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Washington is home to some of the finest musicians in the country, and CapitalBop’s mission is to ensure that the
NEXTFest’s second iteration continued to honor the continuum of Black music in D.C.
natives are aware of all its homegrown talent, especially in jazz, funk, soul, and D.C.’s creative imprint, Go-Go. In 2021, NEXTfest featured musicians responsible for establishing one of D.C.’s premier independent Black jazz record labels and those making their mark on the city’s contemporary scene. Among these artists was Richmond and D.C. legend Plunky Branch and his group Oneness of Juju and Jamal Gray [Disclosure: Home Rule Magazine’s Creative Director] who performed with his genre-blurring
By: Leon Spinner
ON SEPTEMBER 24 & 25 2022, SWARMS OF WASHINGTONIANS GATHERED AT THE HISTORIC MALCOLM X PARK IN THE COLUMBIA HEIGHTS NEIGHBORHOOD IN D.C. FOR CAPITALBOP’S SECOND ANNUAL MUSIC AND COMMUNITY FESTIVAL.
group, Nag-Champa Art Ensemble. The presence of these two groups made the festival, unintentionally, somewhat about the legacy of the D.C.-based independent music label, Black Fire Records. Plunky was one of the label’s more prominent artists and a co-founder, and Gray is the
NEXTFest, the organization’s free, two-day festival –
great jazz, funk, and instrumental music. The COVID-19
son of the label’s co-founder and executive, Jimmy Gray.
jam-packed with workshops, cultural programs, and some
pandemic delayed the idea of a festival by a couple of
In addition to witnessing Black Fire [and Black jazz] roy-
great music – welcomed D.C.-area residents to participate
years, but in 2021 NEXTfest blossomed into life with a suc-
alty, attendees also were able to see Idol Beings, a D.C.
in all the festivities at the twelve-acre park in the uptown
cessful turnout of more than 3,000 DMV residents in its
jazz/soul duo led by Akua Allrich (vocals) and Kris Funn
neighborhood of Columbia Heights.
inaugural year.
(instruments/producer), GoGo dignitaries, Marc Cary’s GoGo Project, and TOB Band & Show.
While the festival entered its second year of existence,
CapitalBop, for those unfamiliar, is a nonprofit organi-
NEXTfest 2021 accomplished one of its several purpos-
it has been an idea of the creators, Giovanni Russonello
zation “dedicated to preserving, promoting and presenting
es: to remind Washingtonians of the city’s musical history
and Luke Stewart, for years longer. Stewart, a renowned
jazz in Washington, D.C.,” taking great pride in building au-
and the musical tradition that continues to thrive with the
bassist and presence in the creative music world, and
diences and community around Black music because it is
district’s younger artists. Another festival objective was to
Russonello, a jazz writer for The New York Times, created
essential to the city’s historical identity, according to the
showcase the bridge between D.C.’s go-go and jazz scene
CapitalBop to give residents exposure to some of the best
organization’s mission statement.
and the genetic links in the culture. For the casual listen-
and boldest creatives, and revive the city’s enthusiasm for
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er, the two genres may seem worlds apart. However, the
Marc Cary Go Go Project NEXTfest 21 Photo Credit: Yusef Jones
Godfather of go-go, Chuck Brown, was a student of and honored D.C.’s rich jazz heritage with his funky guitar (i.e., Brown’s rendition of the Duke Ellington standard, “It Don’t Mean a Thing”). The love affair between jazz and go-go is deeper than admiration. One of Black Fire Records’ top acts, Experience Unlimited (shortened to E.U. sometime later), became go-go ambassadors, championing the style in some of its earliest recordings (see E.U.’s 1977 album Free Yourself). The 1970s was a period that saw a significant shift in music: Funk, soul, disco, and R&B replaced jazz in Black communities as the music of choice. In the nation’s capital, go-go was born out of this sudden shift. In its inaugural year, CapitalBop teamed up with Long Live Go-Go (aka Moechella) founder Justin “Yaddiya” Johnson to ensure that D.C.’s music had a place at the table. Johnson, an artist, and activist who works to challenge how city newcomers and local law enforcement handle go-go, has been a vital contributor to the festival’s success as a key sponsor, city advocate and performer.
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