Jazz artist Bennie Maupin is looking forward to his Washington visit this week. The woodwind player will receive a prestigious award followed by a debut performance with his ensemble at Bohemian Caverns. Both gigs are equally exciting for this seasoned musician and Californian who seldom gets to D.C. “I’m being honored at Howard University with the Benny Golson Jazz Masters Award on Thursday and then Friday and Saturday nights at the Caverns,” said the artist, who is probably best known for his bass clarinet playing on Miles Davis’ classic “Bitches Brew” album.
Howard University’s annual award was created in 1996 to honor the legacy of alumnus Golson, the composer and saxophonist who wrote such iconic jazz standards as “Killer Joe” and “Along Came Betty.” Past recipients include Thelonious Monk and Billy Taylor.
| ONSTAGE |
| Bennie Maupin Ensemble |
| » Where: Bohemian Caverns, 2001 11th St. NW |
| » When: 8:30 and 10:30 p.m. Friday and Saturday |
| » Info: $25; 202-299-0800; bohemiancaverns.com |
Throughout his long career, Maupin has recorded with Davis, Herbie Hancock, McCoy Turner, Lee Morgan and Eddie Henderson, to name a few.
At Bohemian Caverns, however, he will be playing his own music along with the Bennie Maupin Ensemble, a group he formed more than 10 years ago and one that works steadily on the concert circuit. These players include drummer and percussionist Michael Stephans, internationally renowned bassist Darek Oles and a second world-class percussionist, Munyungo Jackson. Maupin rounds out the ensemble, bringing onstage with him his soprano sax, tenor sax, alto flute and bass clarinet. The group performs music from its recent release, “Penumbra,” an album dedicated to the memory of Lyle “Spud” Murphy.
“[Mine] is truly an ensemble that’s been a lot of years in the making,” said Maupin. “The music speaks for itself — it’s a language that’s distinctly our own.”
In the liner notes for “Penumbra,” Stephans writes of the ensemble’s closeness, noting, “Each time we play, we breathe together, as though we were one body. Thanks to a common aesthetic, mutual trust, and like-mindedness, the Ensemble has evolved to the point that we no longer play the music; the music plays us. It has been a truly remarkable experience. And like Miles did with his great bands, Bennie is the metaphysical glue that holds us all together. His clear vision shines brightly as we traverse these musical landscapes. For us, this organic music is a four-way conversation among old, dear friends. What could be better than that?”
