ALice Coltrane Ascension Ceremony

To Be Held In NYC at St. John The Divine,
on Ascension Day, May 17 at 7:30pm
The Coltrane Family Invites You To Join Them in Celebration of the Life of Alice Coltrane Among those paying tribute include Geri Allen, Rashied Ali, Ravi Coltrane, Jack DeJohnette, Charlie Haden, Roy Haynes, Reggie Workman.
With the passing of Alice Coltrane on January 12, 2007 at the age of  69, the world lost one of the true musical innovators of the past century. As an early pioneer of electronic keyboards, extended composition, jazz harp, spirituality, African and Eastern form and sound in her music, Alice Coltrane's imprint remains one of the most unique and radiant musical voices in the jazz world. Alice Coltrane's music and teachings embody an unshakable spiritual commitment that reflects her true love and devotion for God. This spiritual journey led her to found and teach at The Vedantic Center's Sai Anatam Ashram in Agoura Hills, California.
She returned to recording after a 27-year hiatus with the beautiful CD "Translinear Light" in 2004, and recently completed work on her soon-to-be-released, "Sacred Language of Ascension". On Ascension Day, May 17, 2007 the jazz community pays homage to Alice's legacy with a remembrance ceremony at the beautiful and historic St. John The Divine 1047 Amsterdam Ave. at 112th St. in New York City.  The memorial will be open to the public and begin at 7:30pm. "Celebrating my mother's beautiful life with an evening devoted to her music, performed by the musicians that appeared on the original recordings, in this sacred space seems like the most fitting tribute we, her family, could offer," noted Alice's son, Ravi. Among those paying tribute include: Geri Allen, Rashied Ali, Ravi Coltrane, Jack DeJohnette, Charlie Haden, Roy Haynes, and Reggie Workman--many of whom have collaborated with Mrs. Coltrane over the years. As mother, grandmother, musician, composer and spiritual leader  Swamini Alice Coltrane Turiyasangitananda lives on in the hearts of all those whose lives  she touched and continues to touch.

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Miles Davis studio recordings 1965-1969

Jarno Kukkonen has written an article "Elements of Early Rock-Jazz Fusion
on Miles Davis's Studio Recordings 1965-1969," which is based on his PhD
thesis. He explores Miles's electric music, and at the end, includes
breakdowns of the various elements (whether the piece includes melody in
the bass, pedal point, post production edits, odd or changing meter etc)
within Miles's various works, plus some notational examples. It's in the form of a Pdf file and it's available at: http://www.siba.fi/attach/alusta_0104.pdf

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Panassié Break

Since i'm not at home for the coming two weeks and Panassié's book has to be rendered at the local library there will be a break concerning the citation from Panassié's Dictionnary of Jazz. I will try to post some things the coming days before we leave.

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Since Panassié doesn't mention Clifford Brown nor Chet Baker (his book was published in 1954) we're only left with his entry on bop and be-bop. That will be something for later on this week. I'll give you already some starter with his entry on "Bopper" :


"Musicien qui joue du be-bop, par opposition au "jazzman" ou au "swingman" qui joue du jazz et qui swingue."


One who plays be-bop is opposed to a jazz musician or swing musician who plays jazz! That's quite clear no? And it prepares you what to attend of his entry on Be-Bop. Watch out for something heavier than "Katrina".

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Art Blakey

Panassié describes Art Blakey as follows :


"Batteur né à Pittsburgh, Penn., le 11.10.1919. Joua dans l'orchestre de Billy Eckstine de 1944 à 1947, dans celui de Lucky Millinder et divers groupements. Doué d'un grand swing, Art Blakey s'est souvent fourvoyé avec des musiciens be bop et il n'existe pas de disques ou l 'on puisse se rendre compte de sa valeur comme jazzman."


Well whatta you want : Art Blakey is a good musician but he plays be-bop which is of course a mistake, Blakey just didn't realise it, Panassié did it for him. Hopefully he did'nt listen to all those great Jazz Messengers albums ;-)

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Gene Ammons

Normally i would give the complete entry for a certain musician in Panassié's dictionnary. But in the case of Gene Ammons only a short excerpt is sufficient.


"...On a parfois classé Gene Ammons parmi les musiciens be-bop mais c'est à peine s'il a emprunté quelques tournures mélodiques à Charlie Parker; c 'est un vrai swingman...."


What could be feared is indeed the truth : nothing is worse than being described as a bopper. So lucky for Gene Ammons that Panassié knows what 's best for Ammons, he knows it even better that Ammons himself...


Gene Ammons probably took over some melodic lines from Parker but hell no he stayed always a swingman! Just taking a look at the musicians he played with is proof enough that Ammons wasn't a swingman although he did swing of course.

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Svend Asmussen

"Viloniste danois né à Copenhague le 28 février 1916. Influencé par Stuff Smith, est un des musiciens de jazz européens les plus réputés."


Here Panassié doesn't mention he's white. In the 50's when you're from Europe you had to be white and at the time othe book was published he should have been one of the most reputated jazz musicians. Is this because of the influence of Stuff Smith or did Panassié indeed evaluate him on his own merits. If so why doesn't he mention any records Asmussen recorded or musicians he played with?

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