Wednesday, August 21, 2019

Wind Machine, by Sammy Nestico

drum solo butch miles

drum solo buddy rich

drum solo buddy rich classic tonight show band

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



Push, by Sapphire

The Namesake, by Jhumpa Lahiri


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.”

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


Anna Journey