#wgte

[theloniousbach]

Once Again Working on The Enigma off Ornette Coleman

February 28, 2024

By Kim Kleinman, Contributing Writer

When he invited me to this birthday party for Ornette Coleman, Fritz wrote, “…I’ve loved his music since I got the ears to hear it correctly, and now I’m convinced I’ve underestimated his brilliance and the sheer beauty of his music.”

“The ears to hear it correctly” captures my efforts too. I dutifully read Martin Williams as a new jazz fan in the late 1960s or early 1970s and saw that Ornette Coleman was not only NEW, but IMPORTANT. I think I snatched up the Atlantic Best of collection from the Columbia Record Club. It was new, important, but not really much fun. Still, it would come out for at least one side from time to time in those days of vinyl LPs as the soundtrack to underaged beer and the deep but tedious thoughts of young people trying to figure out the world. Like the world itself, this music was mysterious, challenging, and a little scary.

I kept returning to Coleman, though far more often than other avant-gardists, even late-era John Coltrane. There was brilliance and sheer beauty, plus a vulnerability that kept drawing me back. A.B. Spellman’s Four Jazz Lives showed Coleman to be shy and brave, thoughtful and enigmatic. Later I saw Shirley Clarke’s documentary “Ornette: Made In America,” which conveyed an overwhelming sense of loneliness. It was with that impression in mind that I walked into the green room after a 1981 concert with Prime Time when I began to get the ears to hear him correctly. Shy myself, I shook Coleman’s hand to say thanks, for that night and all the years before. It was easier to talk to bassist Jamaaldeen Tacuma, who asked what I played. We both heard me blurt, “Er, stereo.”

In 1981, over the two drums, two basses, and two guitars with the leader, I heard just how Ornette sang, not just on alto but on trumpet and violin. Somehow the lack of technical prowess on the latter instruments expressed that vocal element of his art. That’s what he’d been doing all along; I finally had the correct ears to hear him singing brilliantly and beautifully.

With that insight, I could go back to those early Atlantic albums and really hear them for the first time—the coherence and poignancy of the melodies, the rich interplay of the voices, the harmonies that are there even without a chordal instrument to frame them. The previously daunting “Free Jazz” had a logic and opportunities to triangulate Coleman’s music with the more familiar voices of Freddie Hubbard, Eric Dolphy, and Scott LaFaro, a chance to hear how they played this music.

Coleman composed some wonderful tunes—my favorites are among the obvious ones: “Ramblin’,” “Una Muy Bonita,” “Peace,” “Lonely Woman.” Other musicians have covered these and a few other gems, but they aren’t really part of the canon. Still, the lead sheets of his that I’ve seen in fake books are straightforward, but his highly personal concept of “harmolodics” was not widely developed by others. He certainly contributed to the shape of jazz that came along in the 1960s with terse snarling lines and swoops of sound, but to parse out the Coleman from the Shepp, the Ayler, the Dolphy, the Coltrane, in an adventurous young saxophonist of today is difficult.

Yet his sound is distinctive and I do revisit it often enough. Usually it’s the Atlantic albums from the early 1960s, though I have a selection from the late-sixties Blue Note sides and I paid attention to his work with pianist Geri Allen in the mid 1990s.

As part of the Jazz Spectrum birthday bash for Ornette, I once again have listened to those favorite early albums this time around, including the one standard that Coleman covered, which is included in this week’s Song of the Week segment, “Embraceable You.” It’s a chance to test his approach with a recognizable point of reference. In the same vein, I also returned to his contribution to “Sonnymoon for Two” from Sonny Rollins’s September 2010, 80th birthday concert at the Beacon Theater in Manhattan, which is collected on Road Shows, Vol. 2. It is, in the end, not all that good. For one, it is way too long, though to be fair Coleman doesn’t start playing until the nine-minute mark. They solo only serially in two- or three-minute segments over the remaining 12 minutes with little direct interplay. They certainly listen to one another but the interaction is passive. Coleman does invoke the theme at least tangentially in one solo, but more revealing is the way his improvisatory approach rooted in melody and theme has an affinity to Rollins’s and yet is so different. They each hear those intersections and lean into them.

It doesn’t quite work, but I am glad I listened. Coleman’s music does work, brilliantly and with sheer beauty. I am glad I have listened to it again and again and again.

#jazz #wgte #jazz spectrum #2024

[pastorcarlemitchell]

Spiritual Journeys: A Conversation with Dr. Sam Mallette www.WGTE.org/legacy Ep. 2

[airsoftaction]

[i-am-oshawott]

Hey buddy…you okay?

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#this is gumby’s inbox now #the spiritomb is playing with their bowtie…

[lilacartsmadsion]

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[bran-ridire]

Shifter - (Wildhunter)  (Compatible with 5th Edition Dungeons and Dragons)

(Shifters first appear for 5th Edition Dungeons and Dragons in “ Unearthed Arcana: EBERRON ” later they would receive an update in the “Wayfinder's Guide To Eberron” Pages 64 – 66 What follows here is an attempt to make the Shifters more playable, as even after WGtE I didn't feel they stacked up with the races of the Players Handbook.) Skinwalker... Were-born... The Curse touched... These titles and more, less flattering words have been applied to the race we largely know, as the Shifters.  Shifters, folklore holds are the decendants of Humans, Elves, Dwarves and more who dared to mate with Therianthropes.  Does the Blood of such beings as Faoladh, San Saram, Kumiho, or far worse truly course through their veins?  Well, it's debated by scholars to this day.  So where does this belief stem from?  Well, from the Shifters themselves, for you see, they look like any humanoid really, but there is something wild to them, be it hair that resembles a mane, fur like body hair, almost scale looking skin.  You could be forgiven for thinking on sight that Shifters were humans born in the realm of some nature deity, but what really, but where this Were-Fuana legend truly comes from, is the curious ability they have, where they can call deep into their own reserves, causing their appearance to take on a far more animal appearance during this time their natural abilities are greatly enhanced. Type: Humanoid and Shapechanger ( For the Purposes of being effected by spells, attuning to magic items, and learning to use equipment specific to such races, Shifters count as both Humanoids and Shapechangers ) Age; Maturity: 12 years, Maximum: Less than one century. Size: Medium Average Height: Between 5 feet and 6 ½  feet tall. Average Weight: 90 to 200 lbs Suggested Alignment: Any Chaotic Ability Modifiers: +1 Dexterity, +2 Wisdom Speed: 30ft (6 Squares) Dark Vision (60): a Shifter character has far superior vision in Dark conditions.  Dim light Conditions are treated as if they were in normal light. In Darkness they can see as fara as 60 ft. if they were in a Dim light, their vision in darkness however is not in color, but is shifted to various shades of gray. Beginning at 10th level the range of their Dark Vision increases to 90 ft. Shifting: As a bonus action, on their turn, the Shifter takes on traits far more resembling some wild beast.  For a number of minutes equal to the Constitution Modifier (Minimum of 1 minute, even if a Shifter's Constitution Modifier is Negative.) while “shifted” the Shifter gains bonus Hit Points equal to their Total Character Level + Constition Modifier (Minimum of +1 HP). Additionally the Wildhunter has advantage on all Wisdom based skills while shifted.  While the Wildhunter is Shifted and not incapacitated foes may not make attacks against them with Advantage. The Shifter can end this anytime before the minute is up with another bonus action, once used the Shifter MUST complete a rest, either short or long, before they can Shift again. Immunity: Something in the wild nature of Shiters renders them completely immune to Lycanthropy. Beginning at 7th level the Shifter gains Advantage on all Saves vs Curses.   Skilled: The Shifter gains Proficiency with the Nature skill and the Survival Skill.  Beginning at 3rd Level the Shifter has Advantage on all Dexterity and Wisdom saves. Languages: Common (or Oriental depending on setting), Sylvan, and the language of their home nation if not already listed. (Most shifters will not have a “Home Nation”, this note is a formality)

#Samhain #d20 #Dungeons and Dragons #HASBRO #Wizards of the Coast #therianthropy #Lycanthrope #Lycan #Shifter #Skinwalker #WildHunt #Wild Hunt #The Wild Hunt #Hunter #Wild #feedback welcome #Homebrew #Adjustment #Playable Race #Roll Initiative #5e #5e dnd #5e homebrew

[drearby]

you kwnowhat FUCKfgaf rhythm heaven game wh h fhe moai I AFIUCNGIJTG HATE it it foe s ntk DESERVE to wgte dtufjv in my head. also god DMAN IT i nade a MISTAKE inlet somepen borrow ny gamebot im gonana go fucjutb diogenes

[sageadvicednd]

Is The Aberrant Dragonmark a feat or can I give it to a LV 3 player? Under the WGtE rules, an aberrant dragonmark is a feat. — Keith Baker (@HellcowKeith) September 30, 2019

#Eberron

[kitsumaniac]

Explaining why Healing works on Warforged

For those familiar to my post of an excerpt from Wayfinder’s Guide to Eberron, I’ve come to the solution why Warforged can receive the benefits of healing magic, Medicine checks, and resting and even why Mending is practically useless.

For starters- there might be some bending of the rules and descriptions of spells might have to be readjusted for the sake of the argument. As such: certain spells, mostly Evocation, say that they don’t work for constructs. WHEN it clearly says that Warforged are specifically Constructs. This is true. But consider that “Contructs” they’re talking about are mechanical or brought to life, such as Animated Armor, Flesh Golems, etc. They’re amalgams of parts, not a whole, nor do they have the concept of pain. Because if a part falls off- “eh”. Shrug it off and keep fighting. Warforged are a solid chunk of rock, wood and steel. Such as humanoids are made of interlocking flesh and bone. When feeling pain, it’s a mental thing as a means of survival. Almost every quirk of Warforged has personality driving it. They communicate. If your player decides for their Warforged to perceive pain, they can be healed.

Theory of how magic Heals pertaining to Warforged: Healing magic reverts creatures that perceive pain to a state when they felt less pain. Sometimes when on the brink of death from something fatal and magic is used to bring them back, it leaves a physical scar the moment of which death occurs and having the PC or NPC with 1 HP or whatever the amount they’ve been healed passed 0 HP. They felt the pain, the pain was real. If a Warforged can perceive pain, then the same can occur. Because their physiology is tighter and treat wood, stone, and steel as we do to bones, muscles and organs. But with magic. If magic can make a construct feel pain, it can surely restore their HP. There are articles of how pain is perceived in the human mind online. But that leads to a extensive topic within itself.

Nothing in the Mending description mentions how much a construct gets healed for. If the intention of the spell was to heal, it would label as so. Constructs, by-the-by do have HP. Previous editions of D&D explain how it works. But bringing antiquated logic into a modern reimagining is not what they’re trying to do in 5e. Throwing out numbers for how much damage does or how much Healing has done is very much Homebrew logic, with a little browsing, they do explain how damage and healing is applied for every situation. Nothing in the books further explains Mending to these constructs. And if Mending was able to heal a Warforged, wouldn’t it be an over-powered Cantrip? A Wizard Warforged would be very broken. So for balancing reasons, healing, resting, potions, and Medicine works. It is bad to restrict access to vital amenities in combat to a player, because they chosen a specific race is, by all accounts, very exclusion and hinders progress. So Mending doing squat and all healing works as intended for everyone makes the world go round for your Warforged and other players.

The 5e Player’s Handbook was made before the 5e WGtE, which Wizards of the Coast would not have that much foresight had they knew Warforged were coming back. Also that naval battles would make a return, or for that matter, a Penny Arcade D&D campaign’s work making it’s way into 5e as an additional source book for explaining how a company for mercenaries might work. The introduction of each source or adventure book helps build a more cohesive world for which a little DM Homebrew can be fine, but a new player who bought all the books and read front to back and then the DM to rip the rug from underneath and restricting what new things have been uncovered. Adapting to a new core is vital for no one to be left behind. You may have made your world, but be kind to those who want to try new and current things, within reason. As long as the lore allows it to happen.

So in short- If a creature can perceive pain, it can be healed. If Mending works for Warforged, the game breaks itself. Let the Warforged play like everyone else.

#dnd #dnd 5e #dungeons and dragons #dungeons and dragons 5e #warforged

[javascriptnews4u]

Web Development (HTML / CSS / JavaScript / jQuery) - indepth ☞ http://learnstartup.net/p/rJ7E6AWqM #javascript SJ7ZZX-wGTE

#javascript tutorial #javascript #javascript tutorial for beginners #learn javascript for beginners #javascript course #codequs #morioh

[javascript4u]

Modern JavaScript (from Novice to Ninja) ☞ http://learnstartup.net/p/O7URzyG4J #javascript ryrAW-wGTE

#javascript tutorial #javascript #javascript tutorial for beginners #learn javascript for beginners #javascript course #codequs #morioh

[theloniousbach]

As a contributing writer, I contributed an hour of programming and suggested some other tunes.

Posted at https://www.wgte.org/blog/this-week-on-jazz-spectrum-210

PROGRAMMER’S NOTES—Song of the Week (“I Should Care”) and a Coda

Set 5/9 pm

Frank Sinatra, The Columbia Years, 1943-1952, vol. 2, “I Should Care”

Lee Konitz/Enrico Pieranunzi, Solitudes, “I Should Care”

Sonny Rollins, Falling in Love with Jazz, I Should Care”

Thelonious Monk, Thelonious Himself, “I Should Care”

Set 6

Thelonious Monk, Milt Jackson & the Thelonious Monk Quintet, “I Should Care”

Alan Broadbent, Pacific Standard Time, “I Should Care”

Steve Wilson, Blues for Marcus, “I Should Care”

Julie London, Julie Is Her Name, “I Should Care”

Set 7

Aaron Diehl and the Knights (with Nicole Glover), Zodiac Suite, “Cancer”

Miki Yamanaka, Shades of Rainbow, “Song for Mary Lou”

Sean Mason, Southern Suite, “Lavender”

Ethan Iverson, Technically Acceptable, “Victory Is Assured (Alla Breve)”

​I often decline Fritz’s annual invitation to write about my favorite albums of the year. I don’t track new album releases nor do I feel I have a wide enough vantage point. In his January 5th blog, Fritz took up the decline of record labels and albums. I could falsely assert that I’ve been ahead of that curve, but the reality is that I’m just part of the problem.

​But I do pore over his lists to catch up on things I should know about. Mark Turner’s Live at the Village Vanguard was at the top of that list. Alas, it isn’t available on the well-known streaming service that takes my money and gives precious little to the artist, so I haven’t yet heard it. But they do have Turner on an album with Miki Yamanaka, who plays a monthly late-night set at Small’s on Mondays with husband Jimmy McBride on drums and an available bass player before she supervises the jam session at midnight. I like Yamanaka’s pluck, her smarts, and her chops, so when I found a set of her trio with Turner from August 2022 I was on it, navigating the Small’s Live Archive to plumb its riches yet again.

​They did “I Should Care” which undoubtedly I’ve heard, and it was the most striking tune of that night. So I looked it up in Ted Gioia’s “Jazz Standards (Second Edition)” to find that he framed it as a quintessential world-weary Frank Sinatra song with stunning solo versions by Thelonious Monk. More than sufficient for me to explore further.

​Gioia recommends versions by Bud Powell and Bill Evans, among others. I could have just followed his recommendations for this or any song and cranked out a perfectly acceptable Song of the Week playlist. I enjoyed following those leads but didn’t deny myself the fun of finding other versions and making my own juxtapositions.

​But the Sinatra opener is irresistible, so, with thanks to Mr. Gioia, I did not resist and put the Riverside Monk solo version (the earlier of the two that Gioia recommends) to end the first set. The middle of the first set is given to two master saxophone improvisers deep into their venerable careers. Listening to Lee Konitz and Sonny Rollins side by side is a chance to learn so much about the tune and jazz improvisation in general.

​If we hear Monk solo to close the first set, the second set opener is another chance to hear him explore the composition, this time with Kenny “Pancho” Hagood’s vocal and, even better, Milt Jackson’s vibraphone extending the conversation about the tune and improvisation that Konitz and Rollins started.

​Alan Broadbent’s and Steve Wilson’s versions are worthy too. I know them from the streams I got to know and treasure from the 2020 lockdown, the renewing pitcher of lemonade I started making from the lemons live and the pandemic gave me. Small’s and Mezzrow’s in particular stream all their sets, and Smoke Jazz Club also presents several streaming sets every weekend. Like Yamanaka, Broadbent is a favorite whose elegant sets with Harvie S and Billy Mintz I never miss. His “I Should Care” is with a different trio from roughly 30 years ago, but he brings that same touch and deep knowledge to this version. Steve Wilson’s presence on a gig makes it worth attention. On one of the ones I’ve caught, the pianist Bill Charlap said nobody makes a tune sing like he does. I haven’t settled on how he sings, but he’s a perfectly modern altoist who is not in Charlie Parker’s broad lineage, nor Konitz’s. That makes his version of the Song of the Week worthy.

​My coda, the last set of the hour, is a further celebration of favorites from the streams. Fritz honored Aaron Diehl’s masterful orchestration of Mary Lou Williams’s Zodiac Suite on his Best of 2023 list. “Cancer” features Nicole Glover’s tenor solo, and she is a treasure. The Yamanaka album with Turner conveniently has “A Song for Mary Lou” as a complement to Diehl with Glover. Sean Mason used to do amazing duets with trumpeter Giveton Gelin at Mezzrow’s, “just playing tunes,” as he put it from the bandstand after one of their stunning extended suites. He’s a precocious melodist and his album is full of them, lush and catchy. Finally, Ethan Iverson gets himself to Mezzrow’s often enough to work through standards and compositional ideas that have born fruit in his new “Technically Acceptable” album. His “Victory Is Assured (Alla Breve)” is meant to evoke Kansas City and Count Basie, just as he did in a Mezzrow set that featured both Basie and Ellington, although more of the former.

​I too may “just be playing/programming tunes.” Still, they are ones that I should care about—and I do.

#2024 #jazz #wgte

[babytheredfox]

#wcw this week, Jessica Raine. Such a lovely face. #callthemidwife #jessicaraine #pbs #jenny #jennywells #wgte #netflix #england #1940 #war #wartimes #london

#1940 #pbs #jessicaraine #england #wcw #war #callthemidwife #netflix #wartimes #london #wgte #jennywells #jenny

[definitionmusic]

NEW HUNTORPREY INTERVIEW WITH WGTE “ROUGH DRAFT DIARIES” PODCAST

"Art and writing has always been cathartic for me, even as a child-- Whether it was anxiety, depression, fear, society, love, etc. there was an outlet for me to express those vulnerabilities."

After a host of performances, TV and radio features, our guy Huntor Prey continues to make his impression felt, this time contributing his thoughts to WGTE's "Rough Draft Diaries" podcast.

LINK: https://www.wgte.org/radio/podcasts/rough-draft-diaries-haley-taylor/huntor-prey

[wgtepublic]

See all the episodes of Beecham House first with PBS Passport, an added member benefit, starting on Sunday, March 1, 2020! You can see this BEFORE the broadcast this Summer! If you do not have WGTE Passport, it's easy to set up with a $5 a month contribution. Call WGTE at 419 380-4600. Gurinder Chadha’s new six-part drama series Beecham House is set on the cusp of the 19th century in Delhi before the British ruled in that region. Tom Bateman steps into the role of enigmatic, soulful John Beecham, a handsome former soldier who has purchased the magnificent mansion, Beecham House, to begin a new life with his family. The ensemble cast includes Lesley Nicol, Gregory Fitoussi, Adil Ray, Pallavi Sharda, Dakota Blue Richards, Leo Suter.

[itsblackasme]

Good tips for self overall... (at Sacramento, California) https://www.instagram.com/p/B5Ds_T2BtrBZquTR-wGte-XRsSbjJHFCnVJXYk0/?igshid=9ncnkfazmqrg