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Listings are
in the opposite order of appearance: headliner is listed at the top,
next is the support band(s),
and the last band listed is the opener.
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Sunday November 28
2021 2:00PM doors -- music at 3:00PM ••• 21 AND OVER $5 All proceeds to be donated to Bread and Roses in Lisa's memory Earthwise Productions presents... Save Me Yeah! A Tribute to Lisa Faye Beatty, on the tenth anniversary of her death. Jerry Jemmott Quartet featuring Jimmy Pugh and Nancy Wright and Paul revelli Jerry Jemmott and the Incarnation Blues Band w Jimmy Pugh, Nancy Wright, & Paul Revelli perform as a quartet www.jerryjemmott.com/ Blues plus these additional performers: Roberta Donnay, two songs; Eden Ariel; two songs; Isis Theodora, one song; Steve and Eric Cohen pka Hunter S. Thompson Twins; one song; Aisha Ayers, one song; Veronica DeJesus, one song; Josh Thurston Milgrom, two songs; Stories, statements, and songs welcome! About this event:
Lisa Fay Beatty played with Mudwimin the first Earthwise show at Cubberley, October, 1994. In 2008 she and I started a tribute to Nina Simone, "Save Me, Yeah". As this month marks the 10th year since her transit, we are producing a tribute at Bottom of the Hill in Sf featuring Nina's bassist, Jerry Jemmott. Proceeds from the door will go to Bread and Roses, the Marin based charity that supports local musicians. Jerry Jemmott played with Nina Simone, and on the track "Save Me, Yeah" (and on tracks by King Curtis, Aretha Franklin, many more). I met him at the Diunna Greenleaf session at Greaseland of San Jose, and he supported her show here last month. He told me that he would love to learn Lisa Fay Beatty's music, especially a late session with Carla Kihlsteadt (Tin Hat Trio) as El Fay. Featuring Jimmy Pugh, Nancy Wright, Aisha Ayers, Veronica DeJesus, Paul Revelli, Aleta Hayes, Josh Thurston Milgrom, Roberta Donnay I think this event emphasizes that although life is chaotic music is an important organizing principle. We also welcome friends of Lisa Fay Beatty to speak or perform at the event. Please rsvp to earwopa@yahoo.com or contact the organizer here at Eventbrite. Lisa also played as a trio at Earthwise's 15th anniversary show at BOTH, 2009, as above. The event is called "Save Me, Yeah" part of the purpose is to piece together Lisa's narrative about her weekend in Portland circa 2002 with Nina Simone, which we were trying to turn into a one-woman show. 100 percent of the door will be donated to Bread and Roses. Jerry Jemmott Quartet -from Bronx, NY/Los Angeles, CA -Born in the Bronx, New York in 1946, this two time Grammy Award-wining bassist was one of the pre-eminent session bassists of the late 1960s and early 1970s, working with an impressive cross section of the era's finest soul, jazz and blues artists. One of the youngest of the many Jazz musicians to come out the Bronx during the 1950s, Jerry Jemmott found his way to prominence on acoustic bass with Pucho & The Latin Soul Brothers and the Mercer Ellington Orchestra. He switched to electric bass in 1964 and shaped his skills to eventually join many of his heroes in the recording studios of New York City. He played on and arranged his first major recording sessions with JJ Jackson and played on Nina Simone's 'The Blues' album in 1965. He got his big break when he was discovered by Rhythm 'n Blues/Jazz saxophonist King Curtis, and thanks to his Atlantic Records connection through Curtis he subsequently became a key architect of the Atlantic Records and Muscle Shoals Sound. Jerry has been a performer since the age of five, starting as a tap dancer with Mary Bruce’s Star Buds, in Harlem, where he performed at Carnegie Hall in their annual review. He stands on the shoulders of the many musical geniuses of his time but owes his love of the bass to bassist Paul Chambers, whose rhythmic pulse and note selection captivated him and Charles Mingus who's harmonic propulsion and writing skills continue to motivated him. His mother Jessie insisted that he take lessons and after one year of upright bass lessons with Felix Mann, he started working professionally at the age of twelve in the many bars, night clubs and ballrooms in New York City with different bands, 3 to 4 nights a week, always learning more and often teaching, as he went along. His body of work illuminates the times both then and now as he played on the recording of Ain't Got No/ I Got Life” w/ Nina Simone, “The Revolution Will Not Be Televised” w/Gill Scott Heron, “People Got To Be Free” w/The Rascals, “The Universal Prisoner” w/ Les McCann & Eddie Harris, “Think” & “Eleanor Rigby ”w/ Aretha Franklin, “Attica Blues” w/ Archie Shepp, “Why I Sing The Blues” & “The Thrill Is Gone” w/BB KIng plus a recent cameo solo performance in the film “Mitchellville”. B.B. KING says: “He never does anything just because it’s right to do; he likes to do it because it feels good doing it. He would come up with things that fit…Quincy Jones has a way of working with people where he’ll get them together and say ‘Okay, get into something. Jerry was the same way….Jerry was very concerned.” * |
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