Monday, June 29, 2009

The Persecution of Michael Jackson


The Mad Dog DA and the Mad Dog Media

The Persecution of Michael Jackson

By ISHMAEL REED

Last Thursday, while working on some writing deadlines, I was switching channels on cable. On CNN they were promoting “Black In America, ” an exercise meant to boost ratings by making whites feel good by making blacks look bad, the marketing strategy of the mass media since the 1830s, according to a useful book entitled “The Showman and the Slave, ” by Benjamin Reiss. The early penny press sold a “whiteness” upgrade to newly arriving immigrants by depicting blacks in illicit situations. By doing so they were marketing an early version of a self esteem boosting product. One of the initial sensational stories was about the autopsy of a black woman named Joice Heth, who claimed to be George Washington’s nurse and over one hundred years old. It was the O. J. story of the time. Circus master, P. T. Barnum , charged admission to her autopsy, which attracted the perverted in droves.

And so, if the people broadcasting cable news appear to be inmates of a carnival, there is a connection since the early days of the mass media to that form of show business. According to Reiss, early newspapers were not only influenced by P. T. Barnum, but actually cooperated with him on some hoaxes and stunts.

I would classify CNN’s “Black In America” as a stunt. In preparing for a sequel to the first ‘Black In America, ”which boosted the networks ratings (the O. J. trial saved CNN!), CNN rolled out the usual stereotypes about black Americans. Unmarried black mothers were exhibited, without mentioning that births to unmarried black women have plunged since 1976 more than that of any other ethnic group. Then we got some footage that implied that blacks as a group were homophobes even though Charles Blow a statistician for The New York Times recently published a chart showing that gays have the least to fear from blacks. Recently, the media perpetrated a hoax that blacks were responsible for the passage of Proposition 8, the California proposition that banned gay marriage. An academic study refuted this claim, but that didn’t deter The New York Times from hiring Benjamin Schwarz to explain black homophobia. Schwarz is the writer who wrote in The Los Angeles Times that blacks who were victims of lynchings in the south were probably guilty.

In the last “Black in America, ” Soledad O’Brien, CNN’s designated tough love agent against the brothers and sisters, scolded a black man for not attending his daughter’s birthday party. The aim of this scene was meant to humiliate black men as neglectful fathers. Ms. O’Brien won’t be permitted by her employees to mention that 75% of white children will live at one time or another in a single parent household and that the Gov. of South Carolina’s not showing up for Father’s Day isn’t just a lone aberration in “White America.”

How would CNN promote a “White in America?” The thousands of meth addicts who have abandoned their children? The California rural and suburban white women who do more dope than Latino and black youth? The suburban Dallas white teenagers who are overdosing on “cheese” heroin? Why not? Can’t get State Farm, Ford and MacDonald’s to sponsor such a program? All of these companies are sponsoring “Black In America , ”the aim of which is to cast collective blame on blacks for the country’s social problems. For ratings.

During CNN’s carnival act disguised as news, the scene of Zimbabwe’s Prime Minster being urinated upon by a monkey, while sitting in his garden drew snickers in the newsroom. This is what passes for coverage of the African continent by CNN.

When the bulletin that Michael Jackson had died flashed across the screen, I was prepared for TV at it’s worst and I wasn’t disappointed. The man wasn’t cold before the familiar adjectives were rolled out. “ Weird, bizarre, eccentric, ” the traditional language used to disparage artists by the bourgeoisie. Dan Abrams, who made his reputation by convicting O. J. Simpson, before the opening arguments of his criminal trial, made a snarky comment about Jackson’s weirdness. Mr. Abrams, a higher up at MSNBC, employs a Hitler admirer named Pat Buchanan. Given Abram’s background, why isn’t that considered weird?

Former Calfornia poet laureate Al Young called to inform me that CNN’s Jeffrey Toobin, another O. J. alumni, and a man who said that blacks shouldn’t be “patted on the head” or “patronized” for believing in O. J. Simpson’s innocence, had made some ugly comments about Jackson. (A star who has had at least a dozen facelifts called into the “Larry King Show”to comment about MJ’s altering his appearance).

Also weird was MSBC’s Savanah Guthries’ air-headed depiction of the trial. ( For a list of Ms. Guthries’ false reportings see Media Matters. com). She said that the evidence against Jackson in the trial was “devastating. ” So devastating that some legal experts said that Jackson should never have been brought to trial and that the aim of the trial was to seek a pound of flesh from Jackson for being uppity and for putting the name of Thomas W. Sneddon Jr., a vindictive District Attorney, into a song. In my opinion it was the prosecution of Jackson by this District Attorney, who, among other things, violated Jackson’s fourth amendment rights, and made disparaging remarks about the star, during a press conference, and the side-show pro prosecution media coverage that killed Jackson.

In my lengthy examination of the trial printed in my book, “Mixing It Up, Taking on The Media Bullies, ” I concluded that though millions of Jackson’s fans celebrated his acquittal, the District Attorney, who was allowed to squander the California taxpayers’ money so that he might humiliate a rich black man, whom he felt had sassed him, was the victor. At the beginning of the trial , Jackson was dancing on top of a van. During the trial he had to be hospitalized. At the end, he was a frail emaciated wreck.

Because of the malicious prosecution of Jackson by Sneddon and Sneddon’s claque in the media, Jackson will always be regarded as a pedophile. ( When the trial opened, a USA Today CNN Gallup Poll found that 72% of whites and 51% of Blacks believed that the charges against Jackson were “Definitely” or “Probably” true.) Wherever “Mad Dog” Sneddon, this hateful man might be in his retirement, he can gloat over the death of the man against whom he waged a vendetta with all of the power of the state at his disposal. He even tried to introduce photos of Jackson’s genitals during the 2005 trial, which proved too much even for the pro prosecution judge.

Of course, none of Sneddon’s abuse or the abuse of Jackson by his accusers was mentioned by an old corporate media, out of touch and on life supports. For infotainers like Katie Couric, Joe Jackson, Jackson’s father was MJ’s sole abuser. The eyes of yesterday’s media, black fathers are the principal actors in domestic violence.

Guthrie also said that the prosecution “had conducted mini trials within the trial,” which brought up “ a whole history of prior bad acts of molestation. ”She was referring to 1994 case in which Jackson was accused of pedophilia by a youngster who , according to writer Mary Fisher, a serious journalist, was used by his father to wrest some cash from Jackson. In, ”Mixing It Up…, ”I summarized Mary Fisher’s serious and thorough investigation that was originally published in GQ, October, 1994, under the title “Was Michael Jackson Framed?” Jackson, settled out of court because Johnnie Cochran didn’t want him to face one of those all white suburban juries that O. J. faced.

Fisher wrote: “It’s a story of greed, ambition, misconceptions of part of police and prosecutors, a lazy and sensation-seeking media and the use of a powerful, hypnotic drug. It may also be a story about how a case was simply invented. ”

Fisher claimed that the first case arose from the ambitions of the thirteen-year-old accuser’s stepfather, Evan Chandler, who exploited Jackson’s friendship with his son. At one point, he asked Jackson to build him a house. Fisher said that the child denied being abused by Jackson until he was administered the drug sodium amytal, which is known to induce false memory. Chandler refused to be interviewed for the article and refused to appear on the Today Show, where Fisher repeated her charges before a nationwide audience. She said that the whole scheme was concocted by the child’s stepfather to destroy the superstar.

None of the media descriptions of Jackson’s career, including a superficial pop driven survey of the star’s career by Anderson Cooper, referred to the 2005 plaintiff’s lies and his mother’s shabby history of conning individuals and institutions including J. C. Penney’s, which she accused of sexual abuse. She claimed that she had been “fondled inappropriately” by store personnel. Documents also hinted that “…the mom rehearsed her children to corroborate her story. ” During the 2005 trial,

Jackson’s Attorney, Tom Mesereau Jr. got the teenage boy to admit that he lied under oath during the J. C. Penny case. USA Today reported on March 1, 2005, that the mother used the boy as a prop to get money from Mike Tyson, Adam Sandler, Jim Carrey, Jay Leno and others, “even though insurance was paying his bills. ” Linda Deutsch, one of the last of hard-nosed shoe leather journalists, reporting for the Associated Press on March of 2005. said that Mesereau got the 15 year old to admit that he’d told Jeffrey Alpert, a school official that “nothing happened “ between Jackson and him.

Connie Keenan, editor of Mid Valley News, wrote of a hoax that the boy’s mother perpetrated on that newspaper. She made a pitch that her son needed medical care and that she had no financial means to provide it. During the first week of the newspaper’s appeal, the mother received $965 in donations. It turned out that the boy was being treated at Kaiser Permanente in Los Angeles with no cost to the family. Connie Keenan concluded that “ My gut level, she’s a shark. She was after money. My readers were used. My staff was used. It’s sickening. ”

While referring to Jackson as “bizarre” none of the cable reporting about Jackson’s death cited the bizarre courtroom testimony of the plaintiff’s mother, Janet Arvizo. At one point during her testimony, she said that feared her children would disappear from Neverland, Jackson’s ranch, in a hot air balloon.

On Apr 18, 2005, Agence France-Presse reported “The mother of Michael Jackson's young molestation accuser claimed that she feared her children would be spirited away from the star's Neverland Ranch in a hot air balloon. In some of the most bizarre testimony of Jackson's frequently surreal trial, the woman revealed that she told police she feared her three kids would vanish from Neverland into California's blue skies.

"Did you tell the sheriff that you thought your children might disappear in a hot air balloon from Neverland?" Jackson's lead lawyer Thomas Mesereau asked the woman under cross-examination.

"I made them aware," she said.

Finally, in November of 2006, according to TMZ, Janet Arvizo pled no contest to a welfare fraud charge in Los Angeles. She was ordered to 150 hours of community service and to pay $8, 600 in restitution. During Jackson's trial, Arvizo invoked the Fifth regarding welfare fraud. Seems that she applied for welfare even though she’d received a $150, 000 settlement from J. C. Penny’s. Even with the mother’s behavior and the boys lies, Nancy Grace, commenting on the death of Jackson, said that she was surprised by the not guilty verdict in the Jackson trial. No wonder Ms. Grace has been called” a cheerleader for the prosecution.”

Yet, these journalists insist that their news product is superior
to that of bloggers. (Journalistic bottom feeder, Diane Dimond, a Sneddon fan and Jackson stalker was invited by MSNBC to weigh in during which she was allowed to engage in doofus speculation much of it ugly about Jackson’s life and death)

G. Q. s Mary Fisher accused her colleagues of lazy journalism of the sort that defamed Jackson in life and in death. Maureen Orth from Vanity Fair didn’t read Mary Fisher’s findings. She was on the Chris Matthews Show accusing Jackson of “serious felonies” involving pedophilia. Another reporter who seemed to nullify the 2005 Jackson jurie's decision was “Morning Joe’s” adjunct bimbo, Courtney Hazlett. She said that there would be no pilgrimage to Neverland and as there was to Graceland, because “bad things happened at Never Land. ” We are led to believe that Presley and his entourage spent their days at Graceland drinking milk and reading each other passages from the scriptures.

All of these opinions seem to indicate that Cable’s talking heads have taken it upon themselves to nullify the judgment of juries whenever they please. This all white electronic jury has placed itself above the law.

But at least Jackson didn’t suffer from the kind of hi tech lynching accorded the tragic Patsy Ramsey. For years cable, which now not only calls elections but acts as judge and jury, accused her of murdering her child. Only after her death was it found that she was innocent.

If the reporting on Jackson’s death by the media wasn’t salacious and ignorant enough, it didn’t get any better the next day, June 26.

Ignoring Jackson’s philanthropic pursuits and contributions to forty charities, on the “Today Show, “it was all about what happened to all of the nigger’s money and whether he died from too many drugs and what’s to become of his children, questions meant to attract the prurient. Again, Diane Dimod was invited on to spread scurrilous unconfirmed rumors about the dead star. Some of the modern day carnival barkers like Chris Matthews expressed surprise that Jackson’s death resulted in such an outpouring of worldwide mourning. This is what happens to people like Matthews who dwell in an insulated white supremacist bubble( that includes the Anglo wannabe and Churchill admiring Irish among them) which holds that a narrow cultural strip between New York and Washington represents the world.

I would like to have seen more independent African-American journalists comment on the passing of Michael Jackson, but, according to Richard Prince, who runs a media blog for The Maynard journalism Institute, hundreds have lost their jobs over the last two years, including Pulitzer Prize winners like Les Payne.

With the absence of black and Latinos from journalism, the media have become a spare all white jury always ready to take down a black celebrity for the entertainment of the types who used to attend those acts created by P. T. Barnum.

Ishmael Reed is the publisher of Konch. His new book, "Mixing It Up, Taking On The Media Bullies" was published by De Capo.

Lyrics: by Michael Jackson

They wanna get my a**, dead or alive.
You know he really tried to take me down by surprise.
I bet he missioned with the CIA.
He don't do half what he say.

Dom Sheldon is a cold man
Dom Sheldon is a cold man
Dom Sheldon is a cold man
Dom Sheldon is a cold man

He out shock in every single way.
He stop at nothing just to get his political say.
He think he hot cause he's BSDA.

I bet he never had a social life anyway.
You think he bother with the KKK?
I bet his mother never taught him right anyway.
He want your vote just to remain TA.
He don't do half what he say.

Dom Sheldon is a cold man
Dom Sheldon is a cold man
Dom Sheldon is a cold man
Dom Sheldon is a cold man

Dom S. Sheldon is a cold man
Dom Sheldon is a cold man
Dom Sheldon is a cold man
Dom Sheldon is a cold man

Friday, May 29, 2009

Malcom X at the Ford Auditorium, 1965


(excerpts)
From Speech at Ford Auditorium (February 1965)

"One of the shrewd ways that they use the press to project us in the eye or image of a criminal: they take statistics. And with the press they feed these statistics to the public, primarily the white public. Because there are some well-meaning persons in the white public as well as bad-meaning persons in the white public. And whatever the government is going to do, it always wants the public on its side, whether it's the local government, state government, federal government. So they use the press to create images. And at the local level, they'll create an image by feeding statistics to the press — through the press showing the high crime rate in the Negro community. As soon as this high crime rate is emphasized through the press, then people begin to look upon the Negro community as a community of criminals.
"And then any Negro in the community can be stopped in the street. "Put your hands up," and they pat you down. You might be a doctor, a lawyer, a preacher, or some other kind of Uncle Tom. But despite your professional standing, you'll find that you're the same victim as the man who's in the alley. Just because you're Black and you live in a Black community, which has been projected as a community of criminals. This is done. And once the public accepts this image also, it paves the way for a police-state type of activity in the Negro community. They can use any kind of brutal methods to suppress Blacks because "they're criminals anyway." And what has given this image? The press again, by letting the power structure or the racist element in the power structure use them in that way. . . .

"From 1954 to 1964 was the era in which we witnessed the emerging of Africa. The impact that this had upon the civil rights struggle in America has never been told, fully told.
"For one reason — for one thing, one of the primary ingredients in the complete civil rights struggle was the 'Black Muslim' movement. The 'Black Muslim' movement, though it took no part in things political, civic — it didn't take too much part in anything other than stopping people from doing this drinking, smoking, and so on. Moral reform it had, but beyond that it did nothing. But it talked such a strong talk until it put the other Negro organizations on the spot. Before the 'Black Muslim' movement came along, the NAACP was looked upon as radical; they were getting ready to investigate it. And then along came the 'Muslim' movement and frightened the white man so much he began to say, "Thank God for old Uncle Roy and Uncle Whitney and Uncle A. Philip and Uncle... — you've got a whole lot of uncles in there. I can't remember their names, they're all older than I, so I call them "uncle." Plus, if you use the word "Uncle Tom" nowadays, I heard they'll sue you for libel, you know. So I don't call any of them Uncle Tom anymore. I call them Uncle Roy. . . .

"You ever notice how some Negroes will brag, "I'm the only one out there, I'm the only one on my job." Don't you hear them say that? Yes, you ought to punch him in hi — no he's your brother, you shouldn't punch your brother. But you should really get him — you can punch him with some words.
"Whenever you see a Negro bragging about "he's the only one in his neighborhood," he's bragging. He's telling you in essence, "I'm surrounded by white folks," you know. "I love them, and they love me." Oh yes. And on his job "I'm the only one on my job." I've been listening to that stuff all my life, and the generation that's coming up, they're not going to be saying that. The generation that's coming up, everybody is going to look like an Uncle Tom to them. And you and I have to learn that in time, so that we don't pose that image when our people, when our young generation come up and begin to look at us. . . .

"Brothers and sisters, let me tell you, I spend my time out there in the street with people, all kind of people, listening to what they have to say. And they're dissatisfied, they're disillusioned, they're fed up, they're getting to the point of frustration where they are beginning to feel: What do they have to lose? And when you get to that point you're the type of person who can create a very dangerously explosive atmosphere. This is what's happening in our neighborhood, to our people. I read in a poll taken by Newsweek magazine this week, saying that Negroes are satisfied. Oh yes, poll you know, in Newsweek, supposed to be a top magazine with a top pollster, talking about how satisfied Negroes are. Maybe I haven't met the Negroes he met. Because I know he hasn't met the ones that I've met.
"But this is dangerous. This is where the white man does himself the most harm. He invents statistics to create an image, thinking that that image is going to hold things in check. You know why they always say Negroes are lazy? 'Cause they want Negroes to be lazy. They always say Negroes can't unite because they don't want Negroes to unite. And once they put this thing in the mind, they feel that the Negro gets that into him and he tries to fulfill their image. If you say you can't unite him, and then you come to him to unite him, he won't unite because it's been said that he's not supposed to unite. It's a psycho that they work, and it's the same way with these statistics.
"When they think that an explosive era is coming up, then they grab their press again and begin to shower the Negro public, to make it appear that all Negroes are satisfied. Because if you know that you're dissatisfied all by yourself and ten others aren't, you play it cool; but you know if all ten of you are dissatisfied, you get with it. Well, this is what the man knows. The man knows that if these Negroes find out how dissatisfied they really are — and all of them, even Uncle Tom is dissatisfied, he's just playing his part for now — this is what makes them frightened. It frightens them in France, it frightens them in England, and it frightens them in the United States. . . .

Thursday, May 21, 2009

2010 Jazz Masters announced by National Endowment for the Arts



Nation's highest honor in jazz is bestowed on eight living legends

May 21, 2009



Washington, DC - The National Endowment for the Arts (NEA) today announced the recipients of the 2010 NEA Jazz Masters Award -- the nation's highest honor in this distinctly American music. The eight recipients will each receive a $25,000 grant award and be publicly honored in an awards ceremony and concert on Tuesday, January 12, 2010 at Frederick P. Rose Hall, home of Jazz at Lincoln Center.

The eight 2010 NEA Jazz Masters are:

Name

Category

City, State

Muhal Richard Abrams (pictured above)

Pianist, Composer, Educator

New York, NY

Kenny Barron

Pianist, Composer, Educator

Brooklyn, NY

Bill Holman

Composer, Arranger, Saxophonist

Los Angeles, CA

Bobby Hutcherson

Vibraphonist, Marimba Player, Composer

Montara, CA

Yusef Lateef

Saxophonist, Flutist, Oboist, Composer, Educator

Amherst, MA

Annie Ross

Vocalist

New York, NY

Cedar Walton

Pianist, Composer

Brooklyn, NY

George Avakian, a jazz producer, manager, critic, and educator from Riverdale, New York, will receive the 2010 A.B. Spellman NEA Jazz Masters Award for Jazz Advocacy.

"These master artists have dedicated their lives to shaping and advancing the rich tradition of jazz," said NEA Acting Chair Patrice Walker Powell. "The NEA is pleased to recognize their individual creative talents and celebrate their combined musical contributions."

For the January presentation, the Arts Endowment will again partner with Jazz at Lincoln Center in New York City to produce the event, and the Association of Performing Arts Presenters and Arts Presenter's annual conference. Conference attendees will have the opportunity to attend some of the jazz master events and learn more about presenting jazz in the communities. The Awards Ceremony & Concert will be held at Frederick P. Rose Hall, home of Jazz at Lincoln Center, and will feature the Jazz at Lincoln Center Orchestra with Wynton Marsalis in a program dedicated to the honorees' lives and works. Past collaborations between the NEA and Jazz at Lincoln Center include the NEA Jazz in the Schools curriculum -- available free of charge to high school teachers nationwide and used by nearly 8.4 million students since its inception. The NEA Jazz in the Schools Web site is a 2009 Webby Awards Official Honoree.

Each member of the 2010 NEA Jazz Masters class met the selection criteria of being a distinguished artist whose excellence, impact, and significant lifetime contributions have helped to keep jazz alive and further the growth of the art form:

  • The co-founder and first president of the Association for the Advancement of Creative Musicians (AACM), pianist Muhal Richard Abrams is highly respected by critics and musical peers as both a pianist and composer in a variety of musical styles.
  • Recognized the world over as a master of performance and composition, virtuoso pianist Kenny Barron has worked with such renowned musicians as Dizzy Gillespie, Charlie Haden, Roy Haynes, and fellow 2010 NEA Jazz Master Yusef Lateef.
  • Bill Holman's unique and complex arrangements have long been appreciated by musicians and critics alike, including Louie Bellson, Count Basie, Woody Herman, Buddy Rich, Doc Severinsen, and others.
  • Bobby Hutcherson's sound and style on the vibraphone helped modernize the instrument in the 1960s, adding an adventurous new voice to hard bop and free jazz.
  • A major force on the international musical scene for more than six decades, Yusef Lateef was among the first to incorporate world music into traditional jazz through his mastery of Middle Eastern and Asian reed instruments.
  • One of the early practitioners of the singing style known as "vocalese" -- the setting of original lyrics to an instrumental jazz solo -- Annie Ross was part of the renowned vocal trio Lambert, Hendricks & Ross
  • One of the great hard bop pianists, Cedar Walton is also well-known for his distinctive compositions, which he first honed during his years with Art Blakey and the Jazz Messengers.
  • George Avakian is not only a record producer but a true pioneer in the industry. Besides producing some of the finest jazz albums of the 1950s for Columbia, including Miles Davis's Miles Ahead and Duke Ellington's Ellington at Newport, he helped establish the 33 1/3 LP as the primary format for the recording industry. He also was the first to produce reissues of long out-of-print jazz recordings.

Profiles and downloadable high resolution photos of the 2010 NEA Jazz Masters can be found on the NEA's Web site.

Each year since 1982, the Arts Endowment has conferred the NEA Jazz Masters Award to living legends who have made major contributions to jazz. With this new class, the award has been given to 114 great figures of jazz in America, including Count Basie, George Benson, Art Blakey, Dave Brubeck, Betty Carter, Ornette Coleman, Miles Davis, Roy Eldridge, Ella Fitzgerald, Dizzy Gillespie, Lionel Hampton, Herbie Hancock, Elvin Jones, John Levy, Abbey Lincoln, Max Roach, Sonny Rollins, Cecil Taylor, Sarah Vaughan, Nancy Wilson, and Teddy Wilson.

About NEA Jazz Masters: NEA Jazz Masters are selected from nominations submitted by the public and receive a one-time grant award of $25,000, are honored at a public awards ceremony, and may be offered opportunities for participation in NEA-sponsored promotional, performance, and educational activities under the NEA Jazz Masters National Initiative program. Only living musicians or jazz advocates may receive the NEA Jazz Masters honor.

The National Endowment for the Arts has supported jazz artists and organizations since 1969, providing millions of dollars in grants and awards. In 2004, the NEA significantly expanded its NEA Jazz Masters program and in 2005 created the NEA Jazz Masters Initiative, a comprehensive program of jazz support that includes the NEA Jazz Masters award; NEA Jazz Masters Live, a series of multiple performance and educational engagements in selected communities, featuring NEA Jazz Masters; radio programming featuring NEA Jazz Masters; educational resources through the NEA Jazz in the Schools program produced by the Arts Endowment in partnership with Jazz at Lincoln Center; and publications and reports. For more information on NEA Jazz Masters, the public is invited to visit the Web site, at www.neajazzmasters.org.

Wednesday, May 13, 2009

Poetry, and all that jazz . . . KDVS

New Day Jazz


Justin Desmangles

Jazz music for lovers and the lonely.

Genre
Jazz

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Track Artist Song Album Label


Lee Morgan All At Once You Love Her Candy Blue Note


Charles Mingus Bugs The Complete Candid Recordings of Charles Mingus Mosaic


Bruce Wright (read by Moses Gunn) Journey To A Parallel A Hand Is On The Gate Verve-Folkways


LeRoi Jones (read by Ellen Holly) The End Of Man Is His Beauty A Hand Is On The Gate Verve-Folkways


Bud Powell Blue Pearl Bud! (The Amazing Bud Powell Volume 3) Blue Note


Bud Powell John's Abbey Time Waits Blue Note

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Charles Mingus Lock'em Up The Jazz Life Candid


Johnny Griffin The Way You Look Tonight Johnny Griffin Blue Note


Herbie Nichols Argumentative Variation The Third World Blue Note


Sterling Brown (read by James Earl Jones & Moses Gunn) Ol' Lem A Hand Is On The Gate Verve-Folkways


Helene Johnson (read by Josephine Premice) Sonnet To A Negro In Harlem A Hand Is On The Gate Verve-Folkways


Arna Bontemp (read by Leon Bibb) Southern Mansion A Hand Is On The Gate Verve-Folkways


Langston Hughes (read by Ellen Holly) Mother To Son A Hand Is On The Gate Verve-Folkways


Thad Jones & Kenny Burrell Something To Remember You By The Otherside Of Blue Note 1500 Series Blue Note Japan


Kenny Burrell My Heart Stood Still Kenny Burrell Blue Note

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Newport Rebels Me & You Newport Rebels Candid


Louis Smith Au Privave Smithville Blue Note


Lou Donaldson After You've Gone Lou Donaldson Blue Note


Richard Wright (read by James Earl Jones) Between The World & Me A Hand Is On The Gate Verve-Folkways


Jonathon Brooks (read by Leon Bibb) My Angel A Hand Is On The Gate Verve-Folkways

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Newport Rebels Mysterious Blues Newport Rebels Candid


Julian "Cannoball" Adderley Alison's Uncle Somethin' Else Blue Note


Paul Chambers Untitled Bebop Blues Original Bass On Top Blue Note


Myron O'Higgins (read by Gloria Foster) To A Young Poet A Hand Is On The Gate Verve-Folkways


James Vaughn (read by Roscoe Lee Browne) from Four Questions A Hand Is On The Gate Verve-Folkways


Owen Dodson (read by Leon Bibb) Counterpoint A Hand Is On The Gate Verve-Folkways


Jutta Hipp These Foolish Things The Otherside Of Blue Note 1500 Series Blue Note Japan

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Bennie Green featuring Babs Gonzalez Soul Stirrin' Soul Stirrin' Blue Note


James Emanuel (read by Cicley Tyson) Get Up, Blues A Hand Is On The Gate Verve-Folkways


Mari Evans (read by Cicely Tyson) The Rebel A Hand Is On The Gate Verve-Folkways


Calvin Hernton (read by Roscoe Lee Browne) Distant Drum A Hand Is On The Gate Verve-Folkways


Charles Mingus Fables Of Faubus Charles Mingus Presents Charles Mingus Candid

Friday, May 8, 2009

Sam's list


May 4 at 5:41pm
Hey JD,
I'm ready for your top 20 jazz records of all time. Pull no punches my friend.
-Sam
May 6 at 10:39pm
This list does not rank individual songs but "records", in other words 33- 1/3 rpm lp's from 1951 to the present. There are many individual songs, Coleman Hawkins original recording of Body & Soul for example, that are far more important than any of the below listed. There are also many individual improvisations that are not listed here, such as Lionel Hampton's percussion solo on Jack the Bellboy, that are of overwhelming importance. Louis Armstrong's Potato Head Blues would meet both the above criteria. All three were originally issued as 78's

Top 20
Trumpets
Kenny Dorham – Quiet Kenny – New Jazz
Lee Morgan – Candy- Blue Note
Saxophones
Sonny Rollins – Way Out West – Contemporary
John Coltrane – Soultrane – Prestige
Pianos
Bud Powell – The Scene Changes – Blue Note
Thelonius Monk –Brilliant Corners-Riverside
Basses
Charles Mingus – Charles Mingus Presents Charles Mingus – Candid
Drums
Art Blakey & the Jazz Messengers – Indestructible – Blue Note
Vocalists
Sarah Vaughn –Sarah +2 – Roulette
Count Basie Swings, Joe Williams Sings – Count Basie Orchestra – Verve
Betty Carter – Inside Betty Carter – United Artists
Large Groups
Duke Ellington - . . . and his mother called him Bill – RCA
Small Groups
Charles Mingus – Tijuana Moods –RCA
Quintets/Sextets
Miles Davis –Milestones-Columbia
Eric Dolphy – Far Cry – New Jazz
Quartets
Modern Jazz Quartet – Blues at Carnegie Hall – Atlantic
Trios
Bill Evans Trio –Sunday at the Village Vanguard-Riverside
Duos
Ron Carter & Jim Hall – Live at The Village West- Concord
Solo
Thelonious Monk – Thelonious Himself-Riverside
Collectives
The Art Ensemble of Chicago –Nice Guys-ECM

Thursday, April 30, 2009

Celebrating the Duke's Birthday on KDVS


Show Description for Wednesday 04/29/2009
This morning we will be celebrating the birthday of the greatest composer to emerge from the United States of America, Duke Ellington. We will provide a special focus on the small groups lead by his sidemen throughout the early 40's as well as his duets with his right hand man, Billy Strayhorn. Also included will be the remarkable series of recordings made for Columbia, including The Clothed Woman, Golden Cress and On A Turqouise Cloud. In addition we will hear from Ellington vocalists, Joya Sherill, Kay Davis and Al Hibbler.

Track Artist Song Album Label

Duke Ellington & His Orchestra Johnny Come Lately Johnny Come Lately RCA


Duke Ellington & Billy Strayhorn Johnny Come Lately The Golden Duke Prestige

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Duke Ellington & His Orchestra Rock Skippin' at the Blue Note Monologue CBS-France


Duke Ellington & His Orchestra Smada Monologue CBS-France


Duke Ellington & His Orchestra It Don't Mean a Thing (If It Ain't Got That Swing) Johnny Come Lately RCA

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Duke Ellington & Billy Strayhorn Tonk The Indispensible Duke Ellington and the Small Groups Vol. 9/10 (1940-1946) RCA-France


Duke Ellington & Billy Strayhorn Drawing Room Blues The Indispensible Duke Ellington and the Small Groups Vol. 9/10 (1940-1946) RCA-France


Duke Ellington & His Orchestra Prelude to a Kiss Johnny Come Lately RCA

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Duke Ellington & His Orchestra Caravan Johnny Come Lately RCA


Duke Ellington - Charles Mingus - Max Roach Caravan Money Jungle United Artists

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Duke Ellington & His Orchestra On a Turqouise Cloud Monologue CBS-France


Duke Ellington & His Orchestra N.Y. City Blues Monologue CBS-France


Duke Ellington & His Orchestra Hy'a Sue Monologue CBS-France


Duke Ellington & His Orchestra Golden Cress Monologue CBS-France

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Duke Ellington & His Orchestra I Ain't Got Nothing But the Blue Johnny Come Lately RCA


Duke Ellington & His Orchestra Mood to be Wooed Johnny Come Lately RCA


Duke Ellington & His Orchestra Kissing Bug Johnny Come Lately RCA


Duke Ellington & His Orchestra Everything But You Johnny Come Lately RCA

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Barney Bigard & His Orchestra Brown Suede The Indispensable Duke Ellington and the Small Groups Vol. 9/10 (1940-1946) RCA-France


Barney Bigard & His Orchestra Noir Bleu The Indispensable Duke Ellington and teh Small Groups Vol. 9/10 (1940-1946) RCA-France


Barney Bigard & His Orchestra C Blues The Indispensable Duke Ellington and the Small Groups Vol. 9/10 (1940-1946) RCA-France


Duke Ellington & His Orchestra C Jam Blues Johnny Come Lately RCA


Duke Ellington & Billy Strayhorn C Jam Blues The Golden Duke Prestige

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The Washingtonians Hop Head The Complete Duke Ellington Vol. 1 1925-1928 CBS-France


The Harlem Footwarmers Diga Diga Doo The Complete Duke Ellington Vol. 1 1925-1928 CBS-France


Duke Ellington & His Orchestra The Mooche The Music of Duke Ellington Columbia


Duke Ellington & His Orchestra Echoes of the Jungle Daybreak Express RCA


Duke Ellington & His Orchestra Sophisticated Lady The Music of Duke Ellington Columbia


Duke Ellington & His Orchestra Lost in Meditation Duke Ellington 1938 Smithsonian


Duke Ellington & His Orchestra Hip Chic Duke Ellington 1938 Smithsonian


Duke Ellington & His Orchestra A Portrait of Bert Williams Duke Ellington 1940 Smithsonian


Duke Ellington & Jimmy Blanton Pitter Panther Patter Duke Ellington 1940 Smithsonian


Johnny Hodges & His Orchestra Day Dream The Indispensable Duke Ellington and the Small Groups Vol. 9/10 (1940-1946) RCA-France


Johnny Hodges & His Orcestra Passion Flower The Indispensable Duke Ellington and the Small Groups Vol. 9/10 (1940-1946) RCA-France


Duke Ellington & His Orchestra Moon Mist Johnny Come Lately RCA

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Duke Ellington & His Orchestra Lady of the Lavender Mist Monologue CBS-France


Duke Ellington & His Orchestra The Clothed Woman Monologue CBS-France


Duke Ellington & His Orchestra Pretty & the Wolf Monologue CBS-France


Duke Ellington & His Orchestra Fancy Dan Monologue CBS-France


Duke Ellington & His Orchestra Brown Betty Monologue CBS-France

Monday, April 20, 2009

Pow Wow: A Fundrasier for The Before Columbus Foundation

if the email below is blank click the following link, or copy and paste the link to forward e-mail to others: http://mojicaarts.com/postcard/041609/

POW WOW FUNDRAISER

A Celebration Honoring 33 Years of
the Before Columbus Foundation
with special performances in
music, theater, poetry, dance
and the art of the short story.

Hosted by Ishmael Reed & Justin Desmangles

Sat., May 9, 2009
1-4 PM
with Reception

This event is free to the Public.
Donations are welcomed at the door.
Main branch of the San Francisco Public Library
Lower level, Koret Auditorium
100 Larkin Street (at Grove)

For more information, contact:
Justin Desmangles
hoodoojazz@gmail.com
www.beforecolumbusfoundation.org

Alejandro Murguia
Artists Performing:

The line up includes music, poetry, dance, theater and the short story.

Alejandro Murguia, Author

Deepa Subramaniam & Vidya Iyer of the Nrithyollasa Dance Academy

Flamenco & Jazz guitarist Aswut Rodriguez

Nrithyollasa Dance Academy
Tennessee Reed, Poet

Conyus, who will be reading his short story, Wormwood

A performance from Wajahat Ali's play Domestic Crusaders

Ishmael Reed, presenting a performance piece from Genny Lim's The Only Language She Knows directed by Carla Blank, with music by Jon Jang.
Tennessee Reed

The International Capoeira Angola Foundation

Conyus
Ishmael Reed
About the Before Columbus Foundation:

The Before Columbus Foundation was founded in 1976 as a nonprofit educational and service organization dedicated to the promotion and dissemination of contemporary American multicultural literature. The goals of BCF are to provide recognition and a wider audience for the wealth of cultural and ethnic diversity that constitutes American writing. BCF has always employed the term "multicultural" not as a description of an aspect of American literature, but as a definition of all American literature. BCF believes that the ingredients of America's so-called "melting pot" are not only distinct, but integral to the unique constitution of American Culture-the whole comprises the parts.

In 1978, the Board of Directors of BCF (authors, editors, and publishers representing the multicultural diversity of American Literature) decided that one of its programs should be a book award that would, for the first time, respect and honor excellence in American literature without restriction or bias with regard to race, sex, creed, cultural origin, size of press or ad budget, or even genre. There would be no requirements, restrictions, limitations, or second places. There would be no categories (i.e., no "best" novel or only one "best" of anything).

International Capoiera Angola Foundation
Domestic Crusaders by Wajahat Ali
Genny Lim
Jon Jang
The winners would not be selected by any set quota for diversity (nor would "mainstream white anglo male" authors be excluded), because diversity happens naturally. Finally, there would be no losers, only winners. The only criteria would be outstanding contribution to American literature in the opinion of the judges.

All winners are accorded equal standing. Their publishers are also to be honored for both their commitment to quality and their willingness to take the risks that accompany publishing outstanding books and authors that may not prove "cost-effective" in the short run. There are special Award designations (such as Lifetime Achievement) for contributions to American literature beyond a recently published book. The American Book Awards Program is not associated with any industry group or trade organization. The American Book Awards offer no cash prize nor do they require any financial commitments from the authors or their publishers. The Award winners are nominated and selected by a panel of writers, editors, and publishers who also represent the diversity of American literary culture.

American Book Awards
Before Columbus Foundation
The Raymond House
655-13th Street, Suite 302
Oakland, CA 94612
(510) 268-9775
www.beforecolumbusfoundation.org