music clip of the day

jazz/blues/rock/classical/gospel/more

Category: R&B

Friday, 7/20/12

two takes

Robert Glasper Experiment, “Always Shine” (feat. Lupe Fiasco & Bilal)

TV show (David Letterman), 2/29/12

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Recording, Black Radio (2012)

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lagniappe

musical thoughts

Jazz, classical, R&B: so much great music, no matter the genre, shares a particular quality—density.

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reading table

It’s as if your body were itself a person
And the person wasn’t you.

—Frederick Seidel, “Track Bike” (excerpt), London Review of Books, 7/19/12

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art beat: yesterday at the Art Institute of Chicago (between court hearings at the nearby federal court building)

Willem de Kooning, Untitled XI (1975)

Tuesday, 7/10/12

keep on dancing

Sometimes I don’t want to listen.

What I want are sounds washing over me.

Theo Parrish, “Summertime Is Here” (originally released 1999; reissued 2006)

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lagniappe

musical thoughts

[W]hat we find in our mind and our thought is the same as what we find in our ear and in sound: an ocean in constant flux. Just as our ear turns out to be nothing but a construct, and likewise sound, neither can we isolate anything we might call our mind or thought, much less our self.

The Heart Sutra, translation (from Sanskrit) and commentary (from which this is drawn) by Red Pine, AKA Bill Porter (2004)

*****

reading table

the whining mosquito
also thinks I’m old . . .
edge of my ear

—Kobayashi Issa, 1819 (translated from Japanese by David G. Lanoue)

Saturday, 7/7/12

basement jukebox

The Valentinos (feat. Bobby Womack), “Lookin’ For A Love,” 1962

*****

Billy Stewart, “Sitting In The Park,” 1965

Monday, 6/18/12

Happy (Day After) Father’s Day 

Nas (son) with Olu Dara (father), “Bridging the Gap” (2004)
(sampling Muddy Waters’ “Mannish Boy”)

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lagniappe

Here’s more from the old man.

David Murray Octet, “Dewey’s Circle” (DM, tenor saxophone; Olu Dara, trumpet; Butch Morris, cornet; George Lewis, trombone; Henry Threadgill, alto saxophone; Anthony Davis, piano; Wilber Morris, bass; Steve McCall, drums), Ming (Black Saint, 1980)

*****

Muddy Waters, “Mannish Boy” (Chess, 1955)

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lagniappe

reading table

People are mysterious, unfathomable—like divinities: natural objects for reverence. But our habits of thought turn the people around us into objects, the means for our self-protection.

—Lama John Makransky, “Family Practice,”
Tricycle, Summer 2001

Wednesday, 6/6/12

three takes

“Fool For You” (C.L. Green)

Alice Smith, recording and video, 2011

*****

Cee Lo Green, feat. Melanie Fiona, recording, 2011

*****

Alice Smith, live, Washington, D.C. (Howard Theatre), 2012

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lagniappe

reading table

What will it all be like in five years’ time
when you try to remember?

—John Ashbery, “For John Clare” (excerpt)

Tuesday, 5/29/12

two takes

“Human Nature” (S. Porcaro & J. Bettis)

Vijay Iyer Trio (VI, piano; Stephan Crump, bass; Marcus Gilmore, drums), live (studio performance [KPLU-FM]), 2011

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Michael Jackson, recording (Thriller), 1982

Friday, 5/25/12

two takes

“Kung Fu” (C. Mayfield)

The Dirtbombs, live, New York (Southpaw, Brooklyn), 2008

*****

Curtis Mayfield, recording (Sweet Exorcist), 1974

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lagniappe

found words

Yesterday, in Cambridge, Massachusetts (where I am for my son Alex’s college graduation), sitting on a brick sidewalk in Harvard Square, a panhandler with a sign:

OBAMA’S NOT THE ONLY ONE
WHO WANTS CHANGE

Tuesday, 5/22/12

basement jukebox

Bobby “Blue” Bland, “That’s the Way Love Is” (Duke 1962)

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O.V. Wright, “That’s How Strong My Love Is” (Goldwax 1964)

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Jimmy Ruffin, “What Becomes Of The Brokenhearted” (Motown 1966)

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lagniappe

found words

You’ve got [Cubs left fielder] Alfonso Soriano out there with Mickey Mantle’s knees. I’m not talking metaphor here. I think he really has Mickey Mantle’s knees.

—Jim Memolo, WGN Radio, Sunday’s post-game call-in show, following the Cubs’ third straight loss to the White Sox

Friday, 5/18/12

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

“Cold Sweat”

Part 1

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Part 2

*****

“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

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