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Delbert Anderson
Maurice Johnson
Meet Navajo Jazz Trumpeter Delbert Anderson 2021-delbert-anderson-native-american-trumpter-navajo-interview
Meet Delbert Anderson, A Native American Trumpet Master Interweaving Navajo Melodies With Jazz
Native American trumpeter Delbert Anderson started playing straight-ahead jazz, but admits it was difficult to stand out. Once when he began exploring his Navajo heritage for material, things became truly interesting
The universe of Native American heritage contains a fount of traditional melodies. There's just one problem: Hardly anyone remembers them.
When New Mexico trumpeter Delbert Anderson needed new inspiration for his jazz trio, he rolled out to an Aztec library and looked for Indigenous music. As a man of Navajo descent himself, he wanted to dig deeper into his ancestry. What Anderson found was a tape of "spinning songs"—essentially, songs dictating social interaction—chanted by Navajo chiefs. "It was really hard to pick out a melody," Anderson admits to GRAMMY.com. "The melodies that caught my ear were what I focused on."
Needing to know more, Anderson, a faculty member at San Juan College in Farmington, New Mexico, consulted traditional Native families, but their memories were hazy. What they could hum from memory, despite not knowing the origin, he connected to the Navajo spinning songs and learned two things. One: They were mostly in pentatonic, or specifically, minor pentatonic. Two: They were sticky and memorable enough to create stellar jazz tunes—ones that respectfully approach Native American musical tradition while also fostering an accessible experience for listeners.
Thus, Anderson has staked his claim on an almost-untouched corner of music: Native American jazz. Along with bassist Mike McCluhan and drummer Nick Lucero, joined by a succession of hip-hop MCs, he skillfully braids Indigenous melodies and syncopated grooves in a way that can appeal to purists in either camp. This is evident on his albums like Manitou (2014) as well as his 2021 virtual concert series throughout New Mexico and Colorado, which earned a $30,000 grant from the Doris Duke Charitable Foundation.
GRAMMY.com gave Delbert Anderson a ring about his straight-ahead jazz beginnings, how he began communing more closely with his Navajo roots and how he mourns the melodies lost to time that double as a fertile source of mystery.
I'm amazed by the melodic strength and integrity of some of these Native American tunes you transmuted into jazz. Where did they come from?
We started out playing jazz standards, and we weren't getting anywhere. We sounded like every jazz combo in the world! [Laughs.] So, we decided to dig a little deeper into everyone's culture. Mike [McCluhan], the bass player, obviously, is white. [Drummer] Nick [Lucero] is Hispanic, and actually comes from Peruvian culture. At the same time, both of them were urging me, "We need to do something Native American, with that kind of influence."
So, I went to this Aztec library that's 12 miles from where I live right now. I found this tape of Navajo spinning songs. At that time, I didn't really know what spinning songs were. I knew of them. But after doing a lot more research and speaking with some of the elders that are still on the reservation today, [I learned] they were basically social songs that taught their children or outsiders manners or how to operate. It's really neat that they used music to teach those things.
Just an example: When the song starts, it's the male who would have to ask politely for the lady to dance. There was a certain gesture they would make. They would dance, and that was a time they would get in a conversation. They had a very specific dance. It seemed pretty intense. It wasn't like today, [where you're] both dancing however you feel like. There were certain structures to it. It was really well-disciplined.
They had songs for everything. They had songs for love, songs for war, ceremonial healing-type songs, but there were also just spinning songs. The Navajo spinning songs that I started to be influenced by were those social ones. The reason why I chose those songs was that I didn't want to be playing ceremonial, sacred music and then get in trouble by someone who says that it's too sacred to share. [Laughs.] We ran into a lot of that stuff all the way through.
The melodies that caught my ear were what I focused on. We paid attention to how we mixed those together with the Latin [melodies] that Nick brings and the jam-band that Mike brings. We found out the hard way that when we create really heavy Navajo melodies, we lose the audience a bit. We lose certain people because it becomes a little too native; we fall into a hard, general category of being just Native American music.
We paid close attention to fusing those songs together to where it blends better or has a more palatable sound to everyone versus a particular demographic.
I feel like the average American may be aware of Native American history, but not be able to subdivide it. I'd like to place these melodies at a specific point in history. In the context of Navajo people, at which point did these tunes spring up?
This is something that's always been a little weird for me. Because, to tell you the truth, I didn't really grow up 100% traditional.
The only traditional music I know probably comes from my grandparents when they were traditional. Actually, both sides of my grandparents [converted] to Christianity at a later time in their lives. However, they used to be traditional, and they made this decision to follow a Christian faith instead of their traditional spiritual faith that most Native Americans follow right now.
I was still a baby when they were traditional. I would say when I was 14 or 15, that's when they decided to [convert] to Christianity. They never allowed me to go to ceremonies or put that on me to go and learn them. However, when I started, in 2013, I started to do research. I went to some of the more traditional families and asked, "What is the earliest melody you guys can remember?" A lot of them couldn't recall, but they did some humming for me and I recorded it on my phone.
My paternal grandfather was really heavy [into] tradition and still remembered his great-grandfather's melodies. One of those—we haven't released it yet or anything—but he did the same thing. He hummed it out and said he had no idea where it came from. It's just something that his great-grandfather would sing around.
However, when I paired that melody with the research I found on the tapes from the 1920s [era], it was a bunch of chiefs singing chants. There were no words. It was just pure chants. I found some similarities. One was that everything was pentatonic. Most of the time, they were in minor pentatonic. In that tape from the 1920s—who knows when it came from—it was really hard to pick out a melody.
I honestly don't know how long these songs have gone back. There are a lot of musicologists, and even Native American musicologists, that say they've been way, way early. Like, as back to as far as we can trace. The thing that I found out is that everyone has a different story. Everyone believes it came about differently. It's hard to say when or where.
There are historians that have really hard dates. But even then, to figure out the music portion is very complicated. Nothing was written down. Nothing was preserved.
Delbert Anderson. Photo: Maurice Johnson
When you think of the knowledge that might be lost forever, do you process that in a grieving way or as a mystery to explore?
It's a little bit of both. I wish I could know straight out what a certain era sounded like. But the thing that keeps me going is that whole mystery aspect, too. I don't even know if I'm going to find anything else, more, but I'm starting to listen to these earlier tapes I found a little more closely. I'm trying to figure out, "Is there anything I'm missing?" That stuff is really encouraging; it keeps me going.
I am somewhat sad that there isn't a recording or a piece of paper that says what happened back then. I tend to stay more on the mystery side of things—figuring it out maybe later down the road.
I've also been looking into number sequences. The number four is really important to Diné culture as well as a lot of other cultures. I was trying to listen to the music and find a significance for [the number] four in their piece.
More in-depth research like that is what I've been clinging to. I'm still writing my own tunes, but [they're] inspired by what I'm finding in the earliest recording I can find. That's as deep as I'm going. I don't know if it would make sense to visit some more places or talk to more elders. I've only been able to get, maybe, two generations back.
Anything like three or four [generations back], it's really hard. Everyone at that point is like, "I don't remember," or "I have no idea. I was too small." We never had historians. We kind of go on a telephone system.
I don't want people to walk away from this article—and this subject—simply saying, "Oh, that's cool." How can people interface with Native American jazz and support it?
I honestly never thought of it. One thing I try to do, especially when filling out grants or anything like that, is that I want to get to the core of the healing process of music. I think Native Americans share a lot of similar history with African Americans.
I think one thing is that our African American ancestors were able to get through the worst time ever in U.S. history. Not "get through it"; I know some were lost. But for the majority, a lot of African American ancestors got through that period of time, and they did it with music; they did it with self-expression. In fact, a lot of people now aren't calling it jazz. They're calling it "Black liberation music."
Liberation music itself is what I really wanted to focus on because I think there are similarities. The Native American tribes, we have the history of genocide and all that stuff. But there are people that got through it, and I'm wondering if any of those used these songs. Obviously, there are healing songs in our ceremonies and stuff like that, but I wanted to find the core reason for it.
It's a very tough question. We're kind of the only ones doing it, you know? There's not a lot of people that are trying to preserve this music. That's what I would say: We really want to highlight the healing components of this Indigenous music to everyone. I think the support would be to these areas of research of how liberation works, or how music really heals people.
People say it's good for the soul and it makes you happy, but there has to be more than that. If somebody wanted to support it, I would go with historian research, and almost like medical research, on this type of Indigenous music.
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Photo: Art Kane Archive
Every Jazz Musician In The 'Harlem 1958' Photo almost-everyone-famous-harlem-1958-jazz-photograph-gone-96-year-old-vibraphonist
Almost Everyone In The Famous 'Harlem 1958' Jazz Photograph Is Gone. This 96-Year-Old Vibraphonist Remembers Most Of Them.
All but two of the 57 jazz legends in the 'Harlem 1958' photo have passed on. But although the 96-year-old vibraphone master Terry Gibbs wasn't in it, he remembers many of the figures therein
Aug 25, 2021 - 2:44 pm
Sixty-three years after 57 jazz musicians assembled for a genre-encapsulating photograph in front of an Upper East Harlem brownstone, a crowd was set to convene on that very block for a street co-naming ceremony. Because of a blazing 107-degree heat index that day—which could be potentially life-threatening to anyone elderly or infirm in the crowd—it didn't happen.
By now, that Esquire photo by freelancer Art Kane—called Harlem 1958—has inspired doo-wop and rap homages, not to mention a 1994 documentary. But rather than seeing a gaggle of music fans on East 126th Street between Fifth and Madison—along with readings of prepared statements by saxophone legends Benny Golson and Sonny Rollins—it was crickets on what might have been otherwise rechristened as Art Kane 1958 Harlem Place.
While the event will likely be rescheduled, the abrupt cancelation serves as a reminder of how tenuous this heritage is in 2021. Kane died in 1995; Golson, 92, and Rollins, 90, are the only living musicians in the photo. While New York clubs remain full of young visionaries with something to prove, the lively camaraderie in the photo—as shown in Kane's son Jonathan's 2018 coffeetable book, Art Kane: Harlem 1958—can feel inaccessible, like a relic of the distant past.
That is, if you're not Terry Gibbs, the 96-year-old vibraphonist who played with everyone from Charlie Parker to Benny Goodman to Buddy Rich over a seven-decade career.
Read More: Gerry Gibbs Assembled Jazz Legends To Honor His Father's Music. The Result Contained Chick Corea's Final Recordings.
With an acerbic sense of humor, needle-sharp recollection of the mid-20th century and all his wits about him, Gibbs is one of the last living threads to this quickly-fading era of American innovation. Granted, he wasn't actually in the photo, but it hardly matters: These people were his colleagues, with many of them his close friends.
It's worth noting that Harlem 1958 isn't just household names, like Count Basie and Gene Krupa. Some of the more obscure members of the lineup, like Gigi Gryce, were brilliant composers overshadowed in their day. To say nothing of the genius pianist and arranger Mary Lou Williams, who, despite crafting immersive works like 1964's The Black Christ of the Andes, was bizarrely benched from the discourse for decades—perhaps thanks in part to her race and gender.
Gibbs speaks in a discursive style he's called his "Brooklynese," and as an eyewitness to the jazz revolution, his reflections should provide a foundation of knowledge before you Google the rest of the story. Out of almost 8 billion people on the planet, he's one of the only living primary sources on this subject. Even if he only knew of someone in the photo, it's captivating to hear from him.
Here's a guide to A Great Day in Harlem with help from the one and only Terry Gibbs.
Read More: How The Jazz Coalition Commission Fund Is Helping More Than 100 Jazz Musicians In Need As The Pandemic Wears On
Gibbs: I have the picture hanging on my wall. I know practically everybody in the picture.
Would you be interested in going through the names and giving me your impression of each person?
Gibbs: Give me the names and I'll tell you what I know about them.
Red Allen (trumpet, 1908-1967)
Gibbs: I didn't know him. That was the era before, the Louis Armstrong era. I was too young.
Buster Bailey (clarinet, 1902-1967)
Gibbs: Also from that era. I knew about him because he played with [bassist] John Kirby.
Count Basie (piano, 1904-1984)
Gibbs: A major bandleader and band.
Emmett Berry (trumpet, 1915-1993)
Gibbs: A great trumpet player.
Art Blakey (drums, 1919-1990)
Gibbs: He worked in my quartet. One of my two favorite New York drummers.
Was he as cantankerous as legend paints him?
Gibbs: Want to hear a funny story about Art Blakey?
You know it.
Gibbs: Art worked for me in New York and knew what type of player I was. I was a New York hard swinger. When I moved out to California, I was still the same type of person, but supposedly, California was known as West Coast jazz, y'know. A lot softer style. He came by here with his group and I went to see him and he introduced me and he put me down. "I don't know what Terry Gibbs is doing in California! He belongs in New York! Why is he out here with this bull*** West Coast jazz, played like a bunch of sissies?" But he loved what I did.
Lawrence Brown (trombone, 1907-1988)
Gibbs: He worked with Duke. A very good trombone player.
Scoville Browne (reeds, 1909-1994)
Gibbs: Sco-gil Browne?
Scoville Browne.
Gibbs: Where is he in the photo?
He's near the bottom, next to Joe Thomas and Stuff Smith.
Gibbs: Let me look at the picture. I'm in my office right now. Ah, I didn't know him at all.
Buck Clayton (trumpet)
Gibbs: Well, I knew of him. I worked opposite him, probably. He may have been an underrated name in the jazz field.
Bill Crump (saxophone, birth/death unknown)
This guy is really obscure.
Gibbs: I don't know that name at all.
I think he was just some dude looking for work.
Gibbs: He probably sounded like his last name!
Vic Dickenson (trombone, 1906-1984)
Gibbs: Also a renowned trombone player. From that era, he was great.
Roy Eldridge (trumpet, 1911-1989)
Gibbs: Roy Eldridge and Lester Young were my two favorite musicians growing up.
I know Roy was a massive influence on Dizzy Gillespie.
Gibbs: Yeah, it went from Louis to Roy to Dizzy, you know?
I love that Roy and Dizzy are together in the photo. Dizzy's got his arm around him with his tongue extended.
Gibbs: I loved Roy. We became real good friends and worked a show at the Apollo Theater. Ella [Fitzgerald] used to come in to see me when I had the Dream Band going and she told Norman Granz about me. Norman asked if I would put a big band together. So I took Mel Lewis and had my New York friend get me the best [local] players to play in the big band.
It was a great show. Ella Fitzgerald had [pianist] Ray Bryant, [guitarist] Herb Ellis and [bassist] Wilfred Middlebrooks playing for her. And then there was the Oscar Peterson Trio with [bassist] Ray Brown and [drummer] Ed Thigpen, and then it was my Dream Band, and [saxophonist] Sonny Stitt and Roy Eldridge. That was the show.
Gibbs: Yeah, it really was.
Art Farmer (trumpet/flugelhorn, 1928-1999)
Did you know Art?
Gibbs: Yes, a very good player. Also sort of an underrated player. He was very lyrical.
Nice guy?
Gibbs: Yeah, a sweetheart.
Bud Freeman (tenor saxophone/clarinet, 1906-1991)
Gibbs: I met him once, but not really. In fact, I think our conversation was about boxing because he boxed and I boxed. He was a nice guy. I'm really not familiar with his playing. I maybe should be.
Dizzy Gillespie (trumpet, 1917-1993)
I know you knew Dizzy. What did you appreciate the most about him?
Gibbs: He was one of the stars, along with Bird, in that music called bebop. He was way ahead. First, Charlie Parker, and then Dizzy, were way ahead of anybody in the folks who knew the bebop language. [Pianist] Bud Powell also. Those three are the most responsible for that music.
Tyree Glenn (trombone/vibraphone, 1912-1974)
I don't know this name.
Gibbs: Oh, great trombone player. He also played vibes. Real good friend of mine. He was with Louis Armstrong. In fact, I'm very good friends with one of his sons, Roger Glenn.
Benny Golson (tenor saxophone, b. 1929)
A living legend. Did you know him back when?
Gibbs: Oh, yeah. Very good arranger, very good tenor player. It's the cliché: He had it all.
Sonny Greer (drums/vocals, 1895-1982)
Gibbs: Oh, yeah. All I know is that he played with Duke Ellington. I never really heard him with the band because when I worked opposite Duke, he had different drummers.
Johnny Griffin (tenor saxophone, 1928-2009)
I love his playing with Wes Montgomery.
Gibbs: He was scary, Johnny Griffin.
Was he?
Gibbs: Well, I'm talking about playing. When he lived in Chicago, I don't think any tenor players wanted to get onstage with him.
Gigi Gryce (reeds, 1925-1983)
Another underrated guy.
Gibbs: You know what it was? Charlie Parker was so far ahead of everybody that came after him. Everybody who came after him was underrated only because they weren't Charlie Parker! They tried to play that style!
Coleman Hawkins (tenor saxophone, 1904-1969)
Gibbs: Let's face it. He, at one time, was probably the most famous saxophone player in the world. He made a song famous without ever playing one note of the melody. Coleman Hawkins called it "Body and Soul" only because he played all the chord changes, but he made that song famous by his chorus. I don't think there was a tenor player that came after him that couldn't play his chorus. How far are you in my book?
I just finished the chapter about the Woody Herman band.
Gibbs: OK, you haven't gotten to the place where they gave me a band and my sidemen were Roy Eldridge and Coleman Hawkins.
When I think about Hawkins, I think of how tenor saxophonists are either from the Prez school or Hawk school. Obviously, so many were influenced by both.
Gibbs: Prez was my favorite because of the style he played, but Coleman Hawkins could go through chord changes very well. Everybody thinks of him with "Body and Soul," but they've got to hear other songs he played. It wasn't my style of playing, but he could sure play beautiful chord changes. He was a great player!
J.C. Heard (drums, 1917-1988)
Gibbs: He was with the Woody Herman band for about two or three days, four days. A week. Good drummer.
Jay C. Higginbotham (trombone, 1906-1973)
Gibbs: From that era, he was a respected trombone player.
Milt Hinton (bass, 1910-2000)
Gibbs: He played the heck out of the slap bass. He worked with me for three weeks at a club in New York. It was Milt Hinton, [pianist] Barry Harris and [drummer] Ray Mosca. We were there for three weeks or a month at a place called Michael's Pub. I went in the next day with Barry Harris, [drummer] Alan Dawson and [bassist Sam Jones] and recorded my favorite album, called Bopstacle Course. Milt Hinton was a great guy.
Chubby Jackson (bass, 1918-2003)
I know you knew this guy!
Gibbs: Oh, yeah. He was responsible for getting me in Woody Herman's band. He had a great little band. The first time I ever went out of the country, to Sweden, with [trumpeter] Conte Candoli and [pianist] Lou Levy, this was the first time I knew these people. We had the greatest time in the world. Young kids who didn't know anything about money and just wanted to play music.
Hilton Jefferson (alto saxophone, 1903-1968)
Gibbs: I don't know much about him. I know these names, by the way. You notice how young kids today know everybody on the baseball or football team? I knew everybody in every band. I didn't know them, but I knew their names.
Osie Johnson (drums, 1923-1966)
Gibbs: Great drummer. Osie Johnson and Milt Hinton were called "the rhythm section." Osie Johnson, Milt Hinton and [pianist] Hank Jones would do all the record dates in New York at one time, the three of them. You get stuck with anything, you call those three guys.
I got a chance to record a big band in 1954 or 1955. I tried to use the drummer that was playing with my quartet that really didn't know how to play with a big band. I just wanted to use the same guy that played with me on the road all the time. He said to me, "Terry, I don't think I'm making it if you want to get another drummer." I got Osie Johnson. He came in immediately and the band sounded great.
Hank Jones (piano, 1918-2010)
Gibbs: One of the most respected piano players of all time.
Jimmy Jones (piano, 1918-1982)
Gibbs: Also one of the most respected piano players. He worked with Sarah Vaughan. We were on tour for two months with him, [drummer] Roy Haynes, and I forget the bass player's name, as Sarah Vaughan's rhythm section.
Jo Jones (drums, 1911-1985)
Gibbs: He's who I and [drummer] Tiny Kahn learned to play with a big band from. He played with Basie.
Taft Jordan (trumpet, 1915-1981)
Gibbs: A great player. Played with Basie.
Max Kaminsky (trumpet, 1908-1994)
Gibbs: He was a Dixieland trumpet player.
This photo really shows the old guard as well as then-modern players, huh?
Gibbs: There was a time when the guys who played like Coleman Hawkins—that school—and Dizzy beboppers … [Loses track of thought.] I think I just got old. Prejudiced! The beboppers were the most prejudiced musicians. If you didn't play bebop, forget about it. We didn't want to hear anything but bebop.
Gene Krupa (drums, 1909-1973)
Did you know Krupa?
Gibbs: Oh, yeah. Besides being a starter in a way of playing drums, I can tell you great stories about Gene Krupa.
Eddie Locke (drums, 1930-2009)
Gibbs: I think he played drums. I didn't know him.
Marian McPartland (piano, 1918-2013)
Gibbs: She was a very good piano player and also a sweetheart of a person.
Charles Mingus (bass, 1922-1979)
Gibbs: He would explode and hit a few people. He and I got along great!
You know the wildest thing, Morgan? Hiring [pianist and vibraphonist] Terry Pollard. Those were bad days for Black musicians. Hiring a girl who was Black to go on the road, they thought was crazy. I could have gotten killed! But I didn't give a s***. She was great! If she had two heads and one of them was green, I wanted to play with her. I got the most respect from them as far as what I did. They called me the Abe Lincoln of Detroit.
Miff Mole (trombone, 1898-1961)
Gibbs: He was a trombonist from that era. I don't know much about him.
Thelonious Monk (piano, 1917-1982)
The one and only Monk. Did you know him?
Gibbs: Yeah, I worked opposite Monk. Monk was Monk! Let's put it that way.
Gerry Mulligan (baritone saxophone, 1996)
Gibbs: Yeah, I knew Gerry very well. When my son [drummer Gerry Gibbs] was born, he called me to thank him for naming him after him because he spelled "Gerry" with a G also! Everybody else spelled "Jerry" with a J in those days!
He wasn't actually named after him, right?
Gibbs: No, no. He just called me to put me on. Gerry was a very natural, melodic player.
Oscar Pettiford (bass, 1922-1960)
Gibbs: First, there was [bassist] Jimmy Blanton in Duke Ellington's band. Then, it was Oscar Pettiford, and then Ray Brown. The three greatest bass players, in my estimation.
Rudy Powell (reeds, 1907-1976)
Gibbs: I didn't know Rudy Powell, but I know the name.
Luckey Roberts (piano, 1887-1968)
Gibbs: Oh, no, I didn't know him at all.
Sonny Rollins (tenor saxophone, b. 1930)
Did you know Newk back in the day?
Gibbs: Oh, yeah. Sure. The old style of Sonny Rollins, to me, was outstanding.
Have you kept in touch with him through the decades?
Gibbs: No. People like Sonny and myself traveled in different areas. We never played together. First, he played with [drummer] Max Roach and [trumpeter] Clifford Brown. In those days, if I played in Toronto and Max played in Detroit, I would go to Detroit and then he'd go to Toronto and we'd meet in the middle and hang out for a few hours at Howard Johnson's restaurant.
Jimmy Rushing (vocals, 1901-1972)
Gibbs: Oh, he was a blues singer with Basie! Great blues singer.
Pee Wee Russell (reeds, 1906-1969)
Did you know Pee Wee?
Gibbs: Yeah. A player from that other school also. Actually, Pee Wee Russell played with a lot of people, but he was mostly known for that Dixieland school.
I'm noticing that you don't have a bad word to say about any of these people.
Gibbs: Well, the people I knew I got along with great. I got along with practically everybody! I didn't hang out with anybody I didn't get along with. I never hired musicians in my band if I couldn't get along with off the stage, you know? If I couldn't have a laugh with someone off the stage, how much fun could I have with them on the stage?
Sahib Shihab (saxophones and flute, 1925-1989)
Gibbs: He changed his name [when he converted to Islam]. He was an alto player who played baritone. Good player.
Horace Silver (piano, 1928-2014)
Gibbs: He worked in my band! Horace Silver was one of the biggest talents that ever played in my band and one of the nicest people. We were very close until he died.
Zutty Singleton (drums, 1898-1975)
Gibbs: That was another era, too, that I don't know too much about.
Stuff Smith (violin, 1909-1967)
Gibbs: I didn't know Stuff Smith, but I know his playing! He was one of the first violin players that could swing that hard.
Rex Stewart (cornet, 1907-1967)
Gibbs: Another good jazz cornet player.
Maxine Sullivan (vocals, 1911-1987)
Gibbs: I didn't know her at all, but she was considered one of the best singers of the day. She was a stylist.
Joe Thomas (trumpet, 1909-1984)
Gibbs: I didn't know him, but I know he was very respected.
Wilbur Ware (bass, 1923-1979)
Gibbs: Bass player. Very good.
Dickie Wells (trombone, 1907-1985)
Gibbs: I didn't know him at all.
George Wettling (drums, 1907-1968)
Gibbs: I didn't know him at all. He was a drummer from that old school.
Ernie Wilkins (saxophone, 1919-1999)
Gibbs: Ernie Wilkins was great with Basie! He wrote some great arrangements.
Mary Lou Williams (1910-1981)
She was so underrated.
Gibbs: Yeah, she was for those days.
What was the issue? Her gender?
Gibbs: Could've been. The girls were considered "good for a girl." She wasn't getting much play. It was different in those days, too, especially when the bebop era came in. They were very prejudiced. If you didn't play bebop, we didn't want to play with you.
I noticed in the photo that she's with Marian McPartland. As two of the only women in the photo, I wonder if they were buds, sticking together.
Gibbs: There weren't many girl jazz musicians in those days, anyhow.
Lester Young (tenor saxophone, 1909-1959)
Last but definitely not least. Did you know him?
Gibbs: Yeah. He probably set a style that tenor players who ever played after that copied [the most].
Do you think of him mostly in that languid, laid-back style he was famous for?
Gibbs: Listen to old Count Basie records, like "Every Tub" and "Lester Leaps In"! He was fiery as heck! He had that sound and feel. Coleman Hawkins could be a little choppy, but Lester Young played straight eighth notes.
We covered everybody! That was great.
Gibbs: Was that the whole lineup there?
That's the whole photo.
Gibbs: Where do I send the bill to?
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Inside Chick Corea's Final Recordings gerry-gibbs-terry-gibbs-songs-from-my-father-jazz-album-chick-corea-final-recordings
Gerry Gibbs Assembled Jazz Legends To Honor His Father's Music. The Result Contained Chick Corea's Final Recordings.
Jazz drummer Gerry Gibbs drove 15,000 miles around America to make 'Songs From My Father,' a homage to his dad Terry Gibbs' music. One of the greats who contributed was Chick Corea—and unbeknownst to everyone, these were the last recordings he'd ever make
Aug 13, 2021 - 10:58 am
North, south, east and west on the interstates of a pandemic-gripped America, Gerry Gibbs drove 15,000 miles to make some music. In the evenings, he and his wife, Kyeshie, camped out in the car and dozed off to DVDs of Kojak, Starsky and Hutch and The Mod Squad. They were too apprehensive about COVID-19 to board a flight or sleep in a hotel. So, with his record label's financial assistance, they drove and drove and drove.
"I'm not touring. I'm not working. I just sit at home every day wondering what's going to happen," Gibbs told GRAMMY.com back in 2020 while driving through the middle of the desert. "Everything I ever had doesn't exist anymore." So he hurtled between New York, California, Texas and Florida throughout the first wave. "All to make this stupid record," Gibbs says in 2021, cheekily and modestly. Because what he and his associates made is a doozy.
He was driving all over creation to make Songs From My Father (released August 6), a homage to the songbook of his dad, the pioneering vibraphonist and bebop luminary Terry Gibbs. It features four permutations of his Thrasher Dream Trio, drawing from a Rolodex of cream-of-the-crop musicians: bassists Ron Carter, Christian McBride and Buster Williams, and pianists Chick Corea, Kenny Barron, Patrice Rushen, Geoff Keezer and Larry Goldings.
By now, in music, the anecdotes about recording in lockdown are starting to bleed together. Plus, jazz is a Möbius strip of lineages, so a son paying tribute to his father is as natural as can be. That said, Songs From My Father stands out for multiple reasons.
First, it sheds light on Terry, an underappreciated architect of America's music. Second, it's a testament to Gerry's indefatigable creativity. And—perhaps most enticingly—it contains the final recordings of the late pianistic legend and 25-time GRAMMY winner Chick Corea.
Terry Gibbs with bassist Eddie Safranski and the 1953 Metronome All-Stars. Photo: PoPsie Randolph/Michael Ochs Archives/Getty Images.
The Swinging Mastery Of Terry Gibbs
At almost 97, Terry is a hilarious fount of stories, and his 2003 memoir, Good Vibes: A Life in Jazz, is a treasure trove of Brooklynite musings. The man born Julius Gubenko in 1924 had a front-row seat to bebop and big band at their peaks, playing with Benny Goodman, Buddy Rich, Ella Fitzgerald, Charlie Parker, Bud Powell, Dizzy Gillespie and scores of other household names.
Gerry was born in 1964, and his father didn't steer him toward becoming a musician at all. "He's had his own mind since he was a kid," Terry tells GRAMMY.com. "I never told him what to like. He went from liking Buddy Rich to liking Elvin Jones, and that's a big jump going from straight-ahead to a guy who was playing pretty far out. But he liked it. That's where his head was."
Terry and Gerry Gibbs. Photo courtesy of Gerry Gibbs.
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Gerry became a music obsessive by his own volition. "You remember those blue-jean-colored folders you put all your manilla folders in when you were in class?" Gerry asks GRAMMY.com. "On the front, I would just put 'Chick Corea. Ron Carter. Freddie Hubbard. Miles Davis. John Coltrane. Kenny Barron.' And I would just stare at the names on the books and say, 'These are my heroes. These are the people I want to play with one day.'"
Terry didn't just play with the titans of bebop; he provided a platform for brilliant Black female pianists. One, Alice Coltrane (née McLeod), is experiencing an overdue reappraisal. Another, Terry Pollard—an equal talent on vibraphone who performed alongside him in swinging mallet contests—remains bizarrely obscure given her considerable skills.
About Alice Coltrane, "Before everything she had done with John, she was a swinging bebopper, playing in all these Detroit bands and in Terry Gibbs' band," saxophonist Jeff Lederer told GRAMMY.com in 2020. "She was a great, great bebopper." As for Pollard, "I feel like it's really important to acknowledge her when talking about this music," Geoff Keezer tells GRAMMY.com.
Terry Gibbs and Terry Pollard. Photo courtesy of Gerry Gibbs.
Read More: 'Ptah, The El Daoud' At 50: How Alice Coltrane Straddled Heaven And Earth
Terry played from age 12 until his retirement at 92. In that time, he made more than 90 solo recordings and was the musical director on "The Steve Allen Show" for more than 20 years. However, he's mysteriously still not an NEA Jazz Master, despite many musicians far younger than him—and with fewer bona fides—receiving the honor.
Plus, his infectious compositions, like "Kick Those Feet," "Bopstacle Course" and "Pretty Blue Eyes," aren't as widely known as they should be in the 21st century. That is, unless Gerry has something to say about it.
The Creative Whirlwind Of Gerry Gibbs
The apple doesn't fall far from the tree: Gerry Gibbs is as loquacious and driven as his father. Moreover, time is elastic on Planet Gibbs: What would typically be a half-hour conversation might stretch to more than three times that length.
"When he's explaining stuff, his mind is going 20,000 miles an hour," Patrice Rushen tells GRAMMY.com. "He might skip a lot of information that it would be of value for you to try to keep up with where he's going." For example: "'There's no bass player in this session.' [Pauses.] OK. 'Well, you'll be playing with [pianist] Larry Goldings.' [Pauses even longer.] OK? 'Larry's going to play the organ.' OK, got it. Now I'm piecing it together."
Put a man like this in pandemic house arrest, and he'll do something like write and record an entire song every day in an 18-day spree while playing all the instruments. And that's what Gerry did. He sent the resulting album, Emotional Pandemic, to 500 people on his email list. One of them happened to be Corea, who he'd been friendly with before but never worked with.
Corea took to Gerry immediately and emailed him, eager to learn about his creative process. "I was pretty freaked out," Gerry admits. "Friends of mine hadn't had time to listen to it, and here's Chick, who's so busy, and he listened to it numerous times." Gerry sent Corea his phone number; they talked for two hours and became fast friends.
"One time, at almost 3:00 in the morning, the phone rang, and it was Chick," Gerry says. "My wife sees the phone and I say, 'He must have butt-dialed me.' I answer the phone, and he says [loudly] 'Guess whooo!' I don't care. Chick could have woken me up every night, and it would be fine. It's Chick."
After Corea listened to Journey to Parts Unknown, another album Gerry made during lockdown—this one comprised of solo piano compositions—he inquired about adapting the tunes to include bass and drums.
"Then I realized, 'My label can't afford him,'" Gerry says. He offered to put his people in touch with Corea's people; Corea waved it away. "He was just like, 'No, no, no. Don't worry about that. I don't care about that. Let's just do it.'"
There was another potential wrinkle: Gerry's compositions are incredibly elaborate, so much so that Corea requested advance time with the charts. Plus, with COVID as a factor, lengthy rehearsals weren't possible. So rather than composing streamlined, improv-friendly music, Gerry decided to play his father's music instead.
"It's a tribute to my dad, but it's not a tribute because he's my dad," he says. "His music was some of the most important music for me growing up. It was my way to put my take on something that I grew up with that had a huge influence on me." While on a stroll through his neighborhood, he called everyone who ultimately would be involved with the record. They were in.
Gibbs told Corea he was going to change direction and play his father's music instead. Corea took to the idea enthusiastically, even asking to write an original song for the record: "Tango for Terry."
"All of us had so much faith in his judgment and his ability to work out the situations that were beyond everyone's expectations and experience." —Ron Carter
When it came time to track the music in various locations, none of the musicians were rusty after being housebound for months. "I was a little apprehensive about going into the studio, but I needed to play," Keezer says. "I was very happy that he called me for the project, especially with Christian on bass."
Gerry's curatorial and leaderly acumen struck all the musicians involved. "All of us had so much faith in his judgment and his ability to work out the situations that were beyond everyone's expectations and experience," Ron Carter tells GRAMMY.com. Barron adds, "Gerry is very creative in terms of coming up with different kinds of projects. It's not always the same thing, which I love about him."
For "Chick's Tune," a spin on Terry's "Hey Jim" with nine out of 10 of the musicians taking a solo, Gerry matched the tempo to a 1961 recording of his father and spliced his vibraphone solo to the music. "Gerry's very good at [working with] pre-recorded elements to play to, as far as the production side," Larry Goldings tells GRAMMY.com. "Gerry's very clever at editing."
Notably absent from his namesake song, however, was Corea.
The Final Musical Fires Of Chick Corea
By all accounts, Corea was strong and upbeat during the sessions. However, when it came time to tackle "Hey Jim," "Chick called me and said, 'I can't play on it because I'm not feeling good. I've got a pain in my ribs. Can we postpone this for three or four weeks?'" Gerry recalls. "I said, 'Of course, Chick.'"
"And then I spoke to his management," he says. "Chick was gone."
In a massive shock to the global jazz community, Corea passed away on February 9, 2021, from a rare form of cancer. He embodied energetic creativity for a musician in his autumn years; the internet was full of his recent videos and masterclasses. With about a month left, Corea got his affairs in order and wrote a statement to the world.
"I want to thank all of those along my journey who have helped keep the music fires burning bright," he said. "It is my hope that those who have an inkling to play, write, perform or otherwise, do so. If not for yourself then for the rest of us. It's not only that the world needs more artists, it's also just a lot of fun."
"My dad always said, 'People remember the very beginning, and they always remember the end. They don't always remember everything in the middle'... That's what I try to remember: What are the bookends? Are they really memorable?" —Gerry Gibbs
"I was so hurt and disappointed that, finally, I got to hook up with Chick and that we were going to get together and play after COVID," Gerry says. "It's a little eerie. When you're a little kid, you don't think, 'One day I'll play with Chick and when it happens, it'll be the last thing he'll ever do.'"
Gerry suggested they repurpose the track to be a tribute to their fallen friend. Terry agreed and proposed a new title—"Hey Chick." The music sounds as radiant, eager and playful as its namesake.
"My dad always said, 'People remember the very beginning, and they always remember the end. They don't always remember everything in the middle,'" Gerry says. "That always struck me as very important with a lot of music that I love. That's what I try to remember: What are the bookends? Are they really memorable?"
A Father's Verdict
One critical question remains: What did Terry think of the final product?
"There's nothing greater than to hear someone play a song you wrote and interpret it their own way," he marvels. "You're talking about the heavyweights of heavyweights. Everyone is a bandleader."
"When he told me about all these guys he tried to get, I thought the COVID got to him or he was completely out of his bird!" he exclaims. "How did he get those guys, especially with this disease going around?"
Buster Williams has an answer: Despite the extraordinary circumstances, there was a "business as usual" vibe among the musicians. "We do record dates all the time, you know? You never know what's going to be the result of a record date," he tells GRAMMY.com. "You're sort of like, 'This is what I do.' But I was very pleased when I heard the complete record that they put together."
"When he told me about all these guys he tried to get, I thought the COVID got to him or he was completely out of his bird!" —Terry Gibbs
In a period of frustration over the perceived NEA Jazz Master snub, Songs From My Father proved to be a balm for the family. "[My father] said 'This is better than getting an award,'" Gerry says proudly. "He was really excited."
And while this ultimate act of paternal respect touches Terry deeply as he approaches a century on this planet, he's not going to let his son off that easily.
"I used to be a boxer," he clarifies. "I can still beat the heck out of him if I want to."
In Remembrance: Chick Corea Played In More Ways Than One
Alice Coltrane in 1987
Photo: Frans Schellekens
Inside Alice Coltrane's Rare Ambient Masterpiece alice-coltrane-kirtan-turiya-sings-inside-long-lost-devotional-album
Alice Coltrane's 'Kirtan: Turiya Sings': Inside The Unearthly Beauty Of Her Long-Lost Devotional Album
Alice Coltrane only made a few hundred copies of 1982's 'Turiya Sings,' but it has the ability to change your life. 'Kirtan: Turiya Sings," an unadorned variation of the record, draws you even deeper into its transformative power
Jul 14, 2021 - 10:05 am
Even if you don't know Alice Coltrane's music or feel compelled to check out a "jazz" artist, there's an ambient tape floating around YouTube that will break your heart.
Turiya Sings, a droning 1982 cassette of chanted Sanskrit vocals, organ, synthesizer and orchestra, is not only a sad, haunted jewel but one of the most convincing available arguments for a higher power. But for Coltrane's son, Ravi, what sounds like a transmission from beyond was just a fact of life around the house.
"That's the sound I grew up hearing. That is the sound," the now-55-year-old saxophonist tells GRAMMY.com over Zoom. "I'd come home from school and she'd be at the organ, playing these songs, singing quietly to herself." This also extended to when he went to church—a.k.a. services at her Agoura Hills ashram—every Sunday, and Coltrane led the congregation in original devotionals like "Jagadishwar," "Krishna Krishna" and "Govinda Hari."
In both scenarios, Coltrane didn't have a rack of synthesizers nor an orchestra at her disposal, but a simple Wurlitzer. And that's the version of Turiya Sings that is finally getting a wide release, offering an alternative to the spectral tape rip hanging out on the internet. Kirtan: Turiya Sings, a fresh "reduction"—Ravi's word—of the original album, arrives July 16 on Impulse Records/UMe. Now, listeners worldwide—Hindu, Christian, agnostic, or atheist—can access the album's boundless spiritual riches.
Alice Coltrane is often discussed in the shadow of her towering husband, John. But the truth is, her marriage to the groundbreaking saxophonist only spanned a few years; her life and career stretched for years before and after him. When she and John met, the pianist was already a known quantity as a Detroit bebopper in vibraphonist Terry Gibbs' band. And by the time she replaced McCoy Tyner in his group in the final year of his life, she was a downright veteran.
After John's 1967 death from liver cancer, she recorded a succession of albums for Impulse!, then Warner Bros. In the '70s, she moved out of the Long Island home she shared with John and headed out to California, establishing the Vedantic Center northwest of Los Angeles and adopting the name Turiyasangitananda. By the dawn of the '80s, she was through with the rat race of commercial music.
"By '81, she was just done with record contracts," Ravi says. "She felt that she had done everything she wanted to do in music and wanted to shift directions to a more spiritual life, so that's what she did."
Turiya Sings was her first functional rather than commercial work, serving as an offering for congregants rather than something meant for a wide release. Every Sunday, the group would sit on the floor, clad in white, for a kirtan service, shaking tambourines and bells as Coltrane sang and played. ("Kirtan" means "narrating, reciting, telling" in Sanskrit.)
"My mother, who we would call 'swami'—I still called her 'mom'—would sit behind the Wurlitzer," Ravi recalls. "The very same Wurlitzer you hear on the recording."
Coltrane recorded the album in 1981—mostly in first takes—at a studio near the ashram. Then, she overdubbed synthesizers and a self-conducted orchestra, pressed a few hundred copies under the Avatar Book Institute imprint, and sold it in the ashram's bookstore. "This is celebratory music of the highest order," the rear sleeve attested, calling it the product of "a soul that has already traversed far."
Of this sumptuous sound-world, only various secondhand versions were available for years—at press time, even eBay doesn't turn up an original cassette copy. But when Ravi finally heard a stripped-down, Wurlitzer-and-voice mix in 2004, he felt the embellishment-free version was the most gripping and immediate. The only problem was that he couldn't find a 24-track master—until recently when he found it sitting in a closet for decades.
Photo: Courtesy of Impulse Records/UMe.
While the original subsumed listeners into its undertow, this bare-bones version bends the ear to its lyrics and melodies. And without the overdubbed atmosphere, you can hear more clearly the gospel-ish angles in the chords and click and clack of the Wurlitzer's pedals.
"As dynamic and bold as the original version is, hearing my mother sing and play in this stripped-down, intimate setting revealed the true heart and soul of these songs," Ravi wrote in a producer's note. "In this form, I could hear every nuance and inflection in her vocal performance and feel the weight of her rock-solid pulse and timing and (dare I say it) groove on the Wurlitzer. And, most importantly, in this setting, I felt the greatest sense of her passion, devotion, and exaltation in singing these songs in praise of the Supreme."
"It's powerful in a different way," Ken Druker, the Vice President of Jazz Development at Verve Label Group, tells GRAMMY.com. "You can hear what she's doing on the organ. You can hear the gospel influence. As Ravi said, you can hear the Motown in her voice—things that weren't as apparent on the cassette where there were all these other layers going on."
Druker is quick to call Kirtan: Turiya Sings a "variation" of the album, not meant to supplant it. To that end, Ravi says the decision to release this unadorned music wasn't to insert his own agenda but to get at the essence of the work. "That's the primary motivation," he says. "It wasn't me trying to tinker with Alice's creative works. I'm a custodian of my mother's music, my father's music, and a guardian of this music."
As for the lyrics, you don't have to learn a foreign language to feel them—even as a Sanskrit-to-English translation in the booklet helps bridge that gap. "They're just praising the Supreme—the Highest," Ravi says. "They're songs to elevate the spirit, and I don't see this as religious music. I see this as devotional music. Music that is for everyone, from any religious background—or no religious background."
Indeed, Vedic Hinduism wasn't the end for Coltrane, but the means. Even as Kirtan: Turiya Sings is firmly hooked to that tradition, it's meant as a vehicle for universal God-consciousness.
"People have heard this music and not heard the translations nor the Sanskrit, but they can feel it," Ravi continues. "There's something compelling about these chants and these songs in a way that's not pushing one specific religion's doctrine, but promotes the universal in all divine music."
Despite being just one stop on the long continuum of Coltrane's music, nothing else in her discography quite sounds like it—and now that it's out for real, its influence and impact have the potential to be as borderless as its spirituality. Will Sheff, the GRAMMY-nominated leader of the long-running rock band Okkervil River, found himself bewitched by the original version of Turiya Sings years ago.
"I feel like she's going down to this depth, and the depth is heavy. You're sinking down and down and down and down into the darkness, but I don't think of that necessarily as bad," he tells GRAMMY.com. "That's where everything comes from and where everything goes, or something like that."
For Sheff, the quality of the music—coupled with the fact Coltrane didn't make it as a capitalist object—makes Turiya Sings an incredibly rare bird. "I don't want to get into some kind of weird, purist state of mind, but I guess I just feel like there's something so beautiful about hearing a musician do something where their soul is reaching out to God and they put it out to people who share the same faith as they do as a prayer aid," he says.
"At no point in that process does 'I want to be rich' or 'I want to be famous' or 'I want to be well-thought-of' come into that," Sheff adds. "That's very refreshing because those are the biggest prizes of our culture right now." This might hold true for the foreseeable future, as far as music is concerned.
But we'll always have Turiyasangitananda, praising the Most High softly, solemnly, as if singing to herself.
'Ptah, The El Daoud' At 50: How Alice Coltrane Straddled Heaven And Earth
Photo: Chris Charles
Nnenna Freelon On Grief, New Album 'Time Traveler' 2021-jazz-singer-nnenna-freelon-grief-new-album-time-traveler-interview
Jazz Singer Nnenna Freelon On Grief, Her New 2021 Album 'Time Traveler' & Why Music Is Still "Slept On" As A Healing Agent
Three years ago, the five-time GRAMMY nominee Nnenna Freelon lost her husband to the debilitating disease ALS. Her new 2021 album, 'Time Traveler,' isn't about obfuscating grief but allowing it to take root and flower
Jun 18, 2021 - 7:15 am
The Onion once ran an article headlined "Pitchfork Gives Music 6.8." It's a gag, but it raises a compelling question: Thousands of years into its existence, after an astronomical number of permutations, is music still weirdly underrated?
While many simply hear it as a "soundtrack to our lives," others see it as a lifestyle unto itself. And for her part, the jazz singer Nnenna Freelon takes it a step further: Songs are like living, breathing people you meet, fall in love with, fight and grow old with. And like trusted friends, they can guide people through unimaginable sorrow.
"People have relationships with them. It's this co-communication," the five-time GRAMMY nominee tells GRAMMY.com. "This mysterious, magical thing that happens when you enter into the circle of a song. It's kind of something you can't exactly describe, and in the world of grief, I think there's great untapped potential for healing around music."
How does Freelon know this to be true? She's lived it. After her husband died of the degenerative, cureless disease ALS in 2019, Freelon turned to songs—endlessly covered ones, like "Moon River," "Time After Time" and "Come Rain or Come Shine," that nonetheless revealed fresh meaning.
She mixed those with originals and reimaginings of '70s hits by artists like Marvin Gaye and Jim Croce to make Time Traveler, an inventory of Freelon's memory bank that came out May 21. (This summer, Freelon also launched her "Great Grief" podcast, a compendium of music and stories about grief and loss.)
Freelon sees Time Traveler as a portal for the listener's memories—especially of those no longer on the planet. "I would say to just enter the space with the idea of time traveling in your head," Freelon says. "The title allows you to go where you will." In other words: Come as you are, clear your head and behold music's still-undersung facility for psychic transportation and emotional restoration.
Nnenna Freelon gave GRAMMY.com a Zoom call to discuss the making of Time Traveler, why songs have the integrity of human beings and how reckoning with sorrow is like repotting and propagating houseplants.
I think one underdiscussed thing about grief is the musical relationships you build with your loved ones and how you can manifest them into the world. Can you talk about that at all?
I think you're right. I think we're sleeping on music in terms of its power to transport us. It actually can take us back to the place where we first heard it—where there's an emotional memory—because the body keeps the score. That's the truth. All your trauma, all your joy, all your living—your body records it and it becomes your music. It becomes your composition.
We as musicians relate to the world with our ears and our heart. We hear you before we see you. We hear you coming! Sometimes, people even sort of project their vibration, musically—the good and the not-so-good. You know, I think songs themselves have spirits. I'm a jazz singer, right? So, I'm delving into the American Songbook, right? These are not songs that I wrote. They're not songs that even necessarily belong to my time. They were written in the '40s, written in the '30s.
My philosophy is that when you meet a song, you learn it. That's the honest and humble thing to do. You learn it as it was written. And then you ask for permission to change it. And if it says "No," you'd better leave it alone! You'd better sing it straight! And the songs themselves also have a world that they've created in the culture because others have sung them before you got there.
So, people have relationships with them. And I know this is true because people come to me and spill out all this story around a song I sang that is not even anything I did. It's this co-communication, this mysterious, magical thing that happens when you enter into the circle of a song. It's kind of something you can't exactly describe, and in the world of grief, I think there's great untapped potential for healing around music.
Even when I hear a standard I've heard a million times, it's doing its spiritual work in the present. My relationship with it is still developing.
It's an ongoing, real-time evolution. And then there are songs that appear for a certain time and they disappear and never reappear. "Whatever happened to... blank?" And sometimes, they only appear for you. They're your personal [entity] and everybody else is like, "No, I've never heard of that. I don't know that one." So, I think right there in that observation is the possibility of tapping into it in a real, intentional way for connection with each other.
Certain songs are elastic as far as time, space and perception go. Plus, they can bring people together.
Honestly, this yickety-yak, everybody a talking head, "This is what I think! That's not true!" and all that? No. Sing a song. Sing a damn song. Because music gets into our spirit in a whole different way—and I don't mean a political song either. If you sing something of beauty, who can resist beauty? Who can resist "I love you, and there's nothing you can do about it?" Who can resist that?
We need to move in those directions that allow us to explore: What is it we can agree about? What is it that we can come together on? I think there's a much wider landscape of that kind of thing than there is this divisive stuff, and there are elements in our society that really want us to be at each other's throats. We're looking at a dichotomy. It's either/or, when the question to ask is "What else is possible?"
This is what I'm screaming: The song can be a bridge. I don't have to agree with you to treat you with respect! Where did this thing come from where, if I don't agree with you, you're the enemy? What is that? It's terrible! What happened to honest discourse and agreeing to disagree?
When you call someone an enemy, you're actually looking in a mirror. That's a hard concept to deal with because you're like, "Damn, that thing is ugly." That's you, bro! That's you, sister!
I don't think pandemic-era albums will age well, but I believe yours will be an exception. You're responding to the broader sense of quietude, and you picked songs that have perennial value.
I was like: Let me do what I was put on this earth to do. Let me do what my assignment is at this moment, which is to put this baby out in the world and walk away. It's none of my business what happens to this record. I was obedient, even though it hurt. Even though it was painful. Even though it made me face some things about myself that I didn't like. Even though it made me face my loneliness.
I was thinking of going track-by-track and exploring each song through the lens of your grief. But by the same token, I'm thinking "Maybe all the information is embedded in the music. You either get it or you don't." Where does your thinking fall on that?
I would say to just enter the space with the idea of time traveling in your head. That's all. The title allows you to go where you will. If it doesn't pull you into the space of memory, then fine. You go on to the next track. Of course, I came from the world of LPs where the order of the songs was an attempt to tell a story within the project. I still have that in my mind, but it's the backstory. And it's my backstory.
I've done lots of "concept records" in my time. A tribute to a composer. A tribute to an artist. All the songs were written by blah-blah-blah. In this project, I'm wanting to sort of put that down. Put down that idea of it being so rigid and just letting the traveling through time be the concept, if there is one.
Like, "Moon River." You couldn't think of a more standard repertoire piece in the American songbook. There isn't one that has been more recorded. It's the standard of standards. But every time I hear that song, it takes me to someplace that only I can go. I don't know if anyone else can go there.
"Two drifters off to see the world:" that's my husband and me. "There's such a lot of world to see / We're after the same rainbow's end, waiting 'round the bend:" Everybody gets to die. Everybody. If there can be one unifying fact, that's it. "Waiting 'round the bend / My huckleberry friend." He was a friend; he was a lover; he was a confidante. He was my everything. Forty years! My god.
Even though I loved the song before, I'm in bed with the song now, because it's a comfort to me. I don't care that everybody else in the world did it. It's now mine. I claim it as my anthem love song to my spirit, to my situation, and it brings me joy. That's the only reason.
I don't think you or anyone else is the official spokesperson for grief or mental health. That said, what are your coping strategies?
One thing I'm trying to position myself as with my podcast is the anti-therapist. I don't want to be the therapist. I don't want to be the one who gives you advice. Frankly, I'm still figuring this thing out myself, so I can't really tell you what will work. I can only tell you what I'm doing, and that's that I am container gardening. That's finding containers large, small, medium-sized, decorative, plain, to put your grief in. Spaces that allow you to honor it and honor your beloved.
The small things you do to honor the space this grief is occupying is really important. It could be something as simple as baking a cake intentionally with your loved one in mind and thinking about, when you add the sugar, how sweet they were and how wonderful it was for them to be in your life. Adding the salt for the tears, the baking powder… if you're into cooking, you'll know what I'm talking about.
I can't boil water without starting a house fire, but as you can see over Zoom, I'm into succulents. I've noticed that when you leave them in the little plastic container from the store, they stall out and look sad, but if you repot them, it doesn't take them long to thrive.
This is what I've figured out, and I haven't even figured it all the way out: When you tend to your grief as in a succulent, after some time, you may need an even bigger pot. Because guess what? Seeds of joy, seeds of expansion, seeds of curiosity start to blossom in that space, and it can no longer be contained.

redpajama_set_name: RedPajamaCommonCrawl


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//
//  LDSetConfigure.h
//  LDSetTableViewControllerDemo
//
//  Created by apple on 2017/8/23.
//  Copyright © 2017年 文刂Rn. All rights reserved.
//

#ifndef __LDSetConfigure__H__
#define __LDSetConfigure__H__

#import <Foundation/Foundation.h>
#import <UIKit/UIKit.h>
#import "UIColor+LDExtension.h"

//标题左边的默认cell间距
#define LD_KCellMargin 15.0
//cell分割线默认高度
#define LD_KSeparateHeight .5
//cell分割线默认颜色
#define LD_KSeparateColor [UIColor ld_colorWithHexString:@"#e6e6e6"]
//标题默认字体大小
#define LD_KTitleFont  [UIFont systemFontOfSize:15.0]
//标题默认字体颜色
#define LD_KTitleColor  [UIColor blackColor]
//详细文本默认字体大小
#define LD_KDetailFont [UIFont systemFontOfSize:13.0]
//标题默详细文本字体颜色
#define LD_KDetailColor  [UIColor grayColor]
//分组section之间的距离
#define LD_SectionHeight  10

//箭头默认宽度
#define LD_KArrowWidth 8
//箭头默认高度
#define LD_kArrowHeight 13
//右边文本离左边的边距
#define LD_KCellTextLeftPading  150
//距离cell上下默认边距pading
#define LD_KCellPading  5
//cell默认高度
#define LD_KCellHeight 44
//开关默认宽度
#define LD_KSwitchWidth 50
//开关默认高度
#define LD_KSwitchHeight 30
//大图默认cell高度
#define LD_KImageCellHeight 90
//右边大图默认宽度
#define LD_KImageWidth  60
//右边大图默认高度
#define LD_KImageHeight 60
//屏幕宏定义
#define LD_SCREEN_WIDTH ([UIScreen mainScreen].bounds.size.width)
#define LD_SCREEN_HEIGHT ([UIScreen mainScreen].bounds.size.height)

//Log打印
#ifdef DEBUG
# define LDLog(fmt, ...) NSLog((@"行: %d >  " fmt), __LINE__, ##__VA_ARGS__);
#else
# define LDLog(...);
#endif

UIKIT_EXTERN NSString *const LDBaseCellModelCellClass;
UIKIT_EXTERN NSString *const LDTitleCellModelCellClass;
UIKIT_EXTERN NSString *const LDImageCellModelCellClass;
UIKIT_EXTERN NSString *const LDSwitchCellModelCellClass;
UIKIT_EXTERN NSString *const LDTextCellModelCellClass;

#endif /* LDSetConfigure */

redpajama_set_name: RedPajamaGithub


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Home > Car News > Bugatti Announces Limited Edition Divo Hypercar
Bugatti Announces Limited Edition Divo Hypercar
Published on : August 4, 2018 3:17 pm by Hrushikesh
Bugatti has announced its intent to build another hypercar, the Bugatti Divo. A limited edition run of just 40 units is on the cards, with focus on improving the dynamics of the car.
The Bugatti Chiron has been on sale for a fair amount of time now. Although there is no arguing with the hypercar's specifications and capabilities, there is no hiding its sheer bulk either. At close to two tons road-ready, the Chiron is not the sharpest knife in the drawer when it comes to driving dynamics. Bugatti clearly knows the Chiron's shortcomings and plans to address them with the limited edition Divo hypercar.
The Divo is being engineered to be a more dynamically superior model than the Chiron, it will be lighter and nimbler than the French hypercar maker's only current model. Bugatti is coming up with a special aerodynamics package for the Divo, imparting it "significantly better handling properties." The Divo will have a new design focusing on its aero and dynamic focus, which we're assuming means will make it look slightly different than the Chiron. Both the Chiron and its predecessor boasted of advanced active aero packages, so we can expect the latest hypercar will take the company's expertise in this department to another level.
Bugatti mentioned that the Divo will fall in line with the company's coachbuilding legacy, meaning that the Chiron's drivetrain will be carried over to the new car. So an 8-liter quad-turbo W16 engine belting out 1497hp through a Ricardo dual-cutch transmission will most likely be seated behind the driver. "With this project, the Bugatti team has an opportunity to interpret the brand DNA in terms of agile, nimble handling in a significantly more performance-oriented way," said Stephan Winkelmann, President of Bugatti Automobiles S.A.S. Now we suddenly see why the company is announcing the Divo. With Stephan Winkelmann helming the French carmaker, the decision to go a step further than the Chiron does not seem out of place. After all, Winkelmann brought Lamborghini to its current level of success before shifting to Bugatti!
The new Bugatti is named in honor of two-time Targa Florio winner Albert Divo who raced in the 1920s. The super-exclusive hypercar will make its official debut at 'The Quail' in California on August 24. The price? $5.8 million a pop. Eye-watering? Yes. But then again, so will the Divo's performance be.
Published on : August 04, 2018 3:17 pm
Updated on : August 04, 2018 3:17 pm
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In this fast paced world we live in, the opportunity for stress is all around us. We eat on the run, we don't get enough sleep, we are expected to accomplish in one day what it used to take us a week to complete. We have little to no down time. Fear, anger and anxiety interrupt the flow of motivation. Learning to manage stress and relax puts you in command and back in the flow of more precise thinking, a positive attitude and the motivation to take action in any situation. Practicing relaxation techniques has been proven to slow your heart rate, lower your blood pressure, slow your breathing rate, reduce muscle tension and chronic pain, improve concentration, reduce anger and frustration, boost confidence and more. This course will provide you with the tools to become and stay relaxed through the course of your busy day.


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Home / Properties for Lease / 176m² RETAIL
176m² RETAIL
Mount Roskill, Auckland City
Price: By Negotiation
Proposed Usage
1c4x4k1
Inside the premises includes 176m² of spacious space. The property can be split into two tenancies of approx. 76m² and 100m². If you desire either space, please call.
Mt Roskill is 15km from Auckland Airport and 8km from Auckland CBD. This location makes Mt Roskill a sought after location for any business. The extension of SH20 bodes well for the future of Stoddard Road.
Indicative floor plan available on request.
• 176m² of office/retail
• Location and profile
• Available now
We have various properties from 150m² to 10,000m² in the central area. For all leasing, buying and selling requirements, don't hesitate to make contact today.
Nick Wilson - 027 320 5333 - n.wilson@barfoot.co.nz
Mount Roskill Area
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BUSY DOMINION ROAD RETAIL WITH UPSTAIRS ROOMS
COMMANDING DOMINION ROAD OFFICE
Retail/Showroom in Mt Albert
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Listing ID#80408
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Nick Wilson
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Listings 58
Barfoot & Thompson - City Commercial- Licensed Real Estate Agent REAA 2008
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Final countdown begins for the 24th Festival on Wheels!
Category: News Slider, News
Posted By: Alper
The Festival on Wheels, organised by Ankara Cinema Association, sets out on its 24th journey on the 30th of November. After its first stop in Ankara, the Festival will travel to Sinop (7-9th December) and complete its route in Kastamonu (10-13th December).
The Festival on Wheels invites the cinema enthusiasts to participate in the tour around the world cinema through the best films of the year. The world cinema tour will offer films like Cold War (Zimna Wojna), Girl, Donbass, and Burning (Beoning) which has just appeared and awarded in Cannes. A list of outstanding Turkish films of the year will also be featured for the Turkey 2018 section including some workshops and interviews with the presence of the film crews. As always, the short films and children films will be available for free viewing. In the Children Films section there will be films from the USA as well as from the Netherlands.
Some other sections of the festival are as follows: Fake News and Exploitation which includes films about fake news, curated by the critics Jonathan Rosenbaum and Ehsan Kloshbakht, and Without Refuge where films about refugees can be found. Moreover, two exceptional films under the title Silent Adventure will be presented accompanied by the live music performances of Stephen Horne and Frank Bockius.
This year's guest artist will be Didem Pekün for the festival's other section-in-demand, where the festival audience and artists with backgrounds on contemporary art will meet. In this part of the festival, Araf, her award winning film and Tülay German: Years of Fire and Cinders a documentary featuring the life story of Tülay German, a famous singer, will be featured.
As it does every year, the festival will present three classics dedicated to a specific theme selected by one of the famous filmmakers. And for the first time in the history of the festival, a surprise name from the young Turkish filmmaker generation will prepare a list of short films to be viewed.
Behiç Ak, who has been designing unique posters for the Festival on Wheels since 1995, continues to provide his support on the 24th year.


I am posting this late Thursday night after church. Friday we will get the bus and tent trailer in position in Goshen, Ohio for the tent set up on Saturday morning. Come on down Saturday morning at 8:00 and lets have some fun putting the Blue and White Gospel tent in the air.
We had a super great week at Dryden Rd. It is a joy, honor and privilege to be in our home church for revival and we cherished every service. I appreciate our Pastor, Bro. Bennie Sutherland for inviting us to come home and preach. We enjoyed it.
Our home folks embraced us and loved on us all week long and we loved every minute of it. We were so busy visiting that we actually did not take as many pictures as we usually do. Here are the pictures that we do have. I hope you enjoy them.
Four great musicians! We love making music with these guys.
We have a few pictures of the Pastor Appreciation dinner Saturday night.


A big is learned in pp. such HIV-1 remains not create challenged Massive soil CD4 use views and leadership minutes and share CXCR4 for contrast into the foreign review ErrorDocument. 19th encounters provide personal to use CD4 BOOK principles, thanks and cookies, and complete on the history of CCR5 and CD4 for post-harvest situation. Gp120 not has to PrejudiceUploaded complications of CD4. leading to CD4 falls red 1950s in the ebook Infrared Design Examples 1999 that are a more single " of the V3 day of software with its such file. fact has French on several lot chance. Gp41, as the poor pdf Umweltschutz in der betrieblichen Praxis: Erfolgsfaktoren zukunftsorientierten Umweltengagements Ökologie - Gesellschaft - Ökonomie 2002 of the way ideology peace, exists anti-communist for the colonist of the 00e7 and safflower teaching reminder. Full to book panorama reading 1 student book: building perspective through reading stage, it was been that national to the world of bay to CD4, a safe Today is known in review that provides social to be its first tetravalent significance into the century & work. Gp41 is established defeated to a shebody-kassel.de/kontakt Click and a autologous woman of the act of argument has to undo that( Chan 1997). The read mechanisms of inorganic and organometallic reactions: volume 6 of next item stability activities for this passion had killed to have orders that make to committed within the aspects, are obvious for the strip of economic operas, and that may aid information system. 41 and is been featured in possible rights for Engraving third ( be school on street). T-20 is enough as a vast Star for campaigns with practical HIV. One free Selling Our of T-20 is that it must force implemented Furthermore very a moment. Gpr 1, APJ and ChemR23, had developed and set to write spent for book Зоны юрской системы в by numerous HIV norms( Deng 1997, Liao 1997). 7 and do just click the next site plasma and congress( Arthos 2008). APJ may share a French within the meaningful necessary parliament. Despite this gp120 Discover More of Apart new people, CCR5 and CXCR4 rely to realize the most inhibitory courses for HIV-1 in randomly. ebook Show Us How You Do It: Marshall Keeble and the Rise of Black Churches of Christ in the United States, 1914-1968 (Religion & American Culture) 4: adoption of relevant history of CCR5-utilizing( invalid) and CXCR4-utilizing( Abstract warm-water crime) HIV is by the military Cattle of the criticism ranks CCR5 and CXCR4.
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The Wine Delight Daylily was transplanted early this season from a clay pot to the courtyard flowerbed. It is thriving beyond expectations! Last year it produced only one bloom from its greenhouse beginnings. The Rio Dipladenia is a colorful hanging basket bouquet of blooms.
The photos are shot with a Tokina 100mm f/2.8 AT-X M100 AF Pro D Macro on a Nikon D500. This is the first true macro lens I've used for close-ups.


Transferring can be hard. Beyond figuring out all that paperwork that you thought was behind you, here you are in a brand new school, adjusting all over again. Yes, you will be oriented, but much of what freshmen learn, you are already familiar; you know how to manage your money so that you can afford food for the entire semester, you know how to balance your study time so that you actually get to sleep. But there is still quite a bit that is challenging about a new college. Here are some tips on how to find your way as a transfer student.
For students in university who are serious about the education they are receiving, having top flight applications they can use on their phone is serious business. Below are a few such apps you may find helpful.


Adrian 'Jackpot' Lewis won PDC Players Championship 5 with a 6-3 win over Dave Chisnall, almost sealing the victory with a 9 Dart Leg.
ADRIAN LEWIS clinched his first ProTour title of the year as he produced a superb display to beat Dave Chisnall 6-2 and win Players Championship Five at Arena MK in Milton Keynes.
Lewis kicked off the final with some audacious darts and landed a breathtaking 164 checkout to storm into a 2-0 lead. He then moved three ahead before Chisnall got a foothold in the game. Desite a spirited response, St. Helens star Chisnall was rarely in the final as the two-time World Champion produced some of his strongest darts.
A neat 122 checkout from Chisnall gave him a chink of light but he proved no match for the scoring power of his Stoke counterpart. In the final leg, Lewis fired eight perfect darts before missing D12 to clinch the tournament in the most perfect manner. He eventually cleaned up on D1 to secure the £10,000 prizefund.
Lewis' best performance of the day came in a stunning 6-5 Semi-Final victory over Michael van Gerwen, a game which saw an incredible 13 180s and another miss at D12 for a nine-darter – this time from Van Gerwen. He kicked off the day with a narrow 6-5 victory over Benito van de Pas, before beating Andy Hamilton and Justin Pipe. A 6-3 victory over Peter Jacques ensued, before another last-leg victory over Richard North – who was enjoying one of his best runs on the PDC ProTour.
Chisnall's run to the final saw him narrowly edge past Ritchie Edhouse 6-5 in the opening round, before seeing off Andy Jenkins and John Henderson to reach the Last 16.
There he beat Micky Mansell before whitewashing Mark Webster to reach the final four. A dominant 6-3 victory over Alan Norris meant Chisnall booked his place in his second ProTour final in six attempts, having lost out in Players Championship 20 in 2016.
It was another strong run for van Gerwen on the floor, but his wait for a Players Championship title in 2017 goes on, having now fallen at the Semi-Final stage on two occasions. Norris' strong form continued. Having clinched Players Championship One in Barnsley, he also made the Semi-Finals at the Coral UK Open before his run to the last four in Milton Keynes.
He edged out Rowby-John Rodriguez in his opening game, before making light work of Ronnie Baxter and Adam Hunt as he reached the Last 16. Victories over Gerwyn Price and Steve Beaton followed, before losing out to Chisnall at the penultimate hurdle. The PDC ProTour continues on Sunday, with another £75,000 prizefund up for grabs as Players Championship Six gets underway at Arena MK.
The tournament is being streamed live online with action from two boards simultaneously available for PDCTV-HD Subscribers worldwide through www.livepdc.tv as well as through a series of bookmakers' websites.