Is this the end of American Exceptionalism?

There was time when the United States always seemed to occupy the moral high  ground. This was despite numerous historical blunders. Nobody remembers the Spanish- American War in the early 1900s and the bad outcomes in the Philippines and Cuba; Or the numerous fiascos in Central America; The ongoing isolation of Cuba; The overthrow of the democratically elected government in  Iran and,  the biggest one of all, the war in Vietnam. Well, everybody still remembers Vietnam and, in a forgiving mood,  lists it as “an unfortunate mistake” for which the US paid dearly. More recently, the debacles in the Middle East (Iraq, Afghanistan and Syria) have some what tarnished that notion of the moral high ground but despite all of these questionable adventures there was the underlying notion that the Americans were the exception, they were always the “good guys”. America’s participation in World War II, The Marshall Plan and championing of the United Nations are all good memories of America’s benevolent actions and intentions. The Donald Trump presidency has all but demolished that notion. In the administration’s mad rush to blame everybody or anybody for their own short comings the USA is coming across as petty, vindictive and maybe even evil; Here are a couple of very recent magazine articles underscoring that the USA is no longer perceived as the “good guy” or as even exceptional anymore.

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The Rest of the World Is Laughing at Trump

The president created a leadership vacuum. China intends to fill it.

Anne Applebaum – Staff writer at The Atlantic  

It looks, at first, like one of a zillion unfunny video clips that now circulate on the internet: “Once Upon a Virus” features cheap animation, cheesy music, and sarcastic dialogue between China—represented by a Lego terra-cotta warrior with a low, masculine voice—and the United States, represented by a Lego Statue of Liberty with a high, squeaky voice. They “speak” in short sentences:

“We discovered a new virus,” says the warrior. “So what?” says the Statue of Liberty.

“It’s dangerous,” says the warrior. “It’s only a flu,” says the Statue of Liberty.

“Wear a mask,” says the warrior. “Don’t wear a mask,” says the Statue of Liberty.

“Stay at home,” says the warrior. “It’s violating human rights,” says the Statue of Liberty

The dialogue goes on like that—“It will go away in April,” the Statue of Liberty says at one point—until it ends, finally, with the statue on an intravenous drip making wild and contradictory statements while the warrior jeers at her.

Although this looks like an I’m-bored-at-home amateur production, it is not: The video was published on April 30 by Xinhua, the official Chinese news agency. It has since been promoted by Chinese diplomats and watched, as of yesterday afternoon, by more than 1.6 million people around the world.

It has also been mocked and denounced as crude propaganda—which, of course, it is. Crude propaganda is what China’s leaders do, both at home and abroad, and since the pandemic began they have stepped up their efforts. But even those who are mocking should beware: Anybody who knows any history will be aware that propaganda—even the most obvious, most shameless propaganda—sometimes works. And it works not because people necessarily believe that all of it is true, but because they respect the capabilities or fear the power of the people who produced it.

Propaganda also works best in a vacuum, when there are no competing messages, or when the available alternative messengers inspire no trust. Since mid-March, China has been sending messages out into precisely this kind of vacuum: a world that has been profoundly changed not just by the virus, but by the American president’s simultaneously catastrophic and ridiculous failure to cope with it.

The tone of news headlines ranges from straight-faced in Kompas, a major Indonesian news outlet—Trump Usulkan Suntik Disinfektan dan Sinar UV untuk Obati Covid-19, or “Trump Proposes Disinfectant Injection and UV Rays to Treat COVID-19”—to snide, from Le Monde in France—Les élucubrations du « docteur » Trump, or “The Rantings of ‘Doctor’ Trump.” The incredulous first paragraph of an article Sowetan, from South Africa, declares that “US President Donald Trump has again left people stunned and confused with his bizarre suggestion that disinfectant and ultraviolet light could possibly be used to treat Covid-19.” El Comercio, a distinguished Peruvian newspaper, treated its readers to photographs of Deborah Birx, the White House coronavirus-response coordinator, grimacing as the president asked her whether the injection of disinfectant might be a cure.

Quotations from the president’s astonishing April 23 press conference have appeared on every continent, via countless television channels, radio stations, magazines, and websites, in hundreds of thousands of variations and dozens of languages—often accompanied by warnings, in case someone was fooled, not to drink disinfectant or bleach. In years past, many of these outlets presumably published articles critical of this or that aspect of U.S. foreign policy, blaming one U.S. president or another. But the kind of coverage we see now is something new. This time, people are not attacking the president of the United States. They are laughing at him. Beppe Severgnini, one of Italy’s best-known columnists, told me that while Italians feel enormous empathy for Americans who have suffered as they have, they feel differently about Trump: “In this time of darkness and depression, he keeps us entertained.”

But if Trump is ridiculous, his administration is invisible. Carl Bildt—a Swedish prime minister in the 1990s, a United Nations envoy during the Bosnian wars, and a foreign minister for many years after that—told me that, looking back on his 30-year career, he cannot remember a single international crisis in which the United States had no global presence at all. “Normally, when something happens”—a war, an earthquake—“everybody waits to see what the Americans are doing, for better or for worse, and then they calibrate their own response based on that.”

This time, Americans are doing … nothing. Or to be more specific, because plenty of American governors, mayors, doctors, scientists, and tech companies are doing things, the White House is doing nothing. There is no presidential leadership inside the United States; there is no American leadership in the world. Members of the G7—the U.S. and its six closest allies—did meet to write a joint statement. But even that tepid project ended in ludicrous rancor when the American secretary of state, Mike Pompeo, insisted on using the expression “Wuhan virus” and the others gave up in disgust. Not only is the president talking nonsense, not only is America absent, but the nation’s top diplomat is a caricature of a tough guy—someone who throws around insults in the absence of any capacity to influence events.

Others are drawing even more radical conclusions, and with remarkable speed. The “disinfectant” comments—and the laughter that followed—mark not so much a turning point as an acceleration point, the moment when a transformation that began much earlier suddenly started to seem unstoppable. Although we are still only weeks into this pandemic, although the true scale of the health crisis and the economic catastrophe is still unknown, the outline of a very different, post-American, post-coronavirus world is already taking shape. It’s a world in which American opinions will count less, while the opinions of America’s rivals will count more. And that will change political dynamics in ways that Americans haven’t yet understood.

Look beyond the Lego video at China’s more serious public-relations campaign: the stunts at airports around the world, from Pakistan to Italy to Israel, designed to mark the arrival of Chinese aid—masks, surgical gowns, diagnostic tests, and sometimes doctors. These events all have a similar script: The plane lands; the receiving nation’s dignitaries go out to meet it; the Chinese experts emerge, looking competent in their hazmat gear; and everyone utters words of gratitude and relief. Of course some of this, too, is propaganda.

In reality, some of the equipment billed as aid has been purchased, not donated. Some of it, especially the diagnostic tests, has turned out to be defective. Some of those who receive these goods also know perfectly well that they are designed to silence questions about where the virus came from, why knowledge of it was initially suppressed, and why it was allowed to spread around the world. If, in these circumstances, the propaganda “works,” that’s because those who receive it have made a calculation: Pretending to believe it is a way of acknowledging and accepting Chinese power—and, perhaps, a way of expressing interest in Chinese investment.

In the Western world, this dynamic has played itself out with striking success in Italy. Flattened by the virus and depressed by the lock down, Italians are deeply divided by years of conspiratorial social-media campaigns, some with Russian backing, that have attacked Italy’s traditional alliances, NATO as well as the European Union. China has added its own unsubtle social-media campaign. Bots have been promoting Chinese-Italian-friendship hashtags (#forzaCinaeItalia) and thank-you-China hashtags (#grazieCina). But there is another, less visible layer of activity, too.

A year ago, Italy became the core European member of the Belt and Road Initiative, the Chinese trade-and-infrastructure project designed to create deeper links across Eurasia and to provide an alternative to the transatlantic and Pacific trade pacts quashed by Trump. Foreign Minister Luigi Di Maio, until recently the leader of Italy’s anti-EU Five Star Movement, has cultivated links to China too. Chinese investment has gained importance. Already, a Chinese oligarch has bought the Inter Milan soccer club; Chinese banks already own big stakes in Italian companies like Eni and Fiat.

Thanks to the economic havoc created by the coronavirus, China’s efforts in Rome may now bear fruit. Maurizio Molinari, the editor of La Repubblica, told me that Chinese businessmen are right now building on their contacts, looking for companies and properties to buy, scouting out factories that are suddenly bankrupt and entrepreneurs who want to sell out. I asked him what the source of China’s appeal was right now: “Money,” he replied. By contrast, the most conspicuous gesture that the U.S. administration has made in Italy’s direction since the pandemic began was Trump’s abrupt decision to ban flights. Apart from a modest and belated aid package, little in the way of friendship came from the United States.

Chinese propaganda may find unexpectedly fertile ground elsewhere too. Chinese aid has also been delivered to Japan and South Korea, two U.S. allies who have sought close relationships with Trump and have received, in exchange, demands that they pay more for American bases. As close neighbors and former foes, both countries have many reasons to be wary of China. But now that Trump is a laughingstock, now that America is absent from the game, some in both Tokyo and Seoul may conclude that they should start hedging bets. China has also offered major assistance to Iran, a country that had already been given a major role as a Belt and Road hub. Iranian leaders now have extra reasons to hope they can outlast sanctions if the American president calling for them need not be treated as a serious person.

China’s relationships with the Arab world have also deepened during the pandemic. Qatar, Saudi Arabia, and Kuwait sent aid to Wuhan during the earlier part of the crisis; later, China reciprocated. The foreign minister of the United Arab Emirates has described China as the role model to follow in this crisis. On March 8, Chinese medical workers arrived in Baghdad—an advance team, perhaps, poised to take advantage of the inevitable American retreat. In each one of these places, America is absent, distracted, stumbling—and laughable.

To be absolutely crystal clear: I am not praising China’s efforts. I am simply calling attention to the fact that, in a world where people laugh at the American president, they might succeed. Inside the bubble of officials who surround Pompeo, it may well seem very brave and cutting-edge to use the expression “Wuhan virus” or to call for bigger and bolder rhetorical attacks on China. But out there in the real world—out there in the world where Pompeo’s boss is perceived as a sinister clown, and Pompeo himself as just the sinister clown’s lackey—not very many people are listening. Once again: A vacuum has opened up, and the Chinese regime is leading the race to fill it.

Judging from their own recent statements, Trump-administration officials do not yet understand the significance of the chaos they have created in place of what used to be American foreign policy. Pompeo has spent time in recent days trying to organize sanctions on Iran, as if Russia and China or even European allies were still willing to follow his lead. Philip Reeker, assistant secretary of state for Europe (or rather, acting assistant secretary of state for Europe, because the Trump administration is in constant chaos) was recently asked by French journalists  whether the coronavirus crisis could repair the poor state of transatlantic relations. His pompous response made him sound like a member of the Soviet nomenklatura at the end of the 1980s: “I don’t agree with the premise of your question,” Reeker said, before claiming that transatlantic engagement, and particularly Franco-American cooperation, is “remarkable.” Yes, it’s remarkable—remarkably invisible.

Even the more learned analyses of U.S.-China relations suddenly look out of sync with reality. It’s all very well for think-piece authors or former Trump-administration officials to suggest that a post-pandemic America must change its relationships with China, rally its allies to defy China, and rewrite the rules of commerce to exclude China. But when Trump seeks to lead the world against China, who will follow? Italy might refuse outright. The European Union could demur. America’s close friends in Asia might feel nervous, and delay making decisions. Africans who are furious about racism in China—African students have been the focus of heavy discrimination in the city of Guangzhou—might well do a quick calculation and seek good relations with both sides.

I wish I could say for certain that a President Joe Biden could turn this all around, but by next year it may be too late. The memories of the prime minister at the airport, welcoming Chinese doctors, will remain. The bleach jokes and memes will still cause the occasional chuckle. Whoever replaces Pompeo will have only four short years to repair the damage, and that might not be enough.

And if Trump wins a second term? Any nation can make a mistake once, elect a bad leader once. But if Americans choose Trump again, that will send a clear message: We are no longer a serious nation. We are as ignorant as our thoughtless, narcissistic, ignorant president. Don’t be surprised if the rest of the world takes note of that, too.

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Trump and the Yellow Peril

By Gwynne Dyer. Dated: 5/5/2020 12:13:25 AM

An accidental leak from a BSL4 lab would be a rare and very serious mistake, but that’s probably not what happened in Wuhan, and in any case it’s clear that no hostile intent was involved. The US national intelligence director’s office has determined that Covid-19 “was not man made or genetically modified.”

It was completely predictable that Donald Trump would try to blame China for the fact that at least 30 million Americans are unemployed and that 70,000 Americans have already died of Covid-19. His polling numbers are down and the election is only seven months away. What else was he going to do? Blame himself?
That’s why we’re now getting the good old ‘Yellow Peril’ defence, fresh from the late 19th century. As a memo sent out by the National Republican Senatorial Committee to Republican candidates put it: “Don’t defend Trump, other than the China Travel Ban – attack China.”
The Coronavirus now spreading death across the world certainly originated in China. The Chinese government itself said so, before it started prevaricating after Donald Trump began using China as a scapegoat. There was at least a week’s delay in late December when officials in Wuhan didn’t report the outbreak to Beijing, fearing they would be blamed for alarmism, or simply for letting it happen. That’s when Dr. Li Wenliang wrote in a private WeChat group: “7 confirmed cases of SARS were reported [to hospital] from Huanan Seafood Market.” It wasn’t really Severe Acute Respiratory Syndrome. It was a new Coronavirus closely related to SARS, which had caused a much smaller but lethal epidemic in 2002. But Wuhan officials didn’t want to believe it, and on 3 January Li got a warning from the local police to stop “making false comments on the Internet”.
Six days later the first person in Wuhan died of what we now call Covid-19. On the same day, 9 January, the World Health Organisation (which Trump now vilifies as ‘China’s public relations agency”) announced that China had reported the emergence of a new Coronavirus like those that caused the SARS and MERS epidemics.
So there was at least a week when Chinese officials at the local or national level had the information and hesitated to publish it, partly because they weren’t sure yet themselves. But only two days later Chinese scientists published the full genetic sequence of Covid-19 so that researchers everywhere could start working on potential treatments and vaccines.
Other East Asian countries that had experience of SARS understood the seriousness of the WHO warning and promptly began diligent testing, tracing and isolation of infected persons. As a result, they never had to go into lockdown (South Korea has had 250 deaths; Taiwan had 6). China did a partial lockdown, but is now up and running again.
But then the real delay happened, and it had nothing to do with when China reported the disease. The point is that Western countries did nothing serious about the pandemic for an astonishing TWO MONTHS after that.
Trump boasts that he banned travel from China to the United States early, but in fact the United States was the 41st country to declare such a ban, on 2 February. And it was a very leaky ban, affecting only non-US citizens. Another 40,000 US citizens and permanent residents flew in from China during the next two months, many not being checked for Coronavirus at all.
Italy started locking down some municipalities in the country’s badly hit north in late February, but no European country went into national lockdown until 9 March. The United Kingdom waited a further two weeks after that, until 24 March. The United States never did a national lock down, but most states had social distancing policies in place by early April.
Those even longer delays explain why the UK and the US are on track to be the two countries with the highest Covid-19 death rates, but why did they all wait so long. Why weren’t they at least setting up comprehensive testing, tracing and contacting systems and making more ventilators and protective clothing back in January? Did they think they were exempt?
That’s probably what they did think, and their people are now being punished for their governments’ arrogance. But Donald Trump’s attempt to shift the blame for a huge US death toll and a looming economic disaster onto China is utterly cynical and false. The problem wasn’t a week’s delay in China; it was a couple of months’ delay in America.
If it should turn out that the first human infections with Covid-19 were due to a leak from the Bio-safety level 4 Wuhan Institute of Virology, not at the Huanan Seafood Market in the same city, it changes nothing. BSL4 labs (there are around twenty in the world) routinely work with dangerous viruses, because otherwise we’d never develop defences against them.
An accidental leak from a BSL4 lab would be a rare and very serious mistake, but that’s probably not what happened in Wuhan, and in any case it’s clear that no hostile intent was involved. The US national intelligence director’s office has determined that Covid-19 “was not man made or genetically modified.”
That will not stop Donald Trump from scapegoating China, even at the risk of causing a new Cold War. Never mind the fate of the world. It’s the fate of Trump’s presidency that’s at stake here.
*(Gwynne Dyer’s new book is ‘Growing Pains: The Future of Democracy (and Work)’.

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In times gone by Americans believed implicitly in the “Manifest Destiny Doctrine”. It was  a phrase coined in 1845, that encapsulated the idea that the United States is destined—by God, its advocates believed—to expand its dominion and spread democracy and capitalism across the entire North American continent. By extension, adherents of the policy believed that the American people and institutions possessed special virtues that fitted them for their expanding role, first in North America then though out the world. The United States had a mission to redeem and remake the west in the image of agrarian America. Manifest Destiny may no longer be officially on the foreign policy table but every action of the USA on the international stage seems to bear fragments of that original doctrine. Most Americans might not think in terms of Manifest Destiny but there is no doubt the notion of “American Exceptionalism” still has a grip on the American imagination. The Covid-19 pandemic has given a severe blow to that notion. Despite massive wealth and resources the United States has been dealt a massive blow to its self image of “Exceptionalism”. Americans too can die in massive numbers from a pandemic. American ingenuity, organizational, political skills and system of government have not been up to the challenge posed by the pandemic. America has stumbled in its response to the disease and there has been no “Exceptional” plan or response to the pandemic. Americans can die and are dying in massive numbers from the pandemic.

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Lee Konitz (October 13, 1927 – April 15, 2020)

Every generation has its “Classic Jazz Era” with its distinctive style of performance and musicians. In the 1920s it was the original “Jazz Age” with master musicians such as Louis Armstrong, Sydney Bechet, Bix Beiderbecke, Joe Oliver, Edie Lang, etc. In the 1930s it was a transition into the “Swing Era” with the Fletcher Henderson, Duke Ellington, Count Basie Orchestras and the emergence of the Saxophone as a major solo instrument. In the 1940s it was “The Swing Era” with Benny Goodman, Artie Shaw and of course Duke Ellington and Count Basie. By the 1950s Jazz as a popular musical form had faded but the ” The Bebop Era” was probably the most vibrant musical style to ever grace the Jazz scene. It still has a major impact on the way Jazz is being played today. Charlie Parker on Alto Saxophone was the major Bebop innovator and a giant influence on all jazz performers of that era and all jazz performers since. In the 1960s the musical jazz styles of what could be called the “Blue Note Years” became diversified across a number of styles that included Cool Jazz, Hard Bop and Soul and featured the likes of Art Blakey, John Coltrane, Sonny Rollins, Dave Brubeck and of course Miles Davis and  Lee Konitz.

In the years since then Jazz has continued to evolve into a plethora of styles and a number of musicians who came to fame in Blue Note years have continued to perform well into their sunset years with major contributions to the art form. This obituary in the New York Times, April 16, 2020 by

Lee Konitz, Jazz Saxophonist Who Blazed His Own Trail, Dies at 92

He was a pioneer of the cool school, but he resisted pigeonholing and focused on “making a personal statement.” He died of complications of the coronavirus.

Lee Konitz, a prolific and idiosyncratic saxophonist who was one of the earliest and most admired exponents of the style known as cool jazz, died on Wednesday in Manhattan. He was 92.His niece Linda Konitz said the cause was complications of the coronavirus. She said he also had pneumonia.

Mr. Konitz initially attracted attention as much for the way he didn’t play as for the way he did. Like most of his jazz contemporaries, he adopted the expanded harmonic vocabulary of his fellow alto saxophonist Charlie Parker, the leading figure in modern jazz. But his approach departed from Parker’s in significant ways, and he quickly emerged as a role model for musicians seeking an alternative to Parker’s pervasive influence.

Where modern jazz in the Parker mold, better known as bebop, tended to be passionate and virtuosic, Mr. Konitz’s improvisations were measured and understated, more thoughtful than heated. “I knew and loved Charlie Parker and copied his bebop solos like everyone else,” Mr. Konitz told the Wall Street Journal in 2013. “But I didn’t want to sound like him. So I used almost no vibrato and played mostly in the higher register. That’s the heart of my sound.”

Although some musicians and critics dismissed Mr. Konitz’s style as overly cerebral and lacking in emotion, it proved influential in the development of the so-called cool school. But while cool jazz, essentially a less heated variation on bebop, was popular for several years — and some of its exponents, notably the baritone saxophonist Gerry Mulligan and the trumpeter and singer Chet Baker, both of whom he sometimes worked with, became stars — Mr. Konitz for most of his career was a musician’s musician, admired by his peers and jazz aficionados but little known to the general public.

This was in part because of his personality: An introvert by nature, he was never entirely comfortable in the spotlight. And it was in part because of his musical philosophy, which valued spontaneity above all else and often led him to pursue daring improvisational tangents that could leave his less adventurous listeners feeling a little lost. (His way of preparing for a performance, he once said, was “to not be prepared.”)  “My playing was about making a personal statement — getting audiences to pay attention to what I was saying musically rather than giving them what they wanted to hear, which is entertainment,” he said in the 2013 interview, referring to his early struggles to find an audience. “I wanted to play original music.” His willingness to take chances was admired by advocates of so-called free jazz, which, beginning in the late 1950s, defied established rules of harmony and rhythm. But ultimately no label, not even “cool,” really fit Mr. Konitz; he was best characterized as sui generis. Reviewing a performance in 2000 for The New York Times, Ben Ratliff called Mr Konitz “as original a player as there is in jazz” and praised the “boiled-down wisdom” of his playing, noting that “even when he is in the heat of improvisation, it sounds like someone whistling a tune he has known all his life.”

Leon Konitz was born in Chicago on Oct. 13, 1927, the youngest of three sons of Jewish immigrants. His father, Abraham, who owned a laundry, was from Austria; his mother, Anna (Getlin) Konitz, was from Russia.Inspired by Benny Goodman, he persuaded his parents to buy him a clarinet when he was 11. He later switched to saxophone, and in 1945, with the ranks of the nation’s dance bands depleted by the draft and opportunities for young musicians plentiful, he began his professional career with the Chicago-based band of Jerry Wald. His first big break came in 1947 when he joined The Claude Thornhill Orchestra, whose soft sound and pastel colors meshed well with his playing style. A subsequent stint with the more dynamic and aggressive Stan Kenton ensemble proved an uneasy musical mix but helped spread his name in the jazz world. The recordings that did the most to establish Mr. Konitz’s reputation were made in the late 1940s and early ’50s, after he had moved to New York, under the leadership of two of the most distinctive artists in modern jazz: the pianist and composer Lennie Tristano, with whom he studied for several years and whose unorthodox approach to improvisation helped shape his own; and the trumpeter Miles Davis, whose short-lived but influential nine-piece band sought to adapt the ethereal Thornhill sound to a bebop context.Those recordings, and others Mr. Konitz made as a leader in the 1950s, were widely admired by other musicians. But that admiration did not translate into work, and he struggled to find bookings; for a brief period in the ’60s he stopped performing altogether. He did not find steady employment as a musician again until the mid-’70s, when New York City experienced a small jazz renaissance. He attracted a loyal audience for his work both with small groups and with a nonet that, despite its ambitious repertoire and arrangements, ultimately did not last much longer than the Miles Davis ensemble on which it was partly modeled. He had a bigger following in Europe, where for the last several decades of his life he spent much of his time and did most of his recording. His European discography ranged in style and format from “Lone-Lee” (1974), on which he played unaccompanied, to “Saxophone Dreams” (1997), on which he was supported by a 61-piece orchestra. He was named a National Endowment for the Arts Jazz Master in 2009.

While Mr. Konitz rarely maintained a working group for more than a few months, he performed and recorded as both leader and sideman with an impressive array of top-rank musicians, ranging from the pianist Dave Brubeck (on Mr. Brubeck’s 1976 album “All the Things We Are”, which also featured the avant-garde saxophonist Anthony Braxton and the drummer Elvin Jones (on Mr. Konitz’s influential 1961 album “Motion” an experiment in spontaneity recorded without planning or rehearsal) to, in more recent years, the pianist Brad Mehldau and the guitarist Bill Frisell. In 2003, in a rare foray outside the jazz world, he played on Elvis Costello’s album “North”. Despite health problems, Mr. Konitz continued to perform into his 90s. In recent years he would often stop playing in mid-solo and continue improvising vocally.

Mr. Konitz was married three times. He is survived by two sons, Josh and Paul; three daughters, Rebecca Pita, Stephanie Stonefifer and Karen Kaley; three grandchildren; and one great-granddaughter.

Like many jazz musicians, Mr. Konitz often found himself plying his trade in bars and nightclubs where the audiences were less than completely attentive. He professed not to mind.“Wherever I’m at, I’m happy to have a chance to play,” he told the British jazz writer Les Tompkins in 1976. “People come in and say, ‘How can you work in this noisy little joint?’ I say: ‘Very easy. I take the horn out of the bag, and I put it in my mouth.’ I appreciate the opportunity.”

I came to the music of Lee Konitz by a round about route. My all time favorite Alto Sax player is Paul Desmond. Konitz and Desmond had the same light airy sound. Paul Desmond’s  contrapuntal improvisations with The Dave Brubeck Quartet led me to the Mosaic box set of “The Complete Recordings of the Paul Desmond Quartet with Jim Hall” (MDV-120). This set featured a number of delightful Bossa Nova explorations so when I stumbled on a Danish recording of Bossa Nova music featuring Lee Konitz it was a natural route to follow in exploring the music of a musician who did not have a large presence in my Jazz collection. That led me on to other Lee Konitz recordings, including the classic “Birth of the Cool” sessions with Gil Evans, Miles Davis and Gerry Mulligan and the Mosaic Box Set “The Complete Atlantic Recordings of Lennie Tristano, Lee Konitz and Wayne Marsh” (MDV-174).

In a musical career spanning around 70 years Lee has recorded masses of material that is just waiting to be explored by anybody who is interested. On YouTube alone there are heaps of his video performances.

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POSTSCRIPT :

Lee Konitz: Conversations on the Improviser’s Art (Jazz Perspectives) Kindle Edition

The preeminent altoist associated with the “cool” school of jazz, Lee Konitz was one of the few saxophonists of his generation to forge a unique sound independent of the influence of Charlie Parker. In the late 1940s, Konitz began his career with the Claude Thornhill band, during which time he came into contact with Miles Davis, with whom he would later work on the legendary Birth of the Cool sessions. Konitz is perhaps best known through his association with Lennie Tristano, under whose influence much of his sound evolved, and for his work with Stan Kenton and Warne Marsh. His recordings have ranged from cool bop to experimental improvisation and have appeared on such labels as Prestige, Atlantic, Verve, and Polydor.

This book is available from Amazon and the sample I have read is interesting. However at this particular time the cost, for me is just too high. Even the Kindle version is around $40. Here are some comments on the book…….

“Meticulously researched, detailed and documented, this long awaited overview justly establishes Konitz as one of the most consistently brilliant, adventurous and original improvisers in the jazz tradition—a genius as rare as Bird himself.” —John Zorn (a major saxophonist in his own right).

“Hamilton’s work may well mark the inception of a format new to writing on Western music, one which avoids both the self-aggrandizing of autobiography and the stylized subjectification of biography.” —The Wire

“An extraordinary approach to a biography, with the man himself speaking for extended sessions. The main vibration I felt from Lee’s words was total honesty, almost to a fault. Konitz shows himself to be an acute observer of the scene, full of wisdom and deep musical insights, relevant to any historical period regardless of style. The asides by noted musicians are beautifully woven throughout the pages. I couldn’t put the book down—it is the definition of a living history.” — David Liebman (another major saxophonist)

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Out of Nowhere: The Musical Life of Warne Marsh Kindle Edition

To study the life, times and music of Lee Konitz then one has to pay attention to Lee’s connections to music of Warne Marsh and Lennie Tristano. This book is a way into that world. The writing style is a little odd, almost a literary jazz solo on the subject matter, but worth the effort. The jazz world of the 1940’s, 50’s and 60’s was a very different musical environment .

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Covid-19: The Aftermarth

We can’t say we weren’t warned. Epidemiologists and Public Health Officials have been going on for years about the next big pandemic. In their opinion it was not a case of “if” but rather a case of “when”. In the early 2000s we even had a dress rehearsal with the SARS epidemic. By the time that was over there were 438 cases in Canada and 44 deaths. It was a wake up call for Canada and by and large the immediate post epidemic response was appropriate. Preparedness and planning were beefed up with the promise that the next time we would be ready. But, of course time has slipped by and memories have become clouded and in 2020 we were were not as ready as we could have been. The Covid-19 pan-epidemic is now with us and all around the world the infection rates are through the roof, people are dying and economic activity has come to a stand still. In Canada more than 38,00 people have been infected with the virus while more than 1,800 people have died . World wide, some 2.5 million people have been infected and 175,000 have died (April 21, 2020). Apart from the number of deaths and the economic down turn the World Food Progamme of the United Nations has also warned that up to 300 million people face food insecurity as the virus hits the undeveloped countries. “Already two things are clear. First, governments need to explain to their people that the world is not about to return to normal. Without a vaccine or a therapy, life will be constrained and economies will remain depressed. Second, testing and contact-tracing are vital to keeping the virus at bay.” That is all pretty scary stuff.

Through it all, in my opinion, Canadian authorities and Canadians in general have reacted appropriately. We are still in the middle of the storm with economic activity at a stand still, stay at home orders in place, school and University closed, major sporting and cultural events, concerts  and all mass gatherings cancelled. We do not know when things will get back to “normal”. What will normal be when and if it occurs we don’t know. There is still the threat of a second wave in the fall. When it’s all over one thing for sure it will be different. In some ways I expect some things will be better.  There is lots of scary stuff out there but there are some positive things happening. Here are a couple things to ponder.

The anti-vaxxer movement is starting to have a very negative impact on people’s health. Their belief in the false notion that vaccines cause autism has led to a decrease in the number of vaccinated Americas. Last year, this created the largest measles outbreak in the U.S. since 1992. Back in 2000, it was believed that the disease had been completely eradicated in the U.S. The health problems caused by the anti-vaxxer movement have led many to fear how they will respond to COVID-19. Health officials warn that life many not completely return to normal in the United States until a COVID-19 vaccine is administered to the entire population. Over 70  potential vaccines are currently in the works across the world. However, there is some hope that the current crisis will change some anti-vaxxers’ minds.

Haley Searcy, a former anti-vaxxer, told CNN she has changed her mind about vaccines because of the pandemic. “I was just as scared of vaccines as I was of the diseases they protect against,” she said. “Since COVID-19, I’ve seen firsthand what these diseases can do when they’re not being fought with vaccines,” said Searcy. A big reason for her change of heart is her mother. “My mother has a lung disease, so if she gets COVID-19 there is no fighting it,” she added. “I learned as much as I could to speak out against misinformation in the hopes that I could convince more people to stay home and follow social distancing so that she won’t get sick.”

“So many lives are at stake, including people I care about who are very vulnerable,” Searcy said. Searcy’s fear of vaccines stemmed from a lack of knowledge on the subject. “I wasn’t actively looking for vaccine information but the more I learned, the more I realized it would help and the easier it became to recognize the lack of science in anti-vax arguments,” she said. The modern anti-vaxxer movement was born in 1998 when a fraudulent paper authored by Mr. Andy Wakefield alleged a connection between the MMR vaccine and autism. The paper was later redacted. Since, there have been over 140 peer-reviewed articles, published in relatively high impact factor or specialized journals that document the lack of a correlation between autism and vaccines. Last year, another study of over 650,000 children found there is absolutely no evidence that vaccinations cause autism.

Lynette Marie Barron, who runs an anti-vaxxer group called Tough Love, says around half of its members would take a COVID-19 vaccine. She told CNN the split is “like a 50/50, which I wasn’t expecting,” with some saying they were “so scared” of the virus that they would get a vaccine if it were available. She says that others, like herself, “don’t care” and “wouldn’t if you paid me a million dollars.” It’s telling the way people behave when in a crisis versus everyday life. Some anti-vaxxers probably get a kick out of pumping themselves up by pretending they know more than the experts. But now that vaccines are a matter of life and death, some are smartening up and listening to science.

Of course there are the irrationals out there who have not changed their minds and probably never will. After all there are some people out there that still believe the world is flat and the Americans  never landed on the moon.

  • Westix – Alberta separation was a bad idea to begin with – but COVID-19 has shown it’s never going to happen

This is an article by Max Fawcett in the Globe and Mail, April 8, 2020. Max Fawcett is a freelance writer and a former editor of Alberta Oil magazine and Vancouver magazine

In politics, timing is everything. And when it comes to Alberta’s burgeoning separatist movement, the timing of COVID-19 couldn’t be much worse. It was just last October, in the wake of the federal Liberal government’s re-election, that it appeared to be building some momentum. And while Alberta Premier Jason Kenney argued that he didn’t share their ultimate objective, he did effectively legitimize many of their other priorities by striking the “Fair Deal” panel to assess their merits. Their final report was due last week, but any recommendations it contains are almost certainly moot.

That’s because the fallout from COVID-19 is serving as a powerful reminder of how much we depend on each other and how much we’ll need to keep doing that as we emerge from its shadow. For most of us, this growing sense of social and national solidarity is a good thing.

But for Alberta’s separatist movement, it’s a major setback. That’s because, just as there are no atheists in foxholes, there won’t be many people who believe they’re better off on their own after this pandemic finally passes. As Albertans stare at the possibility of an economic downturn that’s reminiscent of the Great Depression, some of them are realizing that they could use a little help from their friends – even the ones they don’t particularly like.

This is a nightmare for those who have been dreaming about an independent Alberta, one that’s equal parts political revenge fantasy and Ayn Rand fan-fiction. Only once unshackled from the burdens of supporting the rest of the country and the ungrateful people in it who were holding them down, it suggests, will their province truly flourish.

The combination of their oil and gas resources and a determination to see them fully and unapologetically exploited would mean lower taxes, better services, more freedom and a long overdue opportunity to watch the eastern bastards freeze in the metaphorical dark.

But that dream deliberately ignored the contributions that the federal government had made to their province and its oil and gas industry. It was the federal government that helped fund the oil sands in their earliest days – and helped rescue them when a key American backer pulled out of the Syncrude consortium in 1973.

It was the federal government that implemented important tax changes in the 1990s that made the oil sands a far more attractive investment and helped kick off a decades-long building boom that disproportionately benefited Alberta. And it was the federal government that bought and is building the Trans Mountain Expansion Project, effectively doing for Alberta what the private sector couldn’t – or wouldn’t.

The separatist dream of an independent Alberta also conveniently overlooks the fact that separating from Canada wouldn’t mean separating from geography. British Columbia would still stand between them and the Pacific Ocean, and the vast majority of its residents would want no part of a right-wing Libertarian Petrostate, to say nothing of the many untreatied Indigenous communities who have made their feelings about Alberta’s favourite industry clear.

And as Assembly of First Nations National Chief Perry Bellegarde has said, the Indigenous communities that do have treaties with the federal government expect those to be respected. “You have to be careful when you go down that road of Western alienation, Western exit,” he told the CBC. “We have inherent rights; we have treaty rights, and those are international agreements with the Crown.”

  • The Demise of Vancouver’s 4/20 “Weed Fest”.

Vancouver’s 4/20 Festival had humble beginnings on April 20, 1995, when a few dozen people gathered to share and celebrate cannabis at Victory Square Park at Hastings and Cambie. Since then, 4/20 has grown into a massive cannabis protest festival, with over 150,000 attending to buy, share and celebrate cannabis in an unparalleled farmer’s market, while enjoying a free concert with internationally recognized performers. 2020 is the 26th year of the festival and was to be the fifth year at Sunset Beach. The original impetus of the festival was to bring about the legalization of Cannabis and now that has been achieved maybe it is time to move on. The results of the legalization are probably  not what was anticipated  and expected by aficionados. The corporate sector moved in; The small grow-ops are history; Heavy fines and penalties and rigid controls are in place; There are insufficient legal outlets and the black market has not faded away. Having said that the legalization of Cannabis was necessary. However, I suspect the motives of the festival organizers have changed. Perhaps they are more interested in an Oktoberfest like event with Cannabis instead of beer. Watching any news coverage of the event one can only conclude that the event is just a huge opportunity to market illegal product. The event was unsanctioned by the city, imposed significant policing and clean up costs on the taxpayers of Vancouver and generated air pollution on a massive scale. The difficulty facing City hall was how to close it down. Corvid-19 and the ban on large gatherings has taken care of that. The 2020 event was cancelled and, I suspect the ban on large events will still be in place in 2021. Will there be a 2021 4/21 Festival in Vancouver? I suspect not.

  • The Role of Women – The secret weapon in the fight against coronavirus: women

An Article by Arwa Mahdawi, Saturday April 11, 2020

Being a woman doesn’t make you better at handling a global pandemic – but women generally have to be better in order to become leaders – Female leaders are doing exceptional work

What do Germany, Taiwan and  New Zealand have in common? Well, they’ve all got female leaders and they’re all doing an exceptional job in their response to the coronavirus crisis. Tsai Ing-Wen, a former law professor, became the first female president of Taiwan in 2016 – the same year America got its first reality TV president. Tsai has spearheaded a swift and successful defence to the pandemic; despite Taiwan’s proximity to mainland China it has largely contained the virus and has just under 400 confirmed cases. It is so well prepared that it is donating 10 million masks to the US and 11 European countries.

New Zealand, led by Jacinda Ardern, is also a world leader in combating the virus. The country has had only one Corvid-19 death so far. That’s partly due to geography and size: with under 5 million people, New Zealand’s entire population is much smaller than New York’s. Being an island state also gives it a distinct advantage. However, leadership is also a factor. New Zealand has implemented widespread testing and Ardern has responded to the crisis with clarity and compassion.

Germany has been hit hard by coronavirus, but it has an exceptionally low mortality rate of arounds 1.6% (Italy’s fatality rate is 12%; Spain, France and Britain’s is 10%; China’s is 4%; America’s is 3%.) A number of factors feed into Germany’s low death rates, including early and widespread testing and a large number of intensive care beds. Again, however, the country’s leadership plays a role. As one wag on Twitter joked: if you’re asking why death rates are so low in Germany and so high in America, it’s “because their president used to be a quantum chemist and your president used to be a reality television host”. Angela Merkel, who has a doctorate in quantum chemistry, is actually the chancellor not the president, but the sentiment still holds.

Denmark (led by prime minister Mette Frederiksen) and Finland (prime minister Sanna Marin is the head of a coalition whose four other parties are all led by women) are also doing noteworthy jobs in containing coronavirus.

Correlation is obviously not causation. Being a woman doesn’t automatically make you better at handling a global pandemic. Nor does it automatically make you a better leader; suggesting it does reinforces sexist and unhelpful ideas that women are innately more compassionate and cooperative. What is true, however, is that women generally have to be better in order to become leaders; we are held to far higher standards than men. Women are rarely able to fail up in the way men can; you have to be twice as good as a man in order to be taken half as seriously. You have to work twice as hard. With a few notable exceptions (*cough* Ivanka Trump *cough*), you’ve got to be overqualified for a top job. A surplus of qualifications isn’t exactly a problem Donald Trump has. America’s response to the coronavirus crisis is arguably the worst in the world – although Britain also gets an honorable mention here. Instead of expertise, the Trump administration has led with ego. While thousands of Americans die, Trump Tweets about his TV ratings. Instead of cooperating, Trump is lashing out at the press and state leaders. It’s hard to imagine Hillary Clinton responding to a crisis in this way without being immediately impeached. Which raises the question: are some men simply too emotional to be leaders?

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We can add three Canadians to the list. Dr. Bonnie Henry is the Provincial Health Officer of British Columbia. Her signature sign off at briefings “Be Kind, Be Calm and Be Safe”  is an inspiration to us all. Dr. Thesa Tam Chief Public Health Officer of Canada is Bonnie’s Federal counterpart and Dr. Deena Hinshaw the Provincial Public Health Officer in Alberta. These three ladies are doing a stellar job in the fight against Covid-19

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When will it all be over? The optimists are pushing the envelope to get things back to “normal” ASAP. The pragmatists are looking at no earlier than mid May/June to ease some restrictions. The realists are buckling down for a long haul of at least two years of disruptions, possible second wave and third waves of infections and that the new “normal” will be completely different to what we are used to. For starters new infections need to be approaching zero and massive testing and tracking needs to be in place to ensure that no further out breaks are likely to occur.  These conditions are not likely to be met in the immediate future. There is also a need for a vaccine and that is at least two years away. In the meantime international air travel is unlikely to be resumed any time soon.  Mass cultural and sporting events will remain banned for the remainder of this year and possibly well into next year or even later. I suspect the summer Olympics in Japan will face another postponement or even cancellation. International tourism is effectively dead and will remain so for the foreseeable future. Cross border shopping will either decline or disappear. The cruise ship industry, despite a history of coming back from previous related setbacks, will likely take years to come back. This is despite loyal patrons who insist they will continue to cruise. The health insurance burden on the industry and the patrons will make it difficult to carry on business as usual.  Will the Canadian/American border open to regular traffic? If the infection numbers in the USA continue to climb I can’t see it happening? It would be difficult to enforce 14 day quarantines on visitors and returning Canadians and I can’t see the Canadian government willing to risk the importation of infectious cases. On-line shopping will  continue to grow and bricks and mortar locations will decline in numbers. Jobs that have gone to work-from-home will mostly stay that way. The Automotive industry will remain in the decline that is already self evident. Just about every aspect of what we considered normal will change and the result, given the right mid set, could end up as a plus. Just look at the environment. Most major cities over the past month have never had air quality to match the current situation. It’s time to hit the reset button and get it right this time.

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Post Script April 27, 2020:  DON’T SAY THE WHO DIDN’T TRY TO WARN US

“One of the most confounding aspects of the COVID-19 pandemic must be that we were warned, forcefully and repeatedly, that this was going to happen. In September 2019, about 60 days before a mysterious new pneumonia-like illness appeared China, and about 90 days before China formally identified a new coronavirus, an organization called the Global Preparedness Monitoring Board (GPMB) issued a frightening report called A World At Risk. A creation of the World Bank Group and the World Health Organization, the GPMB was formed in 2018 largely out of concerns identified following the 2014 Ebola outbreak in West Africa. In this, its first major report, the board painted a harrowing picture of global pandemic preparedness.

“If it is true to say ‘what’s past is prologue’ then there is a very real threat of a rapidly moving, highly lethal pandemic of a respiratory pathogen killing 50 to 80 million people and wiping out nearly five per cent of the world’s economy. A global pandemic on that scale would be catastrophic, creating widespread havoc, instability and insecurity. The world is not prepared.”

All of the shortcomings that we have experienced in our pandemic response were outlined in this report in detailed, prescient fashion: insufficient supplies of swabs, specimen containers and reagents needed to test for the virus; global shortages of masks, gloves, gowns, face shields and ventilators; public-health agencies starved of resources; mass confusion about the closing of borders, the cessation of domestic and international travel, and shelter-in-place orders. There isn’t much value in having the authors of this report and their sponsoring agencies engage in a lusty “we told you so.” But it should be said that they did tell us what was going to happen, and we ignored them. On that basis alone, any attempt to blame the WHO and other international agencies for leaving us unprepared for COVID-19 seems quite ridiculous. But that did not stop Ontario Tory MP Derek Sloan, a candidate for the leadership of his party.

In a Twitter video and in a statement issued April 21, Sloan attacked Dr. Theresa Tam, Canada’s chief public health officer, for deferring to Chinese officials who, it has been established, concealed the existence of the coronavirus when it was first identified last fall. Sloan noted that Tam, who serves on a WHO oversight committee, failed Canada when it came to pressing China for more transparency. “The truth is that the WHO serves the Communist Party of the People’s Republic of China,” Sloan wrote in his release, while accusing Tam specifically of “dutifully” repeating the “propaganda” of the Chinese government. “Dr. Tam must now either resign or be fired.”

Many rushed to condemn Sloan for his comments about Tam, including Prime Minister Justin Trudeau, who said such intolerance and racism “have no place in our country.” Senior Conservatives, including departing leader Andrew Scheer, did not criticize Sloan who, in the face of a backlash, doubled down on his allegations on Friday. “We are in a culture where political correctness and identity politics are used as a shield to deflect or even outlaw criticism,” Sloan stated. “Being called a racist for asking questions has been disappointing, though not unexpected.” Missing from Sloan’s attack, and indeed from the parallel attacks being launched against the WHO by leaders such as U.S. President Donald Trump — who withdrew hundreds of millions of dollars in funding for the WHO — is the simple fact that the very agency that is the target of their contempt begged us to prepare for a pandemic. It is the last refuge of scoundrels and cowards to wait until they are in the grips of a crisis to blame the people who warned them it was going to happen. The WHO is hardly a newcomer to mob-styled attacks. The global health agency operates under the umbrella of the United Nations and, as such, is a popular target for rabid nationalists throughout the world who believe any multi-national agency is a threat to their sovereignty. Depending on who is making the attack, the WHO has been guilty of acting too quickly and harshly, acting too little and too late, not standardizing the global pandemic response, not recommending a ban on international travel or the use of face masks early enough, or not pressing China for greater transparency in the early days following the detection of the virus.

Is the WHO guilty of any of those transgressions? There is some evidence the global health agency did not challenge China robustly enough early on, was perhaps a little late in declaring COVID-19 a pandemic and supporting measures to stop international air travel and promote the use of non-medical masks in places where social distancing is not possible. But those who have attempted to lay blame at the feet of the WHO — and that includes some really dense and ill-informed journalists — are ignoring the fact that not only did we collectively dismiss its warnings, but that the agency itself does not have the moral or legal authority to force anyone to do anything. Decisions on social distancing, sheltering in place, closing the economy and stopping travel were fully made by individual nations, or even jurisdictions within those nations. That’s why some countries that were slow to react were ravaged by COVID-19 and others fared much better.”   Dan Lett of the Winnipeg Free press

Don’t forget the name Dan Sloan, who is running for leadership of the Conservative Party, nor the Party’s lack luster response in condemning Sloan’s attacks. Once again the party has demonstrated that they are out of step with most Canadians.

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John Prine (1946-2020)

By the the mid sixties singer/song writers had replaced most instrumental music and had even nudged crooners off center stage. It seems like every high school musician had became intent on trying his or her hand at the genre. Not many of them were successful. In fact most of their efforts are gone and forgotten. To this day when a young performer gets up on stage and introduces their latest effort as a song they wrote I go into a mental cringe. Most juvenile efforts are just not up to the mark. However, in the post Gordon Lightfoot / Bob Dylan era there are standouts. In Canada there was Stan Rogers and David Francy; In Australia there was Eric Bogle and probably the most successful in North America was John Prine. Stan Rogers is dead off course, David Francy and Eric Bogle are retired and now, unfortunately, John Prine has passed away. What all these writers had in common was a deep attachment to their cultural roots and abilities to make the ordinary extraordinary. In doing so they painted mental images that are immediate and tell a story. There maybe sub-texts in and behind the songs but on first listening their songs are immediately decipherable. In fact there is no need to search for the meaning of their songs. They are clear and immediate portrayals of the human conditions. There is no Psychoanalysis  required. There is nothing else that needs to be added. The songs speak for themselves. Listen to John Prine’s Souvenirs……

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Celebrated Singer-Songwriter John Prine dies at 73 – New York Times Obituary, April 7, 2020

John Prine, the ingenious singer-songwriter who explored the heartbreaks, indignities and absurdities of everyday life in “Angel from Montgomery,” “Sam Stone,” “Hello in There” and scores of other indelible tunes, died Tuesday at the age of 73. Prine died of complications from the coronavirus at Vanderbilt University Medical Center in Nashville, Tennessee, his wife said Wednesday. Despite “the incredible skill and care of his medical team,” she said, “he could not overcome the damage this virus inflicted on his body.” Fiona Whelan Prine said last month that she had tested positive for COVID-19 and she has since recovered, but her husband was hospitalized on March 26 with coronavirus symptoms and had to be put on a ventilator before he died.

Winner of a lifetime achievement Grammy earlier this year, Prine was a virtuoso of the soul, if not the body. He sang his conversational lyrics in a voice so rough that even he didn’t like the sound all that much, until it was softened by the throat cancer surgery that disfigured his jaw late in life. He joked that he fumbled so often on the guitar, taught to him as a teenager by his older brother, that people thought he was inventing a new style. But his open-heartedness, eye for detail and sharp and surreal humor brought him the highest admiration from critics, from such peers as Bob Dylan and Kris Kristofferson, and from such younger stars as Jason Isbell and Kacey Musgraves, who even named a song after him.

In 2017, Rolling Stone proclaimed him “The Mark Twain of American songwriting.”

Prine began playing as a young Army veteran who invented songs to fight boredom while delivering the U.S. mail in Maywood, Illinois. He and his friend, folk singer Steve Goodman, were still polishing their skills at the Old Town School of Folk Music when Kristofferson, a rising star at the time, heard them sing one night in Chicago, and invited them to share his stage in New York City. The late film critic Roger Ebert, then with the Chicago Sun-Times, also saw one of his shows and declared him an “extraordinary new composer.” Suddenly noticed by America’s most popular folk, rock and country singers, Prine signed with Atlantic Records and released his first album in 1971. “I was really into writing about characters, givin’ ‘em names,” Prine said, reminiscing about his long career in a January 2016 public television interview that was posted on his website.

“You just sit and look around you. You don’t have to make up stuff. If you just try to take down the bare description of what’s going on, and not try to over-describe something, then it leaves space for the reader or the listener to fill in their experience with it, and they become part of it.”

He was among the many promoted as a “New Dylan” and among the few to survive it and find his own way. Few songwriters could equal his wordplay, his empathy or his imagination. “I try to look through someone else’s eyes,” he told Ebert in 1970. His characters were common people and confirmed eccentrics, facing the frustrations and pleasures anyone could relate to. “Sam Stone” traces the decline of a drug-addicted Vietnam veteran through the eyes of his little girl. “Donald and Lydia” tells of a tryst between a shy Army private and small-town girl, both vainly searching for “love hidden deep in your heart:”

They made love in the mountains, they made love in the streams / they made love in the valleys, they made love in their dreams / But when they were finished, there was nothing to say, / ‘cause mostly they made love from ten miles away.

“He writes beautiful songs,” Dylan once told MTV producer Bill Flanagan. “I remember when Kris Kristofferson first brought him on the scene. All that stuff about Sam Stone the soldier-junkie-daddy, and Donald and Lydia, where people make love from ten miles away — nobody but Prine could write like that.” Prine’s mischief shined in songs like “Illegal Smile,” which he swore wasn’t about marijuana; “Spanish Pipedream,” about a topless waitress with “something up her sleeve;” and “Dear Abby,” in which Prine imagines the advice columnist getting fed up with whiners and hypochondriacs.

You have no complaint,” his Abby writes back / You are what you are and you ain’t what you ain’t / so listen up Buster, and listen up good / stop wishin’ for bad luck and knocking on wood!”

Prine was never a major commercial success, but performed for more than four decades, often selling his records at club appearances where he mentored rising country and bluegrass musicians. “I felt like I was going door to door meeting the people and cleaning their carpets and selling them a record,” he joked in a 1995 Associated Press interview. Many others adopted his songs. Bonnie Raitt made a signature tune out of “Angel from Montgomery,” about the stifled dreams of a lonely housewife, and performed it at the 2020 Grammys ceremony. Bette Midler recorded “Hello in There,” Prine’s poignant take on old age. Prine wrote “Unwed Fathers” for Tammy Wynette, and “Love Is on a Roll” for Don Williams.

Others who covered Prine’s music included Joan Baez, Johnny Cash, John Denver, the Everly Brothers, Carly Simon, George Strait, Miranda Lambert, Norah Jones and Old Crow Medicine Show. Prine himself regarded Dylan and Cash as key influences, bridges between folk and country whose duet on Dylan’s country rock album “Nashville Skyline” made Prine feel there was a place for him in contemporary music. Though mostly raised in Maywood, he spent summers in Paradise, Kentucky, and felt so great an affinity to his family’s roots there he would call himself “pure Kentuckian.”

Prine was married three times, and appreciated a relationship that lasted. In 1999, he and Iris DeMent shared vocals on the classic title track of his album “In Spite of Ourselves,” a ribald tribute to an old married couple.

In spite of ourselves we’ll end up a-sittin’ on a rainbow / Against all odds, honey we’re the big door-prize / We’re gonna spite our noses right off of our faces / There won’t be nothin’ but big ol’ hearts dancin’ in our eyes

Prine preferred songs about feelings to topical music, but he did respond at times to the day’s headlines. Prine’s parents had moved to suburban Chicago from Paradise, a coal town ravaged by strip mining that inspired one of his most cutting protest songs, “Paradise.” It appeared on his first album, along with “Your Flag Decal Won’t Get You Into Heaven Anymore,” which criticized what he saw as false patriotism surrounding the Vietnam War. Many years later, as President George W. Bush sent soldiers to war, Prine had a song for that, too. In “Some Humans Ain’t Human,” he wrote: “You’re feeling your freedom, and the world’s off your back, some cowboy from Texas, starts his own war in Iraq.”

Prine’s off-hand charisma made him a natural for movies. He appeared in the John Mellencamp film “Falling From Grace,” and in Billy Bob Thornton’s “Daddy and Them.” His other Grammy Awards include Best Contemporary Folk Recording for his 1991 album “The Missing Years,” with guest vocalists including Raitt, Tom Petty, Bruce Springsteen and Phil Everly. He won Best Traditional Folk Album in 2004 for “Beautiful Dreamer.” Prine didn’t let illness stop him from performing or recording. In 2013, long after surviving throat cancer, he was diagnosed with an unrelated and operable form of lung cancer, but he bounced back from that, too, often sharing the stage with DeMent and other younger artists. On the playful talking blues “When I Get to Heaven,” from the 2018 album “The Tree of Forgiveness,” he vowed to have the last laugh for all eternity.

When I get to heaven, I’m gonna shake God’s hand / Thank him for more blessings than one man can stand / Then I’m gonna get a guitar and start a rock-n-roll band / Check into a swell hotel; ain’t the afterlife grand?

His survived by his wife, Fiona, two sons Jack and Tommy, his stepson Jody and three grandchildren.

Bob Brown/Richmond Times-Dispatch, via Associated Press

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Read any Good Books lately? (#16) – A novel for our times .

The Quarantine Station by Michelle Montbello ($3.99- Kindle)

The book spans two time frames. In the present era a woman is trying to come to terms with personal issues and a family history associated with the great “Spanish Flu” Pandemic of 1918-1920.

“When Rose Porter arrives on the shores of Sydney with little money, she must take a job as a parlour maid at the mysterious North Head Quarantine Station. It’s a place of turmoil, segregated classes and strict rules concerning employee relationships. But as Rose learns, some rules were made to be broken and Rose proceeds to break them all. 2019 … Over a century later, Emma Wilcott lives a secluded life in Sydney where her one-hundred-year-old grandmother, Gwendoline, is all she has. Gwendoline is suffering dementia and her long-term memories take her wandering at night. Emma realizes she is searching for someone from her past. Emma’s investigation leads her to the Quarantine Station where she meets Matt, the station carpenter, and together they unravel a mystery so compelling it has the power to change lives, the power to change everything Emma ever knew about herself.”

 This “book” has been sitting in my Kindle stockpile since October. Now, during this current pandemic it seemed like a good time to read it.  The book had instant appeal for me because of the setting …….. The North Head Quarantine Station in Sydney Harbor. The Quarantine Station was in operation from 1832 to 1984 and it was the Australian equivalent of the Canadian Grosse Isle quarantine station off Quebec and as such it had a rather grim history. It is situated just inside the entrance to Sydney Harbor in a very pretty spot that over looks the harbor. It no longer functions as a quarantine station and has been turned into an historical site. It is just down the road from where I used to live. I even remember a sailing trip on Sydney Harbor with a group of friends that included anchoring off the beach below the station for a picnic.  The setting, to the best of my memory is authentic, and to some extent for me it was a trip down memory lane. Of course the pandemic history is before my time but, given our current situation, it is very easy to slip into the history of the era and relate to the trials and tribulations of the Spanish Flu pandemic of 1918. “The story is an exquisitely told and beautifully realized historical tale that weaves history and fiction together.The story is a beautifully realized historical tale that I highly recommend. If you have ever lived or visited Sydney this book is a must read.

 

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Foot Notes:

  • The “Spanish Flu” was not Spanish in origin. It originally came to life during World War I in the military camps of the American Mid-West. American troops spread the infection when deployed to Europe in the latter stages of the war.
  • The historic Quarantine Station is located in Manly on Sydney’s North Head, an area which has important cultural and spiritual significance to the land’s traditional owners. The site is part of the rich history of Aboriginal occupation of the Sydney area.

    Chosen in 1832 as the ideal site for the development of a quarantine facility, due to its isolation, deep anchorage options, fresh water spring and proximity to the entrance to Sydney Harbor, the site reflects the evolving cultural landscape of colonial Australia, as well as demonstrating the impact of changing social attitudes and scientific and medical developments.

    The small but comprehensive museum relays the historical, material. social, cultural, and political influences in the evolution of the site. The site’s 65 heritage buildings reflect a rich history. The diverse character of the buildings occurred  through changing practices of use and expansions when the site’s facilities were in high demand due to larger disease outbreaks – Wikipedia

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Rick Parsons – In Memory

Obituary of Richard “Rick” Douglas Parsons

May 5, 1947 – March 16, 2020

It is with great sadness that we announce the passing of Richard Douglas Parsons on Monday, March 16, 2020 in Cranbrook, BC.

Rick was born on Salt Spring Island on May 5, 1947. After graduation, he went to Vancouver to work for BC Tel. He worked for BC Tel/Telus for 35 years. He transferred to Cranbrook (his favourite hunting grounds) in the fall of 1993. He loved the fall when he would try to get that elk. “Deer Camp” was formed in 2010, when good friends from Chilliwack would come and experience Kootenay hunting and in turn Rick would go out there and share in the Fraser River fishing.

As a young boy, Rick took piano lessons and got as far as Grade Two with the Royal Conservatory, but then came “Rock and Roll” and he ditched the piano and taught himself to play the drums. At the age of 14, he was playing at school, local dances and off island gigs. He even played for his graduation! In his 20’s he started playing organ again but then took off about 10 years to get married and raise his daughters. In 1985, after his marriage ended, he got back into playing again.

After moving to Cranbrook, Rick joined bands such as the Home Brew, Eragone, Loose Change, Diamond Forever, Little Sand Creek, East West Connections, The Choice and Resisting A Rest. He had recently debuted with Brass Monkey, just after finding out his liver was in failure.

Rick has been diagnosed with a rare form of PNET cancer 3 years ago. In 2018/2019. Rick took part in a trial treatment in Quebec. The treatment had shrunk the tumors for 6 ½ months but then the cancer rapidly took over.

Rick is predeceased by Doug Parsons and Barb Parsons.

He leaves behind his partner and soulmate; Paula Bedford, 2 daughters; Stacy, Kelly (Sean), stepdaughter; Lynn (Clint), stepson; Jason (Livi), 7 grandchildren; Mason, Callie, Micheal & Jordy, Declan & Soraya, and the newest addition Tyler.

We are going to miss his keyboards.

In lieu of flowers, Rick and his family ask that donations be made to the BC Cancer Society (PNET)

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A note from fellow musician James Neve:

Friends,

Before his passing, Rick Parsons asked me to assist Paula in parting with his musical gear, and as a long time performer and collector, there is quite a bit of gear. So, Rather than advertise directly I thought I would pull together a list, and send it out to those performers and players I know to see if you might be interested in some of the items. I did an internet search to try and find fair prices – now some of the gear is Vintage and other stuff newer and like new. So I did my best to try and set these prices. Even if you are not interested perhaps you know someone who might be so by all means pass on the attached list with my contact information.
A few items that have sold were cleaned/disinfected by me or have been stored for many weeks without human contact.
Thank you for your interest and help.
Jamie Neve
familyneve@gmail.com
250-427-4882
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McCoy Tyner – Jazz Piano Powerhouse, Is Dead at 81

New York Time Obituary, March 7, 2020 – McCoy Tyner, Jazz Piano Powerhouse, Is Dead at 81

With his rich, percussive playing, he gained notice with John Coltrane’s groundbreaking quartet, then went on to influence virtually every pianist in jazz.

Credit…Dominic Favre/European Pressphoto Agency

McCoy Tyner, a cornerstone of John Coltrane’s groundbreaking 1960s quartet and one of the most influential pianists in jazz history, died on Friday at his home in northern New Jersey. He was 81. His nephew Colby Tyner confirmed the death. No other details were provided.

Along with Bill Evans, Herbie Hancock, Chick Corea and only a few others, Mr. Tyner was one of the main expressways of modern jazz piano. Nearly every jazz pianist since Mr. Tyner’s years with Coltrane has had to learn his lessons, whether they ultimately discarded them or not. Mr. Tyner’s manner was modest, but his sound was rich, percussive and serious, his lyrical improvisations centered by powerful left-hand chords marking the first beat of the bar and the tonal center of the music.

That sound helped create the atmosphere of Coltrane’s music and, to some extent, all jazz in the 1960s. (When you are thinking of Coltrane’s playing of “My Favourite Things” or “A Love Supreme”, you may be thinking of the sound of Mr. Tyner almost as much as that of Coltrane’s saxophone). To a great extent he was a grounding force for Coltrane. In a 1961 interview, about a year and a half after hiring Mr. Tyner, Coltrane said: “My current pianist, McCoy Tyner, holds down the harmonies, and that allows me to forget them. He’s sort of the one who gives me wings and lets me take off from the ground from time to time.”

Mr. Tyner did not find immediate success after leaving Coltrane in 1965. But within a decade his fame had caught up with his influence, and he remained one of the leading bandleaders in jazz as well as one of the most revered pianists for the rest of his life.

Alfred McCoy Tyner was born in Philadelphia on Dec. 11, 1938, to Jarvis and Beatrice (Stephenson) Tyner, both natives of North Carolina. His father sang in a church quartet and worked for a company that made medicated cream; his mother was a beautician. Mr. Tyner started taking piano lessons at 13, and a year later his mother bought him his first piano, setting it up in her beauty shop

Credit…Michael Ochs Archives/Getty Images

He grew up during a spectacular period for jazz in Philadelphia. Among the local musicians who would go on to national prominence were the organist Jimmy Smith, the trumpeter Lee Morgan and the pianists Red Garland, Kenny Barron, Ray Bryant and Richie Powell who lived in an apartment around the corner from the Tyner family house, and whose brother was the pianist Bud Powell, Mr. Tyner’s idol. (Mr. Tyner recalled that once, as a teenager, while practicing in the beauty shop, he looked out the window and saw Powell listening; he eventually invited the master inside to play.)While still in high school Mr. Tyner began taking music theory lessons at the Granoff School of Music. At 16 he was playing professionally, with a rhythm-and-blues band, at house parties around Philadelphia and Atlantic City. Mr. Tyner was in a band led by the trumpeter Cal Massey in 1957 when he met Coltrane at a Philadelphia club called the Red Rooster. At the time, Coltrane, who gre up in Philadelphia but had left in 1955 to join Miles Davis’s quintet, was back in town, between tenures with the Davis band.The two musicians struck up a friendship. Coltrane was living at his mother’s house, and Mr. Tyner would visit him there to sit on the porch and talk. He would later say that Coltrane was something of an older brother to him. Like Coltrane, Mr. Tyner was a religious seeker: Raised Christian, he became a Muslim at 18. “My faith,” he said to the journalist Nat Hentoff, “teaches peacefulness, love of God and the unity of mankind.” He added, “This message of unity has been the most important thing in my life, and naturally, it’s affected my music.”In 1958, Coltrane recorded one of Mr. Tyner’s compositions, “The Believer”. There was an understanding between them that when Coltrane was ready to lead his own group, he would hire Mr. Tyner as his pianist.

For a while Mr. Tyner worked with the Jazztet, a hard-bop sextet led by the saxophonist Benny Golson and the trumpeter Art Farmer. He made his recording debut with the group on the album “Meet the Jazztet” in 1960. Coltrane did eventually form his own quartet, which opened a long engagement at the Jazz Gallery in Manhattan in May 1960, but with Steve Kuhn as the pianist. A month later, halfway through the engagement, Coltrane made good on his promise, replacing Mr. Kuhn with Mr. Tyner. That October, Mr. Tyner made its first recordings with Coltrane, participating in sessions for Atlantic Records that produced much of the material for the albums “My Favorite Things,” “Coltrane Jazz,” “Coltrane’s Sound” and “Coltrane Plays the Blues.”

Credit…Joe Alper/Morrison Hotel Gallery

Mr. Tyner was 21 when he joined the Coltrane quartet. He would remain — along with the drummer Elvin Jones and, beginning in 1962, the bassist Jimmy Garrison — for the next five years. Through his work with the group, which came to be known as the “classic” Coltrane quartet, he became one of the most widely imitated pianists in jazz. The percussiveness of his playing may have had to do with the fact that Mr. Tyner took conga lessons as a teenager from the percussionist Garvin Masseaux, and learned informally from the Ghanaian visual artist, singer and instrumentalist Saka Acquaye who was studying at the time at the Pennsylvania Academy of Fine Arts. Harmonically, his sound was strongly defined by his use of modes — the old scales that governed a fair amount of the music Mr. Tyner played during his time with Coltrane — and by his chord voicings. He often used intervals of fourths, creating open-sounding chords that created more space for improvisers.“What you don’t play is sometimes as important as what you do play,” he told his fellow pianist Marian McPartland in an NPR interview. “I would leave space, which wouldn’t identify the chord so definitely to the point that it inhibited your other voicings.”

The Coltrane quartet worked constantly through 1965, reaching one high-water mark for jazz after another on albums like “A Love Supreme,” “Crescent,” “Coltrane Live at Birdland,” “Ballads” and “Impressions,” all recorded for the Impulse label. Between tours, Mr. Tyner stayed busy in the recording studios. He made his own records, for Impulse, including the acclaimed “Reaching Fourth.” He also recorded as a sideman, particularly after 1963; among the albums he recorded with other leaders’ bands were minor classics of the era like Joe Henderson’s “Page One,” Wayne Shorter’s “Juju,” Grant Green’s “Matador” and Bobby Hutcherson’s “Stick-Up!,” all for Blue Note. When Coltrane began to expand his musical vision to include extra horns and percussionists, Mr. Tyner quit the group, at the end of 1965, complaining that the music had grown so loud and unwieldy that he could not hear the piano anymore. He was a member of the drummer Art Blakey’s touring band in 1966 and 1967; otherwise he was a freelancer, living with his wife and three children in Queens. Mr. Tyner’s survivors include his wife, Aisha Tyner; his son, Nurudeen, who is known as Deen; his brother, Jarvis; his sister, Gwendolyn-Yvette Tyner; and three grandchildren.

Just before Coltrane’s death in 1967, Mr. Tyner signed to Blue Note. He quickly delivered “The Real McCoy,” one of his strongest albums, which included his compositions “Passion Dance,” “Search for Peace” and “Blues on the Corner,” all of which he later revisited on record and kept in his live repertoire. He stayed with Blue Note for five years, starting with a fairly familiar quartet sound and progressing to larger ensembles, but these were temporary bands assembled for recording sessions, not working groups. It was a lean time for jazz, and for Mr. Tyner. He was not performing much and, he later said, had considered applying for a license to drive a cab.

He moved to the Milestone label in 1972, an association that continued until 1981 and that brought him a higher profile and much more success. In those years he worked steadily with his own band, including at various times the saxophonists Azar Lawrence and Sonny Fortune and the drummers Alphonse Mouzon and Eric Gravatt. His Milestone albums with his working group included “Enlightenment” (1973), recorded at the Montreux Jazz Festival, which introduced one of his signature compositions, the majestic “Walk Spirit, Talk Spirit.” He also recorded for the label with strings, voices, a big band and guest sidemen including the drummers Elvin Jones, Tony Williams and Jack DeJohnette.

Mr. Tyner did not use electric piano or synthesizers, or play with rock and disco backbeats, as many of the best jazz musicians did at the time; owning one of the strongest and most recognizable keyboard sounds in jazz, he was committed to acoustic instrumentation. His experiments outside the piano ran toward the koto, as heard on the 1972 album “Sahara,” and harpsichord and celeste, on “Trident” (1975).

In 1984, he formed two new working bands: a trio, with the bassist Avery Sharpe and the drummer Aaron Scott, and the McCoy Tyner Big band. His recordings with the big band included “The Turning Point” (1991) and “Journey” (1993), which earned him two of his five Grammy Awards. He also toured and made one album with the nine-piece McCoy Tyner Latin All-Stars. He was signed in 1995 to the reactivated Impulse label, and in 1999 to Telarc. From the mid-’90s on he tended to concentrate on small-band and solo recordings.

Credit…Sasha Maslov for The New York Times

In 2002, Mr. Tyner was named a National Endowment for the Arts Jazz Master, one of the highest honors for a jazz musician in the United States. He resisted analyzing or theorizing about his own work. He tended to talk more in terms of learning and life experience. “To me,” he told Mr. Hentoff, “living and music are all the same thing. And I keep finding out more about music as I learn more about myself, my environment, about all kinds of different things in life. I play what I live. Therefore, just as I can’t predict what kinds of experiences I’m going to have, I can’t predict the directions in which my music will go. I just want to write and play my instrument as I feel.”

Julia Carmel contributed reporting.

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Dani Strong – A Reformed Trombone player

The great 12-String Guitar virtuoso Leo Kottke started out his high school musical career as a trombone player  and, for whatever reason, he later switched to guitar and the world became a better place. Similarly, Dani Strong also started out in high school on trombone. I believe her father had other ideas and gave her a guitar. Once again, the the world is a better place. I have nothing against trombone players but I imagine it is hard to develop your song writing skills on a trombone. Dani moved to the Cranbrook area about 18 months ago and, between tours and performances, she works at the Top of the World Ranch out near Fort Steel. Apart from her day job Dani is cruising under the radar as a country music artist but, in fact, she is much more than that. She is a very talented  singer / song writer. She avoids all the usual cliches and tags of country music and does what all good writers do. She writes about what she knows. With the exception of a cover of Otis Redding’s Dock of the Bay she presented an evening of  original material. Accompanied on guitar and keyboard she played such songs as Run to the Hills, Walk the Mile (Top of the World Ranch), Dirt Road Mountain, Wishing Well, Daddy Called me Pumpkin, Gold Fever, Ashes, Out of Darkness, Mrs Jones, What You Need, Free to Be, Healing, etc. There was not a gin soaked lyric or truck driving song in the whole batch. That’s not entirely true. I think a truck was mentioned in one song. With her stage patter Dani brought the whole package together for a completely entertaining evening. Singer / songwriters always run the risk of bombarding their audience with unfamiliar lyrics and tunes. First and fore most, a good song is a story and sometimes the back story needs to be presented so the audience has a context to allow them selves to be immersed in the song. With lots of stories, dark moments and humor Dani delivered context in spades.

 

      

It was a sold out crowd. So much so the organizers had to move the show from Studio 64 to the larger space upstairs.  Once again thanks to Keith, Ray and the volunteers who made the evening possible. A special thanks goes to the new guy on the lights. He did a superb job.

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Fisher Peak Winter Ale Concert Series – 2020

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FIRST CONCERT OF THE FIFTH SEASON – January 22, 2020

OPENING ACT – TALL TIMBERS featuring Drew Prinn on vocals; Ken Vargas on guitars and vocals; Landon Vargas on guitars, Ukulele, congas and vocals.

         

MAIN ACT – KOOTENAY LATELY featuring Pam Ruby on vocals; Theresa Reichert on upright bass; Bryan Reichert on guitar and Chad Andriowski on drums and backing tracks.

        

    

Thanks must go to the organizing committee of Fisher Peak Performing Arts Society, Key City staff and volunteers and all the sponsors of this series.

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SECOND CONCERT OF THE FIFTH SEASON – Wednesday February 19, 2020

OPENING ACT –  Douglas Francis Mitchell: Vocal, Banjo, Guitar and Songwriter extraordinaire

Over the years Canada has been blessed with many, many singer/song writers who often defy pop culture expectations to produce songs and stories that entertain and truly document the extraordinary richness of the Canadian cultural mosaic. To the list of Gordon Lightfoot, Valdy, Murray McLauglan, Ron Hynes, Stan Rogers and others we can now add the name Douglas Francis Mitchell. Just the name of his songs tells a story. Heiden Guitar  pays homage to a recently acquired instrument from the master Creston Luthier Michael Heiden; Rocky Mountain View is a happy reflection of local geography; Open Happiness  and ode to demon drink (Coca Cola); Laughter of the Heart, Three Chords and the Truth, Change of Pace  and the comic masterpieces Plumber Troubles, Prairie Oysters and Sibling Rivalry. With his songs and stories  this open act was a tough act to follow.

 

MAIN ACT – CARMANAH – all the way from Vancouver Island with a musical mix that I can only describe as Van-Isle Reggae (what ever that means). The band featured Laura Mitic on guitar, vocal and fiddle; Lo Waight – back up vocals and percussion; Mike Baker – Keyboard and vocals; Pat Ferguson – guitar and vocals; Jamil Demers – bass and Graham Keehn. They presented a program of mostly original material.

   

  

   

   

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TAKE 4 at Soul Foods

Thursday 2019/12/19, 7pm

Piano players and, to a lesser extent, guitar players are lucky. Without the need of having any one else in the room they can sit down and play unaccompanied music. Depending on their individual skill level they can do it all. Melody, harmony, rhythm, dynamics and sonic shadings. It’s all there under their finger tips. Horn players, woodwinds, string players, drummers and bass players are not that fortunate and usually have the need for other musicians in the mix to complete the musical picture. At an individual level that is a drawback but it does force those musicians into ensembles that can go beyond the limitations of individual solo performances. One such musical configuration is the jazz combo and lucky for us in Cranbrook-Kimberley area we have been recently blessed with another Jazz group. TAKE 4, featuring Randi Marchi on trumpet, fluegelhorn, valve trombone, guitar and vocals; Jim Cameron on electric bass; Steen Jorgensen on drums and tenor sax and Tim Plait on piano. All of these musicians are locals. Some, Randi Marchi and Tim Plait, have been away to other parts of Canada and the world and have returned to the Kootenays and our little slice of paradise. The group is newly formed and, I believe, this is their second engagement. For well schooled musicians such as these the advantage of playing jazz is that there is a vast standard repertoire of tunes that players can easily access. From simple tunes way up to very technical, and very complex music there is a lot of music out there to explore. Last Thursday night at Soul Foods the group served a varied mixture of tunes that included Beginning to See the Light, Satin Doll (Duke Ellington’s masterpiece), Summertime (from George Gershwin’s Porgy and Bess), Blue Skies, King of the Road ( Roger Miller’s 1964 Hit song), All of Me (written in 1931), Beyond the Sea (Bobby Darin’s 1959 hit) and my all time favorite, A Day in the Life of a Fool, or as I prefer to remember it as, Manha de Carnival (Morning of the Carnival) from the magnificent 1959 Academy Award winning film Black Orpheus. This film introduced western audiences to the wonders of Bossa Nova and the music of Antonio Carlos Jobim and Luis Bonfa.The second set kicked off with The Way You Feel Tonight, Don’t Get Around Much Anymore (it is a 1940 classic by Duke Ellington originally called Never No Lament), and Quando, Quando, Quando ( originally a 1962 Italian Pop song written in the Bossa Nova Style).

Here are some images from the first set:

                     

Towards the end of the evening Take 4 was joined on stage by Randy Tapp on tenor sax and Shindo Murata on valve trombone to play the tunes Flip Flop and Fly, Route 66 and Van Morrison’s Moon Dance. During these performances a young musician from the audience sat in on drums while Steen Jorgensen moved up front to join the horn section on tenor sax. For me the resulting sound brought back memories of the magnificent Gerry Mulligan Concert Band recordings from the 1960s. Bobby Brookmeyer’s valve trombone was part of the signature sound of that band.           

Soul Foods seems to have become a hot bed of live music with live performances every Thursday evening 7-9 pm.

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