blajay

http://www.museumstuff.com/zg.cgi?ln=Braithwaite

Hmm. That third link there in reference to the 2002 concert says, "The idea for the show began after the 1961 celebration where Elombe Brath, Kwame Brathwaite, and members of AJASS witnessed the event and decided to create the conditions for Black women to feel proud of their natural beauty." It looks like Kwame Brathwaite was one of the photographers--is that the one you referred to, Soul Stream? "Elombe Brath has been a selfless, learned and loyal educator in our community for more than fifty years. We first became aware of his activism as a very young founder/organizer of African Jazz Art Society and Studio (AJAZZ) progenitors of the ‘Black is Beautiful’ movement that spawned the Grandassa Models in the early 1960's. In addition to chairing the Patrice Lumumba Coalition, Elombe is the long time host for the weekly program ‘Afrikaleidoscope’ which airs on WBAI Pacifica Radio. Elombe has certainly enriched our lives with his valuable contributions to our cultural enlightenment." http://upcoming.yahoo.com/event/421534/ Unsure of their relations to George Braith All these name changes have me out of Breaith!

If you are interested in some of this art, you may appreciate the art of Emory Douglas, the former minister of culture for the Black Panther Party for Self Defense. http://www.itsabouttimebpp.com/Emory_Art/E...ouglas_Art.html A book just came out about a year ago that collects most of his work. I highly recommend it: http://www.amazon.com/Black-Panther-Revolu...s/dp/0847829413 Here is a sample:

My thought as well. I do not know. From the NCA New York article: "AJAS produced its first jazz concert on December 24, 1956 at Small’s Paradise, with Lou Donaldson and the Bill English Quartet and a group of young budding jazz artists, George Braith, Bobby Capers, Vinnie McEwen, Oliver Beener, Pete LaRoca, Ray Draper and others."

Not sure if you're trying to be clever, but I think he is saying that issues of the magazine sold out due to the popularity of Lenny White, who is on the cover, and excitement for his reunion with RTF. It doesn't say that Lenny White sold out. If you think that is the case, that is something else entirely.

Yes. And brave--he could barely stand for that recording, so close to death. I liken writers like Penman knocking his classical pursuits and Varese-inspired work to fools knocking Bird for Stravinsky inspired more "serious" ideas. Just because Zappa had profane lyrics about poop and sex doesn't mean there isn't something more to his music, and just because Parker got head from random white women while high and sucking on chicken bones in the back of a taxi obviously doesn't mean that there isn't something more to his music.

The Baby Snakes DVD is testament to that too. Also, I saw his son Dweizel play his father's music pretty well a couple years ago with a lot of his old bandmates--Terry Bozio, Napoleon Murphy Brock, etc. Dweizel was accurate, though not nearly as charismatic as Frank.

Wow, sir!--show some respect, the man has been dead for a decade and a half! He was a legendary guitarist/composer. Some lyrics and themes are overly provocative for the sake of defying censorship. But if that gets to you, besides the significant work with the Mothers of Invention, like We're Just in it for the Money, listen to Hot Rats, Waka/Jawaka, the Grand Wazoo, or Uncle Meat and then tell me his music stank. Some of the 80s stuff where he experimented with drum machines and synthesizers is not my bag, but for the most part it is really creative stuff that predated and influenced a lot of wonderful music that has gotten more praise than it should have. Your opinion and mine differ, & that's ok. That's true Paul, it's all good. If you ever do spark an interest in Zappa, I recommend the Barry Miles bio from a few years back--great read.

Wow, sir!--show some respect, the man has been dead for a decade and a half! He was a legendary guitarist/composer. Some lyrics and themes are overly provocative for the sake of defying censorship. But if that gets to you, besides the significant work with the Mothers of Invention, like We're Just in it for the Money, listen to Hot Rats, Waka/Jawaka, the Grand Wazoo, or Uncle Meat and then tell me his music stank. Some of the 80s stuff where he experimented with drum machines and synthesizers is not my bag, but for the most part it is really creative stuff that predated and influenced a lot of wonderful music that has gotten more praise than it should have.

CD1 of Jimmy Smith--February 1957 Sessions

PM on the way for these!

Art Tatum--The Greatest Piano of Them All (Verve)

At Home: Commuting:

It is the home of Tatum. I thought he was dead... MG Thus spoke Zarathustra

It is the home of Tatum.

Charles Tolliver--Paper Man (Black Lion/Freedom) Arista reissue

Jimmy Raney--Wistaria

Sonny Stitt--Constellation (Cobblestone) with Barry Harris, Sam Jones, Roy Brooks

How was Barry Harris? I'm on the left coast, but I encouraged a Chicago friend to attend. That Kenny Burrell thread piqued my appetite for the Detroit hard bop musicians--just spinned Barry Harris at the Jazz Workshop again. Damn! And to think he got rejected from Blue Note for being too "beautiful." He clearly has some real nasty stuff.

What paper is this from?

Herbie Nichols--Complete Blue Note, Side V He really was the bridge between Monk and Andrew Hill I needed. But he is also so much more than that. One tune he'll flash through complex runs I had only heard in bop from early Bud Powell, and the next he's trudging around some minor beat like Monk. If only he hadn't died so young...

I got the same e-mail. Crossing my fingers... They sent the same one again...

I'm not interested in defending the project, I just thought it was interesting and worth passing on to all of you--people whose opinions I (mostly) respect, having read the forum as a non-member for awhile. I think it is overly-reductive and naive to describe the finished product as a dub of a first generation copy, though. If you have listened to 2" tape before, and I understand a very small percentage of people have, you understand the significant difference the medium makes.

I here ya about playing them again--sounds like a plan. Think Chuck was being facetious... Facetious, eh? As far as I understand it, the master tape was played and copied once to one other 2 in. tape, losing as little information as possible because it is tape to tape. That second tape then copies all the subsequent ordered tapes. So, besides my one lucky listening session, the only time the original source was played was to make the first copy. If you had been me, would you not have accepted an offer to listen to the original just once? Is it too sacred never to be enjoyed? Of course, I understand that every time you play a tape, just like a record, on a miniscule level it destroys it at the same time, but I don't feel responsible for the almost certainly unidentifiable damage done for my evening there. Also, for a project like this, I am pretty sure profit is not the first thing on their minds. P.S... well aware of your experience, which I am not contesting, so no need for the speech: