Jazz & Poetry

East Ninth Street Drift was Connie Crothers great blues line of the 1990s when she lived on East Ninth just east of 4th Avenue (between 3rd and 4th Avenues in the neighborhood she called Astor Place, right around the corner from Cooper Union) -- photo November 16, 2o16 by Mark Weber -- I've always thought of the title of that blues as descriptive of the foot traffic on that street, the manner in which it lopes along -- I wonder if she lived there when she recorded the album CONCERT AT COOPER UNION, January 1984? She could have just walked a block down 4th Avenue to her gig (this is East Ninth at 1st Avenue in the photo)

East Ninth Street Drift was Connie Crothers great blues line of the 1990s when she lived on East Ninth just east of 4th Avenue (between 3rd and 4th Avenues in the neighborhood she called Astor Place, right around the corner from Cooper Union) — photo November 16, 2o16 by Mark Weber — I’ve always thought of the title of that blues as descriptive of the foot traffic on that street, the manner in which it lopes along — I wonder if she lived there when she recorded the album CONCERT AT COOPER UNION, January 1984? She could have just walked a block down 4th Avenue to her gig (this is East Ninth at 1st Avenue in the photo)

The Thursday Jazz Radio Show

December 1, 2o16 Jazz @ Noon every Thursday (starts at 12:07 after the satellite news) Host MARK WEBER KUNM Albuquerque, USA 89.9 FM (Mountain Standard Time) also streaming on the web KUNM.org Current time zone offset: UTC*/GMT -6 hours (*Coordinated Universal Time)/Greenwich Mean Time)

Jazz & Poetry

Poetry is an impulse — I’m pretty sure it’s something you’re born with, for me it’s this perspective that has always been there, and one day the outlet of writing this thing called a poem was introduced to me, in school —- You could say a poem is a recognition of a moment of heighten’d awareness —- Ron Androla likes to say that it’s a reflection of the world, like light reflecting off surfaces: words —- I think that’s a superior explanation — My own current explanation is that you are dealing with a delicate balance between “thinking” with the ancient intuitional prelinguistic mind while toying with words which are problematic in that they are part of the machinery that made homo sapians self-conscious, good or bad —

Even with all that, as curious as it sounds, the thing that poetry aspires to, seems more often gotten to with music.

Eddie Chamblee Quartet regular Sunday afternoon gig at Sweet Basil, Greenwich Village NYC -- March 7, 1987 -- photo by Mark Weber -- that's Walter Lee on oboe sitting in (I don't know this musician, an internet search reveals he might be Walter Fulford Lee who took a masters in oboe at Peabody Conservatory, 1978, Baltimore) -- Eddie Chamblee's Quartet this day included: Jimmy Lewis(bass), Kali Madi(drums), Ernest Hayes(piano) ---- Chamblee was in possession of that big tenor sound from Chicago, where the first half of his career was in full swing, making hit R&B records with Sonny Thompson starting in 1947, as well as sessions with T Bone Walker, Lowell Fulson, Memphis Slim, Jimmy Witherspoon, Big Joe Turner, joining Lionel Hampton 1955-1956, then working with Dinah Washington 1958-1959 (was married to her during this time), then in 1960 relocating permanently to NYC -- He was a pure jazzman who was not averse to smoking up a little gutbucket booting, honking, & woofing R&B tenor saxophone for whatever ails you -- the 1980s he was with the Harlem Blues & Jazz Band -- among others, like Count Basie . . . . . Eddie Chamblee (1920-1999)

Eddie Chamblee Quartet regular Sunday afternoon gig at Sweet Basil, Greenwich Village NYC — March 7, 1987 — photo by Mark Weber — that’s Walter Lee on oboe sitting in (I don’t know this musician, an internet search reveals he might be Walter Fulford Lee who took a masters in oboe at Peabody Conservatory, 1978, Baltimore) — Eddie Chamblee’s Quartet this day included: Jimmy Lewis(bass), Kali Madi(drums), Ernest Hayes(piano) —- Chamblee was in possession of that big tenor sound from Chicago, where the first half of his career was in full swing, making hit R&B records with Sonny Thompson starting in 1947, as well as sessions with T Bone Walker, Lowell Fulson, Memphis Slim, Jimmy Witherspoon, Big Joe Turner, joining Lionel Hampton 1955-1956, then working with Dinah Washington 1958-1959 (was married to her during this time), then in 1960 relocating permanently to NYC — He was a pure jazzman who was not averse to smoking up a little gutbucket booting, honking, & woofing R&B tenor saxophone for whatever ails you — the 1980s he was with the Harlem Blues & Jazz Band — among others, like Count Basie . . . . . Eddie Chamblee (1920-1999)

The New Mexico bop band known as Straight Up under the direction of drummer John Trentacosta -- L to R: Michael Morreale(trumpet), Bob Fox(piano), JT, David Parlato(bass), Arlen Asher(woodwinds) -- April 17, 2000 -- photo by Mark Weber -- John grew up in Staten Island and moved to Santa Fe in 1992 and regularly brings his friend from back home Michael Morreale out for some of that New York sound

The New Mexico bop band known as Straight Up under the direction of drummer John Trentacosta — L to R: Michael Morreale(trumpet), Bob Fox(piano), JT, David Parlato(bass), Arlen Asher(woodwinds) — April 17, 2000 — photo by Mark Weber — John grew up in Staten Island and moved to Santa Fe in 1992 and regularly brings his friend from back home Michael Morreale out for some of that New York sound

One of America's great poets: Ron Androla at home in Erie, PA, with son Doug -- January 24, 1989 -- We were en route back to Cleveland from Buffalo where Janet had some medico thing to attend and we stopped in to say Hi and have dinner (spaghetti) -- photo by Mark Weber

One of America’s great poets: Ron Androla at home in Erie, PA, with son Doug — January 24, 1989 — We were en route back to Cleveland from Buffalo where Janet had some medico thing to attend and we stopped in to say Hi and have dinner (spaghetti) — photo by Mark Weber

This painting hangs in Sheila Jordan's dining area of her apartment in Chelsea, NYC -- It dates from early 60s and depicts Sheila w/ Duke Jordan and Miles ---- the painting is by her friend Virginia Cox who was a friend in Detroit and came to NYC at the same time (1952) see Shiela's bio page 25 -- (Sheila spent her formative bebop years in Detroit and first met Bird there) -- photo by Mark Weber -- November 18, 2o16

This painting hangs in Sheila Jordan’s dining area of her apartment in Chelsea, NYC — It dates from early 60s and depicts Sheila w/ Duke Jordan and Miles —- the painting is by her friend Virginia Cox who was a friend in Detroit and came to NYC at the same time (1952) see Shiela’s bio page 25 — (Sheila spent her formative bebop years in Detroit and first met Bird there) — photo by Mark Weber — November 18, 2o16

Sheila Jordan at her desk in Chelsea on 18th Street near 8th Avenue on her birthday November 18, 2o16 -- I was there to take her to brunch (she had tomato soup and a grilled cheese & tomato sandwich and decaf) at our favorite spot, The Dish around the corner from her place -- photo by Mark Weber -- She was making hair appointments and talking with her agent and I asked "Sheila, can I photo you at your desk?" And she wonderfully said: "Oh yeh!" she is the pure messenger of what jazz is and spontaneous all at the same time -- I said, "I'm beginning to be a pest with this new digital camera, it's so easy," and she said "Well, there's lot's to take pictures of!" There sure is.

Sheila Jordan at her desk in Chelsea on 18th Street near 8th Avenue on her birthday November 18, 2o16 — I was there to take her to brunch (she had tomato soup and a grilled cheese & tomato sandwich and decaf) at our favorite spot, The Dish around the corner from her place — photo by Mark Weber — She was making hair appointments and talking with her agent and I asked “Sheila, can I photo you at your desk?” And she wonderfully said: “Oh yeh!” she is the pure messenger of what jazz is and spontaneous all at the same time — I said, “I’m beginning to be a pest with this new digital camera, it’s so easy,” and she said “Well, there’s lot’s to take pictures of!” There sure is.

Herbie Mann & Sona Terra -- May 15, 2000 -- This was opening night for the new & present location of Outpost Performance Space, Albuquerque -- Gil Goldstein(accordion), Geoff Mann(drums), Paul Socolow(bass), Herbie(flute), Not shown: Alexander Fedoriouk(cimbalom), Bruce Dunlap(guitar)-- photo by Mark Weber

Herbie Mann & Sona Terra — May 15, 2000 — This was opening night for the new & present location of Outpost Performance Space, Albuquerque — Gil Goldstein (accordion), Geoff Mann (drums), Paul Socolow (bass), Herbie (flute), Not shown: Alexander Fedoriouk (cimbalom), Bruce Dunlap (guitar)– photo by Mark Weber

From the opening notes of Charley Krachy's solo tenor lament into "How Deep is the Ocean" to Patricia Nicholson Parker twirling w/ a string trio somewhere in the middle, to Cheryl Richards' last plaintive notes five hours later with "A Sailboat in the Moonlight" the memorial concert for Connie Crothers was as one whole song together celebrating the Real, which was Connie. But even as she has left these shores, she planted a big seed. In this photo by Scott Friedlander I'm sitting with a few of her champions before the show at Roulette, Brooklyn, each of these guys are off the map great musicians, certainly artists, futurists: Nick Lyons, Lorenzo Sanguedolce, Adam Caine, MW. For 147 more photos from the Love & Music concert shot by master photographer Scott Friedlander, go here: https://flic.kr/s/aHskNK3AYY

Nick Lyons, Lorenzo Sanguedolce, Adam Caine, and Mark Weber: (Love & Music: A Celebration of Connie Crothers) 11-13-16 Roulette. From the opening notes of Charley Krachy’s solo tenor lament into “How Deep is the Ocean” to Patricia Nicholson Parker twirling w/ a string trio somewhere in the middle, to Cheryl Richards’ last plaintive notes five hours later with “A Sailboat in the Moonlight” the memorial concert for Connie Crothers was as one whole song together celebrating the Real, which was Connie. But even as she has left these shores, she planted a big seed. In this photo by Scott Friedlander I’m sitting with a few of her champions before the show at Roulette, Brooklyn, each of these guys are off the map great musicians, certainly artists, futurists: Nick Lyons, Lorenzo Sanguedolce, Adam Caine, MW. For 147 more photos from the Love & Music concert shot by master photographer Scott Friedlander, go here: https://flic.kr/s/aHskNK3AYY

The Lighthouse in Hermosa Beach, California, still cooking -- Lanny Morgan Sextet on a Sunday: Lanny (alto), Chris Connor(b---subbing for Chuck Berghofer ), Tom Ranier(p), Steve Schaeffer(d), Bob Summers(trpt), Doug Webb(tenor) -- June 25, 2o11 -- photo by Mark Weber -- We caught up with Chris Connor recently at our Outpost here in Albuquerque on the Joshua Breakstone Cello Quartet (10nov2o16) -- Lanny's sextet is fleet and incisive and straight to the heart of bop, we play a lot of Lanny on the Thursday jazz show

The Lighthouse in Hermosa Beach, California, still cooking — Lanny Morgan Sextet on a Sunday: Lanny (alto), Chris Connor(b—subbing for Chuck Berghofer ), Tom Ranier(p), Steve Schaeffer(d), Bob Summers(trpt), Doug Webb(tenor) — June 25, 2o11 — photo by Mark Weber — We caught up with Chris Connor recently at our Outpost here in Albuquerque on the Joshua Breakstone Cello Quartet (10nov2o16) — Lanny’s sextet is fleet and incisive and straight to the heart of bop, we play a lot of Lanny on the Thursday jazz show

Max Roach -- January 8, 1977 -- photo by Mark Weber

Max Roach — January 8, 1977 — photo by Mark Weber

Art Pepper & Warne Marsh at Donte's -- January 26, 1977 in quintet formation with Monty Budwig, Nick Ceroli, Lou Levy -- photo by Mark Weber ---------- Laurie has just now released a Donte's meeting of Warne & Art in 1974, something she found in Jack Goodwin's collection I would guess, I can't wait to hear it . . . . It's Volume 9 of Unreleased Art (Widow's Choice)

Art Pepper & Warne Marsh at Donte’s — January 26, 1977 in quintet formation with Monty Budwig, Nick Ceroli, Lou Levy — photo by Mark Weber ———- Laurie has just now released a Donte’s meeting of Warne & Art in 1974, something she found in Jack Goodwin’s collection I would guess, I can’t wait to hear it . . . . It’s Volume 9 of Unreleased Art (Widow’s Choice)

Looking south down Amsterdam Avenue to Empire State Building and the new World Trade Center -- Wednesday 11:23am on November 16, 2o16 -- photo by Mark Weber out for a stroll in Harlem

Looking south down Amsterdam Avenue to Empire State Building and the new World Trade Center — Wednesday 11:23am on November 16, 2o16 — photo by Mark Weber out for a stroll in Harlem

4 Comments

  1. 3 POEMS by RON ANDROLA

    The Acid Crisps Yr Eyes
    ————————————————–

    You see, my poem is made of
    lake glass & water gravity glue

    smooth, subconscious sand plank to the moon
    where I overhand dead

    birds full of ice, stones, rice, &
    cheap ignition at amber

    waves of armed
    government forces

    lob purple agonizing
    wax bombs upon

    thy gorgeous chest flesh
    Ginsberg, Allen full of alert without shirt

    you see, Amerika
    sucks my poem with

    fury on its stainless stell
    lips so I am a participant.

    Scrubbing Amerika
    the Beautiful from my

    horse-scented
    hands with lavender stalks

    churning from sea
    to sea, held up in lavish defeat,

    completes, corrects being a poet
    living in the 21st century. As a

    poet I always
    eat first. Kiss me, hard.

    ————from CONFLUENCE (2o15)

    Charlie Parker & the Bush Administration
    ————————————————————————————-
    charlie parker is blowing sweet
    beauty thru our minds our eyebrows
    round & touch into moons of short hair
    2 more eyes tumors rip thru sky flesh centers
    pieces of our bodies begin popping
    tumors where eyes roll up into seeing
    knuckles bleed 10 eyeballs on hands
    adam’s-apple eyeball red & evil
    has a little mouth in the pupil
    voices of all hated resurrected people
    eyeballs of my sparse-hair balls
    eyeballs flop dangling from my ears
    i’m pissing eyeballs
    we point to charlie parker
    it’s his fault
    we tell our enemies
    charlie parker is blowing sweet
    honest soul into air
    we’re infected
    we scream
    government officials
    arrive in gas-masks
    carrying flame-throwers
    scowl behind fire-mirror plexiglass
    but bird is in high hiding
    bird is as indestructible as
    amerika
    if he isn’t found
    he can’t be murdered
    or mutated
    into something congress
    has the power to
    authorize
    i see george bush
    grinning as the black
    doors of a time-machine
    close
    in an inhale
    it’s 1950 again
    george has a.357
    he’s materialized
    directly behind
    charlie parker on a small
    stage
    george blasts charlie’s
    guts out
    quickly returns
    in his time-machine
    to give a televised talk
    to the people of this land
    about the war in iraq

    —————–from PoemHunter.com

    labor day 2002
    ———————————————————
    coffee.
    strong expensive fresh-brewed coffee

    to flatten the jumble
    of memory blocks bulging from my

    neil young-like forehead.
    mania sparkles in my eyes like

    diamond dust,
    like stardust & xanax

    well into morning,
    nearing the center of noon.

    we are venturing outwards.
    an o-ring washer for the faucet

    is needed for the kitchen
    sink. ann has audio books

    to return to the branch library.
    we need only drive down the hill

    & make a right on 38th
    to the hardware store.

    then further down 38th to liberty
    avenue & the liberty plaza branch

    of the erie library
    with a drop-off slot.

    plus we are sheepishly
    admitting we need beer,

    it’s labor day,
    after all, a day

    NOT to
    labor. i haven’t

    shaved all
    weekend —

    the kitchen corner
    is full of dozens

    & dozens & dozens
    of empty beer bottles.

    we are going
    out for more beer.

    i’m off
    tonight.

    ann is off
    today.

    we
    labor.

    oh how
    heavy

    we
    chug

    chug
    chug.

    ——-from SORROW IN THE WORLD

  2. Hi Mark……I think Connie lived at 9th street en the early 90’s……had many lessons there…..charley

  3. ——————————-playlist——————————-
    the jazz casserole radio show
    December 1, 2o16
    KUNM Albuquerque
    Host MARK WEBER

    1. Horace Tapscott solo piano “Fleurette Africaine”(Duke Ellington) –1983 — cd Vol. 9 THE TAPSCOTT SESSIONS (Nimbus West Records)
    2. Yusef Lateef Quartet “Love Theme from Spartacus” –5sept61 cd EASTERN SOUNDS (Prestige)
    3. Forrest Westbrook Trio “I’m Getting Sentimental Over You” –1958 — cd THE REMARKABLE FORREST WESTBROOK (Fresh Sound)
    4. Eddie Chamblee Septet “And the Angels Sing” –1957– cd CHAMBLEE SPECIAL (Fresh Sound)
    5. Matt Wilson’s Big Happy Family “Lester” featuring Terell Stafford(trumpet) & Kirk Knuffke (cornet)
    summer 2o15 cd BEGINNING OF A MEMORY
    6. Lester Bowie “Hello Dolly” in duet with John Hicks –1974 Lp FAST LAST (Muse)
    7. Max Roach M’Boom “January V”(MR) –1979 — M’BOOM (Col.) w/ Warren Smith on marimba of whom we will be having as a telephone guest soon
    8. Nick Lyons (alto) & Carol Liebowitz (piano) “The Very Thing” –20may2o12—cd FIRST SET (Line Art Records) *Nick’s cousin Antonio Maggiore listening in Los Alamos called when he heard Nick on the radio!
    (Antonio is on the Country Council for District 43) small world sometimes . . .
    9. John Coltrane “Kulu Se Mama” (Juno Lewis) -14oct65 in Los Angeles —-by request: Tom Albach asked
    if I had ever played this track before, and I said pretty sure I havent (Tom is the guy who produces Nimbus
    West Records) —— I dedicated this 19 minute track “This is for Donald Trump as a sort of cleansing ceremony” — maybe a better word would have been a purification ceremony — I speak spontaneously on the radio show, altho, I do think a little before hand what I’m going to say . . . .

    *I was telling our Membership Coordinator/KUNM Cris Nichols (and mother of bassist Matt Brewer) that this show is looking to be a giant hodge podge having not found a thread and will just have to see how it goes — I never pre-plan my sequence before hand — I only pick the first tune and maybe the second tune before I get to the station in the morning — but, after that I have selected twice as much material as needed for the 83-minute show and piece it together as seems best . . . . . something old, something blue, something new — it was Cris who suggested calling it the jazz casserole . . . . . .

  4. androla! haven’t read him in years! great pic of him and his son… again, your jazz post fine and fabulous, filled with upbeat music makers and soul shakers…love their faces, happy and jazzy and glad to see ya…

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