Black Music
Imamu Amiri Baraka
Language: English
Pages: 221
ISBN: 0688243444
Format: PDF / Kindle (mobi) / ePub
last one, My Favorite Things, shows Trane’s entire development, from sideman to innovator, in microcosm. Before the trilogy, and after, say, the Columbia album with Miles Davis, Milestones (the solo on “Straight, No Chaser”), it became increasingly evident to anyone who would listen that Coltrane was definitely moving into fresher areas of expression on his instrument. That solo, even though in some senses it was the most “lopsided,” ill-thought-out solo Coltrane has produced on records, still
even be used as the second group opposite some name. It’s bad enough to let so much talent go to waste, but it’s worse to let it starve. *Now closed. 1962 Introducing Bobby Bradford Bobby Bradford represents part of a “new wave” of young and extremely talented trumpet players who’ve sprung up recently. Along with Don Cherry, Freddie Hubbard, Richard Williams, Lee Morgan, Ted Curson, Don Ellis, Marcus Belgrave and a few others, Bobby Bradford seems bent on forging an entirely individual
efforts, one of the originals, “Of What,” shows exactly how melody and rhythm can be integrated to form a musical object of extraordinary power.) But this insistence, i.e., the insertion of the rhythmic pulse of the music directly into the melody, is not really innovation. (Although most of the fashionable funk merchants have almost forgotten that the rhythmic elements of a music must move, even flow … not in texture, but as far as the ideas these elements contain. I mean a static rhythm that is
the devotion (at no level of its existence is it as large, though in the poorest, most abstractly altruistic levels of churchgoing, the emotion is the devotion, and the God, the God of that feeling and movement, remains as powerful though “redistributed” somewhat). But the kind of church Black people belonged to usually connected them with the society as a whole … identified them, their aspirations, their culture: because the church was one of the few places complete fullness of expression by
Webster, Roy Eldridge and a lot of older musicians used to come in the place, too, although one of the tales about Minton’s is that Roy stopped coming in once Gillespie stopped imitating him and started blowing his own thing. Every night was cutting night, but Monday all the axes came out for real because the audiences were just about as hip as the musicians. In fact most of the audience, after a while, were musicians themselves. There had to be a feeling of freedom and the excitement that goes