Ken Nordine’s “Word Jazz” LPs present his bizarre, often Kafka-esque stories in the style of the beat poets. On his early albums for Dot, he’s backed by the Northern Jazz Quartet, led by Richard Campbell. He later recorded with the Chico Hamilton Quintet, and also served as a vocal coach to Linda Blair during the filming of The Exorcist.
This track from Word Jazz Vol. II puts a positive spin on Nordine’s paranoia.
Aaron Copland’s Lincoln Portrait was inspired by conductor Andre Kostelanetz, who suggested he compose a portrait of a eminent American. Kostelanetz debuted the work with the Cincinnati Symphony in the summer of 1942, and it has since become a widely popular concert favorite.
Your friendly neighborhood record store will be open from 11am to 7pm today on this Presidents Day. We thought it would provide some solace to hear the words of a President who appealed to “the better angels of our nature.”
This 1968 recording from Columbia’s “Copland Conducts Copland” series is narrated by Henry Fonda.
John Coltrane’s “Reverend King” was recorded in February 1966, just a few weeks after Reverend Martin Luther King Jr. and his family had moved into their 1550 South Hamlin Avenue apartment in Chicago, to begin working on the Open Housing campaign.
The recording was released posthumously in late January 1968 on Cosmic Music, one of the first two LPs his label, Impulse Records, pulled from unissued recordings after Coltrane’s death. Eventually there would eight albums in all — plus many live recordings — found in the archives. Fans have mixed reactions to some of these recordings, but “Reverend King” is surely an excellent example of Coltrane’s last group at work. This band featured his wife, Alice Coltrane, Pharaoh Sanders, Jimmy Garrison, Rashid Ali, and on “Reverend King” additional percussionists Ray Appleton and Ben Reilly.
At the time the recording was released on Cosmic Music, Reverend King had recently announced the Poor People’s Campaign, with a focus on pushing Congress to pass a economic bill of rights” for working people, as outlined in his last book, Where Do We Go From Here: Chaos or Community?
The campaign’s broad agenda was not received well by many of The Reverend King’s dearest supporters, notably Bayard Rustin. Five years earlier Rustin had been the primary logistical organizer of the 1963 march in Washington DC at which Reverend King delivered his “I Have a Dream” speech.
After Reverend King’s assassination on April 4th, thousands of demonstrators established a symbolic shanty town at the National Mall where he had delivered this famous address. The encampment was called “Resurrection City” and remained for nearly six weeks.
“Reverend King” was not the first piece of music in which Coltrane expressed the inspiration he felt for the Civil Rights leader. He modeled one of his most moving songs, “Alabama,” on Reverend King’s eulogy for the four victims of the September 15, 1963 bombing of Birmingham’s 16th Street Baptist Church.
Reverend King’s eulogy for Addie Mae Collins, Cynthia Wesley and Carol Denise McNair was delivered three days later, and is a deeply moving and spiritual address, which does not shy from the political situation which led to the terrible terrorist attack. A funeral for the fourth girl, Carole Robertson, was held on a different date.
(we posted an alternate version of Coltrane’s “Alabama” here). There is no account of John Coltrane having met the Reverend Martin Luther King Jr. or having been present to hear him speak. His views on politics and the Civil Rights movement we know mostly through the universalist spiritual liner notes he wrote for A Love Supreme and Meditations.
Thank to all reading. We hope you take an interest in these recordings because the goals of racial and economic equality outlined by Reverend King in these speeches and in his last book are still within our reach, if a little further down the road than they were on this day last year.
We also hope you stay warm on this snowy day here in Minneapolis and do not forget those around us who struggle for safety and shelter in this weather.
Oh, and your friendly neighborhood record shop will be open from 1-6pm on this national holiday.
We’ve just returned from a wonderful camping trip with the kids on the St. Croix River. Our several trips around this summer remind us that Minnesota is a truly blessed and beautiful place.
With Minneapolis schools starting tomorrow, we’re likely to find ourselves back into the regular programing season here on the Hymie’s blog. Tomorrow’s post will likely feature something about school.
When our oldest was born, Minnesota was the only state which did not require a minimum number of school days per year, and even now at 165 we trail most other states in this category. We’re glad to have more time for our kids to have adventures like hiking and canoeing on the St. Croix, although we feel fortunate that our neighborhood school seems to focus on the quality of their education and not just its quantity.
Anyway, we’ve had our vacation. Back to work, and is there ever a lot to do around here. There are so many wonderful things to be found in those magical grooves, not the least of which is the voice of God himself (click this link, sinner, if you wish to find the shocking Truth of Truths). Today’s testament, cleverly disguised by misspelling his name, reminds us that on the seventh day he rested.
Recently, after moving a large collection to the record shop, we discovered one of the boxes contained not albums but a variety of books. Many of them were jazz biographies, and one — Duke Ellington’s 1976 memoir, Music is my Mistress — has proven to be an especially enjoyable read.
One of the most remarkable things is its appendix which lists all of the songs he composed during his career in their copyright order — from “Blind Man’s Bluff” in 1923 to the four-part Togo Brava suite written in 1973 it takes nearly thirty pages to list them all!
Here is a song from early in his career (1929 according to this book) which was re-recorded many times over the years. It is on this RCA/Victor compilation of the 1927-9 band, which features several Ellington Orchestra alumni who worked for Duke for decades — one could hardly imagine the Orchestra without Johnny Hodges or Harry Carney for instance.
Our favorite era of Ellington’s enduring Orchestra is the 1940-2 incarnation known by fans as the “Blanton/Webster Band.” We posted about bassist Jimmy Blanton not long ago (here). One could spend a lifetime collecting only Duke Ellington record, and always have plenty of great jazz to listen to — his music changes so much from decade to decade based on the distinct personalities that make up the Orchestra, and it would take a post longer than this to list all the favorites of jazz listeners.
From his autobiography, Ellington describes the process of fluctuation as members come and go:
The cats who come into the band are probably unique in the aural realm. When someone falls out of the band — temporarily or permanently — it naturally becomes a matter of “Whom shall we get?” or “Whom van we get?” It is not just a matter of replacing the cat who left, because we are concerned with a highly personalized kind of music. It is written to suit the character of an instrumentalist, the man who has the responsibility of playing it, and is almost impossible to match his character identically. Also, if the new man is sufficiently interesting tonally, why insist upon his copying or matching his predecessor’s style.
In other words, if we are completely satisfied with the horse and buggy, who invent an automobile or airplane? In the first place, when a man is needed, I personally scarcely even know which way to look for a replacement. I haven’t the slightest idea whether the grass next door is greener or leaner. So someone suggests so-and-so, and we send for so-and-so, and get him. We play together a day or two, and then I inquire whether or not the new cat likes what we are doing, having already watched his reaction in the band. If he likes it, he is invited to stay.
Everybody agrees he’s a nice guy until one day, sooner than expected, one of his other selves breaks through, or one of his more eccentric sides show. Then I confess, or one of the other cats in the band hollars, loudly, “Duke, you never miss!”
Our new man has come home to the home of homies. He manifests his acceptance of the honor bestowed upon him, and settles down to the prospect of welcoming the next new so-and-so.
Oh, for simpler times! President Eisenhower selected a playlist of some of his favorites on this LP, including a Verdi aria and overtures by Beethoven, Johannes Strauss and Mendelssohn. The album includes two American composers: Gershwin and Dmitri Tiomkin, who came to America in the 20s and lived much of his life in California. President Eisenhower’s notes (more than 140 words!) are the sort of thing we’d like to hear from political leaders today:
I Wish to salute musicians and the important part they play in the life of our people. American music has brought us pleasurable distinction at home and abroad.
Millions of Americans are engaged in the creation performance and active appreciation of music. Indeed it is a rare day when any one of us does not hear some form of music; it is hard to imagine our lives without it.
The enjoyment of music — speaking for myself, at least — has a moral and spiritual value which is unique and powerful. It reaches easily across lingual, racial and national boundaries. The development of American music, like the native development of any art, is therefore the development of a national treasure.