Tuesday, August 21, 2018



Charlie Parker Greatest Hits (FULL ALBUM) 00:00 - Donna Lee 03:07 - My Old Flame 06:23 - Ornithology 14:04 - Now's the Time 17:30 - Lover Man 20:54 - Blues for Alice 23:42 - Round Midnite 28:48 - My Melancholy Baby 32:13 - She Rote 35:20 - Mohawk 39:09 - Half Nelson 42:00 - Au Privave 44:44 - I Get a Kick out of You 49:39 - Star Eyes 53:15 - Dexterity 56:10 - I've Got You Under My Skin 59:44 - K. C. Blues 01:03:12 - Swedish Schnapps 01:06:26 - Bebop 01:09:18 - Chasin' the Bird 01:12:14 - Leap Frog 01:14:42 - I Love Paris 01:19:51 - Milestones 01:22:36 - Old Folks 01:26:11 - Relaxin' with Lee 01:30:06 - Bloomdido 01:33:28 - In the Still of the Night 01:36:53 - Just One of Those Things 01:39:35 - Back Home Blues 01:42:24 - Why Do I Love You

 Charles Parker, Jr. (August 29, 1920 – March 12, 1955), famously called Bird, or Yardbird was an American jazz saxophonist and composer. Parker, with Louis Armstrong and Duke Ellington, is widely considered one of the most influential of jazz musicians. Parker acquired the nickname "Yardbird" early in his career, and the shortened form "Bird" remained Parker's sobriquet for the rest of his life, inspiring the titles of a number of Parker compositions, such as "Yardbird Suite", "Ornithology" and "Bird of Paradise." Parker played a leading role in the development of bebop, a form of jazz characterized by fast tempos, virtuoso technique, and improvisation based on harmonic structure. Parker's innovative approaches to melody, rhythm, and harmony exercised enormous influence on his contemporaries. Several of Parker's songs have become standards, including "Billie's Bounce", "Anthropology", "Ornithology", and "Confirmation". He introduced revolutionary harmonic ideas including a tonal vocabulary employing 9ths, 11ths and 13ths of chords, rapidly implied passing chords, and new variants of altered chords and chord substitutions. His tone was clean and penetrating, but sweet and plaintive on ballads. Although many Parker recordings demonstrate dazzling virtuosic technique and complex melodic lines – such as "Ko-Ko", "Kim", and "Leap Frog" – he was also one of the great blues players. His themeless blues improvisation "Parker's Mood" represents one of the most deeply affecting recordings in jazz. At various times, Parker fused jazz with other musical styles, from classical to Latin music, blazing paths followed later by others. Parker was an icon for the hipster subculture and later the Beat generation, personifying the conception of the jazz musician as an uncompromising artist and intellectual, rather than just a popular entertainer. His style – from a rhythmic, harmonic and soloing perspective – influenced countless peers on every instrumen

Monday, August 20, 2018

Robert Reich - pease go to original for more


Musk, Trump, and the Second Gilded Age


Monday, August 20, 2018
I’ve long admired Elon Musk as a technological visionary. But I worry about his sense of responsibility to the public.
Last week Musk announced on Twitter that he intended to turn Telsa, the electric-car maker he founded, into a private company. He said the funding was “secured” – a claim that sent Telsa stock skyrocketing – yet he produced no evidence that the funding was nailed down.
There are laws against corporate officials making these sorts of untethered claims, because if untrue they could hurt lots of innocent bystanders – including unwary investors and employees.
Does Musk’s behavior remind you of any other powerful person who also makes unfounded claims on Twitter that send heads spinning?
Donald Trump is no Elon Musk. Musk seems to genuinely care about the future of humanity.
But, like Trump, Musk loves to upend the status quo by breaking norms and maybe even some laws.
He also seems share Trump’s unrelenting combativeness and penchant for hitting back. A few weeks ago, after a British diver involved in the Thailand cave rescue termed Musk’s offer of a submarine a publicity stunt, Musk called him a pedophile.
Musk has little patience for the media. At a recent quarterly earnings conference he refused to answer what he termed “boring” or “bonehead” questions.
Musk and Trump aren’t the only notable people in modern America exhibiting these tendencies.
Think of Travis Kalanick, the pugnacious founder of Uber. Or Facebook’s Mark Zuckerberg.
Which raises the question: Is it necessary for true innovators to break norms and rules?
Some years ago the most fashionable buzzword in business was “disruption.” Real entrepreneurs, it was said, disrupt the status quo. They shake up conventional ways of doing things and upturn hidebound institutions.
Trump loyalists think that’s exactly what he’s doing in Washington.
But there’s a less charitable view of why these outsized personalities break the rules. They feel entitled to.
Consider Martin Shkreli, who, after buying the rights to sell Daraprim, a lifesaving drug, promptly raised the price by over 5,000 percent.
Shkreli was unapologetic. And he lashed out at journalists who criticized him, even buying Internet domains associated with their names and then mocking them on the sites.
(Last March Shkreli was sentenced to seven years in prison for criminal fraud in an unrelated scheme to bilk his former hedge fund investors.)
Add the former Hollywood mogul Harvey Weinstein. And many of the people Trump has surrounded himself with over the years.
Trump himself continues to place himself above the law.
All these men (note the absence of women) are driven. They’re often brilliant. (Trump is a gifted conman.)
They’ll also do whatever it takes to get what they want. They believe the norms other people live by don’t apply to them.
Their attitude toward the law is that anything they want to do is okay unless it’s clearly illegal. And even if it’s illegal, it’s okay if they can get away with it.
And they have contempt for anyone who gets in their way.
Researchers have found that great wealth and power often correlate with less compassion and stronger feelings of entitlement.
The very rich cheat more on their taxes, are more likely to shoplift, and more likely to cheat at games of chance.
The research doesn’t tell us the direction of causation – whether the rich act these ways because they’re rich, or if they got rich because they act these ways.
Whatever the causal relationship, the era we’re now in has created a few big winners – who, at least in their own eyes, are so successful they’re entitled to do whatever they want.
In the words of railroad magnate William H. Vanderbilt, “the public be damned.”
Vanderbilt said this in 1882, during America’s first Gilded Age – whose entrepreneurs created railroads, telephones, electric power, and steel mills, but who also bent the laws to suit their purposes.
Their wealth was unprecedented. Yet most workers barely eked out a living.
We’re now in the America’s second Gilded Age.
Last week it was reported that in 2017 the average CEO of the 350 largest firms in the U.S. received $18.9 million in compensation. That’s a 17.6 percent increase over 2016.
At the same time, the typical worker’s compensation remained flat, rising merely 0.3 percent.
The first Gilded Age fueled a progressive era that tamed and regulated its excesses, beginning in 1901.
In very different ways, Trump and Musk epitomize America’s second Gilded Age. Will their audacity and excesses usher in a second progressive era?

Thursday, August 16, 2018

Aretha has died.  Our "Queen of Soul" has left us.  I am beyond sad.  I mourn our loss.  She was one of the voices of freedom, of The Sixties. 

I WANT MY COUNTRY BACK!!!  I WANT THE USA OF FORWARD MOVEMENT BACK!!  REAL PROGRESSIVE VALUES, KINDNESS, EMPATHY, RESPECT FOR WORKING PEOPLE BACK AGAIN.  WE HAVE GONE ASTRAY.  WHERE IS THE USA/AMERICA I HAVE ALWAYS LOVED AND RESPECTED?  WHERE HAS IT GONE?

Aretha Franklin - Respect [1967] (Original Version)


Aretha Franklin - Rocksteady


Aretha Now - Aretha Franklin [Full Album 1968]


Aretha Franklin - Chain of Fools


Aretha Franklin's Performance of "Amazing Grace" That Made Oprah Cry


Duane Allman & Aretha Franklin The Weight


Aretha Franklin - Think (The Blues Brothers 1980)


Wednesday, August 15, 2018

Republicans Undermine Affordable Care Act - Robert Reich - Wednesday, August 15, 2018

 http://robertreich.org/

 

HOLD THEM ACCOUNTABLE FOR UNDERMINING THE AFFORDABLE CARE ACT

Trump and Republicans in Congress haven’t been able to officially kill the Affordable Care Act. But they’re quietly using 5 strategies to destroy it. Know what they’re doing so you can hold them accountable on Election Day.
1. They’ve repealed the requirement that all Americans sign up for health insurance. Republicans slipped this repeal into their tax cut for the wealthy and corporations.
But that requirement had meant enough healthy people were enrolled to cover the sick. Without it, 4 million Americans will lose coverage by 2019 and premiums will increase by 10 percent, according to the Congressional Budget Office.
2. They’ve cut subsidies that help an estimated 6 million low-income Americans afford coverage through private insurers. Trump wants you to believe these cuts will save money. Baloney. Ending the subsidies is expected to drive up premiums, thereby increasing costs for taxpayers.
3. They want to flood the insurance market with junk plans. They’ve made it easier for small businesses and individuals to buy alternative types of health insurance with fewer benefits and weaker protections. This will leave sicker people and those with pre-existing conditions out in the cold.
4. They’ve made it harder for people to sign up for coverage – shortening the enrollment period, scaling back outreach efforts, increasing the amount of paperwork. It’s even been reported that the Trump administration redirected funds from a marketing campaign designed to promote enrollment to a campaign criticizing the law.
5. They’ve stopped defending key provisions of the law in court. The Justice Department has stopped defending the Affordable Care Act’s protections for Americans with preexisting conditions in a case brought by Republican attorneys general.
Remember, the Affordable Care Act was enacted in 2010 in order to make health insurance available to people regardless of their income or their health condition.  It wasn’t perfect and was just one step toward a real solution like Medicare for All, but it was a historic piece of legislation.
Now, Trump is taking a wrecking ball to it. He promised during his campaign he’d repeal and replace it with something “far better,” but he’s not replacing it with anything. He’s just destroying it, step by step.
Don’t let Trump and his enablers hide what they are doing. When millions – including huge numbers of Trump supporters – lose the health coverage they had or their premiums go up, make sure Trump and the Republicans are held accountable.

Friday, July 13, 2018

Mood Indigo Regina Carter



Mood Indigo Regina Carter 2002 In a Ellington composition and it features young violinist Regina Carter is featured.Carter, born in 1966 began as a classical violinist, but became interested in jazz , and is considered one of the finest violinists in the genre. Here at a festval in Bern, Switzerland she is backed up by Fesse Davis on alto sax and Evan Christopher on clarinet. In the rhythm group we have George Wein on piano Rodney Jones on guitar, James King on bass and Alvin Queen on drums.

" Autumn Leaves " Chet Baker - Paul Desmond




 Chet Baker (trumpet), Paul Desmond (alto sax), Hubert Laws (flute), Bob James (keyboard), Ron Carter (contrabass) and Steve Gadd (drums)

Chick Webb - STOMPIN' AT THE SAVOY



" STOMPIN' AT THE SAVOY " Chick Webb's Savoy Orchestra Mario Bauza, Reunauld Jones, Taft Jordan (trumpet) Sandy Williams (trombone) Pete Clark, Edgar Sampson (alto sax , clarinet) Elmer Williams (tenor sax) Joe Steele (piano) John Trueheart (banjo,guitar) John Kirby (bass) Chick Webb (drums, leader) Edgar Sampson (arr) recorded in May 18, 1934 Columbia 2926D mx.W152740=2

Friday, April 27, 2018

Jazz At The Philharmonic - Philharmonic Auditorium, Los Angeles, July 2, 1944



1.) - 4.) J. J. Johnson (tb); Illinois Jacquet, Jack McVea (ts); Nat "King" Cole (p); Les Paul (g); Johnny Miller (b); Lee Young (d) 5.) - 8.) Meade "Lux" Lewis (unaccompanied p) 9.) Shorty Sherock (tp); Bump Myers, Joe Thomas (ts); Buddy Cole (p); Red Callender (b); Joe Marshall (d) 10.) Nat "King" Cole (p, voc); with Les Paul (g); Johnny Miller (b); and Lee Young (d) 11.) - 12.) Shorty Sherock (tp); Illinois jacquet, Jack McVea (ts); Nat "King" Cole (p); Les Paul (g); Red Callender, Johnny Miller (b); Lee Young (d); Carolyn Richards (voc on track 11) 13.) Shorty Sherock (tp); Illinois Jacquet, Jack McVea (ts); Nat "King" Cole (p); Les Paul (g); Red Callender, Johnny Miller (b); Lee Young (d) Recorded July 2, 1944 at the "Philharmonic Auditorium", Los Angeles. Producer – Norman Granz Note: This is the very first Jazz at the Philharmonic Concert! 1.) Lester Leaps In 0:00 2.) Tea for Two 9:08 3.) Blues 21:46 4.) Body and Soul 32:20 5.) Yancey Special 42:56 6.) Fast Boogie 46:05 7.) Dupree Blues 47:57 8.) Honky Tonk Train Blues 51:22 9.) C Jam Blues 53:58 10.) Sweet Lorraine 1:00:51 11.) The Man I Love 1:04:08 12.) I've Found a New Baby 1:07:02 13.) Rosetta 1:16:35

Tuesday, April 24, 2018

It don't mean a thing - Ella & JATP 1958



Jazz at the Philharmonic in Holland. Of course, jazz musicians were always welcomed and when the top musicians with Norman Granz's JATP wanted to come to the Netherlands the famous Amsterdam concertgebouw was offered for their concerts. This clip is from a 1958 concert. We see and hear the Oscar Peterson trio with Ray Brown on bass and Herb Ellis on guitar. They perform together with Ella Fitzgerald, with solos of violinist Stuff Smith and trumpetplayer Roy Eldridge

1944 HITS ARCHIVE: Cow-Cow Boogie - Ink Spots & Ella Fitzgerald (#1 R&B hit)


1944 HITS ARCHIVE: I'll Be Seeing You - Bing Crosby (#1 hit)


Saturday, April 14, 2018

Chick Webb - STOMPIN' AT THE SAVOY



Chick Webb's Savoy Orchestra Mario Bauza, Reunauld Jones, Taft Jordan (trumpet) Sandy Williams (trombone) Pete Clark, Edgar Sampson (alto sax , clarinet) Elmer Williams (tenor sax) Joe Steele (piano) John Trueheart (banjo,guitar) John Kirby (bass) Chick Webb (drums, leader)

Monday, April 9, 2018

Cecil has died.  I remember well when I first heard him   ---   he must have been "woodsheding" (working out his sounds, practising, etc) in a little Greenwich Village coffeeshop named The Cafe Raffio.  At first it was somewhat annoying  --  then I just let his sounds wash over me.  Something I remember to this day.  I was with Jon Oliver Gaines, a good friend, and a fine folksinger.  Antway, Cecil was a true pioneer, a fine pianio player, another Jazz Giant we have lost.  I really am old when those in the avant-garde pass away before me.  Where to now?




"Air" - 00:00 "This Nearly Was Mine" - 08:45 "Port Of Call" - 19:40 "E.B." - 24:05 "Lazy Afternoon" - 34:04 Personnel :- Cecil Taylor: piano Buell Neidlinger: bass Denis Charles: drums Archie Shepp: tenor saxophone