Good LAWD!!!!! Someone was in dier need of some twat when they wrote this LOL. OOOWWWWW.

And why not!
Steve Coleman has bravely made a large amount of his music available as free mp3s on his website. Not individual tracks or samples but whole CDs. He’s also including notes and personnel lists. You can also download Steve’s essays on music at the site and will be able to download scores of his compositions soon.

(Photo from http://www.m-base.com)

Has Steve lost it? Is he crazy? Clearly no! He’s being brave enough to do what many musicians have talked about. When I and many others recorded vinyl onto cassette tapes in the 70s and 80s and shared then with friends, that led to more publicity to the artists, more fans and more sales too as we eventually replaced those C90s with pristine vinyl. Home taping was ’skill in music’ as the saying used to almost go.

My thoughts are that in sharing his music; the wonderful Cleveland Watkiss has been on a similar route recently; many people will discover it and share it and then, hopefully buy his CDs, go to his gigs and become interested in his music. Steve Lawson, solo bassist extraordinaire, has found similarly that it is a case of being creative about how modern musicians can make money, not by following the old, failed music business routes.

Steve Coleman gives his own rationale for giving music away here. Interestingly, his decision is led by his philosophy about the nature of music rather than any commercial angle. This is how Steve approaches his music too – deeply conceived, deeply realised and deeply felt. I’ll be glad to get mp3 versions of M Base material that I have on vinyl. You should buy some of Steve’s music too as this is great, vital music that is hugely influential in contemporary jazz. Without M-Base, Dave Holland’s current bands would sound very different; Vijay Iyer would not be doing what he is doing in the same way and contemporary jazz would sound quite different.

OK, the links….
Steve Coleman’s Website
Download Steve’s music
Buy Steve’s music
Read Steve’s Essays
Play Steve’s Scores

Further links to musicians mentioned here:
Steve Lawson
Cleveland Watkiss

Excellent discussion on filesharing (post by Andrew Dubber and fascinating discussion in the comments:
9 out of 10 Dentists

Steve Coleman’s Rationale on Making Music Available for Free

(from Steve’s website)
Many people have asked me what are my reasons for giving away music for free. Well, why not? Why should everything always cost something? For me music is organized sound that can be used as sonic symbols to communicate ideas. Since my main goal is the communication of these ideas to the people, then why not provide this music for free and thereby facilitating the distribution of this music to the people. However the distribution of music in this way is not in the best interest of commercial music companies, i.e. record companies, music distributors, retail stores etc.

My reasons for providing free music comes from my belief that musical ideas should not be owned by anyone. I believe that ideas should be free for anyone to use (but not to necessarily sell to others or make others pay for the use of these ideas). The concept of a commons area where ideas can be used for the benefit of all but for the profit of no one may seem like an unrealizable concept in the world today. Basically greed runs the world today and it is because of this that the concept of ownership exits.

There would be no need to own something exclusively unless the use of it was restricted to the owner for reasons of conservation, or the owner wishes to rent out the use of the item to others for a fee. The concept of wealth also stems from ownership and control of resources.

I believe that ideas should be an area that is common to all people. It has been proven that real progress is made when ideas are shared and developed collectively. The ancient Egyptian society is one example of this and the development of the Internet is an example in modern times. The growth of the Internet is definitely due to the concept of open-source software, freeware and shareware. For the most part commercial development has inhibited growth by introducing concepts of ownership, exclusive or restrictive ideas, and the concept of paying for information which in many cases is available for free elsewhere.

Although it is not practical in the present society to have a situation where all ideas and information are available for the use of all, there should be areas where ideas and information are free for the use of everyone. This is especially true of creative ideas and inspired thought.

However people have asked me “if you are going to give away music then how will you survive and make a living?” It does cost money to make recordings, engineers and musicians have to be paid and materials needs to be purchased. However it is not necessary to have the mentality that we need to make a profit from all that we produce. If a person has a strong conviction and a reason for what they are doing, that alone should be enough motivation for the action to be consummated.

Money is not real in the first place, it is an agreed upon concept, in fact just another idea. This particular idea has no value unless everyone agrees on its worth. And generally speaking the desire for, striving for and acquisition of money almost always has a negative effect on the mind. The quest for money, and material acquisition in general, is a barrier to spiritual development.

Giving some ideas and music away does not mean that all needs to be given away for free. But there are some people who either cannot pay for the music or would never even listen to it in the first place if they had to pay for it. For this group of people, and for all the others who have purchased and supported the music in the past, there should be an area where they can go to listen to the music at no charge. I envision a situation where maybe one third to one half of the music that I create and make available to the public will be free of charge. The same would apply to other ideas about the music, general information, music theory, philosophy, etc.

There are still live performances that people can come to and these cannot be free as I need, at a minimum, to pay band members and my management team. Sometimes I personally make a profit on performances that my group does, sometimes I break even, other times I actually lose money. Overall I manage to make a living. When we go out on the road there are no big road crews, sound people and equipment. It is not a big operation and no one is becoming wealthy. Any extra money that I do make goes back into research, development of ideas and trips to places that have infrastructures that make it nearly impossible to make money. As a group we have made several trips to countries like Cuba, Senegal, India etc. and in almost all of these cases the expenses have been paid by myself.

There should be some ideas and concepts that are available for all to use, to contribute to the advancement of all.

Note from Phil: Special thanks to my good friend Chris Montgomery (photographer/biker/traveller/guitarist/all-round good bloke) for the heads up on this.

Some videos, interviews, broadcasts added… the marvellous Marian McPartland Piano Jazz programmes, interviews with Coltrane, Lester Young and Liebman, plus some practice advice from Joe Lovano and Steve Coleman. Click here…

Lika självklar på dansgolven som på jazzklubbarna vid Union Square.

DEN STÄNDIGT STIGANDE alt-saxstjärnan Steve Coleman är en flitig herre. Nyligen släppte han tre skivor med tre grupper och tre stilar. Samtidigt.

»The Way of the Cipher« med rap-gänget Metrics, »Curves of Life« med jazzkvartetten Five Elements, och »Myths, Modes and Means« med den afromystiska ensemblen The Mystic Rhythm Society.

— Det handlar inte om att visa hur duktig jag är. Banden betonar vart och ett på sitt sätt vad jag vill säga. Musiken uttrycker hela tiden mina känslor.

Till saken hör att det bakom de olika banden döljer sig några musiker som ingår i Steve Colemans kärntrupp: klaviaturspelaren Andy Milne, basisten Reggie Washington, trumpetaren Ralph Alessi och trumslagaren Gene Lake. De finns med på alla tre skivorna, som spelades in live på The Hot Brass i Paris för ett år sedan.

Steve Coleman, snart 40 år, räknas till jazzens stora förnyare. Men scendebuten i början av åttiotalet vari allra högsta grad traditionell: för att lära sig jazzen från grunden började han spela i storband, med bland andra Thad Jones och Mel Lewis.

— Jag gjorde som John Coltrane, Charlie Parker och alla de andra. Storbandsjazz är en bra skola. Men sedan ville jag gå vidare.

Efter det första soloprojektet »Motherland Pulse«, som kom 1985, har Steve Coleman gett ut en rad intressanta, sökande skivor, där han nyfiket blandar bop med rap, afrikanskt med amerikanskt, hårda rytmer med mjuka känslor.

Bland annat blev det en skiva på Stings kortlivade bolag Pangea.

Många ser honom som framtidens jazzman, lika självklar på dansgolven som de rökiga klubbarna i närheten av Union Square.

En ny John Coltrane, en ny Bird, en ny Evan Parker.

I mitten av åttiotalet blev han en del av den livaktiga M’Base-rörelsen i New York. Tillsammans med M-Base Collective gav han i början av det här decenniet bland annat ut den smittande programförklaringen »Anatomy of a Groove«.

Men själva grunden i hans musik är jazz.

Vilket är ganska logiskt med tanke på att hans mamma samlade skivor med sångerskorna Dinah Washington och Billie Holiday, medan pappan beundrade Charlie Parker.

Men Steve Colemans första stora altsaxfavorit var en annan Parker: Maceo Parker — tungt namn bakom funkens gudfader James Brown i The JB’s.

— Maceo har inte influerat mig rent tekniskt, men han var med på de skivor jag lyssnade på när jag växte upp, säger Steve Coleman, som började spela sax när han var 14 år.

— Som alla andra unga svarta i USA lyssnade jag på soul, funk och den sortens musik. Motown, Stax och sådant. Det var först när jag var 16-17 som jag började söka mig till annan musik, till äldre artister.

DK Dyson performs at Joe's Pub on August 14 in New York.

Fresh from her European tour as lead vocalist in Don Byron’s New Gospel Quintet, at Joe’s Pub she’ll be sharing the bill with Byron, performing her favorite classic Rock/Soul songs, as well as some of her originals with her band Brooklyn Blessings.

Dyson travels comfortably through music categories such as Jazz, R&B, Pop, Rock and World Music. She co-led the Sony / Epic band EYE & I, a group that broke down racial and musical stereotypes with a sound that married heavy Rock and Funk with Jazz smarts. The critically acclaimed release of “EYE & I”, on Epic Records, garnered Dyson a Best New Female Vocalist nod from the NY Music Awards.

Her diverse range is documented by recordings and performances with Living Colour, Don Byron, Steve Coleman, Caetano Veloso, Paulinho De Costa, Ornette Coleman, The Ambitious Lovers, Daniel Ponce, Kip Hanrahan, Bill Laswell, and the Jazz Passengers (performing with Marvis Staples and Debbie Harry).

Her soulful voice can be heard in the film by Thomas Allen Harris That’s My Face. Recently she scored the short film The Task and composed and performed the television theme songs for the nationally syndicated shows “Our World” and “Black Business Report”.

On her solo album “Rising Sun”, Dykson combines her original song writing and singing with Sanskrit, Yoruba and Native American chants. She has also flavored the dance companies of Abdel Salaam (Forces of Nature), Bill T. Jones, David Rousseve, Diane Mckintyre, and Ron Brown with her live vocalese stylings.

DK Dyson at Joe’s Pub
Friday, August 14.
425 Lafayette St. (near Astor Place)
222-538-8717
$15.00 advance & $18.00 at the door
Tickets
www.myspace.com/dkdyson
www.facebook.com/dk.dyson

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RIO DE JANEIRO SHOW
Cassandra Wilson se apresenta no Vivo Rio

DESTAQUES SORTIMENTOS.COM
MAIS ACONTECE RIO DE JANEIRO

By Don Heckman

 Los Angeles

 - April 7. (Tues.)  Saxophonist Rickey Woodard’s hard swinging, adventurous playing is the perfect opening act for this new jazz room.  Bar Melody – Bar & Grill.  (310) 670-1994.  www.barmelodyla.com.

 - April 8. (Wed.)  Katya and Marielle Labeque and Mayte Martin..  ”De Fuego y de Agua”  The elegant, pianist siblings join Catalonian singer Martin in an unlikely encounter between Spanish classical music and traditional flamenco. UCLA Royce Hall. (310) 825-2101.  www.uclalive.org

 - April 8. (Wed.)  Santa Barbara’s Mellonie Irvine brings her warm-toned, briskly swinging vocals to an appearance at Hollywood’s premiere jazz room. Catalina Bar & Grill.  (323) 466-2210.  www.catalinajazzclub.com.  

 - April 8. (Wed.) Manhattan Transfer. The intrepid quartet continue adding to their expanding definition of the glories of vocal quartet jazz. Cerritos Center.  (562) 467-8818  www.cerritoscenter.com

 April 8 – 11. (Wed. – Sat.)  Steve Coleman Sextet.  Cutting edge alto-saxophonist Coleman and his equally adventurous sextet slice open the box of contemporary jazz possibilities. The Jazz Bakery  (310) 271-9039.  www.jazzbakery.com.

 April 9. (Thurs.)  Lila Downs.  The Mexican-American’s startlingly diverse eclecticism is on full display in her Grammy-nominated CD, “Shake Away.”  Expect to hear everything from Fleetwood Mac and Lucinda Williams to Downs originals.. UCLA Royce Hall. (310) 825-2101.  www.uclalive.org

 - April 10 & 11. (Fri. & Sat.) Leonard Cohen.  The poet/singer/songwriter returns, selling out concert-sized venues wherever he goes.  And with good reason.  He’s one of the true ’60s/’70s originals.   Nokia Theatre. (213) 763-6030.   http://www.nokiatheatrelalive.com  

 - April 12. (Sun.)  Jennifer Leitham Trio.  Left-handed bass playing, delivered with dancing, swinging enthusiasm and imagination. Lighthouse Café.  (310) 376-9833.  www.lighthousecafe.net.

 San Francisco

 - April 8. (Wed.)  Take 6. A cappella meets the lush, moving harmonies of contemporary jazz in the always startling music of this remarkable ensemble. Yoshi’s San Francisco.  (415) 655-5600.  www.yoshis.com

 New York City

 - April 7 & 8. (Tues. & Wed.)  Allan Harris: Songs of Strayhorn. And what songs they are, starting with “Lush Life,” written – incredibly – when Strayhorn was still a teen-ager.  Harris brings the right sort of panache to a collection of music that deserves a far wider hearing.  Dizzy’s Club Coca Cola. (212) 258-9595.  www.jalc.org/dccc  

 - April 9 – 12. (Thurs. – Sun.)  Jimmy Scott & the Jazz Expressions. You haven’t really heard the full possibilities of a ballad until you’ve  heard it sung by Scott, at one of his glacial, but utterly captivating tempos.  Dizzy’s Club Coca Cola. (212) 258-9595.  www.jalc.org/dccc  

Is nothing sacred?

On 9/11, asshats hijacked some planes and flew two of them into the World Trade Center towers in New York City.

Now, I understand some politics of destruction caused a change in the name of the replacement towers from Freedom Tower to World Trade Center.

But I do not understand how the Port Authority of New York and New Jersey can award the $82 million contract for window glass on the bottom 20 stories to a company from China when an American company, PPG Industries – a pennsyltucky company – submits a nearly equal bid.

Hellllooooo??

Does the Port Authority not realize that Penn State sent over 30 paying buses full of NIT basketball fans thru its facilities? Not to mention all those thousands of other Penn Staters who paid bridge and tunnel tolls while enroute in their private vehicles to the Penn State game against Baylor??

Yo, chumps!

Pennsylvania is in the UNITED STATES!! Yeah, that’s right. We are right there on the map, just south of youse. Lots of us come to NYC to party and dance and work and spend money in your facilities! We even took a hit on 9/11. Remember Flight 93??

So why are you awarding a large contract for the replacement World Trade Center to the Chinese? Is it not bad enough that the Chinese are trying to replace the dollar with their weak currency?? Now you give them our jobs, too?

And who are these people at Solera Construction, Inc./DCM Erectors, Inc.? Are these non-Americans who registered their joint venture in New York for the sole purpose of calling themselves an American company?? And Zetian Systems. Las Vegas based? What does that mean? Sub-contract after sub-contract after sub-contract on the most important construction job in this country: the rebuilding of the World Trade Center tower. But parts of this project are being given to the Chinese.

When did Beijing Glass become an American company??

A PPG Industries plant not far from me spent months and millions of dollars retooling their machines to handle the window glass contract from the World Trade Center rebuilding project only to have a public municipal authority award that important contract to the Chinese!! What the hell are they thinking? Don’t they know that Americans need jobs?? Public building projects utilizing American taxpayer moneys should NOT be awarded to overseas interests. Let’s keep our taxes in the US. And let’s stop buying cheap and/or defective Chinese products for our iconic landmarks.

Oh, and this gem from Port Authority mouth piece Steve Coleman” “As a public agency, it’s our responsibility to have an open public bidding process and select the lowest, responsible bidder.”

You know what, Steve? Selecting a foreign company in favor of an American company to do a job for which a company will be paid with taxpayer money is not “responsible.”

If the Port Authority is going to stick it to Americans, perhaps it is time for Americans to stick them back.

FONTE

Sabato 21 marzo 2009, Cittaslow ospite Castelnovo Ne’ Monti (Reggio Emilia). Ultimo appuntamento dll’edizione 2009

Ultimo appuntamento, sabato 21 marzo presso “La Penisola” sul Lago di Corbara, per l’undicesima edizione di Cittaslow-Dinner Music, che conferma la formula vincente della scorsa edizione che ha visto il felice connubio tra la musica d’autore e i saperi e i sapori delle Cittaslow italiane.

Il programma di sabato 21 marzo presenta il concerto con  lo straordinario duo  composto  da  Fabrizio Bosso, uno dei migliori trombettisti della nuova generazione che incontra il chitarrista brasiliano Irio De Paula. Consolidato, timbricamente insolito, geograficamente una scommessa. Il duo formato da Irio De Paula, chitarra, e Fabrizio Bosso, tromba, colpisce per inventiva, logica strutturale, sentimento, lirismo, capacità di raccogliere tutto ciò che la storia e lo studio ha messo a loro disposizione.

I due si sono incontrati casualmente, dando vita ad un album, “Once I Loved” (Philology 2003) che restituisce la magia del jazz: prima non si conoscevano, dopo si sono amati.

“Un vero talento anche dal punto di vista umano”.

Irio De Paula adora Bosso. E dal vivo, ancor più che in studio, lo sostiene, armonicamente e ritmicamente, con quel piglio tutto brasiliano. Nell’alternarsi continuo tra cadenze popolari – di matrice brasiliana – ed approccio jazz, il duo sviluppa una ricerca musicale sofisticata, senza cadere nella trappola dell’eccesso di manierismo che sovente accompagna chi si prodiga al di fuori dei propri confini di genere. Il repertorio si risolve tra riletture obbligatoriamente originali di standard, musica popolare brasiliana di Antonio Carlos Jobim, Marcos Valle e molto spazio, naturalmente, all’improvvisazione e all’interpretazione istantanea. Irio e Fabrizio hanno registrato anche un altro disco, “Four For Jazz”, realizzato in quartetto con Moriconi e Manzi.

Fabrizio Bosso, consacrato come uno dei migliori trombettisti contemporanei, è un leader carismatico, dotato di una tecnica ineccepibile e di un linguaggio unico e personale. E’ stato protagonista sul palco del Festival di Sanremo 2008 con Sergio Cammariere, con cui stabilmente è in tour ed ha già inciso due CD’s, inoltre, con il suo gruppo gli High Five, Bosso ha inciso il brano di successo mondiale “This is what you are” con Mario Biondi, e collabora con tutti i più grandi artisti del panorama musicale, quali Claudio Baglioni, Stefano Di Battista, Gabriele Mirabassi, Tullio De Piscopo, Randy Brecker, Enrico Rava, Gianluca Petrella, Slide Hampton, Bob Mintzer, Gegè Telesforo e altri. Irio De Paula è un chitarrista straordinario dotato di una grande tecnica e capacità espressiva, un maestro della musica brasiliana, definito dalla critica “il più affascinante dei chitarristi brasiliani”, un vero virtuoso dello strumento, ed è inoltre, uno dei migliori suonatori al mondo di cavaquinho (piccola chitarra con quattro corde,strumento tipico brasiliano).De Paula ha suonato ed inciso con Armando Trovajoli, Ennio Morricone e Chico Barque ed è stato ospite nei principali programmi musicali della Rai e Mediaset ed inoltre come solista, ha suonato con l’Orchestra Sinfonica di San Remo e Modigliani di Toscana oltre a quelle di Lecce e Palermo, nonchè, ha suonato e cantato il brano “A criança” nella colonna sonora del film-cult “L’ultima neve di primavera” e a NY, si è esibito al “Birdland” sia da solo che come ospite del trombettista brasiliano Claudio Roditi e con David Sanchez, inoltre è richiestissimo anche nell’ambito jazz da artisti come Gato Barbieri, Toots Thielemans, Buster Williams, Phil Woods, Bobby Durham, Jimmy Cobb, Lee Konitz, Renato Sellani, Gianni Basso, Cidinho Teixeira, F.Cerri.

Fabrizio Bosso è un artista tecnicamente impeccabile, dotato di una grafia personale, in cui il colore e la dinamica del suono non sono mai scontati, il senso dello swing è spinto agli eccessi, la tensione creativa è costante anche nell’interpretazione di standard. Oltre ad aver svolto attività concertistica sotto la direzione di George Russell, Kenny Wheeler, Dave Liebman, Carla Bley e Steve Coleman, è stato ultimamente reclutato da Charlie Haden per alcune tappe del tour promozionale del nuovo album della Liberation Music Orchestra. Nel 1999 viene votato come “Miglior Nuovo Talento” del jazz italiano dal referendum della rivista “Musica Jazz”, e collabora stabilmente nei gruppi di Giovanni Mazzarino, Salvatore Bonafede ed Enrico Pieranunzi. Fonda, assieme a Scannapieco, gli High Five, suona in duo con Rossano Sportiello in un omaggio ad Armstrong, in trio con D’Andrea e Petrella, nel suo quartetto con Mannutza, Bulgarelli e Tucci, ed incide diversi progetti come leader e co-leader. Fortunata anche la collaborazione al fianco di artisti confinanti con l’estetica jazz come Sergio Cammariere, Mario Biondi e Nicola Conte.
www.fabriziobosso.com

Irio De Paula è nato a Rio De Janeiro ed è uno straordinario chitarrista, dotato di tecnica e feeling trascendenti che lo fanno ritenere un maestro, o meglio, ” il Maestro ” da parte di tutti i musicisti (non solo chitarristi) che “lavorano” nel genere brasiliano. Tutta la sua musica (stile strumentale, senso del ritmo, composizione) proviene dalle più pure ed autentiche origini brasiliane. Irio è uso venare di jazz la musica popolare del suo paese natale confrontandosi anche con altri patrimoni folcloristici in cui la tradizione afroamericana e quella sudamericana si incontrano e crescono insieme, infatti, letteralmente giganteggia nella bossa, nella samba, nelle ballads e nei brani di sua composizione toccando ogni brano con passione e con stile raffinato, rendendo particolari anche i brani più abusati come quelli di Jobim e Lobo, imprimendo il marchio della sua personalità, esprimendo nei tempi più mossi, con contagiosa efficacia, la sua irrefrenabile gioia di vivere e, in quelli lenti, il suo mondo introspettivo e malinconico. Irio si è avvicinato alla chitarra molto presto, legandosi a personaggi della musica popolare brasiliana come Paulo Moura, Baden Powell, Rauzinho, Eumir Deodato, Juarez ed esibendosi spesso al fianco di Astrud Gilberto e Chico Buarque con i quali ha esplorato la samba, la bossa nova e il folclore del suo paese. In ambito jazz vanta una cospicua discografia come leader ed ha partecipato ad incisioni di Sal Nistico, Steve Grossman, Dannie Richmond, Archie Shepp, Ray Mantilla e molti altri.
www.iriodepaula.com

La Cittàslow ospite è  CASTELNOVO NE’ MONTI (Re)Presidio Slow Food:  Parmigiano  Reggiano delle Vacche Rosse. Chef: Mirca PignedoliAntipasto:ANTIPASTO DI SALUMI E PECORINO A LATTE CRUDO. Primo:CANNELLONI DI VERDURA .Secondo:ARROSTO IN VENTAGLIO.Contorno:CONTORNO RUSTICO. Dolce:TORTA DI LIMONE TORTA DI AMARETTI.Vini bianchi e rossi di Orvieto Cantina Cardeto

Si ricorda inoltre che è aperta la Bottega del Gusto in P.zza S. Andrea di Orvieto, sabato e domenica dove si potranno acquistare i prodotti  presidiati Slow Food: Parmigiano  Reggiano delle Vacche Rosse.

Info e prenotazioni:

Tutte le cene sono con servizio al tavolo

con inizio puntuale alle ore 21.00

cui seguirà il concerto del gruppo previsto dalle

ore 22.15

La prenotazione è consigliata contattando

laPenisola SS 448 loc. Lago di Corbara

Baschi -TR- tel 0744 950521

www.albergolapenisola.it, info@albergolapenisola.it

www.cittaslowinfestival.it, info@cittaslowinfestival.it

I menù saranno costituiti da: antipasto, primo piatto, secondo piatto, contorno, dessert, caffè , vini ed acqua minerale.

Costo a persona cena e concerto  40 euro

Possibilità di soggiorno direttamente presso il country resort and restaurant laPenisola

Prezzo per persona in camera doppia: un concerto (comprensivo di cena) e un pernottamento

(con prima colazione) a partire da 80  euro.

Supplemento per camera doppia uso singola  20 euro.

Ogni giorno in più con sistemazione in mezza pensione, a partire da 58 euro.

give me an idea
by tyler priest

Give me an idea. Give me an idea that will make my intellect buzz, my heart speed up, my passion stir, one that will fix my gaze in contemplation, for a long, long time. Give me an idea that will ransom my mediocrity and empower my potential. An idea that will summon forth a hunger for truth, beauty, love—give me an idea.

An idea that will actually translate from theory into praxis simply because it is too convincing to go untried, and too real to fail—give me such an idea. Give me an idea that will destroy old paradigms, causing me to stagger about in cognitive dissonance, and then leading me to recalibrate, reevaluate, reimagine, and reengage.

Give me an idea that will awaken my soul from hibernation and the mundane drone-life. An idea that will shake me from apathy, stir in me a vision, and push me toward movement—yes, give me an idea. C’mon, c’mon, c’mon. Somebody give me an idea.

Give me an idea that will birth my future. An idea that will alter my reality. An idea that will genuinely mess me up. Give me an idea that will go off like a canon in my brain. That will shock me to my core, and lead me to realize I’ve had it all wrong this whole time. An idea that says, “Change must come, and is now come.”

Give me an idea that will make my head jump off the pillow in the middle of the night. And give me an idea that won’t allow me to go back to sleep. Give me an idea that will make me pace around the room while everything is spinning in my vision. Yeah, yeah, yeah, give me an idea. Somebody, please, give me an idea.

Give me an idea that will make Einstein jealous, make Elvis dislocate a hip, and make Mother Teresa say “Damn.” ok, maybe not, but give me an idea anyhow. Give me an idea that will put Wal-Mart out of business. That’s right, give me an idea.

Give me an idea that will not only justify my existence, but reconstruct a new one altogether. Give me an idea that is too big for me to contain. An idea that is bigger than my faculties can bear, that overloads my senses, that causes me to overheat, crash and restart.

Give me an idea that will cause Bono to admit that he’s finally found what he’s looking for. Give me an idea such that nothing else matters. Give me an idea that haunts me, one that I cannot shake in a day, nor in a lifetime. Hey you, give me an idea.

Give me an idea that makes fast, climactic music start to play louder and louder in the background that is the soundtrack of my life. An idea that makes angels jealous, that makes demons shudder, that makes God do a double-take. Give me an idea that makes people think I’m possessed, and that makes me say, “You’re absolutely right.”

Give me an idea that will laugh in the face of the most powerful empire of the world. An idea that will be here tomorrow because it created a new day worth living for. Give me an idea that will flip hierarchies and powers on their heads and free slaves to dance over their masters. An idea that may be crushed to earth, but will rise again. That’s right. Give me an idea.

An idea that will set captives free, cause blind to see, and lame to walk and mute to talk. Give me an idea. An idea that resonates with the depths of the cosmos, that shines brighter than the fierce flames of the sun, that holds all things together in divine mystery. An idea that rains down and gives life in dry places, that creates streams in the desert, that waters once barren places as life bursts forth. Give me an idea.

An idea that’s greater than the words that attempt to express it, an idea that cannot be dismissed by the wise or forged by a fraud. An idea that will tame the chaos and create a melody of peace that sounds of echoes from heaven. Give me an idea that will put humanity on the edge of her seat. Uh huh, that’s right, give me an idea.

Preacher, teacher, prophet, stranger, friend or foe, whoever, I don’t care. Give me an idea. Sing it, spell it, write it, beam it, text it, speak it, scream it. It does not matter. Just give me an idea. Yes, oh yes. Give me an idea.

by the way, my good friend Mark in Chicago over at GodGrown.net, thanks to a course taught by ACU’s Stephen Johnson, sees slam poetry as a (present)future path of homiletics… I’m sure Mark Scandrette would agree.

Kenny Wheeler : Trumpet
Steve Coleman : Alto saxophone
Julian Priester : Trombone
Dave Holland : Acoustic bass
Marvin Smitty Smith : Drums

Sensational group I hope you’ll agree…is it Ok that I slightly prefer this line up to the current DH5 band?

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MESTRE. Il sassofonista Steve Coleman con i suoi Five Elements, l’altro ieri sera, ha conquistato il pubblico dell’auditorium centro Candiani col suo ritmatissimo jazz impegnato. Peccato per la capienza limitata della sala (200 posti), perché l’affluenza è stata molto elevata e diversi potenziali spettatori sono rimasti fuori. Comunque, è iniziata alla grande la breve rassegna estiva, che che continuerà lunedì 16 luglio con l’Al Foster Quintet. Tornando al concerto dell’altra sera, Colema si è presentato con una versione leggermente diversa dei Five Elements rispetto a quella vista due anni fa al Vapore di Marghera. Intanto il combo non è più un quintetto ma un sestetto  nonostante il nome. Inoltre, i veterani Tyshawn Sorey (batteria), Jen Shyu (voce) e Tim Albright (trombone) sono stati affiancati da Thomas Morgan (contrabbasso), Marcus Miller (batteria) e dal giovane Jonathan Finlayson (tromba). Coleman, nato a Chicago nel ’56, continua con la nuova edizione dei Five Elements, la sua lunga ricerca nel jazz, composto da una brillante miscela di elementi della tradizione bop, del free jazz, delle avanguardie con richiami all’Africa e all’oriente ma anche ai ritmi scatenati della black music statunitense. Il ritmo martellante creato soprattutto dall’ottimo Sorey, insieme a Gilmore e al contrabasso di Morgan, è un elemento fondamentale della musica di Coleman. La base ritmica, tra l’altro è anche l’elemento che rende più accessibile la proposta difficile del jazzista e che la avvicina all’antica tradizione africana e a tutta la black music statunitense. Gli interventi quasi sempre corali e ripetitivi della tromba di Finlayson e del trombone di Albright creano lo sfondo armonico su cui si muovono gli assoli al sax contralto di Coleman e della brava Shyu, che usa la voce come se fosse un altro strumento a fiato con il suo particolare scat. Gli elementi ripetitivi come il ritmo martellante e le armonie dei due fiati fanno pensare alla musica iterativa di Reich ma anche alle tradizioni tribali africane. Forse in queste concezioni il sassofonista risente anche dell’influenza del periodo indiano di John Coltrane, che ha inserito nella musica afroamericana le ipnotiche concezioni modali importate dall’oriente. Tra l’altro Coleman ha avuto modo di collaborare con Ravi Coltrane, figlio di John, che porta il nome di battesimo del grande musicista indiano Shankar.  Gli assoli di Coleman tra free jazz, impennate bop e alcuni momenti più melodici hanno trovato il perfetto contraltare nell’impeccabile fraseggio vocale di Shyu. I Five Elements hanno dato, comunque, sempre l’impressione di essere però molto controllati dal leader e con pochi spazi per l’improvvisazione.

(Michele Bugliari)

One bass guitar (Kevin Bruce Harris) and one voice (DK Dyson.)

This went on my ‘Drugs Are Bad!’ playlist, along with ‘Crack Killed Applejack’ and ‘Rocks’ (see below.)

Kevin was an M-BASE acolyte, playing bass on a host of Steve Coleman and Five Elements albums. Played with Cassandra Wilson, too, before she became a diva. When she had some funk.

This is weird on the sly. Blues changes, one man slapping, DK Dyson sounding beautiful, poetic lyrics. Left field.

If you haven’t heard DK Dyson, do the google. If you haven’t heard Steve Coleman… er… go here

He’s got his entire back catalogue up for free download. ‘Sine Die’ is my favourite. Go. Go crazy. Download like a crazy mofo.

Terrific set from this great trio with Jack DeJohnette sounding powerful under a very in form Steve Coleman. I don’t want to put anyone off but please bear in mind that this session is almost 20 years old now and was snatched off the radio long before the delights of digital so the sound is perhaps a little muffled. It’s nothing too bad though and as there are very few boots of this incredible group going around it’s definately worth the effort.

I saw this band at Ronnie Scott’s once it had become a quartet with Kevin Eubanks and for some reason Steve missed the downbeat by a few minutes. Dave glowered at him and wouldn’t let him on the stand till the very last tune of the first set which was “Segment”, the 2nd tune here. On both occasions Steve totally rips it up but I seem to remember an extra edge that night he thought his job was on the line!

If you don’t have the CD these guys made it’s worth the effort of tracking down. I love it and haven’t ever heard anything else quite like it.

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