The Count Basie Story – Count Basie


This lovely thing came in the mail today. Recorded in 1957, 58 and 1960, this is a collection of Basie’s big hits re-recorded by his ‘new testament’ band. It’s interesting stuff.
I’m not usually such a big fan of new testament Basie, but I do find him useful for DJing, as it’s a nice cross-over point for old school scratchy fans and hi-fi kids. This CD is great because it’s such good quality, is an interesting idea (especially in reference to Basie, whose earlier band(s) had such different sounds to his later big band(s)). If you don’t think about the ‘originals’, this is one sweet album. I know a few DJs/dancers who’d love it.
I’ll go through and listen to each song in comparison to the ‘original’ or earlier recordings and let you know what I think.
I don’t doubt that this will give me some useful fodder for my sets at SLX… now, if only I could figure out how to reinstall my bpm counter after the Great Reinstallation of 2006, prompted by the incredible CRAPtitude of itunes 7.0. BPM counter tips for mac would be very welcome.

scary stuff

The other night there was a story about the Exclusive Brethren on Four Corners which we watched all the way through.
This was mostly a story about people who had left this very conservative relgious group, and there was much discussion of the Brethren’s equivalent to ‘shunnning’, where ‘excommunicated’ members were excluded from the community. This meant that they weren’t allowed to talk to, touch or interact with their families or any other Brethren after they’d been excommunicated. When you take into account the fact that this group do not allow their members to eat or drink with non-members – effectively ‘separating’ them from the rest of society, being ‘excommunicated’ is a devastating practice.
One of the things that I noticed was how passive and unaggressive all the former Brethren members were. They spoke of experiences which made us cry, but their manner remained largely ‘flat’ – definitely unaggressive. And while there was reference made at one point to one man’s ‘aggressive’ response to being excommunicated, it wasn’t really in the range of ‘normal’ aggression, as I’d put it.
It was frightening stuff: to see people who’s lives had been devastated responding calmly. It made me wonder if perhaps they were all seriously depressed (though they probably were – suicide rates for excommunicate Brethren are frighteningly high), but it also made me think about how such controlling religions encourage passivity. It also made me think about what it would be like to teach students who’d been trained so thoroughly not to think critically, or to question.
Scary stuff.

difficult thoughts

Here is a sad story prompted by a passing comment by Ms Tartan:

It didn’t help that the kid who drew out my blood had the full Myspace emo thing going on, with asymetrical dyed black hair and a scowl and a black spike through one ear, and under his nurse blouse, a studded leather wristcuff. He seemed determined to either spit in my blood or drink some.

It reminds me of another brush with altfashion in a medical context which I had a couple of years ago.
When my mother was very ill in hospital (ie, in a coma in intensive care, or else distressed and disoriented in intensive care) – the most horrible month or two of my life – I remember noticing a (young female) doctor’s piercing – she had a couple of those tiny gold ‘pins’ through the skin at the mid-point of her chest above her breasts. It peeked out through the unbuttoned bit of her collared shirt.
I remember thinking that that was the most inappropriate piercing (or display thereof) that I’d ever seen. It really disturbed me, and not in any logical way.
I’m ordinarily fairly blase about piercings – not my cup of tea, but aesthetically ok, so long as they’re well placed and well done. In any other circumstances I’d have been fine with this.
But, at that moment, in this place of blood and needles and pain and despair, where my mother was deliriously pleading with me to “take it – take it out!” as she pulled at her IV tube, this doctor’s piercing was disturbing.
I’m not sure why. But thinking about it makes me feel bad, even now.
Perhaps it had something to do with the fact that in the intensive care unit patients have no dignity. And their distressed families have just as little. My mother had no rights – she couldn’t choose not to have that needle in her body. A woman who usually takes such care of her appearance, and who is usually so assertive and capable, strapped to a bed so she wouldn’t tear out the various tubes that were keeping her alive. And for me, being faced with the realisation that my mother wasn’t going to be the one who looked after me, but that I was the one who had to make the difficult decisions and to look after her. Even more distressing, being the one who gave permission for my mother to be sedated, intubated, made vulnerable in a frightening and dangerous moment.
To see that doctor with that piercing made me think that all that display of bodily adornment was really just a display of self-mutilation. A way of saying “I choose to make my body imperfect, to marr it, to flaw the safety of my skin, so as to make a point of fashion or politics” which seemed profoundly insulting and arrogant in that context. In that place, that piercing, to me, seemed like a flaunting of the power and health of that woman. For the patients (and more importantly, family), it seemed as if her choosing to make her (otherwise perfect, healthy) body inperfect was a slap in the face to people who would have given anything for an immune system robust enough to manage a piercing. At that moment, for me, it felt as if she was flaunting her body’s ability to fight off infection (and deliberate mutilation), when it was an infection that was killing my mother. And that there was nothing I could do.
I still don’t understand why I felt so strongly about that tiny, fairly unobtrusive piercing. No doubt in my then-state of heightened emotion, it took very little to spark off anger or frustration. And I know I was always close to tears.
But it reminds me of the way I feel about some christian religions.
Those faiths which endorse refusing medical attention – discourage taking medications, having operations, blood transfusions, and so on – disturb me. And while, on the one hand, I do feel that they have a right to make these choices, on the other, I think that this is a choice only available to the healthy, middle class living in a developed country.
Living in Melbourne, in Australia, in a comfortably middle class home, choosing not to take antiobiotics or see a conventional doctor is a luxury made possible by our high standard of living. But choosing not to be immunised against curable disease, or not to take a course of antiobiotics seems an insult to someone who lives without access to clean water, whose immune system is compromised by malnutrition or starvation or violence or war. Again, a flaunting of privilege in the face of such powerlessness. And while I see the value in principles like ‘living simply so that others may simply live’, it feels like a flaunting of health and wealth and privilege in the face of others who do not.
This is a difficult concept to think about, because I do feel strongly about ‘living simply’ – I choose not to drive a car, I choose to ride my bike, I choose to garden organically, I choose to make my own clothes and so on, because I feel that I need to tread more lightly on the earth. And, as a feminist, I choose not to ‘just take it’ when I hear or see or experience sexism or chauvenism. But at the same time, I am very much aware of the fact that I can make these choices – that I can practice these sorts of everyday eco- and politico- awareness because I am living in privileged place, at a privileged time. I was the child of a middle class family, I have a tertiary education and work in a very socially ‘safe’ environment. I do have the option of choosing how and when I will work. I do not have three children to feed and clothe and get to school every day. I am healthy enough and physically able to ride my bike. I do have the luxury of a garden where I can plant food for my family. I have the skills and access to resources to make my own clothes. And so on.
It is a conundrum: does this make me a hypocrite in the context of the religious issue?
I’m not sure that it does, particularly as there are other issues which frustrate me in terms of certain of those faiths and their approaches to gender and power within their own heirarchies.
I mean, it is a fact that access to proper health care and education, including information about contraception is essential to improving conditions for women (for children – for families) in developing countries. I have difficulty with the idea that choosing not to use contraception, not to use adequate health care, not to be educated, can in any way be a good thing for women, for societies.
And it really, really bothers me that a faith would actively discourage the use of medication or education in a developed country, because it also implicitly (if not explicitly) discourages followers in less fortunate circumstances as well. I smell a frightening use of power to secure loyalty and dependency. Particularly when the only ‘acceptable’ form of ‘medical intervention’ is prayer. Prayer with certain members of the church.
…but that’s a lot to think about on such a nice day, when I have (more!) marking to do.

lastfm

I am trying to make lastfm work for me.
I think I could get into audio scrobbling.
Except this stupid lastfm thing crashes as soon as I open it. I got it to work once, but we had to reinstall my computer, so that got busted up and now I can’t make it work again.
Any tips?

sigh…


There are so many things I could say about this clip.
I could start with the fact this is ‘traditional’ Korean music and costume, matched with ‘traditional’ beat box and breaking (with some seriously old school moves in there – a real grabfest for anyone who’s ever watched a fair amount of break dancing). And then I could go on to talk about how this is a peculiarly Korean way of moving and dancing – these are not African American dancers, nor do they dance or move like black Americans. This is Korean dance… or a Korean appropriation of a black American dance and musical form and costume and…? And then, that this is a Korean appropriation of a classical piece of music, in a hip hop context – how wonderful!
Then I could talk about the beauty of the round performance space – the perfect jam circle, with the viewer invited to take up the empty space and join in – to become part of the jam. The inclusion of the musicians in this circle only emphasises the way dance and music are inextricably bound.
And then, of course, there is the use of editing, focus, pans, cuts, etc etc to exaggerate and emphasise certain aspects of the choreography – to speed up fast parts, to add staccato to jagged movements, to highlight small movements which might otherwise be lost. The use of a constantly moving camera to heighten that sense of movement, which – if you’ve ever stood at the edge of a jam circle, digging what you see, or perhaps considering coming in – is exactly how it feels and looks. As part of the audience, you move with the dancers and the music. This is more than call and response, it is cooperative meaning making at its most pleasurable. And do I need to mention the use of video ‘screens’ in the shot to emphasise the presence of the musicians, in the face of such mesmerising physical display?
And if I had more time, I’d talk about the use of light, the use of colour, and what all this means for an art form that is so heavily inflected by discourses of skin colour and shade…
Sigh.

ask me how I feel about marking

Half an hour per paper, 70 papers. Yes please.
Ask me how many days til MLX6.
73. Am I worried about it? Nope.
Ask me about the papers I have to write.
…no, actually, don’t.
Ask me about my application for funding goodness for the CSAA conference.
Yeah, it’ll be cool. I’m all over it.
The paper for the conference that’s getting me there and getting me the dosh?
Oh, look, something to do with the internet. It’ll be neat.
Ask me about the shitful job I did DJing last week.
Why ask. I’m sure you’ve already heard.
…there’s not so much going on in my life beyond work at the moment. This is about as exciting as it gets:
squidge.jpg
We are going lo-fi with the whole camera thing. We’re saying no to lots of pixels and yes to emoting. We are all about emoting.
We are going to SLX on the 29th September, mostly because we need a holiday, and this kind of gets us off our arses. That’ll be fun – we’re looking forward to stooging it up at the Manly Jazz Festival, eating, napping, talking shit and possibly drinking (though I will drink only softees). It’ll be just like an American road trip movie. But with more jazz. And fewer mooses (meese? baby meese?). Though I’m not sure about the boob part. There could be boobs. Or possibly moobs. Either way, somebody scores. And I’m not sure about the road part. I think there’ll mostly be trains, the odd bus and definitely a ferry. And a plane or two.
..hm. This post isn’t going terribly well. Looks like teaching is sucking my creativity right out through my… well, I’m not sure how it’s getting out of me, or where it’s going. Just imagine that I was a bit cleverer and that this post was a bit more interesting. Remember the days when I was posting posts that actually covered more than jazz and had the prose thing going on, rather than the list thing.
But meanwhile, the thesis is at the printer and will be submitted tomorrow! Yay!

Gastropodry: bunny and Jay

Right now I have a bunny (on) the oven… oh, look, I’m sorry. That was far too desperate.
To restart: I’ve finally succumbed to the temptation and am cooking my first rabbit. It’s the perfect opportunity: The Squeeze (who loathes meat on the bone, and finds the thought of eating bunnies distressing) is out, it’s Friday night so I can stop worrying about all the things I have to do – until tomorrow, and my new Jay McShann album arrived today. Gotta love that Kansas City action.
I’ll report back later on the bunny.

Duke Ellington’s House of Lords

Ok, so a little while ago I crapped on about Bluesology.
Today I’d like to crap on about House of Lords, which I have on acomplete centennial something or other collection (well worth the (massive) cost – it truly is a ‘complete’ collection… well, for that one label. whatever that may be). It’s live, recorded in 1966 and it’s five minutes and thirtyfive seconds long. It’s also 136bpm and I classify it as ‘groovy swinging’, which means that it has the tsi-tsi-tsii high hat sound and rhythm section, but trucks along – not that sort of formlessly swingingly groove that irritates old scratchy fans. Because it’s Ellington, it really cooks. And it really feels like it’s trucking along – grooving, but rocking. Chunky but still palatable for the smoothy types.
So, anyways, the thing I like about it is a) it’s live, and b) you can hear Duke laughing – no, chortling – away in the solos. The band are really enjoying this stuff, and it’s really rolling along – you feel like it’s going somewhere. Kind of makes me feel like this is the type of stuff Oscar Peterson would do if he had more guts. Guts as in, if his music was a little more visceral.
I’d certainly like to dance de lindy hop to this song. Which sounds as if it’s really just drums/percussion, piano and bass. And groaning adn chortling.
Matter of fact, I wonder if there aren’t two pianos in there – could it actually be Peterson? Or maybe it’s Basie? I’d hazzard the former, though I don’t think they really worked together (actually, what would I know).
Dang! I just NEED to rush home and look at the liner notes!
At this point I really wish I could insert a sound clip so that you could all listen along with me, but of course, there are copyright problems there. Maybe I need to get into that streaming radio action?

Johnny Hodges

Yes, I know it’s another story about music, but, look. I did say I was going to try to think less about telly and more about music, didn’t I?
So, anyway, I’m now pretty keen on scoring myself some Johnny Hodges. Apparently he not only did stuff with people like Ellington, but also had a band(s) of his own. Which I must now discover.

Duke Ellington: The Duke: The Columbia Years 1927-1962 [BOX SET]

Duke Ellington: The Duke: The Columbia Years 1927-1962 [BOX SET] [ORIGINAL RECORDING REMASTERED]

It finally arrived, and I’m now one happy ducky. As you can probably tell, I’ve been bingeing on Ellington a bit lately. I now have quite a few excellent albums, and of course, there are plenty more to get. Ellington is one of those artists who continually surprise you with excellent music. His career was so long, and he did such diverse work, there’s always something for everyone.
This collection is neat because it offers some excellently remastered old faves (I’m especially happy to have a decent quality version of It don’t mean a thing (1932)), but also some more recent stuff – especially some nice 50s stuff which I didn’t have. I’m still not sure I feel entirely comfortable with the heavy duty high hat action in this stuff, but you can’t deny the standard of musicianship in some of these amazing recordings. The quality isn’t always better (I have some heinous Blanton-Webster Ellington stuff), but you get some great music.
Personally, I’d much rather dance old school, to that late 20s, 30s and some 40s stuff (depends on who and what it is, though – I adore Hampton, and he tends to sit in that later moment – 40s and 50s), but I do like to DJ across the board. And when you’re not dancing – you’re DJing – it’s easier to handle the 50s stuff at a dance. Pity the dancers, though…
Well, actually, most dancers don’t really mind – beginners are certainly the least picky in regards to specific eras, and most of the more tolerant experienced dancers would simply rather we played goodmusic than stuck religiously to one era… unless we can DJ well within that era.
As a DJ, I do actually like to play a wider range of stuff, if only to save my brain having to deal with balancing the levels of all-scratch, all the time.