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in der Seilerei, Frankfurt am Main, Mai 2025
Shannon Barnett, Posaune
Stefan Karl Schmid, Tenorsaxophon
David Helm, Bass
Fabian Arends, Schlagzeug
Shannon Barnett Quartett in der Seilerei, Frankfurt am Main, Mai 2025
Shannon Barnett, Posaune
Stefan Karl Schmid, Tenorsaxophon
David Helm, Bass
Fabian Arends, Schlagzeug
I have tickets to a Charles Lloyd Concert at the Musical Instrument Museum. I am a member. I wanted to familiarize myself with the Museum before the concert so I toured it. It is an incredible treasure in my backyard. A target rich environment for photographers.
The sign reads: (I probably should have shot this at f/5.6 to get the detail of the sign)
Alto Saxophone
London, England, late 1950's early 1960's
Acrylic
Grafton Company, maker,
Jazz Legends Charlie Parker and
Ornette Coleman played plastic
Grafton saxophones.
"Don't play the saxophone. Let it play you." Charlie Parker
MIM began with a vision to create a musical instrument museum that would be truly global. Realizing most musical museums featured historic, primarily Western classical instruments, MIM’s founder Bob Ulrich (then CEO of Target Corporation) was inspired to develop a new kind of museum that would focus on the kind of instruments played every day by people worldwide. A focus on the guest experience shaped every aspect of the museum’s development. From the beginning, our goal has been to deliver a musical experience that is enriching, inspiring, interesting, and fun.
Today, MIM has a collection of more than 7,500 instruments from more than 200 world countries and territories. The galleries reflect the rich diversity and history of many world cultures. But music and instruments also show us what we have in common—a thought powerfully expressed in our motto, MUSIC IS THE LANGUAGE OF THE SOUL.
MIM’s immersive exhibits foster an appreciation of diverse cultures and the craftsmanship and traditions of instrument makers from the past to the present. A visit to MIM is also about experiencing the sensory nature of music and how it affects our emotions. Through state-of-the-art, interactive media, guests can see the instruments, hear their sounds, and observe them being played in their original contexts.
en.wikipedia.org/wiki/Musical_Instrument_Museum_(Phoenix)
Musical Instrument Museum
MIM
Ornette Coleman. The jazz genius.
Original photograph by Laurie Lewis.
Listen and enjoy: Ornette Coleman - The Shape of Jazz to Come (1959)
All pics are ©Rosa Rusa. All rights reserved.Please dont use them before had my written permission. mail me if you need one]
rosarusa.photos@gmail.com
Gracias por tu visita!!
Just like so many abandoned building around town, I like to imagine them when they were in their prime. During the segregation period down here in the South this was an African-American hotel, The Lincoln, near a then functioning but now, long demolished, train station. They also had a lunch room where, rumor has it, many famous performers like Ella Fitzgerald, Duke Ellington and Louis Armstrong enjoyed a meal. Nearby is the Prince Masonic Lodge that hosted many of the premier acts of the 1950 and 60's in their amazing, balconied, top-floor, ball room. There is even a rumor that Ornette Coleman's performance was so avant-guard that the dissatisfied crowd took his saxophone into the street in front of the Prince and stomped it flat. Such is the life of the touring musicial iconoclast.
You can get a peak in to that venue as you drive over the North Boulevard overpass. So far as I can tell, this is main reason for the North Boulecard overpass to exist because its the construction destroyed the much loved Rose and Thomas' Soul Food restaurant, Tabby's Blues Box and spelled the end of Romano's Grocery and plate lunch emporium. Such is the cost of meager progress, I suppose.
Anyway, I like to imagine this stalwart and elegant brick hotel when it was in its heyday. Well dressed men and women visiting the barber shop next door, taking the family out to dinner after church or folks ducking in for a little bite after a wild night of dancing and music at the Prince. I am too young to have ever seen the Prince or the Lincoln Hotel in their prime, though the Prince has been remodeled and is still in use. I did once drunkenly watched a Mike Tyson match in their ground floor barber shop in what ended up to be a singularly surreal evening. But, that is a story for another day.
When I first moved back to Baton Rouge after college I ate many a plate lunch of white beans and sausage with a smothered pork chop under a velvet painting of Jessy Jackson in Rose and Thomas' soul food joint. I heard great bands play the night away in a haze of smoke and cheap bottled beer taken from ice-chests behind the bar at Tabby's; I was 15 and this was back when people cared much less about underage drinking. I paid my money there to a plump woman working a cash registerer with a .38 special strapped to it. Maybe that is when I fell in love with my city, when I interloped into the separate, but no less vibrant, black half of the community from which I had been carefully isolated since birth... with the exception on incident where Ida, our old house-keeper, took me to her cousin's bar and I danced on the jukebox, aged about 4.
All that shameful Jim Crow era segregation is gone. But, the un-codified barriers are still very much in place. I would not dream of going into Webb's barber shop, near the now moldering Hotel Lincoln, without one of my black neighbors. Not because of any fear of violence but because I know there are separate and special places where people come together to congregate and they prefer to do so away from prying eyes or the voyeuristic lens of a culturally interested transgressor like myself. So, imagination is what remains. Imagination about what was and what continues to be.
Check out more at my blog, Lemons and Beans, for lots of photos, recipes, travel writing and other ramblings. I appreciate any feedback but, please do not post graphic awards or invitations in your comments.
I found these in a file folder. Hadn't seen them in years. My only question is where are the rest? Offhand, I see I failed to save the stubs for concerts by Philip Glass, Sun Ra, Captain Beefheart, Steve Lacy, Muzsikas, the McGarrigles, Patti Smith, John McLaughlin, Joni Mitchell, Charles Mingus, Polyrock, the Bloodless Pharoahs, Rahsaan Roland Kirk, Medeski, Martin & Wood, Sonny Rollins, the Mothers of Invention, Miles Davis, the Master Musicians of Joujouka ...
I'm sure I'm forgetting a bunch more.
Ornette Coleman: The Shape Of Jazz To Come 1959
1. Lonely Woman (Coleman) 4'59
2. Eventually (Coleman) 4'20
3. Peace (Coleman) 9'04
Side 2
5. Focus On Sanity (Coleman) 6'50
6. Congeniality (Coleman) 6'41
7. Chronology (Coleman) 6'05
Ornette Coleman altosax
Donald Cherry cornet
Charlie Haden bass
Billy Higgins drums
Rec. New York 22.5. & 8.10.1959
LP Atlantic SD 1317
MP3 13.10.2006 - 2.10.2007 Turku (10,90 e)
When reading the book of Ornette, got so much interested
about the early recordings of the quartet, that I had
to check this one too. Found the LP (in a reasonably good condition)
at a local public library. And I'm surprised how fresh it still sounds,
how much energy, - and it's hard to realize how "modern" this
has been in the late 50's. Lonely Woman is the classic! but cool
& energy - all of them.... (13.10.06)
Then I saw the same LP in Turku at a record store and
I couldn't resist. Just had to buy it - and now I've
decided that the times of vinyl is not over yet - I ordered
a new Numark usb- record player just to be able to play and digitalize
the LP's into my computer.