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Sunday, December 7, 2014

Hans Keller and Schoenberg via You Tube

Many years ago (circa 1959) a couple of friends and I attended a string quartet recital by the University of Michigan, School of Music's Stanley String Quartet. At that time we didn't know what was in store for us musically. I'm sure that one of us knew something about the string quatet genre, poppa Haydn and his boys, Mozart and Beethoven.
     What was most appearent to my boys and me when we sat down in our seats in the small auditorium in the Rackham Building in Detroit was this: there were ashtrays affixed to the backs of the seats. Given this most appealling bit of interior design, we all lit up and smolked our cigarettes throughout the Stanley's recital. Whenever I think about this episode, and the look on the first violinist's face, I shutter. At the time my chamber music vinyl recordings consisted of Miles Davis, Charlie Parker, Norman Granz's Jam Session and JATP, The Budapest Quartet's Beethoven, No. 15 in A minor, op. 132, The Juillard Quartet's Bartók Nos. 1 & 2, and Schoenberg's Nos. 1 & 2. These wonderful recordings have been reissued as parts of CD box sets.
     I spent yesterday afternoon with the musician Hans Keller (1919 - 1985), with, that is, his fabulous BBC broadcasts -- The Keller Instinct, Parts 1 - 4, Chamber Music, Mozart, Parts 1 & 2, Keller on Fortwängler, 'Performing Greatness', Parts 1 & 2, and 'Portrait of Schoenberg, BBC (Radio, 1967).
     I came to Hans Keller, to his writing, through my interest in chamber music, through my interest in the quartets and trios of Haydn, the quartets and quintets of Mozart, the trios, quartets, and quartets of Beethoven, and the quartets of Arnold Schoenberg. I purchased and read Keller's great work, The Great Haydn Quartets, 1986. In the composer Benjamin Britten's words,
Hans Keller knows more about the string quartets, and understands them better, than anybody else, . . . composers and players included.
Tune into Hans Keller and You Tube: https://www.youtube.com/results?search_query=hans+keller

Friday, October 24, 2014

EDGEFEST [18] 2014 - Very Sound!

The 2014 EDGEFEST in Ann Arbor, Michigan at, and because of, the Kerrytown Concert House -- Deanna Relyea, Director and Dave Lynch, EdgeFest Founder and Director (1997 - 2006) -- was a tremendous artistic success. To my ears it was the best EdgeFestival in recent years. Most, perhaps all!, of my oldest and dearest friends were there -- Bill, Bill, Carole and Jim. This year's EdgeFest had as its theme (or 'hook' in the lingo of PR) the contrabass. There were virtuosi all over the Kerrytown space: I heard Diana Gannett, Mark Dresser, Mark Helias, Brad Jones, Harrison Bankhead, and the ubiquitous William Parker. The percussionists Tom Rainey, George Schuller, and the ubiquitous Hamid Drake were essential to the music, providing melodious rhythmic magic. I hadn't heard of the splendid percussionist Aveeayl Ra who provided everything rhythmic for Harrison Bankhead's quartet.
  There were numerous sonic surprises for me. The virtuosic saxophonists Roy Nathanson (as & ss) and Mars Williams (ts & ss). I had not heard of either of these fine musicians before. I regret having missed Ingebrigt Håker Flaten (bass) group with Mars Williams and the always inventive percussionist  Tim Daisy.
  Harrison Bankhead's quartet with Mars Williams and Ed Wilkerson, reeds and Avreeayl Ra drums gave a musically thrilling performance on Friday (10/17/14). William Parker's "In Order to Survive" played two sets of inspired music on Saturday (10/18/14). His regular group consisting of Hamid Drake (d), Dave Burrell (p), Rob Brown (as), and Lewis Barnes (t) was augmented by Steve Swell (tb) and Kidd Jordan (ts).
  The 2014 EdgeFest provided its audience with some of the world's finest creative, improvising musicians and This Music (the late Bill Dixon's term) of the highest order.      

Thursday, September 11, 2014

Bright Moments: Guelph Festival 2014 & EdgeFest 2014

Distressing military action at home and abroad has kept me from my blogging activities - I've been obsessed with reading The Guardian, Truth Dig, and Juan Cole's blog, Informed Consent. My other recent reading obsessions have been Thucydides and David Hume - jolly stuff.

Guelph Music Festival
My friend, Jim Murphy, and I have attended five or six Guelph (Ontario, Canada) creative music festivals. Past highlights have included Anthony Braxton, William Parker's Curtis Mayfield Project, Marilyn Crispell, Charlie Haden's Liberation Orchestra with Carla Bley, Henry Threadgill, Peter Brötzmann, Kidd Jordan with Joel Futterman. Guelph, Ontario, Canada is a charming college town with good food and delightful pubs featuring fine Canadian ales.
    As I write, I'm listening an exciting CD entitled Beyond Quantum that features Anthony Braxton, reeds; William Parker, contrabass; and Milford Graves, percussion.
    Highlights of this year's Guelph Festival were the trios of pianist Randy Weston and Milford Graves with D. D. Jackson, piano and Kidd Jordan, tenor saxophone and The Sun Ra Arkestra led by alto saxophonist Marshall Allen. I must note straight away that the dance company that performed (can't say "danced") with the Arkestra was not a good idea. The Arkestra was very hot and hit every thing it played, from Duke Ellington's Black and Tan Fantasy through Sun Ra's tunes, Body and Soul and Cocktails for Two. The dance company was an unmusical distraction.
    The Milford Graves, D. D. Jackson, Kidd Jordan performance was high energy, free improvisation of the highest order. I was pleased to see and hear D. D. Jackson in this context.
    P.S. DAMN! How could I have failed to include pianist Vijay Iyer and his trio? They gave a wonderful performance.

EdgeFest 2014 - Ann Arbor, Mi.
The EdgeFest begins October 15 and runs for four days, ending Saturday with William Parker's all star band: Dave Burrell, Kidd Jordan, Rob Brown among others. This years festival features the contrabass. I'm certainly looking forward to being in Ann Arbor and not in Columbus, Ohio.
    Below are links to a YouTube documentary about Milford Graves and David Murray.

David Murray & Raymond White


https://www.youtube.com/watch?v=9tNqs8hs9p4
https://www.youtube.com/watch?v=xU3La5e9r6U
https://www.youtube.com/watch?v=Hu4GmHNw4is

Sunday, August 3, 2014

Letter to Christopher Hitchens

January 11, 2010

Dear Sir:

Because you reckon yourself to be the expert on
religion, world affairs & c., one can understand why
you would believe the stage of letters is not big
enough for you and Gore Vidal. Just as you didn't
give Richard Robinson enough credit in 'your' book
on religion; you don't give Mr. Vidal enough credit
for being nearly on the mark where you are so far
off the mark in your views on world affairs---
especially United States foreign policy.

It appears to this reader that your Vanity Fair article
establishes that Mr. Vidal and his views have
become strange (outrageous). But "strange" in what
sense? I direct your attention to Gregory Vlastos'
Socrates, page 1 where, regarding Socrates'
"strangeness", Vlastos cites Alcibiates' speech
about Socrates in the Symposium:
"Such is his strangeness that you will search and
search among those living now and among men of
the past, and never come close to what he is
himself and to the things he says." (221D)
Mr. Hitchens, you have not come close to revealing
to your readers Mr. Vidal's 'strangeness'. When you
attempt to see Mr. Vidal and understand his
strangeness and his irony, you see someone else.

Who could it be?

To invoke (and give credit to) Karl Kraus: Mr.
Hitchens, like psychoanalysis, "you are the disease
that reckons itself to be a cure". And like the
psychoanalyst and the preacher you are overpaid
for what you profess to do. What disease? The
Pop-Journalist's disease. The Fox 'News', CNN
diseases:

"I'm Christopher Hitchens, I'm (used to be) a
serious journalist. Gore Vidal used to be a lot of
fun, and almost serious. I'm Christopher Hitchens, I
write for Vanity Fair.... Gore Vidal gives interviews
to everyone but me.... I'll fix that. I'll blast the
interviewer and interviewee. I'll sell some
magazines!"

"Success is counted sweetest by those....."
I'm sure you know what I'm talking about. Like you, I
used to be a fan of yours.

Happy Days,

Raymond White

Monday, June 16, 2014

Spike Lee Dogs Woody Allen - Rediscovering Pauline Kael

Spike Lee's 2002 film, 25th Hour was shown on one of my cable channels a few days ago. I'm not a fan of most recent films that I've seen. Having spent so many hours viewing innovative European, Asian, and other non-American films at the Detroit Institute of Arts — its Detroit Film Theatre, part of the the fabulous '60s experience; — over the past twenty years I haven't been inclined to view films in commercial film theaters — especially not in Columbus, Ohio. The bits of Mr. Lee's other films that I have seen haven't impressed me. But let me say straight away that I don't care for movies that much anyway — like opera there are too many people involved. There are occasional surprises however. In my February 24, 2014 post I wrote:
 Watching Play It To The Bone it was hard for me to imagine that this film was made in America. It also joins the ranks of my British favorite films - Snatch, Lock Stock and Two Smoking Barrels and Layer Cake. It also joins the very dark French comedy(?) Crime d‘ Amour (Love Crime) by the late Alain Corneau on my faves list.
    To this short list, I add Spike Lee's 25th Hour. First of all one has to give Mr. Lee credit for being able to get his films produced and presented at all. What follows is not a review of 25th Hour. What I'm up to in what follows is a comparison of certain aspects of Mr. Lee's 25th Hour with Mr. Woody Allen's Manhattan.

    Both films are homages to NYC: Allen's is pre-9/11, Lee's is post-9/11. Both films feature scenes shot at the East River. Both East River scenes include two people and a dog. (See below) Both are love stories centered on mistrust — mistrust of love with its attendant betrayal. Manhattan is an upper east-side fantasy with a private high school love interest of Allen's character (Isaac), restaurants: Elaine’s and Russian Tea Room. 
    The 25th Hour has an adult (teacher) and a 17 year old private high school love interest—Jacob (Philip Seymour Hoffman) and his student (Anna Paquin), a club/disco scene and Brighton Beach Russian/Ukrainian gangsters. Both films treat socio-economic privilege: in Woody Allen's Upper East-Side fantasy the street to the private high school experience is paved with parental/trust fund gold; Spike Lee's way to a private high school education is through a basketball scholarship granted to his main character, Monty, an economically disadvantaged young man, the son of a NYC fireman. There is this difference between Allen's and Lee's portrayals of sexual (and other) relationships between young women (17 year old's) and middle-aged men: in Allen's picture 'money will permit and buy one love; in Lee's picture Jacob's 17 year old student's interest in her teacher is founded on the student's desire to 'persuade' the teacher to change her grade. The teacher refuses to change the student's grade in spite fantastic desire. Allen's character, Isaac, doesn't display any moral misgivings about his relationship (sexual or otherwise) with his 17 year old mistress. 
    Allen's Isaac wants to make the grade - "How was I?" in bed sort of thing, while Lee's Mary just wants her grade changed. When asked by her teacher (Hoffman) to offer her interpretation of Andrew Marvell's poem, "To His Coy Mistress", Mary (Paquin) replies (something to the effect), "The guy was horny, and he wanted her to give it up". In Lee's world, the teacher was horny in deed, but the student wanted her teacher "to give it up", wanted a better grade.   
Manhattan (1979)
 Dog, Mary (Diane Keaton) & Isaac (Woody Allen)

25th Hour (2002)  
Monty (Edward Norton), Dog (Monty’s only friend) & Customer
In the USA love was not racially blind. Black artists who gained presence in the national media, such as Ellington, Louis Armstrong, Paul Robeson, Ethel Waters . . . , Lena Horne, and Nat King Cole, faced particular racist restrictions, most obviously in the movies, where they were never allowed to appear in romantic situations. David Schiff, The Ellington Century, p. 159



Terence Blanchard composed and conducted the music soundtrack for Spike Lee’s 25th Hour. The music is dirge-like, a lamentation for New York City and for the characters of the film — small change in The City's financial, cultural, and unethical transactions.

When I began this Woody Allen and Spike Lee Manhattan v. 25th Hour comparison I was prompted by my uneasiness with Woody Allen's New York stories, with his Anne Hall, Manhattan, Deconstructing Harry. My wife and I use to eagerly await Woody Allen's new films. And we enjoyed the afore mentioned NY stories. Upon leaving Detroit twenty years ago, and relocating to Columbus, Ohio my wife and I have been out of the movie-viewing business. There were two major reasons for our movie withdrawal: there's nothing in Columbus like the Detroit Institute of Arts' Detroit Film Theatre (DFT). When we lived in Detroit, we experienced so many great films at the DFT that we became spoiled by the (1) DFT's big screen and (2) it's director Elliot Wilhelm's adventurous programming. During our 20 year Columbus, Ohio movie drought, we've seen at most 10 films at our two 'art house theaters', Drexel and Wexner Center (Victoria's Secret).

Woody Allen's films were eagerly awaited by my wife and me. However, a friend of mine who's aesthetic judgement I trust without reservation, dismissed Woody Allen's films tout court. Liking a film or films of a Woody Allen or a Spike Lee is one thing. Criticizing films on aesthetic grounds is another thing. I enjoyed, liked, Woody Allen's films. Indeed, Allen's London, Paris and Rome films are quite awful. But I liked his NY films. But there's a trick here - I just like NY films; I love NY too!

When compared with other New York City directors - e. g., Cassavetes, Coppola, Lumet, Scorsese and Lee - there's something of interest missing from Woody Allen's films. There aren't any brown, black or beige characters in Allen's New York City films.

What about the character Cookie in Deconstructing Harry? Cookie's portrayed by a black actress, the character's black? There's also an Asian hooker in another of Allen's films. He also features big band jazz in his films' soundtracks. He plays jazz music on Monday nights.

What about that?

I know, I know! He also wears corduroys and tweed odd jackets.

I just find Woody Allen's films, his jokes, his actors, the love and death stuff past the moment, dishonest, and trite. Woody Allen operates like a real estate developer, a mall magnate - doesn't matter if the project/film is ugly and/or overbuilt/oversold or a straight-up bust, the developer/auteur gets paid first. Woody Allen could name his Rolls Royce 'First Draw'.

Not to be completed ....


Thursday, May 1, 2014

Thom Pride - In Memoriam

My dear friend J. Thom Pride passed away today in William Beaumont Hospital, in Royal Oak, Michigan. Thom's first wife, Sharron; her sister, Denise; and his friend Ken Hansen were at his side when he died at 1:53PM. Thom had been my friend since the mid-1950s. Martinis and music won't be the same. Below is something that I wrote about Thom in October, 2012.

J. Thomas Pride
Something Very Hip Happened
In Highland Park
R. W. White
12 October 2012

This evening at 11:15 PM, October 12, 2012 I am thinking about Thom Pride.
Thom has leukemia. He was diagnosed with this awful, painful disease within the
last month. Because of his age–nearly 73 years old—there is little that the doctors
can do for him, except pain medication for his terrible pain that he experiences
around the clock. He cannot eat regular foods because of the intense pain that
eating brings with it. As a pre-teen, I witnessed my maternal grandparents suffer
from the intense pain that came with their cancers. Thinking about Thom’s present
painful life this evening, and feeling both his presence and the presences of Hobert
and Mamie Thomas; and considering Thom’s present pain and the past pains of my
grandparents, has disturbed me and upset my calm life—I can’t find the right music
this evening. So, I’m writing down these inadequate thoughts against the music—
it’s Bach’s Goldberg Variations playing now, previously it was Bobby Hackett with
Jackie Gleason’s Orchestra, before that it was Chopin, before Chopin it was Liszt.
Usually I cannot read while listening to music; but most often I can write while
listening to music. This evening I need music and I need to write about Thom Pride
and me. Gustav Leonhardt’s harpsichord and his Goldberg Variations sound awful
to these ears this evening. I’m afraid to try Lady Day; Billie Holiday would destroy
me I fear. Ah, let’s try James Moody—someone who Thom and I grew up with
(musically) in Highland Park—has to be hip doesn’t it?

This evening I’m thinking about my first vivid impression of Thom Pride—
T. Pride to some. The image that I keep coming back to concerns an afternoon,
lunchtime DJ program that Thom hosted in the auditorium of Highland Park High
School. (I’ve got Mr Moody’s “Flute N The Blues” with “Little” Johnny Coles nice
trumpet solo followed by “Birdland Story” with that fabulous vocal by Eddie Jefferson
helping me now.) This impression is from 1958. Thom was spinning Yusef Lateef’s
recent LP Jazz for Thinkers. During these halcyon days, days without mobile
phones, text messaging, email and associated bothers; we liked to think of ourselves
in soulful, knowing terms; we convened for weekly symposia on Fridays and Saturdays;
often these drinks parties filled with music, discussions, and lame hits on those
present—the objects of our desires—were held at my house at 124 Massachusetts.

Our Sunday evenings were often spent at Pieter Wiest’s Colorado address. These
Sunday symposia were held without drinks and without music. At Pieter’s house
on Sunday evenings we tried to get our stories of the previous Friday and Saturday
straight, going on about our lame or non-existent hits and surfeit misses with the
Misses. These were quiet beautiful times. Whether Thom was involved in all of these
weekend sets or get-togethers, I do not remember; but I feel today that his presence
was everywhere in Highland Park—he was indeed a “big man” on the HPHS campus.
After having been released from Highland Park High School (HPHS), Thom and
I ran the streets together—Twelfth Street, Hamilton Avenue, Boston and Chicago
Blvd.s; in the Chit-Chat Lounge talking to a couple of prostitutes just back from a
Baptist convention in Windsor, Ontario, Canada; staying out of sight in the Rage Bar
on Davidson when the nightly brawl was underway; trying to get next to sadity girls
on Boston and Chicago Blvd.s; attending “get-togethers” or “sets” in the company
of Percy Lyle, Floyd Bright, Frank Paritee, Ralph Cooper et al., in our three or four
button, three piece suits, button-down shirts, print ties looking like the Modern Jazz
Quartet or straight out of GQ. There were basement parties with very hip music—
rhythm and blues and Blue Note jazz (Brubeck’s Jazz Goes to College, especially
“Balcony Rock” recorded at Hill Auditorium in Ann Arbor thrilled us too).

Then there were other nights when Thom heard that something was going on at
a cousin’s crib. So we’d fall by cousin X’s. Even in our formative, post-HPHS days,
Thom knew everyone—I’ve rarely been anyplace with Thom when we didn’t run into
someone who Thom knew. There were occasions when Thom and I actually did get
next to a couple of young women. On one of these occasions Thom was paired with
Miss Y and I was paired with Miss Z, or so I believed. Thom had another idea. He
called me to inquire about a trade , his Miss X for my Miss Z. He claimed that he
had done a survey and his proposed substitution of X for Z would be best. So long
as I was next to either X or Z it didn’t matter to me. And in fact the subsequent
arrangement was quite satisfactory for me.

When we were in high school, “Frantic” Ernie Durham was our disc-jockey. Our
DJ used to call on a woman who lived in the Willard Elementary School neighbor-
hood. Ernie-D’s creep occurred at a precise time each weekday night—around 11:30
PM, I think. Our gang would sit on the overpass at Davidson and Hamilton and
wait for Ernie-D’s Cadillac convertible (I recall that D’s ride was white, similar
to “Doc” Greene’s). When “Frantic” Ernie drove by we’d shout “Frantic, Frantic,
Frantic . . . ”. Highland Park “creeps” seldom went unnoticed.

Thom Pride conferred massive displays of kindness and generosity toward me
throughout much of my life. When Maria and I were married in 1965, Thom and
Ralph Cooper gave a large reception and party for us at the Pontchartrain Hotel in
downtown Detroit. He got me a job at J. Walter Thompson. And he gave me a job
with his company, JTP and Associates when I didn’t have a job—I did produce an
ad in The New Yorker for Turnbull’s Mustard while at JTP.

I imagine that Thom’s regard for me and my fortunes were among the reasons that
my mother, Joyce Lorraine (White) Kilpatrick regarded Thom so highly. It was also
because of my mother’s high regard that Thom regarded me as his brother.
Thom showed my mother and my stepfather, James Kilpatrick, a lot of love in return.
Thom was a very good athlete, especially in tennis and golf. After I was married,
I took up tennis - I was never very good; I thought I was good because I could serve
and return serve; but before and after serve and return of serve, I couldn’t “ball”,
as they say today. Thom and I used to play on Sunday mornings at Palmer Park.
Thom would appear sometimes with a tennis-ball canister of martinis, having been
up into the early morning hours enjoying, among other things, martini-like items. I
didn’t have a chance at beating Thom at tennis.

I never played golf with Thom; I wouldn’t have dared.
. . .
As Amiri Baraka wrote of the pianist Walter Davis, Jr., I’m sure that:
Wherever [Thom] is, something very hip is happening!

Sunday, April 27, 2014

Silence of the Damned

Too many things to get back to - among which . . . .

I've been working on a blog-post the title of which is Spike Lee Runs Woody Allen Down - recall "Miles Runs the Voodoo Down"? In the mean time take a look at Allen's Manhattan and Lee's 25th Hour. In order to avoid finishing the Allen-Lee piece, among other things, I listened to Phil Schaap's broadcast on Don Redman (WKCR Internet Stream), watched some basketball (Allen and Lee's Knicks nowhere to be seen); right now as I'm writing this Apology for Not Writing/Posting, I'm listening to Johnny Hodges' Hodge Podge recording, a posting on Facebook of Duke Ellington's '29 recording of "Rent Party Blues" led me to Hodges' Podge (is that Duke on piano on "Finesse"?)....

David Schiff, author of these essential works The Music of Elliott Carter, Gershwin, and The Ellington Century runs this and that music down, doesn't leave any important creators or important creations out of his accounts of the music. The musics of Carter, Ellington, Schönberg and Gershwin are continous, are best regarded side by side. When I get to Woody Allen and Spike Lee in my forthcoming blog post, I hope that we'll understand these matters.

Don't really like movies, but . . . .

I enjoyed what I saw of Choose Me (soundtrack by Luther Vandross with Teddy Pendergrass and Archie Shepp. What?) Mike Figgis' Hotel is an astonishing film. I was informed by, and totally enjoyed Iceberg Slim, the documentary about the life of author Robert Beck.

I wonder what WKCR has in store for us today at 2PM EST? Dig into it and see/listen. Ah! Charlie Christian, guitarist - transition from swing to bebop. 

Sunday, March 23, 2014

"All The Things You Are" - Barry Harris

I have tended to believe (feel) that what matters doesn't matter; that the sanctity of heretofore private spaces and places have been violated; that a "space of reasons" (Wilfrid Sellars' notion) is a vanishing (vanished) point, an abstraction.

Then there's Barry Harris's music and basketball.

Monday, February 24, 2014

Private verses Public Works - On Being Marginalized

I have since the Christmas holidays spent most of my waking hours in my library. My television viewing has for the most part resided in looking in on ESPN's morning First Take program - I'd rather get my sports second hand, it's more entertaining, there are certainly individuals who can ball, but few teams who ball; and watching Martin Lawrence and Alfred Hitchcock reruns.
   Given the cable television situation with Comcast, Time-Warner, Netflix, Amazon and the rest, my mission is clear: get rid of cable and ball with my books and music. But a strange thing has happened. I've been overdosing on movies that my wife and I had collected on our cable box. Last Saturday my wife and I watched Jean-Charles Tacchella's Cousin Cousine (1975) and Claude Lelouch's A Man and A woman (1966) with the very beautiful Anouk Aimée and Jean-Louis Trintignant; after which I watched Patrice Leconte's Intimate Strangers (2004) with Sandrine Bonnaire, Fabrice Luchini, and Anne Brochet.
   This morning, on my way to watch my usual dose of back to back half hour Alfred Hitchcock segments, I discovered the Ron Shelton's truly wonderful (one-star) film Play It To The Bone (1999). The actors are Woody Harrelson, Antonio Banderas, Lolita Davidovich and Lucy Liu. This film cost $24 million to make and grossed about $3,000 the first week. The actor's are superb, the script is tight and very funny. One problem with the film was most likely its initial release. It premiered on Christmas day. Although Harrelson's character has visions of Jesus Christ - among other visions; it's not exactly everywoman's A Christmas Carol. Because it was released on Christmas day and because it's such an intelligent film, it's my personal choice to be featured with Woody Allen's Hannah and Her Sisters (pace my being down on Mr. Allen, isn't everyone?) as the Christmas Holiday doublebill. Watching Play It To The Bone it was hard for me to imagine that this film was made in America. It also joins the ranks of my British favorite films - Snatch, Lock Stock and Two Smoking Barrels and Layer Cake. It also joins the very dark French comedy(?) Crime d‘ Amour by the late Alain Corneau on my faves list.
   I'm sure I'll get over not having cable tv when we cut it loose. Television, radio, roads, electrical power, public transportation, symphony orchestras, museums, health care, cities were at one time reckoned to be for the public good - so were elections. Nations have been subsumed by corporations - Washington has been paid-off big time.
   "Power to the corporation!"   

Thursday, February 13, 2014

"We Almost Lost Detroit"

I watched the Gil Scott-Heron documentary that aired on TV-One yesterday. I knew his music, his poetry, and his story. Sitting in front of my 'idiot's lantern', taking in the spectacle of Gil Scott-Heron's stardom, his music, and his American life; I began to wonder about the powerlessness of an individual to shape a decent life even when one has talent, and thereby is, presumably, afforded something of a 'head-start' in life.
   I wonder what power music, poetry, art, or philosophy holds for the assumed consumers of these arts. Scott-Heron's music, poetry, and philosophy (his Art) has influenced a number of hip-hop artists. The power of hip-hop seems to be almost entirely economic for the few 'artists' who have made it. Sampling is everywhere: ours is a remote-control, MP3 culture. We flip real estate, cities, channels, tunes, nations, cultures - all sorts of stuff. Yet an artist - Gil Scott-heron was an artist - rarely has control over the byproducts of her art - not even Lady Day, Mingus, or Stockhausen.
  Sometimes it's best to stay underground and away from the Clive Davis's of the culture industry.
  The Last Poets and Kip Hanrahan, whether by choice or chance, manage to stay underground. I return to Kip Hanaran's music-collages quite often. I'm sure it's because of the heavy-weight musicians that Hanaran employs - If you want to know who they are, buy his CDs.
   "We Almost Lost Detroit" is a nuclear-power-danger protest song that Gil Scott-Heron wrote. It didn't take a nuclear power plant melt-down to loose Detroit, did it? We remain at a loss to formulate the proper questions. As a nation we are quite adept at providing answers - "crime", "terrorism", "sloth" - before asking the proper questions. "Power to the people!"
   Thanks to Walter Kim Heron.

Wednesday, February 12, 2014

Teddy Wilson, "Jumpin' For Joy" 10 CD set, and Do The Math

I've been working my way aurally through Teddy Wilson's magical 10CD set, entitled Jump For Joy. There are no personnel groupings provided with these discs. The trio and solo performances aren't troubling from a discographical point of view. The small groups are another matter. Admittedly the recordings that Teddy Wilson made with Billie Holiday are easy to put together in terms of personnel groupings, since we have documented recordings under Lady Day's name - these are the recordings that I blogged on about under the rubric Jam Session Aesthetic. In listening to Wilson's CD10, I re-discovered the Sarah Vaughan sides with Teddy Wilson - "Penthouse Serenade (When You're Alone)", "Don't Worry 'Bout Me", "Time After Time", and "September Song". When I write that I rediscovered the Vaughan-Wilson sides, I mean that I knew about them (in a previous life, perhaps); but I had never heard them - don't recall hearing them.
   Needless to say the early Divine One's performances are 'heavenly'. A couple of other surprises reside in the bopish arrangements of "I Want To Be Happy" and "Just One Of Those Things". I guess I'll have to examine the 65 page Teddy Wilson Discography to find out exactly who created the wonderful music captured in these 10 discs.
   I urge you again to look in on Ethan Iverson's blog Do The Math: http://dothemath.typepad.com/
 
P. S. I forgot to note that there are three amazing tracks featuring Teddy Wilson, piano; Harry James, trumpet; Red Norvo, marimba; and John Simmons, bass that knocked me out. "Ain't Misibehavin'", "Honeysuckle Rose", and "Just A Mood (Blue Mood) (Part 1 & 2)" reminded me of the Don Ellis (t) recording, New Ideas (OJC 431), with Jacki Byard (p); Al Francis (vib); Ron Carter (b); and Charlie Persip (d). I am now reminded of Arthur Blythe's recordings with marimba and percussion. I love the dark sounds in the marimba's wood.


Monday, February 10, 2014

Mr. Roy Eldridge, Messrs. Hank Mobley and Amiri Baraka

Among my favorite recordings by trumpet-man and master musician Roy Eldridge is his circa 1956 recording on Savoy with the British pianist Ronnie Ball. Mr. Ball was at one time a house pianist at Savoy - Mr. Hank Jones was the Savoy house pianist; the trio recordings with Jones and Messrs. Wendell Marshall, bass and Kenny Clarke, drums are a delight. Ronnie Ball was way back in the day a student of the pianist Lennie Tristano. Roy Eldridge was very highly regarded by Mr. Tristano. Hang on! It gets thicker. Ronnie Ball is the pianist on the wonderful 1956 Hank Mobley Savoy recordings. Also, on Mr. Mobley's recordings are some of Detroit's finest musicians: Mr. Donald Byrd; trumpet; Mr. Barry Harris, piano; and Mr. Doug Watkins, bass. What a tremendously strong bassist was Doug Watkins - no wonder Mr. Charles Mingus called on him. In addition to being a fine tenor saxophonist, Hank Mobley was a composer of many post-bop/hard-bop standards. His "Funk in Deep Freeze" is one of my favorite Mobley tunes - a very hip title.
   Roy Eldridge was from Pittsburg, Pa., as were Art Blakley, Erroll Garner, and Mr. B, Billy Eckstein. Hank Mobley was from Newark, N. J., as were Sarah Vaughan, Wayne Shorter, Woody Shaw, and Walter Davis, Jr.
   The poet and much else Amiri Baraka was of Newark. Mr. Baraka passed on, joining all of those mentioned above - except Barry Harris who is still with us. He died on January 9 of this year at the age of 79. I return often to Amiri Baraka's 1996 book Eulogies. As I noted in previous blog-posts, I had the great fortune to have been spellbound by the music and artistry of Miss Sarah Vaughan, Mr. Billy Eckstein, and Mr. Baraka, the music-poet.
   This evening as I write this, I'm listening to discs from the Hank Mobley10-CD set Kind of Mobley. The playing and the musicianship on these recordings is so strong. Art Farmer, Lee Morgan, Jackie McLean, Horace Silver, Donald Byrd, Art Blakey, Kenny Clarke, Doug Watkins, and Milt Jackson said what they had to say musically - no tricks and no footnotes required; just like Roy Eldridge and Amiri Baraka. Fetch Baraka's India Navigation recording with David Murray and Steve McCall - if you've hung with me up to this point, you know who these musicians are, what their respective horns were &c.
   Those who know and who desire to know suggest that immortality resides in the good that one has contributed and set out during one's lifetime. My bet is that those who I've mentioned herein are immortal because of the work that they've done, because of the music they've created, because of their compositions, poetry, and plays.
   Just listen to Messrs. Eldridge, Mobley and Baraka's music-poetry - no footnotes required.

http://www.youtube.com/watch?v=FJnSpL2Y-gk

http://www.nydailynews.com/new-york/uptown/amiri-baraka-honored-posthumously-harlem-article-1.1605063

Wednesday, January 22, 2014

Let's Call This Music "'Jazz'"

Jazz Wax: What do you call your music if not “jazz?”

Yusef Lateef: The term I like to use is autophysiopsychic music. This means music from the physical, mental and spiritual. I think it’s an adequate term. 

My first live-listening experience involving a string quartet involved the University of Michigan's quartet in residence, the Stanley String Quartet. I was in high school (1955-9). A couple of friends and I attended a performance by the Stanley Quartet that took place in the small auditorium in the Rackham building next to the Detroit Institute of Arts. I don't recall what the Stanley's music program consisted in; whether it was Haydn, Mozart or Beethoven, I don't remember. What I do remember, as a refined devotee of this and that music, is something that has caused me distress throughout my life. It is with horror that I remember that occasion.
   For me the string quartet - two violins, viola and 'cello - and the improvisor's quartet - horn, piano, bass, and percussion are for that music (aka 'classical music' and this music (aka 'jazz music') are forms of music of which none greater can be conceived.  'Jazz' quartets allow substitution-instances, another horn or guitar instead of piano. 'Classical music' quartets are fixed; it's 2+1+1, as noted.
   [Note the four instances of scare-quotation marks. In the terminology of those who know, 'jazz' is in one sense a notational variant of the term "jazz"; but it's something else in addition.]
   The Classical Style in Charles Rosen's sense is embodied, for the most part, in the works of Haydn, Mozart, and Beethoven. When people contrast 'classical music' with 'jazz music' they may have in mind non-improvised verses improvised music. Most of us are aware of another divide that has separated 'jazz' and so-called "classical music" [note in most cases we have "jazz" v. "classical music"]. "Classical music" is reckoned to be straight-up music while 'jazz' may not be so-reckoned. In my view both 'jazz' and 'classical music' [note the scare-quotes!] are, or can be, straight-up music. Today more and more European-inspired music is influenced by 'jazz' music, by improvisation techniques and 'jazz' improvisors. It should be noted that improvisation has always been a part of European music - indeed Bach, Haydn, and Beethoven used to jam, used to improvise at the organ and/or piano, used to play in taverns &c. So what we're left with here is just music. If one understands what's happening in a music performance, one feels comfortable with the music, whether it's composed or improvised or both. If one feels discomfortable with music, then certainly one can get comfortable with it. Witness all of the ardent rap-music enthusiasts. There are no bars to understanding music; just let the music - be it this music or that music - take you.
   When my mates and I descended upon the Stanley String Quartet that afternoon, we had no notion of what we were about to hear - it was our very first string-quartet adventure. What we did notice when we sat down in our seats was that the backs of the seats in front of us had ashtrays embedded therein. "Hey," we thought, "this is going to be alright, just like a 'jazz' joint." So we lit up and smoked throughout the quartet's entire performance. This is what I've been embarrassed about for all of these years. Talk about a lack of respect for the music, the musicians, and our lungs. The quartet's members pressed on. Because they were University of Michigan faculty members, the quartet may have been used to the silly ways of youth. Perhaps they were conversant were the ways of a 'jazz' audience - smoking, drinking, talkin' loud, etc. I asked David Murray if the antics of 'jazz' crowds annoyed him when he was performing. He told me that he didn't mind; he just played harder. Perhaps the Stanley Quartet held the same view.
  The differences between this music and that music, between 'jazz' and 'classical music' are in many ways stylistic or notational. But as music both are straight-up.    
 

http://www.youtube.com/watch?v=h0Eet937d4I
    

Tuesday, January 21, 2014

Yusef Lateef, Amiri Baraka, and Roy Campbell - R.I.P.

December 23, 2013

Yusef Lateef I first saw and heard when I was a senior in high school. In 1959, I on a field trip at Wayne State University (WSU) with the Highland Park High School senior class. We were being shown around the WSU campus with the hope that some of us at least would find our way there after graduation. We were walking past the student center - McKinsey Hall - when we heard improvised music coming from the second floor. A couple of us broke off from the group and spent the rest of our time on campus with Yusef Lateef, tenor saxophone and flute and his musicians; among whom were Abe Woodley, vibes and Frank Morrelli, baritone saxophone. Prior to this instance, my first live experience of Yusef Lateef's music, I recall today hearing this music a part of a luncheon program that my friend Thom Pride hosted as DJ in my high school auditorium. Thom was playing Yusef Lateef's 
album Jazz for Thinkers, the album cover of which was shot in front of the Detroit Institute of Arts.
   After high school, my friends and I used to hang out at the Minor Key music venue in Detroit. The only time that I heard Yusef Lateef in person after WSU was once when Maynard Ferguson's band was playing there with Clifford Jordon on tenor. After the band's sets were finished, Yusef and Clifford got into something quite special with their tenors. I was quite impressed with what was happening musically. That evening, I managed somehow to sit down with Yusef Lateef over coffee. I don't remember everything that we talked about, but I expressed my disappointment that he was moving to New York.
   I've collected Yusef Lateef's recordings and listened to his wonderful music over the past fifty years. There's a special  rhythmic element in Lateef's music that I hear and feel in the music of other Detroit musicians - in the music of Barry Harris, Hugh Lawson,  Shafi Hadi (Curtis Porter), Clarence Shaw, Charles McPherson, Sonny Red Kyner, Curtis Fuller, Wilber Harden, Lewis Hayes, among others. This is before Motown. Listen to Sonny Red's tune "Teef" on Lewis Hayes CD with Yusef Lateef and Barry Harris. There's rhythm and blues in this music, rather there's that in rhythm-and-blues.     

http://www.freep.com/article/20131223/NEWS08/312230128/yusef-lateef-dies-obituary-jazz

January 9, 2014

The music-poet Amiri Imamu Baraka died today at the age of 79 years. I can’t recall when I was first made aware of Baraka or back in the day of Leroi Jones. He’ll aways be Baraka to me. I probably became acquainted with Baraka through the pages of the Evergreen Review, Jazz Review, or Downbeat - I subscribed to the latter publications and I used to buy the former to keep up with the Beat poets and others. This was in the fabulous early ‘60s.
   This last two stanzas from Baraka’s poem “Wise 3” knock me out,

Son singin
fount some words. Think
he bad. Speak
they
language.

‘sawright
I say
wit me
look like
yeh, we gon be here
a taste

Yes, 79 years is just a taste - we’re only here for a taste. I often return to Barak’s Eulogies and his Transblusency: Selected Poems 1961-95. “Wise 3” is to be found on pages 222-3. 

   In  1998/9(?), my wife, some friends, and I travelled to Chicago from Detroit and Columbus, Ohio to attend a concert that featured David Murray’s Fo Deuk Revue at the Museum of Contemporary Art. The Revue featured Senegalese traditional drummers, American musicians, among whom were Jamaaladeen Tacuma, Hugh Ragin, Craig Harris, and Amiri Baraka reading his poetry. This was the first time that I met Baraka. The second meeting took place in Columbus at the King Center. Baraka came through with his group that included DD Jackson, Wilber Morris, and Pheeroan AkLaff. Baraka recited his poetry as an integral part of the music. Both concerts was quite thrilling.
  The last time that I saw and heard Amiri Baraka perform was in Guelph, Ontario Canada in September 2007 as part on the fabulous annual Guelph Jazz Festival. He on stage with bassist William Parker's Ensemble, performing The Inside Songs of Curtis Mayfield - William Parker's rearrangements of Curtis Mayfield's classic songs - "The Makings of You", "People Get Ready", among others. Leena Conquest provided the vocal and Amiri Baraka recited his poetry - Conquest sang "People Get Ready" while Baraka 'sang' his poetry. The rest of the group included Dave Burrell, piano; Hamid Drake, drums; Lewis Barnes, trumpet; Darryl Foster and Sabir Mateen, reeds. It was a wonderful evening of splendid music-making. The audience delighted in the music and showed its appreciation with a tremendous ovation. But there was one American in the audience, a person who both my friend Jim Murphy and I knew from the Kerrytown Concert House in Ann Arbor, Mi., who expressed to Murphy and me his view that Baraka and the performance were "unAmerican" in some crazy sense. This made me love Canada and doubt another American propagandist. 

http://www.nytimes.com/2014/01/19/nyregion/remembering-an-activist-with-politics-and-poetry.html?_r=0




Trumpet-man Roy Campbell died recently. He was often a member of William Parker's ensemble. Their collaborations began in 1978. Roy Campbell studied with the great Lee Morgan. And like his mentor was of the fire-this-time school of trumpet masters. I only heard Roy Campbell once in person. I heard Roy with Peter Brötzmann, William Parker, and Hamid Drake at the Kerrytown Concert House in Ann Arbor. Trumpet-men like Roy Campbell are rare now - too many slick-men; not enough Campbell and Tolliver trumpet-men.

http://www.youtube.com/watch?v=2W8Q-eH93NA












http://www.youtube.com/watch?v=h0Eet937d4I