Ghost Quartet’s “Dark Side of the Moon Redux” at The Oklahoma Jazz Hall of Fame

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Additional Information:

Date/Time: July 24th, 2015  7 30 pm

Location: 5 S. Boston, Tulsa, OK 74103

Phone: 918-528-5299

Website: www.okjazz.org

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Sarah Maud Performs at The Oklahoma Jazz Hall of Fame

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SARAH MAUD CELEBRATES SARAH VAUGHAN SUNDAY AT JAZZ DEPOT

As one of the most prominent of the young musicians currently impacting Tulsa’s jazz scene, vocalist Sarah Maud can be seen and heard around town in varied musical settings. One of the most engaging is Maud Squad, an inventive avant-garde trio that features Maud exploring the use of her voice as an instrument, in tandem with Jordan Hehl’s bass and Nicholas Foster’s drums.
That idea – along with Hehl and Foster – carries over into her Sunday Jazz Depot show, Sarah on Sarah: Celebrating Sarah Vaughan. As the title indicates, the concert will consist of numbers associated with the late jazz star, and Maud, who admits to liking “more obscure songs,” has selected at least one tune that will allow her to illustrate how a voice can also be an instrument.
The song is “Shulie a Bop,” the first track on Vaughan’s 1957 LP Swingin’ Easy. Co-written by Vaughan and her then-manager and husband, the trumpeter George Treadwell, “Shuile a Bop” is, Maud notes, “a really big scat number, which is something I’m not sure people expect me to do.”sarah vaughan swingin lp
That kind of frustrates me,” she adds, “because vocalists have the ability to be instrumentalists. But that’s one of those things people just don’t think about.”
Chances are, the Jazz Hall audience will be thinking a lot about it after they hear her perform the challenging tune, accompanied not only by Hehl and Foster, but also guitarist Josh Westbrook and saxophonist Mike Cameron.
“I’m really excited about that one,” she says. “It’s going to be fun.”
In fact, she’s excited about the whole concert, which gives her a chance to acknowledge one of her biggest musical heroes.
“When I started doing jazz, Sarah Vaughan was a huge influence on me,” she explains. “It’s just the thickness of her voice, that smooth, warm sound she had. Also, I realized through time that I basically stole her vibrato.” She laughs. “I stole her vibrato, but I took Ella’s timing on when to use it. I didn’t realize I was doing it. I guess when you listen to someone so much, it just happens.”sarah maud 2

Maud started listening to jazz as a kid, but she didn’t really begin sorting out the approaches and styles of the different vocalists until she was in high school – only a few years ago.
“That was really when I started paying attention,” she says, “because I realized that this was exactly what I wanted to do.”
As she began singing for audiences and putting together her own shows, she usually included a few songs associated with Vaughan, including Vaughan’s take on Ray Noble’s famous big-band tune “Cherokee” (from the 1955 disc Sarah Vaughan in the Land of Hi-Fi) and the Vaughan version of the classic “All of Me” (because, notes Maud, “that scat solo is just awesome”). Then came the opportunity to do a full-length Vaughan concert, thanks to Oklahoma Jazz Hall of Fame CEO Jason McIntosh.
“I was talking to Jason, and he was asking me what I would like to do for a show,” she remembers. “He first suggested Blossom Dearie. I thought, no, I didn’t really want to do that, because I’d done a Blossom Dearie show with Annie Ellicott [at the Jazz Depot in November 2012]. So I thought about who the huge influences have been in my life. I didn’t want to do Ella, because that’s done so much, so I asked him, `How long has it been since someone’s done a Sarah Vaughan show?’
“He said, `It probably hasn’t been done for a long time.’

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“I thought that would be perfect. I’d love to do her music, and it would be a good opportunity to pay tribute to her – and to kind of thank her for letting me steal her stuff,” Maud concludes with another laugh.
Sarah Maud’s Sarah on Sarah: Celebrating Sarah Vaughan is set to begin at 5:00 p.m. Sunday, August 24, at the Oklahoma Jazz Hall of Fame, located in downtown Tulsa’s Jazz Depot, 111 E. First St.
Tickets can be purchased at the Depot, from http://www.myticketoffice.com, or by calling Bettie Downing at 918-281-8609. General admission is $15, reserved table seating $20. Seniors and Jazz Hall members are admitted for $10, and high school and junior high students for $5.
The show is a part of the Jazz Hall’s 2014 Summer Concert Series.

The Oklahoma Jazz Hall of Fame is a 501(c)(3) non-profit cultural and educational organization, with a mission to inspire creativity and improve the quality of life for all Oklahomans through the preservation, education, and performance of jazz, our uniquely American art form.

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Steven Schrag & The Ghost Quartet Return to The Oklahoma Jazz Hall of Fame

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Tulsa’s jazz scene lost a good one a few months ago, when pianist Steven Schrag began graduate studies at the Annenberg School for Communication at the University of Pennsylvania in Philadelphia. After arriving in town from his native Texas to pursue an undergraduate degree at the University of Tulsa, Schrag becam
e, among other things, a strong presence in the Oklahoma music scene, working with the combos at theWednesday noontime Jazzwich shows, anchoring the Tuesday night jam sessions, and appearing as the pianist for many shows in the Jazz Hall of Fame’s Sunday evening concert series. He also headlined and produced numerous concerts at the Oklahoma Jazz Hall of Fame, including the December 2012 Dave Brubeck Memorial Tribute Concert and co-producing a show dedicated to Oscar Pettiford’s original work with legendary composer and musician, David Amram.

His musical cohorts on many of these appearances were bassist Jordan Hehl and drummer Nicholas Foster; they collectively backed many vocalist
s in addition to gigging at the Depot and elsewhere around town as the Ghost Quartet.

Now, with the first semester of grad school under his belt, Schrag’s back in Tulsa long enough to reunite with Foster and Hehl for a Sunday concert at the Jazz Depot. He likens the upcoming experience to old friends picking up a conversation they started when they last saw one another, even if it was months ago. “That’s how I feel about it,” he says. “We’ll pick up the metaphorical conversation right where we left off. I miss them a lot, and it’ll be great to rejoin the trio.”100_3092

In fact, Schrag actually made his return to the Jazz Depot stage a couple of weeks ago, even though his appearance wasn’t only unadvertised, but unexpected.
“I was in town very briefly a couple of weeks ago. I flew in to Dallas, which is where I’m from originally, and drove into town to pick my brother Michael up from the University of Tulsa when his semester ended,” Schrag explains. “So I got to stop by the Tuesday night jam at the Jazz Hall of Fame. It was a real treat for me, to have the opportunity to stop by and see everybody. Jordan and Nicholas were holding it down with the house band. Mike Leland was doing a great job on the piano. Tim Shadley also stopped by.
“I didn’t let anybody know I was coming,” he adds with a laugh. “It was fun.”
He will not, however, say that his unannounced presence after months away from the building caused a stir.
“That’d be awfully self-aggrandizing,” he says, laughing again. “But I’ll tell you what: It is a little odd not to be there every week. I miss being able to see those guys and playing at the Jazz Hall all the time.”

“Of course, research and reading and studying are my first priorities right at themoment,” notes Schrag, who’s attending the Annenberg School on full scholarship. “But, you know, I don’t know how long I could survive without playing music. I’ve found a little place near my house where I get to play at a jam session occasionally, and that’s been a nice outlet.
“I will say that I’m totally lucky to be at such a great institution, surrounded by brilliant researchers and really interesting minds,” he adds. PattieP_006“The first semester has been quite an adventure, very exciting. It’s a totally new environment, and it’s only going to get better when I go back for next semester. But the past couple of months have been a little bit overwhelming, so I haven’t had a chance to really explore the Philly music scene. I will soon, for sure.”
Meanwhile, he’s delighted to be back in a musical environment he knows very well, if only for a short time.
“I’m looking forward to working with Jordan and Nicholas again,” he says. “I think it’s going to be real comfortable. I only wish I could stay here longer. There are a lot of great people in Tulsa.’
Steven Schrag: The Ghost Quartet Returns is set to begin at 5p.m. Sunday, January 5, at the Oklahoma Jazz Hall of Fame, located in downtown Tulsa’s Jazz Depot, 111 E. First St. Tickets can be purchased at the Depot, from http://www.myticketoffice.com, or by calling Bettie Downing at 918-281-8609. General admission is $15, reserved table seating $20. Seniors and Jazz Hall members are admitted for $10, and high school and junior high students for $5
The show is a part of the Jazz Hall’s 2014 Winter Concert Series.

The Oklahoma Jazz Hall of Fame is a 501(c)(3) non-profit cultural and educational organization, with a mission to inspire creativity and improve the quality of life for all Oklahomans through preservation, education, and performance of jazz, our uniquely American art form.
The Oklahoma Jazz Hall of Fame