This book includes one of his more famous poems, " The Negro's Complaint ", along with an engraved image. This fine volume also includes, " Sonnet to William Wilberforce, Esq. Newton ", and " Pity For Poor Africans. William Cowper pronounced Cooper November 26, — April 25, was an English poet and hymnodist. One of the most popular poets of his time, Cowper changed the direction of 18th century nature poetry by writing of everyday life and scenes of the English countryside.

He suffered from periods of severe depression, and although he found refuge in a fervent evangelical Christianity, the source of his much-loved hymns, he often experienced doubt and fears that he was doomed to eternal damnation. However, his religious motivations and association with John Newton who wrote the hymn " Amazing Grace " led to much of the poetry for which he is best remembered in the popular mind.

Abolition of Slavery Act The back of the plaque has the Eastgate Pottery Withernsea stamp. Made in England. The Director, John D. Worsdale responded with this note, " This was one of a limited number of plaques manufactured in the 's, as a special commission for William Wilberforce House. There were only 50 plaques made. I have never seen one for sale, therefore I cannot give you an estimate on value It is extremely rare. A Portraiture of Quakerism.

First Edition. New York: Samuel Stansbury, Edge worn, leather covers, foxed and browned paper, owner names handwritten in volume I Ann Allen, Francis R. Taylora decorative gilt stamp of Ann H.

Thomas Clarkson 28 March — 26 Septemberabolitionist, was born at Wisbech, Cambridgeshire, England, and became a leading campaigner against the slave trade in the British Empire. Joseph Sturgefrom the beginning of the new endeavors to the end of his life, was one of the main elements of strength and support. Readers will remember the celebrated conference held at the Freemason's Hall, Junewhen and where were gathered between and delegates, from all parts of the world, we may say, besides all that was great and good in every philanthropic undertaking.

It was a noble assembly. There Thomas Clarkson appeared for the last time in public. We give our readers a condensed account of the scene from the pen of the painter Haydonwho was present as an artist to find materials for one of the greatest pictures. In a few minutes the aged Clarkson came in, gray and bent, leaning on Joseph Sturge for support, and approached with feeble and tottering steps, the middle of the convention.

Immediately behind him were his daughter-in-law, the widow of his son, and his little grandson. The old man first appealed to the meeting for a few moments of silent prayer; and says Haydon, "for a minute there was the most intense silence I have ever felt. After urging the members to persevere to the last, til slavery was extinct, lifting his arm and pointing to heaven, his face quivering in emotion, he ended by saying, "May the Supreme Ruler of all human events, at whose disposal are not only the hearts, but the intellects of men -- may He, in His abundant mercy, guide your counsels and give His blessing upon your labours.

Thomas Clarkson —abolitionist, was born at Wisbech, Cambridgeshire, England, and became a leading campaigner against the slave trade in the British Empire. This book details his contributions toward the abolition of the Slave-Trade and Slavery. Hardbound in tan waxed cloth. It is an important piece of social history pertaining to this turbulent period in both British and American History.

Author, James Elmes — was an English architect, civil engineer, and writer on the arts, he was born in London. Published by John S. This is the first of a 3 volume set. William Ray Rev. There is an engraving of a slave in chains and above the picture are the words "Am I Not a Man and a Brother?

The book talks about how the slaves were treated on board the slave ships. Very hard to find. London: Printed by T. The poem " The West Indies ," was written to accompany a series of pictures published as a memorial of the abolition of the slave-trade.

In this genial labour, to which the poet says he gave his whole mind, as affording him an opportunity of exposing the iniquities of slavery and the slave-trade. Importance: In a commission was delivered from the printer Bowyer to write a poem on the abolition of the slave trade, to be published along with other poems on the subject in a handsome illustrated volume.

The subject was well adapted to Montgomery's powers, appealing at once to the philanthropic enthusiasm in which his strength lay, and to his own touching associations with the West Indies. Its poem entitled 'The West Indies' accordingly appeared in Bowyer's illustrated publication in Although rather rhetoric than poetry, is in general well conceived and well expressed, and skilful as well as sincere in its appeals to public sentiment.

On its first appearance in Bowyer's volume it proved a failure, but when published separately London,12mo it obtained great popularity. James Montgomery: Born November 4,in Ayrshire, Scotland, James Montgomery was brought up and educated by Moravians near Leeds after his parents left for America, never to return.

He became an editorial assistant to the Sheffield Register in Acquiring the newspaper himself, he renamed it the Isis and in it advocated reformist causes at an unpopular time, during the French Revolution, and went to jail for his trouble twice in He returned to his journalism then and published a book of poems about his imprisonment.

This led to an avocation in poetry and letters. He brought out volumes of poems and hymns from until the midth-century. After 25 years in the news business, Montgomery retired from journalism and lived on a Literary Fund pension until his death on April 30, Throughout his life he actively worked for humanitarian causes and gained the respect and affection of his fellow poets. In the letter Robinson states there is a petition to abolish the slave trade in Scotland I have taken the liberty to write you this to inform you that I had the honor to transmit to my worthy friend Mr.

Alex BrodieMember for this district of Burroughs, a petition by appointment from the Magistrates of Council of this Burgh, petitions for the xxxxxxxxxxxx inhabitants of this place xxxxxxxxx xxxxxxxxx to Mr.

I mention this in case you should think it proper to inscribe it in any of your Edinburgh papers. I am very so hopefully, Sir. Your most obedient servant, George Robinson " There were some key words that are illegible, or were part of the paper that had been torn when opened in Edward Hay and the author of ' Letters on Slavery 'was engaged by the London Anti-Slavery Society to gain support for the abolition movement in Scotland.

William Dickson has a diary of a visit to Scotland from January 5th - March 19th, on behalf of the Committee for the Abolition of the Slave Trade. It is probable that the writer of this letter had personal contact with William Dickson, who originally came from Moffat, Scotland. Let's get a sense of Dickson's feelings about the Slave Trade -- In an letter to Thomas ClarksonDickson states, " Of the Africans, above one fourth perished on the voyage to the West Indies, and four and a half percent more died on average in the fortnight intervening between the days of entry and sale.

To close this awful triumph of the King of terrors, about two in five of all whom the planters bought were lost in seasoning within the first three years and before they could be said to have yielded any productive labour. Now if seven years be the average labouring period of bought slaves, a lot of five should yield thirty five years of labour; and two of them having died, each of the other three must yield nearly twelve years or with the three years of seasoning, nearly fifteen years.

But to look for fifteen years of even blank existence, without labour, from each of the survivors of a worse than pestilential mortality, heartless and enfeebled as they must generally be, would be madly romantic. It is the first edition printed after his death. Woolman is said to be the very first abolitionist in America. John Woolman came from a family of Friends Quakers. His grandfather, also named John Woolman, was one of the early settlers of New Jersey. His father Samuel Woolman was a farmer.

Their estate was between Burlington and Mount Holly Township in that state. At age 23 his employer asked him to write a bill of sale for a slave.

He told his employer that he thought that slave keeping was inconsistent with the Christian religion. Many Friends believed that slavery was bad — even a sin — but there was not a universal condemnation of it among Friends. Some Friends bought slaves from other people in order to treat them humanely and educate them. Other Friends seemed to have no conviction against slavery whatsoever. Woolman took up a concern to minister to Friends and others in remote places.

He went on his first ministry trip in with Isaac Andrews. They went about 1, miles round-trip in three months, going as far south as North Carolina.

He preached on many topics, including slavery during this and other such trips. He refused to draw up wills transferring slaves. Working on a nonconfrontational, personal level, he individually convinced many Quaker slaveholders to free their slaves.

He attempted personally to avoid using the products of slavery; for example, he wore undyed clothing because slaves were used in the making of dyes.

Whenever he received hospitality from a slaveholder, he insisted on paying the slaves for their work in attending him. Woolman worked within the Friends traditions of seeking the guidance of the Spirit of Christ and patiently waiting to achieve unity in the Spirit. He went from one Friends meeting to another and expressed his concern about slaveholding.

One by one the various meetings began to see the evils of slavery and wrote minutes condemning it. In his lifetime, Woolman did not succeed in eradicating slavery even within the Society of Friends in the United States; however, his personal efforts changed Quaker viewpoints. The fair treatment of people of all races is now part of the Friends Testimony of Equality.

The Journal of John Woolman is considered to be an important spiritual document. Philadelphia: T. Ellwood Chapman No. Ellwood Chapman was an important publisher of Quaker and Anti-Slavery tracts in the s and s. Francis Hodgson. A wealthy graduate of Harvard Law School, Phillips sacrificed social status and a prospective political career in order to join the antislavery movement.

His reputation as an inspirational orator was established with his address at an abolitionist meeting in to protest the murder of Elijah Lovejoy. He became an associate of William Lloyd Garrison and lectured widely at meetings of the American Anti-Slavery Society, serving as its president from to He also advocated prohibition, woman suffrage, prison reform, regulation of corporations, and labour reform.

This book contains a nice photo of Haile Selassie I, many fold out forms and lists showing the many regulations of the Imperial Guard. The reports are 8" x 14' tall. There is one report: ' Communication with the Government of Liberia ' that is a bound booklet of pp. The rest of the booklets are 1pppp each.

Dumas did not generally define himself as a black man and there is not much evidence that he encountered overt racism during his life. In a shorter work, GeorgesGeorgeDumas examined the question of race and colonialism. The main character, a half-French mulatto, leaves Mauritius to be educated in France, and returns to avenge himself for the affronts he had suffered as a boy -- order postcard of Dumas -- December 15th, issue of New York Herald" Death of Alexandre Dumas ".

Victor was born in Paris in However, it soon became clear that his interests lay elsewhere. He was a humanitarian thinker and chose music, reading, writing and politics over business and industry. In Schoelcher was sent to the Americas in search of new customers for the business. On his journey in Mexico, Cuba and the southern United States, he discovered the harsh realities of slavery and began his career as an abolitionist writer.

His writings centered around the social, economic and political advantages that could be gained from the abolition of slavery, drawn from a comparative analysis of the results of emancipation in the British colonies Schoelcher believed that the production of sugar should continue in the colonies with the construction of large factories in replacement of slave labor.

When the Revolution of broke out in France, Schoelcher returned with haste to take up appointment as Under-Secretary of State for the Colonies. He set up and presided over a commission for the abolition of slavery. Under his direction the commission prepared a decree abolishing slavery in all French territories, which the provisional government adopted on 27 April As a result, more than On his return, Schoelcher regained his place in the National Assembly for Martinique and Guadalupe, sitting on the extreme left.

In he was elected senator for life. Victor Schoelcher died in His ashes were transferred to the Pantheon in Paris in By John C. New York: D. Appleton, Assumed First. There are several entries on slavery — many, many pages on the slavery issues in DC. Also anti-slavery incendiary publications, slavery in Arkansasslavery memorials, abolition of slaveryetc.

Volume II, comprising with volume 1 the period from March 3,to March 3,inclusive. Compiled from authentic materials, by Joseph Gales, Senior. Washington: Gales and Seaton, Volume 2 only which covers February 18, to March 3, They were published in by the Banks Law Publishing Company.

They cover Supreme Court case law from to Imagine what has been stated about the Missouri Compromise, the Dred Scott Decision and others relating to the Black experience in America. Important tool in the hands of researchers. Very important and scarce volumes -- that's 98 volumes! Click on image to the right to watch a 10 minute interview with Dr. Congressional Globe, James Buchanan to the Joint Session of the Congress. Excellent historical account of the actual word for word debates that went on just prior to the outbreak of the Civil War.

The southern Congressmen are up in arms over the content of this book depicting the south as barbarians with their slaves, etc. News of the re-election of Stephen A. Much on slavery is debated. Each page printed in three columns for maximum information; foxed throughout. Washington: John C. Rives, Binding tight and sound. This covers Dec. Includes much on the Native Americans and the Slavery Trade bill.

Measures 9" x Containing the debates and proceedings of the Second Session of the Thirty-seventh Congress. Edited by John C. Rives and published at the Congressional Globe Office, Washington, Includes many debates on military support, slaverysecessionand other issues relevant to the Civil War.

Scarce item. In this collection are two copies of the Emancipation Proclamation directly from one of the originals signed by Lincoln in Even though Douglas won the election, these debates had launched Lincoln into the national spotlight. These debates are considered a major contributor to the separating of the South from the Union and ultimately leading to the Civil War. Famous double page engraving by Thomas Nastthe subject of which is Emancipation. Condition is very good.

A lot of discussion about slavery-related issues. Sanford case of His case was based on the fact that he and his wife Harriet were slaves, but had lived in states and territories where slavery was illegal, including Illinois and Minnesota which was then part of the Wisconsin Territory.

The United States Supreme Court ruled seven to two against Scott, finding that neither he, nor any person of African ancestry, could claim citizenship in the United States, and that therefore Scott could not bring suit in federal court under diversity of citizenship rules. Moreover, Scott's temporary residence outside Missouri did not effect his emancipation under the Missouri Compromisesince reaching that result would deprive Scott's owner of his property.

Dred Scott, his wife Harriet and two daughters Eliza and Lizzie. In the first section of his opinion, he held that the case 3 Summers Ago - Buddy De Franco* - Borinquin (Cassette be dismissed for lack of jurisdiction. Scott, being a Negro, could be a citizen of a state—that was a matter of state law —- but he could not be a citizen of the United States, within the meaning of the Constitution, so as to be able to bring a case in federal court.

In the course of explaining why members of the black race could not be citizens, Taney argued that representatives of the slaveholding states would never have consented to a Constitution that had the potential to confer citizenship on Negroes.

Imagine, he wrote, the consequences:. For if they were so received, and entitled to the privileges and immunities of citizensit would exempt them from the operation of the special laws and from the police regulations which they considered to be necessary for their own safety. It would give to persons of the negro race, who were recognized as citizens in any one State of the Union, the right to enter every other State whenever they pleased, singly or in companies, without pass or passport, and without obstruction, to sojourn there as long as they pleased, to go where they pleased at every hour of the day or night without molestation, unless they committed some violation of law for which a white man would be punished; and it would give them the full liberty of speech in public and in private upon all subjects upon which its own citizens might speak; to hold public meetings upon political affairs, and to keep and carry arms wherever they went.

And all of this would be done in the face of the subject race of the same color, both free and slaves, and inevitably producing discontent and insubordination among them, and endangering the peace and safety of the State. It is impossible, it would seem, to believe that the great men of the slaveholding States, who took so large a share in framing the Constitution of the United States and exercised so much influence in procuring its adoption, could have been so forgetful or regardless of their own safety and the safety of those who trusted and confided in them.

Graphic Eyewitness testimony and question and answer sessions. Four prints of prisoners. In Aprilthe Union garrison at Fort Pillow, a Confederate-built earthen fortification and a Union-built inner redoubt, was overlooking the Mississippi River about forty river miles above Memphis, under the command of Maj. Lionel F. Confederate Maj.

Nathan Bedford Forrest attacked the fort on April 12 with a cavalry division of approximately 2, men. Approximately African American troops were massacred here. Up to that time comparatively few of our men had been killed; but immediately upon occupying the place the rebels commenced an indiscriminate butchery of the whites and blacks, including the wounded.

Both white and black were bayoneted, shot, or sabred; even dead bodies were horribly mutilated, and children of seven and eight years, and several negro women killed in cold blood. Soldiers unable to speak from wounds were shot dead, and their bodies rolled down the banks into the river. The dead and wounded negroes were piled in heaps and burned, and several citizens, who had joined our forces for protection, were killed or wounded.

Out of the garrison of six hundred only two hundred remained alive. Three hundred of those massacred were negroes ; five were buried alive. Casualties were high and only sixty-two of the U. Colored Troops survived the fight. Many accused the Confederates of perpetrating a massacre of the black troopsand that controversy continues today.

The Confederates evacuated Fort Pillow that evening so they gained little from the attack except to temporarily disrupt Union operations. The Fort Pillow Massacre became a Union rallying cry and cemented resolve to see the war through to its conclusion. The massacre at Fort Pillow had raised the question in every mind; does the United States mean to allow its soldiers to be butchered in cold blood? James E. Goode, Senate Printer. Here are some examples: a. Commander at Harpers Ferry 4 pages e.

Louis, MO. This Journal also includes an page report with "Extracts from the Index of Colonial Records" from to Unlike the Congressional Globe later the Congressional Recordthat record does not include the words spoken on the floor of the Senate, but rather all the procedural occurrences, and in particular the introduction of proposed legislation and resolutions, along with the decisions and votes of the senators on these items. The Emancipation Proclamation pp.

Nevertheless, every prescient statesman saw that there would be no turning back, and that slavery was doomed throughout the United States, as soon enshrined constitutionally by the Thirteenth Amendment probably the least cited, because most effective, of all the amendments to our constitution. The Emancipation Proclamation of course received widespread attention upon its official appearance, which followed the publication of a preliminary version in Augustbut this volume marks its official publication within a Senate Journal.

In addition, the pages of this volume are chock-full of interesting Civil War items, though they are often buried in the procedural record. The actual record ends on pagefollowed by a mammoth Index of the Bills and Joint Resolutions of the Senate and House of Representatives during the session of Congress, and an even longer pages!

All in all, this is a terrific record of the United States at the great cusp of the Civil War, as a Union victory finally seemed near—though not so near, as things turned out, as many hoped during the first half of It is bound in leather boards, with red and black spine labels, noting that this book once was part of the Office of the Secretary of State.

The boards are holding well, though the hinges have grown quite tender, especially in front, and they are in pretty decent shape, only somewhat scuffed and dented at the corners.

Inside the pages are in good shape, only slightly browned, still supple and of high quality. Washington: Government Printing Office. Congress decided to investigate matters, and the three-volume report that appeared in the spring of related in long detail what had made the situation so dicey in all the theaters of war. This third volume deals with the Department of the West, an area of extreme importance of course, they all were because the state of Missouri was closely divided between northern and southern loyalties, and keeping it in the Union was essential, if only to maintain control over the Mississippi and Missouri rivers.

Basically, the investigatory committee was dominated by hard-line anti-slavery figures, who suspected that Lincoln and his administration were dangerously soft on the slavery question ; for their part, as Lincoln well knew from his boyhood in Kentucky and Indiana, this issue had the potential to divide the Union, and he had to move slowly to let public opinion crystallize in favor of abolishing slavery entirely.

In its pages, this volume presents the record of testimony taken by the investigatory committee from military and other figures that deals with the military situation in andnot only in Missouri, Kentucky, Tennessee, and neighboring territories, but also, and in contradiction of its title, with matters in Virginia and neighboring states this material presumably should have gone into the first two volumes, but they were already complete.

Of this material from the eastern theater of war, much refers to the debacle of the second battle of Bull Run, apparently so rich in such stories that more remained to be told after the primary treatment in earlier volumes. A typical quotation appears p. Secessionists were inviting out the rebel prisoners to their residences, and entertaining them at dinners.

Those who want to study how the early years of Album) Civil War unfolded, as presented by Congress in this investigation, will find this book chock-full of variegated information. Declaration of Independence Silver Plaque.

Done by S H Black in This Plaque or bas relief is executed in silver over brass with silvering almost completely intact. An outstanding example of pre Civil War Americana.

This is an original old item, not a reprint, copy or a restrike. An 8-page original Civil War Era newspaper in very good condition. Bright, durable and readable. There are extracts of the President's second annual message to Congress given December 1, Have not heard of another set signed by Jesse.

Many photos and articles about Jesse Owens and other African American athletes. This seating chart helps us determine the approximate location of the ticket-holders while watching Jesse Owens win events. Jesse Owens receiving 1 of 4 Gold Medals. This medal was for his win in the Long Jump. A tin that, to put it mildly, is of great historical significance. She became, as some say, the first African American millionaire in the United States. This is open to debate once people discover that Annie Malone below actually taught Madam Walker.

She did so simply by inventing a line of cosmetics specifically for Black people. She capitalized on an untapped market at the time and the rest is history. This is a rare tin to find. The condition is excellent, measuring 2 inches across. The many images of the college are absolutely stunning, costing over a half a million dollars to construct!

Annie was the founder of hair care product line for African Americans; developed business into the Poro System, a network of franchised agent-operators who operated salons under Malone's guidelines using Poro products. She founded Poro College,in St. Louis, MO, the first school for the training of beauty culture specialists for African American clientele. She manufactured a line of beauty products for black women and created a unique distribution system that helped tens of thousands of black women gain self respect and economic independence.

The college trained women as agents for Poro products and by claimed to have graduated some 75, agents located throughout the world including the Caribbean. However, her contributions to African American culture are often overlooked because her business empire collapsed from mismanagement. One of her students, Madame C. Por supuesto lo logra ampliamente. Etiquetas: enrique villegasoscar lopez ruiz. Publicado por mario alberto en 1 comentario:.

Etiquetas: nano herrera. Suscribirse a: Entradas Atom. Consultas,criticas y sugerencias: rpjazzfiles gmail.

Mi lista. Jazz in Europe. Hannah Alper and Creating Change - How does someone go from wanting to write a blog at nine years old to becoming an activist, motivational speaker, and published author by the age of 18? Hace 1 hora. Live at The Lighthouse! Hace 19 horas. I'll have more on my interview with Lady on Monday and Musica Jazz. Hot Club de Boedo - Jazz Argentino. La Galena del Sur. Malvina y la radio.

Album) End Blog. Hace 1 mes. Mosaic Records Daily Jazz Gazette. Photo - Hace 2 meses. Phil Schaap's College of Jazz Knowledge. Hace 4 meses. The Wonderful World of Louis Armstrong. Jazz y otras hierbas. The Troy Street Observer. Oshun is the Orisha of the fresh water, the female sexuality, the love, the sensuality, the fertility.

The sweet, sumptuous and sensual taste of the Gewrztraminer grape represents this idea very well. With its intense floral perfume of roses and tropical fruit, the Gewrztraminer of Danilo Steyer is a good example of a seductive wine that surrounds you with flavors and caresses your palate.

Citrus, honey and peach perfumes, a wine that is at the edge where the acidity and the sweetness find their balance. Is that the new one by Gonzalo? Pedrito Martinez is singing. Gonzalo is a genius. At school, he already had a proyecto that I followed to every concert. At one concert he played for the first time a ballad I love, with the name of his son, Joao.

I cried like a baby for 20 minutes, because I drank too much that day; the music and the alcohol triggered something in me. Gonzalo has the cleanest sound you can imagine. One note, its like a crystal. His touch is unique. Hes one of the faster piano players in the world.

His sense of rhythm is perfect. He studied at Amadeo Roldn, which is the music school thats only for people who live in Havana. Its really New Yorka personal vision of every day in New York. Is it Arun Oritz? It has a Bartk side. Its not music Im going to listen to every day. Its beautiful, I like it, but its too intellectual.

Is it Vijay? It was wild! He has a strong classical influence. Its well done. This music reminds me of when you arrive at JFK Airport; you see a mix of everything there. In my humble opinion, you need to digest New York in your own way to arrive at your own sound. What I miss here, I need to say, is the groove. Eduardo Ojeda and Jess Barqun Navazos team founded Sergi Colet, a Catalan producer of sparkling wine, to explore the connections between the Catalan sparkling wine and Sherry wine.

The result is this sparkling with a little part of Sherry added. The aromas produced by the yeast during the aging process connect these wines. We find fine refreshing bubbles, and the intense aromas of toasted bread, nuts and honey, due to the yeast and the time. A lot of the cats there go with that kind of thing. Danilo is one of the masters of this.

For a long time, I heard Danilo more light and melodic and groovy, but not so avant-garde as this. Its the first time Ive heard the record. I love the melody, which is something traditional.

He breaks everything down in a way where you say, Wow! This is what jazz isyour own thing. Paris, and Harold is more sublimehe uses more drama. No, its not Harold, because Harold doesnt use too much world sound. Id go for Elio. All of the Cuban piano players have something from some of our heroes. Elio has something from Chucho. When the piano player has percent classical training, the approach, the touch is different. What I hear is how a guy who hasnt received that whole classical training can approach and play his own music.

I know for sure this is Elios music. The historical wine region of Madeira gives us centuries of tradition and experience. The combination of sugar and alcohol makes the Madeira a silky and warm wine. Its acidity adds freshness and rhythm, and the ancestral aromas, deep and complex, drive us to a heaven where the sensory feeling becomes spiritual. Wine: Ervideira Alentejo Conde dErvideira Private Selection Trincadeira, Alicante Bouschet, Aragonez, Portugal : The energetic, intense way that Osmany Paredes plays the piano reminds us of a full-bodied wine, intensely ripe but balanced and with a fragrant nose.

Ervideira is a historical winery located in the Portuguese Alentejo, a typical expression of the sun from the souththe strength and the balance of the best grapes. Thats the sensation that we can find in some wines made with the Riesling grape.

The tart acidity of the Riesling is always a cold impression that freezes your palate and your soul, but immediately the fragrance. Is Miguel Zenn on sax? I like this group. I love the piece. Who is it? I like this groove! Danilo has the Caribbean. This is a Cuban piano player. Harold records in. Osmany Paredes? I know the team. Yosvany was 13 or 14 when we did a concert in the National Theater for. You hear the influence of Michel Camilo, and after that it comes to a crazy tumbao, the virtuosity in the beginning.

He has the classical training, you see. You know what happened with jazz, man? One of the main sins became, How are you going to impress people when you play? You can impress people with silence or with notesor with passion. The first notes by Gonzalo four notes.

Don Pullen. Andrew Hill. They take the time. When you have a strong limitation, you need to develop your own language. You wont be able to go to a certain room, or youre going to have trouble. But when you have really good classical information, you can play whatever. The music needs to touch you. Its important for me to listen to music, not to say, This guy played really good. I dont want to judge the guy, but this is what I feel. I like it, but I dont want to listen to this music in my house because its not going to give me peace.

His music is grooving. This sound is New York. Latin jazz is this sound. They developed in their inner way. Its important to say that the sound of Puerto Rico is different than the sound of Cuba. Some people say that salsa is a Cuban music. I say no. Salsa is salsa, and Cuban music is Cuban music. Salsa was developed in New York with the Cuban people who arrived in New York, and together they created this kind of music. The way of dancing is different, which is the foundation of all this music.

You can dance inside. But you need to move. Eddie played for dancers in New York. Here, Frank Emilio Flynn prefaces the ancestral percussion with a piano solo, and they all join together at the end. Jordi Arnan and Ramon Parera wanted to make a wine with the grape Sumollthe wine that their fathers used to drink when they were kids.

The Sumoll is light in color, refreshing, with a harsh texture like the sound of a drum. This Pardas Sumoll is the performance that Jordi and Ramon have made of the ancestral Sumoll that their fathers drank. Wine: Benoit Lahaye Champagne Ros de Macration Pinot Noir, France : We can consider the Latin salsa like a big party with rhythm and sounds that invites your body to move and fills your soul with happiness. Eddie Palmieri is a major figure of the salsa; of course his music is not just simply dance music.

The bubbles of Champagne are considered an indispensable element of all the parties, but in the hands of the talented producer Benoit Lahaye, this wine goes further in terms of intensity and complexity, like the music of the master Eddie Palmieri. Packed each night. He already had this sound. I am personally waiting for Osmany to write to his deep traditional Cuban cha-chacha concept, which he learned from playing with the masters. The white wine of Lpez de Heredia is aged at length in old barrels; it needs time to be made and to be tasted.

The wine has lost the strong, fruity aromas of youth, and has become calmer and wiser, denser and longer. Its complex for me to talk about Roberto. One reason is that some of his music reminds me of my musicsometimes. But we all come from the same root, the same tradition. Actually, he is a religion person, too, and he uses the bat and all this stuff. This is Yo? Its not YOU. Its our, US, all of us. You dont do nothing without the rest, even if youre the King. Even if you play solo, its not you, because something comes through you.

Fernando Garcia is the person in charge of the wines in Bodegas Maraones. He makes a young, intense wine, a true expression of the soils and climate of Sierra de Gredoshes a young person who uses his talent and very quickly came to be regarded among the best producers of his region. This is a Latin guy, too. Hes Cuban. He has a touch like Arun. He has some Lecuona vibe. Alfredo Rodriguez? Yeah, now I hear this is Roberto. Hes a charismatic musician and piano player. I like the music.

Its the sound of Michel Camilo. Thats a young guy who needs to find his voice. This is what he is. A little bit of a lot of things. How old is Alfredo? It reminds me of Palmieri back in the day. Its an American band. Puerto Rican vibe, like a Latino vibe. Ah, its Palmieri!

I miss the grunting. Its a standard. I love Eddie so much! Hes my hero. When he played, he reminded me of Arsenio Rodriguez on the tres. What Arsenio did was translate the pattern of the rumba, or the pattern of the traditional thing, to the tres. This is why he comes up with this [sings the pattern]. This is the quinto. The instrument that improvises in the rumba is the quinto. Arsenio writes to this, and he passed this along.

When I play Latin, sometimes I come with some patterns, like blues or a little bit contemporary. But in the end, I think as a percussion player. Palmieri dances. Its nice. This is Cuba, for sureno one is going to do a solo guiro unless theyre from Cuba.

Actually, it could be something from Its a little bit of amigos. No one does this today. Tata Gines. Tatas sound is unique. They created some language. After them, everybody can play this, but they created the sound. This is what we played last night, the Palo Monte. One question: Is the record is old? End of the 90s. OK, Frank Emilio. In the beginning, I said, Whoa, this is not from now.

But the sound is a bit like the sound we have today. The melodies. It reminds me of Randy Weston. Abdullah Ibrahim. A moment of Ahmad Jamal. They try to tell the story. This is music that dances; a dance like a bird. And its simple. The complexity is the space between the notes. If you listen to Bola de Nieve [Ignacio Villa], when he played solo, he would play that way. But at that time, everything was [gestures like a bird].

Frank Emilio was a nice ending. Ancestral Reflections. There we go. The band arrived in England and showed up at the London club Cargo for the start of its first international tour. The gig was booked only a few weeks prior, and the musicians figured a half-empty hall was in their immediate future. We had no way of knowing what the reception would be, but we got there and were told wed sold out the club, recalls Bill Laurance, organist and Fender Rhodes player for the combustible ensemble, which stages from instrumentalists and vocalists at any given time.

We could feel the electricity of the crowd, this sense of anticipation. It was like this dam of water had built up. We didnt know it, but theyd been waiting for us. We couldnt afford to promote the show, but the word had spread via the Internet and social media. They applauded for ages before we played a note. It was a momentous arrival. It really lifted us. After slogging away in the U. Similar receptions followed the band throughout Europe.

In Budapest, everyone in the audience sings along with our melodies, explains Michael League, Snarky Puppys bassist, principal composer and de facto leader. Cultures like those in Budapest are accustomed to instrumental music.

And also, their traditional music is a little more melodically complex than traditional American music. The audiences we play to have more of an influence on the band than people might expect. This is no easy band to tour: a full rhythm and percussion section, with two sometimes three guitarists, three keyboard players, trumpet, flugelhorn, flute, bass clarinet, tenor sax and three backing vocalists.

But live is where Snarky Puppy lives. Like everyone in the band, I am a product of music education, League says. We all studied music in high school, or privately, or in college. Weve given clinics at colleges, high schools, elementary schools and non-profits since our first tour. We did a clinic there aroundand Dylan and I immediately became good friends. Everyone at the Jefferson Center has really seen the potential of developing a relationship with the band.

We recorded Family Dinner and the record with Bukuru there. Hes also a student. This band came to play, but also to have fun. Snarky Puppy delivers righteous good groove musicso good that drummer Robert Sput Searight a regular with Kirk Franklin, Snoop Dogg and Timbaland sometimes ejects off his throne in joy. So good that audiences around the world sing along like theyre recalling familiar church hymns. I can hear they are coming from my thing, but they also have many other sounds and influences, Metheny continued.

They have an orchestral sense of the small-group thing. But more than that, their latest record has some really, really good melodies on it.

And thats the thing I am always looking for, [a melody] that you actually remember the first time you hear it. Those guys did that for me. Thats fantastic. I really admire them. But as League has said in many interviews, hes also a fan of Bjrk, Radiohead and, for textures, Metheny. Snarky Puppys evocative melodies, deep-pocket grooves and serious improvisations create a contagious move of the spirit that is no fluke.

Snarky Puppy calls Brooklyn, N. From when I started the band toLeague recalls, the band was all college jazz kids playing out. I got in and dragged the other guys with me. It was the perfect combination of ingredients and personalities. They influenced the group sound largely, and not just them, but the scene they came from, League says.

That was the most pivotal moment in the musical life of the band. And theres much musical life in Snarky Puppy. On the collaboration with Celestin, the ensemble contours its explosive funk to an intimate African weave, while Family Dinner Volume One offers what may be a new band tradition.

Hold on to your seats, check your air passag. Where a song begins is no indication of where it may end. Gone Under with Shayna Steele goes from strength to strength, expressing all the majesty of a Holy Ghost-filled revival on a Sunday evening.

Too Hot To Last recalls the theme song to the TV series Breaking Bad, with Woodwards sexy growl paving the groove for Searights massive swamp thump, the song slowly building then exploding with tangible tension. The Grammy awards will be handed out on Jan.

Snarky Puppy knows how to work a song. Somewhere around the 6-minute mark, the band kicks it into high gear, and something like the sound of a steam trainor Rahsaan Roland Kirk playing three horns simultaneously bellows over the vamp. Its Hathaway making dramatic use of her ability to project multiphonics with her throat.

Its hard to describe the process, Hathaway says. Its just something that I hear and go for. Theres some smoke-and-mirrors that I dont understand; I just move into it.

It wasnt until that moment with Snarky that I realized I could sing it over the changes. Sometimes its two notes, other times its three or four notes. Sometimes its a major triad, other times a minor triad. I am just learning now how to control it. I can see myself working it out on the DVD in that moment. We were figuring it out as we did it. Perhaps Hathaway is keying into her gene poolshes Donny Hathaways daughter, after all but her performance inspired members of Snarky Puppy to give it all theyve got.

Going for broke is a Snarky Puppy trademark, but some might hear the more standard attitude and two-and-four fortified. Though the band performs with all the intensity and dynamic potency for which its known, theres not a Moog solo, drum solo, deranged guitar improvisation or P-Funk bass boogie in sight on the album. Maybe these are more accessible songs because they have vocals. Its definitely not an attempt to go mainstream. Weve played with singers as a band for six years. The release was strategic in its timing because the record preceding Family Dinner was our collaboration with Bukuru Celestin.

He grew up in Tanzania in the Congo. Bukurus album is titled Amkeni, which means League favors frequent touring. I produced and arranged it, and Snarky Puppy played on it. Its like Graceland but flipped. Were not African, but were serving the tunes. It comes out in February. Challenging material all of it, for musicians and audiences alike. But what else would you expect from a MacArthur Foundation "genius grant" recipient whose music for Josephine Baker: A Portrait had its world premiere, inat the prestigious Ojai Music Festival?

That's never really been a thing about me. But for all those critical accolades, Lehman, who'll lead his longtime trio with bassist Matt Brewer and drummer Damion Reid at the Regattabar on Sept. That could change with the release last month of The People I Loveon which the trio is joined by pianist Craig Taborn. The album's title is taken from a remark by the late vibraphonist Bobby Hutcherson: "When I was younger, I thought music came first.

And now that I've gotten Album), I realize it's only a reflection of the images of the people I love and being with God. Lehman acknowledges that there are several ways in which the title applies: alto sax-led quartets that inspired him to try his hand recording with one, the three musicians whose pieces he's chosen to cover on the album Kurt Rosenwinkel, Kenny Kirkland, Jeff "Tain" Wattsmentors like Hutcherson and Jackie McLean, and the trio mates he'll have with him in Cambridge.

That's my life's work. But ultimately it's kind of a reflection of other things that are actually bigger than that. I probably wouldn't have thought about it like that when I was in my 20s: something being bigger than music. I just wanted to frame things ever so slightly in that context and see what came of it. His family moved to Hartford from Brooklyn when Lehman was 8, and he's a graduate of Milton Academy, having been lured there in part by its jazz program.

Lehman returned to Connecticut to earn bachelor's and master's degrees in composition at Wesleyan University, where Anthony Braxton was among his professors, while concurrently commuting to Hartford to study with McLean at the Hartt School of Music. That same year, Lehman released Dialect Fluorescenthis 10th album as a leader or coleader. Rosenwinkel, for example: "Kurt's a really great composer, not somebody that's associated very commonly with my circle of musicians.

The Rosenwinkel tune "A Shifting Design" is the only one on the new album that Taborn doesn't perform on. One of the defining characteristics of Lehman's music is its rhythmic complexity. Taborn was a good fit there as well, having worked with each of the trio's members in other contexts and having already studied some of Lehman's sheet music for his octet because of the similarities in their approaches to rhythm. I'm not saying it was easy, but at least this isn't a new concept to me, where I think with some people it might be.

Taborn won't be with the trio in Cambridge; he'll be en route to Oslo for a solo concert honoring the 50th anniversary of ECM Records. But the new album already has new versions of music Lehman originally wrote for and recorded on albums with his octet and a previous quintet.

Batiste and the band then took their places and did their thing once the taping was under way, laughing at Colbert's jokes and keeping the audience charged up and entertained with virtuosic, upbeat music during breaks between guests.

A few hours earlier, Batiste had sat up from a brief post-soundcheck lie-down on his dressing room couch to discuss his career away from his day gig, which will bring him to the Newport Jazz Festival for "Jon Batiste and Friends," Friday's opening night concert at the International Tennis Hall of Fame.

Batiste will celebrate the release that same day of Anatomy of Angelsrecorded live over several nights at the Village Vanguard this past fall. It's beautiful. Batiste, 32, is already an old hand at Newport. He played a short but dazzling solo set as far back assandwiched between the Preservation Hall Jazz Band and headliner Dr.

John for that year's New Orleans-themed opening night. Last year he was featured at both Newport's folk and jazz festivals, organizing a star-studded, protest-oriented set titled "A Change Is Gonna Come" to close out the former and introducing music from his T-Bone Burnett-produced solo album, Hollywood Africansat the latter. To judge by the album, the Anatomy of Angels music will be the closer to straight-ahead modern jazz than anything Batiste has previously played at the festival.

3 Summers Ago - Buddy De Franco* - Borinquin (Cassette calls it "celestial jazz," and playing it with him will be his longtime trio mates Philip Kuehn on bass and Joe Saylor on drums, augmented on some songs by three of his favorite young horn players — Giveton Gelin on trumpet, Patrick Bartley on alto sax, Tivon Pennicott on tenor sax — and two members of Stay Human, Jon Lampley on tuba and trumpet and Negah Santos on percussion. But instead of it being based on just the themes, it's based on these different structures that fit together, almost like Legos, and we can put them together and take them apart in the moment.

And it's different every time we put them back together. And it will take you on a journey every single time. Christian McBride, Newport Jazz Festival's artistic director, credits festival founder George Wein with putting Batiste in charge of Friday night when other possible scenarios they'd discussed weren't coming together.

Muses McBride, "I wonder if people really understand what a damn good musician he actually is," noting that "when someone in the jazz world has that extremely rare opportunity to break that glass ceiling of mainstream stardom" it can obscure how talented that musician is.

This shouldn't remain a problem for anyone who has heard Batiste reinvent "What a Wonderful World," play piano on "Kenner Boogie" and "Chopinesque," or sing his original "Don't Stop" on Hollywood Africans. Or who will hear him and his new band soar on "Round Midnight" and the Anatomy of Angels title tune. What do you do if you're Massachusetts' third-most-famous member of Congress, and best known for launching a failed coup against Nancy Pelosi?

If you're Seth Moulton, you run for president, of course. And though no drums were involved, the music — mixing language drawn from traditional and avant-garde jazz and contemporary classical — went over with, yes, a bang. The trio — each of them seated and facing sheet music — revisited songs from the album, often gliding from one tune to the next without pause, the order shuffled from that of the record. Miles's "My Father's House" came up early, its memorably old-timey melody inspiring Moran to migrate from stride-inflected simplicity to flurries of notes, his hands racing in opposite directions simultaneously as his solo reached its climax.

Miles's "Cupid," arranged for the concert to flow out of a piece drawn from Moran's collaborations with visual artist Joan Jonas "They Come to Us Theme"was, similarly, deceptively simple. Both Miles pieces called to mind a Charles Mingus quote about how making the complicated simple is far harder than its opposite, and a good definition of creativity. Brookline native Halvorson had family in the audience. Her intriguing compositions "White Space" and "Red Sky Green" were performed, and she gave evidence of her uniquely inventive approaches to her instrument — on the latter piece, for instance, using a slide to coax percussive sounds from the guitar that sounded vaguely like a tambourine.

Other Moran tunes from the album got airings as well, of course: "Crops," some of "The 13th Fugue," "Gangsterism in the Wind," the last of these from his ever-growing series of pieces inspired by the artist Jean-Michel Basquiat. For an encore, Moran chose something from a newer project of his, a multimedia celebration of the seminal jazz musician James Reese Europe.

Moran and his bandmates took advantage of Sanders Theatre's high-ceilinged dimensions to do likewise, sending the audience home by elevating their spirits much as Europe had done the fallen soldiers' souls. He puts on some fresh coffee, and calls up the stairs to where Bley, since moving here more than four decades ago, has done the work — composing and arranging music — that got her named a NEA Jazz Master in Bley, 82, and Swallow, 78, were about to launch a rare trio tour with saxophonist Andy Sheppard, to conclude with four sets at the Regattabar this weekend — by which time, notes Swallow, "We should be loaded for bear.

When, for example, the visitor suggests that Sheppard sounded something like Sonny Rollins on the calypso-accented song "Chicken," from the trio's live album Songs With LegsBley reveals a surprising fact.

There were some chickens that came to the porch in a place we were at — on the island of Tortola, the British Virgin Islands — and every morning the chickens would come and cluck tunes, and to me they were very melodic and interesting.

It was done by two chickens actually, so one chicken. Swallow has championed Bley's music since well before they became a couple in the mids. It happened when he subbed in Paul Bley's band for a concert at Bard College in Swallow was then a year-old Yale undergraduate but dropped out soon afterward to move to New York, where he presented himself at the Bleys' doorstep and announced, "Your bass player is here.

I just wanted to keep playing that repertoire. I made out on that one, I would say. In Cambridge, Bley and Swallow will perform with Sheppard, whom Swallow recommended to Bley when she was becoming frustrated by how so many of the available tenor saxophonists sounded like John Coltrane.

Swallow is likewise an accomplished instrumentalist, one of jazz's first upright bassists to switch his focus to electric bass, topping fans' and critics' polls on the instrument until Stanley Clarke and Jaco Pastorious began challenging his dominance in the late s. Bley is less confident as a pianist, but more so than she used to be. Bley has written loads of strikingly original music through the decades. Are there compositions she's particularly proud of?

But the ones I like best of all are not the brainy things, they're the kind of things that are the melody that you can sing. And not a lot of people can come up with one of those.

When I get one of those I feel most — not proud, because I don't feel like it has anything to do with me. It's just luck. And the work comes later — you know, if you have to write it for a big band or something. But I like the ones that have great melodies best.

She chuckles self-consciously. I didn't know that this was so important. I thought that maybe the things that I had written where I had used my brain were more important, and I don't feel that way anymore. Things that I'm not responsible for are far better. I just wrote a new one, it's called 'Bells and Whistles. I wrote it in August of last year, and I just finished it this week. It's great. Because you've got to put in your hours. I don't have a piece now. I just finished one, and I don't know if I'm going to be able to write another one.

But I know if I just sit down in my music room, at the desk or the piano, it's about 95 percent sure that I'm going to get something. The stars must have been in alignment for Brookline native Aaron Goldberg to assemble the noteworthy new trio he'll bring to the Regattabar, in Cambridge, on Friday. It began with the pianist needing a substitute on drums for a gig at a chateau in the middle of France.

Goldberg managed to track down an e-mail address for Leon Parker, who was living in a small town there. Parker had moved to France inafter his emergence as a jazz star in the s. But by the time Goldberg reached out to him inhe had ceased performing. But Parker, 53, remembered their performing together once before, when Goldberg was in his late teens and too intimidated to look at him as they played.

Redman's new quartet album, "Come What May," comes out two days earlier. The first show went well and led to another in Paris, Parker a last-minute sub on a set broadcast live on radio. At that point, says Goldberg, "We knew it was something special and worth pursuing.

He said, 'I'm convinced now I want to get back into playing on the scene a little bit more, and I'd love to play in your band. But I don't want to sub for anybody else. Around this time, Goldberg was readying an application for a French-American cultural exchange grant for a project with the Guadeloupean-French saxophonist Jacques Schwarz-Bart.

It turned out that Schwarz-Bart's residing in New York rendered him ineligible for the grant. So Goldberg switched to Parker as his intended collaborator, emphasizing that Parker had been living in France while developing his "embodirhythm" concept, which involves using one's body to play rhythms rather than musical instruments. To Goldberg's surprise Parker was not a French citizen, another potential sticking pointthey got their grant, which they used to help finance new albums by each of them.

Parker's album, which Goldberg played on and co-produced, is still being shopped to record labels. Parker considers it better than that. Goldberg's new album, At the Edge of the Worldwas released in November. He and Parker are joined on it by bassist Matt Penman, whom Goldberg first began playing with inwhen Penman was newly arrived at Berklee from his native New Zealand and Goldberg was an undergraduate at Harvard.

Piano trios are a Goldberg specialty. Goldberg contrasts the minimalist approach of the new trio to his more "maximalist" work with Rogers and Harland, which Goldberg attributes to Parker's presence. No hi-hat. Eventually no drums at all, just body rhythm. He famously did a gig with Kenny Barron at the [Village] Vanguard with just a cymbal. Also, Aaron likes to create drama from sparse sources, so when we're really hitting, and really swinging, it has more impact. A beautiful way for me to re-enter the scene.

I am proud to be part of it. The album opens with "Poinciana," the standard that made Ahmad Jamal famous. Both it and "Black Orpheus" have new life breathed into them via Parker's embodirhythms. Which is one reason why he's such a great musician, such a great improviser. Stefon Harris was taking a break from shoveling when he was reached by phone to discuss his upcoming show at the Regattabar.

He'd had a rough time getting home from his performance in Newark the night before because of heavy snowfall in New Jersey, but was upbeat and engaging nonetheless.

And why wouldn't he be? Earlier this year, Harris, 45, received a Doris Duke Artist Award, financial support that encourages artists to take "creative risks and explore new ideas. And he's now in his second year as associate dean and director of jazz arts at his alma mater, the Manhattan School of Music.

Harris has kept busy entrepreneurially as well, touting his ear-training app Harmony Cloud and giving talks to corporate groups on "the benefits of diversity of thought" and the "science of empathy. Given our social and political environment in the United States right now, and the way that African-Americans have been portrayed, I thought it was important to create a piece of art to document the fact that we are fathers, the fact that we are husbands.

And also to elucidate the genius of our elders, and the fact that they've been passing on incredible information from one generation to the next. And it's always been a value of mine that if I'm going to pay tribute to one of my elders, or my ancestors, I'm going to do it in a way that they would be proud of me.

To Harris and his bandmates, that means celebrating their heroes' work from their own contemporary perspectives. It's different now, so my interpretation will be a little different. It's followed by "Chasin' Kendall," a catchy Harris original inspired by his two young sons, and then a ballad for his wife, "Let's Take a Trip to the Sky. He already did it very, very well. But what I can do is leverage that creation and apply it to the need to tell our modern stories.

Every person that we chose to celebrate on the album is because I've had a direct life experience with them. I spent time with Abbey Lincoln, and she said some things to me that changed my perspective on music very early. When Blackout first started, we would play in Los Angeles, and Horace Silver would come to the gigs, and we'd go and hang out with him.

That's why 'Cape Verdean Blues' is a part of this album. It's one of my most dear passions. I've heard people use the term 'the founding fathers of jazz education,' and they never mention people like Art Blakey or Barry Harris or Dizzy Gillespie.

Tradition and preservation are separate things to Harris, and it's the former he's most eager to embrace. If you take a look at the term 'traditional,' many times people are looking at it as if it's old music. But the tradition of jazz has never been to play old music.

The cultural tradition of jazz has always been to create a platform for the amplification of marginalized voices, and that's what we're doing. Those voices aren't limited to jazz voices where Harris and Blackout are concerned.

These are people who walked the Earth during a similar era and [within] similar communities, and told stories of the same people through different perspectives. Jazz was a platform — and still is a platform — for African-Americans to articulate their life experiences, and it's such a phenomenal creation and gift to all of the world that it's open for anyone to tell their story. It's not just about African-Americans, which is a testament to the brilliance of the people who created it.

It's in service of everyone on the planet. Or maybe you've checked out Your Queen Is a Reptilethe rhythmically and politically charged album that prompted that Times headline.

Released March 30, it was Hutchings's first for the legendary American jazz label Impulse! But it's his third, and best to date, with his band Sons of Kemet, which features an unorthodox lineup of tenor saxophone Hutchingstuba Theon Crossand two drummers Tom Skinner and Eddie Hick. The music they make together is ecstatically danceable, jazz seasoned with healthy doses of reggae, soca, hip-hop, and other pop influences.

Cross's tuba switches fluidly from bass lines to horn lines; Skinner and Hick feed off each other like African talking drums; and Hutchings's tenor is often as percussive as it is melodic.

Boston will get its first look at them on Tuesday, when Hutchings brings Sons of Kemet to Brighton Music Hall for the second date on the group's stop tour of North America. Given a description of the venue, one better known for indie and alternative bands than jazz, Hutchings acknowledges the likelihood that there will be dancing involved. If you're playing for places set up for movement, then you'll get movement.

The cohort of British jazz musicians now gaining international attention — Nubya Garcia, Yazz Ahmed, Moses Boyd, and others; many of them, like Hutchings, first- or second-generation immigrants — are purposefully mining their wider musical interests to attract younger audiences.

If that means straying from jazz purism, so be it. Hutchings isn't particularly fond of the word "jazz" to begin with. Hutchings's upbringing prepared him to do just that. Born in London to parents from Barbados, he moved to Birmingham at 2, then relocated to Barbados with his mother when he was 6.

He began playing clarinet at 9, and his earliest musical influences were the calypso and soca he was exposed to at Barbados' annual Carnival known to Barbadians as Crop Over.

As a teen, he became obsessed with hip-hop and reggae. But he also made connections with the British sax stars Soweto Kinch and Courtney Pine, and was active in the jazz educational organization Tomorrow's Warriors.

I've been checking it out throughout my life. I love the tradition of African-American music, so-called jazz. Sideman work in various jazz groups eventually led to Hutchings recording with three bands of his own: Sons of Kemet, assembled initially for a dance club gig; the Comet Is Coming, the futuristic trio he co-leads with keyboardist Dan Leavers and drummer Max Hallett; and the Ancestors, a collection of seven South African musicians Hutchings had played with on visits there, then brought together to record the album "Wisdom of Elders.

Trying to find some way to link those two things together, you know? It turned out others his age and younger shared his Album) view, and a thriving new London jazz scene was born. And then you get those kind of mergings of different types of music, musicians that are trying to find spaces within the cracks. Sons of Kemet tubaist Cross agrees. Lucia on my mother's side and Jamaica on my dad's side, which definitely informs the way I play music as I grew up around a lot of soca, zouk, basement and reggae music.

The celebratory mood the Caribbean influences inject into Sons of Kemet's music can obscure the new album's politics, which is primarily confined to the song titles — and the swipes at hereditary monarchy embedded in the album title and a combative rap on the first track.

Each tune is dedicated to a black woman Hutchings considers a worthy queen. These include Harriet Tubman, Angela Davis, and lesser-known figures. Hutchings retains a memory of the family matriarch, then in her mids, on the roof making repairs to one of the houses she owned in Barbados.

The respective quintets of Wynton Marsalis and his year-old father, pianist Ellis Marsalis, will perform Saturday to help close out the season at Tanglewood.

The younger Marsalis, 56, plans to perform four new compositions of his own, collectively titled "The Integrity Suite," backed by his longtime rhythm section of pianist Dan Nimmer, bassist Carlos Henriquez, and drummer Ali Jackson. Recent Juilliard graduate Julian Lee, 22, will round out the quintet on tenor saxophone and clarinet. Small-group performances have become a rarity for Marsalis, who usually performs leading the Jazz at Lincoln Center Orchestra.

But he is no stranger to Tanglewood. Speaking to the Globe by phone this week, he detailed how, in at age 17, he'd successfully auditioned for the Tanglewood Music Center Orchestra and its artistic director, the late composer and conductor Gunther Schuller.

Your performance on Saturday celebrates the New Orleans Tricentennial. Will you play music associated with New Orleans?

It's not really the New Orleans Tricentennial. I mean, it is — but the show is not really like that. It's just modern jazz. My father's playing. I don't know exactly what he's playing, but we'll probably play a song or two together, depending on how he feels. You know, my mother passed away last year. It's good to get him out and playing. The music we grew up playing is more of a modern music. We played at the family Baptist church marching band in high school, some traditional music, but the music my father and James Black and that generation of musicians played in New Orleans had a different sound.

We were always in camps and stuff, studying with them. Is there a difference when you're playing in a little club with a small combo versus your shows with the whole orchestra? Yeah, it's less formal to be in the club. Music always feels differently based on the setting. If you're comfortable in a concert hall, that can be just as relaxing or as natural as playing in a club.

But when you're late at night in the House of Tribes, everybody is dancing and singing and shouting. With those smaller groups, we always had that feeling.

When we played at the Village Vanguard, we had that vibe. I think I make a lot of announcements on that ["Live at the House of Tribes"] recording, and I wanted to have that feeling people had about the music.

Do you think you'll do much talking from the stage at Tanglewood? Tanglewood is important for me. It changed my understanding of a lot of things. I was auditioned by the great Gunther Schuller, may he rest in peace. It connected me to the tradition of the Boston Symphony. I learned so much that summer. It was transformative for me as a musician. I'm one of the biggest fans of Tanglewood in the world. Whenever I come to Tanglewood it means a great deal to me. It's not because I'm talking to you that I'm saying it.

I took the audition totally by accident, and [originally] I wasn't auditioning for the first Music Center Orchestra; I was auditioning for the younger orchestra. But when the auditions were held in New Orleans, I caught like four buses to get to his audition. It was pouring down rain. It was so far from my house — it was all the way on the other side of town, at the University of New Orleans — and when I got there, I was absolutely soaking wet.

Gunther, who was supposed to be doing the audition, wasn't there. He canceled the audition. So I still didn't have something to do that summer. I took my Juilliard audition in New York in March of that year, that's Coming back from the Juilliard audition, I got lost and walked by the Wellington Hotel, and there was a sign [announcing Tanglewood Music Center auditions].

It was absolutely random. I walked in, and they were getting ready to stop. So I signed up, I put my age, 17, and the lady who was in the front said, "Oh, you're 17, you can't audition for this orchestra. You have to be 18 to get in. He saw the thing, said, "Play the Brandenburg Concerto. I don't know what we're going to do, but let me think about it. And then through the years, of course, Gunther was a mentor of mine.

I would play for him. We would discuss and argue about music. I learned a lot well into manhood. I was so glad to see him at the Brubeck Institute, maybe a year before he died, and I was so happy that I had the opportunity to publicly talk about the impact that he had had on my musicianship.

Like a New Orleans kind of thing, it was very impactful for me. With me it was jazz, you come from New Orleans, believing in the music and also writing so much different music and trying to have an opportunity to participate. I was so fortunate. And also having a philosophical frame of reference, I was able to make a different type of assessment of what was going on.

A lot of that came from my father. To see him struggle with the music, it made him be very philosophical about the meaning of it, because he certainly was not making money playing.

A lot of times people want to be a musician, and their parents will say, "Make sure you have a backup plan. That's right. I'll tell you the whole story. I had received a lot of scholarships — this was back in the time when if a black student made really good grades academically, schools would pursue you.

So I had a lot of scholarships not playing music. And all my teachers were saying, "Don't throw your brain away on music," because they didn't respect music.

My mama was like, "If you go into music you're going to struggle just like your daddy did. There's no money in this. He's struggled his entire life. You've seen it. He was right, because you have to do it. If you have a way to not do it, you're going to find that way. When I left home I had all my stuff in a box — you know, some jeans, some shirts.

My father came and said, "Is that all your stuff in the box? He said, "Just remember, you can go back to the contents in this box and you'll be OK. A third, multi-instrumentalist Terrace Martin — best known for his production and sideman credits with the likes of Snoop Dogg, Kendrick Lamar, and Herbie Hancock Martin facilitated Glasper playing keyboards on several tracks of Lamar's "To Pimp a Butterfly," and Glasper reciprocated by connecting Martin with Hancock — is a lifelong Angeleno.

And as Glasper pointed out by phone recently, Martin having his own manager wasn't an issue. For the most part he's in the studio, but for this last year he's actually been out with Herbie.

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8 thoughts on “3 Summers Ago - Buddy De Franco* - Borinquin (Cassette, Album)

  1. Watch the video for 3 Summers Ago from Buddy DeFranco's Borinquin for free, and see the artwork, lyrics and similar artists.

  2. Producer, Clarinet – Buddy De Franco* Notes A live location recording made at a number of the groups appearances in Buffalo and Boston in the spring and fall of

  3. Buddy De Franco Borinquin Spanish vinyl LP album (LP record) Tracklisting / Additional Info: Borinquin The Song Is You Three Summers Ago Easy Living But Not For Me Pendulums: Condition: This item is in Excellent condition or better (unless it .

  4. Aug 03,  · - Four Classic Albums Plus by BUDDY DE FRANCO () - Music. Skip to main CDs & Vinyl Hello, Sign in. Account & Lists Account Returns & Orders. Try Prime. Cart.

  5. Borinquin -- The song is you -- Three summers ago -- Easy living -- But not for me -- Pendulums. Subject(s): Jazz — ; Related Titles: Three summers ago, Easy living, But not for me., Pendulums, and Song is you Note: Program notes by Sam Charters on container. and The Clarence I. Noll and Almeda Noll Record Collection. Participant.

  6. 8 thoughts on “ 3 Summers Ago - Buddy De Franco* - Borinquin (Vinyl, LP, Album) ” Kasida Reply the_end_of_summer_poem_librivox Ocr ABBYY FineReader Ppi Run time Year plus-circle Add Review. comment.

  7. hace 3 años ; 34Kplays ; Descargue el archivo de música MP3 Buddy de franco quintet cooking the blues full albuma una calidad de audio de kbps. Archivo de música Buddy de franco quintet cooking the blues full album, Buddy de franco quintet cooking the blues full albumsubido hace 3 añospor All That Jazz Don Kaart.

  8. Jul 23,  · 03 Wham! – Wake Me Up Before You Go-Go. 04 Michael Jackson – Farewell My Summer Love. 05 Belinda Carlisle – Summer Rain. 06 Banaramana – Cruel Summer. 07 Madonna – Holiday. 08 The Beach Boys – Kokomo. 09 Janet Jackson – Escapade. 10 Kaoma – .

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