Thursday, August 30, 2007

Expert: Beethoven inadvertently poisoned by doctor

Expert: Beethoven inadvertently poisoned by doctor

VIENNA, Austria (AP) -- Did someone kill Beethoven? A Viennese pathologist claims the composer's physician did -- inadvertently overdosing him with lead in a case of a cure that went wrong.

Beethoven

For the great Ludwig van Beethoven, the treatment may have been worse than the disease.

Other researchers are not convinced, but there is no controversy about one fact: The master had been a very sick man years before his death in 1827.

Previous research determined that Beethoven had suffered from lead poisoning, first detecting toxic levels of the metal in his hair and then, two years ago, in bone fragments. Those findings strengthened the belief that lead poisoning may have contributed -- and ultimately led -- to his death at age 57.

But Viennese forensic expert Christian Reiter claims to know more after months of painstaking work applying CSI-like methods to strands of Beethoven's hair.

He says his analysis, published last week in the Beethoven Journal, shows that in the final months of the composer's life, lead concentrations in his body spiked every time he was treated by his doctor, Andreas Wawruch, for fluid inside the abdomen. Those lethal doses permeated Beethoven's ailing liver, ultimately killing him, Reiter told The Associated Press.

"His death was due to the treatments by Dr. Wawruch," said Reiter, head of the Department of Forensic Medicine at Vienna's Medical University. "Although you cannot blame Dr. Wawruch -- how was he to know that Beethoven already had a serious liver ailment?"

Nobody did back then.

Only through an autopsy after the composer's death in the Austrian capital on March 26, 1827, were doctors able to establish that Beethoven suffered from cirrhosis of the liver as well as edemas of the abdomen. Reiter says that in attempts to ease the composer's suffering, Wawruch repeatedly punctured the abdominal cavity -- and then sealed the wound with a lead-laced poultice.

Although lead's toxicity was known even then, the doses contained in a treatment balm "were not poisonous enough to kill someone if he would have been healthy," Reiter said. "But what Dr. Wawruch clearly did not know that his treatment was attacking an already sick liver, killing that organ."

Even before the edemas developed, Wawruch noted in his diary that he treated an outbreak of pneumonia months before Beethoven's death with salts containing lead, which aggravated what researchers believe was an existing case of lead poisoning.

But, said Reiter, it was the repeated doses of the lead-containing cream, administered by Wawruch in the last weeks of Beethoven's life, that did in the composer.

Analysis of several hair strands showed "several peaks where the concentration of lead rose pretty massively" on the four occasions between December 5, 1826, and February 27, 1827, when Beethoven himself documented that he had been treated by Wawruch for the edema, said Reiter. "Every time when his abdomen was punctured ... we have an increase of the concentration of lead in the hair."

Such claims intrigue others who have researched the issue.

"His data strongly suggests that Beethoven was subjected to significant lead exposures over the last 111 days of his life and that this lead may have been in the very medicines applied by his doctor," said Bill Walsh, who led the team at the U.S. Department of Energy's Argonne National Laboratory outside Chicago that found large amounts of lead in Beethoven's bone fragments. That research two years ago confirmed the cause of years of debilitating disease that likely led to his death -- but did not tie his demise to Wawruch.

"I believe that Beethoven's death may have been caused by this application of lead-containing medicines to an already severely lead-poisoned man," Walsh said.

Still, he added, samples from hair analysis are not normally considered as reliable as from bone, which showed high levels of lead concentration over years, instead of months.

With hair, "you have the issue of contamination from outside material, shampoos, residues, weathering problems. The membranes on the outside of the hair tend to deteriorate," he said, suggesting more research is needed on the exact composition of the medications given Beethoven in his last months of his life.

As for what caused the poisoning even before Wawruch's treatments, some say it was the lead-laced wine Beethoven drank. Others speculate that as a young man he drank water with high concentrations of lead at a spa.

"We still don't know the ultimate cause," Reiter said. "But he was a very sick man -- for years before his death."

The Beethoven Journal is published by the Ira F. Brilliant Center for Beethoven Studies at San Jose State University in California. E-mail to a friend E-mail to a friend

Sunday, August 26, 2007

Fortifi@ Recent Entries 2007 08/26/07

Fortifi@

Recent Entries 2007

 

 
   
 
   
 
   
 
   

Fortifi@ Humor Two by Two

Success University

Success University
  Proverbs19-20 Don't bother your head with braggarts
   or wish you could succeed like the wicked.
Those people have no future at all;
   they're headed down a dead-end street
 Recently, I refused an offer of a 6 figure salary to be a Minister of Music of a prominent church. I was reminded of the great disparity in “success” and music compensation. I also remembered that the success and financial health of the Music Ministry was not linked to any church salary, music tours, DVD and CD sales, music boss, gifts, real estate deals, music conventions. There is no employer that has the grace to finance the Music Ministry assignment. Music ministry success is linked to the my obedience, purity of heart, tithe, offerings and seed & Harvest of the people in Music Ministry.
 Purpose of Music Ministry finances are:
  • To represent (the song of the Lord) God on earth
  • Provide for the music family through Music Ministry financial discipline, Serve the least of them in the music industry and ministry.
    1. Music Ministry law of 70
    2. financial living on 70%
    3. 10 % tithe
    4. 10 % saving
    5. 10 % investments
    6. If hard work, talent and commitment determined success in the Music Ministry then every Sunday school director should be rich. If God determined the success of the Musicians in Music Ministry, then every Sunday school chorus director would own Columbia Records. If Music prosperity and money make you back slide. Then why hasn’t some of the music stars overdosed. Why are the music heirs, wives and families so indigent?
Prince
$56.5 MILLION
ON THE ROAD It rained green, not purple, for Prince in 2004. With $90.3 million in ticket sales, he returned to center stage after a decade in the commercial wilderness, scoring the year's second-highest-grossing tour. And thanks to low production costs, his net take was larger than top grosser Madonna's. (It took twenty-four trucks to haul around Madonna's mammoth tour, while Prince's bare-bones show needed only twelve.) Prince took a reported eighty-five percent of the profits from the concerts, which earned an average $910,000 a night -- and he'll command a higher percentage next time.
ON CD Prince sold 1.9 million copies of 2004's Musicology, but that figure is misleading: In a unique scheme, a ten-dollar CD surcharge built into his ticket prices meant that every concertgoer got a copy of the album, whether they wanted it or not. Nonetheless, free agent Prince strikes only one-album distribution deals with record companies (Columbia, in the case of Musicology), which means he earns more than two dollars per CD.
Last year's rank: NA

  1. Overlook a weakness in flawed vessels
Wealth:
    1. Music Ministry provision is connected to your success and  finances decisions
    2. Money provision is a necessary tool for completing your assignment
    3. money is a defense …money answers all thing
    4. success is a magnifier of whatever is in side you
    5. Does success and money back make you back slide
    6. Success is a reward for obedience…it creates increase…success occurs when we learn to do well
    7. Gain and  loss are connected to obedience
    8. nurture a respect for Music Ministry wealth
  1. Excel! Become a problem solver …become the best at what you do
    1. cheerfully at what you do
    2. excel where you are
    3. increase quality of your preparation
    4. serve with gladness
    5. eliminate lesser goals
    6. unclutter your life
    7. training beats experience
    8. complete what you begin
    9. become indispensable
a.    money is s a reward  for solving a problem
1.    confront error
2.    confront bad reports
3.    The easier it is for you to be placed the less money you will receive
4.    the problem you notice is connected to your assignment
5.    problems catalyst for rewards
6.    everything you want is on the other side of the problem
7.    unhappy people birth ideas
  1. Overlook a weakness in flawed mentorship vessels
    1. pursue financial mentorship
    2. Spirit imparts knowledge
    3. Mentorship
    4. transference of info without season of waiting and pain
    5. what you believe changes you
    6. your mentor love you too much to leave you the way you are
    7. only
  2. Set specific and progressive goals
    1. maintain your enthusiasm
    2. dream walls
    3. goals give faith for focus
    4. great goals connect great people
    5. enemies will mount opposition to your goals
    6. friends will react favorable to your goals
    7. order the exact arrangement of things
    8. precision and clarity produce confidence
    9. break goals into small bites
    10. what is there to stop you-nothing!
    11. failure to failure without losing enthusiasms
    12. price of your future is something in your present
    13. what do you want in your future
    14. if God is your partner then make Big goals
    15. complete 7 goals, 7 habits things every day
    16. Know the voice of the Holy
    17. All Answers are in  the scripture
  3. Stay in pursuit of Divine favor-it starts with parental chain of command
    1. Overlook a father and mother weakness in flawed vessels
    2. Treat your employer as you treat God
    3. Seed into mentors life
1.    listening
2.    having confidence in them
    1. One day of favor
    2. Honor your father and mother
    3. Rebuild parental connections and relationships-
1.    spiritually
2.    adopted father mother figures
  1. God is the true source
    1. VIEW God as the true source
    2. Pursue relationships with a  God perceived benefit
    3. Boss, gifts, DVD, CD sales  real estate are a  perpetual source of disappointment
    4. My future is not in your check book
    5. Whatever you do for the least in the music ministry you do it unto me
    6. STOP SQIRMMING AND MUNIPULATION THE NEXT GIG
  2. Decide to honor the inner prompting of the Holy Spirit
    1. Be a hostage to Holy spirit first instruction
    2. Obsesses with Holy Spirit instructions
    3. Are willing to be trained by the Holy Spirit
    4. Train for the future
    5. Steadfast unmovable abounding in the faith
    6. Forego the prompting of the Boss, gifts, DVD, CD sales  real estate, music conventions

1. Some of us inherited a "spirit of poverty" from our parents. It is a familiar spirit that lodges itself in a family lineage and moves from generation to generation. We have to break that generational iniquity.

2. Some of us are selfish by nature. We ignore the needs of others and are constantly focused on our own need. We need to repent and become generous.

3. Some of us are poor stewards of finances. When God has given them we have squandered them without his direction. Rather than use things and love people, we love things and use people. We buy things we don't truly need and ignore the true needs of others and the opportunities to advance God's Kingdom.

4. Some of us are unwisely generous...generous to a fault. We foolishly give to meet people's needs, ministries' needs, and Etc. without God's direction. We are blessing those God is trying to restrict from being blessed. He is actually bringing correction into their lives by limiting their finances and we step in and "bless them" financially. What we do is interfere with the work of God and distract them from his chastening. Why do we do that? Sometimes it's because we want the admiration of others. That kind of giving is sinful.

5. Some of us have unpaid bills in our past for which we've never accepted and exercised responsibility. Loans we never repaid to family members, bosses, banks, or other lending agencies. We have left retail bills unpaid; abandoned our homes and apartments leaving unpaid mortgage and rent that was due; left student loans unpaid; have unpaid traffic tickets and fines; Etc. "It happened before I was saved," someone says. Well, the blood of Jesus washed away your sins, not your financial obligations. If you haven't reconciled each of these things you've stolen from others. You will never experience God's blessings until you make a list and systematically contact each party and explain how and when they will be paid. God says, when you come to the altar to bring him a gift (worship, money, Etc.), and there remember that you have an unreconciled account, or relationship, you should leave your gift at the altar and go and make that right. Only then can God receive and bless your offering.

6. Some of us do not pay tax on our earned income. It's a law. We are robbers and thieves. Jesus was careful to pay his taxes.

7. Some do not tithe. We are trying to live on 100% of our income, ignoring the fact that 10% is God's. If we don't return it to him, he says we've robbed him.

8. Some are under God's chastening. He is using financial pressure to chasten us for or sin. What sin? Any sin. One that is quite obvious is "unforgiveness." In Matthew 18:35 Christ says if we don't forgive those who sin against us, God will release us to the tormentors. Many are financially tormented because they still harbor unforgiveness against someone who has sinned against them.

9. Some are experiencing financial pressure because of a satanic attack. The attack may relate to you, or it may be that you live in a house or apartment where poor stewardship was once rampant. The previous occupants or land owners may have been unscrupulous thieves. You must cleanse the land and property from it's defilement before God can bless you.

10. Some experience financial pressure because God is applying pressure on them to shape them into the image of Christ.

Music Ministry Revival part148

Music Ministry Revival part148

I (We) prophesy to the 4 winds of the heavens. Revival Angels come into the Music Ministry. Come,  Spirit of Music Ministry Revival. The Spirit of awakening come.  Come, Music Ministry Revival, Music Ministry harvest angels come. Music Ministry...angels of revival come... awaken Lord. Send your glory. Send your glory... send your glory and change the atmosphere in the Music Ministry. Fire of God come. Light of God come. Go forth Light of God. Breathe ... wind of God, breathe into the Music Ministry, now in Jesus name. 

Music Ministry Revival is here. God has made an appearance in the Music Neighborhood. Gods appearance in the neighborhood has caused the Music cartel in the Music Neighborhood to make an adjustment. Music Cartel...A combination of music independent business organizations formed to regulate production, pricing, and marketing of goods by the music members.

The so-called Day of Outrage, organized by Sharpton's National Action Network, included protests Tuesday in New York; Los Angeles; Detroit; Chicago; Houston; Richmond, Va.; Jacksonville, Fla.; and other cities. Sharpton called Tuesday for the withdrawal of public funds from entertainment companies that "won't clean up their act." Some people in the music industry have defended rappers' free-speech rights but say the degrading words at the center of the debate should be treated the same as extreme profanities and consistently blanked out of clean and radio versions of songs.

 

Gods appearance in the Music neighborhood has also caused the Music cartel in the Music Ministry to make an adjustment in Music Ministry mcdonaldlization. This author considers the present rock praise and worship team worship influence to be a part of mcdonaldlization. This music globalization is refereed, by many, as a mcdonaldlization of the church music world in which western ways are consider ‘superior’ to native ways. Does the present McDonaldlization of the Music Ministry include

  1. Love God and no other music God before Him
  2. Love the music Neighbor as thyself the least of these in the Music Neighborhood, Industry, and Ministry
  3. Music diversity, individual expression, inclusion

The mandate in the Music Ministry is: Matthew 22:37-40Jesus said, "'Love the Lord your God with all your passion and prayer and intelligence.' This is the most important, the first on any list. But there is a second to set alongside it: 'Love others as well as you love yourself.' These two commands are pegs; everything in God's Law and the Prophets hangs from them."

  1. Love God
  2. Love our music neighbor as thyself

Leviticus 19:18  "Don't seek revenge or carry a grudge against any of your people.  "Love your neighbor as yourself. I am God.

This adjustment in the Music Ministry is similar to Jesus appearance at Galilee. He said to His disciples

18-20Walking along the beach of Lake Galilee, Jesus saw two brothers: Simon (later called Peter) and Andrew. They were fishing, throwing their nets into the lake. It was their regular work. Jesus said to them, "Come with me. I'll make a new kind of fisherman out of you. I'll show you how to catch men and women instead of perch and bass." They didn't ask questions, but simply dropped their nets and followed.

Jesus appearance calls for:

  • a new disciple relationship
  • an up-grade in job description
  • obedience protégés follow directions

Will this Music Ministry Revival part148 pray or pry the Music Ministry Revival door open. You can read this 147 commentary and dismiss this Music Revival moment. We can pray for 1000 times for Music Ministry Revival and never attain Music Revival... Or we could maximize this moment with God and believe that this Music Ministry moment will last for whole day, if not for generations lifetime.

"He usually sends His extraordinary work of revival to little people in little places who feel the need of the times and resort to extraordinary measures." Do Something Extraordinary, Roger Ellsworth

The Music Ministry Revival will sink or swim based on its teamwork. Could teamwork among the Music Ministry solve:

  • The music Ministry assignment The Music Cosmos

  • World Hunger

  • A common agenda for Music Ministry Convention-leaders

  • Lower the increasing divorce rate among Music Ministry couples in their 40s, 50s, 60s and even the 70s

  • Music Ministry and AIDS and drug dependency

  • Control, Distribute , Produce CD for the general Music Ministry

  • Sexism, classism, racism in the Music Ministry

  • Affordable Senior Housing for the Music Ministry

  • Music Ministry pension funds

  • Retooling the the Music Ministry from Industrial Pipe Organ, organic Piano to electronic instruments

  • Institute Remedial music education program for the Music Ministry

  • Updating resume service for the Music Ministry who is out of work

  • Redeem rap music into Christ-centric rap Music

 

LAWSUIT FILED AGAINST STREAMING FAITH: One of company's founders files wrongful termination suit.

Streaming Faith and its parent company, Multicast Media Technologies, faces a multi-million dollar lawsuit from one of its founders. Rodney Sampson, a founder and shareholder of the company, filed papers with the Superior Court of Fulton County, Georgia, against the Christian media giant for his wrongful and unlawful termination as CEO of Streaming Faith and the attempt of its key executives to void his ownership in the company.
 
      In an affidavit filed with the courts, Sampson alleges that he founded Streaming Faith in 2000 with Louis Schwartz, Rory Conaway, and Ronald Rice. The document reveals that each was an equal partner of the corporation, originally incorporated under the name Haywire Ventures, Inc., and that each held 2.9 million shares of stock in the company. Sampson maintains that he researched, developed and created the faith-based technology concept and model the company uses today, and that it was all his original ideas and intellectual properties. In his complaint, Sampson states that the company, which purports to be a Christian owned company, is in fact a non-Christian entity, managed and directed by non-Christian personnel who have discriminated against him (an African American) and other Christians during his tenure with the company.
 
      The affidavit further states that in 2002, Sampson confronted Schwartz and Rice about behind the scene negotiations with a company intending to market pornographic content via the internet to the adult entertainment industry utilizing the company's technology. Sampson says after that meeting, the pair began to aggressively pursue efforts to oust him, maliciously attacking his name, defaming his character and reputation, ultimately costing him other job offers and business opportunities. Sampson, who claims to be a founder of the organization, and its former Chief Operating Officer, is seeking an undisclosed amount of damages in addition to pursuing other civil remedies against Schwartz and Rice individually and another senior executive, Mr. Chance Mason.
 
      Streaming Faith is known to broadcast and distribute (via the internet) content by renowned Christian leaders.

'SNAKES IN THE PULPIT' AUTHOR REMOVED FROM STREAMINGFAITH.COM:

'SNAKES IN THE PULPIT' AUTHOR REMOVED FROM STREAMINGFAITH.COM:
Talk show host says, 'God is not sleep.'
 
Reuben Armstrong, author of the new book "Snakes in the Pulpit" has been banned from StreamingFaith.com, the faith-based portal used by many churches to broadcast their programs online. Until last week, the Reuben Armstrong Show was broadcast on the portal.
 
      On August 15, EUR Gospel posted an article about Armstrong's book, which focuses on the pastors of several mega churches, specifically Bishop Eddie Long, Pastor Creflo Dollar, Bishop T.D. Jakes and Pastor Joel Osteen. In his book, Armstrong says these pastors use the word of God to manipulate true believers for fame and fortune.
 
      EUR Gospel asked Armstrong if he had been removed from the site. In a statement, he said, "Yes, it was because of the enemies (Bishop T.D. Jakes, Eddie Long and Creflo Dollar). I received a call from the vice president of Streaming Faith. He told me those guys had called him asking that he remove me or they will no longer do business so he made the decision to remove me. But God is not sleep. This is an example of what these so-called men of God will do to protect themselves."
 
      On August 16, the Atlanta Journal-Constitution (AJC) ran a story on Bishop Eddie Long's 20th anniversary celebration. The black-tie event was held at the Georgia World Congress Center on Friday, August 17. Up to 1,400 people were expected to attend. New Birth Missionary Baptist Church's membership grew from 300 to 25,000 under the bishop's leadership.
 
      Reuben Armstrong's book and ouster from StreamingFaith.com were mentioned in the article.

RANCE ALLEN HEART ATTACK RUMORS:

RANCE ALLEN HEART ATTACK RUMORS:
By Mona Austin
 
Tyscot rep clears up the confusion about singer's health.
 
Over a week ago swift rumors about gospel legend Rance Allen having suffered a heart attack floated across the nation. 

      During a recent performance in Toledo, Ohio Allen did in fact have a health scare.  Some reports indicated the singer lost the sensation in his hands. 

      However, Tyscot Records representative Leslie Lewis clarifies, "They are waiting for test results for a sure diagnosis. It has not officially been diagnosed as a heart attack." 

      In the meantime, other reports indicate, his health  was  revived enough to conduct a three-day revival last weekend in his hometown, Detroit, MI.
 
      Allen, the lead singer of The Rance Allen Group, is the vocal gymnast who offers the solo on Kirk Franklin's "Something About the Name Jesus" and the  favored R&B hit, "I Belong To You." The Rance Allen Group recently released a new CD, "Closest Friends" on Tyscot Records. 

      We'll provide further details as more news on his condition becomes available.

RANDY AND PAULA WHITE MARRIAGE FALTERS: Marquee Christian couple call it quits.

RANDY AND PAULA WHITE MARRIAGE FALTERS: Marquee Christian couple call it quits.

RANDY AND PAULA WHITE MARRIAGE FALTERS: Marquee Christian couple call it quits.
By Mona Austin / mona@lachurchscene.com
Randy White and his wife Paula White, Co-Pastors of Without Walls Church in Tampa, FL told congregants in Thursday night's church service that they are getting a divorce. The well known preacher/conference speaker, Paula appeared to be choked up as she approached the podium, the Tampa Tribune reports. Read Full Story

Randy White and his wife Paula White, Co-Pastors of Without Walls Church in Tampa, FL told congregants in Thursday night's church service that they are getting a divorce. 

     The well known preacher/conference speaker, Paula appeared to be choked up as she approached the podium, the Tampa Tribune reports. 

     They'd avoided speculation about their deteriorating relationship for months, but last night they acknowledged the unfortunate reality of their relationship before an audience of thousands. 

     This revelation comes after years of counseling and a day after the highly publicized separation and beating of Prophetess Juanita Bynum by her husband, Bishop Thomas Weeks, III. 

Paula and Randy White announcing their divorce at Without Walls Church on August 23, 2007

     Randy White responded to rumors about a possible divorce in an expose' reported by the Tampa Tribune in May.  Asked whether they were contemplating divorce, he replied, "No one can predict the future."  

     Through personal challenges (Randy's 29-year-old daughter reportedly was diagnosed with a mature brain tumor) and their callings taking them in obtuse directions (Paula, an evangelist, conference host, T.V. hostand author is away frequently), the glue in their marriage dissolved.

     Lauding Pastor Paula for being an exceptional woman, preacher and mother, Randy White said he takes 100% of the responsibility for the split. 

     Both say there were no third parties involved and they are parting amicably, although Pastor Randy admits that "innocently" being in public with other women was wrong.

Saturday, August 25, 2007

Cops Raid DMX's Home, Seize Pit Bulls

Cops Raid DMX's Home, Seize Pit Bulls
AP
Posted: 2007-08-24 21:59:11
Filed Under: Music News
PHOENIX (Aug. 24) - Sheriff's deputies raided the home of rapper DMX on Friday, seizing several pit bulls and finding the remains of three other dogs but making no arrests.

The Maricopa County Sheriff's Office received a tip more than a week ago about dogs being kept in inhumane conditions at the Phoenix-area home, said Sheriff Joe Arpaio.

Photo Gallery: The Rap Sheet
Toby Canham, Getty Images

Police seized 12 distressed pit bulls at the home of DMX on Friday. During the raid, cops also found the remains of three dogs and a variety of firearms.

    1 of 21
Detectives visited the home and then called one of the rapper's lawyers and told him that the conditions for the animals at the property needed to be improved or deputies would take action, Arpaio said. The dogs were not being fed or given water.

Authorities returned to the home Friday.

The 36-year-old musician and actor, whose real name is Earl Simmons, was not at home during the raid.

Simmons' lawyer, Murray Richman, said Simmons hasn't been in Arizona for at least two months and was "extremely disturbed" to hear the animals weren't being cared for properly.

"We had a caretaker that wasn't taking care, that's what happened," Richman said. "He loves dogs - he loves these animals. Those dogs are practically his family."

Richman said he hadn't been notified of problems at the property until he learned of the raid Friday. Sheriff's officials said they had contacted another lawyer who works for DMX.

Arpaio said the deputies who served a search warrant at the home Friday seized 12 pit bulls tied up on the property and took them to an old jail that has been converted into an animal shelter.

Deputies found the buried dogs when they dug up the back yard. One had apparently been burned and the cause of death on the others was unknown because the bodies were decomposing.

Deputies also found a variety of firearms, Arpaio said. Authorities sought additional warrants so they could check the guns to determine if they were legal.

DMX's albums include "It's Dark and Hell Is Hot" and "Flesh of My Flesh, Blood of My Blood" and "Year of the Dog ... Again."

Senegal: The Politics of Hip Hop in Dakar

Senegal: The Politics of Hip Hop in Dakar


Msia Kibona Clark
Washington, DC

After hip hop came to Africa in the 1980s and went from being a fad to an African youth movement, communities emerged in a number of countries to dominate the continent's hip hop scene. Among the leaders of this movement are Senegalese artists, who are not only among the best and most political in Africa, but also the most respected in francophone Africa.

The first generation of African youth to make a collective impact on the fabric of politics and society in modern Africa comprised the visionaries who brought its nations to independence. Some took a revolutionary direction and as a result some African states have legacies of radicalism and political action. Senegal was not one of those states. But now, through the art form of hip hop, the youth in Senegal are rising up as some of the most socially provocative artists in Africa.

Senegal's hip hop scene is distinctive and its artists extremely talented. The country has a history of strong musical traditions, including tassou, which is similar to rapping. Senegalese rap artists today often blend local sounds and, realizing they will have more of an impact rapping in a local language, they rap either entirely in Wolof or a in blend of French and Wolof. Examples of such artists are Daara J, Pee Froiss, and Positive Black Soul (whose music was featured in season one of the American HBO television show, The Wire).

Becaye Dial, who grew up in the Senegalese hip hop scene and is friends with several artists, recalls the early days as a time when they were into the hip hop dance, or new jack, scene. In fact, he says, Positive Black Soul actually started out as dancers and turned into a rap group.

Abdoulaye Aw, founder and manager of Propagand'Arts,still remembers the first hip hop films to arrive in Senegal. He says they were the platforms through which many youth were first introduced to genre and the culture. With the rise of cable TV and the return of Senegalese living abroad carrying the latest hip magazines and music, early American rap artists like LL Cool J and Salt-n-Pepa inspired young people.

Hip hop empowers and transforms people's lives, according to Abdoulaye Aw, probably explaining why Senegalese youth have really embraced it. This, and the country's own strong culture, have merged to form a uniquely political hip hop community. Both Aw and Becaye Dial say that there are those who rap about materialistic things, but this is often done simply to get radio airtime.

The documentary film Democracy in Dakar is a revealing portrayal of just how important Senegalese rappers have proven to be in the political process in Dakar. Where sex and parties are all too common as topics in much of Africa's rap music, this is not the case in Senegal. Abdoulaye Aw reckons that about 85 percent of the hip hop music in Senegal is politically and socially relevant.

While mainstream artists address important social and political issues, Dial says it is the underground rap artists in Senegal that go the furthest. Some have even addressed the taboo subject of the country's marabouts (a form of spiritual leader), and the power and political influence they hold in the country. Such artists have, however, often struggled to be heard because promoters fear promoting their music on the grounds that it is too politically outspoken. Nevertheless, the direction hip hop has taken might partly be attributed to religion which has a huge influence on Senegalese culture. For example, Aw points out that the culture frowns upon boasting about material possessions.

While women all over the world have a difficult time in male-dominated fields, Senegal's hip hop scene differs from those of countries such as South Africa and Kenya, in that here are very few female artists. Not a single solo female rap artist has released an album, although many are into the country's mbalax music scene.

Aw points out that most female artists are part of rap groups, and are often the only female in the group. While musicians such as Vivian N'Dour have successfully worked with rap artists, the only female rap artists to have made an impact on the Senegalese rap scene are ALIF, the country's first all-female rap group. ALIF, or Attaque Liberatoire de l'Infanterie Feministe, hit the scene in 1997 and the group addresses all sorts of social issues through their music. Their 2004 debut CD, 'Dakamerap' has been well received in Senegal and Europe.

Hip hop in Senegal today includes the mbalax rap element, the mainstream artists, the underground artists, and an increasing shift towards rap/reggae. Major artists include Awadi of Positive Black Soul, Daara J, Da Brains, and WA BMG 44. Overall, it is a growing, shifting scene, where artists are inserting the agenda of the youth into Senegalese politics, making their own beats and rapping in a language and style that reflect the distinctiveness of Senegalese culture.

Kenya: Boys Choir Rocks U.S. Audiences

Kenya: Boys Choir Rocks U.S. Audiences


Anthony Njagi
Nairobi

Kenyan tunes are reverberating in the United States of America, with performances by a Nairobi choir group.

Members of the Boys Choir of Kenya practise in Nairobi before travelling to the United States. Photos/ANTHONY NJAGI

The Boys Choir of Kenya is giving Americans a taste of the rich repertoire of Kenyan music, which includes traditional folk songs, percussion and modern fusions from a variety of communities.

The members left Nairobi last Friday, bound for Las Vegas, Nevada, the first stop in their two-week tour. Their last performance will be on Friday, August 24.

Theirs is a long story. After hitting the air waves and getting rave reviews in local media, the choir performed at the home of United States ambassador Michael E. Ranneberger in Nairobi and a member of the audience, Mrs Pinto of Micato Safaris was greatly impressed.

She told her husband about the choir, and they both agreed that the boys would be a good marketing tool to their clients in the US.

Micato is one of the leading tour companies in Kenya and has a big customer base in the US.

The choir is performing before illustrious audiences of some of the leading luxury travel experts in the world, who have tremendous influence on wealthy travellers.

"It is our expectation that the Boys Choir of Kenya will inspire these travel professionals to persuade a great many travellers to visit Kenya," says Mr Dennis Pinto, the managing director of Micato Safaris.

Micato Safaris is bearing all the travel expenses for the group.

The company also collaborated with the Kenyan and US embassies to ensure that the boys get all the relevant travel documents.

The Boys Choir of Kenya members are drawn from various schools in Nairobi. Among them Pumwani Secondary School, Aquinas and Highway.

They were among participants of the recent schools and colleges national music festival in Nakuru.

The Pumwani school presentation at the festival thrilled the audience.

Their song, composed by veteran Benga musician Sukuma Bin Ongaro, titled Omukhasi, is among the songs the choir is staging in US.

In the song, the composer is complaining about his unfaithful wife. The song was conducted by Joseph Muyale, who teaches music at Pumwani Secondary School and Moi Girls High School, Nairobi.

"We want our shows to be perfect," said Mr Muyale, who is also the director of the Boys Choir of Kenya during an interview in Nairobi just before they travelled.

The team is composed of 22 boys. They include (tenor one voice) Patrick Kamau, Humphrey Oyoo, Michelle Ighombo, Joel Mwenda of Pumwani Secondary School and Francis Ndege from Aquinas High School.

Others in tenor two are Cliff Njuguna, David Kinuthia, Edwin Mutune, Sakwa Wesonga and Matete Makobi.

In the bass sound, there is Fredrick Masambaya Ndukwe, Milia Ntoipo, Wanjala Wekesa and Samuel Ngubia.

Also performing bass are Jeffrey Wekesa, Steven Ochieng, Raymond Ogayi and Daniel Njenga. Others are Chris Sakwa (Aquinas), Francis Dzoga, Joel Okwemba, Ian Lai (Pumwani) and Steve Annan (Highway).

Peter Nyambura and Andudha Ngonge play instruments. According to Mr Muyale, the choir is composed of young artistes who are in love with music.

They perform all kinds of music from cultural folk songs to gospel to zilizopendwa, and all of them are brought together by their love of music.

The director of culture, Mr Silverse Anami, said the group was organised as a performing outfit by the Culture ministry and they are excellent representatives of Kenya in the international arena.

Mr Anami says he has watched the group performing and he is satisfied it is one of the best choirs in the country at the moment. The culture boss is himself a choir director, musician and composer of renown.

The Boys Choir of Kenya was founded by Muyale three years ago.

The group plans to start a musical arts academy of Nairobi. The academy is registered by the Ministry Gender, Sports, Culture and Social Services.

The academy, according to Mr Muyale, will admit students from all over Africa.

"If resources are available we will equip the Musical Arts Academy of Nairobi with music recording studios," he said.

"As we move to USA we will also market our music and scout for sponsors of the academy project," he said.

"We are also packaging our Girls Choir of Kenya and Children Choir of Kenya," he said.

The group has made a mark as one of the leading music groups in the social entertainment scene in Kenya, rivalling such established outfits like Kayamba Afrika.

Max Roach

Max Roach Inventive percussionist who revolutionised jazz drumming Published: 18 August 2007

Maxwell Roach, drummer, bandleader and composer: born New Land, North Carolina 10 January 1924; three times married (two sons, three daughters); died New York 16 August 2007.

Kenny Clarke was the first bebop drummer of significance, but Max Roach took over from him in the way that Louis Armstrong succeeded King Oliver. And in drumming terms, Roach's talent was as big as Armstrong's had been on the trumpet. He revolutionised the role of the drums in a band and was a brilliantly inventive player who often didn't accompany soloists in the conventional way, but actually played alongside them, integrating the drums as a second voice.

Roach powered Dizzy Gillespie, Charlie Parker, Jay Jay Johnson and Bud Powell, the founding fathers of bebop. He and Buddy Rich were the two fastest and most technically brilliant drummers of all time (their respective devotees will tell you which of the two was the best).

Roach and the trumpeter Miles Davis made their names as young musicians in the Charlie Parker Quintet, truly a baptism of fire, and Roach would play on many of Parker's most important records. "Bird would begin the first set with the fastest, most difficult tune in our book," Roach said.

I would be scuffling with the drums and Miles would be spitting. Neither of us warmed up enough to play such a tune. Playing that fast was just how he liked to warm up his own horn. But it drove Miles and me crazy.

In the middle Sixties I was at Broadcasting House as a guest on a late-night jazz programme when Roach, on a private visit to London, turned up out of the blue and expected to be interviewed. As the programme, already in progress, was heavily scripted, the producer and the presenter didn't like the idea and declined. With my part in the programme over, Roach and I went off for a drink. Over the next hour or so he told me a treasury of anecdotes. "Miles Davis and I were very young when we worked in Charlie Parker's quintet," he recalled:

Bird had much more experience than we had and he exploited us. We both had young families and were having trouble making ends meet. One night when we were out on tour, Miles and I got ourselves really worked up about this, and after the job we went to Parker's hotel room to demand a raise. I opened the door and there he was like a great Buddha, sitting up in bed with a moneybox on his lap counting out all these notes. It was like something out of Dickens.

We raised our voices and made our demands. He waited till we'd finished and then looked at us with scorn. He shouted at us even louder, I don't remember what he said, but when he'd finished we slunk away without our raise.

The group Roach formed in 1954 with the young trumpeter Clifford Brown played a bebop variant called hard bop. It was certainly one of the best of all bop groups and it included the young Sonny Rollins. Roach had another anecdote for me.

The band with Clifford Brown and Sonny Rollins was one of the greatest I was ever associated with. Clifford always bubbled over with good humour, while Sonny was serious and detached. Sonny's nickname was Newk. One day, looking thoughtful, he came to us and in a very dignified way asked us to stop calling him Newk.

"I want you to call me Rowntree," he said.

We asked him why but he wouldn't tell us.

Clifford finally thought he had the solution.

"Sonny looks like a boxer called Jimmy Roberts," he said.

"What's that got to do with it?" I asked him.

"Jimmy Roberts always got knocked out in Round Three."

Roach, like the rest of the jazz world, was shocked when Brown, then the most admired trumpeter in the world, was killed in a car crash in 1956, when he was 25. It took Roach many years to recover from the loss.

Fortunately their quintet made many recordings before Brown's death. These have remained in the catalogues ever since and still sell widely across the world today. Roach continued to record prolifically with his subsequent bands and gave a platform to young progressives in his groups such as Eric Dolphy, Booker Little, Kenny Dorham, George Coleman and Donald Byrd.

Born in North Carolina, Roach was brought up in Brooklyn. His mother was a gospel singer and Roach began studying piano at their local Baptist church when he was eight. He switched to drums a few years later and soon attracted attention. When he was a teenager he deputised in the Duke Ellington band for a few days for Ellington's drummer Sonny Greer. He also played in experimental jam sessions at Monroe's Uptown House in Harlem where Parker, Dizzy Gillespie, Charlie Christian andThelonious Monk were laying the ground rules for bebop.

Soon he was a regular on the New York scene, playing regularly for Coleman Hawkins as well as Parker and Gillespie and appearing on some of the first recordings of the new music. In 1949 he was a vital factor in the success of what became known as "The Birth of the Cool" recording sessions by an innovative 10-piece band led by Miles Davis. A participant, Gerry Mulligan, said

Another thing that made it worthwhile was Max Roach on the first date. The first set of dates was really wonderful. He was far and away the best drummer because he could approach the things as a composer and he took the kind of care with playing with the ensemble that showed his compositional awareness.

In 1950, Roach recorded a dozen or so sides with Duke Ellington's small bands. He was to join Ellington again to play on the soundtrack of the film Paris Blues (1961) and for the seminal Money Jungle album, a trio set done with the bassist Charlie Mingus for the Blue Note label in 1962.

Mingus, like Roach, was an aggressive fighter against racism. The two had formed the Debut record label together in 1952 and travelled with Parker, Gillespie and Bud Powell in 1953 to perform a legendary concert in Massey Hall in Toronto.

Angered by what they saw as prejudice in the selection of musicians to play at the 1958 Newport Jazz Festival, Roach and Mingus established what they called a rebel festival at Newport in protest. That year Roach wrote and recorded his We Insist! Freedom Now Suite, with lyrics by Oscar Brown Jnr. The suite told of the travails of black people in Africa and America and had vocals by Abbey Lincoln, to whom Roach was married from 1962 to 1970. The suite received much publicity at the time, but was not regarded as a success. Brown and Roach fell out. "I was preaching love," said Brown. "Max thought that Malcolm X had a better solution than Martin Luther King. So that whole collaboration was aborted and at that point it was never completed."

"Oh yeah, we fought," agreed Roach. "We never could finish it. It still isn't finished."

Some of Roach's protests about inequality were not universally well received. He was blacklisted by the American recording industry for a period during the Sixties.

One of the most artistically successful concerts of the time was given by Roach's friend Miles Davis at Carnegie Hall with the Gil Evans orchestra on 19 May 1961. It was a benefit for the African Research Foundation. The author Ian Carr recalled what happened:

This hugely successful concert was almost spoiled and cut short by a political incident. When Miles was in the middle of "Someday My Prince Will Come", Max Roach, dressed in a white jacket and carrying a placard on which was painted "AFRICA FOR THE AFRICANS! FREEDOM NOW!", walked up and sat down on the stage apron, while Davis and the crowd looked on in amazement.

A moment later Roach was joined by another demonstrator. Miles waved his trumpet at Roach in dismay and then stopped the music and walked off stage. Security guards carried off Max Roach and his companion, and backstage people talked Miles into going back on, which he eventually did to prolonged applause. The anger Davis felt expressed itself in the even greater intensity of the music.

When asked later what he thought Roach had been doing, Davis replied, "I don't know . . . Ask him." Carr recounted Roach's explanation:

Roach said "I was told some things about the Foundation that I thought Miles should know. Some people tried to contact him, but they couldn't get to him. I went onstage because I wanted Miles to be aware of these things."

Roach was referring to accusations by African nationalists that the Foundation was in league with South African diamond interests who sought to enslave Africans instead of helping them.

Unique in his mastery of percussion, Roach was able to give complete and expressive recitals as a solo drummer. In the early Seventies he founded M'Boom, a group using a variety of percussion instruments including xylophones and steel drums. He had studied composition at the Manhattan School of Music in his youth, and in 1972 he became a faculty member at the University of Massachusetts.

Throughout his life he continued to move his music forward, refusing to revisit his earlier achievements. "You can't write the same book twice," he said. "Though I've been in historical musical situations, I can't go back and do that again. And though I run into artistic crises, they keep my life interesting."

He played a drum concerto with the Boston Symphony Orchestra, performed with the Alvin Ally Dance Company and with various choirs and gospel groups. Amongst his eccentric appearances was a concert in 1983 with a rapper, Fab Five Freddy, two disc jockeys and a group of break-dancers and in 1984 he won an Obie award for music that he had written for three off-Broadway plays.

In 1985 he joined the video artist Kit Fitzgerald and the stage director George Ferencz in a multi-media collaboration. He was at this time leading with some success a group consisting of a jazz quartet and a string quartet, led by his daughter Maxine Roach, in tandem. Roach continued to teach and to tour with his quartet until 2000, as well as to compose.

Amongst his honours was appointment as a Commandeur of the Ordre des Arts et des Lettres and two awards of the Grand Prix du Disque in France, a park called after him in the Lambeth borough of London, eight honorary degrees, innumerable magazine poll victories and the title of Harvard Jazz Master.

Steve Voce

Max Roach Is Remembered for Music and More

Max Roach Is Remembered for Music and More
Ozier Muhammad/The New York Times

Colleagues of Mr. Roach’s performing.

By PETER KEEPNEWS
Published: August 25, 2007

Max Roach was remembered at his funeral not just as a brilliant drummer who helped bring about radical changes in American music, but also as a committed activist who worked hard to bring about radical changes in American society.

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Ozier Muhammad/The New York Times

Bill Cosby at Max Roach’s funeral.

Mr. Roach “used his music as an instrument of our struggle,” the Rev. Calvin O. Butts III of Abyssinian Baptist Church said in eulogizing Mr. Roach, who died on Aug. 16 at the age of 83. Mr. Roach’s funeral, held yesterday morning at Riverside Church in Morningside Heights, drew a capacity crowd of friends, admirers and fellow musicians.

Former President Bill Clinton, in a statement read by Representative Charles B. Rangel, Democrat of New York, praised Mr. Roach as “one of the first jazz musicians to align his craft with the goals of the civil rights movement.”

But Mr. Roach’s musical contributions were not neglected. The writer Amiri Baraka, while noting that the music Mr. Roach and the singer Abbey Lincoln made in the 1960s was “part of the liberation movement,” also read a poem that included a long list of musicians who owed Mr. Roach an artistic debt. Bill Cosby said that he owed Mr. Roach a different kind of debt — and that Mr. Roach had owed him one, too.

“Why I became a comedian is because of Max Roach,” he said. “I wanted to be a drummer.”

As a young jazz fan in Philadelphia, Mr. Cosby explained, he tried to teach himself to play drums by copying records and watching the great jazz drummers in action. But when he first saw Mr. Roach, he said, he was awed by his virtuosity and realized that “there were no tricks, nothing I could take.”

Shortly thereafter, Mr. Cosby told the crowd, he decided that the rudimentary drum kit for which he had paid $75 was not for him. And, he added, when he finally met Mr. Roach some years later, the first thing he said to him was, “You owe me $75.”

As befits a memorial for a man recognized as one of the architects of modern jazz, music played an important part in the service. The vocalist Cassandra Wilson, the pianists Randy Weston and Billy Taylor, and the saxophonist Jimmy Heath were among those who performed.

Mr. Heath performed an unaccompanied improvisation on a song whose title encapsulated what many of the speakers said about Mr. Roach: “There Will Never Be Another You.”

Friday, August 24, 2007

Charlie Parker, Uptown and Down

Charlie Parker, Uptown and Down 
Charlie Parker, Uptown and Down
Frank Driggs Collection
From left, Tommy Potter, Charlie Parker, Dizzy Gillespie and John Coltrane at Birdland, the New York nightclub named after Parker, in 1951.

In many ways, Charlie Parker, the subject of a festival this weekend, was the quintessential New York hero: a maverick and bon vivant, a subject of notoriety and myth.

From left, Tommy Potter, Charlie Parker, Dizzy Gillespie and John Coltrane at Birdland, the New York nightclub named after Parker, in 1951.

  • By NATE CHINEN

    Published: August 24, 2007

    In “Bird Alone,” one of the terse and symbolically charged songs Abbey Lincoln chose to revisit on her recent album “Abbey Sings Abbey” (Verve), there are no specific references to Charlie Parker. But any jazz fan would recognize this alto saxophonist and bebop progenitor, whose sobriquet was Bird (or Yardbird), in Ms. Lincoln’s lyrics. The airborne creature of the title is untouchable and inscrutable, “Sending mournful soulful sounds/Soaring over troubled grounds.” After gliding high and swinging low, it vanishes, leaving only a song.

    Chasin’ the Bird: A Field Guide to Charlie Parker (August 24, 2007)
    Chester Higgins Jr./The New York Times

    Abbey Lincoln, legendary singer-composer, is on the bill at the 15th annual Charlie Parker Jazz Festival this weekend.

    That image provides an apt tribute to Parker, whose mercurial genius galvanized jazz in the 1940s and ’50s, and whose influence endures more than half a century after his death. An equally fitting homage is offered by the 15th annual Charlie Parker Jazz Festival, which takes place this weekend at Marcus Garvey Park in Harlem and Tompkins Square Park in the East Village, places that bear some relevance to the life Parker led in New York.

    Ms. Lincoln, who turned 77 this month, is scheduled to make a rare appearance — two in fact, one at each location — as is the veteran drummer Chico Hamilton, 85, who will perform a new composition for sextet inspired by Parker and commissioned by the festival.

    And each of the concerts will surely entail a memorial to Max Roach, the pioneering drummer and close Parker associate who died last week at 83. Mr. Roach set an inventive percussive precedent that Mr. Hamilton adopted and personalized. Mr. Roach’s connection to Ms. Lincoln was more direct: In 1960 they worked together on his landmark album “We Insist! Freedom Now Suite,” and in 1962 they were married. (They divorced in 1970.)

    On a fundamental level, though, the festival pays homage to Parker and his footprint in the city. In many ways he was the quintessential New York hero: a maverick and bon vivant, a subject of notoriety and myth. He loved the city, and he toasted it outright with a tune called “Scrapple From the Apple” that was recorded in a New York studio 60 years ago this fall and almost immediately became popular with musicians. (Along with a catchy melody, it had a familiar harmonic progression, with elements of Fats Waller’s “Honeysuckle Rose” and George Gershwin’s “I Got Rhythm.”)

    “Charlie Parker became a New Yorker,” said the jazz historian Phil Schaap, whose Parker-fixated weekday radio program, “Bird Flight,” has been heard in its current form on WKCR (89.9 FM) since 1981. “That was important to him, and he felt great about it, and he enjoyed New York nightlife as well as he dominated it for a while.”

    Like so many celebrated New Yorkers Parker came from somewhere else. He was born in Kansas City, Kan., on Aug. 29, 1920, and began his musical career across the state line in Kansas City, Mo., during the waning days of its biggest nightlife boom. The depth of that experience will be a principal subject of “Kansas City Lightning: The Life and Times of the Young Charlie Parker,” a long-gestating biography by the critic Stanley Crouch due out from Pantheon next year.

    Parker made his first foray to New York in 1939, on the heels of Buster Smith, his fellow saxophonist and Kansas City mentor. While crashing at Mr. Smith’s apartment, he hit jam sessions at Harlem spots like Clark Monroe’s Uptown House on West 134th Street.

    “The only place he could really meet musicians who were going to help him realize his goals would have been New York, and specifically Harlem at that time,” the saxophonist and historian Loren Schoenberg said recently by phone from the National Jazz Museum in Harlem, where he is executive director. The museum’s August programming has been pointedly Parker-centric; next Tuesday the final lecture of the month takes place at the Harlem School of the Arts.

    Lore has it that Parker’s initial Harlem sojourn included toiling as a dishwasher at Jimmy’s Chicken Shack, where the fearsome pianist Art Tatum held court. At another uptown spot, Dan Wall’s Chili House, Parker had what he later described as an epiphany, during one of many sessions with a guitarist named Biddy Fleet.

    In an interview a decade later with Down Beat magazine, Parker recalled that he had tired of the stereotypical chord voicings then in use. “I kept thinking there’s bound to be something else,” he said. “I could hear it sometimes, but I couldn’t play it.” One night in 1939, improvising over the Ray Noble tune “Cherokee,” he brought his idea to life. “And bop was born,” Down Beat added, putting the kicker on a story so irresistible that Thomas Pynchon slipped it into his epic novel “Gravity’s Rainbow.”

    But bebop was no more traceable to a solitary bolt of inspiration than Parker’s complex style was. And bebop’s infancy had to wait a while as Parker returned to Kansas City, where he resumed ties with the pianist Jay McShann. For the next couple of years he worked in the Jay McShann Orchestra, playing “Cherokee” as a solo feature. Charlie Parker, Uptown and Down

    Published: August 24, 2007

    (Page 2 of 3)

    Among the earliest known recordings of Parker is a broadcast of the McShann band’s debut at the Savoy Ballroom in Harlem on Feb. 13, 1942. The engagement, effectively Parker’s first big splash in New York City, attracted the notice of many local musicians, including a few, like the trumpeter Dizzy Gillespie, who were invited to sit in.

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    Jack Vartoogian/FrontRowPhotos

    Chico Hamilton is on the bill at the 15th annual Charlie Parker Jazz Festival this weekend.

    Chasin’ the Bird: A Field Guide to Charlie Parker (August 24, 2007)

    Later that year, after erratic behavior earned him an unceremonious dismissal, Parker set himself up in New York, eventually joining Gillespie in the ranks of a band led by the pianist Earl Hines. Because of a recording ban imposed by the musicians’ union at the time, there is little documentation of this group. Nor is there much recorded evidence of Parker and Gillespie’s occasional forays to Minton’s Playhouse, the so-called laboratory of bebop. Or of Parker’s work at Monroe’s, where he enlisted a whip-smart Max Roach, still in his teens.

    The innovations of this period happened in spite of Parker’s rapacious vices, including a heroin addiction that began in Kansas City. His peers in the Hines and McShann bands would later recall his penchant for nodding off onstage. He spent the first few months of 1944 back in Kansas City, missing bebop’s first incursion onto swing-centered 52nd Street, between Fifth and Sixth Avenues: a Gillespie-spearheaded engagement at the Onyx Club.

    But when Gillespie headlined another serious run on 52nd Street — at the Three Deuces, beginning in March 1945 — Parker joined him. By then most insiders knew about his characteristic unreliability. When the Gillespie-Parker quintet appeared at Town Hall that June, the radio host Symphony Sid Torin began his broadcast with what may have been a reflexive disclaimer: “I don’t know whether Charlie has come in yet.”

    The fearless brilliance of the music Parker was making — at the Town Hall concert, a recording of which was issued two years ago, and contemporaneous studio sessions, especially the one that yielded “Koko,” his masterpiece elaboration on “Cherokee” — may explain why so many musicians copied his excesses, and so many loved ones put up with his manipulative abuses.

    Probably no one endured more than the two women who were pulled into his orbit. Doris Sydnor, who had an apartment on Manhattan Avenue near 117th Street, became Parker’s third wife. Chan Richardson, who was living in an apartment with her mother on 52nd Street, came to be considered his wife even though they never married. Both women happened to be working as nightclub checkroom attendants in 1945. A decade later both grieved as widows, competing for the claim.

    A harbinger of Parker’s death came in 1946, during a visit to California: He was arrested and committed to a state hospital. After six grueling months he gratefully returned to New York, moving with Doris into the Dewey Square Hotel in Harlem. He had kicked heroin, but only momentarily, and he had started drinking heavily.

    “At this time, 1947, bop was going like mad all over America,” Jack Kerouac later wrote in “On the Road,” invoking Parker. But the madness was most acute in Kerouac’s New York City, where fanatical followers began cataloging Parker’s solos and a downtown bohemian subculture claimed him as its existential hero.

    “Charlie Parker was really the only person who could unite in his experience the downtown avant-garde scene, with painters and self-conscious artists, and the Harlem jazz scene, which has always been more in harmony with the functional roots of the music,” Mr. Schoenberg of the Jazz Museum said. That partly explains the duality of the Charlie Parker Jazz Festival, which attracts a different audience for each of its free afternoon concerts.

    It also jibes with the recollection of the great drummer Roy Haynes, 82, who in a phone conversation last week described not only working uptown with Parker in the 1950s but also visiting the apartment on Avenue B where Parker was then living with Chan.

    “We opened Birdland together,” Mr. Haynes added, referring to the defunct nightclub on Broadway near 52nd Street, rather than the current club of the same name on West 44th Street. “Bird was very excited about that. I remember on opening night there were lines of people outside, waiting in bad weather.” Charlie Parker, Uptown and Down

    Parker did not own Birdland — that distinction belonged mainly to the infamous music-business operator Morris Levy — but the club’s name confirmed the height of his celebrity. “In 1946,” Mr. Schaap said, “Parker was under arrest, he was institutionalized, he was depressed, relatively few people knew him, his future was in grave doubt, even his life expectancy was in grave doubt. Three years later, arguably the best-known nightclub in New York City history is named for him using his nickname alone, in the diminutive.”
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    Multimedia
     Scrapple From the Apple by Charlie Parker (mp3)
     Koko by Charlie Parker (mp3)
     Salt Peanuts by Charlie Parker (mp3)
     Bird Alone by Abbey Lincoln (mp3)
    Related Chasin’ the Bird: A Field Guide to Charlie Parker (August 24, 2007)

    More recognition followed. By the 1950s Parker was finally winning jazz polls, and he had some popular success with “Just Friends” (from his sessions with strings) and “My Little Suede Shoes” (from a Latin-themed date that included Mr. Haynes). According to Mr. Schaap, Parker was enjoying the amenities of the city, from taxicabs to municipal swimming pools.

    But when, in the summer of 1951, Parker’s state-issued cabaret license was revoked, he was barred from working in New York. As his condition deteriorated and the jazz world grew crowded with his imitators, he was forced to seek work on the road. And in 1954, when Chan sent word that their 2-year-old daughter, Pree, had died of pneumonia, the shock sent Parker into a tailspin.

    His final descent was brutal: botched engagements, a suicide attempt, confinement at Bellevue, lurid tabloid speculation. Days after a ruinous last stand at Birdland, Parker stopped at the Hotel Stanhope, home of the Baroness Nica deKoenigswarter, a jazz patron with aristocratic pedigree. He stayed a few days, under some supervision by her doctor, and died there on March 12, 1955. The technical cause was pneumonia, but his 34-year-old body was so thoroughly ravaged that the doctor estimated his age as 53.

    In seemingly no time the defiant inscription “Bird Lives!” began appearing on otherwise unmarked subway station walls. The poet Ted Joans eventually owned up to starting the trend, but he could hardly account for its proliferation. This weekend’s festivities convey precisely the same message, and it will still feel more or less true, perhaps because both the music and the city have conspired to keep it that way.

  •  Scrapple From the Apple by Charlie Parker (mp3)
     Koko by Charlie Parker (mp3)
     Salt Peanuts by Charlie Parker (mp3)
     Bird Alone by Abbey Lincoln (mp3)

Wednesday, August 22, 2007

Soulful Jazz Singer Jon Lucien Dies

Soulful Jazz Singer Jon Lucien Dies
AP
Posted: 2007-08-22 08:07:57
Filed Under: Star Obituaries, Music News
POINCIANA, Fla. (Aug. 22) - Singer Jon Lucien, whose deep baritone and soulful love songs made him a respected jazz artist for more than 35 years, has died, his wife said. He was 65. Lucien died Saturday from respiratory complications after surgery, his wife, Delesa, said Tuesday from her home in Poinciana.

Born in the British Virgin Islands' main island of Tortola and raised in St. Thomas, Lucien began performing in his teens.

Photo Gallery: 2007's Lost Music Stars
Jon Sievert, Michael Ochs Archives / Getty Images

Jon Lucien, Aug. 18: The 35-year jazz veteran known for his deep baritone voice and touching love songs died on Aug. 18 from respiratory complications. He was 65.

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His 1970 RCA album, "I Am Now," launched a recording career that earned him a loyal following, though his hard-to-categorize style never lead to breakout success.

Among his songs were "Rashida," "Lady Love," "Dindi," "You Don't Need Me," "Hello Like Before," and "Sweet Control." His recordings of "Rashida" and "Lady Love" garnered Grammy nominations for arranger Dave Grusin in 1974 in the category of best arrangement accompanying vocalist(s).

In 1979, critic Leonard Feather praised Lucien in the Los Angeles Times for his "resonant baritone, assured timber and phrasing, the West Indian piquancy of his announcements. Contemporary material works better for him than standards."

In 1978, he contributed a vocal track to Weather Report's album "Mr. Gone."

"All the musical world knows about Jon Lucien," his widow said.

Drummer Kim Plainfield, who played with Lucien for 19 years, recalled him as "a consummate musician. He wasn't just a singer. He played multiple instruments live and in the studio. He was also a prolific composer." But Plainfield said Lucien never made it big because he couldn't be classified in a genre.

Lucien's 17-year-old daughter, Dalila, was among the 230 people killed in the crash of TWA Flight 800 off Long Island in July 1996. He sought solace in the studio and recorded the album "Endless is Love," which was released in 1997.

In recent years, he performed live with a jazz fusion group at local venues and jazz festivals around the nation and managed his own record label, Sugar Apple Music.

He is survived by his wife, two sons, an adopted daughter and a stepson.