One man's journey to have character through Jazz and random thoughts.
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If you feel like tapping your feet, tap your feet. If you feel like clapping your hands, clap your hands. And if you feel like taking off your shoes, take off your shoes. We are here to have a ball. So we want you to leave your worldly troubles outside and come in here and swing.

— Art Blakey  (At the Jazz Corner of the World, Blue Note, 1959)

Can more jazz be fun like this? Please?

(Source: yunisalya, via jazzrelatedstuff)

Staten Island ferry. #yesimatouristsometimes

Staten Island ferry. #yesimatouristsometimes

nextjazz:

'He Died Fighting' by Brian Blade & The Fellowship Band / Track of the Day

Today’s pick is this powerful track by the acclaimed drummer-composer Brian Blade and his Fellowship Band, from their forthcoming album Landmarks (to be released late April on Blue Note Records).

In other news…

Tomorrow (March 1st) NextJazz.com will be releasing a brand new mixtape: NextJazz Mixtape #3 (March 2014 edition). Stay tuned - it’s going to be very special!

Can it be April yet?
Love the fellowship band!!

If it was a car full of white kids, would that have gone down the way that it did? Even if they were listening to the same music? But also beyond that, hip-hop is no more violent than American pop culture is violent. What do our video games look like? What do our movies look like? What do our comic books look like? Is hip-hop really any different than the country from which it comes? And yet hip-hop in particular is ‘thug music’… that’s actually not very different from the broader culture within which it resides. Which is not to say it shouldn’t be critiqued, but I’m saying that those other things are not affixed with that label.

Ta-Nehisi Coates (The Atlantic), Jamelle Bouie (The Daily Beast) and Gene Demby (NPR’s Code Switch) in a roundtable on the Michael Dunn trial, which has become a flashpoint for ongoing debates about race, criminal justice, and politics that it’s not capable of resolving (via nprmusic)

Why is there even a notion that the music could be a problem? “Thug” or not. The kids turned it down, which they definitely did not have to do, and then were attacked. What difference does it make that the music can be considered violent?

But yes - violent compared to what?. Miley’s self-objectification is just as violent. Most video games are. Movies, tv…

But you know what’s really violent? Someone shooting 9 bullets at kids listening to music.

bainer:

Wayne Shorter during his Speak No Evil session, Englewood Cliffs NJ, December 24 1964 (photo by Francis Wolff)

My favorite album of all times!!!+ he’s still playing his Bundy here!

bainer:

Wayne Shorter during his Speak No Evil session, Englewood Cliffs NJ, December 24 1964 (photo by Francis Wolff)

My favorite album of all times!!!

+ he’s still playing his Bundy here!

(via modernjass)

Which do you want: the pain of staying where you are, or the pain of growth?

— Judith Hanson Lasater (via misscannabliss)

Ha.

(Source: alllways, via lyndohchords)

It’s our job to know what we’re playing; it’s the audience’s job to feel what we’re playing. And if they have to know what you’re playing to appreciate it, you fail.

Saxophonist and composer Branford Marsalis in an interview with NPR’s Guy Raz. (via nprmusic)

I also saw this a while ago

The Critic has to educate the Public. The Artist has to educate the Critic.

It was credited to Oscar Wilde, but on the internet who knows?

(via jazzrelatedstuff)

If today’s jazz musicians mirrored today’s times—all of it—the way earlier jazz musicians did, jazz would be more relevant. And we’d be in the here and now rather than focusing on yesterday. Jazz also wouldn’t be viewed as historic music, you know? I don’t know why jazz stopped pushing for the new. Who said jazz is supposed to be about the past? Or that it’s supposed to stop at a particular point?

Robert Glaspers (via theeastjazzhealingsociety)

I couldn’t agree more.

On the new recording with did a cover for a Bjork song. Which although is not a new thing - her music is pretty common in the realm of jazz covers - was definitely a big step for me.

It took me a very long time to personally accept the idea that not only do I like listening to other genres of music besides Jazz, but I can also play this “other” music and assimilate it into my own language and aesthetic.

I grew up listening to more traditional jazz, starting with Lester Young, and was taught bop through the Barry Harris concept, which is big in Israel. So even though I always listened (and inevitably it came out in my music) to more modern Jazz musicians, and “other” - mostly Black music, I always felt a type of contradiction, heresy even, playing that other stuff in a Jazz context. I always had this kind of separation - well, now i’m playing Jazz… now i’m not. 

Not anymore though. Time to move forward and become relevant.

Let’s be part of our lives, of our culture, of our times.

(Source: jazzwax.com, via theeastjazzhealingsociety)

and Dizzy is like “come on man, really? smh”

and Dizzy is like “come on man, really? smh”

(Source: msmusicjunkie, via jandthebass)