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Category: trumpet

Friday, 8/27/10

Happy Birthday, Pres!

Lester Young, August 27, 1909-March 15, 1959
(nicknamed “Pres” [or “Prez”] by Billie Holiday, who called him the “president of tenor saxophonists”)

Who else is at once so earthy and so ethereal?

Jammin’ the Blues (1944)

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lagniappe

On Lester Young

B.B. King:

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Lee Kontiz:

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Joe Lovano:

*****

Want more?

One of my favorite radio stations, WKCR-FM  (based at Columbia University and available on-line), is celebrating Pres’s birthday in the best possible way—playing his music all day. (Actually, they’re playing his music for 36 hours straight, until the middle of the day tomorrow, when they’ll begin playing the music of Charlie Parker, whose birthday is Sunday, for the next 36 hours.)

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

Monday, 8/23/10

Who would’ve thought this would be so good?

Tom Jones & Janis Joplin, “Raise Your Hand,” live (TV broadcast), 1969

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

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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.)

Thursday, 8/12/10

my new mantra

Say ‘bye bye, bogeyman.’

—Whispering Jack Smith

Whispering Jack Smith, “Happy Days” (Happy Days [shot in 1929, released in 1930])

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lagniappe

more music to chase away the bogeyman

Sidney Bechet (clarinet, with Henry “Red” Allen, trumpet; J.C. Higginbotham, trombone; James Tolliver, piano; Wellman Braud, bass; J.C. Heard, drums), “Egyptian Fantasy” (1941)

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

*****

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, 7/14/10

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

•••••

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

*****

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)

*****

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.

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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

*****

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

*****

“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

*****

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”

*****

With the Chieftains, “The Foggy Dew”

*****

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)

*****

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)