Saturday, October 31, 2009

Conrad Herwig: a 50 years young veteran

Conrad Herwig: a 50 years young veteran (English) Conrad Herwig: een veteraan van vijfig. (Nederlands)

A veteran and versatile trombonist celebrates his 50th birthday
CONRAD HERWIG: A 50 YEARS YOUNG VETERAN
Hans Koert

NEW YORK - Conrad Herwig, the veteran and versatile trombonist and well-respected educator, received his third GRAMMY nomination overall and second in four years for Half Note Records when the selection committee named LATIN SIDE OF WAYNE SHORTER (HN-4535) among the “Best Latin Jazz Album” (Category 50) selections.

This message is to be found on Conrad Herwig personal website: the veteran and versatile trombone and well-respected educator. When you read that you could be misled, as veterans are, in my opinion, normally elderly men !

Eddie Palmieri Afro-Caribean All Stars with Conrad Herwig as the first on the right. (North Sea Jazz Festival, July 2006) ( photo courtesy: Hans Koert)

On the 1st of November 2009 Conrad Herwich celebrates his 50th birthday.

Born in Oklahoma on the 1st of November 1959 in a family where music seemed to be part of the daily food; his grandmother played the organ in church and an uncle played trumpet in a traditional jazz band. Another uncle introduced him to modern jazz donating his record collection. Herwig studied at the North Texas State University, where he played in the trombone section of the college band. His first recordings were made in Dallas with that band, May 1980, the One O'Clock Jazz Lab Band. A year later he moved to New York where he played with Clark Terry and Buddy Rich. In 1983 he starts to play in the Toshiko Akiyoshi Jazz Orchestra, where he played with Brian Lynch ( trumpet), Frank Wess on alto saxophone and flute and, of course, with Lew Tabackin (tenor saxophone and flute) and Toshiko Akiyoshi (piano), who have married together since 1970.

Conrad Herwig ( North Sea Jazz Festival - Rotterdam July 2006) ( photo courtesy: Hans Koert)

He also played and recorded with the Mario Bauza / Paquito d'Rivera band in which Claudio Roditi was in the trumpet section. It's a small world, as I heard Claudio two weeks ago in a great concert in the Porgy en Bess Jazz club in Terneuzen (The Netherlands). Since the 1980s he's a sought after trombone player who is to be found in bands like Slide Hampton's, the Mingus Big Band and Joe Henderson.

Since the 1990s he performed regularly with Eddie Palmieri, next to Brian Lynch on trumpet.
It was with that orchestra, the Eddie Palmieri Afro-Caribean All Stars, that I heard him for the very first time at the North Sea Jazz Festival in Rotterdam, July 2006. The photos, although of a very moderate quality, were made during that concert. During that performance he received the Paul Acket award Artist Deserving Wider Recogniton and I remember that I was fascinated by his trombone solos.

Eddie Palmieri Afro-Caribean All Stars with Conrad Herwig as the first on the right. (North Sea Jazz Festival, July 2006) (photo courtesy: Hans Koert)
Conrad Herwig loves to play in the Afro-Latin tradition, like in the Eddie Palmieri band, but is also fascinated by the great John Coltrane.

He made a great album, titled The Latin Side of John Coltrane. Although he says he is fascinated by trombone players like Trummy Young, Carl Fontana, Frank Rosolino, Jay Jay Johnson, Slide Hampton and Albert Mangelsdorff it is hard to compare his playing with one of these giants. One of his latest albums, titled A Jones For Bones Tones ( what a great title ), is a tribute to some of these trombone players.
Eddie Palmieri Afro-Caribean All Stars: f.l.t.r.: Brian Lynch - Eddie Palmieri - Giovanni Hidalgo - Donald Harrison - Horacio "El Negro" Hernandez and Conrad Herwig ( photo courtesy: Hans Koert)
Conrad Herwig and Brian Lynch are playing together for a long time and they are involved in some of their projects, like the Latin side of Miles and in the Bryan Lynch/Palmieri project in which Conrad Herwig plays the trombone. The music is to be found on the Simpatico album, which can be downloaded from Brian Lynch's website.

To finish this short introduction to Conrad Herwig and his music, I love to share with you a weird film fragment I found made at the Trombonanza 2009 in Santa Fe (Argentina) on which a few dozen trombone players play together - a terrible sound, which learns that you shouldn’t want to play with so much trombones together ……. The fact that Conrad Herwig seems to be one of them, is fine as it is ………… Happy birthday, Conrad !!
Hans Koert


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Retrospect
Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions



Brian Wells –Paper Party


Brian Wells –Paper Party/Just A Summer High –Spark SRL1082 (1972 UK)
Coming across like Brett Smiley fusioned with Russell Mael sporting some Al Stewart inflections; Paper Party finds Brian backed by what sounds like an amalgamation of Cockney Rebel and Sweet thus showcasing a severe case of lack of direction, although the results form a Pop/Glam concoction in its purest form...Paper Party has the beat and tempo but the surprising inclusion of a sustained fiddle adds another layer of puzzlement to the proceedings. An obscure misfit of a single; but good fun to be enjoyed by all.

Hear a full version of Paper Party

Eva La Rue, Star of CSI: Miami,

By Allison Kugel, Senior Editor

eva-la-rue.jpgEva La Rue, Star of CSI: Miami

PR.com: And you’re a part of the Bahai faith. Is that your religion?

Eva La Rue: Yeah. We believe that everybody’s prophets came to teach basically the same word of God. We believe that there is one God, one people, one world and that everybody’s prophet is right and it’s the people that have sort of dogmatized [it] and religion has taken on a totally different meaning. They’re all at war with each other, but it’s the same truthful message. We basically believe that the reason there were different prophets in different parts of the world is because there were no telephones or newspapers. The only way to get your word out would be through human contact, so God put different prophets in different parts of the world so that everybody could have the word of God and that it’s the same spiritual truth.

PR.com: Were you born into the Bahai religion, or was it something that you discovered on your own?

Eva La Rue: It was something that, when I was a teenager, my mom discovered. You’re obviously born into a Bahai family if your parents are both Bahai, but you can’t become a Bahai until you’re fifteen. They don’t want you to be one just because you’re born one. They want you to make a personal, confident decision. You’re actually encouraged as a teenager to go and study all the religions and make a choice for yourself, and not just be a blind follower… of anything.

PR.com: With many of the people I’ve interviewed, I have spoken about various religions with them, whether because religion was a part of their public persona or just because it happened to come up in the conversation, and that makes more sense then just about anything I’ve ever heard as far as religion goes (laughs). That’s called using your brain.

Eva La Rue: (Laughs) It’s an educated choice. Somebody else choosing your religion for you just because

you were born into it doesn’t make sense

PR.com: I also want to talk to you about some of your charity work…
Eva La Rue: I’m the spokesperson for The National Ovarian Cancer Coalition, because my grandmother and my great-grandmother both died from Ovarian Cancer. I’m actually going out this weekend to their big conference in Texas, The National Ovarian Cancer Coalition Conference. We’re going to tour one of the really big research facilities out there. So I’m kind of psyched about that because I haven’t been out there.
PR.com: I’m sure since it runs in your family, you get checked…
Eva La Rue: Yeah, but the scary thing about Ovarian Cancer is that there’s no easy test to take. There are blood tests that can be markers for it, but mostly you have to just be aware of your body. When you know that you have pain or swelling in your abdomen and its persistent, where you’ve had it for more then a week or two, don’t just blow it off. You have to go get checked
http://www.pr.com/article/1082

Nazareth - The Anthology (2009)


Cd 1
  1. Razamanaz
  2. Bad Bad Boy
  3. Broken Down Angel
  4. Woke Up This Morning
  5. Go Down Fighting
  6. Turn On Your Receiver
  7. Teenage Nervous Breakdown
  8. This Flight Tonight
  9. Sunshine
  10. Shanghaid In Shanghai
  11. Hair Of The Dog
  12. Love Hurts
  13. My White Bicycle
  14. Holy Roller
  15. Telegram
  16. Expect No Mercy
  17. Gone Dead Train
  18. Place In Your Heart
  19. No Mean City

Cd 2

  1. Just To Get Into It
  2. May The Sunshine
  3. Whatever You Want Babe
  4. Holiday
  5. Hearts Grown
  6. Moonlight
  7. Cocaine (Live)
  8. Little Part Of You
  9. Dream On
  10. Where Are You Now
  11. Ruby Tuesday
  12. This Months Massiah
  13. Piece Of My Heart
  14. Winner On The Night
  15. Every Time It Rains
  16. Thinkin Mans Nightmare
  17. Steamroller
  18. When The Lights Come Down
  19. Goin Loco

part 1Clica aí!!
part 2Clica aí!!
part 3Clica aí!!

Brasil en mi estómago


Restaurante Xapurí, Pampulha, Belo Horizonte, octubre de 2009.
...

Happy Halloween

The Misfits - Monster Mash


In 1997, the horror punk group The Misfits released a music video of them covering "Monster Mash" live. They also released a studio version as a single in 1999, and recorded a separate version for their 2003 album Project 1950 (see below).

Wikipedia: Monster Mash

"I ___ You Then You Know!"

Heeeehuuuu.

Was working at Barclays Open Singapore @ Sentosa today! Carried umbrella & walk around. Love doing events (only those with pay )!(: Tomorrow will be another day there(: & I'm gonna take more more more more photos! Al lot of angmohs there leh, I like!

----

Anyway, I got my bill for the Operation which I went for in Sept. Total amount for the whole procedure + hospitalization+ consumables, injections etc etc = $10,189.43. However, the government gives a grant of $995.97, thus the amount payable is only $9837.00 or so.

In my opinion, I feel that even though this op may be costly, It is necessary. So if you've got sweaty palms, just like i did, whether minor or not, GO FOR THE OP! I'll explain......

Even though there may be some would may say that sweaty palms is a minor issue & it wouldn't affect your life etc etc.... I'M TELLING YOU, IT DOES AFFECT YOU!

These were some of the stuff I experienced during my sweaty palms days:
(fyi: my wasn't those jialat sweaty palms cases, but still....)

1) OVERSENSITIVITY
This occurs especially when taking public transport. You know the poles which you hold on to in buses/ trains? When I had sweaty palms, I hated holding on to the poles cos It would sometimes leave watermarks. & even though no one may be looking, I'll never fail to feel as if someone is looking at my palms. This is called, OVERSENSITIVE.

2)INABILITY TO DO SOME NORMAL STUFF.
Some basic stuff like sewing was considered impossible for me. Remember the material that needles are made off? Yeah it sucks, cos after sewing, my needle always turns rusty! feels kinda urghhhh.

3) HATE HATE HATE PAPERS.
I remember that I hated exam papers because sweaty palms+ nervousness = WET EXAM SCRIPT WHICH MAY SOMETIMES HAVE HOLES. the idea of your paper drenched and tearing apart, not too nice eh?

4) HOW TO EVER HANDLE STEERING WHEEL?
Can you imagine, as you're about to turn right at the junction, you just can't grip cos the steering wheel is too slippery!?!? Crashhhhh, goes your car!

5) HANDSHAKES?? ermmmm, no thanks!
I never never liked shaking hands with people unless my hands were dry at the point of time. IDK why, perhaps it had gotta do with my pride issues!


OKAYOKAY, SO YOU SEE, ALL THESE REASONS ARE ENOUGH TO PERSUADE ONE TO UNDERGO THE OP!
& to clarify, after the op, you're hand will be completely dry, COMPLETELY. However, as the body still needs to lose heat from your overly sensitive body, the water will be loss through areas like the back(most common) etc....

As for my case, It mostly went to my back. It sucks, but its far better than sweaty palms because I'll only perspire on the back IF I'M UNDER THE SUN OR FEELING V V V V WARM.
At least its more controllable.

SO YEAH, ENOUGH SAID.
IF YOU'RE CONSIDERING TO GET THE OP DONE, GO FOR IT!
& its best to choose a specialist to get it done for you! Perfection&Safety is more important than the money cost!

Friday, October 30, 2009

Eva la Rue CSI Miami Entertainment Tonight "In Plane Sight" Ep- 804

7 Years Later: RIP Jam Master Jay



Still hard to believe...

Check out this piece I wrote on the man just days after he passed.

We miss you JAY!

Brasil en mí


Betim, Belo Horizonte, octubre de 2009.
...

Reality Rap Is Not Dead: New Video!Southbound feat. Mr. Greezo of Da C.O.D."That Ain't Right"

Seriously. Directed by my man OG at Luxury Mindz. These dudes is serious and I love this song.



I say click it twice so you can see it in full form, not all squished up on this here blog.

Special Post: 1 Week Till Fun Fun Fun Fest!SPOTLIGHT ON MELT BANANA!

I'm working on this whole Fun Fun Fun Fest Preview Post and plan to have it up by tomorrow, in addition to a ticket giveaway and such, but I just decided that Melt Banana deserve their own post.


This is a photo, or series of photos I took at Walter's On Washington a few years back in Houston.

Melt Banana are a band from Japan, they were championed by John Peel who once declared them his favorite band. Whether or not that has anything to do with me declaring them my favorite band of all time is irrelevant, cuz they are and it's very real. If I am in love with a band in this world, it is Melt Banana, and I will forever stay faithful.

No one does it the way they do it. It's Super Rock way past 11, and cannot be stopped. Peep the videos below, some live, one official, and some made by fans. And then do some Googling or whatever, and watch more videos, and listen to more songs and maybe go out and buy some albums and pray that one day they make a 2XL t-shirt so that I can wear it and let everybody know, just what the fuck I am talking about.

Melt Banana plays Fun Fun Fun Fest at Waterloo Park Saturday Nov. 7th at 5:15 p.m. on the Black Stage. Then on Monday Nov. 9th at Walter's on Washington in Houston. And yeah, I plan to make that trek to Houston. I feel as though, I have to. I must. They are in my state. Also probably be the last time I get to go to Walter's before they close and Washington Ave is renamed Douche Bag Lane.

This is and has been their official website for ages. http://www1.parkcity.ne.jp/mltbanan - yes I agree, they need to step their net game up just a tad.

Anyhoo, this first video is the greatest song ever written.

Melt Banana - Shield for your eyes, A Beast in the Well On Your Hand



Follow along with the lyrics:

A shield for your eyes,
a beast in the well on your hand

Catch the man beast
In the well in the hell on the back
Watch out! You've got no shield
Break up! He's got no peace
Breath deep
in the shade in the fade of the luck
Watch out! You've got no light!
No pure cell can live

Shoot the first head
Shoot the first hand
Press the "Greed".
Get the pale shield for your eyes
Shoot the third eye
Shoot the third line
Press the "Blood".
Watch out for the beam
Shoot the first head
Shoot the last tail
Press the "Risk".
Get the hale shield for your eyes
I just need to hit to kick the dead eye
Press the next eye

I can get so...
Liquid eye, Sticky eye, Tricky eye
How to fake to steal?
Your heart's got cracked!

Get the new toy, it's falling in 50 parts
Break Up! You've got no paste
Throw out! It's biting your fate like a bait like a sweet dust
You've got no hand
and no pure cell can cross

Shoot the first head
Shoot the first hand
Press the "Greed".
Get the pale shield for your eyes
Shoot the third eye
Shoot the third line
Press the "Blood".
Watch out for the beam
Shoot the first head
Shoot the last tail
Press the "Risk".
Get the hale shield for your eyes
I just hate to say to pay the dead eye
Press the next light

I can get so...
Liquid eye, Sticky eye
Tricky eye, Flashy eye
How to fake?
How to make 50 times
more eyes to get cracked?
Your hearts got plastic

Catch the man beast
in the well on your hand on your left
Wake up! You've got no fist
Look up! No peace will be seen
in your hand in the shade of your mind
Watch out! You've got no right
Your pure cell can't spark

I can get so...
Liquid eye. Sticky eye.
Tricky eye
Where to fake?
Where to make?
One step more to get my shot

Melt Banana - Lost Parts Stinging Me So Cold



Melt Banana - Cat Brain Land


Melt Banana - Sick Zip Everywhere - OFFICIAL VIDEO!



This one tight too...

Melt Banana - Shoot The Moon



Green Eyed Devil - Melt Banana



Melt Banana - Blank Page of the Blind



Melt Banana - Phantasmagoria



Ok, that's enough. I am really not even trippinG.

Thursday, October 29, 2009

Een uniek verslag: Louis Armstrong in Blokker (1965)

A unique report: Louis Armstrong in Blokker ( 1965) ( English) Een uniek verslag: Louis Armstrong in Blokker - 1965 ( Nederlands)

Unieke foto's en een ooggetuigenverslag
EEN UNIEK VERSLAG: LOUIS ARMSTRONG IN BLOKKER - 1965
HENRI HOOGEWOUD en HANS KOERT


Een paar maanden geleden plaatste ik een blog, over een legendarisch concert, dat precies vijftig jaar daarvoor, in mei 1959, had plaatsgevonden in de groenteveiling van Blokker: Satchmo, optreden in veilinghal van Blokker. Het concert was een daverend succes en Louis had beloofd terug te komen ......... en dat gebeurde ook - zes jaar later. Op Hemelvaartsdag 1965 ( 27 mei) stonden er twee voorstellingen gepland met Louis Armstrong en zijn All-Stars en één van de bezoekers, die er bij was, Henri Hoogewoud, nu woonachtig in Spanje, mailde me en wilde graag zijn foto's en herinneringen van dit concert op de
Keep Swinging blog terug zien. Dit concert van mei 1965 was minder succesvol als het eerste, omdat er 's avonds "slechts" 1.800 fans op af gekomen waren; het middagprogramma, de matinée, telde zo'n 1.200 bezoekers. Hoewel de krantenkoppen het concert meedogenloos neersabelden: "Lege zaal voor Louis Armstrong" of "Krijgt Blokker een slechte naam: Louis Armstrong speelde voor akelige lege veilinghal" bracht Louis een spetterende show voor hen die aanwezig waren. Of het nu aan de voetbalwedstrijd Inter Milan - Benfica heeft gelegen, die dankzij de Eurovisie op de Nederlandse TV's live te zien was of de veranderende smaak van de jeugd ........... we kunnen er alleen maar naar gissen - feit is dat de bezoekers genoten. Henri maakte een zestigtal foto’s en heeft een selectie bij elkaar gezocht, die op deze blog voor het eerst worden getoond.
Louis Armstrong All-Stars in Blokker.( v.l.n.r. zittend Tyree Glenn - Louis Armstrong - Eddie Shu - Danny Barcelona. Achter de piano op de rug gezien: Billy Kyle. Voorgrond: Buddy Catlett. ( mei 1965) ( foto Henri Hoogewoud)
Dit tweede concert van Louis Armstrong in Blokker op donderdag 27 mei 1965, begon minder spectaculair dan het eerste - geen grootse intocht georganiseerd door de bevolking van Blokker zoals in 1959. Zo'n 3.000 mensen hadden zich richting het Noord Hollandse Blokker, een dorpje tussen Hoorn en Enkhuizen, begeven om in twee concerten ( een matinee en een avondoptreden) de legendarische trompettist en zanger te komen zien. Louis had zijn All-Stars meegebracht met Eddie Shu op trompet, klarinet en tenorsax, Tyree Glenn op trombone en vibrafoon, Billy Kyle aan de piano, Buddy Catlett op bas en Danny Barcelona op slagwerk. Louis, de leider op trompet en als zanger, had Jewel Brown meegebracht, een 27-jarig zangeresje, dat al als tiener meeging op tournee met de band van
Lionel Hampton. Ze zong van 1961 tot 1968 in Louis' All-Stars.

Louis Armstrong All-Stars in Blokker ( mei 1965) ( foto: Henri Hoogewoud)
Satchmo zette meteen met het eerste nummer, Royal Garden Blues, de toon voor het concert, dat voornamelijk bestond uit standards en nummers, die onder de handen van Louis, uitgegroeid waren tot hits: Mack the Knife, When it's Sleepy Time Down South, Tiger Rag, Lover Come Back To Me en I Left My Heart in San Francisco ( beide laatste gezongen door Jewel). Natuurlijk ontbrak ook Louis' laatste hit niet, Hello Dolly, dat hij in december 1960 op de plaat gezet had en dat was uitgegroeid tot een nummer één hit. Dit nummer was gebruikt in de musical Hello Dolly. Andere nummers, die waarschijnlijk vertolkt werden, afgaand op de titels, die een week later in Parijs werden gespeeld, waren de bekende standards als Indiana, Back O'Town Blues, Perdido, Blueberry Hill, Bill Baily en de minder bekende It's Easy to Remember en When I Grow Too Old To Dream. Het concert, Louis' laatste optreden in ons land voordat hij zes jaar later zou overlijden ( mei 1971), werd een financiële flop - de organisatie bleef achter met een schuld van 37.000 gulden.
Het publiek in Blokker moest op veilingkistjes zitten. ( mei 1965) ( foto: Henri Hoogewoud)
Henri Hoogewoud, die bijna alle foto's op deze blog maakte, heeft zijn herinneringen van dit concert op papier gezet:
De verwachtingen waren hoog gespannen. Eindelijk zou ik Louis live zien optreden Zijn eerste concert in Blokker had ik jammer genoeg gemist. Het was de eerste keer dat ik in Blokker kwam; ik was dan ook verbaasd te zien hoe een veilinghal was veranderd in een “concertzaal”. Stoelen waren er niet, we moesten op veilingkistjes zitten. De zaal was niet echt afgeladen maar dat gaf het geheel nu juist een gemoedelijke sfeer.
Louis Armstrong en Gert Timmerman ( Bron: De Beeldbank - Nationaal Archief)
Het voorprogramma werd verzorgd door een orkest met Gert Timmerman aan de klarinet. Nu was ik helemaal geen fan van een zingende Gert, maar ik moet eerlijk zeggen, dat ik verbaasd was, hoe hij voortreffelijk en swingend de klarinet bespeelde. In de pauze moest de arme Louis Armstrong, omdat hij bij dezelfde platenmaatschappij zat, opdraven om hem een gouden- en diamantenplaat te overhandigen voor zijn “Ik heb eerbied voor jouw grijze haren”. Na de pauze dus eindelijk Louis Armstrong. Het toneel was ook opgehoogd met veilingkistjes en hier en daar wat bloemen. In het midden van de zaal een soort verhoogd platform voor fotografen. De bühne zelf hing vol met snoertjes, die aan een flitsinstallatie vast zaten. De LIFE-fotograaf John Loengard moest een reportage maken van de optredens in Europa, dus ook Blokker. Zijn foto’s werden gepubliceerd in het LIFE Magazine van 15 April 1966. Loengard kon overal op de bühne zijn Leica aankoppelen aan de flitsinstallatie om te fotograferen, wel even wat anders dan zoals dat nu gaat met die digitale camera's. Louis Armstrong. Achter hem Eddie Shu op klarinet. (Blokker - 1965) ( foto: Henri Hoogewoud)
Ik had mijn camera ook meegenomen, een, zoals dat in die tijd hoorde, Ashi Pentax. Mijn vriendin en twee vrienden zaten ergens in het midden van de zaal en ik liep wat rond alsof ik er bij hoorde. Ik maakte hier en daar een praatje en stond, bijvoorbeeld, op een gegeven moment, te praten met een man in een glitterpak ("Weet je", vroeg mijn vriendin later, "met wie jij stond te praten...? Met Gert Timmerman!.... oeps). Tegenwoordig zou er een cordon om het toneel zijn gebouwd; toen was het nog gezellig en kon je gewoon rondlopen en fotograferen zonder dat iemand zich daar iets van aan trok. Ik heb, denk ik, zo’n 60 foto’s gemaakt, waar van hier een paar voorbeelden.
Louis Armstrong (Blokker - 1965) ( foto: Henri Hoogewoud)
Na afloop van het concert wilde ik toch wel graag een handtekening organiseren, maar de artiesteningang was door “bewakers” geblokkeerd en ik kwam er niet doorheen. Dan maar naar buiten en door de voordeur van het huis naast de hal naar binnen en ja daar was ie, in de keuken en ging net de woonkamer binnen. De keuken zelf was het domein van de orkestleden die gemoedelijk aan de koffie of zo zaten. De huiskamer was nog even verboden terrein voor me; ik moest wachten tot Louis een seintje gaf.
Louis zingt. v.l.n.r.: Tyree Glenn - Louis Armstrong - Danny Barcelona - Eddie Shu. (Blokker - 1965) ( foto: Henri Hoogewoud)
Mijn vriendin en twee vrienden hadden geen idee waar ik zat, dus moest ik ze waarschuwen, dat ik aan het wachten was. Dat is nu het verschil; als je binnen bent kun je makkelijk weer naar buiten, dus vertelde ik de bewakers dat mijn camera nog binnen lag en dat ik even de zaal in moest. Zo kon ik dus makkelijk weer door dezelfde deur de keuken in. De kamerdeur ging open en daar zat ie aan de tafel. Of ik er bij kwam zitten? Hij had alle tijd voor een gesprek; hij vroeg allerlei dingen over de camera en voor wie de foto’s waren etc. Bijna vergat ik de handtekening en het enige dat ik bij me had was het entreekaartje van Blokker, Ik bewaar het nog steeds als een echt relikwie. ( Henri Hoogewoud. )

Tyree Glenn en Louis Armstrong ( Blokker - 1965) ( foto: Henri Hoogewoud)
Het concert met Louis Armstrong zou één van de laatste worden in een reeks van concerten, die in het voorafgaande decennium in Blokker werden georganiseerd - Naast het eerste Armstrong concert van 1959 waren grote namen waren hem voorafgegaan:
Benny Goodman, The Pretty Things, Robert Stolz, Nana Mouskouri, Jacques Brel en ............ natuurlijk niet te vergeten de Beatles. En dan vergeten we gemakshalve maar even onze eigen "popsterren", The Dutch Swing College Band, Rita Reys met het trio van Pim Jacobs, The Blue Diamonds en Mieke Telkamp. Het einde van een tijdperk ...............

Hans Koert
Ik wil graag Henri bedanken voor het mogen gebruiken van zijn foto's en herinneringen. Het is, denk ik, goed dat die niet in de vergetelheid belanden, maar met toekomstige generaties gedeeld worden.

Als je deze Keep Swinging blog regelmatig bezoekt, zou het jammer zijn als je bijdragen zou missen. Word daarom vriend van deze Keep Swinging blog en ik houd je gratis op de hoogte van nieuwe bijdragen of interessant jazz nieuws, dat je zeker zal interesseren. Meld je aan als vriend en ik houd je op de hoogte.

Retrospect
Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Refrit 20 (y ya)

Como árbol de llamas,
como ronco despertar,
como la rotamérica
de métrica intrusa.

Una vez fueron las manos,
la hechura fuerte, el puro río
que nos nombra y demuele.

El futuro tuvo los pies en hielo,
pero tendrá nuestras almas en vela.
...

Eva la Rue CSI Miami - In Plane Sight Promo EP- 804

Final Month for E-mail Delivery of North News

November is the last month for North News to be delivered directly to subscribers e-mail inboxes. Beginning with the Dec. 6 issue, the newsletter will be posted online at nkcschools.blogspot.com. Additionally, the district Web site and social media pages will link to the newsletter content.

We understand that change is often frustrating, but the District is moving away from the current newsletter delivery system as a cost saving measure. Whereas the current delivery system is a contracted service the district pays for, nkcschools.blogspot.com is free. Even if you are not a blogger, you can still go online and read about district news and events and have the information you want available to you 24 hours-a-day, seven days-a-week.

Some of the new features that accompany the nkcschools.blogspot.com online newsletter is the ability to comment on content, RSS subscription to the page and newsletter archives. Readers can dialogue about articles or easily find older articles. Newly posted information will automatically appear in your RSS reader if you choose to subscribe to the newsletter feed. Learn more about RSS Feeds and how to make them work for you in this online tutorial from Press Feed.

Last, but not least, if you have a personal Facebook or Twitter account, be sure to become a fan or follow the district on these social media tools. Not only will updated blog postings be linked directly from these sites, additional photos and videos highlighting district activities will be shared. And don't forget about the district Web site, your one-stop-shop for all things North Kansas City Schools. Make it a favorite!

Join North Kansas City Schools online now at:

Facebook

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Brick Yard Fundraiser

Help celebrate the upcoming 70th anniversary of the District Football Stadium in North Kansas City by purchasing a commemorative granite brick. Proceeds from the granite bricks will help create a permanent history display in the building that will feature more than 80 years of North Kansas City Schools history and current student accomplishments.
>>Read more about Northtown Brick Yard

Police Dept., Hospital Partner with High School to Supply First Aid Bags

North Kansas City High School just became a little safer through a program sponsored by the North Kansas City Police Dept. and North Kansas City Hospital. The Medical Bag Program is designed to supply each classroom in the high school with a medical supply bag. Many students and staff have been trained to use the bags and to perform CPR and other emergency response techniques. The police department provided the bags while the hospital provided contents for the bags.

The accompanying photo was taken by Northtown senior, KayLynn Howard. Those in the photo are (left to right):


  • Jon Brady, district safety and security coordinator

  • Chad Evans, assistant principal/activities director

  • Charlene Browne, Northtown student council president

  • Rob Russell, COPPS/DET

  • Michael McNamee, Northtown school resource officer

  • Glenn Ladd, North Kansas City police chief

Lady Hornet Tennis Has Perfect Season

The North Kansas City Lady Hornet tennis team had an amazing season this fall:
  • Captured a conference title for the first time since 1992, going undefeated (6-0) in conference play.

  • Completed their season undefeated, going 16-0 for the year.

  • Placed 4th as a team at Districts, qualifying for state competition.


Individual players also achieved impressive milestones:

  • Katy Lehenbauer (junior) and Thao Le (senior) qualified for state in Doubles and placed in the top 10 at state competition.

  • Thao Le tied the school record for "Career Varsity Wins" with 123 wins to her name. This also placed her 11th all-time in the state for "Career Varsity Wins" and 14th in the state for all-time "Career Single Wins" with 56.

  • Katy Lehenbauer, Thao Le, Sara Tuncten (sophomore) and Andrea Johnson (sophomore) each earned 40 wins in a single season. This has only been accomplished by one other student in school history. These ladies were selected to the All-District team as well.
Additionally, every Varsity player was selected to All-Conference teams. Quite the amazing season!

Winnetonka's Annual Haunted House Oct. 31

Winnetonka High School will host its annual Haunted House event on Saturday, Oct. 31, from 1-2:30 p.m. in the lower gym at the school. The haunted house will feature spooky lights, eerie sounds and ghostly characters. There also will be games including a cake walk. The haunted house is sponsored by student council. The event is free but canned food donations are appreciated. The food will be used in the Winnetonka pantry that shares food with needy students.

Celebrating Native Americans at Lakewood

On Nov. 10, Lakewood Elementary will host a reading celebration titled "Celebrating Native Americans" from 6:30-8:30 p.m. in the school gymnasium. The evening will include storytelling activities and food. Bring your family and enjoy an evening of fun learning experiences. For more information, please contact Lakewood at 413-6570.

Future Hornets Cheer Clinic

The North Kansas City High School Cheerleaders will host a "Future Hornets" cheer clinic on Jan. 23 from 9 a.m. to noon in the Fieldhouse. The clinic will consist of cheers, jumps, stunts and a dances. The future Hornets will then perform their routine Jan. 28 during halftime of the Varsity basketball game. The clinic costs $30 and includes a T-shirt. For more information contact cclemens@ncksd.k12.mo.us.

Registration forms can be e-mailed or mailed to you. You also can also find the form on the home page of the high school Web site under "Cheer Clinic".
>>Print registration form for "Future Hornets" Cheer Clinic

From Our Community

Paul Mesner Puppets Season Includes "Bark, George" & "The Daddy Mountain"

"Bark, George," says George's mother, and George goes, "Meow," which definitely isn't right, because George is a dog. And so is his mother, who repeats, "Bark, George." And George goes, "Quack, quack." What's going on with George? Find out in this funny farce by Jules Feiffer, which is brought to life on the stage by the Paul Mesner Puppets.

Before your very eyes, a little redhead is about to do something extremely daring. And scary. And she'll show you - she'll actually document, step-by-step - exactly how she does it. First, she takes her daddy and makes him stand very still. Then, balancing herself on his shoe, she wraps her arms tightly around a leg and starts her perilous ascent to the summit. Thrills and chills, guaranteed. LOOK OUT BELOW! Adapted for the puppet stage by the Paul Mesner Puppets.

These shows are appropriate for students of all ages. Shows start Nov. 11-22, Wednesday-Sunday. Weekday shows are at 10 a.m. and 1 p.m.; weekend shows are at 2 p.m. at Paul Mesner Puppets Studio,1006 E. Linwood Boulevard, Kansas City. Tickets are $9 for adults and $7 for children age 1-12. They can be purchased through the Central Ticket Office at (816) 235-6222 or online at www.paulmesnerpuppets.org. Group rates are available.

Shows in French or German can be scheduled for language classes by appointment. Call (816) 756-3500.
Submitted by: Paul Mesner Puppets

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Wednesday, October 28, 2009

A unique report: Louis Armstrong in Blokker - 1965

A unique report: Louis Armstrong in Blokker ( 1965) ( English) Een uniek verslag: Louis Armstrong in Blokker - 1965 ( Nederlands)

Unique photos and an eyewitness report
A UNIQUE REPORT: LOUIS ARMSTRONG IN BLOKKER - 1965
HENRI HOOGEWOUD and HANS KOERT


A few months ago I posted a blog, titled Satchmo, live in an auction hall in Blokker,
about a legendary concert by Louis Armstrong then 50 years ago, May 1959. It was a great success and Louis had liked it very much - he promised to come back. And he did so .......... six years after this concert Louis returned to Blokker, a small village between Enhuizen and Hoorn in, what we call, de kop van Noord-Holland, the northwestern part of The Netherlands and Henri Hoogewoud, now living in Spain, joined that concert with his camera; a concert which was less successful then the first one. Only 1,800 fans had found Blokker for that concert, that was scheduled on the 27th of May, 1965. Looking back upon this, the football game between Inter Milan and Benfica on Dutch television, a live report, thanks to Eurovision, could be the reason, or, more likely, the growing interest by the youth for new music styles. Well never mind, Henri made a lot of pictures and loves to share his remembrances and a selection of his photos with the visitors of the Keep Swinging blog.
Louis Armstrong All-Stars in Blokker.( f.l.t.r. sitting Tyree Glenn - Louis Armstrong - Eddie Shu - Danny Barcelona. Behind the piano Billy Kyle. In front: Buddy Catlett. ( May 1965) ( photo courtesy Henri Hoogewoud)
This second concert by Louis Armstrong in de Veilinghal of Blokker on Thursday, the 27th of May, 1965, Ascension Day, ( and his last one in Holland) started less spectacular then 6 years ago - no great entry in the village of Blokker like in 1959, but, nevertheless, 3,000 people joined both concerts in the auction hall. Louis had brought his All-Stars, feautirng Eddie Shu on trumpet, clarinet and tenor saxophone, Tyree Glenn on trombone and vibes, Billy Kyle at the piano, Buddy Catlett on bass and Danny Barcelona on drums. Louis, the leader on trumpet and vocals of course, had brought Jewel Brown, a 27 years young vocalist, who had performed with
Lionel Hampton as a teenager and sung in Louis Armstrong All-Stars from 1961 up to 1968.
Louis Armstrong All-Stars in Blokker ( May 1965) ( photo courtesy: Henri Hoogewoud)
Two concerts were schedulde: a matinee and one in the evening; 1,800 men visited the latter. Satchmo opened the concert with the Royal Garden Blues, the overture for a series of jazz standards as played regular by Louis's All-Stars: Mack the Knife, When it's Sleepy Time Down South, Lover Come Back To Me and I Left My Heart in San Francisco ( both with Jewel singing), Tiger Rag and, of course, Louis's last hit, Hello Dolly, he recorded in December 1960. This tune, was used in the musical Hello Dolly and became a hit thanks to Louis's version. Other tunes performed might have been, according the Paris concert a week later, Indiana, Back O'Town Blues, Perdido, Blueberry Hill, Bill Baily and the less known It's Easy to Remember and When I Grow Too Old To Dream. The concert was a financial flop - the organization had a loss of 37,000 Dutch guilders.
The audience in Blokker had to sit on crates. ( May 1965) ( photo courtesy: Henri Hoogewoud)
Let's share Henri Hoogewoud's memories to the 1965 Armstrong concert ( in translation):
We were really excited for the concert - finally we should see him live in concert - Louis Armstrong in person. It was a pity, but I missed his first concert in Blokker in 1959. It was, in fact, the first time I was in de Veilinghal in Blokker. I was surprised to learn how they had changed it into a real concert hall; no chairs at all - we had to sit on vegetable crates and the hall wasn't jam-packed as I had expected. Well, that was no problem, because their was a relaxed atmosphere.
Louis Armstrong and Gert Timmerman ( Source: De Beeldbank - National Archive)
The concert started with Gert Timmerman and an orchestra, featuring Gert on clarinet. As I was not a fan of Gert Timmermans singing, I learned that he really could swing on the clarinet. During the break, poor Louis had to present Gert a golden and a diamond record for his "Ik heb eerbied voor jouw grijze haren", a 1963 hit in Holland. After the break: Louis Armstrong in person. The stage was build with all kind of platforms made with crates and decorated with flowers; in the centre of the hall a place was created for the photographers. On stage they had create a construction for flashlight, with cords all over the place. Life photographer John Loengard had to make a photo report of Louis' concerts in Europe. Of course Blokker was one of the concerts to register. His photos were released in LIFE Magazine of the 15th of April, 1966. Loengard could takes his photos, walking around and connect his camera to the flashlight installation wherever he wanted; what a different with the digital camera’s now a days.
Louis Armstrong. Behind him Eddie Shu on clarinet. (Blokker - 1965) ( photo courtesy: Henri Hoogewoud)
I brought my own camera, an Ashi Pentax. My girlfriend sat with some friends in the center of the audience and I could walk around, as if I was one of the organization and talked to people. One time, I remember, I talked to a man in a glitter costume. Later my girl friend told me I had talked to Gert Timmerman! .... oops. This would be impossible now a days - the security men would protect the artists and the stage. In those days, it seemed that nobody cared if you walked around, making photos. I think I must have made ca 60 photos during the concert; I selected some to share with you in this blog.
Louis Armstrong (Blokker - 1965) ( photo courtesy: Henri Hoogewoud)
After the concert I loved to have an autograph of Louis, but the stage door was secured and I couldn't get in. So I went outside and walked to the house next to the auction hall and entered it. There I saw him, in the kitchen, just entering the living room. In the kitchen all the members of the orchestra were having their coffee - I couldn't enter into the living room - I had to wait until Louis invited me.
Louis singing. f.l.t.r.: Tyree Glenn - Louis Armstrong - Danny Barcelona - Eddie Shu. (Blokker - 1965) ( photo courtesy: Henri Hoogewoud)
In the mean time my friends had lost me and didn't know where I was, so I had to contact them that I was waiting for permission to meet Louis. Well, if you are already inside the house, you can easily leave the house and return later. I told the security that I had forgotten to take my camera from the hall and so I could inform my friends. Back in the kitchen Louis invited me to come in. There he was, sitting at the table. "Please sit down", he invited me. He had enough time to talk to me, about my camera and about my photos .....I almost forgot to ask him for an autograph and the only paper I found in my pocket was the entree ticket of the Blokker concert - I still have it ..... as a relic !!
Henri Hoogewoud ( translation: Hans Koert)
Tyree Glenn and Louis Armstrong ( Blokker - 1965) ( photo courtesy: Henri Hoogewoud)
It was one of the last concerts organized in the Veilinghal Op Hoop Van Zegen of Blokker - one of the last concerts in a series of legendary concerts, like the one with Louis Armstrong in 1959, the concerts with Benny Goodman, The Pretty Things, the Dutch Swing College Band, Robert Stolz, Rita Reys with the Trio Pim Jacobs, Nana Mouskouri, Jacques Brel and ............ the Beatles of course. The end of a period........

Hans Koert

I love to thanks Henri for sharing his photos and remembrances to this concert. It is good that such information should be shared with further generations!



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Retrospect
Oscar Aleman Choro Music Flexible Records Hit of the Week-Durium Friends of the Keep Swinging blog Keep Swinging Contributions

Keep Your Hands Off The Cookie Jar.

Cheap, cheap, so cheap you also want?

Refrit 19

Señalo la mediana esquina,
el talibán suburbio de tu sexo.

Apelo cada firma,
cada sueño,
cada infamia.

Las innumerables
espigas de carne,
en cada eureka,
sufren su parte de siglos.

El cripticismo es la marea,
el equívoco sentido,
la armadura plena.
...

61st Primetime Emmy Awards: EVA LA RUE

CMJ Panel Reviews

Couple folks done wrote about the panel I was on at CMJ last week. Check it on down:

http://performermag.blogspot.com/2009/10/cmj-report-beats-and-rhymes-panel.h
tml


http://www.cmj.com/relay/?p=8392

And thanks to Fiona Bloom for sending and Amanda Macchia and Marisa Aveling for writing.

Invoking the Holocaust ...

John Mearsheimer . Invoking the Holocaust to Defend the Occupation

By John Mearsheimer

For American readers, the great virtue of Avraham Burg's important new book is that he says things about Israel and the Jewish people that are hardly ever heard in mainstream discourse in the United States. It is hard to believe how stunted and biased the coverage of Israel is in the American media, not to mention the extent to which our politicians have perfected the art of pandering to the Jewish state. The situation got so bad in the recent presidential campaign that journalists Jeffrey Goldberg and Shmuel Rosner -- both staunch defenders of Israel -- wrote pieces titled "Enough about Israel Already."

Let's hope that The Holocaust is Over is widely read and discussed, because it makes arguments that need to be heard and considered by Americans of all persuasions, but especially by those who feel a deep attachment to Israel. The fact that Burg wrote this book also matters greatly. He cannot be easily dismissed as a self-hating Jew or a crank, as he comes from a prominent Israeli family and has been deeply involved in mainstream Israeli politics for much of his adult life. Moreover, he clearly loves Israel.

Burg makes many smart points in his book, but I would like to focus on what I take to be his central arguments. His core message is that Israel is in serious trouble at home and there is good reason to think that things could go horribly wrong in the future. He emphasizes that Israel has changed greatly since 1948. He quotes his mother on this point: "This country is not the country that we built. We founded a different country in 1948, but I don't know where it's disappeared." Israel today, he writes, "is frighteningly similar to the countries we never wanted to resemble." Talking about Israel's shift to the right over time, he makes the eye-popping observation that "Jews and Israelis have become thugs."

Burg makes it clear that he is not equating Israel's past behavior with what happened in Nazi Germany, but he does see disturbing similarities between Israel and "the Germany that preceded Hitler." This raises the obvious question: could Israel end up going on a murderous rampage against the Palestinians? Burg thinks it is possible. He writes, "The notion that this cannot happen to us because our history as persecuted people makes us immune to hatred and racism is very dangerous. A look inside Israel shows that the erosion has begun." He even raises the possibility that there might be a civil war inside Israel, which "will be not a war between members of the Jewish people of different shades of beliefs, but an uncompromising struggle between good people and bad people anywhere."

Burg is aware that many American Jews will dismiss his arguments because they are so at odds with the picture of Israel that they have in their heads. Accordingly, he reminds the reader: "I come from there, and my friends and relatives are still there. I listen to their talk, know their ambitions, and feel their heartbeats. I know where they are headed." And where they might be headed worries him greatly. Again, he fears that Israel will end up following in the footsteps of Germany, where "slow processes altered the perception of reality to the degree that insanity became the norm, and then we were exterminated. It happened in the land of poets and philosophers. There it was possible, and here too, in the land of the prophets. The establishment of a state run by rabbis and generals is not an impossible nightmare. I know how difficult this comparison is, but please open your ears, eyes, and hearts."

Many American Jews think that Israel is in trouble today because of anti-Semitism or because it is surrounded by dangerous adversaries who threaten Israel's very existence. Israelis themselves, Burg reminds us, love to emphasize that "the entire world is against us." He dismisses these wrongheaded beliefs: "Today we are armed to the teeth, better equipped than any other generation in Jewish history. We have a tremendous army, an obsession with security, and the safety net of the United States ... Anti-Semitism seems ridiculous, even innocuous compared with the strength of the Jewish people of today."

For Burg, Israel's troubles are self-inflicted. Specifically, he maintains that the principal cause of Israel's problems is the legacy of the Holocaust, which has become omnipresent in Israeli life. "Not a day passes," he writes, "without a mention of the Shoah in the only newspaper I read, Ha'aretz." Indeed, Israeli children are taught in school that "we are all Shoah survivors." The result is that Israelis (and most American Jews for that matter) cannot think straight about the world around them. They think that everyone is out to get them, and that the Palestinians are hardly any different than the Nazis. Given this despairing perspective, Israelis believe that almost any means is justified to counter their enemies. The implication of Burg's argument is that if there was less emphasis on the Holocaust, Israelis would change their thinking about "others" in fundamental ways and this would allow them to reach a settlement with the Palestinians and lead a more peaceful and decent life.

There is some truth in this defensive psychological argument, but Burg also provides much evidence for a different interpretation of how the Holocaust relates to Israeli life. In particular, he shows that Israeli society is plagued with a host of serious problems that are threatening to tear it apart and that the Holocaust is a "tool at the service of the Jewish people," which they use to protect Israel from criticism and to keep those centrifugal forces at bay. He identifies three basic problems: 1) Israelis are badly divided among themselves; "the Jewish world always had colossal disputes between colossal figures"; 2) the grave danger that large numbers of Israelis will emigrate to Europe and North America; and 3) the Occupation, which has had a corrupting effect on Israeli society and has drawn criticism from all around the globe. Playing the Holocaust card, Burg shows, is thought to be the best way to deal with these problems. He quotes the Israeli writer, Boaz Evron, to make this point: the Shoah "is our main asset nowadays. This is the only thing by which we try to unify the Jews. This is the only way to scare Israelis into not emigrating. This is the only thing by which they try to silence the gentiles." Of course, there is another instrument that Israel and its defenders frequently employ, which is the charge of anti-Semitism.

To take my instrumentalist argument a step further, Burg provides evidence that the main reason that Israelis and their supporters constantly invoke the Holocaust is because of the Occupation, and the horrible things that Israel has done and continues to do to the Palestinians. The Shoah is the weapon that Israelis and their supporters in the Diaspora use to fend off criticism and to allow Israel to continue committing crimes against the Palestinians. Burg writes: "All is compared to the Shoah, dwarfed by the Shoah, and therefore all is allowed -- be it fences, sieges, crowns, curfews, food and water deprivation, or unexplained killings. All is permitted because we have been through the Shoah and you will not tell us how to behave."

The best evidence that Israel's obsession with the Holocaust is linked with the Occupation is found in Burg's discussion of the evolution of Israeli thinking about the Holocaust itself. He shows clearly that Israeli thinking about the Shoah has varied considerably over time. The leaders of the Yishuv "did very little in response to the annihilation of Europe's Jews" when it was happening. "They did not want to waste emotional resources that could otherwise be channeled into building the Jewish state." Moreover, Israelis did not focus much attention on the Holocaust in the first decade or so after 1948 and they showed surprisingly little sympathy for the survivors who came to Israel after the war. But all that changed in the 1960s, starting with the Eichmann trial, but picking up a head of steam after Israel conquered the West Bank and Gaza in 1967 and began the Occupation. "To understand the wrong turn we took," he writes, "we need to go back to the 1960s, the Eichmann trial, the Six-Day War, and all that lies in between." He goes even further and notes that the 1990s -- and remember that the First Intifada broke out in December 1987 -- was the "decade of transition from the mythology of the early state to the obsessive journeys to the scene of the crime." The pattern seems clear: the Holocaust has been the main weapon that Israelis (and their supporter abroad) have employed to provide cover for the horrors Israel has inflicted on the Palestinians in the Occupied Territories.

All of this is to say that the best way to rescue Israel from its plight is not simply to get beyond the Holocaust, but to end the Occupation. Then, the need to talk incessantly about the Holocaust will be greatly reduced and Israel will be a much healthier and secure country. Sadly, there is no end in sight to the Occupation, and thus we are likely to hear more, not less, about the Holocaust in years ahead.