Bass – Percy Heath
Drums – Albert Heath
Flute – Albert Heath
Piano, Kalimba – Stanley Cowell
Reeds [Maimoun] – Albert Heath
Saxophone, Flute – Jimmy Heath
Tracks:
1-Warm Valley
2-Tafadhali
3-The Watergate Blues
4-Maimoun
5-Smilin’ Billy Suite Part I
6-Smilin’ Billy Suite Part II
7-Smilin’ Billy Suite Part III
8-Smilin’ Billy Suite Part IV
JAZZ CATS… go do your math and the research on the Heath Bros.
Touted as the most controversial film since The Birth of a Nation, The Cry of Jazz–a 1959 film essay on the spiritual status of blacks in America read through the structure of jazz music–was framed as a response to the consequences of racial division and oppression made clear in D.W. Griffith’s Klan-centered portrayal of post-bellum America.
Directed by composer Ed Bland, the highly stylized Cry of Jazz features a very early Sun Ra (then known as Le Sun Ra) with his Arkestra demonstrating the film’s argument: that rhythmic form and harmony in jazz are emanations of the restraint and the futureless future suffered by blacks in America, while melodic improvisation and rhythmic conflict are the joyful freedom and liberating deification of the present, which cry out despite the conditions of constraint.
The film, as you can watch in four parts below, famously ends with the controversial claim that jazz, like the ‘negro’ in America, is dead. Filmed at the cusp of post-bop, the film’s conclusion cannot account for the explosion of post-bop, modal jazz and free jazz (not to mention the funk, soul, samba, etc. of the coming decades). And it is worth noting that John Gilmore, saxophonologist for the Arkestra, was giving Coltrane informal lessons around the time of the filming, in the late 50s. And in addition to this, around the time this film was made, Sunny Ra pulled his ‘going electric,’ recording “India” on the album Super-Sonic Jazz–introducing the electric keyboard (a Wurlitzer) to jazz music. Perhaps every faithful congregation needs an occasional theothanatosy to remind them whose job it is to keep the heavenly creature alive.
Debuting April 3-9, 1959, in Chicago, the film is being screened April 9, 2010, at the Orphan Film Symposium put on by the Tisch School of Arts in New York City. Register now, their website warns, Seating Is Limited!
Whether you buy into the larger argument or not (that is: repeated concatenating chord sequences like the chains of enslavement, with bursts of improvisation a kind of cry from the field), the foreground of the vivid present, the image of man peculiarly sensitive to that present, and the liberating energy of the polymetric conflict between the strength and length of musical stresses in response to that sensitivity, are observations relevant to any outlook on creativity in today’s world, especially (it seems to me) to the poet’s.
Born August 3, 1925, in Rio de Janeiro, Dom Um Romão began his musical career in the late 1940s, playing drums at dance halls and cabarets in Rio De Janeiro. He was later hired by the Rádio Tupi’s orchestra. In the 1950s, he formed the Copa Trio. He appeared on Elizeth Cardoso’s album Canção do Amor Demais, an essential bossa nova album, which featured music by Tom Jobim and the guitar of João Gilberto. In the 1960s Dom Um Romão joined Sérgio Mendes’ jazz ensemble. His first album, Dom Um, came out in 1964. The following year he moved to the United states, where he continued to work with Sérgio Mendes and participated in countless recording sessions. His international profile became more visible in 1971, when he replaced Airto Moreira in the legendary fusion band Weather Report. In the 1980s he moved to St. Gallen, Switzerland. In the 90s, he spent more and more time in Brazil, participating in recordings and workshops. In 1997 he recorded Rhythm Traveler. Throughout his career, Dom Um Romão worked with such artists as Cannonball Adderley, Antonio Carlos Jobim, Frank Sinatra, Tony Bennett, Helen Merrill, McCoy Tyner, Ron Carter, Astrud Gilberto, Robert Palmer, Harry Belafonte, Sivuca, Walter Wanderley, Stanley Turrentine, Flora Purim, Luiz Henrique and Ithamara Koorax. The pioneering drummer and percussionist Dom Um Romão died July 27, 2005 in Rio de Janeiro, at age 79.
Sadly, Cuban drum master Francisco Aguabella is very ill. Ubiquity has had the honor of working with Aguabella on our CuBop label.
Chano Pozo is widely acknowledged as the first Cuban drummer to make a mark in the American music scene. Directly following him were Patato Valdez, Candido, Mongo Santamaria and Francisco Aguabella. As a master of the Bata (talking drum) Aguabella immediately impressed many. He was hired early on by Dizzy Gillespie and during his career has played and recorded with Peggy Lee, Tito Puente, Eddie Palmieri, Malo and Carlos Santana.
Francisco is one of the first echelon of drummers who came to America and are responsible for all drummes that came after them,” said Latin percussionist John Santos in the movie “Sworn To The Drum”. “He is one of the strongholds of our music and has always kept the commitment to our Cuban rhythm. He plays with everybody but always maintains our rhythm, that’s very important,” added Isreal “Cachao” Lopez.
Releases on Cubop include the rare groove gem “Hitting Hard,” along with Afro Cuban jazz releases “Agua De Cuba”, “H2O,” “Ochimini” and “Cubacan.”
Coming across some rare records in various places, we bump into a good friend of us… Who also collects and trades vinyl. One of the record covers was in bad condition the cover is signed by ROY, but! never the less the vinyl was in mint condition. The record by the late ROY PORTER call “In A Groove”, I’ve Google this record and cannot find it, I’ve also came across it once on Ebay with out a cover at $250. Is been about a month since I got it, and today I will listen to it… Sometimes it takes a “minute” (a long time) for us to Listen (ironically) something we got for the collection. ROY PORTER “In A Groove” LP (obo: $20)
The other record (7″) is by the mystic man himself Mr Sunny Ray Aka SUN RA. I’ve taken a pic of the details in an artistic way, so hope you can get some info from it. This records was obtained on Ebay. SUN RA “I am Strange / I am an Instrument” ($5.50 + shipping)
On Oct 4th, 2009 Gil Scott visit Los Angeles to stop at EL REY Theater for one of his tours’ presentation. Along with Orgone Band and Dj Jeremy Sole (AfroFunke), Gil gave us some stand-up comedy and a bit of what is happening in his life. His Book about a performance with Stevie Wonder that took off to be an all year round tour in tribute to Martin Luther King Jr., his problems with the law and addiction, as well as his new CD / project out in a few months. Gil gave us himself and more… It was a blessings seeing the legend on stage and healthy than ever. “The Revolution will not be televised”
http://www.zshare.net/download/945993254373fcd4/
Albert Tootie Heath
Percy Heath
Stanley Cowell
Listen Recovery 