#sadik hakim

[mostlymonk]

Eronel

Sachiko Ikuta Trio

Sachiko Ikuta – piano Yoshihiro Tokiyasu – bass Masaaki Takano – drum

#Eronel #Sachiko Ikuta #Yosihiro Tokiyasu #Masaaki Takano #Thelonious Monk #Sadik Hakim #Idrees Sulieman #Women In Jazz #Youtube

[onejazztrackaday]

Koko – Charlie Parker

Due to a recording ban during the crucial formative period of bebop Koko is considered by many to be the very first time Bebop was ever recorded, along with the Shaw 'Nuff session led by Dizzy Gillespie earlier in the year.

It is also one of the first of many contra-facts of Parkers. He had played Ray Noble's tune Cherokee so many times that by the end he hated it, but he had mastered the chords perfectly in all 12 keys. Koko has a partially improvised head and the chords are based on "Cherokee".

"I found that by using the higher intervals of a chord as a melody line and backing them with appropriately related changes, I could play the thing I'd been hearing."

These notes accompany the 1978 vinyl 5 album set of Charlie Parker: The Complete Savoy Studio Sessions.

A standard three hour/four side session was scheduled for November 26, 1945, at the WOR studios in New York for which Parker would supply original composititions. A Union contract was arranged the preceding week and Parker; Miles Davis, trumpet; Bud Powell, piano; Curly Russell, bass; and Max Roach, drums, were booked for the date. On the 26th Reig went to Parker's apartment to bring Bird to WOR and was informed the Powell had gone with his mother to Philadelphia where she was buying a house. No need to worry, however; Dizzy Gillespie was present and introduced to Reig: "Here's your piano player". Parker also had contacted pianist Argonne Thornton (later a.k.a. Sadik Hakim) ... and asked that he appear at the studio

There is dispute to this day as to who actually played piano and trumpet on each take of each track.

Miles Davis confirms in his autobiography that he did not play trumpet on Koko:

I remember Bird wanting me to play Ko-Ko, a tune that was based on the changes of Cherokee. Now Bird knew I was having trouble playing Cherokee back then. So when he said that that was the tune he wanted me to play, I just said no, I wasn't going to do it. That's why Dizzy's playing trumpet on Ko-Ko, Warmin' up a Riff, and Meandering on Charlie Parker’s Reboppers, because I wasn't going to get out there and embarrass myself. I didn't really think I was ready to play tunes at the tempo of Cherokee and I didn't make no bones about it.

Pianist Sadik Hakim, then known as Argonne Thornton, was also known to be present at the session, and some claim he played piano on Koko but this remains unconfirmed.

–Bozzie 🎷

#koko #ko-ko #charlie parker #miles davis #curly russell #max roach #dizzy gillespie #sadik hakim #argonne thornton

[loredumptime]

taglist

ORIGINAL

20s STORY: clarice, [southern man], iola kleeman, petra aveson, cleo aveson

APAMA STORY: apama, iotape, roxane, kleandros

APOCALYPSE STORY: foyoko suzuki, nguyen duong, ramona ahmad, roxanna, maisel, pablo

BAND STORY: electra, andromeda, venus, juno, bijou, milan, kiki, amber, dorian

BASIL LOUISE: basil louise callaway, maxine greer

CIRQUE NOELLE: mellie patch, leo fig, noelle tuleja, quura, areck johansen, mirissa acquati, orion floros, lula marinos, prissy, the lemon girls

COLD WAR STORY: lukas petrauskas, alexei, nadia pavlovsky, annika, sasha petrauskas, natasha petrauskas, tina petrauskas, valentina campos, ximena aguado, ilya bykov, ona petrauskas, lyosha petrauskas, vladimir, svetlana

DYSTOPIAN DELILAH: lemonade blackstone, eun-ha park hakim, jared smith, alexander moore, delilah yoshida, andreaus choi, emil olsen, erzsebet kemeny, zsofia kemeny, liam kishka, cory anderson

EZRA AND THEO: ezra ramirez, theodore rundle, ebony wilson, madeleine drozdov, jade wu, maple wells

HELL STORY: ashari astiela, baphomet, azri diotallevi, lia diotallevi, ark, the devil

HOMEFRONT STORY: henri, tucker, mirabelle

HONEYPOT: eleanor sabina, carlotta fernandes

KING TUT STORY: king tutankhamun, [girl] 

KORE’S UNIVERSE: kore mariangela, gertrude muller, leon ryland, dyani chuchip, hanzou kenta, aurelie babineaux

LESBIAN PIRATES: maeve finch, mariana finch, elena-rose finch, aerynthe milleny

MARY STORY: mary, [killer], [brother], hotaru saito, magnolia lewis

PANDORA STORY: william vasilescu, adam lysander, pandora chung, [pandora’s mom]

PETER PAN RETELLING: pan, wendy, hook, [hook bf], tink

PROFESSOR STORY: [professor], [inspector]

RAVIOLI: aika, augustus, olympias, [augustus sister], [evil prince]

RHIANONH: rhiannon mitchell, micha amos, lark beaumont, micha amos, richard mitchell

SACRILEGIOUS KIDS: lamb, rowan march, belle melangell, finn laurier, shiloh st. james, adam page, marley grey, haniel, gabriel SADIK STORY: ahmed, mihr nush, sadik bin abdullah, roshanak, fatima 

SLASHER KIDS: milo saint, charlie messer, jack colton, eli shaw, oliver shaw

TUTOR FROM CORINTH: philippos, tullia, calidus, berenike, galene

WEREWOLF STORY: alicia hughes, marlene hughes, wolfsbane hughes, alfred hughes

WILD WEST STORY: wes, beau, lottie, eve

WOODSTOCK STORY: annamae sinclair, jolene dixon, [hippie mother], [hippie cult leader], [hippie girl], [hippie boy]

WW2 STORY: wilfried achterburg, pepper porter, felix alberton, kostya vasiliev, luciano vargaz, carla neguirra, gwendolyn achterburg

YOKAI STORY: rio watanabe, sol costa, sumi ito, chiyo ito, hana ito

FANDOM

ARCANA OC: amaris natale, rishva bakhshi, tallulah devorak, maksim devorak, nyneve satrinava, lorelai natale, asanna natale

BREAKING BAD OC: cager myers, elise myers

DC OC: phoebus, constance, ella nashton, duela dent, cyril bloom, elsa king

FICTIF OC: diego perez, beatrix sparks, malou rossi, heidi dunajski

FNAF OC: trixy cat, ollie, hope

GORILLAZ OC: margo green, lemonade blackstone, jackson haywood, anita baker, connor bailey, eun-ha park hakim, marla kekoa, mason kekoa, delilah yoshida, jemima green, etienne green, catalina, francesca, camila, louis miller, juliet

HARRY POTTER OC: freya thrawcliffe, fern marden, circe ellis, yoon hye-in, aiden carter

HETALIA OC: agnes escalona, carla / andorra

JOJO OC: cecilio grande, delia sallow, miguel, jean, consuelo grande, maria grande, leandro 

MARBLE HORNETS OC: nicholas hill

SLENDERVERSE OC: alice burns, beam, [the rest of these guys aren’t my ocs, i just want to reblog stuff with their aesthetics] sally williams, jeffrey woods, tim wright, brian thomas, jane richardson, kate milens, tobias rogers, nina hopkins

SOUTH PARK OC: coral kelley, nia valez

UNDERTALE OC: kitty

WAKFU OC: hanezil the xelor, amodri the osamodas, nella the cra, rook, isre, fionan, milien, cleora, totio the ouginak

WARRIOR CATS OC: roseleaf, foxtail, frostspeck, snowpaw, [df mentor], sheep, lily, [riverclan guy], violetpelt, goldenfur, hawk, sardine

YURI ON ICE OC: leena makela, wynn virtanen

MISC.

DEAD OCS: sheena, hina takahashi, jazmin lafleure

[zekiyuncuoglu]

SAYILASI HERKESİ SAYIYOR, SEVİLESİ HERKESİ SEVİYOR, EN AZINDAN SAYGISIZLIK, SEVGİSİZLİK YAPMIYORUZ ANCAK BUGÜN BİZ TÜRKLERİN #ERGENEKON'DAN ÇIKIŞLARININ BAŞLADIĞI GÜNDÜR! BAŞKACA ÇIKIŞ, İNİŞLER VARSA (?) KONU DIŞIMIZDADIR. AYNI DURUŞU BİZ ÖZELLİKLE ÖZÜNE SADIK #GELENEKÇİ, #TÖRECİ_TÜRKLER'E GÖSTERME NEZAKETİ İÇERİSİNDE OLMAYANLARI BİZ DE O NİSPETTE HESABA ALMIYORUZ; HELE DE TÜRK'ÜM TÜRKÇÜ'YÜM DEYİP BAŞKA MİLLETLERİN KÜLTÜR VE GELENEKÇİLİĞİNE ALKIŞ TUTAN, BİATLA RAM OLANLARI❗ YÜCE VE ASİL TÜRK BUDUNUMA O GÜN BAŞLAYAN BUGÜN DEVAM EDEN ULUĞ TENGRİ'NİN KUTLU KILDIĞI GÖREVLERİNDE UTKULAR DİLİYOR, GERÇEK DOĞRULAR ÜZERİNE LİYAKATLA ADALETİN HAKİM KILINICAĞI O YAKIN GÜNE ANT VEREREK ESENLİYORUZ❣️ #TÖRESİ_İLE_TÜRKLERİN_ADALET_GÜNÜNE_ANT_OLSUN 🤘 ☣️🤘 #ZEKİYÜNCÜOĞLU ☣️ #KÖKTÜRÜGMANAS 🌀 #KADİM_KÖKTUĞ_ATANMIŞLARI 🌀 https://www.instagram.com/p/Ca6mOuvKx6-/?utm_medium=tumblr

#ergenekon #gelenekçi̇ #töreci̇_türkler #töresi̇_i̇le_türkleri̇n_adalet_gününe_ant_olsun #zeki̇yüncüoğlu #köktürügmanas #kadi̇m_köktuğ_atanmişlari

[fioralbafiore]

Sadik Hakim – Witches, Goblins etc

Album  del 1977 del pianista Sadik Hakim, con alla batteria Al FosterSadik Hakim – Witches, Goblins etc

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[gangstasparadise]

Hainlik pkk yi desteklemek nankörlük cezasiz kalmazzz...1991 Körfez savasinda 500.000 Kürde kapilarimizi açtik, bizim ekmegimizi bölüstürdük; sonuç: 20.000 PKK'li karsimiza çikti 9.671 sehit verdik! Vergi vermezler, yardim alirlar. Fatura ödemezler, milletten keserler. Uyusturucu imalati ve satisi yapar 'görmezden gelin' der. Siniri geçip kaçakçilik yapar, ' Bu benim ekmek param karisamazsin' der. Asker polisle çatisir, öldürür mermisi bitince 'teslim oluyorum, insan haklarim var, bundan yararlanmak istiyorum ' der. 'Sinir ötesinde Kürtler ölüyor' der ama savasmaya gitmez ve türklerin gitmesini ister. 'Cahilim, geri kaldim ' der, ögretmenleri öldürür, okul,dersane yakar 'Hastayim' der köyüne gelen doktoru öldürür, Sözde 'Islam konferansi düzenler, kuran okutur. Sonra camiden çikan imamlari halki uyandiriyor diyerek tek tek infaz eder. 'Yolumuz yok, devlet nerede.. ' der, yol yapan is makinalarini yakar, mühendisleri öldürür. Özgürlük' der, mahkeme basar, avukata, hakime, polise, askere pusu kurup sirtindan vurur, 'Namus' der her türlü ahlaksizligi yapar, 'Töre' adi altinda anasini bacisi öldürür. Resmi dilini bile ögrenmeye tenezzül etmedigi devletten as, is, makam ister. 'Fakirim yoksulum' der ama inatla mantar gibi çogalip isyan ettigi devletin çocuklarina bakmasini ister 'Fakirim' der asiret dügününde 20 kilo altinla görgüsüzlügün dibine vurur. Dagbasina izinsiz ev yapar, yasadigi yere otobüs ister, ilk yaktigi da o otobüs olur. Hastalaninca hastaneye gider devletten kan ister, ilaç ister, bedava tedavi olur. Gider Kizlay kan verme aracini yakar 'Sikintin varsa, gel bir çare bulalim, biz kardesiz, herkesin ayni sikintisi var, kardesçe yasayalim' denir, 'olmaz bu topraklar, hatta Türkiye bizim' diyerek ayaklanirlar. Avrupa kaçak göçmenlerin gemisini bile batiriyor, ülkesine hiçbirini almiyor. 2 milyona yakin Kürdü ülkesine alan, barinak, as is veren Türkiye'nin askerine polisine saldirip her yeri yakip yikiyor, hayati durduruyorlar. 'Biz kardesiz' derler Türk bayragi yakarlar. 'Biz kardesiz' derler önüne gelen her yeri yakar, yikarlar. 'ISID düsmaninsa git kendin savas 'dersin ülkeyi ayaklandirir, Türkiye'yi ISID'e destek olmakla suçlarlar. 'Bak kardes, biz bu topraklari kanla aldik, kanla veririz. Gel savasalim 'dendiginde 'Pis fasist, kafatasçi' derler. Ben Kürdüm Kürt özgürlügü için savasiyorum derler, örgütün yarisina yakinini Ermeni doldurur. Köy basip, vatanina sadik masum Kürtleri öldürür, kaçirir, tecavüz ederler. 'Biz kürtlerin temsilcisiyiz' derler, 'Hayir benim temsilcim degilsin' diyeni kursuna dizerler. 'Silah birakiyoruz, sinir disina çikiyoruz yolu açin' derler, o süreçte daha da güçlenip silahlanirlar. 'Ateskes var' derler hergün her gece bir yere saldirip, yol keserler, molotof atarlar. Yakalandiginda, sikistiginda 'biz kardesiz 'derler ama ne kadar Türk düsmani ülke varsa onlara hizmet eder, isbirligi yaparlar. Bizi irkçilikla suçlar, kendi Kürt milliyetçiligi, kafatasçiligi yapar. Liderleri açikça çagri yaparak hepsini sokaga döker 'ayaklanin' der. Her yer yakilir, yikilir, bankalar, marketler, kuyumcular, esnaf yagmalanir. Olaylar büyüyünce ertesi gün utanmadan arsizca, piskince milleti aptal yerine koyarak ' Bunlari yapanlar bizden degildir. Bunlar vandaldir, devletin provakatörüdür..' der Bunlar her arkamizi döndügümüzde gasp, hirsizlik, dolandiricilik yapar, pusu kurar, bomba patlatir, köy basar kadin çocuk öldürür, eziyet ederler. ama hep onlar magdurdur ve haklidir. Kanun, devlet, millet haksizdir . Biktik artik bu terörörizmden ve 'kardes' yalanindan. Eger PKK'ya destek veriyorsan, terör olaylarina katilip onlarla birlikte hareket ediyorsan "Sen bizim kardesimiz degilsin" Sen bu milletin basina bela edilmis geni bozuk bir düsman piyonusun.. Bundan sonra da Türk milletinden öyle muamele göreceksin. Ilk önce insan olun. Çünkü insan olmayanin hakki da olamaz. Not: Gerçekten bu ülke için seve seve canini verecek nice Kürt kardeslerimiz var, onlari tenzih ederim....pkk bebek katili terör örgütüdür pkk ya silah birakacak yada o silahla gömülecektir... 

[nasu-no-hana]

Sonny Stitt meets Sadik Hakim (1978) ソニー・スティットとサディック・ハキムが1978年にプログレスに残した音源を2✕HDがDSDで復刻。 ・ 梅雨真っ只中の宮古島、夜中から大荒れの天気。風速10m超え、気温も下がり午前10時で20℃。猫たちも動く気配なし。 #SonnyStitt (as,ts) #SadikHakim (p) #BusterWilliams (b) #JRMitchell (ds) #highres #ハイレゾ #dsd #cdcollection #vinyl #vinylcollection #coverart #albumart #33rpm #lp #nowspinning #nowplaying #アナログ盤 #レコード #records #Jazz #hardbop #postbop #contemporaryjazz #ProgressiveRecords #2HDRecords #1978 #coffee #コーヒー #cat #猫 (宮古島) https://www.instagram.com/p/CAbkloLJ2Zp/?igshid=1glrx26dtsmr

#sonnystitt #sadikhakim #busterwilliams #jrmitchell #highres #ハイレゾ #dsd #cdcollection #vinyl #vinylcollection #coverart #albumart #33rpm #lp #nowspinning #nowplaying #アナログ盤 #レコード #records #jazz #hardbop #postbop #contemporaryjazz #progressiverecords #2hdrecords #1978 #coffee #コーヒー #cat #猫

[budaallmusic]

Sadik Hakim ‎– Sadik Hakim #RadioCanadaInternational 1971 🇨🇦 Canada Piano, #fenderrhodes – #SadikHakim https://www.instagram.com/p/Bx-lPzWJsqM/?igshid=177zkubgcno0u

#radiocanadainternational #fenderrhodes #sadikhakim

[topbeautifulwomens]

#Cassandra #Wilson #Biography #Photos #Wallpapers #colors #face #fashionblogger #fitnessmodel #instagram #makeover #modelo #photographymodeling #trends #woman

Cassandra Wilson is an American jazz musician, vocalist, songwriter, and producer from Jackson, Mississippi. Described by critic Gary Giddins as “a singer blessed with an unmistakable timbre and attack [who has] expanded the playing field” by incorporating country, blues and folk music into her work, Wilson has won two Grammy Awards.

There her focus turned toward improvisation. Heavily influenced by singers Abbey Lincoln and Betty Carter, she fine-tuned her vocal phrasing and scat while studying ear training with trombonist Grachan Moncur, III. Frequenting jam sessions under the tutelage of pianist Sadik Hakim, a Charlie Parker alumnus, she met alto saxophonist Steve Coleman, who encouraged her to appear beyond the standard jazz repertoire in favor of developing original material. She would become the vocalist and one of the founding members of the M-Base collective in which Coleman was the leading figure, a stylistic outgrowth of the Association for the Advancement of Creative Musicians (AACM) and Black Artists Group (BAG) that re-imagined the grooves of funk and soul within the context of traditional and avant-garde jazz. Peter Watrous in an article for the New York Times states: “…the M-Base group in Brooklyn, working with both jazz and pop forms, makes music that at 1st sounds like funk from the 1970s. Like the music played by Mr. Marsalis (and his brother Wynton) the music made by M-Base – Steve Coleman, with Greg Osby, Cassandra Wilson and Geri Allen – is, at its ideal, filled with subtle ideas working behind the mask of popular music. In Mr. Coleman’s group a singer is supported by an electric bass, guitar, drums and electric keyboards, a shiny musical mix that has familiar rock and funk references; yet, because of all its rhythmic and metric manipulations, sounds clean.” Beginning with Blue Light ‘Til Dawn (1993) her repertoire moved towards a broad synthesis of blues, pop, jazz, world music, and country. Although she continued to perform originals and standards, she adopted songs as diverse as Robert Johnson’s “Come On in My Kitchen”, Joni Mitchell’s “Black Crow”, The Monkees’ “Last Train to Clarksville”, and Hank Williams’ “I’m So Lonesome I Could Cry”.

Not only did Wilson effectively reconnect vocal jazz with its blues roots, she was arguably the first to convincingly fashion post-British Invasion pop into jazz, trailblazing a path that a lot of incorporate considering that followed. Furthermore, producer Craig Street drew from pop production techniques to create a rich ambient environment around her voice, magnifying it and giving sonic depth to Brandon Ross’ sparse but surprisingly vivid arrangements, which used steel guitar, violin, accordion, and percussion. Wilson’s 1996 album New Moon Daughter won the Grammy for Best Jazz Vocal Performance. In 1997, she recorded and toured as a featured vocalist with Wynton Marsalis’ Pulitzer Prize winning composition, Blood on the Fields.

Name Cassandra Wilson Height Naionality American Date of Birth four-December-1955 Place of Birth Jackson, Mississippi, U.S. Famous for Singing

The post Cassandra Wilson Biography Photos Wallpapers appeared first on Beautiful Women.

source http://topbeautifulwomen.com/cassandra-wilson-biography-photos-wallpapers/

[ur-topia]

Prospect Anthony Haughey (2008) A single channel video installation, mini-DV HD colour and sound. Duration 16 mins 40 secs looped

Nearly 6,000 immigrants have died on the frontiers of Europe since 1988. Every year thousands of migrants attempt life-threatening journeys from sub-Saharan African countries to Europe. Among them an estimated 1,883 have been lost at sea in the Sicilian Channel (Mediterranean Sea) between Libya, Tunisia, Malta and Italy. Migrants pay unscrupulous smugglers 1,500-2000 euro to travel from North Africa. The journey can take more than five days in dangerously overloaded wooden fishing boats inadequate for the task.

Prospect is a metaphoric journey filmed in the Western Sahara Desert and the Mediterranean Sea off the coast of Malta, and the in-between spaces where refugees and asylum seekers contest for the right to live in a secure environment. The three protagonists featured in this film, Sadik, Hakim and Warsame are from Somalia and Liberia, all three have successfully made this perilous journey and found ‘temporary’ refuge in Malta – the most densely populated territory in Europe, where irregular migrants are unwelcome. Sadik and Hakim are living in a refugee centre situated in a harbour on the edge of the Mediterranean Sea where refugees have barely gained a foothold on Maltese territory, their journey to mainland Europe has temporarily stalled and they continue to wait… Meanwhile Warsame who was also rescued by the Maltese Navy has managed to get off the island and continued his journey to Dublin, where he is living in a small room on the North Circular Road.

Warsame narrates his perilous travel from Somalia to Europe, an epic journey that can often take more than three years. This first-hand account is a powerful testimony of forced migration across some of the most inhospitable terrain in the world.

The vantage point of the camera places the viewer in the position of sub-Saharan migrants traveling through endless miles of shifting sands and floating on turbulent waves in the sea.

The anonymous and threatening force of nature, a landscape of endless sand dunes and rolling seas is juxtaposed with the intimate lives and temporal homes of the two protagonists. Warsame’s articulate critical reflection reveals both his personal journey and the predicament of similar people caught in the stasis of European migration policy.

#dystopia

[mega-mitkam-universe]

Good things happen slowly also chronicles Hersch’s ... Video

Good things happen slowly also chronicles Hersch’s … Video

Pianist Fred Hersch has long been recognized as an extraordinary interpreter of the Thelonious Monk songbook. But, despite including one of the iconic pianist-composer’s pieces in every one of his sets for most of his career, Hersch had never tackled “Eronel,” co-written by Monk and pianist Sadik Hakim—until now.

Monk’s original stride-inflected lines come in for a dizzying array of variations in…

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[mostlymonk]

Eronel

Kris Davis & Billy Drummond

Kris Davis – piano Billy Drummond - drums

#Eronel #Kris Davis #Billy Drummond #Idrees Sulieman #Sadik Hakim #Lenore Eisner #Women In Jazz #Thelonious Monk

[baladizagidi]

O Adam

O yillar henuz Hatay’in anavatana katilmadigi zamanlardi. Daha cocukken ‘sinirda’ yasamanin ne demek oldugunu tecrubeleriyle anlamisti. Bunun sonucunda kendi kultutrune,dinine ve milliyetine daha tutkun hale geldi.On bes yaslarinda Islam klasiklerinin anlasilmasi en zor metinlerini okumakla mesguldu. Ayni zamanda dunya klasiklerini de elinden birakmiyordu. Icine kapanik,mahcup bir delikanliydi. Bir yazisinda soyle bir vurgusu var ki,sanirim bu duyguyu o zamandan hissetmisti:” Insanlar kiyiciydi,kitaplara sigindim.” Sivesi,tavirlari ve kisiligi arkadaslariyla iliski kurmakta zorlanmasi sonucunu doguruyordu. Bu yabancilik hissi olunceye dek surecekti.

 Ilkokul ve ortaokul zamaninda Turkiye’de okudu ve daha sonra-lise zamanlari- o zamanki her okuyan genc gibi Marksizmle tanisti. Basi belaya girdi, mahkemeye cikarildi. Teorinin tumune hakim olduktan sonra kendini bu davaya adamisti. Fakat mahkeme heyetine savunmasini yaparken sunu dusunmekten kendini alamayacakti:”Evet ben sosyalisttim.Ama o gune kadar bir kez olsun bir iscinin elini sikmis miydim?” Bu meseleyi olgunluk caginda daha da dusundu ve su sonuca vardi:”Bu ulkenin kurtulusunun bir yolu da kafa ve kolun birlesmesinden geciyor.” Aslina bakilirsa tarih boyunca halkci tum aydinlarin icinden cikamadigi yegane sorun buydu.

 Ve Istanbul. En buyuk hayal kirikligi. O sivesi ve tasrali havasiyla bir hevesle girdigi sol ortamlardan dislandi,asagilandi. Onun tasrali havasi ve tutuklugu cevresindeki igreti bakislarin ve dikkate alinmamalarin verdigi izdirapla birlesince kisisel bir buhrana donustu. Hayatinin en karanlik ve uzgun donemlerini gecirdi. Ayni zamanda goz rahatsizligi da artmaya basladi. Simdi bakin,1972lere kadar Turkiye solu elitler arasinda hayli etkin bir akimdi. Bu zamandan sonra bizim su an bildigimiz feodal niteligine kavusuncaya kadar da sosyalizm elitler ve onlarin cocuklari arasindaki bir muhabbet konusu olarak kaldi biraz da.

O yillarda ileride karisi olacak kadini tanidi. Bu kadini tasvir edisi de zaten buhranli yillarinin tam sonunda oldu. Onunla hayati degisti. Karisi onun hem yol arkadasi hem yardimcisi hem aski yani her seyi oldu. Bu yillarda evlendi ve parasizliktan kurtulmak icin haril haril ceviri yapti. Cok iyi Fransizca biliyordu ve ozellikle Balzac cevirileri yapiyordu. Balzac onun icin bir esikti ayni zamanda. Bugun onun yaptigi cevirilerin yeniden basimlari yapiliyor. Cunku yaptigi ceviriler o kadar ustaca ve derinlikliydi ki bazi kelimler icin ayri bir dipnit aciyor ve uzun uzun aciklamalarda bulunuyordu.

Bu zamanlarda sag kesim ona sahip cikti ve o bunu hic unutmadi. Ama ayni zamanda solun da bzi ozelliklerini sevmeye devam ediyordu,hatta sagi kiyasiya elestiriyordu. Proudhon ve diger anarsistlere hakkini teslim ederken ayni zamanda Said Nursinin bu ulke halkinin bir cigligi oldugunu vurgulamaktan geri kalmiyordu. Defaatle ideolojilerin bir deli gomlegi oldugunu yaziyor,solun ise bu ulkeyi anlayacak kuramsal yeterlilikten yoksun oldgunu dusunuyordu. Sag mi? Onun icin sag, bir olu mezarligi sessizligi ve uyusuklugundan ibaretti.

Batililasma,oksidentalizm ve oryantalizm konusunda zihin acici makaleler yazmaktan geri durmadi. Yazilarinda Marks’a ve diger ateistlere sikca vurgu yapiyordu. Solun “gerici” diye itham ettigi organlarda bu sekilde yazilar yazarken bu “gerici” dergilerin kadrolari onu yazilarinda serbest biraktilar ve ozgur bir ortam sagladilar. O bunu hic unutmadi. Gercekten de o ikiye ayrilmis bir adamdi. Zamaninin ideolojik kamplasmalari icine sokamazdiniz onu:”benim trajedim şu bir kaç satırda: sevebileceklerim dilsiz, dilimi konuşanlarla konuşacak lakırdım yok. yani, dilimle, zevklerimle, heyecanlarımla, yarımla 'büyük doğu' kadrosundanım. düşüncelerimle, inançlarımla 'yön'e yakınım. bu bir kopuş, bir parçalanış"

Fakat o bir tek taraftandi, hakikat tarafinda.On binlerce kitap okudugu biliniyor. Bu ugurda gozlerini kaybetmis bir “tefekkur iscisi”nden bahsediyoruz. O her zaman fildisi kulesinden haykiran bir entellektuel,bir munevverdi. Ve diger “aydin”lara deyim yerindeyse biraz acima biraz tiksintiyle bakiyordu. Onun icin Turk aydini bir somurge aydiniydi,kendini begendirmek icin alfabesini bile degistirmis, koksuz ve ruhsuz insanlardi. Onlar “magaradakiler”di. Fakat simdiler gibi ucuz elestiriler getirmedi hic, M.Kemal’e kendi dunyasi icinden hep hakkini verdi. 

Gorkemli gecmisimizi cok iyi bilen ,hem Sark hem de Garp medeniyetlerini ozumsemis bu buyuk insan gorkemli gecmisimizi dikkate almayip “az gelismis ulke” oldugumuzu surekli kendimize tekrarlamamizdan,surekli kendimizi asagilamamizdan nefret ediyordu. Onun haykirisi buydu. Bunun nedeni de suydu: "Son yıllarda garip bir mahlûk türedi türkiye'mizde. Tek sahife tarih okumadan milletin mazisini keşf, hâlini tasvir, istikbalini tanzim eden bir allame türü... Hafızamızı kaybettik. hafızamızı, yani şuurumuzu..."

Deli gomlekleri diyorum ya, iste tum sorun hic okumadan hazir receteleri bulup uygulamaya calisan bu okumus cahillerdi. Halbuki aydin,halka dokunmaliydi. Gecmisi idrak eden her Turk munevverinin gectigi bir esikti bu. Anlatilmaz,yasanir.

Yasadigi zaman hic anlasilmadi. Hep kafasi karisik bir insan muammelesi gordu. Dislandi ve gormezden gelindi. Tecessus ve tefekkur. Cografyamiz bu iki seyin pesinde kosan insanlara hakettigi degeri hicbir zaman vermez. Cemil Meric’e de vermedi. Bakmayin siz simdiki devlet ricalinin onun adina kongreler duzenleyip, Kultur Bakanliginca hayatini anlatip, TRT’de programlar yaptirmasina. Adini okullara vermekle olmuyor bu isler. O programlara bakiyorum da... Benim okudugum ve okuyup heyecanlandigim adam bu degil. Guzel olan her seyi kendinize benzetiyorsunuz,her seyi kirletiyorsunuz ve ruhsuzlastiriyorsunuz. Insanlarimizin ozunu bozdunuz ama Cemil Meric’i bozamayacaksiniz. Hakikatle ve onun sadik hizmetkari “O Adam”la  sizin aranizda daglar kadar fark var cunku.

[seputarbisnis]

KONI Pusat Lantik Pengurus PSSI Pusat Periode 2016-2020

Pengurus PSSI periode 2016-2020 akhirnya resmi dilantik KONI Pusat di gedung Balai Kartini, Jakarta, Jumat pagi (27/1). Ketua umum KONI Pusat Tono Suratman langsung melantik organisasi yang dipimpin Letnan Jenderal TNI Edy Rahmayadi. Yang menarik adalah, dari susunan pengurus yang ada, PSSI ternyata menghilangkan posisi untuk satu wakil ketua umum. Padahal, jika berdasarkan Statuta PSSI, wakil ketua umum itu terdiri dari dua orang. Berdasarkan hasil Kongres Pemilihan PSSI, 10 November 2016, pun telah terpilih Joko Driyono dan Iwan Budianto, untuk menempati posisi tersebut. Pada akhirnya, Iwan dialihkan posisinya sebagai kepala staf ketua umum. Sedangkan Joko tetap menjabat sebagai wakil ketua umum. Ketika dikonfirmasi mengenai hal ini, Edy menilai itu tak menyalahi Statuta PSSI. "Itu tidak menyalahi statuta. Statuta hanya menentukan jumlah Exco. Jumlah Exco kami tetap, kan tidak mungkin ada dua wakil ketua. Di mana-mana wakil ketua satu saja," kata Edy. "Sehingga yang ada suatu koordinator staf, dan kami bikin kepala staf yang kami tunjuk Iwan Budianto. Fungsinya mengkoordinir staf, kalau staf di PSSI itu berarti para Exco," tambahnya. Di samping itu, di posisi dewan kehormatan PSSI juga terdapat Kapolri Jenderal Tito Karnaval, selain Agum Gumelar. Selain itu, untuk posisi dewan pembina terdapat Syafruddin sebagai ketua, dengan anggota Priyono Sugiarto dan Maruarar Sirait. Hal menarik lainnya, ada juga posisi staf ahli timnas yang diketuai Gede Widiade dengan wakil ketua Sinar Sitorus. Keduanya juga dibantu oleh beberapa staf ahli untuk posisi kiper, bek, tengah, hingga depan yang diisi mantan pemain timnas. "Dengan pengukuhan ini, bahwa pengurus PSSI secara resmi sah melakukan kegiatan sesuai yang sudah atau sedang disusun. Semoga PSSI semakin maju dan mampu berprestasi di tingkat regional maupun internasional," kata Tono, dalam sambutannya. Sementara itu, Edy berharap dengan dikukuhkannya kepengurusan PSSI, bisa semakin solid untuk membangun sepakbola Indonesia. "Semoga ke depan kami dapat berbuat lebih baik untuk sepakbola Indonesia. Kami juga mohon diingatkan dan diarahkan. Berikan kami petunjuk baik secara lisan maupun tulisan," ucap Edy. Berikut susunan kepengurusan PSSI periode 2016-2020: I. Dewan Kehormatan Ketua: Agum Gumelar Anggota: 1. Gatot Nurmantyo 2. Tito Karnavian II. Dewan Pembina Ketua: Syafruddin Anggota: 1. Priyono Sugiarto 2. Maruarar Sirait III. Pengurus Pusat Ketua Umum: Edy Rahmayadi Wakil Ketua Umum: Joko Driyono Kepala Staf Ketua Umum: Iwan Budianto Komite Eksekutif: 1. AS Sukawijaya, 2. Condro Kirono 3. Dirk Soplanit 4. Gusti Randa, 5. Hidayat 6. Johar Lin Eng, 7. Juni Ardianto Rachman 8. Papat Yunisal 9. Pieter Tanuri 10. Refrizal 11. Yunus Nusi 12. Verry Mulyadi IV. Komite Tetap a. Keuangan Ketua: Dirk Soplanit Wakil Ketua: Pieter Tanuri Anggota: 1. Daconi Chotob 2. Hartarto 3. Muhammad Reza Ikhwan b. Kompetisi Ketua: Yunus Nusi Wakil Ketua: Hidayat Anggota: 1. Endri Irawan 2. Arif Bulqini 3. Hendrik c. Teknis dan Pengembangan Ketua: Refrizal Wakil Ketua: Verry Mulyadi Anggota: 1. Sutan Harhara 2. Emral Abus 3. Andre Rosiade d. Wasit Ketua: Condro Kirono Wakil Ketua: Juni Ardianto Rachman Anggota: 1. Purwanto 2. Nasrul Koto 3. Yesayas Leihitu e. Hukum Ketua: Gusti Randa Wakil Ketua: AS Sukawijaya Anggota: 1. Khairul Anwar 2. Dwi Rianto Jatmiko 3. Yudi Apriyanto f. Sepak bola Perempuan Ketua: Papat Yunisal Wakil Ketua: Verry Mulyadi Anggota: 1. Berty Tutuarima 2. Mutia Datau 3. Erick Ayatanoy g. Pengembangan Sepak Bola Usia Muda Ketua: Hidayat Wakil Ketua: Refrizal Anggota: 1. Nasril 2. Dahlan 3. Fityan Hamdi h. Futsal Ketua: Johar Lin Eng Wakil Ketua: Refrizal Anggota: 1. Suyatno 2. Ridwan Madubun 3. Majid i. Medis Ketua: Verry Mulyadi Wakil Ketua: Papat Yunisal Anggota: 1. Ikhwan Zein 2. Mahfutiono 3. Alfis Primatra j. Status Pemain Ketua: Gusti Randa Wakil Ketua: Yunus Nusi Anggota: 1. Irawadi Hanafi 2. Babay 3. Syaiful k. Fair Play dan Tanggung Jawab Sosial Ketua: Juni Ardianto Rachman Wakil Ketua: AS Sukawijaya Anggota: 1. Kodrat 2. Yedidiah SK Soerjosoemarno 3. Borgo Pane l. Media Ketua: AS Sukawijaya Wakil Ketua: Yunus Nusi Anggota: 1. Wisnu Adi Yoga Nugroho 2. Kadafi Yahya 3. Farid Maroef m. Sepak bola Ketua: Johar Lin Eng Wakil Ketua: Hidayat Anggota: 1. Putra Wirasana 2. Fahmi Hakim 3. Sukri n. Studi Strategis Ketua: Dirk Soplanit Wakil Ketua: Papat Yunisal Anggota: 1. Lambertus Ara Tukan 2. Rocky Bebena 3. Maman Suherman o. Marketing dan Konsultan Televisi Ketua: Pieter Tanuri Wakil Ketua: Dirk Soplanit Anggota: 1. Hasnur 2. Benny Erwin 3. HAB Mangindaan p. Keamanan: Condro Kirono Wakil Ketua: Juni Ardianto Rachman Anggota: 1. Nugroho Setiawan 2. Ali Umar 3. Pieter Kalakmabin V. Komite Ad-Hoc Percepatan Pengembangan Sepak Bola Indonesia Anggota: 1. Zulkarnaen 2. Syamsu Rizal 3. Hendri 4. Agus Suardi 5. Armen Margolang 6. Zulkifli 7. Zulkarnain Idris 8. Adeng Hudaya 9. Dadang Johar 10. Eri Kusmar 11. Mulyadi 12. John Kogoya 13. Indra Maulana 14. Syafarizal 15. M. Yusran 16. Sofyan Lestaluhu 17. Amir Burhanudin 18. Hengki Purwoko 19. Yunus Muchtar VI. Staf Ahli Timnas Ketua: Gede Widiade Wakil Ketua: Sihar Sitorus Anggota: 1. Bambang Nurdiansah (Staf Ahli Pemain Depan) 2. Kurniawan DY (Staf Ahli Pemain Depan) 3. Budiman Dalimunte (Staf Ahli Pemain Tengah) 4. Anjas Asmara (Staf Ahli Pemain Tengah) 5. Sarman Panggabean (Staf Ahli Pemain Tengah) 6. Sutan Harhara (Staf Ahli Pemain Belakang) 7. Oyong Lisa (Staf Ahli Pemain Belakang) 8. Sudarno (Staf Ahli Pemain Kiper) 9. Arie Sutopo (Staf Ahli Medis) VII. Organ Yudisial a. Komisi Disiplin Ketua: Asep Edwin Wakil Ketua: Umar Husin Anggota: 1. Yusuf Bachtiar 2. Dwi Irianto 3. Eko Hendro Prasetyo b. Komisi Banding Ketua: Todung Mulya Lubis Wakil Ketua: Ade Prima Syarif Anggota: 1. Aji Ridwan Mas 2. M. Koswara 3. Yakub Kristanto c. Komisi Etik Ketua: Dodik Wijanarko Wakil Ketua: Zarof Ricar Anggota: 1. David Sulasmono 2. Anton Sanjoyo 3. Hadianto Ismangoen 4. Wetmen Sinaga 5. Suryantono VIII. Pengawas Internal Ketua: Bigman Lumban Tobing Wakil: Umuh Muchtar IX. Departemen Tim Nasional Ketua: Adhoc X. Departemen Keuangan dan Bisnis Bendahara Umum: Berlinton Siahaan Wakil Bendahara: Irzan Hanafiah Pulungan Penggalangan Dana: Ivan Petrus Sadik XI. Departemen Perencanaan dan Pengembangan Ketua: Gatot Hariyo Sutedjo Wakil Ketua: Faisal Rachman XII. Departemen Sport Intelligent Ketua: Fary Djemy Francis XIII. Departemen Hukum Ketua: Teguh Irianto Maramis Wakil Ketua: Togi Hamonangan Lingga XIV. Departemen Wasit Ketua: Purwanto XV. Departemen Personalia Ketua: Ashari Joni XVI. Departemen Kepatuhan dan Integritas Ketua: John Fresly Hutahayan XVII. Sekretariat Jenderal Sekretaris Jenderal: Ade Wellington Adrian Deputi Sekretaris Jenderal Bidang Sepak Bola: Fanny Riawan Deputi Sekretaris Jenderal Bidang Operasional: Jonathan Tahir Direktur Usia Muda: Ricky Yacobi Direktur Teknik: M Danurwindo Direktur Kompetisi: M Yusuf Kurniawan Direktur Keanggotaan: Sita Saraswati Welliken Direktur Hubungan Internasional dan Media: Hanif Thamrin Direktur Event Management: Erlangga Arya Direktur Teknologi Informasi dan Infrastruktur: Abdul Chalid Direktur Transfer dan Status: Marco Garcia Paulo. (goal/f) http://dlvr.it/NFSvNf

[blewnotes]

Jazziversaries July 15th

Joe Harriott (saxophone) 1928-1973 ::was a Jamaican jazz musician and composer, whose principal instrument was the alto saxophone.

Initially a bebopper, he became a pioneer of free-form jazz. He was educated at Kingston’s famed Alpha Boys School, which produced a number of prominent Jamaican musicians. He moved to the UK as a working musician in 1951 and lived in the country for the rest of his life. Harriott was part of a wave of Caribbean jazz musicians who arrived in Britain during the 1950s, including Dizzy Reece, Harold McNair, Harry Beckett and Wilton Gaynair.

Like the majority of alto players of his generation, Harriott was deeply influenced by Charlie Parker. He developed a style that fused Parker with his own Jamaican musical sensibility - most notably the mento and calypso music he grew up with. Even in his later experiments, his roots were always audible. However, it was Harriott’s mastery of bebop that gained him immediate kudos within the British jazz scene upon his arrival in London in 1951.

During the 1950s, he had two long spells with drummer Tony Kinsey’s band, punctuated by membership of Ronnie Scott’s short lived big band, occasional spells leading his own quartet and working in the quartets of drummers Phil Seamen and Allan Ganley. He began recording under his own name in 1954, releasing a handful of E.P. (extended play) records for Columbia, Pye/Nixa and Melodisc throughout the 1950s. He also appeared alongside visiting American musicians during this period, including a “guest artist” slot on the Modern Jazz Quartet’s 1959 UK tour. He formed his own quintet in 1958, and their style of hard-swinging bebop was noticed in America, leading to the release of the Southern Horizons and Free Form albums on the American Jazzland label.

By now firmly established as an outstanding bebop soloist, in 1960 Harriott turned to what he termed "abstract" or "free-form" music.At first he struggled to recruit other like-minded musicians to his vision. Indeed, two of his core band members, Harry South and Hank Shaw, left when these ideas surfaced. He finally settled on a line-up of Shake Keane (trumpet, flugelhorn), Pat Smythe (piano), Coleridge Goode (bass) and Phil Seamen (drums). Les Condon temporarily replaced Keane on trumpet in 1961, while Seamen left permanently the same year, his place taken by the return of the quintet’s previous drummer, Bobby Orr.

Harriott’s free-form music is often compared to Ornette Coleman’s roughly contemporary breakthrough in the US, but even cursory listening reveals deep divisions between their conceptions of “free jazz”. Indeed, there were several distinctive models of early free jazz, from Cecil Taylor to Sun Ra. Harriott’s was another of these. His method demanded more complete group improvisation than displayed in Coleman’s music, and often featured no particular soloist. Instead of the steady pulse of Ornette’s drummer and bass player, Harriott’s model demanded constant dialogue between musicians, which created an ever-shifting soundscape. Tempo, key and meter always free to alter in this music, and often did so. The presence of Bill Evans-inspired pianist Pat Smythe also gave the band a completely different texture to Coleman’s, which by then had dispensed with the need for a pianist. Harriott’s own playing style underwent some changes during this period, dispensing with orthodox bebop lines in favour of more angular, cut up phrasing. What remained however, was his lyricism, searing tone and sense of attack.

Harriott was always keen to communicate his ideas, be it on stage, in interviews or album liner notes. In 1962, he wrote in the liner notes for his Abstract album, “of the various components comprising jazz today - constant time signatures, a steady four-four tempo, themes and predictable harmonic variations, fixed division of the chorus by bar lines and so on, we aim to retain at least one in each piece. But we may well, if the mood seems to us to demand it, dispense with all the others”.

He recorded three albums in this vein, Free Form (Jazzland 1960), Abstract (Columbia (UK) 1962) and Movement (Columbia (UK) 1963). Abstract received a five star review from Harvey Pekar in Down Beat, the first such honour for a British Jazz record. Free Form and Abstract together formed a perfect pair of cohesive, trailblazing free jazz sessions. The next album, Movement, featured some of his most fiercely abstract compositions, but these were tempered by some other, more straight-ahead pieces.

Since his death, Harriott’s often overlooked contribution to the birth of free jazz has gradually been recognised. While he influenced important European free jazz pioneers such as John Stevens, Evan Parker and Albert Mangelsdorff, in the States his profile and influence was much smaller, despite the admiration of such figures as Charles Mingus. He also suffered mightily from lazy journalistic comparisons with Ornette Coleman, but more recently his originality has been recognised across the globe.

Philly Joe Jones(drums) 1923-1985  :: Joseph Rudolph (Philly Joe) Jones was a Philadelphia-born American jazz drummer, known as the drummer for the Miles Davis Quintet.

Philly Joe Jones was often confused with another influential jazz drummer, Jo Jones. The two died only a few days apart from each other.

In 1947 he became the house drummer at Café Society in New York City, where he played with the leading bebop players of the day. Among them, the most important influence on Jones was Tadd Dameron. Jones toured and recorded with Miles Davis Quintet from 1955 to 1958 – a band that became known as “The Quintet” (along with Red Garland on piano, John Coltrane on sax, and Paul Chambers on bass). Miles acknowledged that Jones was his favorite drummer In his autobiography, Davis mentions that he would always listen for Jones in other drummers.

From 1958 onwards Jones worked as a leader, but continued to work as a sideman with other musicians, including Bill Evans and Hank Mobley. Evans also openly admitted that Philly Joe was his all-time favorite drummer. For two years (1967–69) he taught at a specially organized school in Hampstead, London, but was prevented from otherwise working in the UK by the Musicians’ Union.

From 1981 he helped to found the group Dameronia, dedicated to the music of the composer Tadd Dameron, and led it until his death.

Sadik Hakim(piano) 1919-1983  :: (born Argonne Thornton) was an American jazz pianist and composer.

Thornton was taught piano by his grandfather and started playing professionally about 1939. In 1944 he moved to New York City and was hired by Ben Webster. He participated in the emergence of bebop, sharing piano duties with Dizzy Gillespie on Charlie Parker’s famous “Ko-Ko” session and recording with Dexter Gordon and Lester Young (he can be heard on Young’s “I’m Confessin’”). Hakim is credited with co-writing Thelonious Monk’s standard “Eronel” and is rumored to have written a few famous bop tunes credited to other composers. He adopted his Muslim name in 1947.

Hakim moved to Montreal after visiting in 1949 and was a big fish on the small bebop scene there, working with Louis Metcalf’s International Band. However he was compelled to leave Canada following a drug bust in November 1950. Through the 1950s he worked in New York with James Moody and George Holmes Tate. He returned to Montreal from 1966 to 1976, leading bands and recording with Charlie Biddle. He led a few recording dates from 1976–1980 and cut an album with Sonny Stitt in 1978.

Hakim played “‘Round Midnight” at Thelonious Monk’s funeral in 1982, and died himself the following year.

Washboard Sam(percussion) 1910-1966  :: Robert Brown known professionally as Washboard Sam, was an American blues singer and musician.

Brown moved to Memphis, Tennessee in the 1920s, performing as a street musician with Sleepy John Estes and Hammie Nixon. He then moved to Chicago in 1932, performing regularly with Broonzy, and appearing with him and other musicians including Memphis Slim and Tampa Red on innumerable recording sessions for Lester Melrose of Bluebird Records.

In 1935 he began recording in his own right for both Bluebird and Vocalion Records, becoming one of the most popular Chicago blues performers of the late 1930s and 1940s, selling numerous records and playing to packed audiences. Between 1935 and 1949 he recorded over 160 sides, including such popular numbers as “Mama Don’t Allow”, “Back Door” and “Diggin’ My Potatoes.” His strong voice and talent for creating new songs overcame his stylistic limitations.

By the 1950s, his audience began to shrink, largely because he had difficulty adapting to the new electric blues. His final recording session for RCA Victor was held in 1949, he retired from music for several years, and became a Chicago police officer. He recorded a session in 1953 with Broonzy and Memphis Slim, and in 1959 Samuel Charters included his “I’ve Been Treated Wrong” on the compilation The Country Blues for Folkways Records. Brown made a modest but short-lived comeback as a live performer in the early 1960s.

Frank McComb(vocal) 1970 :: birthday greetings to Frank McComb. Frank is a soul singer and keyboardist. Often compared to Donny Hathaway and Stevie Wonder, McComb has collaborated with many renowned recording artists including Prince, Chaka Khan, Teddy Pendergrass, Gerald Levert, and Teena Marie.

After graduating from Glenville High School in Cleveland, OH, McComb was asked to be in the band for Atlantic Records male R&B singing group The Rude Boys, protégés of Gerald Levert. He was soon promoted to musical director and toured with them through the early 90’s. While touring, McComb met Jeff Townes of seminal rap duo DJ Jazzy Jeff & The Fresh Prince who invited him to record and tour with the group. Townes eventually convinced Frank to move to Philadelphia. Once settled, he was introduced to legendary songwriting duo Kenny Gamble and Leon Huff. McComb was eventually put on payroll as a musician for Gamble/Huff and moved down the street from their headquarters so that he could walk to work every day.

While working for Gamble & Huff, a chance encounter with future president of Motown Records Steve McKeever led to McComb’s first record deal. At the time, McKeever was scouting for a new jazz-oriented Motown imprint called MoJazz.

Following the defunct contract with MoJazz, McComb toured as a musician for Teena Marie and Phillip Bailey, until getting word that Branford Marsalis was looking for a male vocalist for a new band he was beginning. A song called “Mona Lisas and Mad Hatters” secured him the gig, making him an official member of Buckshot LeFonque. McComb later discovered that it was Steve McKeever who recommended him for the project.

While with Buckshot LeFonque, McComb recorded and toured worldwide in support of two critically acclaimed albums: 1994’s debut Buckshot LeFonque and the 1997 follow-up Music Evolution. This momentum led to a solo recording contract with Columbia Records. In summer of 1999, he began recording what would become his debut album Love Stories, released on March 14, 2000.

2003 saw the release of Frank’s first independent set, The Truth. The set was produced by Steve Harvey, producer of Donnie’s widely-lauded The Colored Section. The Truth also featured contributions from Billy Preston, Ledisi, and percussion master Paulinho Da Costa. Though the album was desperately sought after in America, it was only licensed for release through Expansion Records in England and Toy’s Factory in Japan. The set was eventually made available stateside through iTunes in 2004.

Frustrated by fan reports that his early work at MoJazz was being sold for exorbitant amounts on the black market, McComb took steps to release the recordings himself. In 2006, Malibu/Expansion Records Sessions released what would have been McComb’s MoJazz debut as The Truth, Volume 2. This set has also circulated in multiple markets under the title The 1995 Bootleg, as well as The Motown Sessions.

#jazz #soul #fusion #joe harriott #sadik hakim #philly joe jones #frank mccomb #washboard sam

[mostlymonk]

Eronel

Whiteley, Eaton & Trapchak, Esq.

Michael Eaton – sax Brad Whiteley – piano Sam Trapchak – bass

#Eronel #Brad Whitely #Michael Eaton #Sam Trapchak #Thelonious Monk #Sadik Hakim #Idrees Sulieman