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Category: bass

Saturday, 2/18/12

 passings

In?

Out?

No matter—he played it all.

Jodie Christian, February 2, 1932-February 13, 2012, Chicago-based pianist; cofounder, AACM (Association for the Advancement of Creative Musicians)

With Eddie Harris, tenor saxophone (Melvin Jackson, bass; Billy Hart drums), “Listen Here” (with a nod at the end to “Freedom Jazz Dance”), live, Montreux, 6/20/1969

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With Roscoe Mitchell, soprano saxophone (Malachi Favors, bass, et al.), live, Chicago, 1984

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lagniappe

reading table

A dead beetle lies on the path through the field.
Three pairs of legs folded neatly on its belly.
Instead of death’s confusion, tidiness and order.
The horror of this sight is moderate,
its scope is strictly local, from the wheat grass to the mint.
The grief is quarantined.
The sky is blue.

To preserve our peace of mind, animals die
more shallowly: they aren’t deceased, they’re dead.
They leave behind, we’d like to think, less feeling and less world,
departing, we suppose, from a stage less tragic.
Their meek souls never haunt us in the dark,
they know their place,
they show respect.

And so the dead beetle on the path
lies unmourned and shining in the sun.
One glance at it will do for meditation—
clearly nothing much has happened to it.
Important matters are reserved for us,
for our life and our death, a death
that always claims the right of way.

—Wislawa Szymborska, “Seen From Above,” (translated from Polish by Stanislaw Baranczak and Clare Cavanagh)

Friday, 2/17/12

Blues is a big tent. Over here is Slim Harpo (“I’m A King Bee,” 2:18-). And over there are the Stooges (“I Wanna Be Your Dog,” 4:48-).

Alejandro Escovedo, live, Austin (Continental Club), 11/29/11
With guests Marc Ribot & David Hidalgo (guitars)

More Alejandro Escovedo? Here. And here.

Marc Ribot? Here. And here. And here. And here. And here.

David Hidalgo? Here.

Wednesday, 2/15/12

the ecstatic impulse

Pharoah Sanders, tenor saxophonist, composer, bandleader, 1940-

“You’ve Got To Have Freedom” (P. Sanders)

Take 1: Live (with William Henderson, piano; James Leary, bass; Kharon Harrison, drums), Los Angeles, 2011

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Take 2: Live (with John Hicks, piano; Walter Booker, bass; Idris Muhammad, drums), Los Angeles, 1981 (Live [Evidence])

More? Here.

Jazz, R&B, gospel—listening to him you’re reminded, again, that they all come from the same place.

Tuesday, 2/14/12

two takes

“La-La (Means I Love You)” (T. Bell & W. Hart)

Bill Frisell (guitar) with Tony Scherr (bass) & Kenny Wollesen (drums)
Live, Rochester (NY), 2007

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The Delfonics, 1968

(First clip originally posted 5/28/10.)

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lagniappe

reading table

And this disease which was Swann’s love had so proliferated, was so closely entangled with all his habits, with all his actions, with his thoughts, his health, his sleep, his life, even with what he wanted after his death, it was now so much a part of him, that it could not have been torn from him without destroying him almost entirely: as they say in surgery, his love was no longer operable.

—Marcel Proust, Swann’s Way (translated from French by Lydia Davis)

Monday, 2/13/12

There are all kinds of love songs.

Sonny Boy Williamson II (AKA Aleck [or Alex] “Rice” Miller), “Your Funeral and My Trial,” live, Europe, 1960s

More? Here.

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lagniappe

reading table

Moonlight in the kitchen is a sign of God.

—Anne Carson, “God’s Work” (excerpt)

Friday, 2/10/12

only rock ’n roll

Terry Malts (Phil Benson, vocals, bass; Corey Cunningham, guitar; Nathan Sweatt, drums), “Nauseous,” “Something About You,” 2012

Vodpod videos no longer available.

Thursday, 2/9/12

how to cast a spell

Tip #1: Be under one yourself.

Gretchen Parlato (with Taylor Eigsti, piano; Alan Hampton, bass; Mark Guiliana, drums), “Better Than,” live, Germany (Stuttgart), 2010

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lagniappe

reading table

thin wall—
with the moonlight
comes the cold

—Kobayashi Issa, 1824 (translated from Japanese by David G. Lanoue)

Tuesday, 2/7/12

Some tracks, the first time you hear them (as I did this a couple weeks ago), you wonder how you ever got along without them.

Joe McPhee (tenor saxophone) with Otis Greene (alto saxophone), Mike Kull (electric piano), Herbie Lehman (organ), Dave Jones (guitar), Tyrone Crabb (bass), Bruce Thompson & Ernest Bostic (percussion), “Shakey Jake” (Nation Time, 1970; reissued 2009)

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lagniappe

random thoughts

Remember when there was a whole season—not just a storm or two—called “winter”?

Monday, 2/6/12

A lot of trumpet players try to bowl you over. This guy, whose last album appeared on many year-end top-10 lists (When the Heart Emerges Glistening, Blue Note), does something different. He gets under your skin.

Ambrose Akinmusire (ah-kin-MOO-sir-ee) Quintet (AA, trumpet; Walter Smith III, tenor saxophone; Fabian Almazan, piano; Harish Ragavan, bass; Justin Brown, drums); live, New York (Jazz Standard), 2011

Part 1

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Part 2

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Part 3

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Part 4

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lagniappe

musical thoughts

Everything you don’t love, make sure that’s not in your playing.

Steve Coleman (saxophonist, composer, bandleader) to Ambrose Akinmusire

*****

 passings

Wislawa Szymborska (vees-WAH-vah shim-BOR-ska), poet
July 2, 1923-February 1, 2012

The world—whatever we might think when terrified by its vastness and our own impotence, or embittered by its indifference to individual suffering, of people, animals, and perhaps even plants, for why are we so sure that plants feel no pain; whatever we might think of its expanses pierced by the rays of stars surrounded by planets we’ve just begun to discover, planets already dead? still dead? we just don’t know; whatever we might think of this measureless theater to which we’ve got reserved tickets, but tickets whose lifespan is laughably short, bounded as it is by two arbitrary dates; whatever else we might think of this world—it is astonishing.

But “astonishing” is an epithet concealing a logical trap. We’re astonished, after all, by things that deviate from some well-known and universally acknowledged norm, from an obviousness we’ve grown accustomed to. Now the point is, there is no such obvious world. Our astonishment exists per se and isn’t based on comparison with something else.

Granted, in daily speech, where we don’t stop to consider every word, we all use phrases like “the ordinary world,” “ordinary life,” “the ordinary course of events” . . . But in the language of poetry, where every word is weighed, nothing is usual or normal. Not a single stone and not a single cloud above it. Not a single day and not a single night after it. And above all, not a single existence, not anyone’s existence in this world.

—Wislawa Szymborska, Nobel Lecture (excerpt, translated from Polish by Stanislaw Baranczak and Clare Cavanagh), 12/7/96

More Szymborska? Here. And here. And here. And here.

Until 1996, when she was awarded the Nobel Prize in Literature, I’d never heard of her. Since then I’ve read virtually everything of hers that’s appeared in translation. How much does she mean to me? Well, she’s one of two charter members (the other’s saxophonist Von Freemanof the ultra-exclusive MCOTD Hall of Fame.

Sunday, 2/5/12

one of my desert-island singers

Dorothy Love Coates (1928-2002) & the Gospel Harmonettes
“I Won’t Let Go” (AKA “I’m Just Holding On”), live

More?

Here. 

And here.

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lagniappe

Here’s the original recording (Specialty, 1950s).

*****

Were gospel to be more publicly acclaimed, she [Dorothy Love Coates] might have the stature of a Billie Holiday or a Judy Garland. Instead, for thousands of black people, she is the message carrier.

—Anthony Heilbut, The Gospel Sound: Good News and Bad Times (6th ed. 2002)

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[I]t was obvious that Keith [Richards] and Gram [Parsons] enjoyed spending time together. . . . [W]e just all cared deeply about the same things. We just loved, for instance, to sit and listen to Dorothy Love Coates, the gospel singer.

Stanley Booth

(Quotes originally posted 3/28/10.)