SAT DEC 28 - SUN DEC 29
PETE MILLER'S 1557 Sherman, Evanston 847-328-0399
Ernest Dawkins playing bebop if the noisy restaurant audience will have the sense to listen
-yes to all you free jazz critics,
the AACM dudes are fundamentally baptized in bebop and know how to play it.
Can we say the same for the reverse or inverse?

SUN DEC 29 4-7PM $10 NO EXIT CAFE 6970 N. Glennwood, Chicago 773-743-3355
UNUSUAL PAIRINGS William Perry's Explosion ensemble
William Perry (sax) Harrison Bankhead (bass) Derrick Poke (bass)

REVIEW:
QUOTE OF THE DAY from the NY TIMES later that morning

"My motto is 'Life is not a dress rehearsal.' I go out dancing as much as possible.
I think seniors should just get out and not be intimidated by youth."
RICHARD ROWE, 70.

OK, R. Rowe do the freedom jazz dance, wow, freedom jazz dance, how

We (Patricia and I) arrived for the Last set --
(
i can't get started till 'round midnight-maybe it is a phenomenon of women)
which Ernest commented was the best of the two nights
(funny how that works, my favorite is THE LAST TIME EVER I HEAR HIS HORN)

This finale set consisted of Ernest Dawkins Quartet tunes
I'll Remember April...
is that April, like a week in Paris with Oh, Come all ye faithful,
weaved in somewhere?
or April, like a woman?
Well, the web surf queen just had to search, select, and be educated
http://home.istar.ca/~townsend/pop_standards/ill_remember_april.htm
Press here for lyrics and more romantic cowboy trivia I'll Remember April

Notes: ~ introduced by Dick Foran in the 1942 Abbott and Costello Western Musical Comedy "Ride 'em Cowboy"
with Ella Fitzgerald and the Merry Macs singing tunes including "A Tisket A Tasket" and Foran crooning "I'll Remember April."
Notes: ~ " For a few brief minutes, "I'll Remember April" was an oasis of sanity in the madness of the 1942 Abbott and Costello
film "Ride 'Em Cowboy." Dick Foran, the handsome square-jawed hero on the Universal set, sang the song in it's film debut.
For a long time it remained a love song, but then it was discovered by the jazz players, who loved it's chord structure and
found it a perfect vehicle for endless improvisation. In Perry's hands, it's a love song again, and he seems to caress it with
his voice. It's a fine performance, one of Perry's best. "
( notes from "The Incomparable Como" Readers Digest UK compilation 1975 )

my last April was very musical at the North Texas Jazz Festival
but December in Chicago, well Evanston, preluding with the DAWK Q
was fully sanctified
in the pre-finale
of
two thousand two
with
two, OH, OH, two 2002
Freedom Jazz Dance's in one morning--

The first dance was played by the Ernest Dawkins Quartet
led by Ernest Kahbeer Dawkins on alto and
defined by Kurt Brown on piano,
Harrison Bankhead on bankin' bass,
and Vincent Davis on drums


Freedom Jazz Dance was in a Monk-y sandwich
after a very delightful Dawk version
of "my B-Day sharer" composer's:
BLUE MONK

Listen to a 1959 Monk clip here

For ring tones <--you must czech that site out!

I guess there were Blue Monk lyrics created by Carmen McRae
(CD Title: Carmen Sings Monk) produced in 1990.
but I do not know what they were...
how odd she retitled the tune, Monkery's The Blues (Blue Monk)
and before 'Round Midnight
-->>
( 'Round Midnight is one of the few tunes Carmen did not retitle.)
1. Get It Straight [Straight No Chaser]
2. Dear Ruby [Ruby My Dear]
3. Its Over Now [Well You Needn't]
4. Monkery's The Blues [Blue Monk]
5. You Know Who [I Mean You]
6. Little Butterfly [Pannonica]
7. Listen To Monk[Rhythm-a-ning]
8. How I Wish [Ask Me Now]
9. Man That Was A Dream[Monk's dream]
10. Round Midnight [not retitled]
11. Still We Dream [Ugly Beauty]
12. Suddenly [In Walked Bud]
13. Looking Back [Reflections]
14. Suddenly
15. Get It Straight.
Personnel:
Tracks 2-11, 14-15: Eric Gunnison,(piano) Cliford Jordan (soprano ,tenor) George Mraz (bass) Al Foster (drums)
Tracks 1,12 (live): Charlie Rouse (tenor) replaces Jordan, Larry Willis (piano) replaces Gunnison.
All tracks recorded 1988.
Wow, I have to check out this CD - ooh, ooh, ooh, what a little surfin' can do.

OK, back to 'Round Midnight and the Ernest Dawkins' Quartet
It was a
bright moment
Like hearing McCoy play Satin Doll,
you never can hear masters play a traditional tune 2 much. 2-OH-OH-2 much

Round Midnight Lyrics can be found at http://www.bluesforpeace.com/lyrics/round-midnight.htm
A different arrangement of words, a bit more happy-more like the EKDQ presentation:

It begins to tell
'Round midnight, 'round midnight;
I do pretty well
'Til after sundown;
Supper time, I'm feelin' sad
But it really gets bad
'Round midnight

Mem'ries always start
'Round midnight, 'round midnight;
Haven't got the heart
To stand those memories
When my heart is still with you
And old midnight
Knows it too.

When some quarrel we've had needs mending
Does that mean that our love is ending?
Darling, I need you;
Lately I find
You're out of my arms
And I'm out of my mind.

Let our hearts take wing
'Round midnight, 'round midnight;
Let the angels sing
For your returning;
Let our love be safe and sound
'Til old midnight
Comes around. --> HOPE's Second Law of Motion, What goes 'round, comes around

NEXT the EKDQ (Ernest Kahbeer Dawkins Quartet) played MR. P.C.,
named after Coltrane's* bassist Paul Chambers

--->taken from the article found at http://members.tripod.com/~hardbop/steps.html
"Mr. P.C." is Paul Chambers who provides excellent support and thoughtful solos on the record as a whole and whom
Coltrane regards as "one of the greatest bass players in jazz. His playing is beyond what I could say about it.
I feel very fortunate to have had him on this date and to have been able to work with him in Miles' band so long."
"What makes Coltrane one of the most interesting jazz players is that he's not apt to ever stop looking for ways to
perfect what he's already developed and also to go beyond what he knows he can do. He is thoroughly involved
with plunging as far into himself and the expressive possibilities of his horn as he can."

OK--I am obviously lifting verbage...
What makes DAWKINS one of the most interesting players is that he's not apt to ever stop looking
for ways to perfect what he's already developed and also to go beyond what he knows he can do.
He is thoroughly involved with plunging as far into himself and the expressive possibilities of his horn
as he can AND HE IS STILL HERE, LIVING THE SPIRIT
--OH-OH-2 much to compare anyone with Coltrane?

Maybe so, Maybe not.

Each has his own creativity uniquely their own...

Dawk definitely provided a very awesome trip that night...and you know what?
The best is yet to come--wait until 'round February

Ernest Dawkins and Muntu Dance Theatre Chicago
Saturday, February 1, 8 pm and Sunday, Februrary 2, 4 pm
Two Chicago forces in African-American arts—saxophonist/composer Ernest Khabeer Dawkins and
Muntu’s artistic director Aminyea Payne—come together for this new epic collaboration.
Trans-migration: Triumph of the Tragedy traces the roots of music and dance
through the history of African peoples from industrial Chicago, back to the rural south,
and through the middle passage to Africa.
This project culminates the MCA’s three year stewardship of Dawkins’ Meet the Composer Resident activities
in Chicago’s Englewood community. With First Night post-show discussion. Tickets $18, MCA members $14

The introduction of the band generally indicates the ending,
but as Bankhead says,
Dawk never leaves without sending
especially when midnight has progressed into the wee small hours of the morning.

The crowd was requesting Countdown and Giant Steps
And so, just as we thought the band was from the stage descending,
Dawkins began to blow
Giant Steps...and the band played on.

GIANT STEP NOTES:
"Of the tunes, Coltrane says "Giant Steps" gets its name from the fact that
"the bass line is kind of a loping one. It goes from minor thirds to fourths,
kind of a lop-sided pattern in contrast to moving strictly in fourths or in half-steps."

Tommy Flanagan's relatively spare solo and the way it uses space as part of its structure
is an effective contrast to Coltrane's intensely crowded chorus.
*Giant Steps album by John Coltrane, with John Coltrane tenor sax;
Tommy Flanagan, piano;
Paul Chambers, bass; Art Taylor, drums.
was recorded on May 4, 1959 and includes the tunes
1. Giant Steps (John Coltrane) 4:43
2. Cousin Mary (John Coltrane) 5:45
3. Countdown (John Coltrane) 2:21
4. Spiral (John Coltrane) 5:56
5. Syeeda's Song Flute (John Coltrane) 7:00
6. Namia (John Coltrane) 4:21
*7. Mr. P.C. (John Coltrane) 6:57

I think Giant Steps was a rather invigorating exercise for those familiar with 'Trane.
And those familiar with Dawk, Brown, Bankhead, and Davis.
The Dawk Q B-Bop was as stimulating as a Vitamin B shot, so much that

the Toy Cam was on auto-jazz-matic pilot
(I can't steer her away from jazz in chicago, captain)--
2-OH-OH-2-much-fun...

So it was more Vitamin B-bop at the Green Mill -
after all Patricia had yet to see Sabertooth
and has read so much about the various characters in jazzin' with the zebra libra.


I just wonder about the future jazz immersion weekend coming up in January
can it be any more deep? If so I can only imagine drowning!


We walked in to finding guitarist Mike Allemana joining Pat, Pete, Ted...
(Pat Malinger, sax, Pete Benson, organ, Ted Sirota, drums...
perhaps Mike played in the earlier saxophone summit with Von Freeman
and Ed Peterson that was undoubtly worth a page or two in the archives.

it was a Very rockin' set of music, especially when Matt Ferguson joined in on electric bass.

And wonder of wonders, who should walk in?
My favorite space cowboy (reference the movie that launched I'll remember April
)
JAZZBEBOP'S MAURICE BROWN with saxophonist DOUG ROSENBERG
I've grown so accustomed to your trumpet playing in my face
JAZZBEBOP'S MAURICE GROWN ACCUSTOMED TO YOUR FACE

OK, Maurice says he's too tired to play,
he is exhausted from playing with
Hamid Drake,
Fred Anderson, Jeff Parker, Darius Savage, etc
at the Velvet
to a packed house estimated at 200 people.
Somehow I felt safe keeping the northern Chicagoan parameters guarded,
as I have seen the various
pieces of the ensemble in more intimate atmospheres.
Not downplaying the event at all,
I am sure that was undoubtly worth a page or three in the archives.


So I take a quick trip to the bathroom wondering what to expect next
and walk out to a Sabertooth Mardi Gras type song that has the audience dancing

A brief intermission that has Mike Allemana giving a show of a chart of Masecellero(?)
for Maurice to fill in on and of course he superbly did so.

Then
Doug Rosenberg, a member along with Maurice Brown of Ernest Dawkin's
Live The Spirit Band, (see how everything is related in space and time and music?)
and also played with the New Trier High School Jazz Ensemble 1,
joined the Sabertooth band and Ted Sirota surrendered the drums to
Pete Zimmer.
Pete is from the Chicago area. Doug and Pete went to New England Conservatory together,
where they studied with Danilo Perez and Bob Moses. Now, Pete lives in New York where
he plays with people like George Garzone. He is an excellent drummer.

for another swingin'
Freedom Jazz Dance
-->First you put your feet together, than you do a little walk,
-->You dance a-'round, and then you have a little talk...

Freedom Jazz Dance

They started that at 4:30am--the usual Mill shutdown time...
but after all it was the last Saturday night of 2-0H-0H-2
and 2 ALLemana it was a GOOD NIGHT

I eventually tucked myself in bed at the Misty sunrise and set the alarm
to tune in for the David Young special on ABC Channel 7 at 11 AM

This was on Chicagoin' advertising the New Year Eve
First Night Evanston.
http://firstnightevanston.org
Illinois' Largest New Year's Eve Festival of the Arts celebrates 10 years of excitement
with the coolest line-up of performers....including
David Young Quintet
The indisputable rising star of the jazz scene and his quintet perform gorgeous original compositions
and stunning arrangements of standard jazz repetoire.
10:00 PM - 11:30 PM Omni Orrington Hotel Heritage Room - Orrington between Church & Clark
Fifteen warm Downtown Evanston indoor stages come alive with delightful diversions, all within walking distance.
The outdoor fantasies of fireworks and ice sculpture along with the Midnight Celebration stage
promise a magical combination of fire and ice!

Meanwhile on New Year's Eve,
the Count Basie Band is downtown Chicago at Symphony Center ...
and DEE ALEXANDER (another student of Ernest Dawkins)
is with Ron Bedal Orchestra at Navy Pier - Crystal Garden

And now for the the Libra horoscope for the 29th of December:
I suspect that you'll need to heal old wounds that run deep today Libra,
since the Moon in emotional Scorpio sextiles Chiron in your 4th house.
This is a perfect day to look to the past and learn from it.
Learn to let go, forgive and forget.
This is a great day to take away blocks that stop you from progressing forward.
Go back to your childhood and try to come to terms with what happened in your life.
This is a perfect day to seek out inner peace and find hope

hmm...
after the David Young show, the "Sound of Music" came on TV.
Of couse, I had to watch it.
It was the one of few movies I was allowed to see in a theatre as a child

Sort of shades of the play "Cabaret" I walked in to and...

shades of the TV news that came on after...that I usually avoid...
It is just 2 depress-ing,
and since I sense I'm supposed to progress forward

I must momentarily leave the land of zebra libra...
Maybe to catch the last tunes at the No Exit.
Maybe to shoot a segment of film...must check my camcorder functionality
and eat my pasta treat that descended from heaven...

On my way to retrieve the tripod from the Toy Cam trunk,
The Toy Cam was once again put on auto-jazz-matic pilot
(I can't steer her away from jazz in chicago, captain)--
2-OH-OH-2-much-fun...
and I wound up at the No Exit gig featuring William Perry on sax,
Harrison Bankhead on bass, and Derrick Polk on bass.
with Jude accompanying on vocals to
ALL BLUES

As I drank a Razzberry Cool Mountain Gourmet Soda,
(its BLUE)
and saved the Ginseng Rush Sparkling Energy Drink for a later time,
I thought how musically and magically delicious 2002, 2-OH-OH-2, has been.

The last tune Carl Testa played Harrison's bass with William and Derrick.
to the B flat Blues.

Carl is presently residing in Conneticut, but plays with Aaron Getsug when in Chicago
Watch for upcoming January events at Joan's Studio of Performing Arts in Hyde Park
and the Candlestick Maker.

Also met Derin McLeod who plays drums and attends a Hyde Park High School
I would not be at all surprised to see him at one of the future jam sessions.

OH, the video shoot project
for bringing the music to nursing homes will be in
2003. More on that next year.

Peace to all,
and to all a
'ROUND MIDNIGHT.

It is suppose to be 52 on Monday WOW! Freedom Jazz Dance!