Quincy Troupe Errançities

Show description for Sunday 1/29/2012 @ 3:00 PM - 6:00 PM

This week, on the 5 o'clock hour, poet, essayist, editor, Quincy Troupe. We will be discussing his most recent collection, Errancities, as well as his new recording, SOUNDART a new tongue.

Many of the poems in Errançities had their origins in my visits to the beautiful French-speaking island of Guadeloupe. “Errance” is a French word meaning to “to wander,” or a “roving, wandering life,” also, “a risky, edgy, wandering life.” The title poem, “Errançities,” exemplifies all these concepts for me, as do other poems in the collection. I first discovered the word while reading the poems of Edouard Glissant, the late, distinguished poet, philosopher, novelist, and critical thinker from Martinique. I fell in love with the word and its meaning, and it seemed to apply to my life and the poems I was writing at the time—poems about different places I was visiting in the world.

But, and although I love the word “errance” and what it means, I felt it wasn’t exactly what I needed. So I coined the neologism errançities, an expression I felt more at home with, especially in the way the new word sounded, rolled off my tongue, and because it contains the word “cities” in it. In my mind I think of the word as a noun, because it identifies people, animals, places or things, even abstract concepts.

The rhythm and tone of errançities was also closer to another neologism of mine, Trancircularities, which was the title of my seventh book of poems, published by Coffee House in 2002. Also, in my mind, errançities means plural wanderings of many lives, rather than one life. Thus, Errançities is the title of this new book of poems: I hope you enjoy some of them.

—Quincy Troupe, January 19th, 2012, New York City

photo of Quincy Troupe by Chris Felver

Missed the Show?

MP3 Stream 192kpbs, broadband
MP3 Stream 32kpbs, broadband

	Artist	Song	Album	Label
	Dizzy Gillespie & Charlie Parker	Shaw 'Nuff	Dizzy Gillespie All Star Quintet	Guild
	Bud Powell	Shaw 'Nuff	1960 Essen, Grugahalle	WDR
	Woody Herman	Four Brothers	Woody Herman & His Orchestra	Columbia
	Gerry Mulligan	As Catch Can	What Is There To Say?	Columbia
	Hank Mobley	Uh Huh	Workout	Blue Note
========================== Airbreak ==========================
	Big Joe Turner	Shake, Rattle & Roll	The Boss Of The Blues	Columbia
	Lonnie Young	Jim & John	Southern Folk Heritage Series: Sounds Of The South	Atlantic
	Alec Askew	Emmaline, Take Your Time	The Land Where the Blues Began	Alan Lomax Collection
	Miles & Bob Pratcher	Buttermilk	I'm Gonna Live Till I Die Anyhow	Field Recordings of Alan Lomax
	Bo Diddley	Mumblin' Guitar	Have Guitar Will Travel	Chess
	Ray Charles	Movin' On	Hallelujah, I Love Her So!	Atlantic
	Howlin' Wolf	Going Down Slow	Howlin' Wolf	Chess
========================== Airbreak ==========================
	Erroll Garner	Stairway To The Stars	Portrait	Documents (Japan)
	Erroll Garner	Stairway To The Stars	Portrait	Documents (Japan)
	Earl Hines	Piano Man	Earl Hines & His Orchestra	RCA
	Maynard Ferguson featuring Hank Jones	That Jones Boy	Birdland Dream Band	Fresh Sound (Spain)
	George Russell featuring Bill Evans	All About Rosie	The Birth Of The Third Stream	Columbia
	Charles Mingus	Gunslinging Bird	Mingus Dynasty	Columbia
========================== Airbreak ==========================
	Lennie Tristano	Just Judy	Lennie Tristano 1946 - 1947	The Chronogical Classics
	Lennie Tristano	Spontaneous Combustion	Lennie Tristano 1946 - 1947	The Chronogical Classics
	Shorty Rogers featuring Hampton Hawes	Diablo's Dance	Shorty Rogers & His Giants	Documents (Japan)
	Lou Levy	Ding Dong The Witch Is Dead	Solo Scene	Fresh Sound (Spain)
	Hank Mobley	Roll Call	Roll Call	Blue Note
	Hank Mobley	Smokin'	Workout	Blue Note
========================== Airbreak ==========================
	Quincy Troupe	A Man Walks In Slow Motion	A New Tongue	Soundart
	Interview With Quincy Troupe By Justin Desmangles	Interview With Quincy Troupe By Justin Desmangles	Interview With Quincy Troupe By Justin Desmangles	Interview With Quincy Troupe By Justin Desmangles
	Quincy Troupe	Poem For Magic	A New Tongue	Soundart

The man tells you its Thanksgiving
and you try for "How high?"
Comes Trane's birthday, stoned
and missing it, you can't find
your Ascension, not even
that rare 1st issue, so coveted
in your youth of ash,
and the pleasures you once took
in the sound.











by Justin Desmangles

Poetry & All That Jazz on KDVS

Show description for Sunday 8/22/2010 @ 3:00 PM - 5:00 PM

By special request, this afternoons broadcast of New Day Jazz is all-music, all-poetry. Tune in for special selections from rarely heard recordings by Helen Merrill, Andrew Hill, Ella Fitzgerald, Sam Rivers & Randy Weston, as well as poetry by Gloria Tropp, Linton Kwesi Johnson, Cecil Rajendra, Okot P'Bitek and the late, great Norman Pritchard.

New Day Jazz

Missed the Show?

MP3 Stream 192kpbs, broadband
MP3 Stream 32kpbs, broadband

View Past Shows

View Upcoming Shows

	Artist	Song	Album	Label
	Linton Kwesi Johnson	Di Great Insohrekshan	An Evening of International Poetry	New Alliance
	Bobby Hutcherson	Catta (Andrew Hill)	Dialogue	Blue Note
	Okot P'Bitek	from Song of the Prisoner	An Evening of International Poetry	New Alliance
	Sam Rivers	Euterpe (Sam Rivers)	Contours	Blue Note
========================== Airbreak ==========================
	Norman Pritchard	Gyre's Galax	New Jazz Poets	Broadside Records
	Andrew Hill	Poinsenttia	One for One	Blue Note Re-Issue Series
	Gloria Tropp	Poem for Ernie Henry	New Jazz Poets	Broadside Records
	Helen Merrill	Day Dream (Strayhorn)	The Feeling Is Mutual	Milestone
	Helen Merrill	Deep In A Dream (DeLange-Van Heusen)	The Feeling Is Mutual	Milestone
	Randy Weston	Purple Gazelle (Ellington)	Berkshire Blues	Arista
	Randy Weston	I Know Your Kind (arranger, Melba Liston)	Little Niles	Blue Note Re-Issue Series
	Randy Weston	Every Once In A While (arranger, Melba Liston)	Little Niles	Blue Note Re-Issue Series
	Herbie Hancock	Sorcerer (Hancock)	Speak Like A Child	Blue Note
	Miles Davis	Sorcerer (Hancock)	Sorcerer	Columbia
========================== Airbreak ==========================
	Lionel Hampton	Central Avenue Breakdown
	Lionel Hampton	Jack the Bellboy
	Django Rheinhardt	I'll See You In My Dreams
	Coleman Hawkins	Body & Soul
	Fats Waller	I'm Crazy About My Baby
	Jack Kirby Orchestra	Bugler's Dilemma
	Ella Fitzgerald	Robbin's Nest
	Joe Mooney	Tea for Two
	Barney Bigard	Tapioca (Strayhorn)
========================== Airbreak ==========================
	Joe Venuti	My Honey's Loving Arms
========================== Airbreak ==========================
	Jane Harvey with Benny Goodman	Just Another Boy And Girl (Cole Porter)

Poetry, Jazz & Freedom by Rene Menil

It is the existence in itself of jazz, of major importance to us, that has more than any critical thinking caused us to understand the stylistic character and content of a work in its historical context and even its limitations and to grant the value of spontaneity to these works only.

In its essence jazz is improvisation. If one created a theory of esthetics using jazz as a basis, it would mean creating it using as a means the invention of the marvelous as one went along. Because jazz itself is the result of a process using the very contradictions of being and its style consists of forming by means of music or any other means (note this also applies to poetry) - emotions and images in progression, as they occur in the minds eye. Any blockage, any laziness, any rigidification of life threatens the true development of this delicate crystallization.

No rhythm is set before the beginning.

No meaning is conceived before hand.

No rhythm, no meaning except a passion for being - a being dedicated to a desire that demands its realization - or its substitution in the sublimation of "song."

The musician doesn't know, cannot know, what his next note will be, nor will he know his next phrase, or the next possible adventure.

But he leaps like a rope-dancer on the tight rope of chance.

A work of beauty is a work of chance.

However, how many agree with Goethe when he says that the only works of lasting value are works of chance?

At this point our existence is drugged by the poison of eternity. Jazz is one of the best antidotes to that poison, creating in us the feeling of the moment, of transition.

For us, we do not hesitate to view the moment, whatever it is called, as the arena where all the problems that are common to humankind must be resolved from the world of music or any other. In the moment is found all the previous instants to a particular action in the process of becoming - since, in any thing that exists "that which has been superceded is at the same time also preserved, and in losing its immediate and apparent existence, is not destroyed." (Hegel)

The moment of being exists in the present, however, the present itself exists in a particular existence that is the outcome of its extension through duration in time.

Thus, for things that exist, there is no contradiction that cannot be reconciled between the past and the present except the one that exists in the minds of those who attempt to abstract its essence. Likewise in a society there is no contradiction between creations that are contemporary and those that are the past, between new works (not yet accepted) and the existing culture; the new creation although it may not be "valued" or regarded presently as valuable - combines all the resources of that particular social group that is being considered.

A poet is not contemporary because he is familiar with the past or has rejected it, but because he exists as a dialectical outcome of those stages of past existence. Thus at the same time, he is a living negation and a living preservation of all the old cultural forms. His contemporary aspect will be broader and of a greater value because of the fact that it is a totality formed of the past.

Cultural traditions that are reflected by the poet cannot serve as a model, there is no model for what has not yet come into existence. It will exist, however, as a pillar of the past and thus situates the poet in his time inflexibly; it makes him a poet who is modern in a time that is modern.

So much for the freedom of poetry: before us the future unformed.








Tropiques, no. 11 (1944); translated by Juliet Petremont

Taken from the anthology,
Black, Brown & Beige: Surrealist Writings From Africa and the Diaspora
edited by Franklin Rosemont & Robin D.G. Kelley
University of Texas, 2009

Miles' Delight by Ted Joans

Miles' Delight



Miles Davis
said he would like a little boy
with a black face
of no certain race but human

Miles Davis
said he would like this little boy
to have red hair
whose religion does he dig? Miles don't care

Miles Davis
said he would like this little boy
to have green eyes
and be hip, and laugh loud and tell no lies

Miles Davis
said he would like this little boy
to play piano
in a style with lots of space
and blow good jazz
and be a credit to the human race

Miles Davis
is that man that walks on egg shells
without breaking his sound
he is cool . . . . . . but heaven knows that he ain't no

cold clown

Miles Davis
with his silver blue horn
Miles Davis has been true blue since he was born
Miles Davis blowing his sophisticated funk Miles
Davis
refusing to mix jazz with junk, Miles Davis

Miles Davis
said he wants this little boy
that no one could call a son of a bitch
but they could only call him son of Miles
So I heard the marvelous Miles Davis story
Hallelujah . . solos to good glory
So I being a good God almighty with a brush
created this boy that mister Miles wanted in a rush
with red hair with green eyes and for Miles Davis
it had a black face and blows good jazz and is a
credit to the entire human race.















originally published in ALL OF TED JOANS AND NO MORE

The Cotton Club By Clarence Major

The Cotton Club




Look at Duke!
He stays up and up.

Stays up in the music.
Up where the music reaches.

Up through the waves of the music.
His waves slicked back.

Duke's staying up all night
so long that time stays up with him.

But you can see the afternoon
in his eyes. Yellow sunlight going down.

And he sleeps late. Slow at home.
Remembering Jungle Nights.

Sailing on the wide wings
of a Blue Bird, sailing light.

And somebody's always saying
Hold it, Duke,

I wanna take your picture,
and they can't even see him.














this poem, originally published in a chapbook of the same name, 1972, reappeared in the collection Configurations: New & Selected Poems 1958-1998 (Copper Canyon Press)

The Last Measure (Poem for Charles Mingus) By Hart Leroy Bibbs

WONDEROUS PEALING FEELING RETICENCE
RESONATE NINE TIMES ACROSS THUNDER
PEAKS. TRI-HALOED BEAUTY LIVES THERE IN
THE SOUNDLAND, SOFTLY PEEPING AROUND A
DARK CLOUD WHOSE BACK IS TURNED UPON
WORLDS DISDAINED. YET IT DARES TO POSSESS
THE TOUCH OF STRINGS WHERE BEAUTY IS
HEARD AND NOT SEEN

unheard is vision for the self within is dead
but the juxtaposition has already been clearly
explained.

GREAT MINGUS IS BOWING THE LAST
MEASURE'S HEAD!

THE MUSIC'S SHEET READS FOR STRINGS AND
WOODWINDS BUT UNWRITTEN ON HIS CHART
IS GUILT FROM UNSTRUCTURED DOUBT. A RIFF
OF NONCOMMITAL MEASURES THAT ENDS
WHERE GUILT IS NEITHER WITHOUT NOR
WITHIN THAT CONFOUNDS TO CONTAIN ALL
DOUBT.

dumbness mirrors itself to praise what little
and questions the rights of me to have lived and
died. it meddles to make frustration a raga's rage.

MINGUSIANFIED IS BESPOKEN IN THE WHEEL OF
SOUND AND UNSELFISHLY IS THE NEWS
ALREADY OUT OF THE GRACE TO DIVIDE
RHYTHM AND CONQUER METHOD'S PAGE. HELL
NEED NOT FREEZE IN ORDER TO BE
RECOGNIZED ENCOUNTERING HARMONIE'S
POINT OF BITTERNESS NOR THE SERVANT SNAIL
THAT LEADS THE NEW YORK UNI(ONS) CORN
BAND INTO FALSE MEASURE.

when all doubles stop on planet nine, two
octaves cry the blues between the grumbling
crossfire of the cymbals polyrhythmic oneness

COLLECTED EYELIDS OPEN UPON HUMANITY
THAT RAVES TO RECALL BIRD, LADY DAY AND
TRANE. NO MORE SOCIAL REGISTERS FOR
DOLPHY, BECHET NOR RASHAAN. WHAT TIMES
HAD THESE WHORE'S FOR MUSIC'S PLEASURE.
FIGHTING NOTES ON TOP OF PEANUT JOKES
AND MELODIC CONFUSION THAT MADE SEEM
FRIVOLOUS THE FINALITY OF A CLIMAX THAT
LEAPS MINGUSPLEXIAN INTO THE LAST
MEASURE.

legend flavored fumes from massy hall where
music heard of its mythical birth. Saturday happy
blues tuned to bop turned that ball.

IN ECSTASY EYES CLOSED AND JAWS SLACK,
TONGUE UNCONTAINABLE BEHIND THE TEETH
AND GROOVING WITH FATTED UPBEAT'S
SWING. WAILING ECHOES MOURN THROUGH
THE VALLEY OF TRIPLETS, WHERE TEARS TURN
TO FLOWERS AND ORNAMENT EARTHY SPACE
NOTES. 2-2-3-4. One must forever fall on tomorrows
trauma, WHERE THE LAST MEASURE OF
YESTERDAYS FRUSTRATIONS BREED, down by the
riverside, TO GO DOWN MINGING.

five spot features a bass (strad) that sings
of misery dancing on fragile fragrant wood.
knocked down, dragged from the splintered
measure
a mystical cry telling the all time lows,
the dow jones of human spirits without wings.

BLUES MONDAY AND RAINY DAY CONCERTS
SWELL THE TRUTHS OF BLACK TUESDAYS TO
THE GOSPEL RESOLUTION TO REDEEM PURITY
WITH THE COOL, GREEN NOTES AND BREAK ALL
STRAINS INTO A STRING OF REDHOT
HARMONIES. COSMIC UNITY IS THE GRACE
WITH THE VOICE TO SPEAK: YOU NOT ALWAYS
BEAUTIFUL, SACROSANCT, SPIRALLING TRULY
BLESSED ONE. HARD LINED IN UGLY COLDNESS
AND ONLY HALF HUMAN, DEVOTION ONLY
COULD HAVE BEEN YOUR HOME.

the future's last measure is before the tomb
when a little finger reaches round the womb
to strum the umbilical ending.

DOWN IN THE OLD SWIMMING HOLE FISHING.
UNDER THE BASS BRIDGE, GOLD AND DRIPPING
HOARDS. THEN RUN ALL THE WAY HOME, BACK
TO FIRST BASE, TO SHOW MIGUSIAN
PERFECTION WITH MINGUSPLEXIAN CHORDS.
UNO, SENOR EL UNO AND RAISE THE SEVENTH
A STRING TWELVE STOPS OF MUSIC'S CALVARY.
RAISE HELL MING.

vision is the last measure, melodic in its theme
with sweet but cruel notes that leer. The sound
grace is exercising her vocal chords.
















this poem appeared originally in Double Trouble, a collection of work by Ted Joans and Hart Leroy Bibbs, including Bibbs photography. Double Trouble was published in Paris, 1992, by Editons Bleu Outremer: Revue Noire. A truly legendary figure of the jazz world in Paris and New York, Hart Leroy Bibbs lives on in the "space love demands"!

Soledad By Robert Hayden

(And I, I am no longer of that world)

Naked, he lies in the blinded room
chainsmoking, cradled by drugs, by jazz
as never by any lover's cradling flesh.

Miles Davis coolly blows for him:
O pena negra, sensual Flamenco blues;
the redclay foxfire voice of Lady Day

(lady of the pure black magnolias)
sobsings her sorrow and loss and fare you well,
dryweeps the pain his treacherous jailers

have released him from for a while.
His fears and his unfinished self
await him down in the anywhere streets.

He hides on the dark side of the moon,
takes refuge in a stained-glass cell,
flies to a clockless country of crystal.

Only the ghost of Lady Day knows where
he is. Only the music. And he swings
oh he swings: beyond complete immortal now.

Robert Hayden

The Ecstatic Embrace of David Meltzer, Poet

New Day Jazz Justin Desmangles Jazz music for lovers and the lonely. Genre Jazz Miss the Show? MP3 Stream (128kbps, broadband) MP3 Stream (32kbps, dial-up) PLAY LIST BELOW Also, please see earlier entries by clicking on the words, David Meltzer, among the labels for this post.

Show Description for Sunday 03/21/2010 David Meltzer this week on the 4 o'clock hour. DAVID MELTZER: Checklist of publications POETRY The Clown [Semina, 1960]. The Process [Oyez, l965]. The Dark Continent [Oyez, 1967]. Round the Poem Box [Black Sparrow Press, l969]. Yesod [Trigram, l969]. Luna [Black Sparrow Press, 1970]. Tens, Selected Poems, edited by Kenneth RexrothMcGraw-Hill, l973]. Hero/Lil [Black Sparrow Press, 1973]. The Art, The Veil [Membrane Press, 1981]. The Name: Selected Poetry, 1973-1983 [Black Sparrow Press, 1984]. Arrows: Selected Poetry, 1957-1992 [Black Sparrow Press, 1994]. No Eyes: Lester Young [Black Sparrow, 2000]. Beat Thing [La Alameda Press, 2004]. David’s Copy: Selected Poems; edited by Michael Rothenberg [Penguin, 2005]. Angelize [Word Temple, 2008].

Track	Artist	Song	Album	Label
	Bud Powell	Cleopatra's Dream	The Scene Changes	Blue Note
	Hank Mobley	Workout	Workout	Blue Note
	Betty Carter	Jazz (Aint' Nothin' But Soul)	The Modern Sound of Betty Carter	ABC - Paramount
	Betty Carter	For You	The Modern Sound of Betty Carter	ABC - Paramount
-----------------------------air break-----------------------------
	David Meltzer	From: The Lowlands	David Meltzer Poet w/Jazz	Sierra Records
	Hank Mobley	My Groove Your Move	Roll Call	Blue Note
	Betty Carter	My Shining Hour	'Round Midnight	Roulette
	Betty Carter	Something Wonderful	'RoundMidnight	Roulette
-----------------------------air break-----------------------------
	Carmen McRae	The Meaning of the Blues	Bittersweet	Focus
	Carmen McRae	If You Could Love Me	Bittersweet	Focus
	Carmen McRae	Spring Can ReallyHang You Up the Most	Bittersweet	Focus
-----------------------------air break-----------------------------
	David Meltzer	Misspliced Sermon	David Meltzer Poet w/Jazz	Sierra Records
	Ernie Henry	Active Ingredients(excerpt)	Presenting Ernie Henry	Riverside
	Interview with David Meltzer by Justin Desmangles

David Meltzer, poet, Bob Dorough, pianist (1958) - Misspliced Sermon

William Parker and Listening with the 3rd Ear

Show Description for Sunday 02/14/2010

This week, on the 4 o'clock hour, we are joined by William Parker.

A towering presence in international music, Mr. Parker is also the author of Who Owns Music? (Buddy's Knife). As part of our celebration of this extra-ordinary artist's immense contributions to contemporary culture this afternoons broadcast will focus exclusively on his music.

Miss the Show?
William Parker's book "Who Owns Music?

MP3 Stream (128kbps, broadband)

Official Website

MP3 Stream (32kbps, dial-up)

http://www.aumfidelity.com/home.htm

	William Parker Codex Long Hidden: The Olmec Series Aum Fidelity William Parker & Hamid Drake Anaya Dancing Summer Snow Volume 2 Aum Fidelity William Parker Quartet Four For Tommy Petit Oiseau Aum Fidelity Kidd Jordan Peppermint Falls Palm Of Soul Aum Fidelity William Parker featuring Leena Conquest The Makings of You The Inside Songs of Curtis Mayfield Rai Trade -----------------------------air break----------------------------- William Parker featuring Amiri Baraka & Leena Conquest Think The Inside Songsof Curtis Mayfield Rai Trade William Parker & Hamid Drake Awake, Arise Summer Snow Volume 2 Aum Fidelity William Parker & Hamid Drake Sky Summer Snow Volume 2 Aum Fidelity William Parker & Hamid Drake Earth Summer Snow Volume 2 Aum Fidelity -----------------------------air break----------------------------- William Parker - Raining On The Moon The Land Song Corn Meal Dance Aum Fidelity Interview with William Parker By Justin Desmangles Muhal Richard Abrams & Roscoe Mitchell Romu Spectrum Mutable Music

Sun Ra's Reading List for African-American Studies 198: The Black Man in the Universe

Listed below are the books assigned by Sun Ra for his lecture course, African-American Studies 198: The Black Man in the Universe. The classes were offered as part of the regular Spring semester at the University of California, Berkeley, 1971.

The Egyptian Book of the Dead
Radix
Alexander Hislop: Two Babylons
The Theosophical works of Madame Blavatsky
The Book of Oahspe
Henry Dumas: Ark of Bones
Henry Dumas: Poetry for My People eds. Hale Charfield & Eugene Redmond, Carbondale: Southern Illinois University Press 1971
Black Fire: An Anthology of Afro-American Writing, eds. Leroi Jones & Larry Neal, New York: William Morrow 1968
David Livingston: Missionary Travels
Theodore P. Ford: God Wills the Negro
Rutledge: God's Children
Stylus, vol. 13, no. 1 (Spring 1971), Temple University
John S. Wilson: Jazz. Where It Came From, Where It's At, United States Information Agency
Yosef A. A. Ben-Jochannan: Black Man of the Nile and His Family, Alkibu Ian Books 1972
Constantin Francois de Chasseboeuf, Comte de Volney: The Ruins, or, Meditation on the Revolutions of Empires, and the Law of Nature, London: Pioneer Press 1921
The Source Book of Man's Life and Death (Ra's description; = The King James Bible)
Pjotr Demianovitch Ouspensky: A New Model of the Universe. Principles of the Psychological Method in Its Application to Problems of Science, Religion and Art, New York: Knopf 1956
Frederick Bodmer: The Loom of Language. An Approach to the Mastery of Many Languages, ed. Lancelot Hogben, New York: Norton & Co. 1944
Blackie's Etymology

Amiri Baraka reads Black Art

Amiri Baraka reads his poem Black Art with Sonny Murray on drums, Albert Ayler on tenor saxophone, Don Cherry on trumpet, Henry Grimes on bass, Louis Worrell on bass, for the album Sonny's Time Now. The first album lead by Sonny Murray, Sonny's Time Now was released on Baraka's Jihad records in 1967 (it's liner notes are republished in Black Music, now back in print). Decades later it was reissued by DIW in Japan in a limited edition. Black Art remains one of Baraka's most controversial poems, even at this late date. Composed and recorded with the fires of Black Nationalism fanned to a high flame, it remains innovative on a number of levels, technical and social. The demand that poems ought wrestle cops into alleys, fly planes, shoot guns, remake the world, are bullshit unless they are lemons piled on a step, &c. are but a few examples. The work also provides a snap shot of some of Baraka's thinking prior to his movement away from Black Nationalism and into Third World Marxism, or M-L-M. In terms of jazz poetry, or poetry and jazz combos on record, this would have to rank among the highest historical examples.

Matthew Shipp / Justin Desmangles exchange on Bud Powell

Happy birthday bud-
even amoung jazz pianists I don’t think the knowledge of how transendent a poetic genius bud was has sunk in. beautiful poem by ismeal reed and while looking down the page I did not realize that anita oday had died.
anyway I put my new solo cdr in mail other day-be on lookout-release date is in january but we are looking to get some really early buzz.
thanks
matt

............................

I have a hard time understanding the lack of understanding about Bud, I mean this guy was it! You know that solo session for Verve, 1951? Oblivion, Dusk At Sandi &c. O U T ! Or the 1961 concert in West Germany with Pettiford and Clark, man that brother is just beyond beyond . . . I have yet to hear, on records that is, anything resembling the level of intensity on Cleopatra's Dream. Those compositions on the last two dates before leaving for Paris, The Scene Changes & Time Waits are ecstatic. I mean is the guy just too mercurial? You know that story Francis Paudras tells about how he and Bud are visiting New York, this is 63, 64 as I recall, and Ornette drops by after several attempts to reach them, and tells Bud that all his music is based on the 7th's in his left hand. Dance Of The Infidels.
Justin

.................................


To answer your question about how bud gets lost in the discourse-in jazz
piano now everybody views things through a post miles prism which means
piano is viewed through the -keith-chick and herbie prism with people seeing
bill evens as the father of that.other than that now it is hip to view monk
as a weird genius-and the marketing of that idea is easy because the
name-and the persona all fit together in a way where that idea can be
marketed. So bud just becomes a bebop pianist in a lot of people's minds and
to make matters worst when people think of bebop they think of bird and diz
who are the salesman of the idea of bebop and who most people think of the
founders of it. That is a paradox considering bud was the heaviest of all of
them.
thanks
matthew shipp

.............................................

I think a lot of Bud's neglect has to do with how starkly his life story reflects the institutional injustices and systemic violence of racism in the United States and it's defining role in the historical panorama of jazz in particular. It's vivid illustrations of the role psychiatry, and so-called medicine, has played in destroying human beings, creative people in general but black men and women in particular, does little to harmonize what I call the "celebrity jazz" exemplified by the post miles prism you spoke of.

Also he, Bud, may also be quite literally too deep for the type of vulgar feeble minded revisions exemplified by say a Jarrett Trio on ECM. Too deep in it's reflection of waters, still and unstill, in the sacred wound that was so often the wellspring of his improvising, composing, joy, pains, satisfactions, refusals, acceptances. Certainly Bud's music is far too black for say a Ken Burns, who scorches and torches everything til it becomes a blanched cinder, burns jazz, burns Jack Johnson &c.

Then there are those chords! Those right hand single note runs! Defying all means of categorization, all means of ordered recognition, "these into those into these, to this and finally that" NO!

Evans once said that Bud was the only musician he heard that gave him the same sense of the profound that he recieved while listeniong to Bach. It's on the CD that came with Randi Hultin's book of a few years back.

There is also Bud's humanity, which I think also frightens people, the sense of vulnerability which refuses to enclose itself in solipsism.
Justin

............................................

I agree wholeheartedly
matt
Ps-these are the real deep reasons-I gave you more the musician type reasons

Happy Birthday Bud Powell

"Lake Bud"

Lake Merritt is Bud Powell's piano
The sun tingles its waters
Snuff-jawed pelicans descend tumbling over each other like
Bud's hands playing Tea For Two
or Two For Tea
Big Mac Containers, tortilla chip, Baby Ruth
wrappers, bloated dead cats, milkshake
cups, and automobile tires
float on its surface
Seeing Lake Merritt this way is
like being unable to hear Bud Powell at Birdland
Because people are talking
Clinking glasses of whiskey and
shouting
"Hey, waiter"

Ishmael Reed

New Day Jazz: Interview Schedule, Fall 2009

New Day Jazz airs every Sunday, 3-5PM, on KDVS, 90.3FM in Davis, and kdvs.org Here is a short list of some of the folks I will be speaking with on the 4 o'clock hour over the next month.

Lawrence DiStasi

Author of Mal Ocho (Evil Eye): The Underside of Vision, and editor of, Una Storia Segreta: The Secret History of Italian American Evacuation and Internment During World War Two

Sunday Septmeber 27th

Peter Gizzi

Author of, most recently, The Outernationale, a collection of poems, and editor, along with Kevin Killian, of the winner of the American Book Award 2008, My Vocabulary Did This To Me: The Collected Poetry of Jack Spicer.

Sunday, October 4th

Ishmael Reed

Author of, most recently, Ishmael Reed: The Plays, Mixing It Up: Taking on the Media Bullies, and editor, with Carla Blank, of, Pow Wow: Charting the Faultlines in the American Experience from Then to Now.

Sunday, October 18th

Robin D.G. Kelley

Author, most recently, of, Thelonious Monk: The Life and Times of an American Original.

Sunday, October 25th

A. B. Spellman

Author of, most recently, Things I Must Have Known, a collection of poems. Mr. Spellman is also the author of the classic, Four Jazz Lives.

Sunday. Nov. 1

Goodbye, Anita.

A friend recently wrote to remind me of an obit-memory written for Shuffle Boil just after Anita O'Day's departure from our world. I had almost forgot about, and how much I liked, it. So, here it is, in "one take." Typos and all.

Special thanks, Karen.


Goodbye, Anita.
>
> Roland Barthes wrote us that we live in what he called
> the Republic of the Image. But of course the image
> had to come from somewhere. Jacques Derrida reminded
> us that in order for the image to be stabelized it
> must always-already be destablizing, thus obscuring,
> another. In this present moment where wearing the
> coat of arms that is Feminism or even Marxism has
> become too easy, a bit like the kid who likes to
> read the back of the book and then have a discussion
> of its contents (James Dean?), Anita O'Day was
> authentic. She and her image were united in the
> divine symbiosis of form and content. She was
> exactly who you heard and what you saw. No need for
> clever rhetoric one day and callus reason the next.
> Persona, personae and other cloak and dagger
> routines of indentity affected for the unwary and
> unwise? No way! A close reading of her autobiography
> High Times, Hard Times. See what I mean.
>
> Hip before hep, wearing the pants before it was in
> step. Anita was, as they say, The Man.
>
> In an era when sly inuendo and skillful double
> entedre made or broke the career of the jazz singer
> Anita mastered both. Her powerful use of subtle
> phrasing and breath line to modulate between melodic
> and speech like delivery continue to damn sure tell
> it like it is. Like it really is then and today
> without the chicanery and foolishness of faux
> spiritual and political sloganeering so prevelant in
> todays pop song. Her early work with Roy Eldridge
> broke the color and gender barriers simultaneuosly
> with finesse and courage as well and hipness and
> humanity. Try that litmus test on todays art scene!
> Ouch. As a longtime fan i've been both humbled to
> depths of self loathing and inspired to flights of
> egoistic grace by this singular artist. Her
> existential asides from the original recording of
> Anitas Blues will keep the love light on far past
> 'round midnight. I love you Anita, I love you like a
> school boy loves his pie!
>
>
> JD

Ask Your Mama!

Show Description for Sunday 09/06/2009 This week on the four o'clock hour we continue our explorations of the great poet, playwright, essayist and author, Langston Hughes. Featured this hour will be a very scarce recording of Mr. Hughes narrating, The Story of Jazz. This unusual recording was made for Folkways as a companion to Mr. Hughes book for children, The First Book of Jazz, published by Ecco and still widely available. Throughout the program we will also listen in on Mr. Hughes reading from his masterwork, Ask Your Mama: 12 Moods for Jazz. Please join me in this special broadcast honoring one of the true masters of American art.

Track	Artist	Song	Album	Label
	King Pleasure	Diaper Pin (That Old Black Magic)	Mr. Jazz	United Artists
	Wynton Kelly	Keep It Moving	Kelly Blue	Riverside
	Red Garland	On Green Dolphin Street	Bright & Breezy	Jazzland
	Sarah Vaughn	You're Not The Kind	Sarah Vaughn	Emarcy
-----------------------------air break-----------------------------
	Mabel Mercer	Delovely	Sings Cole Porter	Atlantic
	Lee Morgan	Candy	Candy	Blue Note
-----------------------------air break-----------------------------
	Langston Hughes	Ask Your Mama	The Black Verse	Buddha
	Sarah Vaughn	Summertime	After Hours	Columbia
	Sarah Vaughn	Street of Dreams	After Hours	Columbia
	Duke Ellington	New York City Blues	Monologue	CBS - France
	Duke Ellington	Rock Skippin' At The Blue Note	Monologue	CBS - France
	Duke Ellington featuring Lil Greenwood	Walkin' & Singin' The Blues	Primpin for the Prom	CBS-France
	Langston Hughes	Bird In Orbit	The Black Verse	Buddha
-----------------------------air break-----------------------------
	Langston Hughes	The Story of Jazz	The Story of Jazz	Folkways
-----------------------------air break-----------------------------
	Charles Mingus	Ysabel's Table Dance	Tijuana Moods	RCA
	Abbey Lincoln	When Malindy Sings	Straight Ahead	Candid
	Ernestine Anderson	Sunny	Sunshine	Concord
-----------------------------air break-----------------------------
	Mabel Mercer	Experiment	Sings Cole Porter	Atlantic

Clap Hands, Here Comes Charlie!

New Day Jazz Justin Desmangles Jazz music for lovers and the lonely. Genre Jazz Miss the Show? MP3 Stream (128kbps, broadband) MP3 Stream (32kbps, dial-up) [View Past Shows] [View Upcoming Shows]

Show Description for Sunday 08/23/2009 "People pay for what they do, and still more for what they have allowed themselves to become. And they pay for it very simply; by the lives they lead." - James Baldwin

Track	Artist	Song	Album	Label
	Bud Powell	Blue Pearl	Blue Pearl	Blue Note - Japan	12
	Lee Morgan	Roccus	Lee Morgan Indeed!	Blue Note
	Helene Johnson (read by Josephine Premice	Sonnet to a Negro in Harlem	A Hand Is On The Gate	Verve-Folkways
	Kenny Dorham	Lotus Blossom	Quiet Kenny	New Jazz
	Kenny Dorham featuring Ernie Henry	Lotus Blossom	2 Horns / 2 Rhythm	Riverside
-----------------------------air break-----------------------------
	Margaret Walker	Kissie Lee	An Anthology of Negro Poetry	Folkways
	Ella Fitzgerald	The Lady Is A Tramp	Ella In Berlin	Verve
	Ella Fitzgerald	The Man I Love	Ella In Berlin	Verve
	Ella Fitzgerald	Summertime	Ella In Berlin	Verve
	Ella Fitzgerald	You're My Thrill	Clap Hands, Here Comes Charlie	Verve
	Ella Fitzgerald	My Reverie	Clap Hands, Here Comes Charlie	Verve
	Ella Fitzgerald	Stella By Starlight	Clap Hands, Here Comes Charlie	Verve
	Miles Davis	Stella By Starlight	Basic Miles	Columbia
-----------------------------air break-----------------------------
	Jayne Cortez	Do You Think	Celebrations & Solitudes	Strata-East
	Jayne Cortez	Making It	Celebrations & Solitudes	Strata-East
	Jayne Cortez	So Long	Celebrations & Solitudes	Strat-East
	John Kirby Orchestra	Bugler's Dilemma		New World
	Cab Calloway Orchestra	Pickin' The Cabbage		New World
	Gerald Wilson Orchestra	The Saint		New World
	Count Basie featuring Joe Williams	The Comeback	Count Basie Swings, Joe Williams Sings	Verve
-----------------------------air break-----------------------------
	Sonny Rollins	Reflections	Sonny Rollins Volume 2	Blue Note
	Margaret Walker (read by Gloria Foster)	We Have Been Believers	A Hand Is On The Gate	Verve-Folkways
	Bud Powell	Cleopatra's Dream	The Scene Changes	Blue Note
	Kenneth Patchen	The Lions Of Fire Shall Have Their Hunting	Kenneth Patchen Reads His Poetry	Folkways
	Billie Holiday	Detour Ahead	Shades Of Blue	Sunset
-----------------------------air break-----------------------------
	Billie Holiday	Summertime	Billie's Blues	Columbia
	Hampton Hawes	Summertime	The Challenge	RCA
-----------------------------air break-----------------------------
	Tony Bennett & Bill Evans	Lucky To Be Me	Together Again!	Improv
	Bill Evans	Lucky To Be Me	Everybody Digs Bill Evans	Riverside

Matthew Shipp responds to Willard Jenkins

1.why is he among the group of artists who forever feel the need to raise their own flag while at the same time stomp and descrate other folks flag.

where do you get that from. In all my public interviews-I have only said negative things about 3 musicians ever-wynton-keith jarrett and wayne shorter the vast totality of my interviews are 100 per cent positive,and im completely open minded about what everyone is doing-at least in my public persona -and ive been interviewed more than anyone I know in the last 20 years. If you look at the people ive come down on-wynton has used his position as a millionare with corporations as a bully pulpit to say that nothing is valid except what he does-ie the avant garde is wrong-rock is wrong etc etc. keith jarrett basically thinks he is god and tells audiences that have made him a millionare that its their privilige to hear him and not his privillige to play for him. And wayne –well that’s another whole story that I will not get into but everyone knows that he and herbie make substandard cds and performances while getting the top possible fees and constantly get away with faking it these days despite there great history in the 60s and early 70s-everyone in jazz knows that. So I find it interesting that you would say come down on someone like me who ekes out a living in this and not these other people who are all very wealthy. That to me exposes you as possibily one of the biggest jazz industry whores alive.

2. Why does he forever seem to feel a need to down others in favor of his means of music making.
that actually sounds like you are talking about wynton-who you wrote a letter to downbeat defending against what I said about him once.again that to me says more about you mr jazz prostitute. When have I ever downed others in favor of my means of making music.
3. From someone as exalted as miles davis such putdowns often come off as humorous—but frankly matthew hasn’t reached such an exalted position
willard this really exposes you as someone severly fucked up-what does someones exalted position within a business structure jazz or otherwise especially considering the jazz one is desimated nowadays- have to do with there acumen for seeing the truth about an issue. Anyone that would make the statement you made is a sick sick person.also a lot of people did not think the miles was funny-you can look at the letter section of old downbeats to find that out.this statement makes you come off as some type of upwardly mobile jazz business prostitute again.
4. Why is that impulse toward negative putdown necessary to act on in print.
has it ever accured to you that there might be some issues that need to be put out there and its about more than saying nice things about the jazz success mafia that you willard jenkins want to be assiociated with because you think it makes you look good
5. Is the forever angry artist posture really necessary and productive toward meeting his musical goals.
willard I would not worry about me meeting my musical goals-I have that taken care off-gary giddens once called me insatiably productive-so thanks but don’t worry about that.
again the thrust of my public presentation has been positive in the 20 years ive been giving interviews. I consider myself a positive force –unlike your friend wynton who I consider the most negative force ever in the music. And you willard are everything that is wrong with jazz-a 100 percent negative force- so please stop you why can’t we get along jazz dribble-its transparent-its tired –you are tired and everything you represent is tired.

thanks
matthew shipp


On 7/14/09 1:11 PM, Willard Jenkins wrote:

Thanks for forwarding the Matthew Shipp piece from the Boston jazz blog. However the piece again raises the same question I always have whenever I read an interview with Matthew: Why is he among the group of artists who forever feel a need to raise their own flag while at the same time stomp on and desecrate other folks’ flags? Why is he not simply content with striving to be the best Matthew Shipp that he can be and allow others to do likewise in whatever artistic manner they choose? Why does he forever seem to feel a need to down others in favor of his means of making music? That inclination on his part is forever perplexing and frankly doesn’t really serve his purposes well. From someone as exalted as Miles Davis such putdowns often came off as humorous more than anything else – particularly if you’d followed Miles’ career arc and/or ever had a real conversation with the man; but frankly Matthew hasn’t reached such an exalted position and his career arc continues on an upward path – at least as I hear his music. Again, why is that impulse toward negative putdown necessary to act on in print? And is the forever-angry-artist posture really necessary and productive towards meeting his musical goals?
Peace,
Willard Jenkins