drum solo butch miles
drum solo buddy rich
drum solo buddy rich classic tonight show band
Wednesday, August 21, 2019
Count Basie and I share a birthday 8/21
Default to Count Basie.
Sonny Payne!
The Count Basie
Orchestra at Kongresshaus Zurich, Switzerland, February 6, 1959. With Wendell
Culley, Thad Jones, Snooky Young, Joe Newman (tp); Henry Coker, Al Grey, Benny
Powell (tb); Marshal Royal (as,cl); Frank Wess (as,ts,fl); Frank Foster, Billy
Mitchell (ts); Charlie Fowlkes (bar); Count Basie (p); Freddie Green (g); Eddie
Jones (b); Sonny Payne (dr). Count Basie just kills it.
going to Count Basie school
Wednesday, August 7, 2019
Toni Morrison
Toni Morrison could write. I knew of her almost exclusively
through her novels, but in her honor here is a link to an essay she wrote about
another writer’s astonishing novel, The Radiance of the King.
Sunday, August 4, 2019
A tough weekend
But I opened my inbox this morning and found a poem by Harryette
Mullen and two stories by Diane Williams. And I finished reading A Tale of
Two Cities (it was referenced in Out Stealing Horses, which I read
late last week). And I threw on some French vanilla coffee, some Gustav Mahler
(symphony 5, then symphony 6), and started writing. Flannery
O’Connor: “I do what I have to with what I can.”
Saturday, July 13, 2019
Recently...
Literature:
Push, by Sapphire
The Namesake, by Jhumpa Lahiri
Music:
Nutville, by Horace
Silver (Denmark, 1968)
“...looks like Horace
was in another universe”
Fifteen minutes of
artistic madness
Billy Cobham drum
solo: 10:45
Miscellaneous Gem:
Lyric from Leaving California, by Mark Edward Duvall
“Like the Grapes of Wrath, but through the
rear-view mirror.”
Thursday, June 20, 2019
These are good
I read the English translations.
The Murmur of Bees by Sofía Segovia
The Dust of Promises by Ahlem Mosteghanemi
Death in Spring by Mercè Rodoreda,
Sunday, June 16, 2019
Approaching solstice
Here are some things I’ve
been looking at lately:
“On a dusty side street not far from the Romeo y
Julieta tobacco factory, in a gallery marked only by its open front door, a
photo exhibit proposes a different approach, and its impossible gesture of
erasure and revelation was one of the defining moments of the 2019 Bienal. No
artist’s name was visible, but one of the walls bore a title: Un día feliz (“A
Happy Day”). A large dog sits next to a caned rocking chair. Krushchev stands
with a dead duck in his hands, another dead duck suspended in mid-air next to
him. A baseball flies towards a batter from an empty pitcher’s mound. And in
what seems a tacit salute to Antonia Eiriz’s Naturaleza muerta, one of the
gallery walls is hung with photos of podiums, decades of podiums, some with
gigantic crowds beneath, one bearing the VE RI TAS seal of Harvard University,
many with photographers who aim their lenses at a point behind the microphones
where no one stands.
Reynier Leyva Novo, the fertile-minded young artist
who created the series—other photos in it are displayed at El Apartamento, with
his name attached—has digitally altered iconic images by Lee Lockwood, Alberto
Korda, and others, to eliminate Fidel Castro, or, you might say, to de-platform
him. What’s left is a blank wall cross-hatched with dappled sunlight, an empty
field with low mountains in the distance, the open ocean. And also, maybe, air
to breathe, space for the imagination, silence to hear yourself think: a
future...”
Esther Allen
Jay-Z
Anna Journey
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