—Jerry Wexler, Solomon Burke’s producer at Atlantic Records (also produced Ray Charles, Aretha Franklin, Wilson Pickett, etal.)
*****
Every day I’m on the phone ministering to people. I’ve had so many people say to me, “What should I believe in?” I tell ’em, “Just believe in what’s real and makes you feel good. Whatever moves you, go there.”
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Every day they had a service [at my grandmother’s House of Prayer for All People], and the music never stopped. There was always a band with two or three trombones, tambourines, cymbals, guitars, pianos. When I speak of music, I get choked up. It was a message to God, something you feel down to your bones and your soul and your heart.
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I’ve learned to forgive Jerry [Wexler] . . . I’m also waiting for my check.
Albertina Walker, October 29, 1929-October 8, 2010
“I Can Go To God In Prayer” (joined, at the end, by Patti LaBelle), live, Chicago, 1991
*****
“Please Be Patient With Me” (with James Cleveland), live, Chicago, 1979
This track, which I first encountered 30 years ago, I never tire of hearing.
*****
“Lord Keep Me Day By Day,” live (James Cleveland’s funeral), Los Angeles, 1991
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lagniappe
Somebody gonna leave here feeling a little better than they did when they came in . . .
—Albertina Walker
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Happy Birthday, Monk!
In celebration of the birthday of Thelonious Monk (October 10, 1917-February 17 1982), WKCR-FM is playing his music all day—and we’re replaying some clips.
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Here is the onliest Thelonious.
Thelonious Monk, “Epistrophy,” live (TV broadcast), Paris, 1966
*****
Thelonoius Monk, “’Round Midnight,” live (TV broadcast)
*****
You can tell a lot about Monk’s music—about the centrality of dance, about the interplay between melody and rhythm, about the way a melody’s irregular accents override the pulse (making the dance melodic)—just by watching, in the second performance, the way his right foot moves.
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lagniappe
He played each note as though astonished by the previous one, as though every touch of his fingers on the keyboard was correcting an error and this touch in turn became an error to be corrected and so the tune never quite ended up the way it was meant to be.
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You had to see Monk to hear his music properly. The most important instrument in the group—whatever the format—was his body.
—Geoff Dyer, But Beautiful: A Book About Jazz (1996)
(Originally posted 11/2/09.)
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Yeah, the format might seem a little strange: soprano saxophone, unaccompanied. But Monk’s musical language—its tangy mix of geometric elegance and off-kilter bluesiness—is rarely spoken this eloquently.
Sam Newsome, Thelonious Monk Medley, live, 2008
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lagniappe
The clarity and logic of his [Thelonious Monk’s] work might have been compared with the craft of an architect. Each phrase, each fragment, each plump chord had its exact place in his musicial structure.—Mimi Clar (in Robin D. G. Kelley, Thelonious Monk: The Life and Times of an American Original[2009])
*****
‘All jazz musicians are mathematicians unconsciously’ was a favorite theory of Monk’s.—Randy Weston (in Deborah Kapchan, Traveling Spirit Masters: Moroccan Gnawa Trance and Music in the Global Marketplace [2007])
(Originally posted 11/25/09.)
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genius at work
Thelonious Monk with saxophonist Charlie Rouse, working out a number, “Boo Boo’s Birthday,” during a recording session, 1967
*****
Thelonious Monk (with Charlie Rouse, tenor saxophone; Ben Riley, drums; Larry Gales, bass), “Boo Boo’s Birthday” (Underground [Columbia], 1968)
(Originally posted 12/28/09.)
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What did it sound like when Beethoven, seated at the piano, played Bach? For that we have to use our imagination. For this we don’t.
Thelonious Monk plays Duke Ellington, live, Berlin, 1969
[T]he only time I’ve ever seen Monk act like a little boy and looking up to somebody [was in the presence of Duke Ellington]. That was his idol.—Joe Termini (quoted in Robin D. G. Kelley, Thelonious Monk: The Life and Times of an American Original [2009])
That’s something I’ve always believed, as a criminal defense lawyer, and it’s something that may be going through the mind of this guy, whose federal trial in Tampa, on drug charges, recently ended in a hung jury and mistrial.
He’d been charged with trying to buy five kilos of cocaine. The defense, apparently, was that he’d been set up (or, in legal parlance, entrapped). A retrial is expected soon.
Bob Marley’s son, Stephen, appearing as a character witness, called him the “voice of the people”—the “voice of Jamaica.”
My mom was a woman who went to church two or three times a week. . . . We had gospel music in the house, and we lived in a black neighborhood, so gospel music is prevalent. I knew Aretha Franklin when I was growing up, and her father was one of the biggest ministers in the country.
Tadd Dameron wrote and arranged this while serving time for a federal drug crime.
Blue Mitchell Orchestra (Blue Mitchell, trumpet, with [among others] Clark Terry, trumpet; Tommy Flanagan, piano; Willie Ruff, French horn; Philly Joe Jones, drums), “Smooth as the Wind” (1961)
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Federal Bureau of Prisons
Federal Medical Center (as it’s now called)
Lexington, Kentucky
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Tadd Dameron
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lagniappe
Sarah Vaughan, live, “If You Could See Me Now” (Tadd Dameron)
*****
radio gems: jazz
Bird Flight WKCR-FM New York (Columbia University)
Monday-Friday, 8:20-9:30 a.m. (EST)
I know of nothing, in radio or anywhere else, like Phil Schaap’s daily meditations on the music of Charlie Parker, which he’s been offering now, five days a week, for over twenty-five years. At its best, his show enthralls. At its worst, well, sometimes you wish Phil would play a little more music and talk a little less. But even when he goes on longer than perhaps he should, your tendency, as with a charmingly eccentric uncle, is to excuse his excesses.
Khaira Arby (Mali), live, Mali (Festival of the Desert), 2010
“Haidara”
*****
“Sourgou”
*****
Scribblings from the show (habit picked up reviewing live jazz for the Chicago Reader):
Kenge Kenge’s bass player at the start of their set: “We’ve been in America for the last three months. This is our last show. And we want to have some fun.”
Drum is king.
As much as I appreciate the musical experiences available via the ’net, they’re no substitute for live music. Among the casualties of the technological filtering are bass and drums—this music’s heartbeat.
This stage isn’t a dividing line. It’s porous, readily penetrable in both directions. Those onstage come down and dance; those offstage go up and dance. When everybody’s dancing—onstage, offstage—the performer/audience line dissolves.
African music, live, is a full-body experience: you listen not just with your ears but with your hips, your feet.
If folks aren’t dancing, this music ain’t happening.
Kinetic elegance.
At times the dancers look as if they’re in a trance.
Lightness, buoyancy, drive: this is music that takes you in its arms, lifts you up, carries you away.
music clip of the day 