14 Songs For Turning 41

To know the man, get to know his music. (Or, to paraphrase Al Pacino in Serpico, “If you love the man’s music, you have to love the man!”)

There are thousands of songs that I could choose; songs that elevate above the others and, in some ways, speak to me, or speak for me, or speak to things that I am unable to speak convincingly about. These are some of those songs, and they are all deeply connected with what I hope are the better angels of what I’m capable of being or even imagining.

Abdullah Ibrahim: “Mandela”:

Booker Little: “Opening Statement”:

Mozart, Symphony No 36 “Linz”, 2nd Movement (conducted by Karl Bohm):

Herbie Hancock: “Tell Me A Bedtime Story”:

Charles Mingus: “Orange Was The Color of Her Dress, Then Blue Silk”:

Roky Erickson: “Unforced Peace”:

The Who: “I’m One”:

The Congos: “Open Up The Gates”:

Jimi Hendrix: “Pali Gap”:

Vernon Reid (et al): “Up From The Skies”:

Charles Lloyd and Billy Higgins: “Supreme Love Dance”:

Khan Jamal: “The Known Unknown”:

Freddie Hubbard: “Here’s That Rainy Day”:

Gabriel Faure: “Requiem, Op 48, IV (Pie Jesu), (performed by Oxford Camerata)

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The Wisdom of Crowds: A Celebration of Humanity via YouTube (Part One: Music)

 

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Everyone knows YouTube is the best shortcut to favorite, as well as forgotten video clips. And while it is well worth recognizing, and celebrating, the millions of anonymous DJs out there manning the Internets have been doing work bringing the noise. Literally. YouTube is becoming (or has become) a reliable source for tunes. Everyone knows this, but there is no accounting for what gems you might stumble upon while surfing for that favorite (or forgotten) song. Of course, that is what Last.fm, Rhapsody and LimeWire are for. YouTube is less for programmed setlists and more for dedicated investigatory treasure hunts. Like the universe itself, the site is buzzing with signs of life and ready-to-be revealed secrets. If you boldly go where some men (and women) have gone before, you can collide with some very happy accidents.

Category One: Live Gems

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Marvin Gaye!

  

Emerson Lake and Palmer (prog-rock nirvana!):

 

Oh, you want more prog rock? How about some Genesis? You may recognize that reverse-mohawked lead singer…

 

The Moody Blues keeping it REAL:

Pink Floyd (not live, but there is plenty of that to be had; here is a rare promotional video, i.e., Prog rock apotheosis!):

John Fahey!!

 

Category Two: Jazz!

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Big Friendly Jazz Orchestra: “Fables of Faubus”
(First of all, that these songs are available is awesome; that this is a high school band (!) of Japanese girls (!!) playing –among other things– Mingus tunes (!!!) is bordering on miraculous. God bless them and God bless the Internets.)

Version One:

Version Two:

Charles Lloyd and Billy Higgins:

Art Motherfucking Blakey:

 

William Parker!

(Special appreciation for the things you were looking for all of your life — but didn’t know it until you found them):

Sun Ra:

The Keith Tippett Group. Who? Exactly. (King Crimson fans will recognize this woefully underappreciated pianist):

Grachan Moncur III:

Pharoah Sanders:

 

Category Three: Personal Favorites

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And then there are the old friends you sometimes need to dial up just to get through another case of the Mondays:

(I mean, a little Funkadelic never hurt anyone; in fact, it did a lot of people a whole lot of good. And hopefully a few of you have never heard of Standing on the Verge of Getting It On, and are now addicted. I know what you’re thinking: Wow, what an incredible album title! Here’s the best part, that’s not even the second best Funkadelic album title from the first half of the ’70s. How about Cosmic Slop? Or the truly hysterical (or hysterically true) America Eats Its Young? Of course there is also Free Your Mind…And Your Ass Will Follow. And, for anyone still not convinced, we can cut through the cleverness and get to the heart of the matter with Maggot Brain. Yeah, you may be thinking, but how serious can a band be with album titles like that? The answer, incidentally, is: serious as a fucking heart attack.

Two words: Eddie Hazel:

Category Four: The Wisdom of Crowds

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And finally, there are the geniuses amongst us who take the time not only to upload great music, but create arresting –and original– images to accompany it:

Exhibit A, Portishead:

Exhibit B, OutKast meets The Peanuts:

Exhibit C, Jimi Hendrix meets Earl King!!!

Exhibit D, Klaus Kinski, remixed:

And finally, Karlheinz Stockhausen — the only possible way to conclude this particular list:

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Song of the Day: Supreme Love Dance, Billy Higgins and Charles Lloyd

“Smiling” Billy Higgins.

On any self-respecting jazz fan’s extra short-list of all-time greatest drummers. He didn’t just act as the de facto session drummer for Blue Note in the ’60s, he was Blue Note. Starting with Ornette Coleman as part of the greatest quartet of all time (other than the undisputed champs–The John Coltrane “Classic Quartet”), and through his untimely death in 2001, Higgins was the unadulterated go-to guy; the people’s champion.

His street cred is staggering. Taken a random, here is a smattering of sessions he played on: The Shape of Jazz to Come (’59), Leapin’ and Lopin’ (’61), Let Freedom Ring (’62), Search for the New Land (’64), Dance With Death (’68), Footprints (’75), The Water is Wide (2000).

That last one, a Charles Lloyd recording, preceded what turned out to be his living epitaph, his two-man collaboration with Lloyd, 2001′s Which Way is East. Plagued by chronic liver complications, and in need of a third transplant, Higgins understood time might be running out. Lloyd invited him out to his home, and the two of them recorded several hours worth of improvised duets. What could have been a fairly lugubrious affair (considering the circumstances) instead turned into a celebration: defying death through music, these two men–who knew each other well–open their hearts and minds and a whole history of music spills out. It is, even without any contextual underpinnings, a near miraculous achievement; considering that Higgins would pass (entirely too prematurely) about four months after this session, it is a benediction and a love note for the art form to which Higgins had wholly dedicated his life.

It is inevitably somber to reflect on the misfortune that prompted this recording, but it is nevertheless a celebration. As Higgins knew, all the magic he made would continue its enchantment long after he moved on. As always, it is our incredibly good fortune to have had him with us as long as we did, and fans of music owe Lloyd a special acknowledgment for his part in making this last, best effort a reality.

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