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Posts posted by jimi089
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They are also playing the Velvet Lounge in Chicago on 10/1.
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Chicago native and trumpeter Maurice Brown is her musical director.
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It appears to be back on sale new at Dusty Groove for those who are interested.
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Von will be playing a concert with Barry Harris in Chicago on October 3rd of this year. Mark your calendars.
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Looks interesting...just wish Brotz would consider coming to Cleveland or Ohio for that matter!
I wish he'd consider playing a venue other than the Empty Bottle in Chicago, like any of them that support jazz and improvised music the other 364 days of the year. Oh well.
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Barry Harris will be coming to Chicago in October to play a concert with Von Freeman. I'm looking forward to it.
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John Murphy is a great writer and interesting guy - I've corresponded with him on several occasions. He's currently working on a book about Ronald Shannon Jackson.
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Wow...I'm not familiar with Brian Smith, but Fred Anderson with Han should be fascinating!
It was
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More bureaucratic entities won't help the arts. More funding through existing entities would be great!
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http://www.intaktrec.ch/interbraxton-a.htm
Ted Panken: In noting the profusion of musical information available on just a walk down the block, you're also saying that the world is smaller. But not just in a virtual sense. It's that way in real time. The world of improvisation now comprises a constant series of feedback loops from numerous sources, intersecting at all sorts of odd points, and the dialectic has taken us in many unexpected directions. How has this process affected you in recent years?Anthony Braxton: When I made the decision to embrace music as a life's work, I understood, first of all, that I was very lucky to be able to make that decision, and that there's always something new to learn. Forty years later, I don't know where I'm at, but I have had many more experiences, and I still find myself thinking there's everything to do. The work of the last forty years has parlayed into a new set of propositions that should be able to go for another century. A new generation of young people have come up, and they're pushing things forward.
Your question is hard to respond to because it contains so many different aspects. For instance, I feel that the African-American community and the African-American leadership are going through complexities that mirror what happened when trans-ethnic psychologies were used to partition off the music in a way, to block this ongoing flow of world culture in the third millennium, and to reclassify the generic experiences and make them the It. I think that has been the defining gambit of the last 20 or 30 years, and from my perspective, that has been the profound mistake of the African-American nationalists and the post-Abernathy Antebellumists.
Ted Panken: I assume by "post-Abernathy" you're referring to the civil rights activist Ralph Abernathy, but how do you mean "Antebellumist"?
Anthony Braxton: "Antebellumist" in the sense that the Antebellum psychology says that you had better stay in your place. By staying in your place, with respect to our conversation, it's blues and swing.
Ted Panken: You've also referred to this as the "Southern Strategy," I believe.
Anthony Braxton: Yes. Southern Strategy in the sense that that's why Wynton Marsalis and the Neoclassic continuum is in power. They were put in power. This is a political decision that came about in the 1980s, when Dr. George Butler brought Wynton to New York. When the mature histories of this music are written, I hope that there will be a section on what I'll call the Great Purges of the 1980s. It involved kicking out anybody who had any originality or was unwilling to have the marketplace define their music, and bringing in a philosophical backdrop from Albert Murray consistent with what I'll call the "Christian gambit." That gambit states that Black people have this special rhythm, that the evolution of what we now call Jazz is just an African-American thing, that the proclivity spectra of African-Americans goes from hip-hop and blues and whatever, but not to a guy like me. Only a certain spectrum of black or of African-Americans can be accepted in this reseeded idea of blackness.
Ted Panken: But Mr. Braxton, you're a trained dialectician. It can't be that what happened in the '80s is merely because of a singular corporate or political decision. There have to have been factors in the zeitgeist that made it make sense for that to happen.
Anthony Braxton: My viewpoint is this. If the Lincoln Center, post-Murray, Neoclassic continuum had defined their right to do what they wanted to do, I would say great. But they said, "Jazz starts at Louis Armstrong; it stops in the middle '60s." That is very different. Defining it in that way is reductionist. When Stanley Crouch talks about Negro rhythms and what are the correct psychological and vibrational components to keep this Negro affinity in the position he wants it, he's really talking about something else. He's not talking about the African-American community as a composite spectra. He's talking of the African-American community as perceived through a Christian framework, as perceived through the Southern experiences, and how those experiences were defined among the intellectuals in the South. I love New Orleans, but I'm not from New Orleans. I'm glad I'm not from New Orleans. As far as I'm concerned, when King Oliver and Louis Armstrong came north, that's when Louis Armstrong discovered extended improvisation.
This idea of entertainment as the optimum state is another antebellum idea. And also, the idea that these people have established a perspective on the Atlantic slave experience that says they're the only people who have suffered. In America, when the railroads started expanding West, they brought in the Asian-Americans! Nobody has a monopoly on being a victim.
In my opinion, the dynamic implications of the exclusionary reverse racism that comes from the African-American community will put it in a much worse position in the next 10-20-30-40 years. I feel very sad about that. I think among the factors that have contributed to this are: (1) the purges of the 1980s; (2) a reductionist viewpoint of the Negro that corresponds with antebellum sentiments and with the trans-activist Christian agenda; and (3) the inability of the African-American community to accept the idea of total equality with all of our people. This racist exclusionary psychology is only possible because certain people were put in positions of power because they would espouse these viewpoints.
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Larry, any thoughts on the following?
Loose Assembly Last Year's Ghost
Loose Assembly Speed of Change
I'm a fan of both Loose Assembly records - a band led by drummer Mike Reed, and featuring Josh Abrams, Jason Adasiewicz, Tomeka Reid, and Greg Ward. I think the newer of the two is a superior effort, FWIW.
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Thanks for the suggestions! I will investigate and report back....
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Greetings all - I was hoping someone could make some recommendations for some good South African music - stuff with emphasis on vocals and harmonies. A friend made me a copy of an old LP entitled Sotho Vocal Jive that's absolutely fantastic and I want more in that vein. Any guidance is greatly appreciated!
-D.
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Great post. Thanks for sharing your thoughts Larry.
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Unfortunately I'm going to be out of town or else I'd definitely be there. Hope Andy's treats you well. What other clubs in Chicago have you guys played?
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FYI, there will be a Matana Roberts Chicago Project CD release party at the Velvet Lounge the Friday and Saturday after Thanksgiving. The first night will be Matana Roberts, Jeff Parker, Josh Abrams and Frank Rosaly, and the second night will also include Fred Anderson.
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We've been lucky to have him in Chicago a number of times in the last few years. First at Millennium Park with Ernest Dawkins. This year he came and sat in with Fred Anderson and William Parker at the Velvet Lounge while he was in town to play Orbert Davis' tribute to Nelson Mandela. A great player and a very interesting guy to talk to.
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Great shot!
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Hoping to make it down to the New Apartment Lounge on Tuesday for his yearly birthday celebration at his weekly gig which is always a joyous occasion. There are a few musicians that I can honestly say changed my life and Von Freeman is definitely one of them.
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Whenever I hear about the MacArthur Grants, I think of this sketch by Stephen Colbert.
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Larry pretty much nailed it based on my knowledge.
FWIW, the Detroit budget dwarfs Chicago's, and they have a cushion of a multi million dollar endowment, something neither the Jazz Institute of Chicago nor the City of Chicago can boast. The interest earned on that alone is probably more than the Chicago festival's budget.
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You know you've got an airtight business plan when the last step is "keep your fingers crossed."
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I only own the duet with Hamid Drake but I really enjoy it. I'd consider picking up some more of his stuff based on what I heard there.
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Ernest Dawkins, Harrison Bankhead and Hamid Drake tonight and tomorrow at the Velvet Lounge here in Chicago.
Chicago Jazz Fest!
in Live Shows & Festivals
Posted
I will be there.
Looking forward the music. Also not to be missed will be the Muhal solo set at the Cultural Center at 3 PM on Friday. If you really want to see it I'd recommend getting there early. It's a small room.