Alvin Queen

“” - Hosted by Joe Dimino

“Alvin Queen Trio – OP  a tribute to Oscar PetersonAvailable February 22, 2019Beyond their professional relationship as bandmates, Oscar Peterson and Alvin Queen were also good friends. Thus, this tribute to the great pianist is a heartbeat for the drummer who played with bassist Niels-Henning Ørsted Pedersen in Oscar Peterson’s famous trio during the coda of Peterson’s life. That Alvin Queen has chosen to record in collaboration with two Danish musicians speaks volumes about the musical level of pianist Zier Romme and bassist Ida Hvid.After a long and active life in jazz service, Queen, the 67-year-old drummer who has played with an impressive list of jazz giants, knows what he’s doing. Romme, the 26-year-old Peterson-inspired virtuoso, has already gained great recognition on the Nordic jazz scene with his undeniable talent and impressively mature playing, despite his young age. 38-year-old Ida Hvid (known from Niels Jørgen Steen’s Monday Night Big Band, among other projects) is now a pioneer on the frontiers of contemporary European jazz. This trio constellation is a unique meeting between the seasoned and young, where all three play with the same goal and purpose: creating classical chamber jazz as the master himself cultivated it – outgoing, sparkling, groovy, dynamic, swinging, soulful, and melodic music taken from OP’s extensive repertoire.The word “tribute” is defined as “an act, statement, or gift that is intended to show gratitude, respect, or admiration.” Alvin Queen created this powerful musical statement as a gift to my Dad showing his deep gratitude for the time they were able to spend together performing all over the world. His admiration for Dad was always shown during the time they spent together, not just on the bandstand, but backstage, at restaurants, in hotel rooms, and airports, where they would share cherished moments of conversation and laughter. The respect that Alvin had for Dad as a man and, of course, for the music they performed is shown not only in this project but in how he has taken the lessons he learned while they were on the road together and applied them to his own career.Alvin has worked with the best of the best in terms of musicians considered to be “jazz legends” and as a result has earned his spot as one of the most in-demand players in the industry. This is something that Alvin does not take lightly, and he has worked for years to maintain the dignity and respect in this music that those before him worked so hard for. To me, Alvin is a friend, an Uncle, and a cherished confidant with whom I have nothing but fondness for. Alvin came into Dad’s group during what would end up being our last years of touring, and while there were many challenges and difficulties, we always maintained that we were a family and the band did much more than support Dad on stage. They supported both my parents and project in whatever ways we needed, both on and off the road.My love for Alvin is never-ending and I am grateful to him for bringing this project to life and for sharing with us music from a formative piece of his musical journey. This CD is one that I will cherish for the rest of my life, as I will my relationship with Alvin. Dear Alvin, thank you for this beautiful physical presentation of the true definition of the word “tribute.”All my love,Céline Peterson” - Celine Peterson

“Featured on The Jazz Network Worldwide: The wheels of justice act as a road marker for Oscar Peterson’s legendary drummer Alvin Queen. The wheels of justice are said to move slow but after a year the 01B form sits at The American Embassy. A sort of mute road marker serving as an example of how not to treat an artist who has given much to America’s music with lots still left to offer.  How to Bind a Master: Oscar Peterson’s Drummer Alvin Queen Maxwell Chandler Jazz was the great American art form, but it had to go overseas to France, which served as a cultural hothouse, for it to gain its dignity before returning home with the added luster which comes from being appreciated with enthusiasm and seriousness by more than a pocketful of aficionados. Jazz was initially introduced in Europe via the progenitors of what we now call The Lost Generation: artists and their immediate social circle. Also helping to spread this art-form was the American G.I’s. The Harlem Hell fighters’ (369th infantry regiment) band was also a large factor in the introduction of jazz to France.   From the very first wave that initially gazed down the Champ Elysees and heard the enthusiastic applause of an audience only concerned with the music, carrying on to more recent times, there is a long list of jazz musicians who became willing ex-pats. If France did not remain their new home, then it was often the jumping off point for the rest of Europe. Now a Swiss citizen, Bronx born percussionist Alvin Queen started gigging at the age of eleven. A growing reputation and experience allowed him to deepen his ties to the then thriving jazz community.  Just as bluesman must “pay their dues” by living, then turning the sorrows of life into musical poetry; a comparable but vanishing aspect of the jazz life is the practical application mentorship of being in someone more established (and often a little older) bands. This method of learning the ropes initially came about from necessity. In jazz’s nascence, there were no conservatories nor was it treated stateside as a serious art form. Hard as this life could be it did allow for each player to develop a personal sound and approach to the craft. Alvin served in a series of prestigious bands before being afforded the opportunity to go over to Europe as a member of trumpeter Charles Tolliver’s ensemble in 1971.  After several tours in Europe with Charles’ group, Alvin would get the call to join a new iteration of Pianist Horace Silver’s group, having already notably appeared in a previous incarnation. Flashing forward to 1977, the jazz landscape was in what seemed then a fatal tailspin, with emotion and authenticity counting very little to dwindling audiences.  Alvin made the decision to join the many expatriate musicians whose work was out of vogue or to whom their art was too serious to compromise for public attention.  Europe would embrace Alvin. He eventually settled in Switzerland obtaining dual citizenship, which he held for thirty years. As of 2016, Alvin had given up his dual citizenship but before that had continued to always pay his taxes. He chose to switch to a single passport to simplify his tax situation giving up his American citizenship.   Despite now being based out of Switzerland, Alvin enthusiastically did work for the U.S State Department serving as a cultural ambassador, touring Brazil, Africa, and Japan. A similar role previously held by Duke Ellington, Dave Brubeck, and Dizzy Gillespie.  “Jazz Meets France” was a program sponsored by the French-American Cultural Foundation. It had an impressive pedigree, with Wynton Marsalis serving as honorary chairman and The Smithsonian Institute’s Dr. David Skorton as master of ceremonies.   The program was intended to commemorate the centennial of the United States entry into the first world war. The other important thing being commemorated in this cultural event were the Harlem Hell fighter’s appearance in France. “Jazz Meets France” was to be another opportunity for Alvin to combine the two worlds, the country where he came from and Europe where he flourishes. United through his art and acknowledging the historical precedents of which he is another link in the generational chain.  In the current political climate, Alvin has now found himself of one of several types facing ill-treatment under the official visage of “procedure” which overlooks common sense. When applying for the necessary permissions a youthful offense from half a century ago popped up. Homeland security with their travel ban edicts became involved.  This was the first in a series of strange events. At the time of the minor offenses, Alvin had been a youthful offender and as to not taint any kind of potential future the records were supposed to be sealed.  To make the situation more bewildering is the fact that up until 2016 Alvin had been issued six new passports over the past half a century with no issues arising. He had even traveled to the states several times too. The filing of a 01B work visa form would get Alvin dispensation to enter the U.S.  Once these were filed with the pertinent information and accompanying fingerprints, new problems arose. The fingerprints dredged up FBI files as old as the other records. A truth Dostoevsky uttered which transcends era and nation is: “The degree of civilization in a society can be judged by entering its prisons.” A negative tradition involved with jazz is harassment by the police. Out of all the outsider-artists, musicians, especially jazzmen have always made the easiest target for authorities. Unlike their painter or writer counterparts they are easier to get a hold of as they practice their craft in the most public manner.  The frequency of musician crackdowns is cyclical, and it was during one of the heavier seasons that a not yet adult Alvin found himself swept up in a raid.  While socializing with friends, between jam sessions and pick up gigs Alvin happened to be in a car that the authorities took interest in. His friend had rented the vehicle and in the trunk unknown to him was an unloaded gun.  Not bothering to sort out the degree of culpability, they were all brought in. Because of his age, Alvin was too young to be kept at The Tombs and so was remaindered to Rikers Island.  It was the eve of Thanksgiving and while households all across the nation were preparing to host guests and feast Alvin found himself being given a jelly sandwich. Two starched white pieces of bread smothering some grape jelly which was more sugar than fruit yet still could not get rid of the sour taste in his mouth. Alvin languished in Rikers for three and a half weeks. His loss of freedom underscored by seeing the bottom half of planes coming and going from La Guardia Airport. When Alvin’s case was finally brought before the judge, no charges were filed. Regardless of what genre or era, jazz has always been about freedom. A constant of freedom is unlimited possibilities and potential. The information for these incidents was supposed to be sealed and even then, they were predigital records which someone had to make an effort to excavate.  This is a perfect symmetry of oppression. Half a century later and with pedigree and many accolades under his belt, Alvin finds himself not only once again caught up in a hassle but from the very same dropped and supposed to be sealed charges.  The wheels of justice are said to move slow but after a year the 01B form sits at The American Embassy. A sort of mute road marker serving as the example of how not to treat an artist who has given much and with lots still left to offer.  Alvin has a new CD and LP out dedicated to Oscar Peterson entitled ‘OP’ which is distributed through https://diskunion.net/jazz/ct/detail/1007833049. Check out Alvin Queen’s feature on The Jazz Network Worldwide at thejazznetworkworldwide.com and to learn more go to alvinqueen.com. ” - Maxwell Chandler

“ Hans Speekenbrink Alvin Queen – Jazz drummer extraordinaire  Editor  November 23, 2018   Musicians Alvin Queen is one of the jazz drum legends of all time and developed his skills from an early age on the streets of Mount Vernon, New York. Music and jazz were intrinsic to his upbringing and through his childhood, he met and played with some of the world’s jazz greats. This phenomenal drummer had a humble start in life and yet worked through this to succeed in the world of jazz. Alvin’s early life Alvin Queen was born on August 16, 1950, in the Bronx, but the family soon moved to the Levister Towers Projects in Mount Vernon. Alvin grew up there and, although the family was extremely poor, he had a rich upbringing, surrounded by the jazz music he adored. Although Mount Vernon only covers an area of around four square miles, there were at least five thriving jazz clubs in the neighborhood where locals went to listen to live music and dance the night away. Alvin’s father introduced him to jazz, taking him to shows at the Apollo in Harlem, where they saw some of the great performers, such as John Coltrane and Ruth Brown. The Queen family attended church every Sunday, as was typical for black families of the time. Alvin’s grandmother played the tambourine in church and he says, “I can remember as far back when all children had to sit in the front row during Sunday school meetings, and I saw my Grandmother singing and beating the tambourine when I was just four, so the vibration of being into music was always around me because my family in the neighborhood always played a major part of my life. I participated in the choir and I picked up the tambourine and played it too.” Photo: Hans Speekenbrink Introduction to drums Although Mount Vernon was a poverty-stricken area, it produced many musical and sporting legends. Sax players like John Purcell and Jimmy Hill, the pianist Tommy James, the vibraphonist Jay Hoggard, are just some of the big names to come out of the neighborhood, as well as NBA player Ray Williams of the New York Knicks. Indeed, another future star growing up in the area was Denzel Washington, whose father Elder D Washington was the pastor of the First Church of God in Christ, which was attended by Alvin’s grandmother. Alvin’s brother, Willie Queen, was five years older than him and introduced him to the pleasures of percussion when he took him along to join in with playing in the Grime School Marching Band. Alvin admired his brother greatly and said: “I also wanted to follow him in life, so he was marching every year in the annual school parade band and I thought, once I become old enough I want to do that”. It was not long before Alvin’s love of percussion led to a desire to save up for a drum kit, which had been inspired when he watched a child playing drums in the window of Andy Lalino’s Drum School. He had also started running a shoe shine enterprise in the locality and this was to prove his introduction to Andy Lalino, who became a major influence in his life. Alvin wandered up to Andy Lalino’s drum studio to ask if he wanted a shoe shine and explore opportunities for taking drum lessons. For a while, Alvin’s family paid for his drum lessons, but money was tight, and it was not long before lessons became unaffordable. Andy Lalino liked having young Alvin around though and kept him on at the studio for odd jobs and occasional shoe shines, paying him with free drum lessons. The free drum lessons lasted about six years and Alvin commented: “I turned out to be Andy’s best student, so he was very proud. This was only the period in my life that I studied formally, with anyone. To this day, Andy and I are the best of friends, after 45 years.” Not long after, Alvin bought his first set of drums and would spend up to four hours a day, practicing along to some of the jazz greats his father owned on LP. By the time he was 11 years old he had developed a reputation as a drummer in the neighborhood, so when Jimmy Hill’s drummer didn’t turn up to the Ambassador Lounge on Eleventh Street one Friday night, Alvin was asked to stand in at the last moment. Jimmy Hill turned up at the family home about an hour before the set and asked whether Alvin could perform, though he would need an adult along as chaperone as he wasn’t allowed to be alone in a club serving drinks. Music career The performance at the Ambassador Lounge was the start of hitting the big time for young Alvin. Andy Lalino became his unofficial manager and introduced him to a number of gigs, such as the Gretsch Drum Night at the famous Birdland in New York City, and a year later he appeared on his first record. All this drum activity did affect Alvin’s schooling considerably and made it difficult for him to get up in the morning. This first album was never released but featured a number of classic jazz musicians, including Zoot Sims, Hank Jones, and Art Davis. Alvin was slowly being recognized as a child drumming prodigy and it was not long before he was playing for a live album again, this time on John Coltrane’s Live at Birdland record in 1963. It was not too long before Alvin’s reputation and prowess had grown ever upwards, and by the age of 15 he was working at a variety of New York clubs and jam sessions, and also out of state with the Wild Bill Davis Organ Trio in Atlantic City and with the singer Ruth Brown. By 1969, he had joined the Horace Silver Quintet, where he worked with a number of big names, this was followed in the early 70s by a stint with the George Benson Quintet. By this time he was regarded as one of the most highly respected jazz drummers of his generation and a range of other musical genres was calling for his talent. Move to Europe In 1971 he left for his first tour of Europe with the Charles Tolliver Band. Alvin had a successful working relationship with Charles Tolliver which lasted around 10 years. He spent a good deal of time in Europe over the following years and made the decision to move permanently to Europe in 1979. He says he doesn’t feel America supports jazz, “Not the way the Japanese and Europeans do. I’ve done DVD recordings with Kenny Drew, Randy Brecker, Bob Berg, Clark Terry, Eddie Lockjaw Davis, Jay McShann, Carrie Smith, George Wein, Wild Bill Davis, just to name several, and many records.” He now has dual nationality with a Swiss and American passport. In 2017 Alvin was due to perform at a concert in Washington, however, the US Department of Homeland Security put problems in his way due to some run-ins with the law when he was a minor. Alvin commented from his Geneva base: “Sadly, this doesn’t surprise me one bit. I’ve spent months preparing for this concert. Dozens of others are also implicated in its planning. Funny thing, I gave up my US passport to make life simpler at tax time. I never dreamed I would one day be denied entry, and with such ridiculous reasoning. I am frankly disgusted to be disrespected in this way, after a half-century devoted to music.” It has to be said, though, that America’s loss is definitely Europe’s gain.www.alvinqueen.com Alvin QueenEurope TourJazzJazz Musician ” - Editor

“     Jazz great, former Oscar Peterson drummer Alvin Queen, denied entry into the USA. Mount Vernon, New York native Alvin Queen was recently notified that U.S. Homeland Security will not allow him to enter the United States to perform at a long-planned concert in Washington. Mr. Queen, the former drummer for Oscar Peterson, whose career includes memorable collaborations with a veritable who’s who of music royalty, including Nina Simone, Horace Silver, George Benson, Ruth Brown, Buddy DeFranco, Wynton Marsalis, Billy Taylor, Wild Bill Davis, George Coleman, George Braith, Larry Young, Harry Sweets Edison and Johnny Griffin, was set to perform at a concert in Washington, DC on November 15th, 2017, at the behest of The French-American Cultural Foundation. The evening, entitled “JAZZ MEETS FRANCE,” has Wynton Marsalis as its Honorary Chairman, and Dr. David>Skorton ,> Secretary of the Smithsonian Institution , is Master of Ceremonies. The event marks the centenary of the US entry into WWI and specifically honors the Harlem Hellfighters . Ironically, these were the African-American soldiers who served in WWI, and who introduced jazz music to France and the rest of Europe, yet were never officially honored, until now. Mr. Queen, who has held a Swiss passport for thirty years, was informed this week that, due to a run-in with the law as a youth, a half century ago, while a minor, he would have to apply for a Waiver from the U.S. Dept of Homeland Security, despite the fact he was born in the USA. This would take months, making it virtually impossible to participate, barring Presidential decree, and we know that’s unlikely. But this is not “fake news.” “Sadly, this doesn’t surprise me one bit,” comments Mr. Queen, 67, from his home in Geneva. “I’ve spent months preparing for this concert. Dozens of others are also implicated in its planning. Funny thing, I gave up my U.S. passport to make life simpler at tax time. I never dreamed I would one day be denied entry, and with such ridiculous reasoning. I am frankly disgusted to be disrespected in this way, after a half-century devoted to music.” Mr. Queen, who until 2016 held dual citizenship with the United States and Switzerland, has previously worked numerous times for the US State Department as a Cultural Ambassador and participated in numerous tours of Brazil, Africa and Japan. Queen also performed at the American International Jazz Day in Paris several years ago. Mr. Queen has held a U.S. passport and regularly worked under the auspices of the American government, for over fifty years of his life. Like many citizens, he’s had brushes with the law, but these have never impeded his ability to enter and exit his native country. A one-time DWI charge and a minor drug offense both resulted in not guilty charges. For this occasion, the US State Dept had only to apply for an “O1B Work Visa” in order for Mr. Queen to enter the United States. This was done correctly, but after the process was completed, fingerprints matching a 1967 FBI file were dredged up and presented as a reason to prevent him from entering the USA. So now we can see that the infamous “travel ban” is not limited to citizens of Sudan, Syria, and Iran. It extends to a then 16-year-old drummer who once sat in with John Coltrane. How can you process someone fifty years later for charges that occurred when they were a youth, a mere child? And why punish this now acclaimed adult, a leading light on the international jazz scene, who is now 67 years old? He obviously forged a path and created a fabulous life for himself. Adds Queen, “I feel this is more about racial profiling than anything. It’s all about trying to control everyone. I am not a criminal and in fact never was. When I became a Swiss citizen, I “became a criminal” again in the eyes of US law enforcement. If I was undesirable fifty years ago, why have I been issued a fresh passport every ten years for the past six decades?” Indeed, this is the question. For now, those wanting to experience Alvin Queen’s jazz mastery will need to follow him to Montreal, Canada, where he is set to give a master class with pianist Wray Downes on Fri Nov 3 at 1:00 pm (free and open to the public) at Concordia University and then a full concert with his trio the following evening, at Upstairs Jazz Bar & Grill , on Sat Nov 4, for two sets, at 7:30 and 9:45 pm. Queen has the last word. “If someone wants to apologize to me and make this right, fine. But I’m not holding my breath. In the meantime, I’ll bring my music, this American art form, to every other country in the world. I know they like me in Canada. I’ll start there.” This coming week Alvin will be featured on The Jazz Network Worldwide http://www.thejazznetworkworldwide.com with a sneak peek of two singles from his CD re-issues of "Mighty Long Way" and "I Ain't Looking' At You" slated for late fall 2017. The official website for Alvin Queen is http://www.alvinqueen.com to learn more about his current engagements and all things Alvin. Mr. Queen is available for interviews relating to this story. Lunched Management Jean-Pierre Leduc+15142470706 jpleduc@lunchedrecords.com ” - Jean-Pierre Leduc

“Featured This Week On The Jazz Network Worldwide: Legendary Jazz Drummer Alvin Queen kicks off his European Summer Tour and Launches New Website. Alvin Queen always at the top of this game, touring and keeping up with the trends of keeping a prominent face in the industry. His new website dons everything from his music catalogue, touring schedule, personal photography and reflections of a stellar musical career. “The Jazz Network Worldwide is proud to feature legendary drummer Alvin Queen.  He has been a mainstay with our network since its inception in 2008 and we couldn’t be prouder to design and launch his new website and promote his upcoming summer tour.  He’s played with the best in the industry and continues to shine his light on any stage he sets his spirit to, its truly an honor to support his countless gifts as he launches his quest of ‘keeping up with Alvin” in todays technology,” says Jaijai Jackson of The Jazz Network Worldwide. Oscar Peterson was quoted saying “First and foremost, Alvin is basically a comedian, in a personal sense, being able to see humor in almost any circumstance. His whole personality is based on this premise.  It is noticeably carried over into the music by that joyful, kid-like smile that he gets when the group seems to reach a very cohesive groove.  He has a tremendous command of his instrument, along with a very creative and diversified musical cadence, speaking from the aspect of his solo work.  It is a joy and inspiration to exchange musical ideas with him, which results in heightening of my own ideas as we go along.  By the way, so far I have forgotten to mention the most important aspect that he brings to our group impeccable time!.”  Not only is Queen an accomplished musician, he is an impeccable photographer that truly has that gift of capturing the essence of a moment in time with depth, color and variety. There are quite a few of his favorite moments throughout his musical journey from his travels viewable on his new website (www.alvinqueen.com)  In addition, Alvin shares some of the priceless memories he holds close to his heart as ‘reflections’ on his website. The summer tour on tap for Alvin is going to be ‘real hot’ as New Legacy Concerts coordinated top-tier musical happenings that include Alvin on each concert with other jazz greats.  Beginning June 1-July 10 Randy Brecker, Gary Peacock at The Jazz Standard in Copenhagen.  June 1-9 Niels Lan Doky introducing Tobias Dall, June 10-12 Alvin Queen & Tobias Dall introducing Calle Brickman, June 14-19 Randy Brecker A.Q, June 28 - July 10 Copenhagen Jazz Festival: Gary Peacock A.Q. Its no surprise the caliber of artistry Alvin has graced worldwide stages with, its like the ‘who’s who of jazz’ ie.: Eric Alexander, Terence Blanchard, Manny Boyd, Dee Dee Bridgewater, Arnett Cobb, Dolo Cocker, Al Cohn, George Coleman, Bob Cunningham, Dee Daniels, Eddie "Lockjaw" Davis, Jessie Davis, Buddy de Franco, Dorothy Donegan, Kenny Drew Sr., Mercer Ellington, Robin Eubanks, Art Farmer, Jimmy Garrison, Dizzy Gillespie, Eddie Gomez, Dexter Gordon, Al Grey, Johnny Griffin, Roy Hargrove, Milt Jackson, Plas Johnson, Kevin Mahogany, Wynton Marsalis, Branford Marsalis, Christian McBride, Jay McShann, Mulgrew Miller, Joe Newman, Horace Parlan, Nicolas Payton, Niels Henning, Orsted Pederson, Oscar Peterson, Red Richards, David Sanchez, Pharoah Sanders, Zoot Sims, Terell Stafford, Lou Tabackin, Buddy Tate, Leon Thomas, Mickey Tucker, Stanley Turrentine, Warren Vache, Eddie "Cleanhead" Vinson, Bennie Wallace, Peter Washington, Randy Weston, Joe Lee Wilson and Reggie Workman. That’s just to name a few!  Currently, Alvin is seeking non-exclusive agents worldwide to jump on his bandwagon in booking concerts for the 2017/2018 calendar year.  In addition to live performance, Alvin is opening up his musical vault looking to assemble some classic sessions for his fans. Be sure to come by and check out his feature on The Jazz Network Worldwide at www.thejazznetworkworldwide.com as well as visit his new website and say hello at www.alvinqueen.com.  If in the area, be sure to buy your tickets to save your spot for his ‘hot’ summer tour. ###” - Jaijai Jackson of The Jazz Network Worldwide