#don shirley trio

[thomas-querqy]

The green book réalisé par Peter Farrelly ��😍

Revu avec des élèves, inhabituellement sages. Tonnerre d'applaudissements à la fin du film. Une deuxième vision confirme la très grande qualité du film.

Don Shirley Georgia in my mind 1961

[t-annhauser]

Waterboy, Don Shirley Trio

[meanmisscharles]

Blackbonnet/Gentlebeard lovers...

The Don Shirley Trio live

[tfc2211]

Play ▶ Go Kat Go (Rockabilly / Rock 'N Roll Compilation)

Rollin' And A-Rockin' - Ruckus Tyler You Are My Sunshine - Carl McVoy Ten Cats Down - The Miller Sisters Hershey Bar - Boyd Bennett & His Rockets Rock House - Harold Jenkins Messed Up - Bill Swing You'll Never Walk Alone - Gene Vincent & His Blue Caps My Baby's Fine - Roy Head & The Traits I'm Gone Again - Rudy Grayzell The Big Bounce - Shirley Caddell & The Aristocrats Bop-A-Dee Bop-A-Doo - Hal Willis Razzle-Dazzle - Bill Haley & His Comets My Little Jewel - Tommy "Jim"Beam & The Four Fifths Atom Bomb Baby - The Five Stars Fancy Dan - Gene Summers & The Rebels Jack Rabbit - Ike Turner & The Kings Of Rhythm Matchbox - Ike Turner & The Kings Of Rhythm Wombat Twist - Glenn & Christy Summertime - Carlos & The Bandidos Dig A Hole (Bop Version) - Marcel Bontempi Jailbird Josephine - Peter and The Wolves Little Boy Sad - Johnny Burnette Rock Billy Boogie - Johnny Burnette And The Rock 'N Roll Trio Jake Legged Preacher - Connie Dycus Handcuffed Heart - Anita Tucker Gee Whiz - The Dazzlers Somethin' Baby - The Dazzlers Set Him Free - Jesse & The Al Luscan Lumberjacks Pretty Baby - The Kabooms   Don't Push - Don Deal Don't You Hear Me Calling Baby - Ronnie Haig Rocking With Rhythm & Blues - Ronnie Haig Mars Attack - Wild Wax Combo The Drifters - Wild Wax Combo

[jazzviewswithcj]

A Deeper look at Pat Metheny: Side Eye NYC (Modern Recordings/Metheny Group Productions, 2021)

Pat Metheny: Guitars, Guitar bass, Orchestrionics; James Francies: Piano, Synths, Organ; Marcus Gilmore: Drums.  Japanese version includes booklet notes by Yo Nakagawa.  This review is of the Japanese CD version released in late September

Side Eye NYC (V1.IV) is the second release of 2021 for 20 time Grammy winning guitarist and composer Pat Metheny following the stellar first  official entry into the classical arena with Road To The Sun (due for a deluxe score, LP and 2 CD box set version with a spectacular lenticular display later this year) with keyboardist James Francies and drummer Marcus Gilmore. The recording captures an effervescent and charged Metheny, Francies and Gilmore in the guitarist’s first true live album since Tokyo Day Trip EP (Nonesuch/Metheny Group Productions, 2008) What Side Eye really is besides being a format for Metheny’s desire to play with a cadre of younger musicians who grew up on his music, and who have caught his eye as a major talent; is sort of  a 21st  century version of the classic organ trio format.  The tradition of the organ trio both directly and indirectly is filtered through Metheny’s singular, unmistakable lens.   It is worth mentioning that this review pertains to the Japanese edition of the CD which contains an exclusive bonus track “The Bat”, while the American edition is to follow on October 22, 2021 in LP and CD formats.  It is currently available for streaming  sans bonus track at Apple Music, Amazon HD, and Spotify.  To aid readers of this review who may be new to Metheny or Black American Music and other improvised forms , below is a brief summary of the organ trio and how it fits into the present release.

The organ trio was a fixture in the early fifties in the Black community with the likes of legendary organists such as Milt Buckner, Bill Doggett and “Wild” Bill Davis.  However, it wasn’t until 1956 when a 28 year old ex pianist from Norristown, PA, by the name of Jimmy Smith (1925-2005) collided onto the scene with a version of Dizzy Gillespie’s “The Champ” on his second recording A New Sound, A New Star, Jimmy Smith At The Organ, Volume 2 (Blue Note) that the notion of organ, and the role of the electric organ in popular music was changed forever. For Black music, Fats Waller and Count Basie had been early progenitors of both the pipe and Hammond organ but it was nothing like Smith.  

Smith had been inspired to play the organ when he saw his idol, “Wild” Bill Davis in the early 1950’s.  He had played some organ on the records in the R&B group of Don Gardner and the Sonotones around 1953-4, but it was Smith’s legendary three months of wood shedding in a Philadelphia warehouse that solidified his position as the Charlie Parker of the organ.  Organists like Doggett, Buckner, Davis, and the novelty pop of Ethel Smith had favored an orchestral big band type approach to the Hammond organ, but Smith’s conception on the newly minted Hammond B-3 had made significant steps forward with drawbar registrations that he created that mimicked the sound of a bebop horn player.   By employing the first 3 drawbars combined with the new percussion circuit that provided an almost vibraphone like bite to the attack of the note, he utilized the vocabulary of Charlie Parker, Thelonious Monk, Bud Powell, and Dizzy  Gillespie.  Smith  combined this with gospel influence and the soul of Horace Silver that had not been heard prior, while also respecting the traditions of both Buckner and Bill Davis, particularly on ballads.  His popularity created a cottage industry with strings of organists in his wake including Jack McDuff, Don Patterson, Johnny Hammond Smith, John Patton, Shirley Scott, Rhoda Scott, Gloria Coleman, the recently departed maestro Dr. Lonnie Smith, Larry Young, Jimmy McGriff, Charles Kynard, Charles Earland, Eddie Bacchus, Akiko Tsuruga and most famously in the modern era, Joey DeFrancesco.  While all of these organists had individual, unique voices on the instrument, it was not until the 1964 debut album on Blue Note by Larry Young, Into Somethin’ that the paradigm shifted further. By Unity in 1965, Young’s innovations as the next Hammond innovator were set.  Though he initially was a strong Jimmy Smith disciple on his recordings for the Prestige subsidiary New Jazz (even utilizing former Smith guitarist Thornel Schwartz) the 1965 Blue Note date with trumpeter Woody Shaw, Joe Henderson’s tenor and Elvin Jones, Young employed quartal harmony a la McCoy Tyner and unusual structures.  Metheny’s new album borrows from this rich organ tradition, but with several additions along the way, the guitarist has truly made the format his own.

Returning to Side Eye, the band is now in it’s fifth iteration, with drummer Joe Dyson replacing Gilmore, but the constants have been the guitarist and Francies.  The recording is the fourth iteration of the group taken from the final two nights of the band’s engagement at Sony Hall in September, 2019 at the end of a grueling world tour.  As this writer was at the final night of the engagement with the venue being flanked by NHK cameras for Japanese TV broadcast, Metheny, Francies and Gilmore were very inspired and smoking on all cylinders.  Not since Travels (ECM, 1983) has a Metheny live album captured such excitement as Side Eye NYC does here.  The album contains five reinventions of classic Metheny repertoire, with the album centerpiece being three brand new compositions. The Japanese edition of the album  contains the exclusive bonus track “The Bat”.  Despite the trio’s unconventional nature, with Francies plethora of keyboards in addition the return of a scaled down version of the Orchestrion, greatly broadening the sonic palette, the group is as stated before a sort of spin on the organ trio, and it’d be best served given the previous paragraph to examine that aspect of the album first.

James Francies demonstrates a startling fluency for playing his own basslines, like that of Jimmy Smith, Jack McDuff or John Patton, but his ability to inject counterpoint into the mix of grounding the earth is nonpareil, as his solo on “Bright Size Life” shows. His time in the spotlight is punctuated by a stunning left hand counterpoint to complement parallel lines in his right.  The standard is given new life from his bass line, a fretless bass patch almost indecipherable from a real bassist; but like the traditional organ trio Metheny is lifted from the agility this bass line possesses, in addition to the buoyancy from Gilmore’s cymbals and comping.  As the group tackles the third tune on the disc “Timeline”,  originally written for Elvin Jones’ groove and featured on Michael Brecker’s Time Is Of The Essence (Verve, 1999) the rarely played tune is most clearly aligned to the classic organ trio format.  Metheny swings with gargantuan force on the time tested 12 bar blues form (it’s bridge during the head and coda turning modal) digging in heavily to Gilmore’s beat and Francies’ Jack McDuff like bass line.  In a role reversal in his last chorus, Metheny returns to his roots backing organists in Kansas City and BECOMES the organist by “shouting” or playing a drone pattern.  The technique was developed in the Black church, and it involves the organist holding the tonic (the note of the key the song is in) and playing around it.  It is on this tune, as well as the sensuous neo soul drenched spin on “Better Days Ahead” from the PMG’s Letter From Home (Nonesuch/Metheny Group Productions, 1989-- original release on Geffen that year) that the parallels to Francies’ Jimmy Smith to Metheny’s Kenny Burrell, Wes Montgomery and Grant Green appears here.  What is meant by that is Francies’ intense, ahead of the beat approach offsets Pat’s relaxed behind the beat phrasing.  On “Timeline” Francies’ application of the first three drawbars with no percussion is immediately redolent of Jimmy Smith’s use of the same on the timeless 20 minute opus The Sermon (Blue Note, 1958) but he gradually brightens the tone by pulling some of the upper drawbars which speak of his own roots in the church.  

The comparison to the original Metheny rendition of Ornette Coleman’s “Turnaround” on 80/81 (ECM, 1980) instructive, as the other track most referencing the organ trio though Francies’ sticks to the acoustic piano on this piece.�� For starters Metheny’s own playing is much more self assured than on the album from 41 years prior which the guitarist admitted to not playing the melody all that well.  Also Marcus Gilmore’s (grandson of the legendary Roy Haynes) more relaxed deep pocket swing  has a much different effect as opposed to Jack DeJohnette’s kinetic highly interactive drumming on 80/81. Though appearing as the seventh track on the album, this was the first tune of the night, and everyone gets limbered up. As on “Timeline”, the guitarist really leans into Gilmore’s backing as Metheny “strolls” with him in duo for six choruses at which Francies joins in playing left hand bass on piano.  Following Metheny’s loose eight choruses, Francies solos for six, swap roles as Metheny’s Ibanez becomes semi acoustic and he provides the bassline accompaniment along with four to the bar comping like Freddie Green of the Count Basie Orchestra, a facet of Metheny’s playing only previously unveiled on “The Moon Song” from Beyond The Missouri Sky (Verve, 1997) with Charlie Haden.  Metheny trades with Gilmore for a few choruses before the tune is taken out. A gorgeous “Sirabhorn” is sandwiched between “Lodger”, a brand new composition and “Turnaround”.

The three new compositions on the album really show what makes Side Eye as a unit special, and the live energy only adds to that.  “It Starts When We Dissapear”, the first track to open the album announces itself with a dramatic chord progression from synths blended with the Orchestrion bottle organ, some synths from Francies and  churning shaken percussion from  the Orchestrion.  Metheny and Francies state a main theme in unison, the guitar doubled by Francies Moog like bass.  The overall vibe is an extension almost of the title track of Kin (<-->) (Nonesuch/Metheny Group Productions, 2014) with it’s electronics and the trio takes the listener on an extended nearly fourteen minute journey, invoking at first some sort of techno ized cityscape.  Francies’ liquid piano solo is full of ideas, and he is inspired by the double time tempo and Latin esque bass line.  Metheny digs in on a bembe groove to the delight of the audience’s whoops and hollers, variety added to the tonal palette courtesy of Orchestrionic marimba.  From here the group moves through a variety of written sections in the extended structure, returning to the moody head, Gilmore’s kaleidoscopic cymbal play a defining feature as it was at the start.

“Lodger” by far is one of the most memorable and intriguing compositions.  Written as a dedication to guitarist Adam Rogers, Metheny exclusively sticks to distorted electric guitar, and though the piece in the melody has shades of “Travels” and more than a hint of Jimi Hendrix, it captures a hard rocking aspect of the guitarist’s playing that is relatively new.  Gilmore lays down a hard, pounding rock beat, and Francies’  slow harmonic rhythm with elongated organ chords  make effective use of the Leslie speaker “brake” feature on a Hammond.  Metheny builds a long solo building to massive dynamic intensity, before a return to a slow simmer.

“Zenith Blue”  is  another breathtaking epic. A rubato late Coltrane incantation announces Metheny’s signature Roland GR300 guitar synthesizer, where a simple melodic kernel becomes euphoric.  The Orchestrionic bottle organ becomes part of the melody, and if there is a nod to the late Lyle Mays in the texture, timbre and arrangement, this track is it.  Metheny’s melody is long and intricate, a variety of colors being used, Orchestrionic 16th note percussion, glockenspiel, Gilmore’s drum and bass rhythm.  Metheny elegantly floats over the changes on guitar synth, building on the GR300 in the way only he can, beautiful harmonies from synths and Orchestrionic bottle organ emerge, his solo almost ending in an abrupt thrash, before a variation of the theme is introduced as an interlude. Francies takes over with a Rhodes esque solo at a relaxed waltz tempo, Gilmore’s inner Elvin Jones coming to the fore.  The Mays like “Prophet sound” timbre from the bottles returns to state part of the melody as Francies’ continues to solo, adding some additional layers of harmony.  A driving section follows Francies’ solo with arpeggiated synths, the drum and bass rhythm, and the shakers in a Steve Reichian trance, and the tune reaches a thrilling conclusion.  “The Bat” is a wonderful ballad closer, Francies’ bass line is so subtle that one easily forgets there is NO bassist, and his comping behind a reflective Metheny meditation is capped by Gilmore’s autumnal brush work and dark smoky cymbals that is icing on the cake after an hour plus of excellent music.  The Japanese inclusion of “The Bat” increases the CD run time to 69:05 and makes it a much more complete, satisfying album experience than the streaming, the UK and American CD versions that close with “Zenith Blue”.

Sound:

Recorded, mixed and mastered by longtime engineering partner Pete Karam, with the live house sound courtesy of Austin Stillwell, Side Eye NYC is without question the finest sounding Metheny album in a very long time.  Two versions of the album were analyzed for review, the high res streaming version available through all major streaming services and the Japanese CD.  The streaming version utilized both the Marantz MM7025 dual AKM DACS and the Schiit Bifrost 2 DAC.  While the Bifrost 2 seemingly adds a more distinct layer of separation, the Focal Chora 826 speakers do a wonderful job at displaying the wide dynamics the ensemble creates.  If anything, streaming vs. CD, the bass is a bit tighter and more present in the high res version, but the CD sounds very very nice.  One neat aspect of the VERY wide sound stage is Metheny’s distorted guitar on “Lodger”, while it appears center of the sound stage on most other tracks, is slightly LEFT of center coming outside the speaker, and the Roland GR300, on “Zenith Blue”, as Metheny has the synth full blast, it is placed in the center, and when he turns it off and uses the G303 (the guitar controller for the GR300) as a regular guitar, it also appears to the left of center coming outside the speaker, very cool use of spatial depth.  Francies’ analog synths have textural variety and depth, the piano appearing across the sound stage on “It Starts When We Dissapear” and “Turnaround”, while for tracks like “The Bat” remain in the far left channel.  Gilmore’s drums have thunder and punch, and his K Zildjian cymbals ring with gorgeous sizzle and wash.

Concluding Thoughts:

Side Eye NYC showcases a stimulating new configuration for Pat Metheny.  Francies and Gilmore push him to inspired heights, and in turn they also deliver some great moments.  The album could serve as a Pat Metheny primer for the uninitiated and it ranks as far as his live albums go the finest since Trio-->Live (Warner Brothers/Metheny Group Productions, 2000) in it’s unbridled enthusiasm.  The Japanese CD is a more satisfying, complete album experience because of the inclusion of “The Bat”, but the potential of this new trio is definitely high.  Metheny plans on going into the studio with Side Eye at some point and it is anyone’s guess where it will evolve to.  Francies is the finest keyboard collaborator since Lyle Mays and the duo and quartets with Brad Mehldau, and their chemistry can lead to some very interesting places.

Music: 9.5/10

Sound: 9/10

Equipment used for review

HP Pavilion x360 laptop (for high res playback)

Audiolab CDT6000 transport (for CD playback)

Schiit Bifrost 2 DAC

Focal Chora 826 speakers

Pre amp: Marantz NR1200 stereo receiver  

Marantz MM7025 power amplifier

Audioquest Golden Gate and Forest cables

Furman power conditioner

[beansonbread2]

BEANSONBREAD AWARDS 2020 - BEST ALBUM

AWARD NO.2 - BEST ALBUM OF 2020

PAST WINNERS

2019 > Self Esteem - ‘Compliments Please’ (see full list HERE)

2018 > Kero Kero Bonito - ‘Time ‘n’ Place’ (see full list HERE)

2017 > Richard Dawson - ‘Peasant’ (see full list HERE)

2016 > Blood Orange - ‘Freetown Sound’ (see full list HERE)

2015 > Holly Herndon - ‘Platform’ (see full list HERE)

2014 > FKA Twigs - ‘LP1′ (see full list HERE)

2013 > These New Puritans - ‘Field Of Reeds’ (see full list HERE)

2012 > Django Django - ‘Django Django’ (see full list HERE)

2011 > Shabazz Palaces - ‘Black Up’ (see full list HERE)

2010 > These New Puritans - ‘Hidden’ (see full list HERE)

2009 > Animal Collective - ‘Merriweather Post Pavilion’ (see full list HERE)

2008 > Wild Beasts - ‘Limbo, Panto’ (see full list HERE)

2007 > Animal Collective - ‘Strawberry Jam’ (see full list HERE)

2006 > Safetyword - ‘Man’s Name Is Legion’ (see full list HERE)

2005 > Animal Collective - ‘Feels’ (see full list HERE)

2004 > Devendra Banhart - ‘Rejoicing In The Hands’ / ‘Nino Rojo’

2003 > Dizzee Rascal - ‘Boy In Da Corner’

2002 > The Streets - ‘Original Pirate Material’

2001 > The Beta Band - ‘Hot Shots II’

2000 > Outkast - ‘Stankonia’

1999 > The Beta Band - ‘The Beta Band’

1998 > The Beta Band - ‘The Three EPs’

1997 > Radiohead - ‘OK Computer’

1996 > Beck - ‘Odelay’

---

THE RULES - No Re-issues, Live Albums, Compilations, or EPs.

---

SPECIAL MENTIONS for these collections

Bulbils (Richard Dawson & Sally Pilkington) - 50 lockdown albums

Dean Blunt ‘Roaches 2012-2019’

These New Puritans ‘The Cut (2016-2019)’  

Hudson Mohawke ‘B.B.H.E.’ & ‘Poom Gems’

Various Artists ‘Paul Institute - Summer 2020’

Various Artists ‘Return To Y’Hup - The World Of Ivor Cutler’

---

***SPOTIFY PLAYLIST FEATURES TRACKS FROM TOP 80 ALBUMS (coming later) ***

---

WORTH A MENTION (in no order) - A bunch of albums i enjoyed but didn’t quite make the final lists and others i just didn’t hear enough to be considered properly.  A list for future me to revisit.

Still House Plants / Fire-Toolz / Lomelda / Jerskin Fendrix / Zebra Katz / The Bug / Lorenzo Senni / Diamond Soul / Wilma Archer / Black Dresses / The Fantasy Orchestra / William Carkeet / Bonny Light Horseman / KA / Yung Lean / BlackPink / Rural Internet / Okay Kaya / Future / Belan / Tame Impala / Banoffee / JARV IS / Grimes / Whitmer Thomas / Jeff Parker / The Massacre Cave / Porridge Radio / Selena Gomez / Teyana Taylor / Sparkle Division / Cecile Believe / Lyra Pramuk / Waxahatchee / Happyness / Khruangbin / Bananagun / OHMME / Drakeo The Ruler / Missterspoon / Juice WRLD / Lonnie Holley / Jiafeng / October Drift / Roisin Murphy / KeiyaA / Dizzee Rascal / Salem / Tiña / The Weeknd / Aaron Cartier / Dana Gavanski / A.R. Pinewood / The Cool Greenhouse / Royce Da 5’9’’ / Rachel Aggs / Karl Band / Four Tet / Georgia / Sonic Boom / Kali Uchis / Luis Pestana / Salac / David A Jaycock / Klein / Temple After Faith / Roman Noseband / Dylan Henner / G.S. Sultan / Hinds / Jess Williamson / Coby Sey / Randolph’s Leap / Matthew D. Gantt / Stephen Kerrison / Katie Gately / Snails / Juniore / Good Dog / Lil B / Kamaiyah / Ryuichi Sakamoto / The Big Moon / Zoe Mc Pherson / Holy Fuck / Ovrkast / Reol / Andy Shauf / Ethan Gruska / Poliça / D Smoke / Sign Libra / Chara & YUKI / Wiley / Bad Bunny / Shirley Collins / Jordana / Gaika / DJ Python / North Americans / Michael / Kaitlyn Aurelia Smith / Lido Pimienta / Everything Is Recorded / Lwesberg / Sufjan Stevens & Lowell Brams / Rhodri Davies / LA Priest / Ian William Craig / Flohio / Irreversible Entanglements / Islet / Westside Gunn / Empress Of / NNamdi / Warm Digits / Baxter Dury / Kehiani / Eels / Emmy The Great / Owen Pallett / Elysia Crampton / The Beths / Julianna Barwick / Liv.E / Jimothy Lacoste / Ben Frost / J Hus / Sylvan Esso / Haiku Hands / Ariana Grande / Jean Dawson / Food House / Nuala Honan / Helena Deland / Boldly James / Headie One / Oliver Coates / Lowkey-E / Bree Runway / Warren Ellis / Boldy James & The Alchemist / Young Knives /  Little Dragon / The Garden / Melt Yourself Down / Quakers / Kamasi Washington / Mogwai / Gil Scott-Heron & Makaya McCraven / Eyeliner / ‘The Whalebone Box’ OST / Special Interest / Teyana Taylor / Nadine Shah / Tricky / Moor Mother / Nick Storring

---

2020 RUNNERS UP (in no order)

William Basinski ‘Lamentations’

Hook ‘Crashed My Car’

Vic Berger IV ‘Late Enough To See The Moon’

Nines ‘Crabs In A Bucket’

My Morning Jacket ‘The Waterfall II’

Firestations ‘Dream Home’

Moses Boyd ‘Dark Matter’

Dick Dent ‘Life’s Hard’

Nicholas Stevenson ‘Dead Arm, Vol.2’

Otto ‘Clam Day’

Pa Salieu ‘Send Them To Coventry’

Undermedvetenheten ‘Undermedvetenheten’

Martha Ffion ‘Nights To Forget’

Adrianne Lenker ‘Songs’

Happy Spendy ‘You’re Doing Okay’

Mark Korven ‘The Lighthouse’ OST

21 Savage and Metro Boomin ‘Savage Mode II’

Yorkston/Thorne/Khan ‘Navarasa’

Three Queens In The Mourning & Bonnie Prince Billy ‘Hello Sorrow / Hello Joy’

Shopping ‘All Or Nothing’

Megan Thee Stallion ‘Good News’

Obongjayer ‘Which Way Is Forward?’

Mush ‘3D Routine’

Geoff Barrow, Ben Salisbury & The Insects ‘Devs’ OST

Luke Abbott ‘Translate’

Spinning Coin ‘Hyacinth’

Princess Nokia ‘Everything Sucks’

Fleet Foxes ‘Shore’

Julia Holter ‘Never Rarely Sometimes Always’ OST

Sufjan Stevens ‘The Ascension’

Nicolas Jaar ‘Cenizas’

Pottery ‘Welcome To Bobby’s Motel’

Jessie Ware ‘What’s Your Pleasure?’

Jung Jae II ‘Parasite’ OST

Freddie Gibbs & The Alchemist ‘Alfredo’

Doves ‘The Universal Want’

Brigid Mae Power ‘Head Above The Water’

Bab L’ Bluz ‘Nayda!’

James Yorkston ‘That Summer, We Flew’

Oklou ‘Galore’

Angel Olsen ‘Whole New Mess’

The Lemon Twigs ‘Songs For The General Public’

Marie Davidson & L’Œil Nu ‘Renegade Breakdown’

Gupi ‘None’

Alexia Avina ‘Unearth’

John Bence ‘Love’

Colin Stetson ‘Color Out Of Space’ OST

King Krule ‘Man Alive!’

Against All Logic ‘2017-2019’

Willie J Healey ‘Twin Heavy’

Jam City ‘Pillowland’

MXLX ‘Maximum Amounts Of Extremely Fucking Yes (Vol.1)’

---

THE TOP 80 ALBUMS OF 2020

80. Poppy ‘I Disagree’ 79. ThisisDA ‘Mud Hype’ 78. Fenne Lily ‘BREACH’ 77. Gorillaz ‘Song Machine’ 76. Soccer Mommy ‘Color Theory’ 75. 1995 Epilepsy ‘1995 Epilepsy’ 74. Jabu ‘Sweet Company’ 73. Actress ‘Karma & Desire’ + ‘88’ 72. Chloe x Halle ‘Ungodly Hour’ 71. Dirty Projectors ‘5EPs’

70. Beatrice Dillon ‘Walkaround’ 69. Matmos ‘The Consuming Flame: Open Exercises In Group Form’ 68. Blanck Mass ‘Calm With Horses’ OST 67. Eartheater ‘Phoenix: flames Are Dew Upon My Skin’ 66. Sega Bodega ‘Salvador’  65. Savage Mansion ‘Weird Country’ 64. Kelly Lee Owens ‘Inner Song’ 63. Daniel Blumberg ‘On&On’  62. Clementine March ‘Le Continent’ 61. HAIM ‘Women In Music Pt.III’

60. Dua Lipa ‘Future Nostalgia’ 59. Pigs Pigs Pigs Pigs Pigs Pigs Pigs ‘Viscerals’ 58. Darkstar ‘Civic Jams’ 57. Lil Uzi Vert ‘Eternal Atake’ 56. This Is The Kit ‘Off Off On’ 55. Shabazz Palaces ‘The Don Of Diamond Dreams’ 54. Princess Nokia ‘Everything Is Beautiful’ 53. The Orielles ‘Disco Volador’ 52. Oro Swimming Hour ‘Pteradactyl’ 51. MXLX ‘Serpent’

50. Dan Deacon ‘Mystic Familiar’

49. Jay Electronica ‘A Written Testimony’

48. Fiona Apple ‘Fetch The Bolt Cutters’

47. Galen Tipton ‘Ungoliant’

46. Knife Liibrary ‘MARKS: Songs For Those I Have Killed’

45. Deerhoof ‘Future Teenage Cave Artists’

44. Caribou ‘Suddenly’

43. Working Men’s Club ‘Working Men’s Club’

42. Seamus Fogarty ‘A Bag Of Eyes’

41. Field Music ‘Making A New World’

40. Cornershop ‘England Is A Garden’

39. Lambchop ‘Trip’

38. Katy J Pearson ‘Return’

37. Amaarae ‘The Angel You Don’t Know’

36. James Ferraro ‘Neurogeist’

35. Hen Ogledd ‘Free Humans’

34. Spectres ‘It’s Never Going To Happen And This Is Why’

33. Laura Marling ‘Song For Our Daughter’

32. Bill Callahan ‘Gold Record’

31. Bob Dylan ‘Rough And Rowdy Ways’

30. A.G. Cook ‘7G’

29. Good Sad Happy Bad ‘Shades’

28. SAULT ‘Untitled (Black Is)’

27. Run The Jewels ‘RTJ4’

26. Clipping ‘Visions Of Bodies Being Burned’

25. Thundercat ‘It Is What It Is’

24. Pictish Trail ‘Thumb World’

23. Jessy Lanza ‘All The Time’

22. Yves Tumor ‘Heaven To A Tortured Mind’

21. Sorry ‘925’

20. Yaeji ‘What We Drew’

19. A.G. Cook ‘Apple’

18. Wesley Gonzalez ‘Appalling Human’

17. Pet Shimmers ‘Face Down In Meta’ & ‘Trash Earthers’

16. Arca ‘KiCK i’

15. 100 Gecs ‘1000 Gecs And The Tree Of Clues’

14. Tara Clerkin Trio ‘Tara Clerkin Trio’

13. Richard Dawson ‘Republic Of Geordieland’

12. Phoebe Bridgers ‘Punisher’

11. Perfume Genius ‘Set My Heart On Fire Immediately’

10. Charli XCX ‘How I’m Feeling Now’

9. Rina Sawayama ‘SAWAYAMA’

8. Dorian Electra ‘My Agenda’

7. Alabaster DePlume ‘To Cy & Lee: Instrumentals Vol.1’

6. SAULT ‘Untitled (Rise)’

5. Tim Heidecker ‘Fear Of Death’

4. Moses Sumney ‘græ’

3. Oneohtrix Point Never ‘Magic Oneohtrix Point Never’

2. Crack Cloud ‘Pain Olympics’

1. The Flaming Lips ‘American Head’

[starstruckteacup]

Cottagecore Films (pt. 9)

Classic Disney Edition - Original Princess Trio!

Snow White and the Seven Dwarves (1937)

starring Adriana Caselotti, Lucille La Verne, Pinto Colvig, Roy Atwell, Otis Harlan, Billy Gilbert, Scotty Matraw, Eddie Collins, Harry Stockwell

A young and beautiful princess, Snow White, grows up under the threatening watch of her stepmother, the Evil Queen. One day, the Queen’s Magic Mirror tells her that she is no longer the fairest in the land, but that Snow White is. Enraged and jealous, the Queen orders her huntsman to kill Snow White, but at the last moment, he is unable to strike. Snow White flees into the woods, and soon arrives at the cozy home of the local dwarves. When the dwarves return from work, they are terrified to discover that someone has been in their house. However, when they meet Snow White, they are immediately taken by her kindness and allow her to stay. The group celebrates with dinner and a small party, but their bliss doesn’t last for long. When the dwarves leave again for work in the morning, Snow White encounters a mysterious old woman--unbeknownst to her, it’s the Evil Queen in disguise--selling apples, who cons her way into the dwarves’ home and gives Snow White a poison apple. When the dwarves find her, they believe her to be dead, and place her in a gold and glass coffin. It seems that all is lost, but true love has other plans.

I’ve seen this movie many times, and as a kid I actually really disliked it. I thought Snow White was a passive and boring character, but on this watch-through I was surprised by how poorly I interpreted her previously. Snow White is a 14 year old girl, but packs such bravery as could rival any Prince Charming. She’s still very clearly a child though, with her innocence, positivity, and unjaded outlook. She puts others’ needs before her own constantly and always finds the good in everyone. She’s still naive though, which is clear from her open interaction with the old woman/Evil Queen, despite knowing that her life was in danger if the Queen found her. After she escapes death by the huntsman’s blade, she runs panicked through the forest, with everything mutating into horrors around her, just as a young, frightened girl would. She’s immediately comforted by the animals afterward, which is reflective of how readily young people can bounce back from trauma. The Evil Queen was also a lot darker than I recall. I was terrified of her as a kid, but I’m still terrified as an adult for an entirely new set of reasons. What kind of woman tries to kill a child over beauty, then celebrates that she’ll be buried alive after eating the poison apple? That kind of coldness and brutality is absolutely horrifying, even now. She may be the most dangerous and genuinely evil Disney villain in history, and she was the very first. 7/10

Cinderella (1950)

starring Ilene Woods, Eleanor Audley, Verna Felton, Lucille Bliss, Rhoda Williams, James MacDonald

When Cinderella’s father passes away, she’s left with her vain, greedy, and cruel stepmother, Lady Tremaine, and two stepsisters, Anastasia and Drizella. She works as their scullery maid every day, until an urgent message from the King arrives. The castle will host a ball for the prince to meet an eligible maiden, and she quickly organizes the chateau and dons the dress her animal friends made for her, hoping to at least attend the ball. However, just as they are about to leave, the stepsisters destroy her dress, dashing her dreams. As she weeps, her fairy godmother appears, dressing her magnificently and creating a splendid carriage for her. She arrives at the ball, catching the undivided attention of the prince (unbeknownst to her), with whom she spends the rest of the night dancing. She nearly loses track of time as the clock tolls midnight; as she flees the castle, she drops her glass slipper, and narrowly escapes the king’s guards. The next day, the Grand Duke visits every maiden in the kingdom, trying the slipper on every one in hope of finding who it belongs to. At long last, he reaches Cinderella’s home, but the slipper breaks due to the interference of Lady Tremaine. As if by destiny, Cinderella has the other slipper, and she lives happily ever after with her Prince Charming.

There’s a reason why this is the classic Disney movie. It’s full of charm and elegance, and it’s impossible to not empathize with Cinderella. Although it’s not as apparent by the unrealistic standards we set for modern-day female characters, Cinderella is actually an incredibly rounded character, and deserves more credit than she gets. She’s a strongly but subtly witty and sassy young woman, yet is never lacking in infallible patience and kindness. She makes a variety of sly remarks to her animal friends about her situation, only to provide some levity and not become depressed and traumatized, as many of us would in her situation, but she is never harsh or cruel. She sees the world for what it is and for what it could be, and never loses hope that things will turn out well for her one day. This film has possibly the most romantic lyrical soundtrack, with “So This is Love” and “A Dream is a Wish Your Heart Makes” outshining almost any Disney love song to date. When you hear these songs, you fall a little in love too. This film has an impeccable focus on true love, but despite its fantasy setting it feels more real and attainable than it does on the surface. Cinderella doesn’t even know she’s dancing with the prince, but she knows she’s in love, and that’s all that matters. (Also it took me literally years of watching this movie to finally pick up that she didn’t know he was the prince, oops.) Love doesn’t have contingencies, and that’s a beautiful thing. 9/10

Sleeping Beauty (1959)

starring Mary Costa, Bill Shirley, Eleanor Audley, Verna Felton, Barbara Luddy, Barbara Jo Allen

At the infant Princess Aurora’s christening, three fairies--Flora, Fauna, and Merryweather--arrive to bless her with three magical gifts. Flora bestows upon her incredible beauty, and Fauna gifts her with a beautiful voice. Before Merryweather can share her gift, the diabolical fairy Maleficent appears, insulted that she was unwanted by the court. She curses the child to prick her finger on the spindle of a spinning wheel and die before her 16th birthday. Merryweather uses her gift to amend the curse so that Aurora will only fall into a deep sleep, to be awakened by true love’s kiss. To prevent this from happening, the three fairies hide her in the woods, where they will remain as peasants until her 16th birthday passes. On her birthday, Aurora meets a handsome stranger, whom she falls in love with. When she returns home to share the news with the fairies, they break the news that not only is she already betrothed, but that they will to the castle that very evening. Before the sun sets, however, Maleficent tricks Aurora into pricking her finger, and she falls into the deathlike slumber. The stranger in the woods, who in actuality is Prince Phillip and Aurora’s betrothed, arrives at the cottage to meet her, where he is captured by Maleficent. She takes him to the Forbidden Mountain, but he quickly breaks out and battles with Maleficent as a fearsome dragon. Felling her, he rushes to Aurora’s side. With true love’s kiss, the curse is lifted, and the entire kingdom awakens.

As the third film in the Disney Princess lineage, Sleeping Beauty shows a remarkable evolution of design and artistic prowess. Snow White and Cinderella are both stunning, but the artists in this film take the backgrounds to a new, fantastical, and ethereal realm. This world is sewn together with magic, and it really comes through in the art. The music is also far more enchanting and romantic as a whole. The instrumental scores are breathtaking and truly immerse the audience in the magic of this world. There were certainly fewer lyrical numbers in this movie, but “Once Upon a Dream” is such a wonderful love song that walks the audience through Aurora’s youthful naivety and its evolution into realistic love. In my opinion, it’s nearly incomparable to the rest of Disney’s musical repertoire as well. Without question, Prince Phillip is Disney’s greatest and most heroic prince. He’s brave, steadfast, and honorable, and shows he will go to any length for the woman he loves. What other prince fights against a demonic dragon to save someone he just met the day before? That’s right, none. There may be more well-rounded princes, especially as we get toward his more modern counterparts, but very few have shown that they are willing to risk their lives or livelihood for the wellbeing of a loved one. With Aurora, on the other hand, I think Disney could have done better. She’s actually a rather shallow character; all we know about her is that she is beautiful, melodious, and imaginative, but we don’t know anything real about her personality. We don’t know what makes her feel good or bad about anything. We briefly see her response when her dreams are dashed, but even that isn’t as thoroughly expounded upon as other princesses are. The film also doesn’t give enough credit to the distress the huge reveal of her royal lineage causes. In other films, the princesses have real, gut-wrenching reactions to serious situations that are thrown their way, but Aurora isn’t given that depth. This may be one of my favorite movies, but it doesn’t quite hold up to many other Disney films. Also Maleficent is the best villain of all, and no I won’t take any criticisms. 7/10

Part One // Part Two // Part Three // Part Four // Part Five // Part Six // Part Seven // Part Eight

[blackkudos]

Shirley Horn

Shirley Valerie Horn (May 1, 1934 – October 20, 2005) was an American jazz singer and pianist. She collaborated with many jazz greats including Miles Davis, Dizzy Gillespie, Toots Thielemans, Ron Carter, Carmen McRae, Wynton Marsalis and others. She was most noted for her ability to accompany herself with nearly incomparable independence and ability on the piano while singing, something described by arranger Johnny Mandel as "like having two heads", and for her rich, lush voice, a smoky contralto, which was described by noted producer and arranger Quincy Jones as "like clothing, as she seduces you with her voice".

Biography

Shirley Horn was born and raised in Washington, D.C.. Encouraged by her grandmother, an amateur organist, Horn began piano lessons at the age of four. Aged 12, she studied piano and composition at Howard University, later graduating from there in classical music. Horn was offered a place at the Juilliard School, but her family could not afford to send her there. Horn formed her first jazz piano trio when she was 20. Horn's early piano influences were Erroll Garner, Oscar Peterson and Ahmad Jamal, and moving away from her classical background, Horn later said that "Oscar Peterson became my Rachmaninov, and Ahmad Jamal became my Debussy." She then became enamored with the famous U Street jazz area of Washington (largely destroyed in the 1968 riots), sneaking into jazz clubs before she was of legal age.

According to jazz journalist James Gavin, the small New York City record label Stere-O-Craft discovered Horn in Washington, D.C. and brought her to New York to record her first album, 1960's Embers and Ashes. Horn had recorded with violinist Stuff Smith in Washington, D.C. in 1959, as a pianist in one of the rhythm sections featured on Cat on a Hot Fiddle. Unfortunately for Horn, Verve Records did not include her name on the album's list of backing musicians, and the experience did not raise her professional profile.(A later reissue of Stuff Smith's Verve recordings on Mosaic Records documented Horn's participation, and included three Horn vocal performances of George Gershwin songs that were left off the album.)

Horn's Embers and Ashes record attracted the attention of jazz trumpeter Miles Davis, who praised Horn publicly and invited her to play intermission sets during his performances at the Village Vanguard. Davis's praise had particular resonance in two respects: because he was highly respected as a musician, and because he rarely offered public praise for fellow musicians at that time. A 1961 live performance recorded in St. Louis' Gaslight Square district was eventually released on LP under the title "Live" at the Village Vanguard. (A later CD reissue of this material was released under the title At the Gaslight Square 1961).

By 1962, Horn had attracted the attention of Mercury Records vice-president (and jazz arranger) Quincy Jones, who signed Horn to Mercury. On her two Mercury LPs, Horn was placed in a traditional pop setting with medium-sized jazz orchestra, and on neither album did she play piano. According to jazz journalist James Gavin, a third Mercury LP was recorded but never issued, and as of 1993, the tapes for that album were presumed to be lost. Horn's final LP of the 1960s was 1965's Travelin' Light, recorded for ABC-Paramount. She was popular with jazz critics, but did not achieve significant popular success.

Though she had recorded a song by The Beatles on Travelin' Light, Horn for the most part resisted efforts to remake her into a popular singer in the mid-1960s, later saying of such attempts "I will not stoop to conquer." From the late-1960s to the early 1980s, she was semi-retired from music, staying in Washington, D.C. to raise her daughter Rainy with her husband, Sheppard Deering (whom she had married in 1955), and largely limiting her music to local performances. She made one album in 1972 for Perception Records, but the record received little notice, and Horn did not tour to promote it.

In 1978, Horn's career got a boost when SteepleChase Records of Denmark tracked her down in Washington, D.C. and offered to record her with drummer Billy Hart, (whom Horn had known for many years) and bassist Buster Williams. The resulting album, A Lazy Afternoon was the first of a total of four Horn albums released by SteepleChase between 1978 and 1984. Horn also began to play engagements in North America and Europe, including the North Sea Jazz Festival, where two of her albums were recorded.

In 1986, Horn signed a one-record deal with CBS-Sony for the Japanese market and released All of Me, a studio session recorded in New York City with her regular trio and guest Frank Wess on three tracks. By early 1987, Verve Records was pursuing a recording contract with her, and in May of that year, the live album I Thought About You, her first for Verve, was recorded in Hollywood. Horn recorded one further session for an indepdendent jazz label (1987's Softly, for Audiophile Records), then returned to Verve. She released a total of 11 studio and live albums for the label during her lifetime (additional compilation albums added to this total). Horn's most commercially successful years were spent with Verve, and the label helped her find a large international audience.

Miles Davis made a rare appearance as a sideman on Horn's 1991 album You Won't Forget Me. Although she preferred to perform in small settings, such as her trio, she also recorded with orchestras, as on the 1992 album Here's to Life, the title song of which became her signature song. A video documentary of Horn's life and music was released at the same time as "Here's To Life" and shared its title. At the time, arranger Johnny Mandel commented that Horn's piano skill was comparable to that of the noted jazz great Bill Evans. A follow-up was made in 2001, named You're My Thrill.

Horn worked with the same rhythm section for 25 years: Charles Ables (bass) and Steve Williams (drums). Don Heckman wrote in the Los Angeles Times (February 2, 1995) about "the importance of bassist Charles Ables and drummer Steve Williams to Horn's sound. Working with boundless subtlety, following her every spontaneous twist and turn, they were the ideal accompanists for a performer who clearly will tolerate nothing less than perfection".

Her albums Here's to Life, Light Out of Darkness (A Tribute to Ray Charles) and I Love You, Paris all reached number one on the Billboard jazz charts.

A breast cancer survivor, she had been battling diabetes when she died of complications from the condition, aged 71. She is interred at Ft. Lincoln Cemetery in Washington, D.C. Since her death, concert recordings of Horn have been released on CD and DVD by Resonance Records and Image Entertainment.

On June 25, 2019, The New York Times Magazine listed Shirley Horn among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Awards and honors

Horn was nominated for nine Grammy Awards during her career, winning the Grammy Award for Best Jazz Vocal Performance at the 41st Grammy Awards for I Remember Miles, a tribute to her friend and mentor (the album's cover featuring a Miles Davis drawing of them both).

She was officially recognized by the 109th US Congress for "her many achievements and contributions to the world of jazz and American culture", and performed at The White House for several U.S. presidents. Horn was awarded an honorary Doctor of Music degree from the Berklee College of Music in 2002.

She was awarded the National Endowment for the Arts Jazz Masters Award in 2005 (the highest honors that the United States bestows upon jazz musicians).

Discography

As leader

Embers and Ashes (Stere-o-Craft, 1960)

Loads of Love (Mercury, 1963)

Shirley Horn with Horns (Mercury, 1963)

Travelin' Light (ABC-Paramount, 1965)

Where Are You Going (Perception, 1973)

A Lazy Afternoon (SteepleChase, 1979)

All Night Long (SteepleChase, 1981)

Violets for Your Furs (SteepleChase, 1982)

The Garden of the Blues (SteepleChase, 1985)

I Thought About You (Verve, 1987)

All of Me (CBS/Sony, 1987)

Softly (Audiophile, 1988)

Close Enough for Love (Verve, 1989)

You Won't Forget Me (Verve, 1991)

Here's to Life (Verve, 1992)

Light Out of Darkness (A Tribute to Ray Charles) (Verve, 1993)

I Love You, Paris (Verve, 1994)

The Main Ingredient (Verve, 1996)

Loving You (Verve, 1997)

I Remember Miles (Verve, 1998)

May the Music Never End (Verve, 2003)

You're My Thrill (Verve, 2000)

Marian McPartland's Piano Jazz with Guest Shirley Horn (Jazz Alliance, 2006)

Live at the 1994 Monterey Jazz Festival (Concord, 2008)

Live at the Four Queens (Resonance, 2016)

As guest

Benny Carter, Benny Carter Songbook (MusicMasters, 1997)

Bill Charlap, Stardust (Blue Note, 2003)

Benny Golson, One Day, Forever (Arkadia Jazz, 2001)

Charlie Haden, The Art of the Song (Verve, 1999)

Quincy Jones, For Love of Ivy (ABC, 1968)

Carmen McRae, Sarah: Dedicated to You (BMG/Novus, 1991)

Oscar Peterson, A Tribute to Oscar Peterson – Live at the Town Hall (Telarc, 1996)

Jeffery Smith, Ramona (Gitanes/Verve, 1995)

Stuff Smith, Cat on a Hot Fiddle (Verve, 1960)

Clark Terry, Live on QE2 (Chiaroscuro, 2001)

Toots Thielemans, For My Lady (EmArcy, 1991)

Joe Williams, In Good Company (Verve, 1989)

DVD

Live at the Village Vanguard (Lucy II, 2006)

[fukublrblog]

Green Book

Green Book(2018)

Director: Peter Farrelly

February 22, 2020

★★★☆☆

I’ve been intrigued by movies set in the 1960s lately. I think it might be because that decade covers a lot of issues such as wars, peace and desegregation. "Green Book” is one of those movies. It’s based on the true story of two men. One is a black pianist and composer, Don Shirley, who went on concert tours of the American South. The other is a white bouncer, Tony Lip, who was hired as Shirley's driver and bodyguard. The movie explores their struggles with racism and the friendship they created during the concert tours.

When Don Shirley Trio started to play “Blue Skies”, the music blew my mind. It sounded like jazz, pops and classical music co-exist in one music. If I have to choose one, it sounded most influenced by classical music. After watching the movie, I read the obituary of Don Shirley. It said that he was discouraged from pursuing a classical career because American audiences were not willing to accept a “colored” pianist during his time. The fact made me sad because I found that he truly loved classical music once listening to “Blue Skies”. In the movie, regardless of the standards of that time, Tony was impressed with Don’s playing and eventually they became friends. Since we all are flawed and we all have our differences, it’s not easy to accept others at times. But their friendship encouraged me to accept others by following what I believe is right.

Photo from IMDb

Source:

https://www.nytimes.com/2013/04/29/arts/music/donald-shirley-pianist-and-composer-dies-at-86.html

[princessgracekelly1956]

ABOVE: IN HOTEL SUITE at The Barclay, the Rev. Joseph B. Graham and Mrs. Rosemary T. Callan give a silver paten to Prince Rainier III and Princess Grace. The plate commemorates the International Eucharistic Congress, which will open in Philadelphia on Aug. 1. Prince Rainier and Princess Grace will participate in the congress.

The Philadelphia Inquirer - July 12, 1976

Princess Grace, Prince Rainier host 300 at Bicentennial salute 

By RUTH SELTZER

Monaco's Sovereign Prince Rainier III and his Philadelphia-born wife, Princess Grace, entertained 300 guests Friday at a cocktail reception at the Philadelphia Country Club in Gladwyne. 

It was Monaco's Bicentennial salute to the United States and Philadelphia. It was a beautiful party. 

Prince Rainier and Princess Grace welcomed guests. They stood in a receiving line with their three children, Princess Caroline, Prince Albert and Princess Stephanie. Princess Grace's brother, Councilman John B. Kelly Jr., was at the head of the line. 

“Doesn't Grace look marvelous!" exclaimed one guest. "She never seems to look a year older!" said another. 

Princess Grace wore a lovely white silk pajama ensemble. 

There was an informality about the party - relaxed and very pleasant. Hors d'oeuvres - hot and cold - were served. A trio played background music. 

We saw Princess Grace and Prince Rainier twice that day. Before going to the country club for the cocktail party, we attended a presentation ceremony in their honor. 

At the ceremony, in a Barclay Hotel suite, the Rev. Joseph B. Graham presented a sterling silver paten - a plate for the eucharistic bread - to Prince Rainier and Princess Grace in recognition of the part they play "in Christian life throughout the world." 

Father Graham is director of institutional services of the Archdiocese of Philadelphia. Prince Rainier and Princess Grace will participate in the 41st International Eucharistic Congress, which will open in Philadelphia on Aug. 1. On Aug. 2, Rainier and Grace will keynote the plenary session of an all-day conference on family life. The conference will be held at the Philadelphia Civic Center. 

At Friday's presentation ceremony was Mrs. Rosemary T. Callan, board chairman of the C & B Corp. of Warminster, Bucks County. There, too, were Saul Lapp, president of the firm, and John Neville, who is also an official of C & B. That firm has produced commemorative silver plates (exactly the same as the one given to Prince Rainier and Princess Grace). The plates will be sold (at $300 each) to help underwrite the expenses of the Philadelphia Archdiocese in hosting the Eucharistic Congress here. 

The first plate, number 1, will be presented to Pope Paul VI. It will be accepted in his behalf at the Eucharistic Congress by James Cardinal Knox of Australia, who has been appointed papal legate to the congress. 

Silver plates will also be presented to President Ford, Archbishop Jadot (the apostolic delegate to the United States), and John Cardinal Krol, Archbishop of Philadelphia. 

Cardinal Krol attended Monaco's party Friday at the country club. He arrived at the same time that we did. For several minutes, Cardinal Krol chatted with Princess Grace and Prince Rainier. 

Mr. and Mrs. Richard C. Bond were at the party. He is board chairman of Philadelphia ‘76 Inc., the city's Bicentennial agency. There, too, were City Representative Albert V. Gaudiosi and his wife, Cecelia; Deputy City Representative Anna Marie O'Brien and her husband, John T. O'Brien; William L. Rafsky (executive director of Philadelphia ‘76 Inc.) and his wife, Selma. 

Princess Grace's mother, Mrs. John B. Kelly, was at the party. So were Grace's sisters, Mrs. Donald Caldwell LeVine and Mrs. Margaret Kelly Conlan. We talked with Mrs. LeVine (Lizanne) and her husband, Don. 

Several of Princess Grace's cousins were there. Mrs. E. Shirley Turner came up from Middleburg, Va., for the party. She is Grace's cousin, Jean. 

Princess Grace's cousin, John Lehman, and his wife, Barbara, flew up from Washington for the party. He is deputy director of the U. S. Arms Control and Disarmament Agency. 

Mayor and Mrs. Frank L. Rizzo were invited, as were Gov. and Mrs. Milton J. Shapp. They sent regrets. 

At the party, we said hello to Fire Commissioner Joseph Rizzo and his wife, Marge (the mayor's brother and sister-in-law). Police Commissioner Joseph F. O'Neill and his wife, Eleanor, were there. 

Curtis P. Laupheimer, who is Monaco's consul in Philadelphia, and his wife, Betty greeted guests. So did Alfred J. Laupheimer Jr. and his wife, Jenny. Alfred and Curtis are brothers. Alfred, who now lives in Delray Beach, Fla., is Monaco's consul in Florida. 

Mr. and Mrs. Joseph S. Rambo were at the party. Mrs. Rambo (Maree) was Princess Grace's bridesmaid. The wedding in Monaco took place in April 1956. Three months before the wedding, the engagement of Miss Grace Kelly to Prince Rainier III was announced at a luncheon given by her parents, Mrs. John B. Kelly and the late Mr. Kelly, at the Philadelphia Country Club. 

At Friday's party, in the same clubhouse, were Trenton banker Mary G. Roebling; Wanamaker president Robert Drew Harrison and Mrs. Harrison; William S. Cashel (president of Bell Telephone Company of Pennsylvania) and Mrs. Cashel; G. Morris Dorrance (board chairman of Philadelphia National Bank) and Mrs. Dorrance; Thacher Longstreth (president of the Greater Philadelphia Chamber of Commerce) and Mrs. Longstreth; Atlantic City Race Track president Robert P. Levy and Mrs. Levy; Philadelphia's City Council president George X. Schwartz and Mrs. Schwartz; Wilmington's Mayor Thomas C. Maloney and Mrs. Maloney. 

The Rev. Dr. Leon Sullivan and Mrs. Sullivan were there. So were British Consul-General and Mrs. Denis Richards; Mr. and Mrs. George J. Hauptfuhrer Jr., Jules Lavin; Mrs. William T. Coleman Jr. (wife of the U. S. Secretary of Transportation) and her son, Bill; Mrs. Richard S. Schweiker (wife of the U. S. senator) and her son, Malcolm; Lennox Moak (the city's budget director) and his wife, Helen; U. S. District Judge and Mrs. A. Leon Higginbotham; U. S. District Judge and Mrs. John Morgan Davis; Mrs. Russell Austin; Mr. and Mrs. Clarence Farmer; Mr. and Mrs. John M. Seabrook; Tom Foglietta; Lt. Gen. and Mrs. Willard Pearson; Hillel Levinson (managing director of Philadelphia) and his bride, Caryl; Rear Adm. Wycliffe Toole Jr. (commandant of the Fourth Naval District) and Mrs. Toole; Mr. and Mrs. John Gribbel 2d; and Mr. and Mrs. James A. Nolen Jr. 

Wharton Shober, president of Hahnemann Medical College and Hospital, was at the cocktail party. Earlier in the day, Mr. Shober gave a luncheon in Hahnemann's executive suite. Prince Albert, who is now 18, arrived with his uncle, Councilman Kelly. The luncheon, which we attended, was in honor of the U. S. Equestrian Team, on the eve of the team's departure for the 1976 Olympic Games. Prince Albert, heir to the throne of Monaco, presented a commemorative scroll to the team. The scroll, given on behalf of Hahnemann, was accepted by Jack LaGoff, the team's coach. 

Last week in Philadelphia was summed up best by Marie Cashel, wife of the president of Bell Tel. Said she: "On Sunday, we went to a luncheon for the President of the United States. On Tuesday, we went to a dinner for the Queen of England. Today we are at a cocktail party given by the Prince and Princess of Monaco. Tomorrow, we'll get back to work in our garden."

[soulbounce]

【衝撃】ユニバーサル火災でマスターテープが焼失したアーティスト一覧

他の国にマスターのコピーがあることを祈ります。 38 Special 50 Cent Colonel Abrams Johnny Ace Bryan Adams Nat Adderley Aerosmith Rhett Akins Manny Albam Lorez Alexandria Gary Allan Red Allen Steve Allen The Ames Brothers Gene Ammons Bill Anderson Jimmy Anderson John Anderson The Andrews Sisters Lee Andrews & the Hearts Paul Anka Adam Ant Toni Arden Joan Armatrading Louis Armstrong Asia Asleep at the Wheel Audioslave Patti Austin Average White Band Hoyt Axton Albert Ayler Burt Bacharach Joan Baez Razzy Bailey Chet Baker Florence Ballard Hank Ballard Gato Barbieri Baja Marimba Band Len Barry Count Basie Fontella Bass The Beat Farmers Sidney Bechet and His Orchestra Beck Captain Beefheart Archie Bell & the Drells Vincent Bell Bell Biv Devoe Louie Bellson Don Bennett Joe Bennett and the Sparkletones David Benoit George Benson Berlin Elmer Bernstein and His Orchestra Chuck Berry Nuno Bettencourt Stephen Bishop Blackstreet Art Blakey Hal Blaine Bobby (Blue) Bland Mary J. Blige Blink 182 Blues Traveler Eddie Bo Pat Boone Boston Connee Boswell Eddie Boyd Jan Bradley Owen Bradley Quintet Oscar Brand Bob Braun Walter Brennan Jackie Brenston and His Delta Cats Teresa Brewer Edie Brickell & New Bohemians John Brim Lonnie Brooks Big Bill Broonzy and Washboard Sam Brothers Johnson Bobby Brown Clarence “Gatemouth” Brown Lawrence Brown Les Brown Marion Brown Marshall Brown Mel Brown Michael Brown Dave Brubeck Jimmy Buffett Carol Burnett T-Bone Burnett Dorsey Burnette Johnny Burnette Busta Rhymes Terry Callier Cab Calloway The Call Glen Campbell Captain and Tennille Captain Sensible Irene Cara Belinda Carlisle Carl Carlton Eric Carmen Hoagy Carmichael Kim Carnes Karen Carpenter Richard Carpenter The Carpenters Barbara Carr Betty Carter Benny Carter The Carter Family Peter Case Alvin Cash Mama Cass Bobby Charles Ray Charles Chubby Checker The Checkmates Ltd. Cheech & Chong Cher Don Cherry Mark Chesnutt The Chi-Lites Eric Clapton Petula Clark Roy Clark Gene Clark The Clark Sisters Merry Clayton Jimmy Cliff Patsy Cline Rosemary Clooney Wayne Cochran Joe Cocker Ornette Coleman Gloria Coleman Mitty Collier Jazzbo Collins Judy Collins Colosseum Alice Coltrane John Coltrane Colours Common Cookie and the Cupcakes Barbara Cook Rita Coolidge Stewart Copeland The Corsairs Dave “Baby” Cortez Bill Cosby Don Costa Clifford Coulter David Crosby Crosby & Nash Johnny Cougar (aka John Cougar Mellencamp) Counting Crows Coverdale?Page Warren Covington Deborah Cox James “Sugar Boy” Crawford Crazy Otto Marshall Crenshaw The Crew-Cuts Sonny Criss David Crosby Bob Crosby Bing Crosby Sheryl Crow Rodney Crowell The Crusaders Xavier Cugat The Cuff Links Tim Curry The Damned Danny & the Juniors Rodney Dangerfield Bobby Darin Helen Darling David + David Mac Davis Richard Davis Sammy Davis Jr. Chris de Burgh Lenny Dee Jack DeJohnette The Dells The Dell-Vikings Sandy Denny Sugar Pie DeSanto The Desert Rose Band Dennis DeYoung Neil Diamond Bo Diddley Difford & Tilbrook Dillard & Clark The Dixie Hummingbirds Willie Dixon DJ Shadow Fats Domino Jimmy Donley Kenny Dorham Jimmy Dorsey and His Orchestra Lee Dorsey The Tommy Dorsey Orchestra Lamont Dozier The Dramatics The Dream Syndicate Roy Drusky Jimmy Durante Deanna Durbin The Eagles Steve Earle El Chicano Danny Elfman Yvonne Elliman Duke Ellington Cass Elliott Joe Ely John Entwistle Eminem Eric B. and Rakim Gil Evans Paul Evans Betty Everett Don Everly Extreme The Falcons Harold Faltermeyer Donna Fargo Art Farmer Freddie Fender Ferrante & Teicher Fever Tree The Fifth Dimension Ella Fitzgerald Five Blind Boys Of Alabama The Fixx The Flamingos King Floyd The Flying Burrito Brothers John Fogerty Red Foley Eddie Fontaine The Four Aces The Four Tops Peter Frampton Franke & the Knockouts Aretha Franklin The Rev. C.L. Franklin The Free Movement Glenn Frey Lefty Frizzell Curtis Fuller Jerry Fuller Lowell Fulson Harvey Fuqua Nelly Furtado Hank Garland Judy Garland Erroll Garner Jimmy Garrison Larry Gatlin & the Gatlin Brothers Gene Loves Jezebel Barry Gibb Georgia Gibbs Terri Gibbs Dizzy Gillespie Gin Blossoms Tompall Glaser Tom Glazer Whoopi Goldberg Golden Earring Paul Gonsalves Benny Goodman Dexter Gordon Rosco Gordon Lesley Gore The Gospelaires Teddy Grace Grand Funk Railroad Amy Grant Earl Grant The Grass Roots Dobie Gray Buddy Greco Keith Green Al Green Jack Greene Robert Greenidge Lee Greenwood Patty Griffin Nanci Griffith Dave Grusin Guns N’ Roses Buddy Guy Buddy Hackett Charlie Haden Merle Haggard Bill Haley and His Comets Aaron Hall Lani Hall Chico Hamilton George Hamilton IV Hamilton, Joe Frank & Reynolds Marvin Hamlisch Jan Hammer Lionel Hampton John Handy Glass Harp Slim Harpo Richard Harris Freddie Harts Dan Hartman Johnny Hartman Coleman Hawkins Dale Hawkins Richie Havens Roy Haynes Head East Heavy D. & the Boyz Bobby Helms Don Henley Clarence “Frogman” Henry Woody Herman and His Orchestra Milt Herth and His Trio John Hiatt Al Hibbler Dan Hicks and the Hot Licks Monk Higgins Jessie Hill Earl Hines Roger Hodgson Hole Billie Holiday Jennifer Holliday Buddy Holly The Hollywood Flames Eddie Holman John Lee Hooker Stix Hooper Bob Hope Paul Horn Shirley Horn Big Walter Horton Thelma Houston Rebecca Lynn Howard Jan Howard Freddie Hubbard Humble Pie Engelbert Humperdinck Brian Hyland The Impressions The Ink Spots Iron Butterfly Burl Ives Janet Jackson Joe Jackson Milt Jackson Ahmad Jamal Etta James Elmore James James Gang Keith Jarrett Jason & the Scorchers Jawbreaker Garland Jeffreys Beverly Jenkins Gordon Jenkins The Jets Jimmy Eat World Jodeci Johnnie Joe The Joe Perry Project Elton John J.J. Johnson K-Ci & JoJo Al Jolson Booker T. Jones Elvin Jones George Jones Hank Jones Jack Jones Marti Jones Quincy Jones Rickie Lee Jones Tamiko Jones Tom Jones Louis Jordan and His Tympany Five The Jordanaires Jurassic 5 Bert Kaempfert Kitty Kallen & Georgie Shaw The Kalin Twins Bob Kames Kansas Boris Karloff Sammy Kaye Toby Keith Gene Kelly Chaka Khan B.B. King The Rev. Martin Luther King Jr. Wayne King The Kingsmen The Kingston Trio Roland Kirk Eartha Kitt John Klemmer Klymaxx Baker Knight Chris Knight Gladys Knight and the Pips Krokus Steve Kuhn Rolf Kuhn Joachim Kuhn Patti LaBelle L.A. Dream Team Frankie Laine Lambert, Hendricks & Ross Denise LaSalle Yusef Lateef Steve Lawrence Steve Lawrence & Eydie Gorme Lafayette Leake Brenda Lee Laura Lee Leapy Lee Peggy Lee Danni Leigh The Lennon Sisters J.B. Lenoir Ramsey Lewis Jerry Lee Lewis Jerry Lewis Meade Lux Lewis Liberace Lifehouse Enoch Light The Lightning Seeds Limp Bizkit Lisa Loeb Little Axe and the Golden Echoes Little Milton Little River Band Little Walter Lobo Nils Lofgren Lone Justice Guy Lombardo Lord Tracy The Louvin Brothers Love Patti Loveless The Lovelites Lyle Lovett Love Unlimited Loretta Lynn L.T.D. Lynyrd Skynyrd Gloria Lynne Moms Mabley Willie Mabon Warner Mack Dave MacKay & Vicky Hamilton Miriam Makeba The Mamas and the Papas Melissa Manchester Barbara Mandrell Chuck Mangione Shelly Manne Wade Marcus Mark-Almond Pigmeat Markham Steve Marriott Wink Martindale Groucho Marx Hugh Masekela Dave Mason Jerry Mason Matthews Southern Comfort The Mavericks Robert Maxwell John Mayall Percy Mayfield Lyle Mays Les McCann Delbert McClinton Robert Lee McCollum Marilyn McCoo & Billy Davis Jr. Van McCoy Jimmy McCracklin Jack McDuff Reba McEntire Gary McFarland Barry McGuire The McGuire Sisters Duff McKagan Maria McKee McKendree Spring Marian McPartland Clyde McPhatter Carmen McRae Jack McVea Meat Loaf Memphis Slim Sergio Mendes Ethel Merman Pat Metheny Mighty Clouds of Joy Roger Miller Stephanie Mills The Mills Brothers Liza Minnelli Charles Mingus Joni Mitchell Bill Monroe Vaughn Monroe Wes Montgomery Buddy Montgomery The Moody Blues The Moonglows Jane Morgan Russ Morgan Ennio Morricone Mos Def Martin Mull Gerry Mulligan Milton Nascimento Johnny Nash Nazareth Nelson Rick Nelson & the Stone Canyon Band Ricky Nelson Jimmy Nelson Oliver Nelson Aaron Neville Art Neville The Neville Brothers New Edition New Riders of the Purple Sage Olivia Newton-John Night Ranger Leonard Nimoy Nine Inch Nails Nirvana The Nitty Gritty Dirt Band No Doubt Ken Nordine Red Norvo Sextet Terri Nunn The Oak Ridge Boys Ric Ocasek Phil Ochs Hazel O’Connor Chico O’Farrill Oingo Boingo The O’Jays Spooner Oldham One Flew South Yoko Ono Orleans Jeffrey Osborne The Outfield Pablo Cruise Jackie Paris Leo Parker Junior Parker Ray Parker Jr. Dolly Parton Les Paul Freda Payne Peaches & Herb Ce Ce Peniston The Peppermint Rainbow Pepples The Persuasions Bernadette Peters Tom Petty and the Heartbreakers John Phillips Webb Pierce The Pinetoppers Bill Plummer Poco The Pointer Sisters The Police Doc Pomus Jimmy Ponder Iggy Pop Billy Preston Lloyd Price Louis Prima Primus Puddle Of Mudd Red Prysock Leroy Pullins The Pussycat Dolls Quarterflash Queen Latifah Sun Ra The Radiants Gerry Rafferty Kenny Rankin The Ray Charles Singers The Ray-O-Vacs The Rays Dewey Redman Della Reese Martha Reeves R.E.M. Debbie Reynolds Emitt Rhodes Buddy Rich Emil Richards Dannie Richmond Riders in the Sky Stan Ridgway Frazier River Sam Rivers Max Roach Marty Roberts Howard Roberts The Roches Chris Rock Tommy Roe Jimmy Rogers Sonny Rollins The Roots Rose Royce Jackie Ross Doctor Ross Rotary Connection The Rover Boys Roswell Rudd Rufus and Chaka Khan Otis Rush Brenda Russell Leon Russell Pee Wee Russell Russian Jazz Quartet Mitch Ryder Buffy Sainte-Marie Joe Sample Pharoah Sanders The Sandpipers Gary Saracho Shirley Scott Tom Scott Dawn Sears Neil Sedaka Jeannie Seely Semisonic Charlie Sexton Marlena Shaw Tupac Shakur Archie Shepp Dinah Shore Ben Sidran Silver Apples Shel Silverstein The Simon Sisters Ashlee Simpson The Simpsons Zoot Sims P.F. Sloan Smash Mouth Kate Smith Keely Smith Tab Smith Patti Smyth Snoop Dogg Valaida Snow Jill Sobule Soft Machine Sonic Youth Sonny and Cher The Soul Stirrers Soundgarden Eddie South Southern Culture on the Skids Spinal Tap Banana Splits The Spokesmen Squeeze Jo Stafford Chris Stamey Joe Stampley Michael Stanley Kay Starr Stealers Wheel Steely Dan Gwen Stefani Steppenwolf Cat Stevens Billy Stewart Sting Sonny Stitt Shane Stockton George Strait The Strawberry Alarm Clock Strawbs Styx Sublime Yma Sumac Andy Summers The Sundowners Supertramp The Surfaris Sylvia Syms Gabor Szabo The Tams Grady Tate t.A.T.u. Koko Taylor Billy Taylor Charlie Teagarden Temple of the Dog Clark Terry Tesla Sister Rosetta Tharpe Robin Thicke Toots Thielemans B.J. Thomas Irma Thomas Rufus Thomas Hank Thompson Lucky Thompson Big Mama Thornton Three Dog Night The Three Stooges Tiffany Mel Tillis Tommy & the Tom Toms Mel Torme The Tragically Hip The Trapp Family Singers Ralph Tresvant Ernest Tubb The Tubes Tanya Tucker Tommy Tucker The Tune Weavers Ike Turner Stanley Turrentine Conway Twitty McCoy Tyner Phil Upchurch Michael Utley Leroy Van Dyke Gino Vannelli Van Zant Billy Vaughan Suzanne Vega Vega Brothers Veruca Salt The Vibrations Bobby Vinton Voivod Porter Wagoner The Waikikis Rufus Wainwright Rick Wakeman Jerry Jeff Walker The Wallflowers Joe Walsh Wang Chung Clara Ward Warrior Soul Washboard Sam Was (Not Was) War Justine Washington The Watchmen Muddy Waters Jody Watley Johnny “Guitar” Watson The Weavers The Dream Weavers Ben Webster Weezer We Five George Wein Lenny Welch Lawrence Welk Kitty Wells Mae West Barry White Michael White Slappy White Whitesnake White Zombie The Who Whycliffe Kim Wilde Don Williams Jody Williams John Williams Larry Williams Lenny Williams Leona Williams Paul Williams Roger Williams Sonny Boy Williamson Walter Winchell Kai Winding Johnny Winter Wishbone Ash Jimmy Witherspoon Howlin’ Wolf Bobby Womack Lee Ann Womack Phil Woods Wrecks-N-Effect O.V. Wright Bill Wyman Rusty York Faron Young Neil Young Young Black Teenagers Y & T Rob Zombie

[asthmatic-cinephile-blog]

Critiques des films en +1 mois : janvier 2019.

L’homme fidèle : trio amoureux sympathique, j’ai été charmée par Lily-Rose Depp alors que je ne m’y attendais pas - du tout. Louis Garrel se prend pour un cinéaste de la Nouvelle Vague, c’est pas encore ça mais c’est un bon début. 

Asako I et II : un film magnifique, qui commence étrangement comme un drama coréen grand public. C’est splendide et je n’en dis pas plus pour ne pas gâcher le plaisir de ceux qui ne l’ont pas vu.

Grass : wow en écrivant cette petite critique j’avais même oublié ce qu’était Grass. Ok je me souviens, c’était comme d’hab avec Hong Sang-Soo : je lutte la moitié du film pour pas m’endormir, je dors l’autre moitié du film, je finis par sortir à la fin pas si déçue que ça même si ce n’est jamais transcendant. Comment ce réal arrive à m’apaiser autant d’un côté et à m’endormir à CHAQUE FOIS ?

Miraï ma petite soeur : la dynamique du film est assez relou, on doit se taper la même chose 5 fois. En dehors de ça le film a quand même quelque chose à raconter sur la famille, les relations entre frères/sœurs, mais ça ne me marquera pas plus que ça. Pour moi Hosoda est léééégèrement sur-estimé.

Border : bon ok le maquillage impressionnant. Mais je n’arrive pas à comprendre ce que veut me dire ce film.

L’heure de la sortie : Sombre, intelligent, poisseux, torturé, le film m’a hypnotisé et je suis ressortie toute essoufflée de la salle.

Glass : C’était gênant. Déjà que je n’avais pas aimé Split... Il ne se passe quasiment rien, les personnages sont inintéressants au possible et c’est. CHEAP. Non mais sérieusement est-ce que quelqu’un pourrait donner un peu de budget à M. Shyamalan ? Dommage car la thématique des super-héro bras cassés avait un tel potentiel... Bon après je suis la seule à penser ça, le film a cartonné et les notes sont positives.

Bienvenue à Marwen : triste de voir que le film a fait un énorme bide, mais en même temps quelle idée de faire une affiche aussi dégueulasse et pas du tout représentative de l’ambiance du film. Sinon, je tiens à préciser que j’ai pleuré devant la scène de refus.

Les Fauves : aouch c’est dur quand on compare à L’heure de la sortie. 2 seconds films, 2 films avec Lafitte. Celui-là se vautre dans une fausse ambiance mystérieuse, notre cher Laurent joue un mec sensé être flippant alors qu’il l’en est rien... Et Lily Rose Depp est insup - mais franchement ça doit pas être de sa faute cf mon avis sur L’homme fidèle. Rien d’intéressant par ici.

Green Book : je suis tiraillée entre le fait d’avoir passée un bon moment du début et à la fin et la gêne que j’ai ressenti pour certaines scènes - non mais sérieux la scène du poulet KFC / le moment où Tony Lip dit qu’il a certainement connu plus de discrimination que le Dr. Don Shirley : M-D-R.

Si Beale street pouvait parler : aka contempler un couple se regarder mollement dans le blanc des yeux pendant 2h + dénoncer des injustices qu’on connait déjà. Je garde uniquement la scène où Daniel raconte son passage en prison. Et je garde globalement Brian Tyree Henry tout le temps.

[bamboomusiclist]

4/17  Dennis Coffey / Evolution sxbs7004  等更新しました。

おはようございます、更新完了しました。https://bamboo-music.net

Charlie Parker / Jazz at Massey Hall Dlp2 Zagreb Jazz quartet / St Lp-II-507 Stanley Black / Latin Rhythm Lb60 Johnny Griffin / Soul Groove Sd1431 Ronnie Ross & Allan Ganley / the Jazz Makers fa2023 Michel Klotchkoff trio Chris Woods / Full Space prom13 Don Lusher / From Lusher with Love Ss62883 Rosemary Clooney Duke Ellington / Blue Rose cl872 June Hutton / Let's Fall in Love l1608 Jane Russell Connie Haines Beryl Davis / the Magic of Believing t822 Charles McPherson / Today’s Man Mrl395 Jack McDuff David Newman / Double Barrelled Soul sd1498 Freddie McCoy / Peas 'n' Rice Prst7487 Shirley Scott / & the Soul Saxes sd1532 Oliver Nelson / Skull Session bdl1-0825 Weather Report / Sweetnighter kc32210 Iskra / Allemansratt Milp002 Dennis Coffey / Evolution sxbs7004 Pat Williams / Threshold st11242 Hugh Mundell / Africa Must Be Free by 1983

~bamboo music~ https://bamboo-music.net  info@bamboo-music.net   530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

[dreamsinvisibleman]

The Invisibility of Black Artists

John Coltrane on Tenor, The Duke with his orchestra, Oscar Peterson and his Trio: the Greats in American Jazz each possess an individual character and portray it through music. Unlike classical music or even the pop songs we listen to today, Jazz is free-willed and impromptu—music stemmed from thought and intuition rather than from sheets of paper. Today we can thank a man that transformed Jazz to be this way, a revolutionary with a trumpet and a voice: Louis Armstrong morphed Jazz from the traditional big-band setting to a focus on liberty and individuality. You probably know him for his voice in his blockbuster piece, What a Wonderful World.

His solos changed the way all Jazz musicians approach the genre as a whole, and it is this incorporation finding characteristic as a Black man that makes Ellison’s Invisible Man—a character searching for his own mortality and identity—idolize Louis Armstrong in his first daydream.

“How would it end? Ain't got a friend. My only sin is in my skin. What did I do to be so black and blue?” High on marijuana in his underground bunker, The Invisible Man gazes into his dream as Louis Armstrong is singing a heartfelt and political message in his rendition of What did I do (to be so Black and Blue). In the Jim Crow Era, Black artists faced a unique form of racism, as on stage or through the radio, they are idolized for their musicianship, creativity, and greatness. Yet on the street, they are still nothing more than a common Negro. In the movie The Green Book, concert pianist Dr. Don Shirley embodies the idea of this double-consciousness best. Seriously, you need to watch this scene. It illustrates just how damaging racism was to the Black individual.

“Rich white people pay me to play piano for them because it makes them feel cultured! But as soon as I step off that stage I go right back to being just another [explicit] to them!” His entire journey is caught between two worlds, neither of which fully accept him as a member of their society: the best pianist in the world, except he’s a Negro, or another Black folk, but he’s leads a wealthy life. These revolutionary artists held no community as their own, and the essence of falling through the cracks of the duality of racism makes them “invisible.” 

-SF

[meanmisscharles]

Rufus & Chaka Khan - Rufusized

Prince - For You and 1999 (these albums HIT DIFFERENT)

The Don Shirley Trio - Water Boy

Shirley Horn - Here's To Life

Manhattan Transfer - Extensions

🛣 road trip music 🛣

if you see this post, drop your favorite albums to listen to on a long road trip!!!