music clip of the day

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Category: trombone

Wednesday, 5/18/11

 passings
(an occasional series)

Lloyd Knibb, drummer (Skatalites, et al.)
March 8, 1931-May 12, 2011

Lloyd Knibb’s importance to Jamaican music can’t be overstated. The inventor of the ska beat at Coxson Dodd’s Studio One, Knibb created a sound that spread like wildfire the world over.

—Carter Van Pelt, host, Eastern Standard Time, WKCR-FM

Skatalites, “Freedom Sound,” live, Belgium (Lokerse Festival), 1997

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Skatalites, “Latin Go Ska,” live, Los Angeles, 2007

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Skatalites, live, Los Angeles, 2007

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Skatalites, “(Straighten Up And) Fly Right”

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lagniappe

reading table

Spring

It would be
good to shrug
out of winter
as cicadas do:
look: a crisp
freestanding you
and you walking
off, soft as
new.

—Kay Ryan

Monday, 5/9/11

scenes from New Orleans
(an occasional series)

Free Spirit Brass Band, live, New Orleans (Bourbon Street), 3/20/11

Vodpod videos no longer available.

Thursday, 4/7/11

Happy (96th) Birthday, Billie!

Tune in to WKCR-FM (broadcasting from Columbia University) and you’ll swear you must’ve died and gone to heaven—it’s all Billie, all day.

Billie Holiday, “The Blues Are Brewin'” (with Louis Armstrong, trumpet), New Orleans (1947)

Vodpod videos no longer available.

More? Here. And here. And here.

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lagniappe

art beat

Joan Mitchell, Chamonix (c. 1962), Museum of Fine Arts, Boston


Wednesday, 4/6/11

I’m surprised that I got this old and know so little.

—Terry Riley

Terry Riley, talking and playing, California, 2010

Vodpod videos no longer available.

*****

In C (excerpt), Terry Riley, 1964

Take 1

Terry Riley, Center of Creative and Performing Arts (SUNY-Buffalo), 1968

Vodpod videos no longer available.

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Take 2

Ars Nova, Percurama Percussion Ensemble, Paul Hillier (cond.), 2007

Vodpod videos no longer available.

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lagniappe

art beat: yesterday at Boston’s Museum of Fine Arts

Hiroshige, The City Flourishing, Tanabata Festival (1857)


Monday, 4/4/11

Feeling glum?

Not for long.

Albert Ammons, Lena Horne, Pete Johnson, Teddy Wilson
Boogie-Woogie Dream
(1944)

Part 1

Vodpod videos no longer available.

*****

Part 2

Vodpod videos no longer available.

Thursday, 3/31/11

basement jukebox*
(an occasional series)

Fontella Bass, “Rescue Me” (1965)

Vodpod videos no longer available.

*****

Tyrone Davis, “Can I Change My Mind” (1969)

Vodpod videos no longer available.

*****

Otis Clay, “The Only Way Is Up” (1980)

Vodpod videos no longer available.

*When I was a little boy, a big bright shiny jukebox lit up our basement. Daily it granted our wishes, communicated with just the touch of a finger, for “Wake Up, Little Susie” (Everly Brothers) and “The Battle of New Orleans” (Johnny Horton) and “(The Man Who Shot) Liberty Valance” (Gene Pitney). It taught me something I’ve never forgotten—music is magic.

Monday, 3/14/11

Albert King

Fontella Bass

Art Ensemble of Chicago

Fela Anikulapo Kuti

Few musicians travel so widely—or so well.

Lester Bowie, trumpet, October 11, 1941-November 8, 1999

Lester Bowie’s Brass Fantasy (Steve Turre, trombone; Phillip Wilson, drums)
Live, Germany (Berlin), 1986

#1

Vodpod videos no longer available.

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#2 (Whitney Houston’s “Saving All My Love For You”)

Vodpod videos no longer available.

Lester and drummer Phillip Wilson were kindred spirits. Like Lester, the drummer came out of St. Louis. And like Lester, he roamed freely. Adventurous jazz (Art Ensemble of Chicago), funky soul (Stax Records sessions), hard-rocking blues (Paul Butterfield Blues Band): to each he brought the same hands, the same feet, the same ears.

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lagniappe

Bill Cosby on Lester Bowie

Vodpod videos no longer available.

Saturday, 3/12/11

Have you heard of Brandt Brauer Frick?

Rachael Z., the 20-something stylist who cuts my hair

The Brandt Brauer Frick Ensemble, live (rehearsal), Germany (Berlin), 2010

Vodpod videos no longer available.

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lagniappe

reading table

Teenager

Me — a teenager?
If she suddenly stood, here, now, before me,
would I need to treat her as near and dear,
although she’s strange to me, and distant?

Shed a tear, kiss her brow
for the simple reason
that we share a birthdate?

So many dissimilarities between us
that only the bones are likely still the same,
the cranial vault, the eye sockets.

Since her eyes seem a little larger,
her eyelashes are longer, she’s taller
and the whole body is closely sheathed
in smooth, unblemished skin.

Relatives and friends still link us, it is true,
but in her world almost all are living,
while in mine almost no one survives
from that shared circle.

We differ so profoundly,
talk and think about completely different things.
She knows next to nothing —
but with a doggedness deserving better causes.
I know much more —
but nothing for sure.

She shows me poems,
written in a clear and careful script
that I haven’t used for years.

I read the poems, read them.
Well, maybe that one
if it were shorter
and fixed in a couple of places.
The rest do not bode well.

The conversation stumbles.
On her pathetic watch
time is still cheap and unsteady.
On mine it’s far more precious and precise.

Nothing in parting, a fixed smile
and no emotion.

Only when she vanishes,
leaving her scarf in her haste.

A scarf of genuine wool,
in colored stripes
crocheted for her
by our mother.

I’ve still got it.

—Wislawa Szymborska (trans. Clare CavanaghStanisław Barańczak; Here [2010])

*****

five desert-island poets

Wislawa Szymborska

William Bronk

John Berryman

Emily Dickinson

Kobayashi Issa

Thursday, 3/10/11

Happy (108th) Birthday, Bix!

God the poet, the master of metaphor, wanting to comment on what a big, open, unruly country this is, put the birthdays of Ornette Coleman, born in 1930 in Fort Worth, Texas, and Bix Beiderbecke, born in 1903 in Davenport, Iowa, back to back.

Bix Beiderbecke, cornet, with Frankie Trumbauer and His Orchestra
“I’m Coming, Virginia,” “Way Down Yonder In New Orleans,” 1927

Vodpod videos no longer available.

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lagniappe

Speaking of Bix’s playing, Louis Armstrong said:

Those pretty notes went right through me.

*****

. . . “I’m Coming, Virginia” became the most beautiful thing in my life . . . The coherence of its long Bix solo still provides me with a measure of what popular art should be like: a generosity of effects on a simple frame. The melodic line is particularly ravishing at its points of transition: there are moments when even a silent pause is a perfect note, and always there is a piercing sadness to it, as if the natural tone of the cornet, the instrument of reveille, were the first sob before weeping.

—Clive James, London Times, 5/16/07

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radio

Yesterday, at WKCR-FM (broadcasting from Columbia University), it was all Ornette all day; today it’s Bix. (Listening to so much Ornette seems to have rearranged my brain cells—permanently, I hope.)

(Some of this was previously posted on Bix’s last birthday.)

Tuesday, 3/8/11

Today, in celebration of Fat Tuesday, let’s go to New Orleans.

Rebirth Brass Band, Treme Sidewalk Steppers Parade
Live, New Orleans, 2/6/11

Vodpod videos no longer available.

More? Here. And here. And here.

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TBC Brass Band, Krewe de Vieux Parade
Live, New Orleans, 2/19/11

Vodpod videos no longer available.

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A great brass band and a great mix have something in common. You can tell a great mix—as we used to say at Alligator Records—even from the next room. And you can tell a great brass band even from the next block.