OSCAR NOMINEES FOR BEST DOCUMENTARY (FEATURE) RAOUL PECK'S I AM NOT YOUR NEGRO AND AVA DUVERNAY'S 13TH

TWO FILMS BARE THE RAW TRUTH OF RACIAL INJUSTICE THROUGH THE EYES OF AUTHOR JAMES BALDWIN AND THE FILTER OF REPRESSIVE SENTENCING LAWS

REVIEWED AT THE NEW YORK FILM FESTIVAL
BY DWIGHT CASIMERE

Dwight Casimere at the 2016 New York Film Festival

 Author James Baldwin (l) and Director Raoul Peck

 Raoul Peck and Ava DuVernay (below) are interviewed at the 2016 New York Film Festival

NEW YORK--Two films that lay bare the raw roots of racism are nominated in the category of Best Documentary (Feature) by the Academy of Motion Pictures and Sciences at this year's Oscar Awards.
Ava DuVernay's 13th exposes the history of mass incarceration and criminalization of blacks in America, which has its roots in the 13th Amendment of the Constitution, which abolishes slavery and involuntary servitude, except as punishment for a crime. The amendment sparked mass incarcerations of freed slaves. The former slaves were then assigned to road gangs which were used as construction crews to rebuild the defeated South. The situation was exacerbated in 1994 with passage of the bi-partisan "three strikes" crime bill, signed by President Bill Clinton, which sent thousands of black men to prison for excessively long sentences for relatively minor crimes.

The film begins with an ominous quote from former president Barack Obama; "The United States is home to 5 percent of the world's population but 25 percent of the world's prisoners." For 100 minutes that will have you riveted to the screen, the film artfully intercuts scenes from D.W. Griffiths Birth of A Nation,which charts the rise of the Ku Klux Klan, with footage of lynchings, newspaper headlines from the Emmett Till murder, and present day police shootings and brutality.

Raoul Peck's I Am Not Your Negro is based on author James Baldwin's  fragment of a treatment for an unfinished film on the assassinations of his three close activist friends, Dr. Martin Luther King, Malcolm X and Medgar Evers. Baldwin said their deaths "rocked my universe." Baldwin only completed 30 pages of the project before his death in 1987.The film skillfully uses the voice of actor Samuel L. Jackson, in a masterful and unusually subdued performance, which speaks almost as the 'inner voice' of Baldwin's sub-conscience as the film opens with shockingly graphic shots of the three slaughtered leaders and progresses through a litany of violence directed at blacks, from lynching in the South and Emmett Till to the Rodney King beating and subsequent riots right up to today's police shootings and Black Lives Matter. Scenes from archival footage Baldwin's acerbic commentary on the Dick Cavett show and at university lectures lends the author's own powerful and outspoken voice. 

It took Raoul Peck more than five years to complete his film, which clocks in at a slim 95 minutes, but despite its brevity, it packs a wallop. Unfortunately, Baldwin's harsh words in his tv interviews and lectures ring as true today as they did at their inception.

New York Philharmonic Tchaikovsky Festival: Pianist Kirill Gerstein Shines in the Piano Concerto No.1

by Dwight Casimere

 Kirill Gerstein performs

Conductor Semyon Bychkov

New York Philharmonic's Beloved Friend-Tchaikovsky and his World: A Philharmonic Festival was punctuated by an unusually vivid performance by Kirill Gerstein, the enigmatic Jewish-American/Russian pianist who has become the proponent of the composer's own 1879 version of Tchaikovsky's Piano Concerto No. 1, which was premiered in the Urtext edition with the New York Philharmonic in its Tchaikovsky festival. 

Gerstein , winner of the prestigious Gilmore Artist Award, is known for his piston-like attack and harsh, brittle sound, devoid of any romanticism. These qualities served him well in the Concerto No. 1. Every note in the Allegro con spirito of the first movement was crystal clear. His thundering octave passges in the Allegro vivace assai rang with equal clarity. Most surprising, and gratifying, was the sincere emotion he displayed in the preceding Andantino semplice, which contained the concerto's most recognizable romantic themes. Conductor Semyon Bychkov showed his considerable skill at reigning in the advancing themes and complex inner voices of Tchaikovsky's brilliant orchestrations. In many ways, the performance was a true collaboration of conductor, orchestra and soloist. The thunderous applause was well deserved for the efforts of both men to bring this sometimes unweildy, but inspired work to fruition. Those who attended this series of concerts were witnesses to a significant moment in musical performance history. 

JAZZ AT LINCOLN CENTER; DIANNE REEVES AND FREDDY COLE SING FOR VALENTINE'S WEEKEND LOVERS IN SEPARATE STELLAR SETS

by Dwight Casimere

Incredible vocal prowess and deep introspective emotion marked a Valentine's Weekend set at the Rose Theater at Jazz at Lincoln Center. It was one of the most moving jazz performances in memory, perhaps equal to latter-day performances of her muse and musical mentor, Sarah Vaughan. Reeves along with her stellar quintet, featuring Peter Martin, Music Director on piano,  Romero Lubambo on acoustic an electric guitars, Gregoire maret on harmonic, Reginald Veal on electric and acoustic bass, and Terreon Gully on drums, creating a magical evening of jazz improvisation that eschewed pyrotechnics and showiness for real honest music- making that reached to the depths of the soul. Music director Peter Martin provided some excellent moments of inspired improvisation. At times, his playing exhibited the explosive pianism that reflected both percussive soul and echoes of Cuban strike piano of the ''50s and'60s.

Reeves was seated on a high stool during parts of her performance. If this was prompted by any physical limitations, it wasn't obvious. Instead, it lended an air of relaxed intimacy that reduced the cavernous Rose theater to the scale of an intimate cabaret, thus heightening the emotional power of her delivery. 

There were some outstanding moments of singular interpretation. 'That's All' featured some swinging jazz piano solos that had music director Martin almost levitating from his piano seat. All Blues became transcendent as not only a vehicle for Reeve's exceptional vocalese and scat, but morphed into an anguished protest shout that resonated throughout the house! 

Dianne Reeves at times expanded the boundaries of her jazz interpretations to include the global sound of World Music and elements of protest. Without naming names, she repeated the phrase 'We who love justice will not rest!' and ended the concert with an emotional visual and vocal; participation exercise in which the audience flashed their cell phone flashlights, waving them in the air while chanting along with her vocalese.

Some of the most beautiful moments seemed to be literally suspended in time, with long, reflective passages from Reeves, matched equally by solo responses from harmonica master Maret and from the exceptional amplified acoustic guitar of Lubambo, whose expertise at fingering and  phrasing emulated the great guitar masters of legend. This performance was, on every level, an\ musically and emotionally fulfilling experience, befitting the Valentine's weekend theme.

Nest door, at Dizzy's Club Coca Cola, Grammy-nominated vocal and piano jazz great Freddy Cole, mined the treasure of his famous brother Nat King Cole's legacy, his own original compositions and reflections on his days as a jazz and blues cabaret singer on the South Side of Chicago to create and engaging and captivating late-night set. Playing in what is perhaps the nation's most exquisitely appointed jazz room, with its view of the skyline surrounding Columbus Circle and Central Park, Cole created an intimate jazz experience with his warm, raspy voice and soulful interpretations. He is a master of phrasing and musical punctuation. A master of the ballad, Cole also surprised the audience by proving that he is also a master arbiter of the blues, In an extended portion of his late-night set, he referenced his many nights of playing in the storied clubs along 63rd and Cottage Grove on the South Side of Chicago, where Ahmad Jamal;. Carmen McRae, Miles Davis, Sonny Stitt, Gene Ammons, an many other achieved their fame. In honoring those legends and their apcraphal time, he took a musical stroll through the great jazz and blues songs of the '50 and '60s. It was an experience that literally brought tears to the eyes of this reviewer who grew up near and heard those legendary greats in what was called 'Sin Corner' during its heyday.  It was especially poignant when he brought up a shared experiencer of standing in front of the clubs on Sin Corner as a child, listening to the music of the legends inside, and then being chased off by the club owners. There were many bittersweet memories of those moments that truly resonanted.  At 85 years old, Freddy Cole is a living jazz and musical treasure. Any opportunity to hear him perform is both a pleasure and an honor. Wynton Marsalis and the Jazz at Lincoln Center Orchestra are performing Jazz of the '50s: Overflowing with Style in the Rose Theater  this weekend February 17-18 with a pre-concert discussion. For tickets and information, visit jazz.org,

IL GATTOPARDO NYC: DINE LIKE A MILLIONAIRE IN HISTORIC ROCKEFELLER TOWNHOUSES

Dine like a millionaire on modern interpretations of Neopolitan cuisine at Il Gattopardo restaurant in the shadow of the Museum of Modern Art in midtown Manhattan, Located in the historic Rockefeller Townhouses at 13-15 W. 54th Street, Il Gattopardo with its sleek, elegant dining room and unique garden atrium dining room has the exceptional cuisine to match its stunning decor. All of the Italian "comfort food" classics are presented here, along with some modern interpretations of  long-time favorites. Neopolitan meat loaf, Pasta Carbonara, Whole Pan-Seared Dover Sole, deboned and served table side.

The historic Rockefeller townhouses are the setting for Il Gattopardo

 Pasta Carbonara

 Pan seared sole deboned and served table side

 The expansive sleek main dining room at Il Gattopardo

The garden dining room at Il Gattopardo

 For a grand finale, there's that long-standing favorite, zabbione, egg custard and marsala whipped in a special copper bowl, gives a dramatic flourish to a stupendous meal. For information, visit ilgattopardonyc.com.

LIBRARY HOTEL COLLECTION: THE PERFECT ROMANTIC GETAWAYS IN THE HEART OF MANHATTAN

by Dwight Casimere

The elegant enclosed terrace of the Library Bar

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NEW YORK--The perfect weekend getaway, offering both a serene atmosphere and easy access to Manhattan's many attractions are the hotels of the Library Hotel Collection located on New York's tony EaEast Side. Among the premium properties is the elegant Hotel Elysee, situated at 60 East 54th Street, bebetween Madison and Park Avenues. It was founded in 1926 as an exclusive European-styled hotel by Swiss-born Max Haering. After the hotel went into bankruptcy, it was purchased by then-hatcheck concessionaire mogul Mayer Quain, whose sons designed each room with eclectic flair and exotic names. No two rooms in the Elysee are alike and each room is given a name that reflects its distinctive personality. For example, the Sayonara suite was dedicated to Marlon Brando after his starring role in Tea House of the August Moon. Writer Tennessee Williams lived in the hotel for fifteen years and died there in the Sunset suite. The suites and rooms are all quite large and furnished with the finest in classically designed furnishings and appointments. The marble floored bathrooms are all equipped with high-end European fixtures. One of the outstanding features to the Elysee is the Club Room, exclusively available to hotel guests where a complimentary Continental breakfast is served each morning and a complimentary happy hour, with wine, sparkling wine, and assorted cheeses and other appetizers are offered every evening. The club is a perfect place to meet for convivial conversation before hitting the town for a Broadway show, which is just a stone's throw away, or an elegant meal; at one of the area's fine restaurants.

The Elysee is also known for the Monkey Bar, a piano bar just off the lobby. Opened in the 1940s, it became known to the cognoscenti as "the place to go where jokes die," especially off-color jokes and double-entendre songs. What started out as just another dimly-lit piano bar is best known for its wrap around murals of monkeys, designed by several famous artists over the years, with human likenesses and depicted performing various activities, such as riding elephants, hiding under Christmas trees or mixing Banana Daiquiris for other monkey-faced customers.

Another quiet getaway with an equally storied past is the Library Hotel conveniently located just a block or so from Grand Central station. Situated at the corner of 41st and Maison at 299 Madison, the hotel is also near the New York Public Library and Bryant Park. Designed by architect Stephen B. Jacobs, \r\n\r\n Each of the hotel's\u00a0 ten guest floors has a theme, designated after a major category of the Dewey Decimal Classification (the 5th floor, for example, is the 500s, the Sciences), with each room as a subcategory or genre, such as Mathematics (Room 500.001) or Botany (Room 500.004). (Dewey categories 000, 100, and 200 are placed on the 10th, 11th, and 12th floors, respectively.) Other room themes include Erotic Literature (Room 800.001), Poetry (Room 800.003), and Music (Room 700.005). All rooms have a small complement of books and decorations that accompany the theme, with 6000 books overall throughout the hotel. The rooms are compact, but very well appointed, with each of its amenities literally at your fingertips. Enjoy top of the line bed linen and bathroom fixtures.

The Library Bar is one of the focal points, not only of the hotel, but of the surrounding Advertising, PR, Fashion and Design community that surround the hotel. The bar with its distinctive decor and hushed atmosphere and enclosed and outdoor terrace spaces, all have surprisingly comprehensive views of the surrounding skyline. Its a regular meeting place for those solidifying creative deals or gathering for an intimate chat. The creative drinks list is among the most distinctive in the city and sure to merit a return visit. For more information, visit libraryhotelcollection.com.

                                              

 The Library Lounge and Terrace

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Freddy Cole and Dianne Reeves Sing for Lovers Valentine's Day Weekend at Jazz at Lincoln Center

by Dwight Casimere

 Grammy-nominated vocalist and pianist Freddy Cole leads his Quintet at Dizzy's Club Coca Cola

Dianne Reeves appears in concert for two nights this Valentine's Day Weekend at the Rose Theater. Jazz at Lincoln Center

Jazz lovers are in for a special treat this Valentine's Day weekend at Jazz at Lincoln Center, Broadway at 60th, NYC.   Grammy-nominated singer and pianist Freddy Cole leads a stellar ensemble in a special Valentine's Day engagement at Dizzy's Club Coca Cola, Freddy Cole Quintet: Songs for LoversThursday, February 9 through Sunday February 12. Visit jazz.org for time and ticket information. Establishing his career in the shadow of hie internationally famous brother Nat King Cole was a herculean task, but Freddie Cole developed his own unique style and formidable voice. With impeccable style and mastery of phrasing and subtle delivery, he has recorded 20 albums in a career spanning the past two decades, including the Emmy Award-nominated album, Freddy Cole Sings Mr. B, he established himself as what The Huffington Post referred to as "a national treasure" and has launched his own star into the firmament of all-time greats. As if that weren't enough, the reigning jazz diva of our time, Dianne Reeves, brings her Grammy Award-winning artistry to the Rose Theatre at Jazz at Lincoln Center for two nights, Friday, February 10 and Saturday February 11. This makes for the perfect musical pairing for jazz lovers this Valentine's Day Weekend. Dizzy's Club Coca Cola and the Rose Theatre are located at Jazz at Lincoln Center, Broadway and 60th, 5th floor, NYC.