Thursday, 8/26/10
When I die, I’m moving to New Orleans for the funeral.
Funeral, Trumpeter John Brunious, New Orleans, 2/23/08
music clip of the day
jazz/blues/rock/classical/gospel/more
Category: jazz
2010
Saturday, 8/21/10
replay: a clip too good for just one day
If spirit could be sold, New Orleans would be rich.
Rebirth Brass Band, live, New Orleans, 2009
**********
lagniappe
Brass band musicians are a wild bunch. They’re hard to control. The street funk that the Rebirth Brass Band plays definitely isn’t traditional—it might be in thirty years time.
—Lajoie “Butch” Gomez (in Mick Burns, Keeping the Beat on the Street: The New Orleans Brass Band Renaissance [2006])
(Originally posted on 9/11/09.)
2010
Saturday, 8/7/10
Let’s lift the bandstand.
—Thelonious Monk
Woody Shaw/Johnny Griffin Quintet (Woody Shaw, trumpet; Johnny Griffin, tenor saxophone; John Hicks, piano; Reggie Johnson, bass; Alvin Queens, drums), “Night in Tunisia,” live, Germany (Koln), 1986
**********
lagniappe
Now there’s a great trumpet player. He [Woody Shaw] can play different from all of them.
—Miles Davis
*****
Anthony Braxton on playing with Woody Shaw.
*****
reading table
Look after the sound and the sense will take care of itself.
—Adam Phillips, London Review of Books, 7/22/10 (reviewing Christopher Ricks’ True Friendship: Geoffrey Hill, Anthony Hecht and Robert Lowell Under The Sign Of Eliot And Pound)
2010
Thursday, 8/5/10
He doesn’t pummel the beat, the way so many drummers do.
He pulls it out of the air.
Jo Jones (“Papa Jo” [as distinguished from “Philly Joe“]), October 7, 1911-September 3, 1985
**********
lagniappe
[W]hat really distinguished the great drummers I heard growing up, what really attracted me to men such as Sonny Greer, Chick Webb, Sid Catlett, Jo Jones and Kenny Clarke was that they all thought like composers, they all had their own way of hearing a band. They were all original thinkers who identified themselves when they played. And they stood out. They played like leaders.
2010
Wednesday, 7/21/10
getting older
“Where did everybody go?” you wonder.
With each passing year, more of the musicians who’ve shaped your world—who’ve made life sing—are gone.
Ed Blackwell, Lester Bowie, Betty Carter, Malachi Favors, Steve Lacy, Kate McGarrigle, Art Pepper, Professor Longhair, Sun Ra, Junior Wells, Julius Hemphill (below): the list goes on, and on, and on.
World Saxophone Quartet (Julius Hemphill, alto saxophone; Oliver Lake, soprano and alto saxophones; David Murray, tenor saxophone; Hamiet Bluiett, baritone saxophone)
Medley: “West African Snap,” “I Heard That,” “Fast Life,” “Hattie Wall,” live (TV Broadcast [Night Music]), 1990 (music starts at 2:20)
Listening to Julius Hemphill (far left), a phrase from Martin Luther King, Jr.’s “I Have a Dream” speech comes to mind: “the fierce urgency of now.” Hemphill has, it seems, so much to say—right now. Listen, for instance, to 4:30-6:35.
*****
Live, with M’Boom (Max Roach’s 9-piece percussion ensemble), New York (The Cathedral Church of St. John the Divine), 1981 (music starts at 1:55)
Want more? Here.
**********
lagniappe
musical thoughts
Without music, life would be an error.
—Friedrich Nietzsche
2010
Monday, 7/12/10
Here’s a big birthday shout-out to my wife Suzanne, who’s not nearly as crazy as I am about music—not nearly as crazy, period—but is crazy enough that she kept going out with me after I took her on our first date, in the summer of 1974, to Chicago’s Jazz Showcase (then on Lincoln Avenue) to see this guy, whose multimedia performance that night featured some of this footage—the stuff with the pyramids.
Sun Ra & His Arkestra in Egypt and Italy, 1971
**********
lagniappe
Even in the excesses of this era there were few audiences prepared for an ominous, ragtag group of musicians in Egyptian robes, Mongolian caps (Mongolian, as from the planet Mongo of Flash Gordon), and B-movie spacesuits who played on a variety of newly invented or strangely modified electronic instruments (the sun harp, the space organ, the cosmic side drum) and proclaimed the greatness of the most ancient of races (this, the Sun Ra of the Solar-Myth Arkestra); or, on yet another night, a merry band in jester’s motley, jerkins, and pointed caps (a la Robin Hood or perhaps the Archers of Arboria) who marched or crawled through the audience, chanting cheerful songs about travel to Venus. It was intensely dramatic music, moving from stasis to chaos and back, horn players leaping about, or rolling on the bandstand, sometimes with fire eaters, gilded muscle men, and midgets, an all-out assault on the senses. At the end of the evening the musicians and dancers moved among the audience, touching them, surrounding them, inviting them to join the Arkestra in marching off to Jupiter.
—John F. Szwed, Space Is The Place: The Lives And Times Of Sun Ra (1997)
*****
Sun Ra’s consistent statement, musically and spoken, is that this is a primitive world. Its practices, beliefs, religions, are uneducated, unenlightened, savage, destructive, already in the past. . . . That’s why Sun Ra returned only to say he left. Into the future. Into Space.
—Amiri Baraka (formerly known as LeRoi Jones)
*****
Silence is music. There are different kinds of silence, each silence is a world all of its own . . . silence is an integral part of all music . . .
***
When you meet a man
You meet a scheme of words
Patterns of concept
A concepted being
Whose very birth conception is called.
***
The earth cannot move without music. The earth moves in a certain rhythm, a certain sound, a certain note. When the music stops the earth will stop and everything upon it will die.
—Sun Ra
*****
2010
Saturday, 7/10/10
replay: a clip too good for just one day
Here is the onliest Thelonious.
Thelonious Monk, “Epistrophy,” live (TV broadcast), Paris, 1966
*****
Thelonoius Monk, “’Round Midnight,” live (TV broadcast)
*****
You can tell a lot about Monk’s music—about the centrality of dance, about the interplay between melody and rhythm, about the way a melody’s irregular accents override the pulse (making the dance melodic)—just by watching, in the second performance, the way his right foot moves.
**********
lagniappe
He played each note as though astonished by the previous one, as though every touch of his fingers on the keyboard was correcting an error and this touch in turn became an error to be corrected and so the tune never quite ended up the way it was meant to be.
***
You had to see Monk to hear his music properly. The most important instrument in the group—whatever the format—was his body.
—Geoff Dyer, But Beautiful: A Book About Jazz (1996)
(Originally posted 11/2/09.)
2010
Wednesday, 6/30/10
The other night, after falling asleep, my older son Alex (now 22) had an unexpected visitor—this guy showed up and began to play.
Vijay Iyer Trio (VI, piano; Marcus Gilmore, drums; Stephan Crump, bass)
“Galang,” recording session (Historicity), New York (Systems Two Studios), 2009
*****
“Questions of Agency,” live, New York (The Stone), 2007
*****
Playing and Talking about Historicity, 2009
**********
lagniappe
Presto! Here is the great new jazz piano trio.
—Ben Ratliff, New York Times (9/9/09)
music clip of the day 