Today in 1983, blues legend, the king of Chicago blues, Muddy Waters, passed away.
Here's a live version of "King Bee", a track from his final album of the same name in 1981 (2 years before he died):
|Me, taken from the concert photoshoot|
|with Miles Davis|
In one of the Albany Med studies, researchers exposed 36 rats to "Fur Elise" by Beethoven and "Four," a jazzy horn piece by (Miles) Davis.
The rats overwhelming preferred Beethoven over Davis, but they liked silence best of all.
Then Glick's research team injected some rats with cocaine and played Miles Davis to them over a period of days. After that, the drug-addicted rats preferred the jazz song even when they weren't on cocaine.
This study and another experiment showed the drug-exposed rats had increased dopamine levels in their brains and moved around more when they listened to music associated with their drug use. The findings indicate music may evoke drug cravings.
... The citation lauds Coltrane for “his masterful improvisation, supreme musicianship and iconic centrality to the history of jazz.
”The committee said of Coltrane:
“His exalted stature arises from his composition and recordings. In ‘A Love Supreme,’ he produced an imposing composition expressing faith. In ‘Africa/Brass Selections,’ he achieved astonishing orchestral feats. His work has weight, an artistic quest and searching nature. Coltrane infused the existing tradition with innovation and radical approaches. The surface of his music is dynamic and palpable, the underlying structure is suffused with spirituality and provocative political content.”
Doha embraces a new Jazz Age
Jazz at Lincoln Center Doha brings a taste of the jazz world, in every sense, to the region for the first time ever.
Classic jazz is often about improvisation on a classic theme and this is an approach which inspires the jazz culture cuisine presented to guests and visitors at their table when they dine at Jazz at Lincoln Center Doha. The menu may change monthly, but Bourbon Streeet Crawdaddies, mouthwatering soups and soul-satisfying sandwiches are always on offer.
Jazz at Lincoln Center Doha is very much part of a continuing tradition. Since the original Jazz Age, at the dawn of the 20th century, jazz has been the soundtrack to the St. Regis experience. The Rooftop Ballroom at the landmark hotel in New York has played host to many legends, with performances from the likes of Count Basie Duke Ellington and Buddy Rich.
At the St. Regis Doha, a program of jazz performances selected by the connoisseurs at the world-famous JALC New York – artistic director Wynton Marsalis – mix virtuosity with verve to entertain and enlighten.
Sensational jazz demands an equally sensational setting, and Jazz at Lincoln Center Doha takes place in a wonderfully theatrical ambience that recalls a legendary jazz venue of the golden era.
Like modern jazz itself, cocktails bring a contemporary freshness to authentic greats and the new-world wine selection is the largest in Doha.
Billy Boy Arnold
Buddy & Ella Johnson
Matt "Guitar" Murphy
Classic of Blues Literature
"The Voice of the Blues: Classic Interviews from Living Blues Magazine
The Voice of the Blues: Classic Interviews from Living Blues Magazine, edited by Jim O'Neal &
Bessie, by Chris Albertson
The Voice of the Blues: Classic Interviews from Living Blues Magazine, edited by Jim O'Neal & Amy va
Classic of Blues Recording - Album
"Damn Right, I've Got The Blues" -- Buddy Guy (Silvertone, 1991)
Bad Influence -- The Robert Cray Band (HighTone, 1983)
Classic of Blues Recording - Single or Album Track
"All Your Love" -- Magic Sam (Cobra, 1957)
"It Hurts Me Too" -- Tampa Red (Bluebird, 1940)
"Pine Top's Boogie Woogie - Pine Top Smith (Vocalion, 1928)
Horst Lippmann and Fritz Rau
|A good year for Jazz.|
|via Jazz Journalists Association|
Attend a concert by your local high school or college jazz band.
Listen to a jazz CD that is new to you. Try to stretch your ears. If you need some guidance, try The Penguin Guide to Jazz on CD, 4th edition, by Richard Cook and Brian Morton, Tom Piazza's Guide to Classic Recorded Jazz.
Read a good book on jazz.
Find a new jazz website.
Listen to a radio station that plays genuine jazz.
oin your local jazz society. If none exists, organize one.
Subscribe to a jazz magazines, such as Down Beat, Jazz Times, Jazziz. Others include: Cadence, Marge Hofacre's Jazz News, The Mississippi Rag, and from
Canada, Coda, Planet Jazz, and The Jazz Report.
Host jazz listening sessions in your home.
|Nazi Anti-Jazz Propaganda|
1. Pieces in foxtrot rhythm (so-called swing) are not to exceed 20% of the repertoires of light orchestras and dance bands;
2. in this so-called jazz type repertoire, preference is to be given to compositions in a major key and to lyrics expressing joy in life rather than Jewishly gloomy lyrics;
3. As to tempo, preference is also to be given to brisk compositions over slow ones so-called blues); however, the pace must not exceed a certain degree of allegro, commensurate with the Aryan sense of discipline and moderation. On no account will Negroid excesses in tempo (so-called hot jazz) or in solo performances (so-called breaks) be tolerated;
4. so-called jazz compositions may contain at most 10% syncopation; the remainder must consist of a natural legato movement devoid of the hysterical rhythmic reverses characteristic of the barbarian races and conductive to dark instincts alien to the German people (so-called riffs);
5. strictly prohibited is the use of instruments alien to the German spirit (so-called cowbells, flexatone, brushes, etc.) as well as all mutes which turn the noble sound of wind and brass instruments into a Jewish-Freemasonic yowl (so-called wa-wa, hat, etc.);
6. also prohibited are so-called drum breaks longer than half a bar in four-quarter beat (except in stylized military marches);
7. the double bass must be played solely with the bow in so-called jazz compositions;
8. plucking of the strings is prohibited, since it is damaging to the instrument and detrimental to Aryan musicality; if a so-called pizzicato effect is absolutely desirable for the character of the composition, strict care must be taken lest the string be allowed to patter on the sordine, which is henceforth forbidden;
9. musicians are likewise forbidden to make vocal improvisations (so-called scat);
10. all light orchestras and dance bands are advised to restrict the use of saxophones of all keys and to substitute for them the violin-cello, the viola or possibly a suitable folk instrument.
T-Model's credentials are impeccable; if anything he's over qualified. He was born James Lewis Carter Ford in Forrest, a small community in Scott County, Mississippi. T-Model thinks he's seventy-five but isn't sure. He was plowing a field behind a mule on his family's farm by age eleven, and in his early teens he secured a job at a local sawmill. He excelled and was later recruited by a foreman from a bigger lumber company in the Delta, near Greenville, and eventually got promoted to truck driver. Between that and working in a log camp T-Model was sentenced to ten years on a chain-gang for murder. He lucked out and was released after serving two. He says, grinning, "I could really stomp some ass back then, stomp it good. I was a-sure-enough- dangerous man."
John Coltrane. Albert Ayler is well known for his love of leather suits (green ones, particularly). Less well known is fellow saxophonist Coltrane's obsession with lederhosen. Coltrane bought his first pair on tour in Germany in 1963 and is believed to have acquired over 300 pairs by the time of his death four years later. He regularly threw barbecues at his upstate New York home where he and pianist Alice Coltrane would model their latest purchases to music provided by a local oompah band. Pianist McCoy Tyner and drummer Elvin Jones both quit Coltrane's "classic quartet" when Coltrane insisted they wore lederhosen on stage.
Miles Davis. The trumpeter's impish sense of fun sometimes bordered on the absurd. He would surprise audiences by turning his back to them, slipping on a red clown nose and then stopping the band while he told jokes. Critics accused him of tomming, but Davis said he got his inspiration from Louis Armstrong. "You can't tell a single joke that hasn't already been told by Armstrong," he once said. "We is happy folks, yassuh boss," he added.