johnlitweiler

I've just reread "Somebody Blew Up America." In the 10-page poem there are seven lines about the specific conspiracy theory (Sharon, Israel knew about the plot, et c.) that stimulates most of the comments here in recent days. I don't see anti-white, anti-Semite,anti-Zionist lines. I do see a few lines of recurring sympathy for some (mostly vicious) Communists of the past. He also says Who killed the most niggers Who killed the most Jews Who killed the most Italians Who killed the most Irish Who killed the most Africans Who killed the most Japanese Who killed the most Latinos Who/ Who/ Who/ and later in the poem: Who put the Jews in ovens And who helped them do it Who said "America First" There's at least one more conspiracy theory in the poem, which I think is for the most part a potent verbal assault on the WHOs of history and of the present who could yet bring us World War III. I can think of some more crimes against humanity that need to be solved and prosecuted, but Baraka has made a start. As to his jazz criticism, the only critics I agree with are the Organissimo critics.

Yes. I still like the other 90% of that poem.

Baraka has stated that Israeli intelligence (traditionally more competent that the CIA) warned the Bush administration that the attack was coming, and the US ignored the warning. It's in the several-page note that follows the poem in his book.

There are some really fine Baraka readings of his poetry on the New York Art Quartet recording "35th Reunion" from 1999. Face, thank you for that video of "Who Blew Up America." The fire still burns, thank God.

And that link leads to another link, http://www.cello.org/Newsletter/MemberSpot/koenig.htm, that is mainly about John Koenig but also fills in some more information re his father. It would be interesting to know more about his stepmother.

A Lester Young biography says that during the 6 months Pres played in the Oliver band, ca. early 1930s, Oliver encouraged him to stretch out as much as he wanted. So Pres would play 12 choruses of "I Got Rhythm" and "Tiger Rag." I would sell my soul to hear a recording of what the young Young sounded like then. (today's pipe dream) Ironic that the Oliver Dixie Syncopators transmogrified into the Luis Russell band, which transmogrified into the very swinging Louis Armstrong big band. Oliver seemed to have the luck, or the business sense, of a Morton.

John, check out this resource. Thanks, Dan, there are good web sites listed there.

In that benighted time of 50 years ago most of the best or hippest jazz critics--LeRoi Jones, Spellman, Hentoff, Martin Williams, Max Harrison, most Jazz Review reviewers, etc. etc.--liked to piss on hard bop. By their standards Rollins, Coltrane, Miles Davis, and possibly Clifford Brown were not hard bop. 2 of the best critical exceptions were Jack Cooke and Michael James. Aren't you glad we're now more sophisticated than that?

They seemed to be basically conscientious musicians--look at their repertoire, for example. But still a cartoon trad band. The soprano player sounded hideous and Kimball was a caricature of a trombonist.

Good grief! What took them so long?

Exactly. The Daley Trio was an important piece of Chicago jazz history--actually, IMO, of free-jazz history--with other virtues along with Russell Thorne. The box ought to be a goodie. One of that trio's few gigs was at the 1965 Down Beat Jazz Festival in Chicago. Quite impressive. Clyde Flowers was the bassist that day.

The price of hearing aids is the problem. I need 'em but have been putting off a return visit to the audiologist. Starkey Hearing Foundation helps low-income people buy hearing aids but I found my income is borderline. Does anybody know of any other foundations, etc. that help low-income folks?

Good for you. John Wright has played occasionally at the Sunday evening Hyde Park Jazz Society events here in Chicago. We've wanted him to play at the Chicago Jazz Festival but he's declined because that's always on Labor Day weekend, the weekend of his annual family reunion.

Do professional hack writers ever really retire? (I haven't.)

Here's another portrait of Jodie Christian, by Lloyd Sachs: http://jazzespress.com/2012/02/14/celebrating-jodie/ BTW that album, Jodie Christian / Experience, is really lovely.

Amen.

Thanks for the link, King. That one is even better because for the first (only?) time in print he mentions his ministry and his Parkinson's.

What a good and kind man, along with being a wonderfully versatile pianist. He created joy for six decades. Here's an interview he gave me 10 years ago: http://jazztimes.com/articles/19751-jodie-christian-perfect-accompaniment

Oh no

quite a qustion

Irene Aebi was apparently the one who was confused about the rights to School Days and offered them to Emanem.

Much thanks for the help - that LAJazz.com list looks especially extensive. Is there also maybe a web site or a newspaper column devoted to free jazz/outside jazz/underground jazz?

To Los Angeles Organissimo members: A friend and I are going to be in your city March 12-18. Is anything especially worthwhile happening musically there? What's a good guide to jazz events in L.A.?

Loves Dream by Bobby Bradford is a beautiful Emanem recording and Davidson later issued two disks of fine Bradford-Carter duets. Along with all the Evan Parker, John Stevens, Derek Bailey, Steve Lacy, Paul Rutherford, etc. Emanem gems that have already been mentioned (and be sure to hear Rutherford's Tromboleneum), there are a Lol Coxhill anthology, some Trevor Watt-Veryan Weston duets, and a Aki Takase disk that especially tickle me. There's also a terrific Agusti Fernandez piano disk on Psi - whatever he does, he's a special artist, a level above ordinary mortals (sorry, can't get to the CDs today to recite titles). Martin Davidson has documented Rutherford, Parker, and the London scene in a wholly conscientious way over the decades - he's one of our saints.