The history of jazz, I once thought (like a lot of folks), is a story of progress. The shift from swing to bebop, for example, wasn’t simply a change; it was an advance. What bunk.
Erskine Hawkins Orchestra, “Swinging in Harlem,” 1938
Here’s more from the city that does death like no other.
Funeral for Juanita Brooks, New Orleans, 2009
Vodpod videos no longer available.**********
lagniappe
Here’s a taste of the Syl Johnson show I recently saw.
Syl Johnson, “Same Kind of Thing,” live, Chicago, 11/27/10
Vodpod videos no longer available.Coolest guy on the planet?
Will Gaines (tap dance) with Steve Beresford (piano), Alex Ward (clarinet), live, London, 2009
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lagniappe
I tap-danced for ten years before I began to understand that people don’t make musicals anymore.
what’s new
(an occasional series)
Dad, listen to this . . .
—my (19-year-old) son Luke
Lupe Fiasco, “The Show Goes On” (2010)
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Take 2
Live, Georgetown University, 10/30/10: “Superstar,” “The Show Goes On” (’til he forgets the lyrics), back to “Superstar”
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More from Georgetown
“Hip-Hop Saved My Life”
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lagniappe
Interview (Tavis Smiley, 2008)
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listening room
Here, in MP3 format, is a track featuring a guy we listened to the other day: Cecil Taylor, with drummer Tony Williams (“Morgan’s Motion,” from Williams’ 1978 album The Joy of Flying).
ain’t no grave can hold . . .
Johnny Cash, “Ain’t No Grave,” 2003 (recorded), 2010 (released)
Vodpod videos no longer available.**********
lagniappe
The Johnny Cash Project is a global collective art project, and we would love for you to participate. Through this website, we invite you to share your vision of Johnny Cash, as he lives on in your mind’s eye. Working with a single image as a template, and using a custom drawing tool, you’ll create a unique and personal portrait of Johnny. Your work will then be combined with art from participants around the world, and integrated into a collective whole: a music video for “Ain’t No Grave,” rising from a sea of one-of-a-kind portraits.
Strung together and played in sequence over the song, the portraits will create a moving, ever evolving homage to this beloved musical icon. What’s more, as new people discover and contribute to the project, this living portrait will continue to transform and grow, so it’s virtually never the same video twice.
Ain’t No Grave is Johnny’s final studio recording. The album and its title track deal heavily with themes of mortality, resurrection, and everlasting life. The Johnny Cash Project pays tribute to these themes. Through the love and contributions of the people around the world that Johnny has touched so deeply, he appears once again before us.
The Johnny Cash Project is a visual testament to how the Man in Black lives on—not just through his vast musical legacy, but in the hearts and minds of all of us around the world he has touched with his talent, his passion, and his indomitable spirit. It is this spirit that is the lifeblood of The Johnny Cash Project. Thank you for helping Johnny’s spirit soar once more. God bless.
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reading table
Without trouble, there is no life.
—New Orleans restaurateur Provino Mosca, quoted in Calvin Trillin, U.S. Journal, “No Daily Specials,” New Yorker, 11/22/10
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radio
Happy Birthday, Hawk!
Today, Coleman Hawkins’ (106th) birthday, the folks at WKCR-FM (broadcasting from Columbia University) are celebrating in their usual way—playing his music all day (and then some [’til 9:30 a.m. tomorrow]).
When I heard Hawk I learned to play ballads.
Do not find yourself in the music, but find the music in yourself.
—Heinrich Neuhaus (Russian piano teacher whose students included Sviatoslav Richter, Emil Gilels, Radu Lupu, et al.)
Marilyn Crispell, “Dear Lord” (John Coltrane), live
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lagniappe
“Jesus Dropped The Charges” [The O’Neal Twins, Sunday, 11/7/10] made my day.
Find a note that pleases you.
Then another.
And another.
—Cecil Taylor (when asked what advice he would give to a young musician)
Cecil Taylor, live, 1981 (Imagine the Sound)
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lagniappe
art beat
Going to an art museum you never know what you may encounter. This painting, for instance, I’d never laid eyes on—never even heard of the artist—until I happened upon it the other day at Chicago’s Art Institute.
Arthur Wesley Dow (American, 1857-1922), Boats at Rest
Madonna would’ve been a big star back then, too.
“Snake Hips (Do The Wiggle Waggle Woo),” Happy Days (1929), with Sharon Lynn (singer), Ann Pennington (dancer)
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reading table
As I sd to my
friend, because I am
always talking, — John, Isd, which was not his
name, the darkness sur-
rounds us, whatcan we do against
it, or else, shall we &
why not, buy a goddamn big car,drive, he sd, for
christ’s sake, look
out where yr going.—Robert Creeley (I Know a Man)
Want to hear Creeley read this? Here (MP3).
replay: clips too good for just one day
No jazz composer since Thelonious Monk has a stronger voice.
Lyrical beauty, inexhaustible drive, deep feeling: what more could you ask for?
Enormously influential, his music served as a bridge between the compositional elegance of Duke Ellington and the freewheeling rambunctiousness of the Art Ensemble of Chicago, Henry Threadgill, David Murray, et al.
Charles Mingus Quintet (CM, bass; Dannie Richmond, drums; Eric Dolphy, alto saxophone, bass clarinet; Clifford Jordan, tenor saxophone; Jaki Byard, piano), live (TV broadcast), Belgium, 1964
“So Long, Eric”
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“Peggy’s Blue Skylight”
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“Meditations on Integration” (excerpt)
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lagniappe
. . . [Mingus’s] music was pledged to the abolition of all distinctions: between the composed and the improvised, the primitive and the sophisticated, the rough and the tender, the belligerent and the lyrical.—Geoff Dyer, But Beautiful: A Book About Jazz (1996)
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Making the simple complicated is commonplace; making the complicated simple, awesomely simple, that’s creativity.
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I, myself, came to enjoy the players who didn’t only just swing but who invented new rhythmic patterns, along with new melodic concepts. And those people are: Art Tatum, Bud Powell, Max Roach, Sonny Rollins, Lester Young, Dizzy Gillespie and Charles Parker, who is the greatest genius of all to me because he changed the whole era around.
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In my music, I’m trying to play the truth of what I am. The reason it’s difficult is because I’m changing all the time.
—Charles Mingus
(Originally posted on 4/22/10.)
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Duke Ellington, Count Basie, Miles Davis: so many of the greatest figures in jazz weren’t just great musicians, or composers, or arrangers. They were great bandleaders. As important to their artistic success as anything else was their ability to find, and showcase, players who could make the music come alive—people like Johnny Hodges and Ben Webster and Jimmy Blanton and Lester Young and Freddie Green and Jo Jones and John Coltrane and Bill Evans and Tony Williams.
That small circle of elite bandleaders includes this man. He hired musicians who played their instruments like no one else (Eric Dolphy, Jaki Byard, et al.). He gave them a musical setting in which structure and freedom were exquisitely balanced. And together they made music that sounds (even on something familiar) like nothing else.
Charles Mingus Sextet (with Johnny Coles, trumpet; Jaki Byard, piano; Eric Dolphy, alto saxophone and bass clarinet; Clifford Jordan, tenor saxophone; Dannie Richmond, drums), “Take the A Train,” live, Norway (Oslo), 1964
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lagniappe
I nominate Charles Mingus one of America’s greatest composers—Ran Blake (in the liner notes to his recent album Driftwoods)
(Originally posted on 12/1/09.)
Happy Birthday, Brownie!
Clifford Brown, October 30, 1930-June 26, 1956
“Oh, Lady Be Good,” “Memories of You,” live (TV broadcast [Soupy’s On, Detroit]), 1955
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Clifford Brown/Max Roach Quintet (Clifford Brown, trumpet; Max Roach, drums; Sonny Rollins, tenor saxophone; Richie Powell, piano; George Morrow, bass)
Live, “Get Happy”
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Live, Virginia (Norfolk, Continental Restaurant), 6/18/1956 (Last Concert)
“You Go To My Head”
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“What’s New”
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lagniappe
Don’t take a trumpet player, man. You won’t need one after you hear this young cat, Clifford Brown.
—Charlie Parker (to Art Blakey, when he was going to work in Philadelphia in the early 1950s)
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Out in California, we had a house, and we had a piano and vibes as well as trumpet and drums. Brownie could play all these instruments, you know. I would go out of the house and come back, and he would be practicing on anything, drums, vibes, anything. He loved music.
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He was so well-rounded in all music. He liked Miles, Trane—who was very young then—and Louis Armstrong, and Lee Morgan, who spent alot of time with Clifford in Philly. Eric Dolphy was another good friend of ours. Music was his first love; I was his second, and math was his third. He was a wizard with figures and numbers; he used to play all kinds of mathematical games. . . .
There was only one time I didn’t travel with him. Our child, Clifford Jr., had been born, and I hadn’t taken him home yet to see the family. So Clifford said okay, and he put us on the plane; and of course that was when he was in the car accident and was killed. It was our second wedding anniversary and my 22nd birthday.
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Without Brownie, it would be hard to imagine the existence of Lee Morgan or Freddie Hubbard or Booker Little or Woody Shaw or Wynton Marsalis.
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radio
Today, at WKCR-FM (broadcasting from Columbia University), it’s all Brownie, (almost) all day. (This birthday celebration will be interrupted in the middle of the day for coverage of the Columbia/Yale football game.)
