terça-feira, janeiro 31, 2006

Charlie Parker
(1920-55)
American jazz saxophonist, composer, and bandleader



Bop is no love-child of jazz.
Charlie Parker



I'd been getting bored with the stereotyped changes (harmonies) that were being used all the time. ... I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes I could play the thing I'd been hearing. I came alive.
- Charlie Parker on his personal stylistic breakthrough, quoted in: Nat Hentoff and Nat Shapiro, ed., Hear Me Talkin' to Ya (1955)


Don't play the saxophone. Let it play you.
Charlie Parker

If you don't live it, it won't come out your horn.
Charlie Parker

Music is your own experience, your own thoughts, your wisdom. If you don't live it, it won't come out of your horn. They teach you there's a boundary line to music. But, man, there's no boundary line to art.
Charlie Parker

segunda-feira, janeiro 30, 2006

Ruth Etting
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Ruth Etting
1897-1978
Jazz Age Sweetheart

Para quem não tiver paciência pra ler a história que se segue existe um filme "Love Me or Leave Me", com a Doris Day e o Jimmy Cagney.


The final embellishment of a song, is that which is combined with the singer's art of cycling the words through their own heart to the audience they are singing to. The audience tunes in to the song, entertained by the notions expressed. In the Jazz Age, many of these songs were notions of love relationships finding a bewildering sea of different highs and lows. These became known as 'torch' songs, a better label for what really means a sad song. The irony of sadness to all this is that Ruth Etting probably sang from a true heart, with true traumas.

A girl from Nebraska, what a lovely thought! She leaves the farm state to hit the big time in Chicago! As melodramatic as it sounds, she moved to Chicago at the age of 17 to get a job doing costumes for the shows. Well, pretty faces don't just sit around sewing in Chicago! She was indeed a beauty, and getting good-looking girls trained in the chorus line is what those managers were paid for. The place is the Marigold Gardens,Chicago.

Ruth began regular singing at the club after trying out for a fill in. It was here that she, the 1920s, and Moe "the Gimp" Snyder entered her life.

When you talk about Chicago in the 1920s, you are talking about tough bargains, bottlegged liquor, hot jazz, and the whole bit. Such is Chicago's Jazz Age flavor, that many a celluloid tree has been cut to provide Chicago's noisy side of the story. Businessman Moe Snyder had connections with this underworld element.

Moe Snyder married Ruth in 1922 and managed her to fame. The fact that Moe Snyder had the power and influence to make anyone famous, undercuts the talent of Ruth Etting. I believe it were not only possible, but probable for Ruth Etting to be famous with or without Snyder in control of her career. Although Snyder attracts a fine contract for Ruth at Columbia records in 1925, it is only this exposure to Ziegfeld that gets her in the Follies of 1927. Therefore, a little longer perhaps, but Ruth Etting would have reached the top with any good agent.

During her time with Columbia and others, she amassed over 60 hit recordings. Amongst her best in the Jazz Age are "Button Up Your Overcoat" and "Mean to Me". In the depression, "Ten Cents A Dance" is a classic song of a young girl making a desperate living. These recordings and radio appearances, as well as stage performances, cleared the way for a film career. She plays in MGMs "Roman Scandals" (1933) with Eddie Cantor, the Jazz Age's "matter-of-fact" comedic singer. However, making films appears not to be the medium Ruth Etting actively pursued in her career.

Ruth maintained prominence in show business throughout the 1930s, but her private life was suffering at the hands of a jealous husband. There is no doubt Snyder was a man prone to violence. I'm sure the typical thinking of Moe Snyder was, "...you was nothing until I came along...", so keeping his wife became an obsession. The struggle for her divorce finally came in 1937. She had met pianist Mryl Alderman and planned to marry him.

A jealous Moe Snyder tried to stop the relationship by shooting Alderman in cold blood. Fortunately for Ruth Etting, the man she truly loved survived the attack and were both married. Moe Snyder was convicted of attempted murder. If all this sounds like there should be a movie about it, well there was. "Love Me Or Leave Me"(1955) with Doris Day and James Cagney.

Ruth's career was waning though. Her style of singing was typically ridiculed in the war years with the comic acts using water soaked hankerchiefs in a display of parody.

There is a report that Ruth Etting destroyed all of her old music during her new marriage and attempt at comeback in the 1940s. She refused to even listen to her old songs for many years.

She took a song and sang it with feeling. She told the audiences what was going on with the words she sang and the way she sang them. We've felt those things too. She was known as the 'Sweetheart of Chicago', 'Sweetheart of Columbia records', 'America's Radio Sweetheart', so she certainly earns 'Jazz Age Sweetheart'.

Provocacoes londres-amesterdao:

calvin
(click on the image to enlarge)

sábado, janeiro 28, 2006

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Brian Jones


Stoned
2005-UK-Docudrama/Biography [feature]/Showbiz Drama


PLOT DESCRIPTION

The final days of one of the truly legendary figures of British rock & roll are explored in this biographical drama, which marks the directorial debut of veteran producer Stephen Woolley. Brian Jones (played by Lee Gregory) was one of the founding members of the Rolling Stones, and his incisive blues guitar style, broad range of musical influences, and striking blond good looks helped establish him as part of the true royalty of the British music scene. But by 1969, Jones' life had begun to spiral out of control; his appetite for drugs made him wildly unreliable, his arrests for possession of marijuana prevented the Stones from touring the United States, his bandmates Mick Jagger (Luke de Woolfson) and Keith Richards (Ben Whishaw) had grown tired of working with him (and envious of the attention he received in the press), and his longtime paramour Anita Pallenberg (Monet Mazur) had become involved with fellow Stone Richards. Worried about Jones' drug abuse, the band's tour manager, Tom Keylock (David Morrissey), hires middle-aged carpenter Frank Thorogood (Paddy Considine) to do some repairs at Jones' estate, but also asks him to look after the musician and try to keep him away from dope. Keylock underestimates the power of Brian's personality, and before long, the straight-arrow Thorogood is Jones' household manservant and partner in hedonism, through Thorogood begins to chafe at the emotional games Jones enjoys playing with his new companion. Stoned was adapted in part from three different books on Brian Jones and the Rolling Stones as well as recently uncovered interviews with people who claim to have been involved in Brian Jones' death.


Trailer
Click on the Link



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Enquanto o momento de jogar a bela Elena aos dados não chega e, seu marido repousa, esta sobe o vestido e mostra a púbis a João de Deus que se afasta tapando a visão e exclamando:

- "A sarça em fogo, a sarça em fogo!!!"

A alusão biblíca...

sexta-feira, janeiro 27, 2006

250 Aniversário

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Mozart

quarta-feira, janeiro 25, 2006

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Greg Brown


"Sadness"

Sadness come to my house with a stinking bouquet,
smiled with her thin gray lips and said,
"Honey, I'm home to stay."

[chorus:]
And I said,
"Go away and leave me alone.
Go away and leave me."

She handed me rotgut whiskey
and a lit cigarette,
danced all around my room and said,
"Are we having fun yet?"

[repeat chorus]

She took off her party dress
and her tear stained brassiere,
came so close I could smell her
and said "Kiss me here and here."

[repeat chorus]

She lay down on my bed
and open her thin legs,
raised up her arms and said,
"Honey, I ain't too proud to beg."

[repeat chorus]

She said,
"Don't you remember what you did to that one,
to the other one, too?
Well, I've just come to do exactly the very same thing to you."

[repeat chorus]

I said, "I'm gonna get out my shotgun.
I'm gonna get out my Bowie knife
- and if you don't clear on outta here,
I'll kill you within an inch of your life."

[repeat chorus]

She said, "Honey, I've come to love you.
I'm gonna hook you 'til you burn
- and then I'll go and you will never know just when I may return."

[repeat chorus]

I will go out in the mountains,
way out in the desert somewhere,
where the sun shines down on rocks
and bushes and there ain't no Sadness there.

[repeat chorus]

terça-feira, janeiro 24, 2006

Os Filhos da Mesma Escola!!!

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quinta-feira, janeiro 19, 2006

Bufas

Nos ultimos dias tenho andado com...libertacao (des)controlada de gases. E na casa de banho - a reaccao com a agua e de facto mal cheirosa-, e debaixo dos lencois, e quando me estou a vestir,... Enfim, por vezes acontece. Estando ja no meu estado natural, hoje de manha nao deixei de me recordar desta caracteristica animal quando entrei no elevador sem niguem.... mas cheio de uma nuvem gasosa perfumada.

quarta-feira, janeiro 18, 2006

Canyonero

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Lembras-te Martins?
O que nós nos rimos com esta merda!!!

Can you name the truck with four wheel drive,
smells like a steak and seats thirty-five..

Canyonero! Canyonero!

Well, it goes real slow with the hammer down,
It's the country-fried truck endorsed by a clown!

Canyonero! (Yah!) Canyonero!
[Krusty:] Hey Hey

The Federal Highway comission has ruled the
Canyonero unsafe for highway or city driving.

Canyonero!

12 yards long, 2 lanes wide,
65 tons of American Pride!

Canyonero! Canyonero!

Top of the line in utility sports,
Unexplained fires are a matter for the courts!

Canyonero! Canyonero! (Yah!)

She blinds everybody with her super high beams,
She's a squirrel crushing, deer smacking, driving machine!

Canyonero!-oh woah, Canyonero! (Yah!)

Drive Canyonero!

Woah Canyonero!

Woah!

terça-feira, janeiro 17, 2006

17 de Janeiro de 1977:

Gilmore executed by firing squad

Gary Gilmore, the convicted murderer, was executed today by firing squad in the Utah state prison in Salt Lake City.

This is the first execution to have been carried out in the United States for almost 10 years.

Gilmore, 36, was sentenced to death for the murder in 1976 of a motel clerk in Provo, Utah.

An appeals court in Denver overturned a restraining order on the execution in the early hours of this morning.


"Let's do it"
Gary Gilmore before being executed

In his closing words, one of the judges emphasised that Mr Gilmore should take responsibility for insisting that his own execution go ahead.

"Among other people who have rights, Mr Gilmore has his own. If an error is being made and the execution goes forward, he brought that on himself," said Judge Lewis.

Within an hour of the ruling Gary Gilmore was dead. The execution took place in a converted prison cannery in front of around 20 witnesses at 0806 local time.

After the legal order had been read, Gilmore's last words were: "Let's do it."

A hood was placed over his head, a target attached to his t-shirt, and the five-man firing squad took aim and shot from behind a screen.

So that none of his executioners could be sure they had fired a mortal round, one of the rifles was loaded with a blank.

Laverne Damico, Gilmore's uncle and witness at the scene, said his nephew "died like he wanted to die, with dignity. He got his wish."

Gilmore's body was taken to the University of Utah Medical Center where his organs will be used for medical research.

Parabéns!!!

Inventor do LSD completa 100 anos e receberá homenagem


Genebra, 8 jan (EFE).- O químico suíço Albert Hofmann, inventor da droga conhecida como LSD (sigla para dietilamida do ácido lisérgico, em inglês), completará 100 anos na próxima quarta-feira, e será homenageado num simpósio internacional que discutirá os efeitos do uso dessa substância.

O evento, que reunirá 80 especialistas do mundo todo, acontecerá na cidade suíça de Basiléia.

O LSD é uma droga com efeitos alucinógenos e foi a mais consumida dentro do movimento hippie dos anos 60. Depois disso, acabou proibida e perdeu popularidade até os anos 90, quando voltou timidamente à tona entre os fãs de música eletrônica.

Hofmann, que nasceu em 1906 na cidade de Baden, descobriu a substância em 1943, quando trabalhava nos laboratórios Sandoz, atualmente parte do grupo farmacêutico Novartis.

Em declarações à imprensa de seu país, o químico confessou não estar surpreso pelo fato de ter entrado para a história apenas por causa do LSD, apesar de ter feito outras descobertas. "Trata-se de um produto muito especial que atua na consciência, que é, afinal de contas, o que nos distingue dos animais", afirmou o químico, acrescentando que sob os efeitos do LSD, "vemos, ouvimos e sentimos de forma diferente e intensa, mesmo com uma dose ínfima".

Em 1943, quando realizava experiências para desenvolver um estimulante circulatório e respiratório, Hofmann descobriu o LSD de forma acidental e foi cobaia de sua própria descoberta.

Entre 1947 e 1966, a Sandoz manufaturou o LSD em cápsulas e ampolas para utilização médica em tratamentos psiquiátricos e neurológicos, mas adquiriu uma má reputação por abusos em seu consumo - o que resultou no fim da produção.

Atualmente, Hoffman reconhece que não se trata da "droga do prazer", e adverte que seu consumo superficialmente pode ser "extremamente perigoso".

O reavivar da memoria: Guilhotina

A ultima utilizacao da guilhotina nao e assim tao longinqua: 10 Setembro de 1977.

Foi abolida em 1981 pelo presidente socialista Francois Mitterrand.

domingo, janeiro 15, 2006

Nina Simone

Conheci Nina Simone e a sua música em mil novecentos e noventa e oito enquanto estava a ser "picotado" pelo meu tatuador e amigo XXX.
Coloquei aqui de lado o brilhante "sinnerman"para partilhar com vocês os dois e também para ver se deixamos de ser visitados por blogs pseudo satânicos.

If my memory serves me right acho que o meu amigo joão ainda andou envolvido em rituais conduzidos pelo sumo sacerdote do mal Rodrigo; e até eu fui acusado por uma mãe de fazer bruxedos à filha... ahhh, o livro de S. Cipriano...

sábado, janeiro 14, 2006

Frank Zappa - Titties and Beer


Frank zappa (lead guitar, vocals)
Ray white (rhythm guitar, vocals)
Eddie jobson (keyboards, violin, vocals)
Patrick o’hearn (bass, vocals)
Terry bozzio (drums, vocals)
Ruth underwood (percussion, synthesizer)
Don pardo (vocals)
David samuels (vibes)
Randy brecker (trumpet)
Mike brecker (tenor saxophone, flute)
Lou marini (alto saxophone, flute)
Ronnie cuber (baritone saxophone, clarinet)
Tom malone (trombone, trumpet, piccolo)
John bergamo (percussion over-dub)
Ed mann (percussion over-dub)
Louanne neil (osmotic harp over-dub)

It was the blackest night
There was no moon in sight
You know the stars ain’t shinin’
’cause the sky’s too tight
I heard the scarey wind
I seen some ugly trees
There was a werewolf honkin’
’long the side of me

I’m mean ’n I’m bad, y’know I ain’t no sissy
Got a big-titty girly by the name of chrissy
Talkin’ about her ’n my bike ’n me...
’n this ride up the mountain of mystery, mystery

I noticed even the crickets
Was actin’ weird up here
And so I figured I might
Just drink a little beer
I said, gimme summa that what yer suckin’ on...
But there was no reply
’cause she was gone...

Where’s those titties that I like so well
’n my goddamn beer!
Is what I started to yell, then I heard this noise
Like a crunchin’ twig, ’n up jumped the devil...he’s about this big...

He had a red suit on
An’ a widow’s peak
An’ then a pointed tail
’n like a sulphur reek
Yes, it was him awright
I sweared I knowed it was
He had some human flesh
Stuck underneath his claws
You know it looked to me
Like it was titty skin
I said, you sonofabitch!
’cause I was mad at him,
Well he just got out his floss
’n started cleanin’ his fang
So I shot him with my shooter
Said: bang bang bang

Then the sucker just laughed ’n said, put it away...
You know, I ate her all up...now what you
Gonna say?
You ate my chrissy? titties ’n all!
Well, what about the beer then, boy? were the cans
This tall?
Even her boots? would I lie to you?
Shit, you musta been hungry! yes, this is true.
Well don’t they pay you good for the
Stuff that you do?
Well, you know, I can’t complain when the checks come through...

Well I want my chrissy, ’n I want my beer
So you just barf it back up now, devil,
Do you hear?

Blow it out your ass, motorcycle man! I mean, I am the devil,
Do you understand? just what will you give me
For your
Titties and beer? I suppose you noticed this little
Contract here... yer goddam right, you son-of-a-whore,
Don’t call me that
That’s about the only reason
...gimme that paper...bet yer ass I’ll sign...
’cause I need a beer, ’n it’s titty-squeezin’ time

Man, you can’t fool me...you ain’t that bad...
I mean you shoulda seen some of the souls I had...
Why there was milhous nixon ’n agnew, too...
’n both of those suckers was worse ’n you...

Well, let’s make a deal if you think that’s true
I mean, you’re the devil, so whatcha gonna do?

(improvised dialog)
Wait a minute...a tinge of doubt crosses my mind...when you say...
That you want to make a deal with me...

That’s very, very true
I’m only interested in two things
Yeah?
See if you can guess what they are

I would think...uh...let’s see, maybe stravinsky...

I’ll give you two clues. let go of your pickle

What?

Let go of your pickle!

I’m not holding my pickle

Well, who’s holding your pickle then?

I don’t know...she’s out in the audience...
Hey dale, would you like to come up here and hold
My pickle to satisfy this weird man out on the stage?

I’m only interested in two things, and that’s
Titties and beer
You know what I mean?
What?
Titties and beer
Titties and beer
Titties and beer
Titties and beer
Titties and beer
Titties and beer
Titties and beer!
Titties and beer!
I don’t know if you’re the right guy?
Titties and beer!
Titties and beer!

No! don’t sign it! give me time to think...
I mean hold on a second boy, ’cause that’s magic ink!

And then the devil let go of his pickle
And out come my girl, there was her titties
Flop-floppin’...all around the world

She said I got me three beers and a fistful of downs
And I’m gonna get ripped, so fuck, you clowns!
Then she gave us the finger, it was rigid and stiff
That’s when the devil, he farted
And she went right over the cliff!
The devil was mad, I took off to my pad
I swear I do declare, how did she get back there?
I swear I do declare, how did she get back there?
I swear I do declare, how did she get back there?
I swear I do declare, how did she get back there?
I swear I do declare, how did she get back there?

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El día de la bestia


El padre Ángel Beriartúa descubre, con un sistema de cifrado de los Textos Sagrados, que el día del nacimiento del Anticristo está próximo... y que éste vendrá al mundo en la populosa ciudad de Madrid.

Concretamente, durante la Nochebuena.

De modo que marcha a la ciudad para encontrar el lugar donde nacerá el demonio y evitar tan funesto acontecimiento. Para ello contará con la ayuda de un "heavy" (satánico y de Carabanchel) y un presentador de televisión experto en ocultismo.

Padre Ángel Beriartúa Álex Angulo
Profesor Cavan Armando de Razza
José María Santiago Segura
Rosario Terele Pávez
Mina Nathalie Seseña
Susana Maria Grazia Cucinotta


"Comedia de acción satánica", como reza la frase comercial de la película. El día de la bestia, segunda película de Álex de la Iglesia tras Acción mutante, confirmó al director como uno de los referentes cinematográficos de nuestro país en la última década del siglo XX, además de consolidar a Santiago Segura como una de las nuevas grandes estrellas del cine nacional. Ambos consiguieron los premios Goya al mejor director y el mejor actor revelación, respectivamente.

Black Magic

Na altura bem que me interroguei como é que um guitarrista genial como o Jimmy Page podia aparecer a tocar uma versão adulterada pelo Puff Daddy do kashmir...
Influências demoníacas... só podia ser.


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"STAIRWAY TO HEAVEN"

Demonically Channeled

The story of this book is very complex; it is a detailed effort to present to the reader the facts that Jimmy Page and Led Zeppelin boldly propagated the teachings of Black Magician Aleister Crowley and of the satanic, magical cult he founded, the “Argenteum Astrum” -- which means “Silver Star" . The major doctrines of Aleister Crowley’s Silver Star are presented in the most famous and influential songs in the Led Zeppelin catalog -- including Stairway to Heaven. This rock song has repeatedly been voted the most popular song in the history of rock and roll, on both sides of the Atlantic Ocean. To this day, the album with Stairway to Heaven on it sells four to five thousand copies a week in the United States alone. This album has sold a total of over 23 million copies in the United States; second only to Michael Jackson’s “Thriller.” The Stairway to Heaven album is loaded with Aleister Crowley’s bold Luciferian teachings.

The worship of Lucifer, in the form of Pan, was a theme through all of Aleister Crowley’s writings. Virtually all of Rock-n-Roll music recognizes Aleister Crowley as the spiritual headwaters from which the lyrics and the antics flow.

Black Magick Aleister Crowley - Headwaters of Modern-Day Rock-n-Roll

Edward Alexander “Aleister” Crowley was born in 1875 in England. He was born into a family that was part of a strict sect of evangelical Christians called “The Plymouth Brethren.” Crowley’s father was a prominent member of this sect. He was a preacher who used to travel to evangelize. The Crowley family was also wealthy because Aleister's Dad was also a very successful brewer of alcohol. One can immediately see the obvious, apparent contradiction in being an evangelist of the Gospel and a brewer of alcohol. This was a contradiction that little Aleister didn’t fail to recognize. Nevertheless, Crowley was encouraged by his father to love God and to want to grow in the Christian faith. Crowley was receptive to his father’s guidance initially. He used to love reading the Bible as a boy. He did state in his “Confessions” that he was fascinated by presentations of Satan and the Anti-Christ in the Book of Revelation. Nevertheless, he continued to study the Bible.

However, his father passed away when he was eleven years old. His family had placed him in a boarding school run by some members of "The Plymouth Brethren". According to Aleister, this school was supposed to be run by Christians -- they had constant chapel services, and a Reverend. However, Crowley documented that the school was dominated with liars, homosexuals, and a number of other forms of wickedness explained in detail in Fallen Angel. This terrible hypocrisy was enough to turn Aleister Crowley against Christianity for life. Even before he attended this school, he admitted to possessing a love for “the enemies of Heaven” in the Book of Revelation; the events at the boarding school gave him the spiritual "green light" he sought to give himself over to Satan.

When attending College, he was already proud of his homosexual behavior, drunkenness and drug use. While at Cambridge University, Aleister Crowley wrote a poem called “Alcedama-A Place to Bury Strangers In". In that poem, Crowley wrote: “I was in the death struggle with self: God and Satan fought for my soul those three long hours. God conquered - now I have only one doubt left - which of the twain was God?”1

Crowley answered his own question by determining that Satan was his god. He went on to write: “I had been almost overwhelmed by the appalling responsibility of ensuring my own damnation and helping others to escape from Jesus.”2 Crowley’s hatred for Christianity was summed up in a book he wrote in 1910 entitled “The World’s Tragedy.” In that book he made a statement that reflected his life’s goal:

“That religion they call Christianity; the devil they honour they call God. I accept these definitions, as a poet must do, if he is to be at all intelligible to his age, and it is their God and their religion that I hate and will destroy.”3

Aleister Crowley went on to write dozens of books on the occult throughout his life, promoting Black Magic and all forms of spiritual wickedness, including astral projection, divination, rituals, human sacrifice, the Universality of Magick, and practically anything else that would help him achieve his stated goal -- the destruction of the Christian faith.

Crowley believed that Christianity was a gloomy religion, full of despair. He referred to it as the “gloom.” In their song, “The Battle of Evermore", which is Led Zeppelin’s version of the Holy Bible’s Battle of Armageddon found in the Book of Revelation, Robert Plant sings, “The Prince of Peace embraced the gloom and walked the night alone.” In their 1998 Grammy Award winning song, “Most High", Jimmy Page and Robert Plant mocked Lord Jesus Christ openly to their fans concerning his Lordship with the lyrics, “David’s Seed talks through His paper crown.”

This statement reflects a deep mockery of Christ’s identification as the Son of David. Paul wrote in Romans 1:2-3: “…concerning his Son Jesus Christ our Lord, which was made of the Seed of David according to the flesh…”

Rock-n-Roll Stars Are Simply "Musical Mediums" Channeling Demonic Music

The statement that Christ has a phony crown reflects their belief that Lucifer is god, as taught them by Aleister Crowley. Another thing that Crowley emphasized to his readers was that musicians in Magick would be able to be 'musical mediums'. When speaking of “Stairway to Heaven", Robert Plant claimed to be a 'musical medium'. He said the following about how he received the lyrics to the song: Plant recalled.

"“ ‘I was just sitting there with Pagey in front of a fire at Headley Grange. Pagey had written these chords and he played them for me. I was holding a pencil and paper and for some reason, I was in a very bad mood. Then all of a sudden my hand was writing out the words: “There’s a lady who’s sure, all that glitters is gold, and she’s buying a Stairway to Heaven.” I just sat there and I looked at the words and I almost leapt out of my seat.’”4

In 1998, the year when Page and Plant conducted their last world tour, Jimmy Page said the following (taken from the Atlantic Records web site): “When we first got back together, it was so immediately apparent that the two of us were just channeling the music. That’s what we had always had, and it was so apparent that it was there. It was almost effortless.”

When commenting on the production of the album with Stairway to Heaven on it, Page made the following statement in the January 2002 issue of Guitar World Magazine: “If something really magical is coming through, then you follow it....We tried to take advantage of everything that was being offered to us.” In their channeling of the music and lyrics to Stairway to Heaven, Led Zeppelin presented the concept of worshiping the male/female godhead of the Qabalah, as taught to them by Aleister Crowley, believing that Lucifer is the god all over the world, irrespective of the name (except Christ), and that he has a female consort in the form of light. Understanding this occult belief, you will then understand these lyrics:

“There walks a lady we all know, who shines white light and wants to show….” (Lucifer's female consort!)

The god form that they want the rock fan to worship in the song is Pan the Piper, the Greek God of the forests, who again, was presented by Aleister Crowley in no uncertain terms as Lucifer the Piper, the maker of music. The Holy Bible teaches that God created Lucifer as the celestial composer of music, with celestial pipes, in Ezekiel chapter 28:13. Listen as God speaks to Lucifer:

"Thou hast been in Eden the garden of God; every precious stone was thy covering, the sardius, topaz, and the diamond, the beryl, the onyx, and the jasper, the sapphire, the emerald, and the carbuncle, and gold: the workmanship of thy tabrets and of thy pipes was prepared in thee in the day that thou wast created." [Ezekiel 28:13]

The word, "pipes" (Strong's #5345) clearly refers to music and to the flute, as we see when we examine the context of this same word in other Old Testament Scriptures.

"And all the people came up after him, and the people piped with pipes, and rejoiced with great joy, so that the earth rent with the sound of them." [1 Kings 1:40]

The Parallel Bible, the Amplified portion, reiterates that the pipes are a musical instrument:

"All the people followed him; they played on pipes and rejoiced greatly so that the earth resounded with the joyful sound." [1 Kings 1:40]

Finally, Jeremiah records the definitive proof that "pipes" refers to a musical instrument:

"Therefore mine heart shall sound for Moab like pipes, and mine heart shall sound like pipes for the men of Kir-heres: because the riches that he hath gotten are perished." [Jeremiah 48:36]

The Amplified portion of the Parallel Bible again makes the meaning crystal clear:

"Therefore, My heart moans and sighs for Moab like flutes, and My heart moans and sighs like flutes for the men of Kir-heres; therefore, the remnant of the abundant riches they gained has perished." [Jeremiah 48:36]

From these verses, you can easily see that God is stating that He created Lucifer as a musical being in Ezekiel 28:13. In much occult lore, the Greek god, Pan, is this musical representation of Lucifer, the god of "pipes" -- the Piper.

The lyrics that promote this worship of Pan, in conjunction with the teaching of spiritual regeneration (spiritual rebirth – "born again Satanism") are as follows:

“And it’s whispered that soon, if we all call the tune, then the Piper will lead us to Reason. And a new day will dawn for those who stand long, and the forests will echo with laughter.”

As is presented in Fallen Angel in several examples, Aleister Crowley (and Eliphas Levi before him) presented the word “Reason” as meaning, Absolute Truth. The lyrics tell the student of Aleister Crowley that if people seek the “tune,” i.e., the music’s hidden message, then Lucifer will lead them to Absolute Truth. This, in turn, will cause a new day to dawn (spiritual rebirth) which will cause the forests to echo with laughter. Ritchie Yorke, a personal friend of the band, wrote about this spiritual rebirth in his book, “Led Zeppelin – The Definitive Biography”:

“The appeal of ‘Stairway to Heaven’ as a musical piece is self-evident: its lyrics seemed to embody the individual’s prevailing quest for a spiritual rebirth.”5

In his biography of Led Zeppelin, “Hammer of the Gods – The Led Zeppelin Saga,” Steven Davis also wrote of the spiritual regeneration implicit in the lyrics to Stairway to Heaven:

“With its starkly pagan imagery of trees and brooks, pipers and the May Queen, shining white light and the forest echoing with laughter, ‘Stairway to Heaven’ seemed like an invitation to abandon the new traditions and follow the old gods. It expressed an ineffable yearning for spiritual transformation deep in the hearts of the generation for which it was intended. In time, it became their anthem.”6

Aleister Crowley wrote something identical to what Davis wrote in his Occult Encyclopedia of Initiation, “The Equinox”:

“‘ARCADIA, night, a cloud, Pan, and the moon.’ What words to conjure with, what five shouts to slay the five senses, and set a leaping flame of emerald and silver dancing about us as we yell them forth under the oaks and over the rocks and myrtle of the hill - side. ‘Bruised to the breast of Pan’ - let us flee church, and chapel, and meeting room; let us abandon this mantle of order, and leap back to the heaths, and the marshes, and the hills; back to the woods, and the glades of night! Back to the old gods, and the ruddy lips of Pan!…till the glades thrill as with the music of syrinx and sistrum, and our souls are rent asunder on the flaming horns of Pan.”7

The worship of Lucifer, in the form of Pan, was a theme through all of Aleister Crowley’s writings. Jimmy Page has always been an open student of Crowley the Black Magician, and Led Zeppelin was his band. Following the teachings of Crowley, Jimmy Page and company were successful in placing his doctrines in many of their songs, including “Ramble On,” “Black Dog,” “The Battle of Evermore,” “Stairway to Heaven,” “No Quarter,” “The Song Remains the Same,” “Kashmir,” “In The Light,” “Achilles Last Stand,” and “Nobody’s Fault But Mine,” just to name a few.

Led Zeppelin even went so far as to command the fans to sell their souls to the Devil in their concert film, “The Song Remains the Same.”

In Fallen Angel, you will realize the entire spectrum of occult teachings presented by Aleister Crowley; when combined with other renowned occult authors, you will understand the truth about Led Zeppelin’s worship, and propagation, of Lucifer. These occult teachings are thoroughly refuted by this author, presenting the truth of the gospel, including the Biblical Absolutes of Truth. This book has been written to inevitably glorify Lord Jesus Christ, especially in the heart and mind of the rock fan who needs to receive Christ as Lord and Savior. The evidence is overwhelming, yet factual, with the Word of God presented as the absolute authority for faith and practice. The objective reader, if a Christian, will be thoroughly equipped to witness to the rock culture; and the lost sinner will see and appreciate his need for salvation in our Lord Jesus Christ.

The book demonstrates that the End of the Age is clearly upon us, and that Rock Music is playing the "Pied Piper" to hundreds of millions of people, leading them into a worship of Lucifer. Are you spiritually ready? Is your family? Are you adequately protecting your loved ones? This is the reason for this ministry, to enable you to first understand the peril facing you, and then help you develop strategies to warn and protect your loved ones. Once you have been thoroughly trained, you can also use your knowledge as a means to open the door of discussion with an unsaved person. I have been able to use it many times, and have seen people come to Jesus Christ as a result. These perilous times are also a time when we can reach many souls for Jesus Christ, making an eternal difference.

If you have accepted Jesus Christ as your personal Savior, but have been very lukewarm in your spiritual walk with Him, you need to immediately ask Him for forgiveness and for renewal. He will instantly forgive you, and fill your heart with the joy of the Holy Spirit. Then, you need to begin a daily walk of prayer and personal Bible Study.

If you have never accepted Jesus Christ as Savior, but have come to realize His reality and the approaching End of the Age, and want to accept His FREE Gift of Eternal Life, you can also do so now, in the privacy of your home. Once you accept Him as Savior, you are spiritually Born Again, and are as assured of Heaven as if you were already there. Then, you can rest assured that the Kingdom of Antichrist will not touch you spiritually.

If you would like to become Born Again, turn to our Salvation Page now.

We hope you have been blessed by this ministry, which seeks to educate and warn people, so that they can see the coming New World Order -- Kingdom of Antichrist -- in their daily news.

Finally, we would love to hear from you.

You can contact us by mail or email.

God bless you.

Copyright © 2004 Cutting Edge Ministries. All rights reserved. This password protected article and its contents are protected under the copyright laws of the United States and other countries. This article is provided by subscription only for use by the subscriber and all other rights are expressly reserved by the copyright owner. Copying and pasting this article, in whole or in part, into e-mails or as attachments to e-mails or posting it on the Internet is strictly prohibited and may subject the offender to civil liability and severe criminal penalties (Title 17, United States Code, section 501 and 506).

Copying and distributing this article in violation of the above notice is also a violation of God's moral law.

FOOTNOTES

1 Aleister Crowley, Aceldama, A Place to Bury Strangers In. A Philosophical Poem. By a Gentleman of the University of
Cambridge,1898

2 Aleister Crowley, The Confessions of Aleister Crowley, pg.67

3 Aleister Crowley, The World’s Tragedy, pp. xxviii-xxxi (preface)

4 Ritchie Yorke, Led Zeppelin - The Definitive Biography, pg.136

5 Ritchie Yorke, Led Zeppelin - The Definitive Biography, pg.137

6 Steven Davis, Hammer of the Gods, pg.133

7 Aleister Crowley, The Equinox, Vol. I, No.1, pp.174-175

Sister Rosetta Tharpe


rose.jpgrose1.JPG

Every time i hear this woman play i feel ashamed to pick up my guitar

Adoro parar nas montras das lojas de música e namorar as guitarras...



sexta-feira, janeiro 13, 2006

A sede do mal...

Para quem foi no outro dia ver A sede do mal e só descobriu no dia seguinte por sms que papel desempenhava o Orson Welles (se o queriam ver no auge fisico, na altura em que casou com a deslumbrante Rita Hayworth, teriam de recuar aos anos trinta quando era um dramaturgo genial e aos anos quarenta altura em que realizou Citizen Kane (1941)).
Ao que parece a culpa é de quem resolveu não passar os créditos do filme, por isso, permitam -me trazer-vos (qual Prometeu (se calhar ficava melhor Edison)) luz ao assunto.

Entao aqui vai:

Hank Quinlan - Orson Welles ( Citizen Kane considerado a obra prima da sétima arte ( se bem que também gosto muito da realização do Rouben Mamoulian no Dr. Jeckyll and Mr. Hyde de 1931) e mágico amador.

Ramon Vargas - Charlton Heston ( Ben-Hur, Moisés, ex-presidente e membro vitalício da NRA (National Rifle Association)

Susan Vargas - Janet Leigh (Marion crane no Psycho do Hitchcock, aquela que morre na famosa cena do chuveiro.)

A dona do clube de strip - Zsa Zsa Gabor (Green Acres série de culto que até há pouco tempo passava em "reerun" na RTP2 onde desempenhava o papel Lisa Douglas. Foi também a voz da Duquesa no filme da Diney Aristogatos).

A cigana - Marlene Dietrich (Filme de referência Anjo azul. É também famosa como cantora)

Para mais Movie Trivia... sei lá... vejam o TCM (Turner classic Movies) canal do Ted Turner que na sua estupidez andou p'ra aí a colorir algumas das obras primas da sétima arte.

Ok, primeiro que tudo. Alguém está a precisar de chill the fuck out e move on.
Segundo, frase preferida no post anterior: "5 pecados mortais". "O quê, aquela coisa que o gajo do American Beauty disse também eram pecados? Mas assim faz sete e o filme chamava-se 5 pecados mortais, eu sei porque é um dos meus filmes preferidos. Ah, estou a ver, não tem ligação, é artístico. Eu sabia que gostava de coisas profundas."
Terceiro, é óbvio que quem lê Dan Brown também lê Cervantes. Nem é preciso dizer. Nem vale a pena mencionar que aqui há uns anos o Público publicou um survey de "escritores" mundiais em que o livro que era considerado o melhor de sempre era o D. Quixote. Não, isso não tem nada a ver.

Fuckin' hell. Que tristeza.

Ecce Homo

bonifacio.jpg




Sex/Status Male/Single

Birthday November 20

Location Aveiro, Portugal
Hometown Aveiro


About Me - Curioso, aventureiro, frontal, amigo dos amigos, activo, com muitas coisas a corrigir, mas o esforço é continuo.

Interests - Conhecer novas culturas e pessoas, crescer como pessoa.

Who I'd Like To Meet - Gosto de pessoas educadas e com boas intenções que queiram fazer novas amizades e conhecer todo um novo mundo de pessoas com outras tantas novas experiências de vida.

Favorite Music O que seria de mim sem Musica ??
Pink Floyd; Barclay James Harvest; Led Zeppelin; U2; ColdPlay; Duran Duran; Foreigner; Simple Minds; Sade; e muita outra musica que preenche a vida.

Favorite Movies - procura de Forester (Sean Connery); 5 Pecados Mortais (Brad Pit); Furacýo Carter (Denzel Washington); Africa Minha; Breavheart (Mel Gibson); Muitos outros que fazem pensar. Gosto muito de cinema.

Favorite TV Shows Não vejo muita televisão.
Programas sobre factos reais (Discovery channel); National Geographic; Séries policias.

Favorite Books D. Quixote de la Mancha (Cervantes); Cisnes Selvagens (Jung Chang); Equador (Miguel Sousa Tavares); Codigo de Da Vinci (Dan Brown); Isabel Allende; Livros Historicos; National Geographic; etc....

Workplaces CP - Comboios de Portugal

Verdes Anos...

Lembro-me de me embrenhar e percorrer pinhais costeiros envolto na escuridão da noite.
O som distante do rebentar das ondas... o terreno arenoso que torna o passo mais pesado...
A fogueira com as suas labaredas bruxuleantes e o púcaro com William Lawnson's doze anos.

quinta-feira, janeiro 12, 2006

Pactos com o diabo...


Robert Johnson, um dos que afirmou ter feito um pacto com o diabo num cruzamento .
Alegadamente este trocou a alma pela perícia como guitarrista.
Viria mais tarde a ser envenenado por uma marido ciumento... preço de quem tem trê pernas para levar para casa (I got three legs to truck home boys, please don't block my road).

Crossroad Blues


    Cross Road Blues (take 2)

    I went to the crossroad

      fell down on my knees

    I went to the crossroad

      fell down on my knees

    Asked the Lord above "Have mercy, now

      save poor Bob, if you please

    Mmmmm, standin' at the crossroad

      I tried to flag a ride

    Standin' at the crossroad

      I tried to flag a ride

    Didn't nobody seem to know me

      everybody pass me by

    Mmm, the sun goin' down, boy

      dark gon' catch me here

    oooo ooee eeee

      boy, dark gon' catch me here

    I haven't got no lovin' sweet woman that

      love and feel my care

    You can run, you can run

      tell my friend-boy Willie Brown

    You can run, you can run

      tell my friend-boy Willie Brown

    Lord, that I'm standin' at the crossroad, babe

      I believe I'm sinkin' down

speaker:

a man at the point of no return

dramatic situation:

he's recovering from his encounter with the devil

tone:

desperate, alone, scared

mood:

chilled

alliteration:

  • "save poor Bob, if you please"
  • "Didn't nobody seem to know me"

assonance:

  • "fell down on my knees"
  • "Asked the Lord above 'Have mercy'"
  • "I tried to flag a ride"
  • "Didn't nobody seem to know me"
  • "I haven't got no lovin' sweet woman that"
  • tell my friend-boy Willie Brown"

imagery:

crossroad, falling, knees, sunset, darkness

symbolism:

The crossroad is where thing happen because they have to--there is nothing but absolutes. Falling is a kind of helplessness; knees usually have to do with penitence or pleading. Sunset is death or dying. Darkness is death, ignorance, and the Devil's time.

metaphor:


simile:


scan:


theme:


plot:

The speaker is alone and cannot find either a friend or a sympathetic passerby.

comment:

The speaker is giving up when he falls to his knees--he is turning himself over to the stronger forces echoed when he calls to God. He doesn't say what is going to happen when the darkness arrives, but it can't be anything good. In the last line of the third verse he says he doesn't have a woman. Usually when darkness falls (lines 1 and 2) he can be protected within the circle of a woman's arms. This night, however, he is alone and unprotected. In the last verse he speaks to someone who, apparently, is not a good enough friend to give him a ride. He tells this person to tell his friend what happened to him. In facing death or destruction he seeks an epitaph--some part of him to live on.

Delta blues

Para que nao fiquem duvidas: Robert Johnson!

terça-feira, janeiro 10, 2006

O Cannon para cordas e contínuo do johann Pachelbel (um grande efeito conseguido de uma forma simples) inunda o meu quarto vindo de um filme sobre a WW II.
É a história de duas mulheres que se envolvem em relaçoes extra conjugais depois de os maridos terem partido para a guerra...
Se bem me lembro há um filme com a Goldie Hawn, também sobre a WW II no qual as mulheres são chamadas a substituir os homens nas fábricas e onde ela acaba por se envolver com um supervisor (Kurt Russel)... Jazz player by night...

Noutro registo (ou talvez não) e citando os Rolling Stones (Painted Black):

"Like a new born baby it just happens ev’ry day"


Trojan Horses


(Retirado das crônicas de uma adolescente - Blog)

Já não choro quando ele é arrogante, já não me entristece saber se ele namora… nada.

Trocas de olhares discretos e sociais.

Mais tarde, troca de palavras. Curtas, simples e sem jeito.

Mensagem minha.

Telefonema dele.

Encontro.

Acontece.

Vem o arrependimento dele.

Vem a minha satisfação por saber que ele não mudou.

Namora, ela é especial e ele fica comigo uma noite? Numa cama? Num hotel? E depois ainda diz que ele não é assim…

Aiiii…. Conheço-o tão bem! Soube-me tão bem!

Senti que o usei. Disse-lhe inclusive que ele me usou mas que eu também o usei.

Namorar? Pra quê?

Continuo na fase de luto.

Não quero ninguém… quero alguém que ainda é ninguém…

Comments

eix..;) é a primeira vez k vejo o teu blog..akredita a koisa k acnteceram ctg k neste momento parece k tao a acntecer cmg! ler os teus textos fizeram-m sentir mt bem,acredita! eu tb gostaria de fazer uma coisa dessa so k infelizmente axo k nao sou capaz, axo k nao consigo cnfiar em ninguem, tenho medo k m gozem ou k tenham pena de mim. Gostava mt k respondesses se kizesses claro! gostava mt de desabafar com alguem. Posted by: Tania at dezembro 22, 2005 08:32 PM
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Não gosto de vinganças , nem de ódios..apenas te digo que se alguém teve problemas com uma relação..pk haveria de entrar noutra de repente.porque será que uma queca é suficiente para estragar algo estável? mas por outro lado, o sentimentalismo aproveitador, a arrogância perante a namorada é de facto uma traição.há que estar bem presente e tentar perceber o que se passa....eu nao estou de acordo com traições..mas se elas acontecem de facto..são boas no momento..mas o problema é depois..o problema é sempre depois.... beijos..adorei a tua trama..continua Posted by: ETERNAL at setembro 29, 2005 11:47 AM
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Olá. Há pouco tempo encontrei o teu site. Não, não sabes quem eu sou. Comecei a ler e não demorou muito a perceber a dor que está registada nesta página de internet. Detesto ver alguém neste estado... Por isso decidi deixar aqui um abraço apertado e muita força para tudo o que der e vier. Gostava de te saber dizer o que fazer, mas se tivesse na tua situaçao estaria mais fraca e maguada de certeza; acho que tens muita coragem para ainda não teres feito nada de maluco (pelo menos nada que eu tenha lido) e espero que continues assim. Espero que rapidamente esqueças o passado (sim, sei que é muito dificil, eu própria tento esquecer o meu). Beijinhos de outra adolescente desesperada Ps.: Gosto muito da tua poesia mesmo, e dos teus textos também. Alguns fazem lembrar os meus. ** Posted by: alguém sem sombra at setembro 18, 2005 03:38 PM
......................................................................................................................

Tens a certeza de que já não sentes nada por ele? Não estarás a tentar convencer-te a ti mesmo? Se ele já nada te diz, segue em frente e não lhe dês uma importância que ele não tem. Vingança... nada melhor que a indiferença. Boa sorte... felicidades. Que outro amor te apareça depressa... e que este te faça feliz. Beijos Posted by: visible silence at setembro 10, 2005 02:15 AM
....................................................................................................................

Pois, por vezes apetece a vingança. Mas cuidado com ela, pois pode ser um pau de dois bicos. Não te magoes mais, pensa em ti e cuida dessse coraçãozinho. Que bom poder ler-te de novo, amiga! Um beijo grande. Posted by: flor at setembro 7, 2005 11:34 AM
......................................................................................................................

Passamos a vida a dizer que não nos devemos vingar,que não é certo,a verdade é que sabe tão bem... Beijokinhas, Fica bem Posted by: barmaid at setembro 6, 2005 10:37 AM
......................................................................................................................

O sabor da vingança, o sentir que controlamos uma situação faz crescer o ego, é verdade, mas será que nos dá algo mais? Acho que não, é uma satisfação efémera, algo que fazemos quando a mágoa ainda está em carne viva, acaba por ser uma fuga para a frente. Devemos tentar resistir a essa tentação e seguir o caminho oposto em direcção ao futuro que todos merecemos. Posted by: Double S at setembro 4, 2005 12:34 PM
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A adolescência, altura em que a mente é frágil como uma casca de ovo.

O extracto e os comentários são um verdadeiro manual de caça...

calvin
(click on the image to enlarge)

sábado, janeiro 07, 2006

Estive tentado a por tb os blindfold tests do Elvin Jones and Wes Montgomery:

1) Elvin Jones

2) Wes Montgomery

John Coltrane blindfold tests...incrível!
***********************
by Leonard Feather — 02/19/1959

The Blindfold Test below is the first interview of its kind with John Coltrane. The reason is simple: though he has been a respected name among fellow musicians for a number of years, it is only in the last year or two that he has reached a substantial segment of the jazz-following audience.
It is the general feeling that Coltrane ranks second only to Sonny Rollins as a new and constructive influence on his instrument. Coltrane’s solo work is an example of that not uncommon phenomenon, an instrumental style that reflects a personality stikingly different from that of the man who plays it; for his slow, deliberate speaking voice and far-from-intense manner never would lead on to expect from him the cascades of phrases that constitute a typical Coltrane solo.

The records for his Blindfold Test were more or less paired off, the first a stereo item by a big band, the next two combo tracks by hard bop groups, the third pair bearing a reminder of two early tenor giants, and the final two sides products of miscellaneous combos. John was given no information before or during the test about the records played.

The Records

1. Woody Herman. "Crazy Rhythm" (Everest Stereo). Paul Quinichette, tenor saxophone; Ralph Burns, arranger.


Well, I would give it three stars on the merit of the arrangement, which I thought was good. The solos were good, and the band played good. As to who it was, I don’t know…The tenor sounded like Paul Quinichette, and I liked that because I like the melodic way he plays. The sound of the recording was very good. I’d like to make a guess about that arrangement—it sounded like the kind of writing Hefti does—maybe it was Basie’s band.

2. Art Farmer Quintet. "Mox Nix" (United Artists). Benny Golson, tenor; Farmer, trumpet, composer, arranger; Bill Evans, piano; Addison Farmer, bass; Dave Bailey, drums.

That’s a pretty lively sound. That tenor man could have been Benny Golson, and the trumpeter, I don’t know…It sounded like Art Farmer a little bit.

I enjoyed the rhythm section—they got a nice feeling, but I don’t know who they were. The composition was a minor blues—which is always good. The figures on it were pretty good, too. I would give it three-and-a-half.

3. Horace Silver Quintet. "Soulville" (Blue Note). Silver, piano, composer; Hank Mobley, tenor; Art Farmer, trumpet.

Horace…Is that "Soulville?" I;ve heard that—I think I have the record. Horace gave me that piece of music some time ago…I asked him to give me some things that I might like to record and that was one of them. I’ve never got around to recording it yet, though. I like the piece tremendously—the composition is great. It has more in it than just "play the figure and then we all blow." It has a lot of imgination. The solos are all good…I think it’s Hank Mobley and Art Farmer. I’ll give that four-and-a-half stars.

4. Coleman Hawkins. "Chant" (Riverside). Idrees Sulieman, trumpet; J.J. Johnson, trombone; Hank Jones, piano; Oscar Pettiford, bass.

Well, the record had a genuine jazz feeling. It sounded like Coleman Hawkins…I think it was Clark Terry on trumpet, but I don’t know. The ‘bone was good, but I don’t know who it was. I think the piano was very good…I’ll venture one guess: Hank Jones. It sounded like Oscar Pettiford and was a very good bass solo. And Bean—he’s one of the kind of guys—he played well, but I wanted to hear some more from him…I was expecting some more.

When I first started listening to jazz, I heard Lester Young before I heard Bean. When I did hear Hawkins, I appreciated him, but I didn’t hear him as much as I did Lester…Maybe it was because all we were getting then was the Basie band.

I went through Lester Young and on to Charlie Parker, but after that I started listening to others—I listened to Bean and realized what a great influence he was on the people I’d been listening to. Three and a half.

5. Ben Webster–Art Tatum. "Have You Met Miss Jones?" (Verve).

That must be Ben Webster, and the piano, I don’t know. I thought it was Art Tatum…I don’t know anybody else who plays like that, but still I was waiting for that thunderous thing from him, and it didn’t come. Maybe he just didn’t feel like it then

The sound of that tenor…I wish he’d show me how to make a sound like a that. I’ve got to call him up and talk to him! I’ll give that four stars…I like the atmosphere of the record—the whole thing I got from it. What they do for the song is artistic, and it’s a good tune.

6. Toshiko Akiyoshi. "Broadway" (Metrojazz). Bobby Jaspar, tenor; Rene Thomas, guitar.

You’ve got me guessing all the way down on this one, but it’s a good swinging side and lively. I thought at first the tenor was Zoot, and then I thought, no. If it isn’t Zoot, I don’t know who it could be. All the solos were good…The guitar player was pretty good. I’d give the record three stars on it liveliness and for the solos.

7. Chet Baker. "Fair Weather" (Riverside). Johnny Griffin, tenor; Benny Golson, composer.

That was Johnny Griffin, and I didn’t recognize anybody else. The writing sounded something like Benny Golson…I like the figure and that melody. The solos were good, but I don’t know…Sometimes it’s hard to interpret changes. I don’t know whether it was taken from another song or if it was a song itself.

Maybe the guys could have worked it over a little longer and interpreted it a little truer. What I heard on the line as it was written, I didn’t hear after the solos started…It was good, though—I would give it three stars, on the strength of the composer mostly, and the solos secondly…I didn’t recognize the trumpeter.

Charles Mingus Blindfold Tests (www.downbeat.com)

Pelo engraçado ...

************************************************

by Leonard Feather — 04/28/1960

Almost five years have elapsed since Charlie Mingus’ previous Blindfold Test. In the interim he has grown tremendously in musical stature. Five years ago he was beset by many frustrations in the attempt to find an outlet for his music.
Today, while by no means rich or world famous, Mingus is a man highly respected by an increasing coterie. His music has settled into a groove that is at once funk-rooted, far-reaching and emotionally stimulating.

Mingus, as a person, has changed, too. Though there remains in him a latent streak of defiant anger, much of which is reflected in his music, he takes no active delight in putting anyone or anything down.

Because it would be unfair to Mingus and the reader to whittle down his comments, they have been split into two installments. The second segment, which will appear in the next issue, includes a long afterthought about Ornette Coleman. Mingus was given no information about the records played.

The Records

1. Manny Albam. "Blues For Amy" (from Something New, Something Blue; Columbia). Teo Macero, composer.


Take it off…Look, I don’t want to drag you or anybody. I don’t think maybe you should give me a Blindfold Test, because I’ve changed. I didn’t let it get started—maybe that’s not fair of me? But it disturbs my ulcer. I’d rather talk about something important—all the stuff that’s happening down south.

2. Clifford Brown. "Stockholm Sweetnin’" (from Clifford Brown Memorial; Prestige). Arne Domnerus, alto; Art Farmer, Clifford Brown, trumpet; Lars Gullin, baritone; Bengt Hallberg, piano; Gunnar Johnson, bass; Jack Noren, drums; Quincy Jones, composer. Recorded in Stockholm, Sweden, in 1953.

I heard a trumpet player up in the front that sounded like Art Farmer. The second solo? I don’t think I liked it as much as the first. Not that it matters…My opinion doesn’t matter much. What’s Lee Konitz doing on a record with these guys?…The rhythm section has no guts at all.

The baritone player sure has a lot of warmth; could it have been Gerry Mulligan? It’s not an inspiring performance on the whole. I didn’t hear the second trumpet player playing any parts in the ensemble; it’s like they wrote it for one trumpet, then this guy walked in the studio and they said, "Why don’t you blow one, man?"

The tune is Quincy Jones’ tune—he knows what will go, knows what he’d like to do, and he always writes what he knows will sell. And what guys can play. I know he does this—we discussed it together seven or eight years ago, before he became successful. And he was wondering why I always wrote so hard and never got it played, and I was wondering why he wrote so simple and got it played.

Well, I just like Art Farmer so very much—that little airy sound he gets in the front of the notes—I like him even if he is old fashioned and doesn’t know it. He became old-fashioned about two years ago. But he’s going to come up with something—you watch what he’ll be doing a year from now.

I’ll give it five for Art, if you don’t mind—and Gerry Mulligan if that’s who it is.

3. George Shearing. "Chelsea Bridge" (from Satin Brass; Capitol). Jimmy Jones, arranger.

People used to think Louis Armstrong was putting everybody on when he said he liked Guy Lombardo. But I think he really sincerely like Guy. Because I’m beginning to feel that way. Some cats simply should play like Lombardo and not try anything else. Because that’s not them if they don’t; that’s not their soul. And I think that applies to this.

If that’s Gil Evans, I’m sorry—that applies to this. I’ve heard some things he did with Miles that were better. Usually I like Gil—I don’t know what happened on this thing. Maybe he has too much work to do and has to turn it out very fast. Or maybe that’s the worst track on the record, because I know you do that, sometimes.

The tune is something that’s been done a million times—even before Duke. I think I heard Paul Whiteman use those intervals…Well, give the record five stars because Gil Evans is famous.

4. Johnny Hodges. "Big Shoe" (from Side By Side; Verve). Hodges, alto; Ben Webster, tenor; Roy Eldridge, trumpet; Lawrence Brown, trombone; Billy Strayhorn, piano; Wendell Marshall, bass; Jo Jones, drums. Recorded in 1958.

You can take it off—I know what this is. Somebody’s trying to get an alumni band together with Hodges and Webster, and they weren’t thinking about music, except Ben maybe. I don’t know what Hodges was doing…is that something new? And I assume it’s Lawrence Brown.

But I don’t think this means anything because I don’t think that was Duke. With Duke, they might have played better—sometimes that’s what it takes…

I tell you, I’m not much on comment today. I’d rather just rate them, and on this, for Ben Webster I’d have to give it five stars again, because I like Ben. But I think somebody was trying to figure out a way to make some money with some records, and they put one of things together.

I’ll tell you why I know Duke isn’t here. You listen to that record of Duke’s that came out a while ago with Dizzy on it, and hear the way Duke comps in there. There’s a lot of young cats around that could learn from the way Duke comps. This cat on the Hodges record played every chorus on the blues and played it different; he didn’t create nothing; that’s why I knew the piano player wasn’t Duke, that it was just anybody trying to cop out.

Charlie Mingus—#2
May 12, 1960

"You haven’t been told before that you’re phonies. You’re here because jazz has publicity, jazz is popular…You like to associate yourself with this sort of thing. But it doesn’t make you a connoisseur of the art because you follow it around…A blind man can go to an exhibition of Picasso and Kline, and not even see their works, and comment behind dark glasses, ‘Wow! They’re the swingingest paintings ever, crazy!’ Well, so can you. You’ve got your dark glasses and clogged up ears."

This is one of the milder portions of an off-the-cuff speech made one night from the bandstand at the Five Spot by Charlie Mingus, preserved on tape and reproduced in an enlightening piece by Dian Dorr-Dorynek in The Jazz World, recently published by Ballantine Books. The speech bares Mingus’ long-pent-up frustrations and brings to the reader the sort of moment of truth many jazzmen wish they had the courage to express.

Mingus’ basic intensity and integrity can be found, too, in his Blindfold Test reactions. Following is the second segment of a two-part test, the previous one having appeared in the last issue. These comments, too, were tape-recorded , and Mingus received no advance information on the records played.

The Records

1. Lambert-Hendricks-Ross. "Moanin’" (from The Hottest New Group In Jazz; Columbia).

I just don’t know what to tell you about that…I heard Sarah Vaughan last night, and she was singing a song, and the trumpet player was playing two bars, and she’d echo behind it—but she wasn’t singing what he was playing. And this—well, I think he’d be a good poet. A much better poet. He’s trying to tell a story—he always has. And I’m glad he can.

The group? I think they’ll make a lot of money. They’ll always make money—more than I’ll ever make. (L.F.: Don’t you think the group’s different?) Different from what? King Pleasure? I heard some little bitty young kids singing like that in Chicago. When Bird first came up, they used to stand up by the jukebox and make up words to the songs. It'’ not that original, man. Ten years ago people were doing that. I remember some words the kids wrote for a song of Hamp’s: Bebop’s taking over, oo-wee; better bop while you’re able, see; open your ears, bop’s been here for years"—something like that; and that was 11 or 12 years ago.

2. Sonny Stitt with Oscar Peterson Trio. "Au Privave" (Verve).

Well, you heard that thing he did on the second chorus, the bad note—he probably did that a whole lot of times on the record, and they spliced it out. There must have been a lot of splicing, or else they had an engineer who liked to twist the buttons, because the sound kept changing, it was as if a different soloist was coming up to the microphone.

Is that stereo? Yes…That’s too bad. And the piano player—he sounded like this was his first record date and his last one, so he wants to get everything in and plays all the notes he can in that solo, in the style of Horace Silver; and it could be Horace, I don’t know. Maybe he was very anxious that day. How could I know if I don’t listen to those cats anymore?

I put some old Bird record on the other day, and I realized that nobody’s playing like him yet. I wish you’d tell me who this is just for my own kicks.

Rating? Well, let’s put it like this. If I were in a record store and I’d listened to all the seven records you’ve played me so far (including those in the first part of the test), I wouldn’t buy any of them. And I’ve got some money.

3. Mahalia Jackson. "I Going To Live The Life I Sing About In My Song" (from The World’s Greatest Gospel Singer; Columbia).

I’m presently in the process of buying some records. I don’t have that one, but I believe I know who it is. And I would buy that one. She’s on my list. And I think that this is what everybody need a whole lot of—not only in their playing, but in their way of living.

As far as rating this—maybe you should use a different kind of stars for rating this from the stars you use ranting jazz records. A moving star. Make it five moving stars.

4. Dizzy Reece. "The Rake" (from Star Bright; Blue Note). Reece, trumpet; Hank Mobley, tenor; Wynton Kelly, piano; Art Taylor, drums; Paul Chambers, bass. Recorded by Rudy van Gelder in 1959.

The drummer sounded like Art Blakey, and I like Art so much—but, man, I don’t think you machine makes it because everything sounds blurry—the tenor player, Hank Mobley, sounds as if he’s trying to play like Sonny Rollins. I never before heard Hank trying to sound like that. Or else it’s the way they’re recording. Rudy van Gelder makes those kind of records. He tries to change people’s tones. I’ve seen him do it; I’ve seen him do it; I’ve seen him take Thad Jones and the way he sets him up at the mike, he can change the whole sound. That’s why I never go to him; he ruined my bass sound.

I’ve got a feeling that if that is Art, it sounded like the trumpet could have been Clifford Brown. But I don’t know when they could have made a record like that. I’m not talking about the solo, I’m talking about the ensemble feeling that suggests Clifford Brown.

The bass player sure was in tune—I knew that right from the start. He was in tune with himself. And I’ve never know Art with a piano player like that—it’s kind of confusing.

The over-all emotional feeling that I get when I enjoy music, I couldn’t her it—yet I know it must be there if it was Art playing. I won’t say it didn’t swing because I never knew a time when Art didn’t swing; it’s just not coming off on this record to me.

Play that trumpet solo again…I would say it’s Clifford Brown. A lot of people who don’t know Fats Navarro would have to like Clifford. I hear the kind of crying feeling, the soul that you got from Fats. Now I wouldn’t buy it because it was Clifford; the fact that somebody’s dead doesn’t change anything for me. I’m going to die, too.

Afterthought

You didn’t play anything by Ornette Coleman. I’ll comment on him anyway. Now, I don’t care if he doesn’t like me, but anyway, one night Symphony Sid was playing a whole lot of stuff, and then he put on an Ornette Coleman record.

Now, he is really an old-fashioned alto player. He’s not as modern as Bird. He plays in C and F and G and B Flat only; he does not play in all the keys. Basically, you can hit a pedal point C all the time, and it’ll have some relationship to what he’s playing.

Now aside from the fact that I doubt he can even play a C scale in whole notes—tied whole notes, a couple of bars apiece—in tune, the fact remains that his notes and lines are so fresh. So when Symphony Sid played his record, it made everything else he was playing, even my own record that he played, sound terrible.

I’m not saying everybody’s going to have to play like Coleman. But they’re going to have to stop copying Bird. Nobody can play Bird right yet but him. Now what would Fats Navarro and J.J. have played like if they’d never heard Bird? Or even Dizzy? Would he still play like Roy Eldridge? Anyway, when they put Coleman’s record on, the only record they could have put on behind it would have been Bird.

It doesn’t matter about the key he’s playing in—he’s got a percussional sound, like a cat on a whole lot of bongos. He’s brought a thing in—it’s not new. I won’t say who started it, but whoever started it, people overlooked it. It’s like not having anything to do with what’s around you, and being right in your own world. You can’t put you finger on what he’s doing.

It’s like organized disorganization, or playing wrong right. And it gets to you emotionally, like a drummer. That’s what Coleman means to me.

quinta-feira, janeiro 05, 2006

O Minete...
Sete anos de "mau sexo"???
Mas existe alguém que consiga ter sete anos consecutivos de "bom sexo"???
Um bom minete ou a Paz Mundial???

minete.jpg

Back to London...

Here it goes again.

quarta-feira, janeiro 04, 2006

Embriagado pelo som de Art Tatum e de Lionel Hampton...

Lembro-me certa vez estar em casa de uma rapariga e de esta ter colado por cima do seu local de estudo uma "frase" de Thoreau, poeta do qual ela nada conhecia a não ser essa única"frase".
Abdicar do sonho em prol de uma postura mais adulta???
Contentarmo-nos com a realidade de alguém mais velho que cresceu de forma inóspita... obtusa?
E o tutano da vida???
Quem é que vai para os bosques viver deliberadamente???
Estaria o Thoreau a pensar única e exclusivamente na adolescência?

Eu sei lá
Se uma jogada financeira chega a fazer alguém enlouquecer.
Mas eu já sei
Que existem muitas maneiras de enganar os cegos que não querem ver



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