w/ James Singleton Quartet at Cafe Istanbul- Wed 31, July at 9pm

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James Singleton- bass, composer, leader, legend

Mike Dillon- assorted percussion, stamina, and other experimental fits with a high creative yield
Tim Green- sax, deep thought, style, will cut through those barriers that perpetuate the isolation
 

I will be playing with that bunch.  The last few times have all been epic, and completely different from each other.  I think you like music...you should struggle to make it in a way that nonetheless doesn't compromise your basic recreational mindset.  We will handle the other imbalances. 

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Jose Torres-Tama's Immigrants, Aliens and others show closing at Barristers Gallery, Tuesday 30th July

Performance and fine artist, Jose Torres-Tama and I, joined up for a collaboration on his recent works on the sidelining of immigrant laborers in New Orleans.  That was an intimate but unusual event at Barrister's Gallery in New Orleans and, there is a closing party on Tuesday the 30th of July to celebrate this pop-up gallery show.  There is also an interesting installation piece to see at the gallery by film and video artist, Alberto Romero.

For more info on the current work and thought see his blog...http://elbigeasyamigoblogger.blogspot.com

His website... 

The entry below on this blog has the rest of the information about the location of the show and other particulars. 

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Aliens and Immigrants: performance 7/20/2013 with artist, Jose Torres-Tama

Tomorrow evening, I am honored to be involved in a collaboration with all-around visual and performance artist, Jose Torres-Tama at Barristers Gallery, New Orleans. We will be performing selections from the Aliens Performance project. The theme is the ongoing difficulties of immigrant workers to gain a voice in the cultural landscape of New Orleans despite their massive contribution to the reconstruction and revivication of the city after hurricane Katrina and the injustices of identity manipulation from American ignorance.   The performance will happen amidst the opening of Torres-Tama's gallery exhibit of his other related photographs, paintings and other artworks.

playing tonight 7/17-stellar lineup at Cafe Istanbul, NOLA 10pm

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Tonight 7/17 will be a special Naked On The Floor show at Cafe Istanbul-  in the Marigny.

The lineup will be- 

Rick Trolsen- Trombone
Jeff Albert- Bass Trombone
Tim Green- Tenor Sax
James Singleton-Bass
Jonathan Freilich Guitar
Paul Thibodeaux- drums

   New arrangements, compositions, and band personnel.   

   Support for this great varietal of improvised, sociable music is critical and your presence is the provider. The playing will be spiked with musical titillation to show our gratitude for your attention.  

   You also get to be helping, by default, a great club that is showcasing many more varieties of worthy, novel , soulful expression.

 

Playing tonight with cellist, Helen Gillet at Baccanal, NOLA

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Come by Bacchanal tonight, 7:30-10:30pm to check out a duo show with Helen Gillet.  There will be improvisations, French music, other types of songs, Helen's solo pyrotechnics.  It's a revisit of the old Monday night weekly . 

Bacchanal is located at 600 Poland Ave in Bywater, New Orleans

Part 2 of audio interview with Jimmy "King James" Horn, leader of the Special Men

Part 2 of the audio interview with Jimmy Horn is up. To go directly to the interview click here...

 To hear part 1 start here... 

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The breakdown of who Jimmy is and what he is up to starts there.  Check it out if you are in anyway interested in the goings on in the New Orleans music scene.     

 

NEW SITE! Itunes podcast temporarily interrupted

Yes, it's true...a new site for your enjoyment but the same content is available.  Leave comments if there are things that would improve the site.  I will have the itunes feed straightened out soon.

I thought it would be nice to kick off with this fascinating interview with King James.  Check it out... 

Part 1 of Interview with Jimmy "King James" Horn of the Special Men is up

 Jimmy Horn is a fascinating musician with one of the greatest neighborhood regular gigs around: Mondays at BJ's.  That band plays great R'n'B music from all across a wide blues time span.  The band does not come off like a museum piece at all but does give the feeling that you are outside time in another rockin', blues alterverse.  Get right to the interview here...

As Jimmy explains here, the driver of that is a comfortability and fascination with all kinds of music, and especially the blues, since he was four years old.   And "all kinds of music" is really what it means- Chinese Opera to Muddy Waters, Kurdish music to Kiss.  He sees connections everywhere but really seeks to communicate with people and be in line with the sort of energy that will give them what they need on their night out.

      Here he discusses openly, his winding road toward the current King James scenario, from Utah to BJ's, time in Mississippi around Jesse Mae Hemphill and other great Mississippi musicians, Sun Ra saturation.  Playing on the street with the Royal St bunch in the 90s, The Photon Band.  Jimmy plays saxophone, bass, piano, guitar, piano and has a natural feel on each.  How does this happen?  Check out this interview with a musician who is currently picking up pace in the local scene and, probably has a lot to say to it. 

       The interview, in line with the rest on this site, is informal but informative.  You will hear the sounds of BJ's day shift in the background as well as words from harmonica player Bobby Lewis.  The interview shows again what level of interest and love musicians can take in every kind of sound phenomena and how it can cut to a very deep kind of communication that puts people together in fascinating ways.  Enjoy!

 

Upcoming audio interview with Jimmy Horn a.k.a King James (leader of the Special Men)

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Just before King James and the Special Men took off for shows in New York City, including at The Lincoln Center, I sat down with their leader, Jimmy "King James" Horn, at BJ's bar in New Orleans for a relaxed audio interview. There, at BJ's, his band, The Special Men, have been holding down one of the greatest weekly gigs in town for quite some time now.  I felt quite lucky to be able to catch some words by a bandleader riding at a crest of the project's development.

The power and delivery that make for attention grabbing music always have stories in the background that are supplying the power.  It is scarcely possible to create depth in music by mere emulation.  Imitators can be very good but they can't supply the hidden mysterious qualities in music.  King James is not an imitator but his drives musical and otherwise do come from somewhere. He has possibilities and there are reasons why the sound takes this form right now.

Transformation is discussed. 

You may figure some of it out on the interviews page.  The same place you can get the ideas of so many key New Orleans players in need of more attention.

Stand here!- read this and get moving!

Rise Up or Die

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Posted on May 19, 2013
Illustration by Mr. Fish
 

By Chris Hedges

Joe Sacco and I spent two years reporting from the poorest pockets of the United States for our book “Days of Destruction, Days of Revolt.” We went into our nation’s impoverished “sacrifice zones”—the first areas forced to kneel before the dictates of the marketplace—to show what happens when unfettered corporate capitalism and ceaseless economic expansion no longer have external impediments. We wanted to illustrate what unrestrained corporate exploitation does to families, communities and the natural world. We wanted to challenge the reigning ideology of globalization and laissez-faire capitalism to illustrate what life becomes when human beings and the ecosystem are ruthlessly turned into commodities to exploit until exhaustion or collapse. And we wanted to expose as impotent the formal liberal and governmental institutions that once made reform possible, institutions no longer equipped with enough authority to check the assault of corporate power.

What has taken place in these sacrifice zones—in postindustrial cities such as Camden, N.J., and Detroit, in coalfields of southern West Virginia where mining companies blast off mountaintops, in Indian reservations where the demented project of limitless economic expansion and exploitation worked some of its earliest evil, and in produce fields where laborers often endure conditions that replicate slavery—is now happening to much of the rest of the country. These sacrifice zones succumbed first. You and I are next.

Corporations write our legislation. They control our systems of information. They manage the political theater of electoral politics and impose our educational curriculum. They have turned the judiciary into one of their wholly owned subsidiaries. They have decimated labor unions and other independent mass organizations, as well as having bought off the Democratic Party, which once defended the rights of workers. With the evisceration of piecemeal and incremental reform—the primary role of liberal, democratic institutions—we are left defenseless against corporate power.

The Department of Justice seizure of two months of records of phone calls to and from editors and reporters at The Associated Press is the latest in a series of dramatic assaults against our civil liberties. The DOJ move is part of an effort to hunt down the government official or officials who leaked information to the AP about the foiling of a plot to blow up a passenger jet. Information concerning phones of Associated Press bureaus in New York, Washington, D.C., and Hartford, Conn., as well as the home and mobile phones of editors and reporters, was secretly confiscated. This, along with measures such as the use of the Espionage Act against whistle-blowers, will put a deep freeze on all independent investigations into abuses of government and corporate power.

Seizing the AP phone logs is part of the corporate state’s broader efforts to silence all voices that defy the official narrative, the state’s Newspeak, and hide from public view the inner workings, lies and crimes of empire. The person or persons who provided the classified information to the AP will, if arrested, mostly likely be prosecuted under the Espionage Act. That law was never intended when it was instituted in 1917 to silence whistle-blowers. And from 1917 until Barack Obama took office in 2009 it was employed against whistle-blowers only three times, the first time against Daniel Ellsberg for leaking the Pentagon Papers in 1971. The Espionage Act has been used six times by the Obama administration against government whistle-blowers, includingThomas Drake.

 

The government’s fierce persecution of the press—an attack pressed by many of the governmental agencies that are arrayed against WikiLeaks, Bradley Manning, Julian Assange and activists such as Jeremy Hammond—dovetails with the government’s use of the 2001 Authorization for Use of Military Force to carry out the assassination of U.S. citizens; of the FISA Amendments Act, which retroactively makes legal what under our Constitution was once illegal—the warrantless wiretapping and monitoring of tens of millions of U.S. citizens; and of Section 1021 of the National Defense Authorization Act, which permits the government to have the military seize U.S. citizens, strip them of due process and hold them in indefinite detention. These measures, taken together, mean there are almost no civil liberties left.

Bacchanal gig tonight! Very interesting lineup

Join us tonight for a Pan-Amero-Caribbean Ecstatic Naked Dithyramb at the bar named for the God of all that...Bacchanal in New Orleans from 7:30-10:30pm. Corner of Chartres and Poland.

Tim Green-saxophone
James Singleton-bass
Hector Gallardo-Cuban percussion systems
Jonathan Freilich-guitar

You'd be crazy to miss! Interesting music, great food, possible sacrifices varying from blood to the extremely symbolic and unknowingly abstract.

See you there

Naked on the Floor rides again

James Singleton-Bass
Dan Oestreicher-Bari sax
Rex Gregory-Tenor Sax
Rick Trolsen-Trombone
Paul Thibodeaux-Drums
Jonathan Freilich-Guitar

What an interesting and strong lineup for a concert at the Circle Bar (Lee Circle, New Orleans).

New arrangements and I guarantee as yet unknown and exciting exploration. Heights of sociable music.

Oestreicher, saxophonist with Trombone Shorty is also interviewed on this site- poke around and get a listen on the audio page. Look for Rex Gregory's while you're there.

See you tomorrow!

Circle Bar Show tonight

M'luds, Ladies and Gentlemen, I'm pausing the words on the death of the constitution and the snarky spy humor (see facebook) to bring the following announcement:

Tonight at the circle bar in New Orleans at 10:30pm I'll be performing withAlex McMurrayDoug Garrison and Bill Malchow. We will be engaging in everybody's favorite form of offline subversion- MUSIC! - the good kind. Cheaper than a Po' Boy (now a local designer sandwich). 
For those of you concerned with class and respectability, Mcmurray will be grass fed and fennel rubbed and rear gentrified
The great caroline valencia will be bartending. its the perfect midweek gateway to the rest of the week. Don't miss it!
See you tonight

Monday June 3rd at cafe Istanbul

Monday nights show at cafe Istanbul with James Singleton(bass), Tim Green(sax), and Mike Dillon(drums, vibes) was a vast pleasure. It was perhaps the fourth time playing on this configuration and each has been successful and completely different. One of the great factors was the quiet listening of the audience- so quiet that the miraculous happened- I was able to take an extended guitar solo on a flat body telecaster without amplification.
What a crowd! What a club!

Jazzfest performances

Playing today. 6pm at the lagniappe stage at New Orleans Jazz and Heritage Festival

Tomorrow 9pm at the big top, Clio st, New Orleans.

Bass: james singleton
Vibes/ drums- mike dillon
Saxophone- tim Green
Guitar- Jonathan Freilich

This will be a very interesting concert of improvisations and originals. Come on out

Milan Kundera on Xenakis

From Total Rejection of Inheritance or, Who is Iannis Xenakis?- Milan Kundera(1980)

 

“Can his experiments with sounds and noises that are beyond notes and scales signal a new period in the history of music?  Will they remain in the memory of music lovers? No one can say for sure.  But what will survive for sure is this gesture of immense rejection: for the first time ever, someone dared to tell European music that it is possible to abandon it.  To forget it. (Is it a coincidence that during his youth, Xenakis lived through the massacres of a civil war, was condemned to death, his handsome face having been permanently marred by a wound, came to know human nature to a greater extent than any other composer?) And I think of the necessity, in the profound meaning of this necessity, which led Xenakis to choose the world’s objective sonority over the subjective one of a soul.”