Wednesday, 5/23/12
sounds of Cuba
Live, Santiago de Cuba, 6/21/10
sounds of Cuba
Live, Santiago de Cuba, 6/21/10
sounds of Haiti
Rara music, live, Leogane
It’s easy to play a lot of notes; what’s hard is to play a few.
Jon Hassell (trumpet), “Last Night The Moon Came,” live, Switzerland (Lausanne), 2009
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lagniappe
reading table
Barn’s burnt down—
now
I can see the moon.—Mitzuta Masahide, 1657-1723 (translated from Japanese by Lucien Stryk and Takashi Ikemoto)
what’s new
Black Dice, “Pigs”
Recording (Mr. Impossible, 4/12) & Video
I fell in love tonight. She left immediately when I played her this.
—YouTube comment
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Live (music starts at 1:40), New York, 2012
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.”
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.
three takes
“Dream Baby Dream” (A. Vega [Suicide])
Neneh Cherry & The Thing, The Cherry Thing, 6/12
*****
Bruce Springsteen, live (encore), 2005
*****
Suicide (long version), 1980
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lagniappe
random thoughts
Who says sports are frivolous? Baseball offers a veritable Ph.D. program in life’s hardest lessons. Good fortune is fleeting. Nothing can be taken for granted—ever. No matter how smooth the sailing, the shoals of despair are never far away. Yesterday, going into the bottom of the ninth, the Cubs were beating the Reds 3-0. Exit starter Ryan Dempster; enter closer Carlos Marmol. He gives up a walk. Then another. The next batter reaches on an error. Then there’s a line drive. The next batter? He walks, too. By the time Marmol crawls back to the dugout, the bases are loaded, there are no outs, and two runs are in. If nothing else, the pain would have come and gone more swiftly if the Reds had finished things right there. But they don’t. They add just one more run, tying the game. The Cubs come to bat. Nothing. The Reds score again and, finally, it’s over. Reds 4, Cubs 3. No tale from Greek mythology could have made the point more emphatically: fate is pitiless.
Nothing hits the spot, sometimes, like a homicidal love song.
The Handsome Family, “My Beautiful Bride”
Live, Australia (Sydney), 2010
More? Here.
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lagniappe
art beat: Monday at the Art Institute of Chicago
Utagawe Hiroshige, Autumn Moon over Tama River (from the series Eight Views of the Environs of Edo), 1837-38
ready to levitate?
Peter Brötzmann Chicago Tentet,* “Aziz” (M. Zerang), recorded live in Chicago (Empty Bottle), 9/17/97 (Okka Disk OD-12022)
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lagniappe
art beat: yesterday at the Art Institute of Chicago (after meeting with a client at the nearby federal jail)
Utagawe Hiroshige, Suijin Shrine and Massaki on the Sumida River (from the series One Hundred Famous Views of Edo), c. 1856
*****
reading table
Were I to choose an auspicious image for the new millennium, I would choose . . . the sudden agile leap of the poet-philosopher who raises himself above the weight of the world, showing that with all his gravity he has the secret of lightness, and that what many consider to be the vitality of the times—noisy, aggressive, revving and roaring—belongs to the realm of death, like a cemetery for rusty old cars.
—Italo Calvino, “Lightness,” in Six Memos for the New Millenium (1988, translated from Italian by Patrick Creagh)
*****
*PB, tenor sax/clarinet/tarogato; Mars Williams, tenor/alto/soprano sax/clarinet; Ken Vandermark, tenor sax/clarinet/bass clarinet; Mats Gustafsson, baritone sax/fluteophone; Joe McPhee, pocket cornet/valve trombone/soprano sax; Jeb Bishop, trombone; Fred Lonberg-Holm, cello; Kent Kessler, bass; Michael Zerang, drums/percussion; Hamid Drake, drums/percussion.
James Blood Ulmer, “Are You Glad to Be in America?”
Live, 2008
Imagine this with bass and drums. Can’t? Me, neither. That’s one sign of a great solo performance: accompaniment is unimaginable.