New Day Jazz
Justin Desmangles
"Of course, there are exceptions: One of the reasons jazz is so appealing to large numbers of white Americans is precisely because they feel that in this black musical tradition, not just black musicians but black humanity is being asserted by artists who do not look at themselves in relation to whites or engage in self-pity or white put-down.
"This type of active, as opposed to reactive, expression is very rare in any aspect of African-American society. One usually sees either the highly assimilated black person who wants to be accepted by whites no matter what, which is symptomatic of self-doubt, insecurity and lack of power. Or, one sees someone like Louis Farrakhan, who can only assert black humanity by putting others down - a sign of moral immaturity. Unfortunately, those two modes of expression have been dominant in middle-class black America. However, one does not find this kind of 'reactive' behavior in jazz. Charlie Parker didn't give a damn.
"Jazz is the middle road between invisibility and anger. It is where self-confident creativity resides. Black music is paradigmatic of how black persons have best dealt with their humanity, their complexity - their good and bad, negative and positive aspects, without being obsessively preoccupied with whites. Duke Ellington, Louis Armstrong and Coltrane were just being themselves. And for whites interested in the humanity of the 'other,' jazz provides them with examples of sheer and rare genius - a purely American form of artistic grace and elegance emanating from its subjugated people, exiled people, degraded people."
Cornel West, Charlie Parker Didn't Give a Damn, New Perspectives Quarterly, Summer 1991
pictured at right, Romare Bearden,
Watching The Good Trains Go By, 1964
Genre
Jazz
Missed the Show?
Sunday 7/26/2015 @ 3:00PM - 6:00PM
| Artist | Song | Album | Label | Comments |
|---|---|---|---|---|
| Charles Mingus and His Jazz Groups | If Charlie Parker Were a Gunslinger There'd Be a Whole Lot of Dead Copycats | Mingus Dynasty | Columbia (Orgmusic re-issue) | |
| Charles Mingus Orchestra | Mingus Fingers No.2 | Mingus Revisited | Limelight (Waxtime re-issue) | |
| Frank Sinatra with the Nelson Riddle Orchestra | I've Got You Under My Skin | Ultimate Sinatra | Capitol / Universal Music | |
| Frank Sinatra with the Nelson Riddle Orchestra | Witchcraft | Ultimate Sinatra | Capitol / Universal Music | |
| Bill Evans Trio (LaFaro, Motian) | Witchcraft | Portrait in Jazz (Spring Leaves) | Riverside (Milestone re-issue) | |
| Bill Evans Trio (LaFaro, Motian) | When I Fall in Love | Portrait in Jazz (Spring Leaves) | Riverside (Milestone re-issue) | |
| Milt Jackson Quintet | Tahiti | Wizard of the Vibes | Blue Note 75th Anniversary | |
| Airbreak | ||||
| Milt Jackson Quartet | Lillie | Wizard of the Vibes | Blue Note 75th Anniversary | |
| Charles Mingus and His Jazz Groups | Diane | Mingus Dynasty | Columbia (Orgmusic re-issue) | |
| Charles Mingus and His Jazz Groups | Song with Orange (a.k.a. Orange Was the Color of Her Dress, Then Silk Blue) | Mingus Dynasty | Columbia (Orgmusic re-issue) | |
| Gigi Gryce Orchestra | In a Meditating Mood | Nica's Tempo | Savoy (Japan) | |
| Gigi Gryce Orchestra featuring Ernestine Anderson | Social Call | Nica's Tempo | Savoy (Japan) | |
| Chris Connor | Lush Life | Chris Connor Sings Lullabys of Birdland | Bethlehem (Japan) | |
| Kenny Dorham | Matador | Matador | United Artists (Japan) | |
| Airbreak | ||||
| New York Contemporary Five | Rufus (after James Baldwin's character from the novel Another Country) | Consequences | Fontana (Japan) | |
| Miles Davis Quintet | So What / Theme | At The Plugged Nickel Chicago | CBS-Japan | |
| Thelonious Monk | Lover Man (Oh, Where Can You Be?) | The London Collection Volume 1 | Black Lion (Orgmusic re-issue) | |
| Airbreak | ||||
| J.J. Johnson Sextet | Lover Man (Oh, Where Can You Be?) | J.J. Johnson Sextet | Blue Note 75th Anniversary | |
| J.J. Johnson Sextet | Capri (Gigi Gryce) | J.J. Johnson Sextet | Blue Note 75th Anniversary | |
| J.J. Johnson Sextet | Sketch 1 (John Lewis) | J.J. Johnson Sextet | Blue Note 75th Anniversary | |
| Charles Mingus | Los Mariachis (The Street Musicians) | Tijuana Moods | RCA (Waxtime re-issue) | |
| Charles Mingus | Conversation | East Coasting | Bethlehem (Waxtime re-issue) | |
| Beverly Kenney | Nobody But Me | Beverly Kenney Sings with Jimmy Jones and the Basie-ites | Royal Roost (Japan) | |
| Airbreak | ||||
| John Tchicai | Kirsten | Cadentia Nova Danica | Freedom (Japan) | |
| Stanley Cowell Sextet | Earthly Heavens | Brilliant Circles | Freedom (Japan) | |
| Noah Howard Septet | Queen Ann | The Black Ark | Freedom (Japan) | |
| Albert Ayler Quartet | Saints | Witches and Devils | Freedom (Japan) | |
| Airbreak | ||||
| Gil Evans / Steve Lacy | Paris Blues (Ellington) | Paris Blues | Owl (France) | |