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Sep. 4th, 2008 @ 02:57 pm Freeze frame
Current Mood: feh
Current Music: Diane Kamikaze's show on WFMU


"When fascism comes to America, it will be wrapped in the flag and carrying the cross." — Dorothy Thompson's husband, Minnesota native Sinclair Lewis; CNN.com pic found via Pam's House Blend.

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kingfish
May. 10th, 2008 @ 09:54 am Truckin'
Current Mood: saturday!
Current Music: Weekend Edition on WNYC

Pictured, left to right: Gregory "Ironman" Tate (moderator), Matana Roberts, Amina Claudine Myers, Douglas Ewart, George Lewis (author of A Power Stronger Than Itself: The AACM and American Experimental Music), Iqua Colson, Henry Threadgill, Wadada Leo Smith.

Oh? You can't see the picture? But I brought a camera!
PLEASE NOTE:
WE ASK THAT THERE BE NO AUDIO OR VIDEO TAPE RECORDING, NO PHOTOGRAPHING, AND NO SMOKING AT THIS CONCERT. WE MUST WARN YOU THAT ANYONE FOUND VIOLATING THESE RULES WILL BE ASKED TO LEAVE PROMPTLY....
But I brought a damn camera! )
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fitzcarraldo
Aug. 18th, 2007 @ 11:29 am Drums unlimited
Current Mood: feh
Current Music: The WKCR Max Roach Memorial Marathon

Through attrition, the only childhood Max Roach album that remains in memory (and in physical reality, sitting somewhere in New Jersey or North Carolina) is Lift Every Voice and Sing, from 1971. In an era when jazz musicians were "exploring" soul, rock, and funk, as a means of maintaining some semblance of commercial viability (and while Jackie McLean would lampoon it, even he recorded a disco LP for RCA a few years later), Max did this relatively-scholarly album with a gospel choir, plus William Bell and Max's newly-ex-wife, Abbey Lincoln.

It isn't the greatest introduction to his music (or to Billy Harper, who played tenor in his quintet back then), but how many kids these days get introduced to (t)his music at all? Or even recognize it as music?

I figured we wouldn't have Max around much longer; Phil Schaap, months ago at least, stopped doing his trademark yell, GOOD MORNING, MAX! at the first, inevitable, mention of Max's name during his daily "Bird Flight" radio show (yelling because I presume Max, like Art Blakey, another drummer/bandleader who launched dozens of musicians' careers, had drummed himself into the ranks of the hard-of-hearing); Joe McPhee stopped just short of eulogizing him at the end of a Trio X gig this past winter or spring.

We've lost a living encyclopedia of percussion, someone who kept learning and learning, growing and growing, teaching and teaching, from the Swing Era through numerous Jazz-Is-Dead eras in the subsequent decades.

I'm slogging through Stanley Crouch's anthology Considering Genius; in an essay devoted to Miles Davis at Carnegie Hall, he tells the story of how Max interrupted the 1961 concert, a benefit for the African Medical Education and Research Foundation, in a one-man protest against what he believed was a pro-apartheid, pro-colonialist organization. That Miles would abandon the concert, half-finished (tho' the show did eventually Go On), is emblematic of the respect he had for his former bandmate; that Max would do this at all was emblematic of the extent (especially in those days) to which he didn't let his activities as a public citizen fall subservient to his activities as a Bankable Name.

I can't imagine Jay-Z or Beyoncé (a bubblegum Max-and-Abbey for the hypercorporate age) disrupting someone else's gig for anything except self-promotion.

We've lost more than a living encyclopedia of percussion.
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richie
May. 18th, 2007 @ 07:06 pm A discographical update
Current Mood: sam!
Current Music: The WKCR Sam Rivers Celebration

It's my first couple of days at the apartment in Jersey City, located on the cusp of campus and ghetto. I got home, dog tired, after work and shopping for various basic supplies. Turned on WKCR, and there's this great tenor/bass/drums trio; I'm riveted, and I recognize it, but can't quite put my finger on it. Something from the mid-60's, sounds like it was recorded in Rudy Van Gelder's studio, effortlessly free-sounding, yet ass-deep in the tradition. Whatever has to get done — some unpacking, trip to toilet, cooking, etc. — has to wait until the announcer tells me who this is.

Turns out to be Sam Rivers, Gary Peacock and Tony Williams, from the trio portion of Williams' Life Time album (which is sitting somewhere in a bag in the living room). On top of that, announcer-person says that KCR is in Day One of a week-long Sam Rivers celebration. (/me makes quick trip to Google to confirm that this is not a Sam Rivers Memorial Broadcast, and finds welcome news.)

For the next seven days, I love New York.

Where did I pack the rolling papers?
Someone changed their sig, from a short Bayard Rustin quote to a whole paragraph by Rustin, from a 1986 book. "But didn't he die in the 70's?", I thought. No, he didn't.

As a kid, I was a voracious reader of history books, many of them covering the period from FDR to "today" (i.e. the Ford and Carter years) — William Manchester's The Glory and the Dream was my Frampton Comes Alive (or something) — and I don't remember reading much about Rustin (or seeing him on TV) after the 60's; I figured he died at some point in the 70's. Wikipedia tells me he passed away in 1987, a time when I was living out of a backpack, and wasn't always keeping up with the news. Try finding a New York Times when you're in (1987) Huntsville ("Hey Mike, are we in Huntsville or Birmingham?"), Alabama, 15 minutes before soundcheck.

So I continue reading the Wikipedia entry, learning more. I didn't know that the grandmother who helped raise him was a Quaker, and the Quaker/pacifist streak in his life and work led to a brief period in India, studying under Gandhi, shortly before the latter's assassination.

But here's the part that tickled me: Just before a trip to Africa, while college secretary of the [Fellowship of Reconciliation], Rustin recorded a 10" LP for "Fellowship Records." On it he sang Elizabethan Songs and spirituals accompanied on the harpsichord by Margaret Davison. In ILM-speak, that rates a "ysi?" (translation: "hook me up!")
Unrelated, but just to clear out the newfound trivia for the week, via Ted Gioia's West Coast Jazz: the young Eric Dolphy taught Sunday School (it just makes so much sense), in the church pastored by Hampton Hawes' father.
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fitzcarraldo
May. 14th, 2007 @ 06:31 am Time again
Current Mood: monday :(
Current Music: BBC World Service

Yes, capitalism provides you with More Music Everywhere, but has it done a good job of providing More Time To Focus And Listen? Only if NYC is some sort of giant venue of postmodern kinhin.

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kingfish
May. 6th, 2007 @ 05:39 pm *urp*
Current Music: Da Vinci's Inquest

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desi
Apr. 13th, 2007 @ 07:35 pm Back, and to the left
Current Mood: feh
Current Music: my wife's voice

Back, and to the left…

ILX0r nabisco, in what used to be the Michael Richards thread, pasted the actual Imus/Bernard exchange yadda yadda; I hadn't noticed it in full before, due to the attention given to one phrase:

IMUS: That's some rough girls from Rutgers. Man, they got tattoos ...
[show producer Bernard] McGUIRK: Some hardcore hos.
IMUS: That's some nappy-headed hos there, I'm going to tell you that.

Now, here's where the I-Man's improvisational antennae went awry. From what I remember of the show — I was a loyal listener throughout the 90's*, back when I had a daily by-car commute to work or school, back when I had a car — when Bernie (a different vintage of proto-w*gg*r than Imus, from my old neck of the woods) utters something like "…some hardcore hos…", that's the cue for Imus and Charles McCord (his sidekick) to go into mock YOU CAN'T SAY THAT! mode in the midst of their tandem belly-laugh. When (if?) the suits and the "politically correct" (I hate that phrase) later raise a fuss, it's Bernie who gets suspended for two weeks, and the show goes on without further hullaballoo.

But the antennae went awry. Imus chose to build on the red-flag remark rather than do his normal job of self-policing. You don't hang on to a gig like this for 30+ years without that skill.

Back, and to the left.

The flipside of the anything-can-happen aspect of live broadcasting is that, sometimes, something can happen that you'd really want to have unhappen later on.

I will miss him.

*And my seven years of non-listenership had led me to believe that Imus was now past 70 years of age in my previous post; he is 66.
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shane
Apr. 10th, 2007 @ 07:33 am The W Word
Current Mood: off to work I go
Current Music: Morning Edition

Imus is, in part, a 40's/50's version of a wigger, and therein lies his problem.
  • His style of insult humor is not in the "just kidding, folks" Catskills lineage of Rickles/Lampanelli/Triumph. It's more Dozens, more Dooto.

  • He comes from an era in which the W Word didn't exist (this is decades before "black" "behavior" and signifiers became hypercommoditized, my nizzle), and people don't quite understand the notion of a seventysomething wigger, one who's a lot more substantial and sincere than little Dylan working on his N-word inflections, gangsta scowl, and misogyny at soccer practice, or young Amber throwing signs at a kegger to show she's Down Wit Da Bloods, holmes.


Imus: Too Black, Too Strong. And at the mercy of a bunch of suits who don't listen to his show.
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richie
Jan. 21st, 2007 @ 09:29 pm The part that UMG can't hype
Current Mood: gr0ggy @ bedtime
Current Music: John Coltrane — I Want To Talk About You (Newport '63)

If Joe McPhee can pay tribute to the late Alice Coltrane, as he did this past Friday, by playing "After the Rain" — a John Coltrane tune that predates not only her tenure in the group, but their marriage as well — I'll quote Evan Parker, from the transcription of his John Coltrane lecture (found via Destination: Out's del.icio.us links). Mrs. Coltrane's life as Swamini A.C. Turiyasangitananda was at least as important a keeping-of-the-Trane-legacy as her stewardship of her husband's recorded work.
There was a period where it seemed like he wasn’t going to renew with Impulse - that he was going to make his own label. And in fact he issued one record himself, the first version of the record called Cosmic Music. There are aspects to that that I would like to talk about. First of all, the cover was Coltrane’s design so, of course, it was not a very slick looking record. We didn’t have Photoshop and all of that in those days so it was pretty funky kind of graphics – a handmade look and design. But the important thing to me was what the design was trying to convey. You had a photograph of Coltrane paying homage to the victims of Hiroshima on the back, a memorial to Hiroshima. So, that speaks enormous volumes about Coltrane’s distance from American official behavior in the world. We want to try and make an analysis of the postwar period, all of that, how that war was brought to an end, but I think there are certainly good reasons to think that it was absolutely unnecessary for those bombs to be dropped. The war was won at that point and the bombs were dropped because it was a good time to test such a thing. It’s an awful thing to think, but that seems to be not an exaggerated interpretation of the history. Coltrane clearly felt the need to make this public prayer for peace. It is clearly important to him because he ties that photograph to his first record for his own label. The other elements, which are very important, very significant, are the elements associated with the major religions – from the Crescent of Islam to the Star of David, the Cross and so on. He is speaking about the need for religious leaders to deal with the realities of where we are at this point. If there’s one God, and they’re all saying there’s one God, but they all think, as Bob Dylan put it “God’s on their side.” I don’t think Coltrane had that naive view of religion. He was interested in what can we do next? Which he believed in some general way, that life on this Earth, has meaning, has purpose. How can we encourage our so-called leaders to behave more responsibly? It seems the very worse people are the ones that decide to be politicians or decide to be religious leaders. Until the people distance themselves from this stupidity – as I said before – 2 million people on the streets of London saying “This war is absurd,” but one man could take the country to war. It’s wrong. And that one man can still be in power. It’s wrong but there’s no mechanism to get rid of him.
McPhee, after a wonderful set by Trio X, also reminded us to honor our living legends (Good Morning, Max!) while we still have them around, not just after their passing.
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war is over
Nov. 7th, 2006 @ 03:57 am But don't let it discourage you from trying to vote the bastards out
Current Mood: slightly hopeful
Current Music: silence!


IM IN UR DIEBOLDZ
STROKIN MY HARBL
STEALIN UR VOTEZ

It would be nice to see "conservatives" do their thing in (and-yes-I-use-the-term-loosely) Loyal Opposition again; that seemed to be their strength. And it was much more entertaining, though perhaps not as entertaining as watching them become the Loyal Opposition these last couple of months.

Mr. Scaife is, no doubt, strokin his wallets, even as I write this.

The American Conservative (no scare quotes req'd) weighs in.
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war is over