Pinton / Kullhammar / Zetterberg / Nordeson - Chant (CF 156)
Chant del cuarteto Pinton – Kullhammar – Zetterberg – Nordeson es una gratísima sorpresa. En formación de dos saxos (Alberto Pinton y Jonas Kullhammar), contrabajo (Torbjörn Zetterberg) y batería/vibráfono (Kjell Nordeson), los cuatro músicos son los autores de todos los temas de la grabación. Su propuesta entronca con un jazz potente y energético en el que aparecen algunas referencias como las del saxofonista Hamiet Bluiett o la del trío sueco de free-jazz Mount Everest Trio. Si bien otras propuestas lideradas por Pinton entroncaban con un post-bop con fuertes reminiscencias a la música de artistas como Dave Holland y su quinteto, en esta grabación su emparejamiento con el saxofonista Jonas Kullhammar hace que explote una nueva faceta, más libre y mucho más interesante, tanto en sus aspecto de instrumentista como de compositor.
http://www.tomajazz.com/bun/2009/11/pinton-kullhammar-zetterberg-nordeson.html

Another Brief Memoir
By Jake Jakubuwski

Today it is hard to imagine horses on the streets of Baltimore, but when I was a kid they were so common that no one took any real notice. It was not unusual to hear a horse plodding up our alley with its harness bells tinkling, and the steel banded wagon wheels making a metallic racket all their own on the Belgian block pavement stones. Most often, the fellow driving the wagon was the “Junk Man,” looking for old newspapers, magazines, scrap metal, used clothes — anything that he could turn into cash. Also, of course, there were the “Arabbers” — hucksters that sold produce from their colorful (bright reds, yellows and blues) horse-drawn wagons. Like many kids in Baltimore, I used to work for the Arabbers. The pay wasn’t the greatest, but it was usually enough for a movie and a candy bar, and, perhaps, a Coke.

When we were living on Light Street, in South Baltimore, even the ice man delivered his ice from a horse-drawn wagon. Ice man? Yeah, ice man. In the late 1940s there were still lots of folks that didn’t have electric “Frigidaires,” but they did have thick-walled ice boxes, and the ice in them needed to be replaced on a regular basis. The ice man would come every other day or so, driving his wagon loaded with huge blocks of crystal-clear frozen water, a heavy canvas tarpaulin thrown over it to slow the melt. And you could hear him coming because, besides the clangor of his wagon wheels, he had his own chant to alert his customers. Slowly moving down the street or up the alley (with a dozen kids following behind, trying to snatch a piece of ice out of the wagon’s bed, the shards being viewed by them as a cool summer treat) he’d yell: “EyeEESE-mannnnnn! EyeEESE-mannnnnn!”

Many residents had signs with changeable numbers on them in their front window, so the ice man could tell how much the customer wanted. If you needed ice and didn’t have a sign, you could just holler and tell him how much. A dime’s worth? A quarter’s worth? Or, maybe a fifty cent block, if you thought that would be enough to make it through the weekend. The ice man would stop his wagon (shooing the kids away from the back ) and begin using an icepick to hack at one of the larger blocks to give the customer whatever amount they were willing to pay for — 25, 50, 75, even 100 pounds. After chopping the larger block to the proper size, the ice man, or his helper, would grab it with a large pair of black tongs and, using a burlap bag on his shoulder to help protect him form the cold, he’d leverage it onto his shoulder and carry it into the house and put it in the icebox.

During the winter months, we didn’t need to buy ice because our family had a window box. That was a box with a wire bottom to allow for drainage that hung outside of a window on the shady side of the house, in which we stored our eggs, butter, milk and other perishables. The window closed down on the top of the box and had a door in the front so you could easily get to the stored items. Folks that didn’t have a window box often had an open back porch where they would keep perishables in a crate, or other container. On top of the container would be a piece of wood with a brick or stone or piece of scrap iron holding the “lid” down so that stray cats and dogs — and any other free-roaming urban creatures — could not get at the goodies.

Our ice man came around even in the winter, too, with the difference being that he now delivered coal. If you had a coal stove or furnace, as we did, he’d back up to the basement window (or coal chute if you had one) and shovel the coal into the coal bin. Then, suddenly it seemed, when I was about eight or so, the ice man showed up driving a truck — the end of an era! The ice/coal truck had a large wooden body, and when delivering coal in the winter it backed up to the coal chute, the man raised the bed of the truck with a crank and the black lumps of energy ran out of the truck like a noisy, dusty river.

It was only a couple of summers until we had a Frigidaire and didn’t need the ice anymore. I guess a lot of folks in the neighborhood bought Frigidaires as well, because I have no memory of the ice man making his rounds after that.

Copyright © 2009 Jake Jakubuwski.

Jake Jakubuwski spent nearly two decades as an active locksmith and door service technician. He has been writing physical security related articles since 1991. Seventeen years ago, Jake wrote his first article for the National Locksmith Magazine and has been their technical editor for fifteen years. Pure Jake Learning Seminars©, his nationally conducted classes, are designed for locksmiths and professional door and hardware installers. For more information, click the “Pure Jake” link in the sidebar blogroll and under the “business” label. (And to read about Jake’s adventures as an “Arabber’s” assistant, check out a short piece on the subject — it was the September 14, 2009 post on this blog.)

Encore un peu de musique vocale. À l’image des barber shop dont j’ai déjà parlé, voici une superbe archive des mills brothers (leurs parents tenaient justement un salon de coiffure …). Belle imitation de la sonorité des cuivres juste avec la voix:

La musique est sympa, mais je vous laisse admirer les danses. Noter le danseur à 1:45. Qui a dit que le Hip Hop est né à New York dans les années 70 ?
Au passage, si vous appréciez la trompette vocale, je vous laisse découvrir ce jeune prodige:

Si par contre c’est plus la danse qui vous a plu dans la vidéo des Mills brothers, alors …. show must go on:

Papamusique

No era todo lo que veían mis ojos
era lo que siempre se quiere negar,
cruzando los mil olores, se enreda,
hace el nidal,
las cadenas.

Olor a amargura,
sabor de lo carnal,
saber que lo harias no bastaba
ah… Chant! My channel.

Porque de ti fluían las penas,
en la misma esquina del atardecer,
cuando el sol tostaba tu cabello y desvanecia tu frialdad,
cuanto tiempo lo pensé.

Ahora todo luce como otra,
otra que no es ella,
yo con la misma sonrisa,
quizás con las mismas penas,
con lo mismo Chant!
Solo tú y más cadenas.

Empieza,
se termina
y hay más daños,
falsedades;
siguen las cadenas.

Se siguen tejiendo puntos,
líneas,
redes,
caricias y ternuras;
dolores,
en mi corazón … la gran cadena.

It’s a cool Saturday morning here in Nonthaburi where I live. I would like now to present a chant of the long mantra of Avalokiteshvara, the Bodhisattva of Compassion. Here is the whole text of the chant in Sanskrit:

Namo ratnatryaye namah aryajnana sagar vairocana vyuharajaya tathagatayah arhate samyaksambuddhayah;
namah sarva tathagatebhyah arhatebhyah samyaksambuddhebhyah;
namah arya avaoliketshvaraya bodhisattvayah mahasattvayah mahakarunikakayah;
tadyatha: om dhara dhara dhiri dhiri dhuru dhuru itiye vitiye cale cale pracale pracale kusume kusumvaraye ili mili cetam jvalam apnaye svaha.

The text is chanted in the style of Chinese music. May all sentient beings attain the status of Avalokiteshvara, one who is full of great compassion!

Au Coeur de l’Essence Féminine

NIBI WABO

A la fin de février 2002 à la nouvelle lune (lune de l’ours), une cérémonie fut tenue sur la réserve de Kitigan-Zibi près de Maniwaki. 13 grands-mères ont participé à cette cérémonie parmi elles  il y avait des femmes Algonquines et des femmes métis et blanches. Parmi les 13 grands-mères, les 4 races de l’humanité (hommes et femmes) étaient représentées.

La cérémonie n’avait pas été faite depuis 150 ans. C’était le temps avant que le tambour ne vienne à la femme, le temps où nous tapions avec des bâtons. La grand-mère qui a apporté cette vision s’appelait Kathleen Deschenes. Elle a vécu un processus spirituel qui a duré 4 ans du début à la fin. Nous lui sommes reconnaissants de nous avoir communiqué cet enseignement.

C’est le temps pour les femmes d’assurer leurs responsabilités. Nous sommes les gardiennes de l’eau parce que nous sommes en relation avec les cycles naturels de la lune à travers nos menstruations et nos cycles de naissance.

Traditionnellement dans la plupart des cultures les femmes étaient considérées comme les gardiennes de l’eau. Nous avons la connexion, les chemins et les cérémonies de bénédiction pour purifier les eaux aussi bien que les eaux qui sont dans notre propre corps à 90 %.

Nous vivons dans les jours de grande purification de la Terre. Nous avons le choix de nous asseoir impuissantes à regarder les évènements prendre place ou d’être participantes actives pour faciliter ce passage.

Cela peut être aussi simple que de chanter une chanson près d’une rivière où de mettre nos mains au dessus des bols d’eau pour nos enfants malades, remercier et dire une bénédiction à l’eau ne serait ce que pour notre café du matin.

Nous voulons partager  cette chanson avec toutes les femmes du monde. Partagez là avec vos filles, vos petites filles, vos tantes, vos sœurs, vos mères et grand mères.

Enseignez-la aux femmes que vous connaissez. Allez chanter aux rivières, aux lacs, aux océans.

La Terre-Mère saigne, c’est à notre tour maintenant de l’aider à traverser cette crise. N’attendons pas qu’on nous oblige, faisons le volontairement.

A chanter 1 fois dans chaque direction (on peut éventuellement dans les 7 directions)
Elle peut être jouée sur un tambour mais dans sa forme originale elle était jouée avec deux bâtons de bouleau blanc d’une dizaine de pouces de long et deux de large.

Jacline

Ensemble Organum, singing the Introit for the Midnight Mass of Christmas Day, “Dominus dixit ad me” (Ps. 2:7,1). From the recording Chant de l’Eglise de Rome (VIe – XIIIe Siècles). Old Roman Chant (perhaps c. 6th century) from an 11th century manuscript. (Consider my hat tipped to The New Liturgical Movement.)

Le spectacle jeune public “Le Chemin Bleu” est inspiré par la flûte enchantée de Mozart.
C’est un spectacle tout public à partir de 3 ans.
” Le Chemin Bleu” regroupe des comédiens, marionnettistes, chanteuse, peintre,
qui évoluent sur une musique originale.
Comptines et performances sont de la partie.

Bonjour,  samedi nous serons le 21 Novembre,
je vous rappelle que vous êtes conviés à un :

” Concert entre Amis “

à l’Atelier Satie

Luc Benoit : piano
Bernard Vitrac : chant
Inès LSM : chant
Bruno Lomenech : textes

Samedi 21 Novembre, à partir de 18h30.
33 Rue Cauchy
94110 Arcueil

Après le concert, nous partagerons un repas.

Bienvenus !

Inès Lopez-Sanchez Mathély
http://inesallarty.online.fr/

Jean-Michel Birais
http://biraisjmpeintre.fr

Here are some very beautiful chants by the Church Music Association of America (www.musicasacra.com) when they did their recent chant pilgrimage this year. Enjoy!

(If you’re curious about the Mass, this is the Extraordinary Form of the Mass, a.k.a. The Traditional Latin Mass)

Deva and Miten’s music is an expression of spiritual devotion, through song and chant. http://www.devapremalmiten.com

Anandamayi Ma

“If we believe we are mean and low, we will become mean and low. If we believe we are children of Almighty God, children of immortality, we will become so.” -We are our thoughts.

“It must be your goal to possess the divine qualities of kindness, tolerance, and consideration.”

“The true spiritual teacher is one’s own developed spiritual energy.”

“Peace exists within all of us, it is simply waiting to be nurtured and developed.”

“A bit of fragrance always clings to the hand that gives you roses.”

“Use the stones that life throws at you to lay the foundations for your future.”

“Smile, your soul dances in eternity.”