music clip of the day

jazz/blues/rock/classical/gospel/more

Category: jazz

Tuesday, April 25th

Is any alto player more eloquent?

Joe McPhee (alto saxophone), William Parker (bass), Gerald Cleaver (drums), live, New York, 2014


**********

lagniappe

art beat

Paul Strand (1890-1976), Abandoned Window, 1944

 

Monday, April 24th

sounds of Amsterdam

Turning seventy-five, some folks get gloomy; others celebrate.

Han Bennink (drums, 4/17/1942-) & All-Star Band
Live (TV show), Amsterdam, 4/13/17


**********

lagniappe

random sights

other day, Oak Park, Ill.

 

Friday, April 14th

tonight in Chicago

They’re playing at Constellation.

Peter Evans Sextet, live, New York, 2017

Tuesday, April 11th

more

John Coltrane Quartet (JC, tenor saxophone; McCoy Tyner, piano; Jimmy Garrison, bass; Elvin Jones, drums), “Vigil,” “Naima,” “My Favorite Things,” live, Belgium (Comblain-La-Tour), 1965


**********

lagniappe

art beat

Robert Frank (1924-), Cafe – Beaufort, South Carolina, 1955

cafe-beaufort-sc-1955-56-web

 

Monday, April 10th

musical movements

Urban Bush Women, “Walking with ‘Trane” (fragments, commentary), Rockville, Md., 2015


**********

lagniappe

random sights

this morning, Chicago (Columbus Park)

Tuesday, March 28th

bad news/good news

Bad news: You’ve heard nothing this good in who knows how long.

Good news: You’re about to hear this.

Art Blakey and the Jazz Messengers (AB, drums; John Gilmore, tenor saxophone; Lee Morgan, trumpet; John Hicks, piano; Victor Sproles, bass), “On The Ginza,” “Lament for Stacey,” “The Egyptian,” “I Can’t Get Started,” “Buhaina’s Delight,” live (TV show), London, 1964

 

**********

lagniappe

art beat

Robert Frank (1924-), Rooming house—Bunker Hill, Los Angeles, 1955/56

 

Saturday, March 11th

more

William Parker’s In Order To Survive (WP, bass; Hamid Drake, drums, MCOTD Hall of Fame; Cooper-Moore, piano, vocals; Lewis Barnes, trumpet; Rob Brown, alto saxophone), “Hymn,” live, New York, 2013


**********

lagniappe

reading table

He isn’t doing that right—that was a very important one. It was what Astaire claimed he was thinking whenever he watched himself onscreen, and I noted that third-person pronoun. This is what I understood by it: that for Astaire the person in the film was not especially connected with him. And I took this to heart, or rather, it echoed a feeling I already had, mainly that it was important to treat oneself as a kind of stranger, to remain unattached and unprejudiced in your own case. I thought you needed to think like that to achieve anything in this world. Yes, I thought that was a very elegant attitude.

—Zadie Smith, Swing Time

Thursday, March 9th

MCOTD Hall of Fame

William Parker’s In Order To Survive (WP, bass, composition; Hamid Drake, drums, MCOTD Hall of Fame;* Lewis Barnes, trumpet; Rob Brown, alto saxophone; Cooper-Moore, piano), “Criminals in the White House,” live, New York, 2013

**********

lagniappe

radio

Today—his birthday—it’s all Ornette Coleman all day on WKCR-FM (Columbia University).

*****

*With saxophonists Von Freeman and Henry Threadgill; trumpeter Lester Bowie; gospel singer Dorothy Love Coates; composer Morton Feldman; poets John Berryman, William Bronk, and Wislawa Szymborska; and photographer Helen Levitt.

Thursday, March 2nd

tonight in Chicago

These guys, from Australia, are playing at Constellation.

The Necks, live, London, 2016


**********

lagniappe

reading table

The Imaginary Iceberg
by Elizabeth Bishop (1911-1979)

We’d rather have the iceberg than the ship,
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We’d rather have the iceberg than the ship;
we’d rather own this breathing plain of snow
though the ship’s sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?

This is a scene a sailor’d give his eyes for.
The ship’s ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.

The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another’s waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.

Monday, February 13th

 passings

Al Jarreau (aka Alwin Lopez Jarreau), March 12, 1940-February 12, 2017, singer

“Take Five” (P. Desmond), live (TV performance), Germany, 1976


(Taking a break—back in a while.)