Nice Work

This week, Howling’s  talking about sibling loyalty and  the first rock n roll star whilst he declines help from a couple of friends and accepts it from another. Sounds busy on the porch but don’t worry, he still plays an hour of the finest blues ‘n roots  you’ll find on the net


Memphis Jug Band – “It doesn’t get better than this”
Tennessee Border Hank Williams Jack White’s Blues VIDEO
Ghosts Of Mississippi Iko-Iko Bullets In The Bonfire Vol 1 VIDEO
You Better Watch Yourself The Mannish Boys Wrapped Up and Ready VIDEO
Long Way From Home (acoustic) Katie Bradley & Dudley Ross Anchor Baby Sessions VIDEO
Cadillac Blues Tullie Brae Everything Turns Blue VIDEO
Evolution Of The Blues Terrie Odabi Evolution Of The Blues VIDEO
Me And My Chauffeur Fran McGillivray & Mike Burke Restless VIDEO
I Don’t Know Willie Mabon/Slim Willis/Otis Spann I Blueskvarter – Chicago 1964 VIDEO
One Monkey Big Town Playboys Roll The Dice VIDEO
Catfish Blues Buddy Guy & Junior Wells Alone And Acoustic VIDEO
Work Song Gregory Porter Be Good VIDEO
Move That Thing The Memphis Jug Band Memphis Jug Band (1927-1930) VIDEO
Stealin, Stealin The King Biscuit Boys All in a days work VIDEO
Home Again Poplar Jake No More Sygnifyin’ VIDEO

Rafi Zabor’s Updoc, Fri Oct 10 & Tues Oct 14

There are moments of high drama in Mozart, but apart from the operas his is most often a music of unbounded felicity, and in rounding off recent shows with his piano concertos I felt that I was soothing any breasts the preceding music may have savaged; but then I heard from a great listener and musician whose name I will not mention—Kip Hanrahan—asking Mozart? Bach and Beethoven, sure, but Mozart? Then he rummaged through the adjectives I’d left behind looking for an answer. When I was a lad of twenty-and I was a Trane-Mingus-Stravinsky-Bartok kind of guy who likewise wondered why Mozart’s pretty music, diminutive between Bach’s all-encompassing polyphony and Beethoven’s revolutionary breaking of chains, should be so revered. Then I read Robert Stone’s novel A Hall of Mirrors, starring an alcoholic ex-classical clarinetist, and decided that if someone hip as Stone loved Mozart that much there must be something to it, and I resolved to study classical music until I figured out what it was. On this week’s show—Friday at 8PM, noon next Tuesday, Carnegie Hall time—I read aloud a gorgeous passage about Mozart from Stone’s novel, followed by the piece in question, the Clarinet Quintet, hoping to persuade anyone out there that in this heavy world transcendent bliss is something not lightly to be refused. Having set a pattern, I then read aloud a stunning passage from Thomas Powers’ recent, uneven novel Orfeo depicting the premiere performance of Messiaen’s Quartet For the End of Time in a Nazi POW camp, also featuring a clarinet (Richard Stoltzman, in place of Sabine Meyer on the Mozart). That should answer all relevant questions except for one thing: I framed and intermissed the show with Duke Ellington tunes featuring Barney Bigard, Jimmy Hamilton and Russell Procope, and even the immortals know there’s nothing else even close to good as that.EndM

Jazz Worldwide 055 6 October 2014

Song Title Artist CD Composer Label
I Mean You Melissa Stylianou No Regrets Thelonious Monk-Coleman Hawkins Anzic
Fever Ray Charles with Natalie Cole Genius Loves Company Eddie Cooley-Otis Blackwell Concord
You Came a Long Way from St. Louis George Shearing with Peggy Lee The Definitive George Shearing John Benson Brooks-Bob Russell Verve
Go Down Moses Grant Green Feelin’ the Spirit Traditional Blue Note
Heaven Help Us All Ray Charles with Gladys Knight Genius Loves Company Ronald Dean Miller Concord
Spirits Up Above Rahsaan Roland Kirk Volunteered Slavery Rahsaan Roland Kirk Rhino
Winter Machine Ezra Weiss Sextet Before You Know It Ezra Weiss Roark Records
Tidhar The Touré-Raichel Collective The Paris Session Idan Raichel-Vieux Farka Touré Cumbancha
Experience The Touré-Raichel Collective The Tel Aviv Session Vieux Farka Touré-Idan Raichel Cumbancha
Wo Yé N’gnougobine Ballaké Sissoko and Vincent Segal Chamber Music Ballaké Sissoko Six Degrees
Ya qalbi khelli el hal-Samai Trio Ifriqiya Petite Planète F. El Mezouar World Village
Estamos aquí Wayne Wallace Latin Jazz Quintet Salsa de la Bahia Vol. 2 Hoy y Ayer Wayne Wallace-Michael Spiro Patois
Latinos unidos Spanish Harlem Orchestra Spanish Harlem Orchestra Oscar Hernández ArtistShare
Que viva Chango Los Kimbos 90s Salsa de la Bahia Vol. 2 Hoy y Ayer Celina González-Reutilio Dominguez Patois
Mary Ann Poncho Sánchez with Ray Charles Out of Sight Ray Charles Concord Picante
New Day Harold López-Nussa New Day Harold Lopez-Nussa-Mayquel González Jazz Village
San Francisco tiene su propio son Ritmo y Candela Salsa de la Bahia Vol. 2 Hoy y Ayer Jon Landau Patois
Sayyid Dance Vassilis Tsabropoulos-Anja Lechner-UT Gandhi Melos Georges Gurdjieff ECM
Canción y danza Anja Lechner-François Couturier Moderato Cantabile Federico Mompou ECM New Series
Do Rycerzy, do Szlachty, do Mieszczan Marcin Wasilewski Trio with Joakim Milder Spark of Life Pawel Krawczyk-Katarzyna Nosowska-Marcin Zabrocki ECM
Beauty Jacob Young Forever Young Jacob Young ECM
Avishkes Omer Avital New Song Omer Avital Motema

Rafi Zabor’s Updoc, Friday 10/4 & Tues 10/8

300 is a totemic number because we have ten fingers and three hands and drive Chryslers and Mercedes, but that doesn’t mean the 300th iteration of Updoc—8PM Friday and noon next Tuesday, Chrysler Building time—has any special significance, though I felt compelled to do some especially subtle and intricate programming for the event, then decided Naah, why not just play some music that means a lot to be, my sort of fallback kit, music central to my experience of everything; so the show starts with the tune that opened the first Updoc several centuries ago: the speedstreak 14-minute Sonny Rollins version of 52nd Street Theme played by the trio that was my first experience of hearing Sonny Rollins live, at the Five Spot in 1964. A year later, though you won’t have to wait that long, the John Coltrane Qyartet played a version of Impressions at the Half Note across town—is this the most intense music played by anyone anywhere ever? A searing Mravinsky reading of the Shostakovich Sixth Symphony does not ease things up much, and Miles Davis keeps most of the pressure up. The rest of the show is Beethoven’s 13th String Quartet with the Grosse Fuge finale, as played by the Takacs Quartet, and although pressed for time I air a bit of my interpretation of the piece in the intro. It’s revolutionary, but fortunately Beethoven is deaf. All this music stands by me, and will sit beside you nicely, I believe.300Movie2