etnobofin

Here, in unexpurgated glory, is the complete, original story of the Journey to Paradise. Thanks to Rushan for spurring me on to dig this up! I wrote this short story in mid 2002. It is inspired by an actual journey taken in that year by a certain special group of people , to a place that is marked on maps of New Zealand as “Paradise”. Yes, it is a real place, although I am still not sure to this day where it actually is.

The attempts by Charles Mingus to work with supersized bands in his own lifetime were plagued by logistical, musical and personal obstacles. A combination of inadequate rehearsals, changes forced by promoters and record companies, the ambitious nature of Mingus’ orchestral vision, (and in no small part Mingus’ own famously explosive temper) conspired to make appearances by a Mingus Orchestra rare and frustrating for all concerned.

In fact some of the highlights of these concerts came not from the planned and arranged tunes, but from spontaneous music that was created in some ways to cover up for the often abysmal playing and sightreading!

The October 1962 New York “Town Hall Concert” was the first attempt by Mingus to record his Epitaph suite, and became one of the most famously bungled gigs in the history of jazz. The entire, almost unbelievable saga is recounted by Gene Santoro in the Village Voice (thanks to be.jazz for posting this recently!). As midnight approached and the concert slowly dissolved into chaos, trumpeter Clark Terry started the opening riff from Ellington’s “In a Mellow Tone“. The band quickly caught on, and the performance is exciting because it is completely unrehearsed, and born out of total frustration. We hear solos by Pepper Adams (bs), Clark Terry (tp) and Britt Woodman (tb).

Mingus’ New York “comeback” concert in February 1972 was perhaps less eventful, but again the juggernaut barely kept itself on the rails. At the end of a less-than-satisfactory first half, Mingus tried to reignite the evening by launching into a funky, dirty blues. Gene Ammons (ts) followed his lead, and the resulting jam (named “Mingus Blues“) is one of my favourite Mingus recordings.

Charles Mingus Orchestra – In a Mellow Tone
From The Complete Town Hall Concert: Blue Note 28353 2 5 [Buy]

Charles Mingus Orchestra – Mingus Blues
From Charles Mingus and Friends in Concert: Columbia C2K 64975 [Buy]

Some of the conversations I’ve been reading in the non-musical blogosphere over the past few days have given me pause for thought. So I’m going to digress momentarily from my normal line of writing. (There is an mp3 at the end, so you can skip to that if you want…)

Rushan and friends have been exploring ways that we come closer to being who we truly are, not only by dropping the masks we use so often in our daily interactions, but by acknowledging that we, as individuals, are not complete without a community around us. A quote from M. Scott Peck:

“…we can never be completely whole in and of ourselves. We cannot be all things to ourselves and to others. We cannot be perfect. … So we are called to wholeness and simultaneously to recognition of our incompleteness; called to power and to acknowledge our weakness; called to both individuation and interdependence.”

As something of an rugged individual myself, it’s often hard to recognize that I am very dependent on others to become more like who I am – whether within my family, at work, at church or in music. For example, I’m very fortunate to have discovered such strong musical colleagues in one million dollars, the Brassouls and Vitamin S to help focus my musical ramblings. My family supports me and forgives my faults unconditionally. (Dunno why). And if I value them enough, friends far and near will always be there along the journey.

The same gratitude applies in the little blue and green blogosphere in which etnobofin floats. This blog would be of limited value without the readers and fellow bloggers who visit every so often, and who hopefully discover some new things. It is very reassuring that there are so many people out there who share some of my enthusiasms.

So this post is for all of you, wherever you are. In this world where our relationships with others seem often defined by which XML feeds we subscribe to, let’s celebrate the communities that really bind us together and make us whole. Peace, and kia kaha.

Sly and the Family Stone – Family Affair
From There’s a Riot Going On: Sony 467063 [Buy]

I’ve been away travelling for the past few days, so have been somewhat insulated from news reports describing the unimaginable events in New Orleans and the Gulf Coast of the USA. As with other recent disasters of massive proportions, our thoughts, prayers and support go to all those affected and to those who are working to clean up and repair the lives of millions of people.

But of course, New Orleans is also the town of Buddy Bolden, Jelly Roll Morton, Freddie Keppard, Louis Armstrong, the Marsalis family, Fats Domino, the Neville Brothers, Dr John and Nicholas Payton (to name but a few natives). The Village Voice is already contemplating the potential loss of musical history, while David Freedman of WWOZ-FM worries whether the current NOLA music scene will ever regain its vitality.

In hope of a rapid return to normal transmissions in the cradle of so much music we love, here’s the city’s most famous son, recorded live at Carnegie Hall in 1947. He is joined by Billie Holiday on vocals.

Louis Armstrong and His Orchestra – Do You Know What it Means to Miss New Orleans
From Satchmo in the 40s: ASV Living Era AJA 5402 [Buy]