music clip of the day

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Category: drums

Monday, 5/21/12

sounds of Haiti

Rara music, live, Leogane

Saturday, 5/19/12

Michael Burks (7/30/57-5/6/12), “Twenty-Four Hour Blues”
Live, Belgium (Zingem), 5/5/12

One day he makes these sounds, the next no sound at all—not the world I would have designed.

More? Here.

Friday, 5/18/12

James Brown, live, Boston, 4/5/68

“Cold Sweat”

Part 1

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Part 2

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“I Got the Feelin'”

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More?

Here’s the whole show.

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On the morning after the assassination of Dr. Martin Luther King, Jr., city officials in Boston, Massachusetts, were scrambling to prepare for an expected second straight night of violent unrest. Similar preparations were being made in cities across America, including in the nation’s capital, where armed units of the regular Army patrolled outside the White House and U.S. Capitol following President Johnson’s state-of-emergency declaration. But Boston would be nearly alone among America’s major cities in remaining quiet and calm that turbulent Friday night, thanks in large part to one of the least quiet and calm musical performers of all time. On the night of April 5, 1968, James Brown kept the peace in Boston by the sheer force of his music and his personal charisma.

Brown’s appearance that night at the Boston Garden had been scheduled for months, but it nearly didn’t happen. Following a long night of riots and fires in the predominantly black Roxbury and South End sections of the city, Boston’s young mayor, Kevin White, gave serious consideration to canceling an event that some feared would bring the same kind of violence into the city’s center. The racial component of those fears was very much on the surface of a city in which school integration and mandatory busing had played a major role in the recent mayoral election. Mayor White faced a politically impossible choice: anger black Bostonians by canceling Brown’s concert over transparently racial fears, or antagonize the law-and-order crowd by simply ignoring those fears. The idea that resolved the mayor’s dilemma came from a young, African American city councilman name Tom Atkins, who proposed going on with the concert, but finding a way to mount a free, live broadcast of the show in the hopes of keeping most Bostonians at home in front of their TV sets rather than on the streets.

Atkins and White convinced public television station WGBH to carry the concert on short notice, but convincing James Brown took some doing. Due to a non-compete agreement relating to an upcoming televised concert, Brown stood to lose roughly $60,000 if his Boston show were televised. Ever the savvy businessman, James Brown made his financial needs known to Mayor White, who made the very wise decision to meet them.

The broadcast of Brown’s concert had the exact effect it was intended to, as Boston saw less crime that night than would be expected on a perfectly normal Friday in April. There was a moment, however, when it appeared that the plan might backfire. As a handful of young, male fans—most, but not all of them black—began climbing on stage mid-concert, white Boston policemen began forcefully pushing them back. Sensing the volatility of the situation, Brown urged the cops to back away from the stage, then addressed the crowd. “Wait a minute, wait a minute now WAIT!” Brown said. “Step down, now, be a gentleman . . . Now I asked the police to step back, because I think I can get some respect from my own people.”

Brown successfully restored order while keeping the police away from the crowd, and continued the successful peacekeeping concert in honor of the slain Dr. King on this day in 1968.

history.com

Monday, 5/14/12

only rock ’n’ roll

This’ll wake you up.

The Men, “Open Your Heart,” live, SXSW (Austin, Tx.), 3/6/12

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More?

Here’s the whole show.

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lagniappe

musical thoughts

The pop music being made in the 1960s sounded nothing like that of the 1920s. But, today, the formula employed by The Men (and many other bands)—electric guitar + bass + drums + volume + energy—is the same one the MC5 was using when I first heard them in August of 1968, in Chicago’s Lincoln Park, during the Democratic Convention. What, if anything, does it mean that pop music—some of it, anyway—has changed so little in the last 40 years?

Friday, 5/11/12

The parade never ends.

Rebirth Brass Band, New Orleans (Treme Sidewalk Steppers Annual Second Line Parade), 2/6/12

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lagniappe

A highly anticipated moment of the social aid and pleasure club parade season is when the Treme Sidewalk Steppers emerge from the African-American Museum. First, comes the call of the trumpet and then a flash of color can be spied as a member waves a feathered fan and dances out the door. One by one, the Steppers strut their stuff as they energetically file down the sidewalk with a “look-at-me” attitude. Those in the waiting crowd on Gov. Nicholls Street, peer through the iron fence that surrounds the lovely building and gardens, trying to get a better look at the spectacle. They cheer at the triumph.

The Treme Sidewalk Steppers . . . was established in 1994 by a group of friends who were enthusiastic second line followers.

“We’d always go to the parades and parade on the sidewalk and have fun,” Sidewalk Steppers president Charlie Brown explains, “so we decided we might as well come up with our own.”

Brown as well as some dozen or so originators, including New Birth Brass Band’s Tanio Hingle and Kerry “Fat Man” Hunter, all hailed from the Treme so the name of their club was a natural. “That’s our neighborhood; that’s where we’re from,” Brown proudly states. “Being the oldest Black neighborhood in America and being raised around all these different musicians and just to have the culture makes it special to us. It’s in your blood–that’s what makes it so authentic with us.

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Since most of the club’s members grew up in the Treme neighborhood, they boast deep roots in and respect for the second-line culture. The Steppers take that base and serve it up with its certain, individual style and personality.

“We try to keep it in the tradition but we have our own little swagger,” Brown says. “We try to be unique in our dress and our ways. We love the fun in dancing and showing off our little parade gear. We take pride in it. We don’t take shortcuts with our parade.”

The Sidewalk Steppers’ outfits are usually specially designed and tailored for them rather than store-bought. Creating their decorative fans is a group effort that’s accomplished under the direction of original member Corey Holmes. . . .

While some clubs keep the colors of their outfits secret, the Treme Sidewalk Steppers declare them right on the route sheet . . .

“We want the people to know,” Brown explains. “Maybe our followers would like to dress in the colors we’re wearing. We invite that. We really love the people that love us and we appreciate them all. The followers made us–they made us as good as we are or are supposed to be.”

The Treme Sidewalk Steppers also kept the second liners in mind when drawing up the parade route. The procession primarily travels on wide thoroughfares like Basin Street, Broad Street, N. Claiborne Ave. and St. Bernard Ave. that offer the crowd room to move.

“We use main streets so people can be comfortable and we try to spread out so you can enjoy us and view us well,” he explains.

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“The Sidewalk Steppers mean everything to me,” Brown says with deep sincerity. “We give thanks to all the people who came before and how they gave this history to us and showed us the way.”

Geraldine Wyckoff

Thursday, 5/10/12

two takes

“Spring Can Really Hang You Up The Most” (T. Wolf & F. Landesman)

Bob Dorough, vocals & piano (Right On My Way Home, 1997)

*****

Betty Carter, vocals (Inside Betty Carter, 1964)

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lagniappe

reading table

Alcove
by John Ashbery
(Planisphere, 2009)

Is it possible that spring could be
once more approaching? We forget each time
what a mindless business it is, porous like sleep,
adrift on the horizon, refusing to take sides, “mugwump
of the final hour,” lest an agenda—horrors!—be imputed to it,
and the whole point of its being spring collapse
like a hole dug in sand. It’s breathy, though,
you have to say that for it.

And should further seasons coagulate
into years, like spilled, dried paint, why,
who’s to say we weren’t provident? We indeed
looked out for others as though they mattered, and they,
catching the spirit, came home with us, spent the night
in an alcove from which their breathing could be heard clearly.
But it’s not over yet. Terrible incidents happen
daily. That’s how we get around obstacles.

Tuesday, 5/8/12

passings

Michael Burks, singer, guitar player, songwriter
July 30, 1957-May 6, 2012

Here’s what I wrote when I first posted this clip (2/28/11):

When something is this lyrical, this convincing, there’s only one thing I want to do when it ends—hear it again.

“Empty Promises”
Live, Falls Church, Virginia, 8/21/09

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Michael came to Alligator Records long after I left. But a few years ago I did some legal work for him and got to know him. Soft-spoken, gentle, warm: these are the words that come to mind. He collapsed at the Atlanta airport after returning from a European tour—heart attack.

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“Fire and Water”
Live, Denmark (Frederikshavn), 2010

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“Since I’ve Been Loving You”
Live, Jacksonville Beach, Florida, 2010

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“House of the Rising Sun”
Live, Legendary Rhythm & Blues Cruise, 2008

Monday, 5/7/12

Muddy Waters with Mick Jagger, Keith Richards, Ronnie Wood, et al., “Mannish Boy,” live, Chicago (Checkerboard Lounge), 1981

Keith and Ronnie understand something many rockers don’t: the importance, in blues, of restraint. They also understand that when you’re a guest you don’t try to upstage the host. Mick, meanwhile, hasn’t got a clue.

Sunday, 5/6/12

back to church

The Canton Spirituals
Live, Memphis, 1993

“Heavenly Choir”

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“Fix It Jesus”

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Gospel groups are hard to beat when it comes to longevity. This one got started, in Canton, Mississippi, in 1943. One of the founding members, Harvey Watkins, Sr., is featured here. He passed away in 1994; his son, lead singer Harvey Watkins, Jr., carries on today.

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lagniappe

reading table

my child’s rice cakes
my child’s rice cakes . . .
all in a row

—Kobayashi Issa, 1813 (translated from Japanese by David G. Lanoue)

Thursday, 5/3/12

Weary of words?

You’ve come to the right place.

These guys take you places words don’t go.

Von Freeman,* tenor saxophone; Clifford Jordan, tenor saxophone (first solo); Willie Pickens, piano; Dan Shapera, bass; Robert Shy, drums; “Oleo” (S. Rollins), live, Chicago (Chicago Jazz Festival), 1988

More Clifford? Here.

More Von? Here. And here. And here.

*MCOTD Hall of Fame (Charter Member).