whskyjack

Africa, composed by William Grant Still

Africa is a 1930 symphonic poem in three movements by American composer William Grant Still. The work, originally scored for chamber orchestra, was first performed in 1930 by French flautist Georges Barrère and, in a full orchestra version, by Howard Hanson on October 24, 1930, at the Eastman School of Music in Rochester, New York.

Whskyjack — Today, for Black history month one of my favorite jazz artists/composers. Nina Simone.

Her uncompromising approach to her art is evident in all of her work, In the midcentury “leave it to Beaver’ media world, where composers and artist were encouraged to create a hit, don’t rock the boat, she spoke the hard truths of her world. She did so with the quiet emotions that made them real even for those of us who weren’t part of her world.

There are performers who are smoother singers, musicians who are more technically perfect but nobody tells it like it is, better than Nina. It is why I’m starting my Black history month Serendipity with a play list of her music

Enjoy, Jack

Whskyjack — It has been a rough week, as I looked for music I wanted something peaceful and calming. So, after a search these recommendations came up and fit my need. I’ve created a playlist called Quiet Morning. It starts with Debussy, then Bach, Beethoven, Joesph Haydn and finishes with Swedish composer Edvard Crieg. Each 5 to 8 min. of peaceful relaxing music for your morning.

Jack

Montgomery Variations by Margaret Bonds

For more about Bonds and this composition

Bonds’ original program for the Montgomery Variations included a descriptive note for each movement. [Sometime after 1966 she shortened these descriptions, as seen in the concert order printed above.]

I. DECISION
The Negro decides to rise against his oppressors.

The Negro in America is a Judeo-Christian. Though, in many instances[,] his religion is unenlightened, deep in his consciousness is an unshakeable faith in God, the Father, and in his “only begotten son,” Jesus. In his most courageous stand against his oppressors, then, it is the faith in the Divine intelligence which enables him to employ the methods of Passive Resistance — and thereby martyr himself for the Cause of Brotherhood and Democracy.

II. PRAYER MEETING
Before the Bus Boycott the Negro calls on God.

As all Negroes in America, the Negroes in Montgomery gathered in their churches to pray — some in eloquent silence, and others releasing themselves of their repressions with tambourines and shouting, and in many Negro church meetings there is always one sister or brother who cannot restrain himself from resorting to body gesticulations including lifting his arms to heaven and beating his feet — many times marching up and down the aisles of the church, unrestrainedly exhibiting his humility to Almighty God, as well as to the assembled worshippers.

III. MARCH
“If Jesus Goes With Me I’ll Go.” “Blessed Assurance, Jesus is Mine.” As the early Christians, now the Negroes of Montgomery were willing to be thrown to the lions. Jesus, walking with them, they refused to ride on segregated buses.

“Love Ye One Another,” no violence, but no longer would they be subservient to their white bothers. Thus, a steady, determined walking to their jobs to earn their daily bread.

IV. DAWN IN DIXIE
Montgomery is no isolated town. Montgomery became a focal point of the world. The entire South, “Dixie,” began to wake up that something new was happening. Change, no matter how painful, is the Divine Plan.

There is honeysuckle, magnolias, and Spanish Moss hanging from trees it destroys. Spanish Moss is a parasite — miles of it are depressing. Swamps are foreboding. Perhaps one day then, even the camellias known as “Pink Perfection” laugh at the people of the South. The “Dawn in Dixie” caused all of America to awaken.


V. ONE SUNDAY IN THE SOUTH
What is meant by “Southern die-hards?” The Negros were having such a good time praising God and Jesus one Sunday morning in Alabama. (The trumpet announces “I Want Jesus to Walk With Me,” in a major key.) Little children were being taught Faith and to love their neighbors. Die-hards planted a bomb in the church to teach Negroes their place.

VI. LAMENT
In the Passive Resistance Movement one does not resort to violence. “Vengeance is mine sith the Lord.” One cries, moans and groans and calls for help from the Mother-Father God. Here the theme is stated simply, with little decoration, with exception of a few embellishments natural to Negro improvisation in their churches of the primitive type.[…]

[VII. BENEDICTION. No description for this final movement was including in Bonds’ original notes. The description appearing in later versions reads, “A benign God, Father and Mother to all people, pours forth Love to His children – the good and the bad alike.]

This week I ran across an assorted play list of performances by Jazz, tenor sax great Stan Getz. Starting with his most famous collaboration with João Gilberto, his wife Astrud, and Antônio Carlos Jobim. “The Girl from Ipanema”.  From Bebop to Bossa Nova to fusion Jazz, Getz’s cool sax sound was there.

Enjoy, Jack