One Picture Is Worth A Thousand Words!
Jam! Jam! Jam! Jam!
1
SARENA MOBLEY, Miss Black NC (Miss Biack USA candidate)
The JORDAN JAM kicks
off WEDNESDAY/June 1,
from 6 PM to 9 PM at the
Vail Landingham Estate!
SARENA MOBLEY, Miss
Biack NC, wiii introduce
Lt. Gov. BOB JORDAN at
7:30 PM. Wine, beer &
hors d'ouvres wiii be
served at the $15 per per
son benefit for JORDAN'S
gubernatorial candidacy.
MICHELLE F. THOMAS,
SUNYA W. MCLAUGHLIN,
DENISE JONES, STEPHA
NIE COUNTS, DENISE
JONES, PAT DIAMOND,
FRANK EMORY, RICHARD
LANCASTER and WILLIE
DeSHIELDS helped JACK
BACOT put the JORDAN
JAM together.
The $15 tickets must be
purchased in advance at
BOB JORDAN CAMPAIGN,
2400 Park Road-in the
Courtyard Plaza Shopping
Center in Charlotte.
In addition to SARENA
MOBLEY, the Steel Drum
Symphonette will perform.
INFO: (704) 333-1988.
V
Ms. SUNYA WILLIAMS McLAUGHLIN
The BEST Of Everything!
—
[ Dr. STELLA NKOMO (L) chats with GLORIA CAMPBELL at the
i BEST 1988 Lundieon in McDonald's Cafeteria. photos/jiwiMY brock
Journalist TAMMY JOYNER at the BEST 1988 Luncheon.
HAMPTON/from 2B
You", a single she made with the
vocal group The Spinners (a
Gold #1 and a Grammy
nominated song), and a colla
borative "A Man And A Woman"
tour with Issac Hayes, this peri
od of Dionne's career was
marred! by record sales disap
pointment.
All that changed, however, with
Warwick's signing to Arista
Records and the firm commit
ment of the label's President,
Clive Davis, to further enhance
his artist’s career.
Miles Davis
Let's say In front that no living
musician has a better record
collection, and that this disco
graphy Is a vowedly casual be
cause It would take a bigger fool
than 1 am to attempt something
definitive. If It's Ineffable, don't
eff with It.
The first recordings to go to
eure those Davis did with Charlie
Parker from 1945-48., which are
available under Parker's name
on The Savoy Sessions (Master
Takes) and The Complete Savoy
Studio Sessions (two and five
records, respectively, on Arista/
Savoy) and The Very Best Of
Bird and Charlie parker (two
and six disc each, Warner Bros.).
The first myth to be explored Is
that of Miles: lameness on these
sessions. It's true he doesn't
sound as good as Parker, but
then neither do you. Also note
that the last person to tell you
how Miles was stlU under the In
fluence of Freddie Webster never
heard FYeddle Webster. So let's
look at the record. It's roimd and
dark. When Miles does sound
lame with Parker It's almost al
ways when his horn Is wearing a
cup mute — unflattering to his
tone and lacking the Icy pathos
of the later Harmon mute. Al
though he was Bird's apprentice
Miles' open horn already was a
remarkably Identifiable voice
for his age, one of the very few of
his generation to pick up the
gauntlet of originality where
Bird had Uirown It down.
Later Davis' appearances with
Charlie Parker are available on
a number of live dates, can't
keep track of them now, and a
series of studio recordings for
Verve, which have been availa
ble In a variety of re-lssue for
mats. My favorite sample, and
Indeed my favorite of all early
Miles Davis solos. Is on "K.C.
Blues," by which time the trum
peter had divested himself of
every trace of awkwardness and
grown even more sexy than Lady
Day.
This brings us to Miles' first
great coup as a leader, which
hindsight has retroactively enti
tled The Birth of The Cool (Cap
itol). It Is also the first public
sign of how brilliantly collabor
ative a band leader Davis could
be, and how Inspired an oppor
tunist, In the highest sense of
the word. Miles had been In
trigued with the charts Gll
Evans had done for the Claude
Thornhill Orchestra, met up
with Evans and his circle, and
conceived with them the Idea of
a nine-piece band that might
aerate bebop with an unprece
dented orchestral breeze. The
results were both brilliant and
Influential, but of more Interest
to us here was how conspicuous
a departure from the known
precedents Miles was able to
make of his first outing as a
leader.
In the meantime. Miles had de
veloped a Habit that would
make the next few years his
darkest. He eventually kicked
but lost his early eminence on
the scene. A series of twofers on
Prestige contains virtually all
Davis' most Important record
ings In these crucial years of his
developments, 1951-56. He had
to unlearn bebop and Invent
himself, and these recordings In
particular show Davis divesting
himself of the obllgatoiy notl-
ness of bop and securing for
himself a context In which less
might be made to mean more.
On the one hand he needed to do
this because he could not, after
all, play like Dizzy; on the other
hand, his tone had (by 1954 cer
tainly) become unforgettable.
He could sink a note Into the
heart of life, make a silence
speak volumes.
When you hear a great side
from 1951, you wonder why
Miles should have had to labor
In obscurity at all. The Indis
pensable early album Is Dig
(Prestige), recounting the 1951
collaboration with the young
Sonny Rollins and the younger
Jackie McLean. Valuable transi
tional material can be had on
Miles Davis Volumes 1 & 2 (Blue
Note), 1952-54, Including two
superior sextets and some clas
sic quartet material featuring
Horace Silver, Percy Heath and
Art Blakey. Further Rollins
meetings ('51, '53, '56) are heard
on Collectors Items (Prestige)
(one of them even featuring
some so-so Charlie Parker on
tenor), but more essential are
Tune Up and Tallest Trees (Pre
stige), which belong in your
record collection.
PART 3 will run on JUNE 9
in The Charlotte Post
POET/from IB
All of that happened In the
cold North. Brown decided to go
South In 1987. He came to
Charlotte because a brother
lives here and works for the
school system.
"I was out of work in Jersey at
the time," Brown says. "1 decid
ed to go to a warmer climate. It
has worked out well so far. The
Charlotte Observer published
some of my poems since I've
been down here."
Poetry has not been the only
creative outlet for Brown. He
also has completed a book—and
is shopping for a publisher.
"It's a creativity book for kids,"
he says. "It's called Blue Angel
Gliders. It's a book of patterns
for kids to make paper gliders—
plain and fancy ones. I think it
will do real well."
Many of Brown's poems have
been done in fine calligraphy
and laminated. He makes nu
merous sales of these through
area bookstores.
"1 welcome anyone to drop in
and look over my work," he says.
"My poems are available at the
Baptist Book Store, Living Word,
Cornerstone and the Carolina
Catholic Bookshoppe."
Bucks!
For the second consecutive
year, the Arts and Science
Council will offer local artists
funds to be used in the develop
ment of their careers. The
Emerging Artists program has
received a $3,000 grant from the
North Carolina Arts Council and
a matching grant from the Rob
ert F. and Betty Jo Gilley Foun
dation.
'We are particularly pleased
with the Foundation support,"
Clyda S. Rent, president, said in
announcing the awards. "It
shows genuine foresight, allow
ing ASC to invest In the futures
of some of our finest local art
ists. It is precisely this land of
community support that makes
programs such as this possible."
The Emerging Artists Program
provides financial support foi-
committed, accomplished art
ists In their formative years, en
abling them to advance their ca
reers as developing
professionals. Artists working
In all disciplines are eligible to
apply to the program; however,
applicants must have been .a
resident of Mecklenburg County
for at least one year. Funds are
not available for projects which
have alread3r taken place.
According to Marvin Miller, ex
ecutive director of ASC, "This Is
the one time each year when
ASC can provide direct financial
support to Individual artists.
Thursday, May 26, 1988 - THE CHARLOTTE POST - Page 5B
Rhyme Time!
World of Poetry is celebrating its 13th Anniversary by spon
soring a Free Poetry Contest, open to ali poets. Some 200
prizes are being offered totaling over $16,000, including a
$1,000 grand prize. The deadline for entering is June 15, 1988.
Winners will be notified on or before August 1. Says 80-year-
old Poetry Eklitor Mrs. Eddie-Lou Cole, "I have loved poets my
whole life iong, and I am happy to sponsor this contest to en-
cotuage new talent." to enter, send ONE POEM ONLY, 21 lines
or less, to: World of Poetry, Dept. Free Bonus, 2431 Stockton
Blvd., Sacramento, California 95817.
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