• Content count

  • Joined

  • Last visited

Everything posted by alocispepraluger102

  1. samuel smith oatmeal stout chased by palm of soul,kidd jordan, hamid drake, william parker.
  2. TIM BERNE ON JULIUS HEMPHILL An interview with Tim Berne by Duncan Heining, from AVANT/England +++++++++++++ Julius Hemphill formed the World Saxophone Quartet with David Murray, Hamiet Bluiett and Oliver Lake in 1977 and was its most significant force as a player and writer. It's for this group that he is perhaps best known. He was one of the coterie of players on the seventies' New York loft scene. But where musicians like Murray and Chico Freeman went on to build careers, Julius Hemphill was more often spoken of then heard. Hemphill died in 1995. For saxophonist Tim Berne, he was a mentor and friend. A couple of years ago, Berne reissued Hemphill's lovely Blue Boye on CD. When he was in England on tour with his trio Big Satan, we talked about Hemphill's influence on him and the scene in general. Berne paints a picture of a genuine one-off, a man with an original but restless mind with little time for the business side of the music. Though he never really fulfilled his promise, Hemphill did leave behind a remarkable, if in some ways incomplete, body of work. It was Hemphill's ability to reconcile different aspects of various musical styles that made him special for Berne right from his first contact with his music. :His album Dogon AD bridged all these things I'd been listening to. I was able to reconcile the R&B side of me with the side that listened to Braxton and Roscoe Mitchell. Somehow he managed to do everything in the same package without anything being idiomatic. And he had a really soulful sound that I could relate to from listening to guys like King Curtis and Junior Walker." When Berne moved to New York in 1974, he'd only been playing saxophone for about a year. He took a few lessons with Anthony Braxton, but as Braxton's success grew, he had less time for teaching. He suggested Berne give Hemphill a call. At the time, he hadn't even realized that his idol lived in the city. "I'd seen him before but I didn't know it. I saw a Lester Bowie concert at Studio RivBe and I saw this big guy playing and I thought, 'Wow! Who the hell is that?' I had no idea because I had never seen a picture of him. I saw him again at a Lester Bowie recording. Julius was conducting because it was his tune and there was this big guy in a suit. I thought it was Oliver Nelson (laughs)." The relationship was more like an apprenticeship than a teacher-pupil thing. "We'd have these three hour lessons. Sometimes I'd just play long tones for three hours while he massaged my back and taught me how to relax. Sometimes we'd just sit around and bullshit." Berne would help him promote gigs and work the door. At the time no one was interested in Hemphill, although he as something of a legend amongst fellow musicians. According to Berne, he only did maybe two or three concerts a year. "If you weren't a self-promoter, you weren't going to be anywhere and Julius was the furthest thing from that you could be. He didn't pick up the phone. He had no time to bullshit with people." The experience of working with Hemphill served him well when he came to start his own career as a musician. "I sort of apprenticed the whole business with Julius. I helped him put out Blue Boye. I used to make flyers for his gigs. That's how I learned to do all that. He turned me on to the distribution thing. That's what I do to this day, if I do a gig in New York. I'm sure I wouldn't have started a label, if it hadn't been for him." People like Stanley Crouch and Gary Giddens would write about David Murray or Chico Freeman or Sam Rivers but to Berne's disgust never about Hemphill. "I don't really know why. It just didn't happen for him until the Saxophone Quartet and even then he wasn't really recognized. In the 20 years I knew him, I bet he didn't do five tours with his own band. He just had no time for the business side of music." For someone as far ahead of the game as Hemphill, you wonder what he might have achieved with a manager who knew what he had. His attention to detail was astonishing. He couldn't just play a gig. He had to build a whole new set of music stands or get the band to wear different outfits or use weird lighting. And no two concerts would contain the same material. "He was always thinking how it looked and he'd make the guys wear certain things. He was just way ahead of everybody else in that regard. It really inspired me to find my own way. Not copy him but to get my own ideas." Talking to Berne, you get a sense of Hemphill as a man who got bored when there was no challenge to confront. Maybe he just had too much talent. "He told me that he used to go to jam sessions and purposely not learn the tunes just because it challenged him. He was always contrary. He was just a really independent thinker. Being around someone like that gives you the confidence to have your own ideas." Born in Fort Worth, Texas, and according to Berne a cousin of Ornette Coleman, Hemphill grew up to the sounds of Gospel and R&B, and the blues would never be far away in his music. "He grew up near those juke joints and he heard music coming out of these places all the time. And of course he played with Kool & the Gang in the seventies. He had a band with Cornell Dupree and Richard Tee and he played with Ike and Tina Turner. All the way to the end Julius could evoke blues or jazz without resorting to cliches because he didn't follow any rules. He could write a blues and it didn't sound like anybody else's blues. He could write a gospel tune for six saxophones and it sounded like the real deal. I can't think of anybody else who could do that so convincingly." It's been suggested that Ornette was quite an influence of Hemphill's music but Berne dismisses this. "If they're from Texas and knew Ornette and they're not playing chord changes, then they're going to say he sounds like Ornette. His first influences were really Charlie Parker, Lee Konitz—he had a band that used to play Gerry Mulligan arrangements—and he was totally into Cannonball." I think that's influence as an inspiration. It's actually hard to imagine Hemphill sounding like anyone else. That sense of being your own person and having your own voice was something that Hemphill didn't have to talk about. It was, by Berne's account, simply central to the man and matched by a generosity to those still trying to find their own voice. "There's always these guys telling you you'll never have your own voice. Julius never said anything like that. It was always, 'You wrote some music, let's look at it.' It was never, 'You can't do that.' It was inspirational. It would be so easy to dismiss a 25-year-old guy trying to play the saxophone, but he never doubted that I could do it if I wanted to." The story Berne tells is a touching one. Hemphill comes across as a slightly cranky, crotchety but playful character. Like how he invented this alter ego, Roy Boye, just for fun, and would do these solo things with tape wearing a silver lame suit. Blue Boye came out of that and was like the blues version. It's a wonderful record, quite pastoral in its feel and full of wit and invention. Toward the end of his life, Hemphill's health had deteriorated to the point where he couldn't play. Open-heart surgery was to prove a means of merely prolonging his life a short while. He could still write, and Berne was terrified to be asked to take his place in a couple of projects. The first of these was the recording session that produced Five Card Stud. The second was a piece for a chamber orchestra. "One of the pieces was this alto solo over these shifting chords on the track called 'Lenore' and he asked me to solo on it which just blew my mind. That was the first time I worked with him as the leader and it was pretty scary for me. It was like that and the tribute record (Diminutive Mysteries) were my final exam." Diminutive Mysteries was a labor of love for Berne, but the only way he felt he could to the tribute was if Hemphill wasn't there. When Berne took the tapes up to Hemphill's house, he was nervous as hell. "I was shaking. I had to get stoned, which I don't usually do. I really wanted his approval and I got it in his typically understated way. It was one of the most important things in my life." When Berne tells the story you know that it is still so important to him that Hemphill liked the record. "So, I played him the first tune and he's smiling and really digging it. Just every once in a while a little comment and I'm gaining confidence. So, I think he's heard one cut and liked it. I'll quit while I'm ahead. And he says, 'What else you got?' Then the next cut and he's getting really excited and listening intently for an hour. Then we went out and had dinner and I couldn't have been any happier." Sometimes the trouble with having heroes is that they let you down. Tim Berne is really blessed that his never did this to him, and Hemphill clearly remains an inspiration to him. "When I get too caught up in all the business shit, I try to remember the most important thing is the music and not worry about all that other stuff. He was just a great role model in terms of creativity. In order to grow you have to fail. You have to have a bad concert, or write something that doesn't work, so you can find out why. I realized that that's why you make records. It's not so you can sell them. It's really just so you can develop. He really embodied that. That's why he did it—to express himself." Duncan Heining
  3. matana roberts

    anyone know anything about her?
  4. Ronald Shannon Jackson has passed away

    fine pianist-fine drummer
  5. bob florence
  6. amina claudine myers

    her piano playing can spellbind you.
  7. groove holmes

    used to love groove holmes in the bars 40 years ago, but not familiar with his recordings. recommendations.......
  8. Former Member bill barton

    i miss bill's posts, and his magnificent early monday kbcs radio show. bill's musical tastes were as edgy as my own. tell me bill is well.
  9. upcoming chicago events,print.story
  10. tonight at small's

    Tonight starts our triple-header SmallsLIVE recording sessions/ performances starting at 6:30pm with Peter Bernstein (solo guitar), following is The Rodney Green Group at 9pm and our 'Round Midnite' Session with the Smalls Sextet f. Frank Lacy, Theo Hill, Josh Evans, Stacy Dillard, Rashaan Carter and Kush Abadey ! Come experience these records in the making!
  11. sonny rollins on soprano

    the lyricism and power is remarkable-------------has he performed and recorded much on the instrument?
  12. errol garner comes to mind. are there others you know about? perhaps the topic could amend to famous musicians who couldn't read..................... songwriter irving berlin oouldn't read music
  13. mingus b'day festival is now on wkcr

    until midnight tonight edt. we've all heard it all before, but it's worth a rehearing. wkcr link
  14. starting at midnight eastern
  15. tomorrow, november 21, would have been birthday 104 for the great jazz saxophonist coleman hawkins. in his tribute, radio station wkcr(columbia university) starting at midnight, november 21, will present a 24 hour tribute of bean's music. here is a link to their webstream:
  16. random thoughts

    among life's imponderables are the random thoughts, scenes, and pieces of music that inexplicably come to mind while dealing with the 'real' world. lsmft
  17. barbara long, jazz singer

    i was recently very delighted to hear a circa 1960's savoy recording by barbara long. her voice was feathery, light, even delicate, with effortless swinging. some of her backing musicians were reasonably well-known at the time, al harewood being one.
  18. have another pepsi?

    Daily soft drinks - even diet - linked to higher heart disease risk: study By Sheryl Ubelacker TORONTO (CP) - For those who drink diet pops in the belief that sugar-free beverages are healthier than regular soft drinks, new research suggests they should think again. A huge U.S. study of middle-aged adults has found that drinking more than one soft drink a day - even a sugar-free diet brand - may be associated with an elevated risk for metabolic syndrome, a cluster of factors that boosts the chance of having a heart attack or stroke and developing diabetes. "We found that one or more sodas per day increases your risk of new-onset metabolic syndrome by about 45 per cent, and it did not seem to matter if it was regular or diet," Dr. Ramachandran Vasan, senior investigator for the Framingham Heart Study, said Monday from Boston. "That for me is striking." Metabolic syndrome is associated with five specific health indicators: excess abdominal fat; high blood sugar; high triglycerides; low levels of the good cholesterol HDL; and high blood pressure. "And other than high blood pressure, the other four . . . all were associated with drinking one or more sodas per day," said Vasan, a professor of medicine at Boston University. Having metabolic syndrome is known to double the risk of heart attack and stroke, as well as boosting the risk of diabetes. The study included nearly 9,000 observations of middle-aged men and women over four years at three different times. The study looked at how many 355-millilitre cans of cola or other soft drinks a participant consumed each day. The researchers found that compared to those who drank less than one can per day, subjects who downed one or more soft drinks daily had a: -31 per cent greater risk of becoming obese (with a body mass index of 30 or more). -30 per cent increased risk of adding on belly fat. -25 per cent higher risk of developing high blood triglycerides or high blood sugar. -32 per cent higher risk of having low HDL levels. But Vasan and his colleagues, whose study was published Monday in Circulation: Journal of the American Heart Association, are unsure what it is about soft drinks that ratchets up the risk of metabolic syndrome. "We really don't know," he said. "This soda consumption may be a marker for a particular dietary pattern or lifestyle. Individuals who drink one or more sodas per day tend to be people who have greater caloric intake. They tend to have more of saturated fats and trans fats in their diet, they tend to be more sedentary, they seem to have lower consumption of fibre." "And we tried to adjust for all of these in our analysis . . . but it's very difficult to completely adjust away lifestyle." Dr. David Jenkins, director of the Risk Factor Modification Centre at St. Michael's Hospital in Toronto, said previous studies have suggested that diet pops did not have the same effects on weight and health as do naturally sweetened soft drinks. "The unusual thing that needs comment is they (the study authors) say that the diet colas are the same as the calorically sweetened colas," said Jenkins. "So I think that is the piece that they've put into this puzzle . . . I think we need a lot more scrutiny of that." Jenkins said he believes that high consumption of soft drinks likely goes along with eating a high-calorie diet. "I think the disappointing thing is if you thought you were doing (yourself) a major service - which you always used to think - by taking diet drinks, this is not helping you," he said. "Before we were saying take the diet (drink) and you're OK. Now were saying: 'Watch it."' The study also begs the question whether there is some ingredient in soft drinks - regular or diet - that may encourage metabolic syndrome. But Dr. Arya Sharma, chair of cardiovascular obesity research at McMaster University, said there is nothing suggested by the authors of the study that would lead to that conclusion. "One thing that they say and other people have said before is if you drink a lot of sweet things, then you are sort of conditioning yourself for that sweet taste," Sharma said Monday from Hamilton. "So people who drink diet pop may be eating other sweets, whether that comes in the form of dessert or other things, I don't know." "It may be that people who are drinking diet pop - and we have this effect often with people who go on diets or when people go running or whatever - that you do a little bit of something that you think is good, and then you overcompensate by doing more of something that is bad." "The idea could be because I'm drinking diet pap, I can afford to splurge on dessert." Vasan said he cannot out-and-out recommend that people stop drinking soft drinks based on this study, because the findings are based on association, not clear cause and effect. "The simple message is eat healthy, exercise regularly and everything should be done in moderation," he said. "If you're a regular soda drinker you should be aware that this study adds to the evidence that regular soda may be associated with metabolic consequences." "If you're a diet soda drinker, stay tuned for additional research to confirm or refute these findings." Copyright © 2007 Canadian Press Copyright © 2007 Yahoo! Canada Co. All Rights Reserved. Privacy Policy - Terms of Service Need help? Want to send feedback?
  19. what is your clothing style

    aloc's = early belichek aloc only dresses(well) for the symphony, opera, weddings, and funerals.
  20. "But experts warn that unwelcome chemicals, including pesticides, may be tagging along with the THC and threatening the health of marijuana users. "There's a pretty considerable amount of contaminated cannabis," said Jeff Raber ofThe Werc Shop, a Pasadena, Calif.-based lab that tests products primarily for California dispensaries."
  21. bird-prez birthday marathon WKCR

    August 27-29: Lester Young (b. August 27, 1909; d. March 15, 1959) and Charlie Parker (b. August 29, 1920; d. March 12, 1955) --- we preempt August 28 as well, playing Lester Young until noon, when we switch to Charlie Parker.
  23. 1st concert at fred anderson park CHICAGO – Jazz and gospel music will be featured in a free concert, 1 to 4 p.m. Saturday, Sept. 21, at the site where the Chicago Park District is building a park named for the late Chicago jazz musician Fred Anderson. Homemade foods and cold drinks will be sold by the True Rock Ministries congregation to help fund their community center.
  24. neil young, audiophile