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Rather than traveling with the younger musicians, he recruited baritone saxophonist/clarinetist Hamiet Bluiett and trombonist Craig Harris, two New York-based longtime collaborators with similarly distinguished records as jazz adventurers. The concert prompted El’Zabar, a pioneering jazz percussionist, to reconceive the band. Re-christened as the New Ethnic Heritage Ensemble, the powerhouse trio proudly celebrates its deep ties to Chicago’s grass roots improvisational/experimental music outfit, the Association for the Advancement of Creative Musicians (AACM).

“In that New York performance I had an epiphany,” says El’Zabar, 62, “If you think about musicians like Henry Threadgill, Oliver Lake, Roscoe Mitchell, Craig and Bluiett, there’s probably less than 20 guys still living who came though the late 1960s playing this music, Now ballet shoes - pointe shoes mini pink cheer bow is the time when these great players from this particular community of creative improvisers are in their heyday, and there’ll never be artists with this particular experience making music again.”..

In keeping with the entrepreneurial and self-producing ethos of the AACM, El’Zabar has engineered an impressive run of gigs around the region over the next two weeks billed as the Super Healing Tour, starting Saturday at Oakland’s Eastside Cultural Center. The New Ethnic Heritage Ensemble also plays in Vallejo, Santa Cruz and San Francisco on the tour (the trio closes out the Bay Area run with a Berkeley Hills house concert on Feb. 6: harry@fullplatemedia.com). It’s hard to overstate the band’s improvisational pedigree. Harris, 62, first made his mark playing with Sun Ra in the late 1970s, and went on to work extensively with alto saxophonist/composer Threadgill’s sextet. He can evoke trombonists of old like Duke Ellington’s plunger mute specialist Tricky Sam Nanton, with a pungent vocabulary of smears, snorts, shouts and growls, and he can croon and coo sweetly with his open horn. He can also handle the Australian aboriginal didgeridoo, adding buzzy drones to the mix.

He’s worked prolifically in avant-garde and mainstream jazz settings, and credits his three-year run with Sun Ra with “opening me up to what my life was going ballet shoes - pointe shoes mini pink cheer bow to be about.” “Sun Ra was the most unique person I’ve every been around, His whole ritualistic sense and his compositions made a huge impact, It was like grad school in that sense.”, Harris spends a good deal of his time now performing and producing concerts around New York, which has made him a scarce presence on the West Coast in recent years, He last performed in the Bay Area in 2005 at the Great American Music Hall as part of a concert of Jimi Hendrix’s music by the World Saxophone Quartet (a revered ensemble cofounded by Bluiett)..

The most important baritone saxophonist to emerge after the hard-bop era, the 75-year-old Bluiett hails from the first generation of the Afro-conscious 1960s jazz movement that flourished in the Midwest. He helped found St. Louis’ Black Artists’ Group (BAG), a collective that encompassed theater, dance, poetry, visual arts and music. Moving to New York City in 1969, he played with Charles Mingus and Sam Rivers, and first ran into El’Zabar on the corner of Lennox and 122nd streets in Harlem. El’Zabar was just starting his investigations into the central role of percussion in African music, and he’s done more to bring those instruments into prominence here than any other American musician.

As a bandleader and composer, he’s created a vast world of music employing percussion as a compositional component, but El’Zabar has reached his widest audience via popular entertainment, creating scores for Hollywood ballet shoes - pointe shoes mini pink cheer bow films and for Julie Taymor’s landmark Broadway production of “The Lion King.” He’s still busy as a composer, but these days much of his energy goes toward the Chicago Academy of Music, a new program he’s running affiliated with the University of Chicago that puts equal emphasis on African-American, Caribbean and European classical traditions..

But galas are seldom designed to knock off anyone’s socks or throw down the artistic gauntlet. They’re parties serving a smorgasbord of tidbits, where fans, supporters and subscribers get a taste of the upcoming season, presented as entertainment and chosen to suit a celebration. The nearly three-hour show Thursday evening offered 12 ballet excerpts and one musical interlude. The dances ranged from “Coppèlia’s Waltz of the Hours,” with a chorus of charming students from the San Francisco Ballet School, to the irresistible trio of overlapping solos for three men entitled “Solo” by Hans van Manen, longtime choreographer and Netherlands Dance Theater veteran.

The edgiest offering was the pas de deux from William Forsythe’s 1999 “Pas./Parts,” originally created for the Paris Opera Ballet and danced with haunting physicality by French-born Sofiane Sylve with Carlo Di Lanno, (It receives its company premiere on Program 1.) But even this segment was an elegy to romance, albeit a postmodern one accompanied by a haunting electronic score by Thom Willems suggestive of slow, deep groans from an animal dying underwater, And what of the season? Two new works commissioned this year are by young, up and coming choreographers: “Fearful Symmetries” by the much in-demand Liam Scarlett of Britain (Program 2), whose fluttering “Hummingbirds” is already in the San Francisco Ballet repertory and “In the Countenance of Kings” on Program 7 by San Diego-born choreographer Justin Peck, a New York City Ballet soloist, Also of note ballet shoes - pointe shoes mini pink cheer bow is the U.S, premiere of Forsythe’s complete “Pas./Parts” in Program 1..

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