AUGUST 11 • 2022 | 55 The programming begins at 3 and 4:45 p.m. Sunday, Aug. 14, at the Congregation for Humanistic Judaism of Metro Detroit (formerly Birmingham Temple) in Farmington Hills, where he and his wife, Susan, a retired English teacher, are members. Joining Lipson as he plays percussion will be Marion Hayden (bass), Nate Winn (drums), Alberto Nacif (percussion), Michael Malis (piano), Terry Kimura (trom- bone) and Rafael Leafar (woodwinds). What’s more, Lipson also is preparing to lead a concert of members belonging to the Detroit Composers Collective in the annual Detroit Jazz Festival 2-3 p.m. Saturday, Sept. 3, at the Carhartt Amphitheater Stage in Hart Plaza. He last performed in the free festival in 1983. MUSIC AS A CULTURAL GLUE Excitement is gearing Lipson as he focuses on a return to his devotion to music. “I see music as a cultural glue that brings communities together,” said Lipson, who retired from social work in 2010, took arranging and composing classes at Oakland Community College and Wayne State University and resumed his musical interests without school responsibil- ities. “Music provides a connec- tion between the present and past generations of our teach- ers, mentors and ancestors. I want to approach jazz in a really meaningful way. There is a rich legacy of Detroit jazz that we can spotlight.” Realism features music of Kenn Cox, Brad Felt and Lipson as played by the Detroit Composers Collective. It was recorded in two sessions, first with a quintet and second with a septet. Springwells, fin- ished in May, features seven Collective members with the title track written by Detroit trombonist Vincent Chandler. The music on both instru- mental albums as arranged by Lipson, features technical and administrative work completed during the pan- demic times of isolation. “I was very lucky to have wonderful and generous teachers in Detroit who were jazz masters before social work and after I retired,” Lipson said. “I believe these albums are carrying on that Detroit tradition from one generation to the next. The albums also are an education- al exercise because the young players are becoming more aware of the tradition.” Lipson, who has a music studio in his home, had illus- trious performance oppor- tunities before he decided on the steadiness of a social work career. His performances have been with Dizzy Gillespie, Wendell Harrison and Mark Murphy. His local appear- ances have included slots at the Ann Arbor Blues and Jazz Festival, Detroit Institute of Arts, Baker’s Keyboard Lounge and Cliff Bell’s, in addition to radio program- ming. During the pandemic, Lipson had two outdoor con- certs at his home, where lis- teners could distance them- selves from one another. “The drums have just hooked me as a fun instru- ment,” said Lipson, who also has studied piano. “During school, I couldn’t wait to get home and hop on that drum set. My parents were very liberal, and they were glad to have music in the house.” Lipson founded the Detroit Composers Collective in 2015 with the mission of archiving, performing and recording Detroit jazz. “After I retired from social work, I was hitting as many jam sessions as I could,” he explained. “Around Detroit, I just knew how much unre- corded performed music there was by my friends who were composers. I was think- ing of getting my albums together, and it turned out to be a good thing to elevate Detroit music. “I go to the piano and write music, and that gives me structure and a way to express my feelings and expe- riences. “I can’t imagine not having music in my life, especially in regard to the people I’ve met and studied with and been mentored by.” COURTESY OF MARK LIPSON Mark Lipson plays at Cliff Bell’s. Details The Realism and Springwells concert starts at 3 and 4:45 p.m. Sunday, Aug. 14, at the Congregation for Humanistic Judaism of Metro Detroit (formerly Birmingham Temple), 28611 W. 12 Mile, Farmington Hills. Pay what you can. Voluntary donation suggested at $25. chj-detroit.org/ donations-and-payments.