Wednesday, 5/23/12
sounds of Cuba
Live, Santiago de Cuba, 6/21/10
sounds of Cuba
Live, Santiago de Cuba, 6/21/10
sounds of Haiti
Rara music, live, Leogane
James Brown, live, Boston, 4/5/68
“Cold Sweat”
Part 1
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Part 2
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“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.
It’s easy to play a lot of notes; what’s hard is to play a few.
Jon Hassell (trumpet), “Last Night The Moon Came,” live, Switzerland (Lausanne), 2009
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lagniappe
reading table
Barn’s burnt down—
now
I can see the moon.—Mitzuta Masahide, 1657-1723 (translated from Japanese by Lucien Stryk and Takashi Ikemoto)
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.”
passings
Levon Helm, drummer, singer, songwriter, actor, etc.
May 26, 1940-April 19, 2012
Live, 2/12, Woodstock, NY (Levon’s home)
“Ophelia”
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“The Weight”
*****
“When I Go Away,” recording (Electric Dirt, 2009)
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lagniappe
Levon Helm will always hold a special place in my heart. He was as great of an actor as a musician. For me watching him play the role of my daddy in Coal Miner’s Daughter is a memory I will always treasure.
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When I heard The Band’s Music from Big Pink, their music changed my life. And Levon was a big part of that band. Nigel Olson, my drummer, will tell you that every drummer that heard him was influenced by him. He was the greatest drummer and a wonderful singer and just a part of my life that was magical. They once flew down to see me in Philadelphia and I couldn’t believe it. They were one of the greatest bands of all time. They really changed the face of music when their records came out. I had no idea he was sick so I’m very dismayed and shocked that he died so quickly. But now my son [Zachary Jackson Levon Furnish-John] has his name.
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He was my bosom buddy friend to the end, one of the last true great spirits of my or any other generation. This is just so sad to talk about. I still can remember the first day I met him and the last day I saw him. We go back pretty far and had been through some trials together. I’m going to miss him, as I’m sure a whole lot of others will too.
Peter Brötzmann, reed player, composer, bandleader
German Blues, performances 1999-2002, interview 2000
You can have the blues even if you’re German . . .
—Peter Brötzmann
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lagniappe
found words: AOL Headlines
Autistic Cheerleader Inspires Her Squad
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Kayaker Drowns After Swan Attack
Welcome to the maelstrom.
Miles Davis Group,* live, Berlin, 1973
Part 1: Turnaroundphrase
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Part 2: Turnaroundphrase, cont.; Tune in 5
*MD, trumpet; David Liebman, saxophone; Pete Cosey, guitar, percussion; Reggie Lucas, guitar; Michael Henderson, bass; Al Foster, drums; Mtume, percussion.
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lagniappe
reading table
Last night as I was sleeping,
I dreamt—marvelous error!—
that a spring was breaking
out in my heart.
I said: Along which secret aqueduct,
Oh water, are you coming to me,
water of a new life
that I have never drunk?Last night as I was sleeping,
I dreamt—marvelous error!—
that I had a beehive
here inside my heart.
And the golden bees
were making white combs
and sweet honey
from my old failures.Last night as I was sleeping,
I dreamt—marvelous error!—
that a fiery sun was giving
light inside my heart.
It was fiery because I felt
warmth as from a hearth,
and sun because it gave light
and brought tears to my eyes.Last night as I slept,
I dreamt—marvelous error!—
that it was God I had
here inside my heart.—Antonio Mochado (1875-1939), “Last Night As I Was Sleeping” (translated from Spanish by Robert Bly)
When we last saw Miles, playing in Germany in 1967, he was wearing a suit and tie. Here, two years later, his wardrobe is headed in a new direction. So is his music.
Miles Davis Quintet,* live, France (Antibes), 1969
“Milestones,” “Footprints,” “’Round Midnight”
*MD, trumpet; Wayne Shorter, tenor and soprano saxophones; Chick Corea, electric piano; Dave Holland, bass; Jack DeJohnette, drums.
Music doesn’t care who you are, where you come from, what you know. It asks only that you pay attention.
Stefan Wolpe (1902-1972), Piece in Three Parts for Piano and Sixteen Instruments (1961), Peter Serkin (piano), Chamber Music Society of Lincoln Center (Oliver Knussen, cond.)
More? Here.