music clip of the day

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Category: Chicago

Monday, July 4, 2011

Happy Birthday, Pops!*

Louis Armstrong, “Basin Street Blues” (three takes)

#1 (live, 1959, Germany [Stuttgart])

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#2 (live, 1953, New Orleans)

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#3 (recording, 1928, Chicago)

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lagniappe

more

Louis Armstrong & His Hot Five, “West End Blues,” 1928, Chicago

*****

radio

The federal government, in its wisdom, gives you the day off so you can listen to Louis Armstrong.

—Phil Schaap, 7/2/11, Traditions in Swing, WKCR-FM
(broadcasting from Columbia University), which today is all Pops, all day 

*****

reading table

Summer afternoon — summer afternoon; to me those have always been the two most beautiful words in the English language.

—Henry James

*Louis Armstrong gave July 4th as his birthday, something that was determined, after his death, not to be true—at least not literally.

Sunday, 6/26/11

two takes

The Mighty Clouds of Joy, “I Made A Step,” live

Switzerland (Montreux Jazz Festival), 1981

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Nashville, 2005

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More? Here. And here.

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lagniappe

Greatest musical intersection in the world?

Chicago’s South Side, W. 36th St. (Honorary Sam Cooke Way, as of this month) and S. Cottage Grove Ave. (Honorary Albertina Walker & The Caravans Drive)

Photo credit: Bob Marovich, The Black Gospel Blog

Thursday, 6/9/11

kaleidoscopic, adj. 1. changing form, pattern, color, etc., in a manner suggesting a kaleidoscope. 2. continually shifting from one set of relations to another. E.g., the music of the Art Ensemble of Chicago.

Art Ensemble of Chicago (Roscoe Mitchell, saxophone; Joseph Jarman, saxophone; Lester Bowie, trumpet; Malachi Favors, bass; Don Moye, drums), live, Europe, 1980s

Part 1

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One of my all-time favorite musicians—no matter the instrument, no matter the genre—is the guy playing bass. If I’m feeling down, he lifts me up. If I’m feeling good, he makes things even better.

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Part 2

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How many trumpeters play so many different colors?

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Part 3

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Part 4

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Part 5

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Part 6

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Avant-garde? Their use of polyphony recalls the earliest New Orleans jazz.

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Part 7

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How many musicians not only roam so widely but swing so hard?

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more

Art Ensemble of Chicago with Fontella Bass, “Theme de Yoyo” (1970)

More? Here.

Saturday, 5/7/11

 More Hound Dog

Hound Dog Taylor & The Houserockers (Brewer Phillips, guitar; Ted Harvey, drums), “Roll Your Moneymaker,” live, Ann Arbor Blues Festival, 1973

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More? Here. And here. And here.

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reading table

M. Abel Bonnard, of Villeneuve-Saint-Georges, who was playing billiards, put out his left eye falling on his cue.

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On the bowling lawn a stroke leveled M. Andre, 75, of Levallois. While his ball was still rolling he was no more.

—Félix Fénéon, trans. Luc Sante, Novels in Three Lines (collecting, as the back cover puts it, “more than a thousand items that appeared anonymously in the French newspaper Le Matin in 1906—true stories of murder, mayhem, and everyday life”)

Friday, 5/6/11

If you were 23 (like my son Alex), this might be your favorite band too.

The Pains of Being Pure At Heart
Live, Chicago (Lincoln Hall), 4/27/11

“Belong”

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“Heart In Your Heartbreak”

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“Everything With You”

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More? Here. And here. And here.

Friday, 4/29/11

When you’re young you can’t imagine that the things that make your life sing won’t always be there. Then you get older. And they aren’t.

Hound Dog Taylor & The Houserockers (Brewer Phillips, guitar; Ted Harvey, drums), “Sadie,” live, Ann Arbor Blues Festival, 1973

More? Here.

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langiappe

mail

This arrived yesterday, in response to an email letting her know that she was featured here (with Hazel Dickens):

Thanks for letting me know about this.  We said goodbye to Hazel yesterday and singing was never more difficult.  She was my musical guide and my beloved friend.  Smart, funny, complicated, always real.   She’ll live in my music, and my life, forever.  “Fly away, Little Pretty Bird.”

Ginny

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Hazel Dickens, “Pretty Bird,” 1967

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Monday, 4/25/11

 joy, n. a source of keen pleasure or delight. E.g., the singing of Eddie Jefferson.

Eddie Jefferson, jazz singer, August 3, 1918-May 9, 1979

Live (with Richie Cole, alto saxophone; John Campbell, piano; Kelly Sill, bass; Joel Spencer, drums), Chicago (Jazz Showcase), 5/6/79 (days later, outside a jazz club in Detroit, he was shot to death)

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art beat: yesterday at the Art Institute of Chicago

Mark Rothko, Untitled (Purple, White, and Red), 1953

No painting has held my gaze more often, or meant more to me, than this. It’s different every time I see it.

*****

reading table

ROTHKO: Look at the tension between the blocks of color: the dark and the light, the red and the black and the brown. They exist in a state of flux—of movement. They abut each other on the actual canvas, so too do they abut each other in your eye. They ebb and flow and shift, gently pulsating. The more you look at them the more they move . . . They float in space, they breathe . . . Movement, communication, gesture, flux, interaction; letting them work . . . They’re not dead because they’re not static. They move through space if you let them, this movement takes time, so they’re temporal. They require time.

—John Logan, Red (2009)

Saturday, 4/23/11

The Heart asks Pleasure – first –

—Emily Dickinson (588, excerpt)

Steve Reich, Bang on a Can All-Stars (Robert Black, bass; David Cossin, drums; Evan Ziporyn, piano; Bryce Dessner & Derek Johnson, guitars)
Rehearsal, 2×5 (S. Reich), 2009

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More? Here. And here.

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lagniappe

art beat: Art Institute of Chicago

A sea of Cezanne’s blues surrounds The Bay of Marselleilles, Seen From L’Estaque (4/18/11).

Here’s what’s on its left.

Paul Cezanne, Madame Cezanne in a Yellow Chair, 1888-90

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Here’s what’s on its right.

Paul Cezanne, The Basket of Apples, c. 1893

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And here’s what’s on the adjacent wall.

Paul Cezanne, Harlequin, 1888-90
(on loan from the National Gallery of Art, Washington, D.C.)

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I still work with difficulty, but I seem to get along. That is the important thing to me. Sensations form the foundation of my work, and they are imperishable, I think. Moreover, I am getting rid of that devil who, as you know, used to stand behind me and forced me at will to “imitate”; he’s not even dangerous any more.

—Paul Cezanne (last letter to his son Paul, dated October 15, 1906, a week before his death; quoted in Ambroise Vollard, Cezanne)

*****

Art ______ of Chicago

In the department of duh, after decades of going there and decades of listening to them, I’ve just noticed the verbal similarity between the Art Institute of Chicago and the Art Ensemble of Chicago.

Saturday, 4/2/11

favorites
(an occasional series)

Here—with a shout-out to my brother Don, with whom (at the age of 15) I saw the MC5  in Chicago’s Lincoln Park during the 1968 Democratic Convention (when nobody outside the Detroit/Ann Arbor area [including us] knew who they were)—is an awfully good cover, from what might seem an unlikely source, of one of their “greatest hits.”

Jeff Buckley, “Kick Out The Jams,” live, Chicago, 1995

And here, courtesy, apparently, of the Department of Defense, is (silent) footage of the scene in Lincoln Park on August 25, 1968—the day the MC5 (who appear here fleetingly) played.

(Originally posted 9/7/09.)

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lagniappe

on the road

Last night, in Cambridge, Massachusetts, where I’ve been since Sunday, I heard a concert, on the Harvard campus, of contemporary music featuring two different groups (Oberlin Contemporary Music Ensemble and Ensemble SurPlus) and works by six different composers, including Morton Feldman and John Luther Adams (who was present). Virtually every time I hear live music—last night was no exception—I leave thinking that I really need to do this more often. I love recordings, but live music breathes.

*****

Tonight, in Boston, I’ll be in the front row for this production of Merchant of Venice. Tomorrow I’m seeing a series of short works by Samuel Beckett, directed by the legendary Peter Brook. So that’s three straight days of live music. (What’s theater, after all, if not musical speech?)

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Monday, 3/14/11

Albert King

Fontella Bass

Art Ensemble of Chicago

Fela Anikulapo Kuti

Few musicians travel so widely—or so well.

Lester Bowie, trumpet, October 11, 1941-November 8, 1999

Lester Bowie’s Brass Fantasy (Steve Turre, trombone; Phillip Wilson, drums)
Live, Germany (Berlin), 1986

#1

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#2 (Whitney Houston’s “Saving All My Love For You”)

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Lester and drummer Phillip Wilson were kindred spirits. Like Lester, the drummer came out of St. Louis. And like Lester, he roamed freely. Adventurous jazz (Art Ensemble of Chicago), funky soul (Stax Records sessions), hard-rocking blues (Paul Butterfield Blues Band): to each he brought the same hands, the same feet, the same ears.

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Bill Cosby on Lester Bowie

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