I feel extremely  fortunate to have this one….  It is a piece that keeps on giving… The bulk of her 1200 or so paintings, sculptures, and sketches  are archived at the Carl Cherry Center in Carmel.

www.carlcherrycenter.org

I  invite you to discover the Carl Cherry Center for the Arts and its ever-changing display of artistic delights, reflecting the bohemian inventiveness that gave Carmel its original charm.  This is a first class art gallery/performance center…

Current Exhibits The Cherry Collection Houston Memorial Sculpture Garden

THE CHERRY COLLECTION The Cherry Center collections include more than 1200 artworks in a variety of media by Jeanne D’Orge. Works in oil, prints, drawings and sculptures form the core of the D’Orge collection. The Cherry Center displays the works on a rotating basis to highlight different aspects of the collection. The Center’s archives contain 50 years of early Carmel history and memorabilia, including plays by Jeanne D’Orge, early books, poems, correspondence, rare photos, manuscripts and notebooks. Also contained in the archives is Jeanne and Carl Cherry’s extensive library of philosophic and religious texts, poetry, and art books. Carl Cherry Center for the Arts P.O. Box 863 Carmel, CA 93921 (831) 624-7491 Cherry_center@yahoo.com Located on the corner of 4th Avenue and Guadalupe Street in Carmel-by-the-Sea. (View Map) Hours: Cherry Gallery is open 11:00 a.m. to 4:00 p.m. Monday-Friday and by appointment. Houston Sculpture Garden is open 9:00 a.m. to 5:00 p.m. daily.

I saw woman walking in Ethiopian desert
grieving inside her body
and she was walking enfolded in black
along the cobbled pavement of a city
in Eastern Europe
and she was walking in silence between us all

and there were men hurrying brief cases home
and men lounging in bars
pretending interest in conversations – there
here she has a way of looking through me
to what exists elsewhere
at another time - in another silence

she walks the archetypal streets of our memory
striding everywhere among us
(we who are constantly forgetting she is one of us)
not avoiding the intangible pain she knows
is inescapable
and which we have no intention of not causing

I think we already take it for granted
that she will bear the pain for us instead of us
I needed to talk to you about her - because she is
the mountain walking across the lake of my heart
and hers is the silence you sense but do not see
dwelling in the openness inside me

Thanks to John Dotson…..

Who will die during this moment

And those who find out their time
Is up during the moment
And the numbers have come out
Against them for keeps

Some are taken without warning

This performance is devoted to
Everyone who is dying with injustice tonight
In this moment
Everyone who is losing her or his life
Right now
By some political miscalculation
Which has judged her or him
To be expendable
For the greater good
That has been calculated
Invisibly
Non-intelligibly
And in heartless abstraction

Tonight this work is devoted to
All whose existence is hated
Just because she or he exists
Not as a person not as having any
Truths or any worth as an individual
Just hated just because
Without cause
In advance
And irrevocably

And for those who are dying
Tonight duped
By a lie any lie
That serves a cause

This performance tonight
Is devoted to all who are in prisons
Of forgottenness
In prisons of ancient brutalities
Descending through generations
Of the greater power
Defeating the lesser power
Because it can
Because they can
Those who do this
Do this
And get away with it
And are getting away with it
In this moment
Over the face of the Earth

This performance is for the
Imprisoned and the forgotten
And the unknown

This performance tonight is
For the abused being among us
Right now in this room
And for all the injured children
Of destroyed hopes and innocence
For whom there is no explanation
No prayer-response that clarifies
Impossible dreams of freedom

This is for everyone and everything
That is lost
For all who suffer more than they can comprehend
And accept the choice of no choice
But acceptance

This is a performance of acceptance
Of the unacceptable
The loss of all loss
In this very hour
Anywhere

Of any being
At any scale
And all beings
At all scales
Of life’s magnitudes
As speaking this
Is spoken tonight

For those who cannot speak
Who are not allowed to speak
For those who cannot speak
Even if allowed to speak
For those who cannot move
Even if able to move
For those losing their lives tonight
By not finding them

May this performance be
Expansive enough
For one instant

Of not-forgotten-ness
By us who hear
And see and move

And are here

Devoted to this
That we are

This doing

Here

__________________________________________________

Welcome to poetryvlog.com
A weekly video reading of poetry by the poet.

John Dotson was the first poet-in-residence of the

Robinson Jeffers Tor House Foundation in Carmel,

California. His book portraying that experience is

The Enduring Voice, A Tor House Journal.

John has published poetry and prose internationally.

He also works in many art forms, media, and

performance.

In the fall of 2007, his play WITHOUT WHY will be

staged at the Carl Cherry Center for the Arts in

Carmel. John has also worked as an educator in

many settings in California and elsewhere.

See John Dotson’s sculpture, poems, graphics,

andevents at: http://www.acharantos.com

P. O. Box 159
Carmel, CA 93921
]]> http://ronclegg.wordpress.com/2010/10/16/this-performance-tonight-by-john-dotson-performed-en-ensemble-at-new-stuff-monterey-8282004/feed/ 0 ronclegg http://ronclegg.wordpress.com/2010/10/13/brian-blade-and-the-fellowship-band/ http://ronclegg.wordpress.com/2010/10/13/brian-blade-and-the-fellowship-band/#comments Wed, 13 Oct 2010 23:25:04 +0000 ronclegg http://ronclegg.wordpress.com/?p=524 ]]>
Brian Blade and the Fellowship Band
Wednesday 10 November 2010
Thursday 11 November 2010
Yoshi’s in Oakland
510 Embarcadero West
Jack London Square
Oakland, CA 94607
Phone: 510.238.9200
8PM Shows: $18    10PM Shows: $10

The Fellowship Band features Brian Blade (drums, seen way in back on the right of the photo above), Chris Thomas (bass,) Jon Cowherd (piano,) Myron Walden (alto sax and bass clarinet,) and Melvin Butler (tenor sax). They have released 3 albums together – Fellowship and Perceptual, both on Blue Note, and the 2008 Verve recording, Season of Changes. They were a personal highlight at the New Orleans Jazzfest last spring. Spacious, lapidary ensemble playing.

Once a guitar-playing singer, now a drummer and bandleader, Brian Blade is also known as the drummer for many heroes of the music world, including Daniel Lanois, Joni Mitchell, Bob Dylan, Wayne Shorter, Seal, Bill Frisell,  Emmylou Harris, Peter Martin, Nicholas Payton, Antoine Drye, Delfeayo Marsalis, Joshua Redman, Harry Connick, Jr., Gray Mayfield, Marcus Roberts, and Victor Goines.

Since 2000, Brian has also been part of the Wayne Shorter Quartet with Danilo Perez and John Patitucci.

Thanks to Paul Hostetter for this post:  Paul Hostetter\’s Picks

For more information, visit www.brianblade.com

By Lena Stevens
www.thepowerpath.com

Link to October Forecast:  .index.php?option=com_content&view=article&id=291%3Aoctober-forecast-2010&catid=17%3Amonthly-forecasts&Itemid=65&sms_ss=facebook&at_xt=4ca650420e673985%2C0

Jim Baum, the victim of the most senseless violence, was murdered  thursday night by his wife.  I’m in disbelief… the kindest man, devoted father, and immensely talented musician. The fact is, everyone loved him…The best jazz drummer by far in this area… sensitive,  thoughtful, swinging, smart.  Just an all around good, good guy.  Anyone who knew Jimmy was better for it.   Sadness has  blanketed this town… our community in mourning for a wonderful man.   He is so missed.  Rest in Peace my friend…

Here is a video of Jimmy   last year with Stan Poplin, Emiko, Me… always the tasty, in sync player… and a wry sense of humor to keep things real… miss you! Stan and Jim were best friends..that I know for sure. You can hear it…

Nardis

Here’s another tune with some hotter Jimmy Baum percussion:    14 One of a Kind (live)

I’m really pleased to see all these positive comments from those who knew Jim.  So keep the comments coming..this is one place to say good things about a good man…

I spoke to a friend at Kuumbwa today.  Kuumbwa will host a memorial  for Jim Baum on Sunday October 10 from 2-6PM

Link to New Video: Paul Logan\’s Excellent Video on Jim Baum

In Happier Times…

Punch Brothers featuring Chris Thile Thursday, October 14 www.punchbrothers.com “…wide-ranging and restlessly imaginative…” –New Yorker Chris Eldridge (guitar), Noam Pilkeny (banjo), Gabe Witcher (violin), Paul Kowert (bass) and renowned mandolinist Chris Thile all keep themselves busy in plenty of bands, but only as the Punch Brothers do they dare to craft such spacious, uncategorizable soundscapes. With a compositional aesthetic that flirts as much with chamber music as bluegrass, the quintet transcends the confines of both forms. From seemingly spontaneous classical interludes to carefully orchestrated departures into vocal narrative, the Punch Brothers engage a vast percussion-less void not by filling it, but by inviting it into the music. TICKETS AND INFORMATION 7:00 & 9:00pm $22/Adv $25/Door No Jazztix or Comps Doors & dinner beginning at 6:00pm

Punch Brothers featuring Chris Thile Thursday, October 14 www.punchbrothers.com “…wide-ranging and restlessly imaginative…” –New Yorker Chris Eldridge (guitar), Noam Pilkeny (banjo), Gabe Witcher(violin), Paul Kowert (bass) and renowned mandolinist Chris Thile all keep themselves busy in plenty of bands, but only as the Punch Brothers do they dare to craft such spacious, uncategorizable soundscapes. With a compositional aesthetic that flirts as much with chamber music as bluegrass, the quintet transcends the confines of both forms. From seemingly spontaneous classical interludes to carefully orchestrated departures into vocal narrative, the Punch Brothers engage a vast percussion-less void not by filling it, but by inviting it into the music. TICKETS AND INFORMATION 7:00 & 9:00pm $22/Adv $25/Door No Jazztix or Comps Doors & dinner beginning at 6:00pm close window

Emiko Hayashi- Piano

Ron Clegg- Guitar

Stan Poplin- Bass

Jim Baum= Drums

Click on song for audio

Autumn Leaves (live)

06 Mahna de Carnival (live)

07 Stolen Moments (live)

10 Angel Eyes (live)

11 Israel (live)

13 Meditation (live)

14 One of a Kind (live)

15 Nuages (live)

I recorded this live performance of Guinga and Harvey Wainapel with their permission, of course. . (recorded at Casa de Cultura in Berkeley, CA). This is a remarkable pairing of the master brazilian composer/guitarist with the excellent woodwinds artist Harvey Wainapel. Harvey knows Guinga’s music inside/out, speaks fluent Portuguese, and of course speaks fluent “Guinga” enabling breathtaking musical conversations… a meeting of like minds sparking a musical creativity of rare beauty, soul, and spirit. An amazing performance…. Here is the beautiful lively cut entitled Di Menor

Click to hear Guinga and Harvey:

02 Di Menor

Guinga is regarded as a world-class musician and an influential force in the Brazilian music scene.
Since his first album, “Simples e Absurdo”, released through Velas in 1991, Guinga has
had illustrious collaborations with Chico Buarque, Leny Andrade, Aldir Blanc, Leila
Pinheiro, Sergio Mendez and many others. “Suíte Leopoldina” released in the US in
May 2000 was voted the best Brazilian Music CD of the year by music critics.
Guinga creates music that doesn’t age, eternally beautiful and profoundly true.
Guinga is described as the greatest living Brazilian composer of this generation. Critics
and colleagues place Guinga in the exclusive pantheon of Brazilian music gods along
with Villa-Lobos, Tom Jobim and Egberto Gismonti.
“Guinga is like Villa-Lobos meets Cole Porter.” says Sérgio Mendes
“Seeing Guinga perform is one in a hundred years opportunity.” said Gismonti.
“I wanted to exchange my universe for his.” said Paco de Lucia.

Discography: “Simples e Absurdo” (Velas 1991), “Delírio Carioca” (Velas 1993), “Cheio
de Dedos” (Velas 1996), “Suíte Leopoldina” (Velas 1999), “Cine Baronesa” (Velas 2001),
“Noturno Copacabana” (Velas 2003), “Graffiando Vento” (with Gabriele Mirabassi
(EGEA 2004), Casa de Villa (Biscoito Fino 2007)

His compositions are often harmonically and rhythmically complex yet melodically accessible and emotionally resonant.

During the 1970s, Guinga accompanied famous singers such as Beth Carvalho and João Nogueira and recorded with samba legends Cartola and Clara Nunes. He also began a fertile songwriting partnership with the poet and lyricist Paulo Cesar Pinheiro. Their songs were recorded by important artists like Elis Regina, Nelson Gonçalves, Miúcha, Clara Nunes, and Michel Legrand.

His music career took off in earnest in 1990, when Ivan Lins and Vitor Martins formed the Velas label in order to release Guinga’s first album, with a repertoire of songs he co-authored with lyricist Aldir Blanc.

Saxophonist/clarinetist Harvey Wainapel has performed with the likes of McCoy Tyner, Joe Lovano, Joe Henderson, Ray Charles and Johnny Coles. Besides working with these and numerous other leaders,Wainapel has toured extensively under his own name, and has performed in 20 countries. His heavy involvement with the music of Brazil has led to performances with masters of the genre such as Guinga, Dori Caymmi, Airto Moreira, Flora Purim, , Jovino Santos Neto, Nelson Ayres, Laercio de Freitas and Manfredo Fest.

This is from the session in 1965 (Belgium). I love the way he stretches out on this performance (almost 9 minutes). Relaxed and joyful… that’s the Wes way.

Wes often approached solos in a three-tiered manner: He would begin a repeating progression with single note lines, derived from scales or modes; after a fitting number of sequences, he would play octaves for a few more sequences, finally culminating with arpeggiated chords.

The use of octaves (playing the same note on two strings one octave apart) for which he is widely known, became known as “the Naptown Sound”. Montgomery was also an excellent “single-line” or “single-note” player, and was very influential in the use of block chords in his solos. His playing on the jazz standard Lover Man is an example of his single-note, octave- and block-chord soloing. (“Lover Man” appears on the Fantasy album The Montgomery Brothers.)

Instead of using a guitar pick, Montgomery plucked the strings with the fleshy part of his thumb, using downstrokes for single notes and a combination of upstrokes and downstrokes for chords and octaves. This technique enabled him to get a mellow, expressive tone from his guitar. George Benson in the liner notes of the Ultimate Wes Montgomery album, wrote, “Wes had a corn on his thumb, which gave his sound that point. He would get one sound for the soft parts, and then that point by using the corn. That’s why no one will ever match Wes. And his thumb was double-jointed. He could bend it all the way back to touch his wrist, which he would do to shock people.”

Well, listen and enjoy one of the greats of jazz guitar….