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Category: saxophone

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

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lagniappe

Now there’s a great trumpet player. He [Woody Shaw] can play different from all of them.

—Miles Davis

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Anthony Braxton on playing with Woody Shaw.

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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)

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.

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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.

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lagniappe

musical thoughts

Without music, life would be an error.

—Friedrich Nietzsche


Wednesday, 7/14/10

They weren’t glamorous. And they couldn’t have been paying a whole lot. But everybody, it seemed, wanted to play with them.

Delaney & Bonnie

With Eric Clapton (guitar), Dave Mason (guitar), Bobby Whitlock (vocal); “Poor Elijah-Tribute to Robert Johnson”; live (TV broadcast), England, 1969

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With Eric Clapton (guitar), George Harrison (guitar), Bobby Whitlock (keyboards), Carl Radle (bass), Jim Gordon (drums); “Comin’ Home”; live, England, 1969

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With Duane Allman (guitar), Gregg Allman (organ), King Curtis (tenor saxophone); “Only You Know And I Know”; live, 1971

(The bass player, whoever he is, is the MVP here—he lights up everything [check out, for instance, 1:06-1:56].)

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

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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)

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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)

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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 . . .

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When you meet a man

You meet a scheme of words

Patterns of concept

A concepted being

Whose very birth conception is called.

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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

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Tuesday, 7/6/10

What the world needs now?

Nah, not love.

What the world needs now—what it cries out for, daily—is inspired silliness.

Brave Combo, live

“The Denton Polka,” Texas (Denton), 2007

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“Louie, Louie,” Illinois (Berwyn [FitzGerald’s]), 2008

Brave Combo played a wild set Sunday night (the 4th) at FitzGerald’s American Music Festival—everything from “Beer Barrel Polka” to a hard-rockin’ “Hokey Pokey” to a polka-inflected “Ode to Joy” (“Any Beethoven fans in the house?”) to a Tejano-style “America the Beautiful.” By the end of the 90-minute set, everybody’s IQ, it seemed, had gone up 15 points. Or was it down?

Thursday, 7/1/10

looking back

Today, celebrating our 300th post, we revisit a few favorites.

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3/12/10

Both Chicago blues artists. Both guitar players. Both influenced by other kinds of music.

Musical personalities? They could hardly be more different.

Buddy Guy, “Let Me Love You Baby,” live

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Fenton Robinson, “Somebody Loan Me A Dime,” live, 1977

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Back in the 1970s, when I was at Alligator Records, I had the pleasure of working with Fenton, co-producing his album I Hear Some Blues Downstairs (a Grammy nominee). He didn’t fit the stereotype of a bluesman. Gentle, soft-spoken, serious, introspective: he was all these things. He died in 1997.

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3/3/10

What other pop star has made such stunning contributions as a guest artist?

Sinead O’Connor

With Willie Nelson, “Don’t Give Up”

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With the Chieftains, “The Foggy Dew”

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With Shane MacGowan, “Haunted”

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5/28/2010

two takes

“La-La Means I Love You”

The Delfonics, live, 2008 (originally recorded 1968)

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Bill Frisell, live, New York (Rochester), 2007

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lagniappe

musical thoughts

Music . . . carr[ies] us smoothly across the tumult of experience, like water over rocks.

Vijay Iyer, liner notes, Historicity (2009)

Monday, 6/28/10

Muscular, unadorned, direct: his playing conjures the old Chicago, when there was no Millennium Park, no flowers blooming in the middle of the street, no dining al fresco (unless you had nowhere else to eat).

Fred Anderson, tenor saxophonist, co-founder of the Association for the Advancement of Creative Musicians (AACM), club owner (Velvet Lounge), March 22, 1929-June 24, 2010

Live, with DKV (Ken Vandermark, tenor saxophone; Kent Kessler, bass; Hamid Drake, drums), Chicago (Hideout), 2008

(Hamid Drake is among my favorite drummers; he’s the perfect foil, in his buoyancy and drive, for Anderson’s dark, searching, sometimes brooding lines.)

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“Spirits Came In,” live (with Kidd Jordan, tenor saxophone; William Parker, bass; Hamid Drake, drums), live, New York (Vision Festival), 2002

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Live (with Jaribu Shahid, bass; Hamid Drake, drums), France (Le Mans), 2005

Part 1

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Part 2

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Part 3

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Part 4

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Part 5

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Part 6

Friday, 6/25/10

The other day, as I waited for a train at an underground station in downtown Chicago, an older black guy started singing this song, accompanying himself on acoustic guitar, and at that moment everything—this song, this singer, this place—seemed all of a piece and I was no longer waiting.

Curtis Mayfield (with David Sanborn, alto saxophone; Hiram Bullock, guitar; David Lindley, steel guitar; George Duke, piano; Phillipe Saisse, keyboard; Tom Barney, bass; Omar Hakim, drums), “It’s All Right,” live (TV broadcast [Sunday Night]), 1989

Want more? Here. Here.

Thursday, 6/24/10

Greatest prison band of all time?

No contest.

Who could beat the one that Art Pepper and this guy—both followed Charlie Parker down the path of heroin addiction—led in the 1960s at San Quentin?

Frank Morgan (alto saxophone, with Claude Black, piano; Clifford Murphy, bass; Sean Dobbins, drums), “Well You Needn’t,” live, Ohio (Toledo), 2006

lagniappe

The greatest big band I ever played with was in San Quentin. Art Pepper and I were proud of that band. We had Jimmy Bunn and Frank Butler [whom Jo Jones called “the greatest drummer in the world”], and some other musicians who were known and some who weren’t, but they could play. We played every Saturday night for what they called a Warden’s Tour, which showed paying visitors only the cleanest cell blocks and exercise yards. But people would take that tour just to hear the band.

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Art and I played more when we were in San Quentin together than when we were on the outside.

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Art led the way for me to recover. He got out of prison before me and started traveling all over the world before I did. He showed me by example that it could be done, and I’ll always love him for that.

—Frank Morgan

Monday, 6/21/10

My favorite alto sax player?

There are days when I’d say this is the guy.

Art Pepper, September 1, 1925-June 15, 1982

“Red Car” (excerpt), live (Art Pepper: Notes From A Jazz Survivor [1982])

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“Mambo Koyama,” live, Italy, 1981

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“What’s New?” (1956)

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“Over the Rainbow” (1982)

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lagniappe

The epigraph to Straight Life: The Story of Art Pepper by Art and Laurie Pepper (1979):

What is the use of talking and there is no end of talking,
There is no end of things in the heart.

—Ezra Pound [“Exile’s Letter,” from the Chinese poet Li Po; as punctuated in SL]