Mr. Ayres. I have one one very good question for Tom Brown. And with us helpful. Harold is with us. You this Mr. and Mrs. Smith. Of course you do. Both, gentlemen. Okay. I like to find out what would be their advice to the younger generations who have studied the older styles of music and upcoming now into a generation of electronic computerized music. And what would be their advice to them to try updating their musicianship and becoming more prominent like the Miles Davis, the Herbie Hancock, in Battle for you gentlemen. Now as a as musicians. Well, great question. Well, what I would recommend is that it doesn't matter what is electronic music or whatever music. The main thing is you have to bring out what is in you, and the instrument is only an extension of you. That's what you have to look at it. And so whatever is, you just just try to find that and go for it. You've gone through something of a transition. You're you're a keyboard artist, but through a variety of instruments with the technology, as well as the rise and fall of the music industry itself.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1183.62,1289.58"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/12","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"But that's good because that reminds me of when I first played, because I always play classic piano. And then I was with federal Sanders and we were in California doing a record they call DMV. And I had never even seen a Fender Rhodes before an electric piano. And so everybody everyone else had something to do. The bass player, the drummer, I didn't have anything to set up, so I saw an electric piano sitting in the corner. I just walked over and start performing and the guys ran over, said, What are you doing? I don't know, just mess around with the piano. And they said, That sounds great. Let's do it. And and that's when I wrote That's what Traveling is always been, you know, very lucky in that everything tried to be natural. Okay. We're going to continue our discussion and we're going to continue with all this jazz right after this. But. I. We're back lives talking with Mr. Roy Ayers and Mr. Lonnie Liston Smith. And at this point, gentlemen, we're going to add to the trio and move on the count and introduce to you Mr. Tom Brown. This is coming from. They are vain. Mr. Tom Brown. I guess we've given everybody else the chance, Tom, and I guess we'll give you a shot at it. How is it like before performing with these two guys? Oh, great. We're all coming from the same musical direction, and, uh, we have a chance to do something that, uh, not too often a musician gets a chance to do. Have you played with them before? Yes, we've done. Uh, what about? Yeah, several days. Quite a few minutes. It is quite a lineup, that's for sure. Yeah, we know the name Thom Browne.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1290.1,1537.75"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/13","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We know Lonnie Liston Smith. We know Roy Haynes, But we don't know as much about Thom Browne as we ought to know what we want to know. Give us a capsule of Tom Brown's life. I guess up until, uh, five or six years ago, Thom Browne was trying to decide whether we want to fly with the airlines or play trumpet. And, uh, upon seeing the dollar figure on a record contract, decided that I would definitely make music. It's not like Roy Ayres is. Bottom line, he actually flies planes. I was about to say, you seriously consider being commercial airline pilot. That means that you already have quite a few hours in the air. About 20 $300. That's that's quite a bit of flying. What's the biggest thing you've ever flown? I've done the trumpet. Oh, I've done some work in, uh, citations, which was, uh, small twinjet. Uh, but, uh, not recently. So how did the trumpet come into your life? The trumpet is more or less always been. Uh, my, uh, my cool outsource. I've been able to put down the books and put down the, uh, the studying and go go out to the club and play jazz. And, uh, it just turned out that I went to the right club at the right time. And, uh, where are you from originally? Queens. New York City. Okay. Oh, you're East Coast, man. Oh, you're very comfortable here. Now, you have an album out now. We have it at the time. We just happened to have it here. The new album. Well, let me tell you which is good to go. Tom Iggulden, Tommy Gun fan, The Secret Fantasy. He hasn't been my favorite. Who is the young lady? How did that come about? It is one fabulous side.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1538.17,1633.21"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/14","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Garrett is the, uh, singer of Secret Fantasy, and she was featured with, uh, Dennis Edwards on his last film. That's right. And, uh, I met Zelda when I was touring out on the West Coast, and I immediately fell in love with The Voice. How's that album doing? Doing pretty well. Great. It's beautiful. Thanks. Before we take a question from a studio audience, I just want to congratulate Tom on the air for an arrival about five weeks ago. I'm slowly recovering, young son. He's a new papa. Congratulations. We do have a question for the audience. Yes. My name is Andrew Pelham, and I would like to know, how does a songwriter get started in a business? Uh, the best thing to do, as far as I can see, is do as much listening as possible. Um, it's always important to build on the foundation that was was established before, and that's whether you're playing jazz or playing, playing classical or whatever. Um, we have a tremendously long heritage of, of jazz music, uh, dating back years. So what I would, what I would say is to build on that, build on that tradition, to pick up the baton that someone's giving you. And right from there. Thank you. Where do you go from there as a budding songwriter in terms of getting your material listened to or performed? Well, as far as performance, uh, I would say you could find out where some of the names are playing. What I did was find out where a good friend of mine, George Benson, was performing. And just. Just hang out. Minor talent. Well, it's great to have friends like that, but, you know, you really hang out. You go to them and you just let them know I'm a writer and you let them see that you make you have to also you have to just go do it.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1633.66,1732.57"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/15","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"You know, nobody's going to come to you. That's a career that you really can't have something. You really think it's great. I'm sorry. No, that's great. Lonnie, what? Were you going to just make some tapes and of what? You composition and give them out to the right people? That's right. Okay, let's take a call. Hi. You're on City Line. Oh, hello. I have a question for Tom Brown, and I'd like to know, um, I like his collaboration with Dave Grohl. Why he didn't ever do anything with Ed Balls. Now I wish I had. There you have it. It was just doing very well. Um, I think she's just about to come out with a new album also. And, uh, unfortunately, sometimes careers just get moving into the point where it's hard to, uh, catch up with each other. But, uh, you know, God bless. I wish all the love the world. Okay, another call has come through. Hi. Your live on City Line. Hello. I have a question for all three of you. I guess I'd like to know the opinion of Wynton Marsalis and which of the old jazz trumpet players do they class in with? We want you to ask. Please do we want to help him with that? I like Wynton Marsalis. I think he's a very creative artist. I think he has a unique style to also play. Other than the fact that he plays jazz very well, he plays classical, we're very well. And if I had to say sounding like anyone, I would say he sounds close to Miles Davis. Would you agree with that? That's wouldn't me. It sounds like it's coming directly out of Miles. He's an excellent player. Um, Miles. And probably a bit of Clifford Brown.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1732.67,1833.47"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/16","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Well, I guess the obvious question to flow from that is who influenced you most on the trumpet? Clifford is one of my favorite favorite artists. Uh, moreso Lee Morgan, uh, who had a much more melodic style of playing. Okay. Yeah. Uh, let's take another question from our studio audience. Sam Basically, my question is for Mr.. I have I saw your show in the ghetto and you performed with Fela Kuti. How was it like touring with Phil now, playing music with such a big style in Africa, and how did you feel? Like I knew. What did I tell you? It was one of the biggest experience in the first place I ever went in Africa was Nigeria. And, uh, this gentleman that he's talking about, Fela Anikulapo Kuti, is, is a European priest and he's a musician, He's a politician. He's married to 27 women. It is allowed in there in that custom over there, and he takes care of about 70 people. So to have been in this environment myself, that was really a unique experience for me. It was wonderful. Seven weeks in Nigeria and I guess in that seven week period I became a Nigerian because I traveled throughout the entire countryside. Fela and I learned of his customs and his ways and and the love and the beauty that he has within the structure of his music and his expressing expressions. And I did an album with him over the Africa Center of the World, as you know, and I met some very beautiful people. But it was it was a very beautiful feeling. It was very it was very big moment in my life. Thank you. Thank you. Okay. We've got another call from home. I would you like to talk to our guests? Yeah, I'd like to find out first, Thom Browne what inspired him to write Midnight's Children.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1834.14,1938.83"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/17","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I like that was the back. Oh, actually, Midnight Interlude was written by Danny Bell, who was a co-writer for Dave Grusin, one of my early producers. Uh, but when we perform that tune, it becomes very much part of me because, uh, uh, it's a chance that I have, uh, to play a softer type of tune. And it's not, it's not a Jamaica funk. It's not a, uh, uptempo dance to it. It's more of a mellow thing. So I enjoy that a lot. Are there any writers in particular that whose music other than your own you enjoy performing, or is it just good to see some fresh new material coming? Definitely. You can introduce. Definitely. Uh, I used to do, uh, quite a bit of Freddie Hubbard's material, uh, because I. I could identify with Freddie quite a bit. It's a good friend of mine. But, uh, now, just whatever sources I could, I could have. Let's talk about Michael Jackson for a moment. Only because he's a musician. He's kind of upstaging a lot in the music world internationally, in addition to Prince. Any thoughts about that? Any concern about the negating of jazz and real, you know, real solid music? Well, in my particular case, it's still there because the everyone has these particular labels that they put on us. And music is music. And Michael Jackson is talented. I mean, that young man is talented. So, uh, you know, when I watch Michael Jackson, I still see the same creativity. It maybe it comes through his dance, you know, you know, whatever movements he does, or maybe he might make a certain sound with his voice. Do you ever resent the commercial success of Michael Jackson or Prince, who can make millions? No.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1940.09,2043.05"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/18","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"I mean, I'm just so happy to see it happen. I mean, yeah, you know, when you see black artists and really at the top of the pop charts, that does not happen. And people have to really understand that that does not happen every day. You know, I mean, black artists are generally at the top of the R\u0026B charts, but the pop charts are like total public appeal everywhere. And it doesn't matter what color. But Michael and Prince now have open some of the doors that weren't really available before fact as far as crossing over to pop. And it's about entertainment and show business and in a lot of things, music and what have you. I did want to mention the fact that one of the great things that happened with Michael Jackson is his collaboration with Quincy Jones. And they are, from what I understand, making a new album now. Okay. We're going to take a break right now. And when we come back, wow, We hope to hear these three gentlemen perform for us. We'll be back live. Sydney on. Now, here's this week's community calendar. Hello. My name is Mary Demery. You are invited to join the Baltimore Alumnae chapter of Delta Sigma Theta Sorority, Inc. and Johnson Publication Company in the 27th annual Ebony Fashion Fair on Sunday, October 14th at 5 p.m. at the Meyerhoff Symphony Hall. For ticket information, call 4332079. If your group or organization would like to announce an event, please write us in care of City Line. WJC TV Television Hill, Baltimore, Maryland 212, one, one. Or call us for further information at 46600013. Between the hours of nine and five. We're back live on the city line. And as promised, the moment that you've been waiting for.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=2043.36,2272.86"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/19","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"Yes. We're going to have the three artists performing Sunflower by Freddie Hubbard and. Yeah. Look at me. I'm as helpless as a kitten. Now I know when the sound of your halo, the music. I mean, I get misty. Whenever you are near. Oh, my way. And a thousand violins begin to play. Not know when the sound of your Hello. The music I hear. I get misty whenever you're needed. And I don't know if you're. Leading me on. Is that the right thing to do? Don't you know how helplessly I love? That's why I'm following you. Look at. Helpless as. Tree. Not nowin my left hand from my right. I can't understand how I get missed. Ever you need. And I don't know if you're leading me in separate things into. Oh. Don't you know how bling I know. That's why I'm with you. Look. As helpless as a kids. Trees, not know where my left hand from my right. I can understand. I get misty, me and my money. Whenever your. Misty. To tell you that the name of the vocalist who was with the artist in that last segment was Leslie Yellow Bird Glover. Fantastic. And she'll be back, I believe. Well, don't go away just yet, because both like life lessons, Smith and Tom Brown will be performing again on today's show. Right now, we'd like to change gears for just a minute and welcome Dr. John Bonus. And he is with the Black Jazz Heritage, the Baltimore Jazz Heritage and more jazz. Welcome and thank you both. About the weekend. Okay, fine. I just want to first say that those folks are really terrific and and didn't Leslie sound so much like Billy Ray? And that brings me into the Baltimore Jazz Heritage, because it's a celebration, a tribute to the Baltimore jazz heritage.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=2273.1,3082.91"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/20","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"And it's a thing where we want to bring attention to the very unique history of jazz and Baltimore, which which features so many important personalities, including Billie Holiday. Chick Webb, Eubie Blake. Cab Calloway. Cab Cab Calloway, etc.. I might also mention that Ella Fitzgerald is a part of that heritage, since it's not generally known that Chick Webb was Ella's guardian up until the time that he died in 1939. So that I think Baltimore is a city that can be extremely proud of of the contributions that its people have made to the music. So what's coming up on the weekend? You've got quite a lot of things. Oh, absolutely. Absolutely. When is it first? Okay. It's it's a two day program on November 10th and 11th. We're calling it a tribute to Baltimore's jazz heritage. And we hope that we're going to have something for everyone. The program starts on Saturday, November 10th, with a public forum and concert where we hope to feature the historical and educational significance of the contributions made to jazz by Baltimore artists. And interestingly enough, we're bringing in Jimmy Heath, Donald Byrd, Slide Hampton and that group for that particular program. And as I say, that's something we hope that everyone can come to, because the ticket prices range from $3 for youth 16 and under to $4 for students with ID and $5 for adults. And that's so that's on the ten. That's on the ten. That's that's a Saturday afternoon from 2 to 6. And that's going to be at Pascal's at Park Circle. And then in the evening from eight until we think we're going to feature a Baltimore jazz showcase and we're going to bring back the Tracy McCleery Band, which is the old Royal Theater band.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=3083.51,3200.57"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/21","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"We'll have Fuzzy Cane, Trillium, Mickey Fields and Arnold Sterling. And then the next day on Sunday, we're going to go back to the Meyerhoff. All right. From 2 to 6, we'll have Chris Brooks Quartet, who is Cab Calloway, his grandson. We'll have pieces of a dream from Philadelphia. And we will have the Count Basie Orchestra, which I understand is really hot. That's a serious weekend show and jazz. Absolutely. How you mentioned the Royal Theater. How significant was the Royal Theater to this jazz movement in Baltimore? Oh, I think it was the anchor, because I don't know how many people remember that. Pennsylvania Avenue was the focal point for, let's say, adult entertainment and jazz and music in Baltimore. And and unfortunately, that Heritage is has not gotten the recognition that we think it ought to have. We want to bring back that, all of that. So you're melding the educational with the entertainment? Absolutely. We think it's important that the young people and some of the older folks who don't remember that, you know, get a chance to to be a part of it. Those who want to be a part of it, how can they get more information to get tickets and so forth? Give us a number. All right. Okay. For the entire thing. Ticket information can be gotten from me at 2760306 weekdays only, please. And for the Meyerhoff concert, you can just call the ticket office. And I don't recall a number there, but it's something you can get from information. We'd like to thank Dr. Bonus for joining us and bringing to our attention that what sounds to be a very exciting weekend. We're going to be back in just a couple of minutes again with Mr. Roy Ayres when he, Smith and Tom Browne join us.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=3200.9,3303.2"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/22","type":"Annotation","motivation":"transcribing","body":{"type":"TextualBody","value":"This has been fantastic, this jazz special on City Line. And we'd like to give thanks to some people who helped make it possible. First of all, we'd like to thank Phenix Productions for bringing these fantastic folk with Leslie, of course, and that's George Rogers, Roberts and John Conaway. And I'd also like to mention that Lonnie Liston Smith has an album coming out called Silhouettes, and so does Roy Ayres, called In the Dark as usual. But. I'm going get into that. And just just to remind you, next week, we've got a very interesting show coming up again. We'll be having Boyce Mosely, who is a very controversial educator in Baltimore City. Right. And Te Montero. We'll have a very special report on minority fronted construction firms. Right. And Harold Anthony will have a fantastic video with Julio Iglesias and Diana Ross. We're going to get out of here, these gentlemen for free. And Betty Bentley from Hi, I'm Jackie Hall. Have a good good Sunday.","format":"text/plain"},"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=3396.14,3455.01"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247","type":"AnnotationPage","label":{"en":["English [Transcript]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/transcript/47247/annotation/23","type":"Annotation","motivation":"subtitling","body":{"type":"TextualBody","value":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/047/247/original/open-uri20230807-3190-vipb1b?1691450955","format":"text/vtt","language":"en"},"target":"https://d9jk7wjtjpu5g.cloudfront.net/file_transcripts/associated_files/000/047/247/original/open-uri20230807-3190-vipb1b?1691450955"}]},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116","type":"AnnotationPage","label":{"en":["Jazz Special, 1984-10-07 11-20-2023 19:04 [Index]"]},"items":[{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/24","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guest interview ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=121.0,808.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/25","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Roy Ayers","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=121.0,808.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/26","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guest interview ","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=808.0,1517.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/27","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Lonnie Liston Smith ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=808.0,1517.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/28","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Guest interview","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1517.0,2189.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/29","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Tom Brown","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=1517.0,2189.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/30","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Community Calendar","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=2189.0,2274.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/31","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Local Baltimore group or organization events ","format":"text/plain","label":{"en":["Synopsis"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=2189.0,2274.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/32","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Music performance","format":"text/plain","label":{"en":["Title"]}}],"target":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474#t=2274.0,3049.0"},{"id":"https://marmia.aviaryplatform.com/collections/948/collection_resources/83969/file/172474/index/81116/annotation/33","type":"Annotation","motivation":"supplementing","body":[{"type":"TextualBody","value":"Ron Ayers, Tom Brown, Lonnie Smith perform with Leslie Yellowbird Glover. 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