America The Beautiful ?

Cuba Linda ~ 11:55

Adapted from a theme by Cachao (Israel Lopez, 1918-2008), a prominent Cuban musician from Cuba. The 84-year-old Havana-born bassist, composer and band-leader created the mambo with his brother Orestes in the 1930s, and recorded a series of historic descargas (improvised Cuban jam sessions) in the 1950s. He eventually William Carlos Williamsfled Castro and Cuba in 1961, Los del Castillosarriving first in Spain and years later settling into the Latin American music scene in New York and Miami. The recitation is a combination of poetic verses by José Martí, a Cuban national hero and an important figure in Latin American literature, and is comprised of selected verses from Martí's Yo Soy Un Hombre Sincero... (Verso I) [I am a Sincere Man], a complete reading of La Niña de Guatemala (Verso IX) [The Girl from Guatemala], and Cultivo Una Rosa Blanca... (Verso XXXIX) [I Have aWhite Rose to Tend]. Cachao was born and raised in the same house in which José Martí was born.


Recitation: Julio C. del Castillo, M.D. and Juan del Castillo.
Music: Sacco E Vanzetti


José Julián Martí Pérez (January 28, 1853 – May 19, 1895) is a Cuban national hero and an important figure in Latin American literature. In his short life, he was a poet, an essayist, a journalist, a revolutionary philosopher, a translator, a professor, a publisher, a Freemason, a political theorist, and a supporter of Henry George's economic reforms known as Georgism. Through his writings and political activity, he became a symbol for Cuba's bid for independence against Spain in the 19th century, and is referred to as the "Apostle of Cuban Independence." He also wrote about the threat of Spanish and US expansionism into Cuba. From adolescence, he dedicated his life to the promotion of liberty, political independence for Cuba, and intellectual independence for all Spanish Americans. His death was used as a cry for Cuban independence from Spain by both the Cuban revolutionaries and those Cubans previously reluctant to start a revolt.


Yo Soy Un Hombre Sincero... (Verso I)

Yo soy un hombre sincero
De donde crece la palma,
Y antes de morirme quiero
Echar mis versos del alma.

Yo vengo de todas partes,
Y hacia todas partes voy:
Arte soy entre las artes,
En los montes, monte soy.

Yo sé los nombres extraños
De las yerbas y las flores,
Y de mortales engaños,
Y de sublimes dolores.

Yo he visto en la noche oscura
Llover sobre mi cabeza
Los rayos de lumbre pura
De la divina belleza.

Alas nacer vi en los hombros
De las mujeres hermosas:
Y salir de los escombros,
Volando las mariposas.

He visto vivir a un hombre
Con el puñal al costado,
Sin decir jamás el nombre
De aquella que lo ha matado.

Rápida, como un reflejo,
Dos veces vi el alma, dos:
Cuando murió el pobre viejo,
Cuando ella me dijo adiós.

Temblé una vez —en la reja,
A la entrada de la viña,—
Cuando la bárbara abeja
Picó en la frente a mi niña.

Gocé una vez, de tal suerte
Que gocé cual nunca:—cuando
La sentencia de mi muerte
Leyó el alcalde llorando.

Oigo un suspiro, a través
De las tierras y la mar,
Y no es un suspiro,—es
Que mi hijo va a despertar.

Si dicen que del joyero
Tome la joya mejor,
Tomo a un amigo sincero
Y pongo a un lado el amor.

Yo he visto al águila herida
Volar al azul sereno,
Y morir en su guarida
La vibora del veneno.

Yo sé bien que cuando el mundo
Cede, lívido, al descanso,
Sobre el silencio profundo
Murmura el arroyo manso.

Yo he puesto la mano osada,
De horror y júbilo yerta,
Sobre la estrella apagada
Que cayó frente a mi puerta.

Oculto en mi pecho bravo
La pena que me lo hiere:
El hijo de un pueblo esclavo
Vive por él, calla y muere.

Todo es hermoso y constante,
Todo es música y razón,
Y todo, como el diamante,
Antes que luz es carbón.

Yo sé que el necio se entierra
Con gran lujo y con gran llanto.
Y que no hay fruta en la tierra
Como la del camposanto.

Callo, y entiendo, y me quito
La pompa del rimador:
Cuelgo de un árbol marchito
Mi muceta de doctor.

A Sincere Man Am I (Verse I)

A sincere man am I
From the land where palm trees grow,
And I want before I die
My soul's verses to bestow.

I'm a traveler to all parts,
And a newcomer to none:
I am art among the arts,
With the mountains I am one.

I know how to name and class
All the strange flowers that grow;
I know every blade of grass,
Fatal lie and sublime woe.

I have seen through dead of night
Upon my head softly fall,
Rays formed of the purest light
From beauty celestial.

I have seen wings that were surging
From beautiful women's shoulders,
And seen butterflies emerging
From the refuse heap that moulders.

I have known a man to live
With a dagger at his side,
And never once the name give
Of she by whose hand he died.

Twice, for an instant, did I
My soul's reflection espy:
Twice: when my poor father died
And when she bade me good-bye.

I trembled once, when I flung
The vineyard gate, and to my dread,
The wicked hornet had stung
My little girl on the forehead.

I rejoiced once and felt lucky
The day that my jailer came
To read the death warrant to me
That bore his tears and my name.

I hear a sigh across the earth,
I hear a sigh over the deep:
It is no sign reaching my hearth,
But my son waking from sleep.

If they say I have obtained
The pick of the jeweler's trove,
A good friend is what I've gained
And I have put aside love.

I have seen across the skies
A wounded eagle still flying;
I know the cubby where lies
The snake of its venom dying.

I know that the world is weak
And must soon fall to the ground,
Then the gentle brook will speak
Above the quiet profound.

While trembling with joy and dread,
I have touched with hand so bold
A once-bright star that fell dead
From heaven at my threshold.

On my brave heart is engraved
The sorrow hidden from all eyes:
The son of a land enslaved,
Lives for it, suffers and dies.

All is beautiful and right,
All is as music and reason;
And all, like diamonds, is light
That was coal before its season.

I know when fools are laid to rest
Honor and tears will abound,
And that of all fruits, the best
Is left to rot in holy ground.

Without a word, the pompous muse
I've set aside, and understood:
From a withered branch, I choose
To hang my doctoral hood.

María García Granados y Saborío

María García Granados y Saborío (1860-May 10, 1878), also known as La Niña de Guatemala ("the little girl of Guatemala"), was a Guatemalan socialite, and the daughter of General Miguel García Granados, who was President of Guatemala from 1871 to 1873 and whose house served as a gathering for the top artists and writers María García Granadosof the time. María was also niece and granddaughter of María Josefa García Granados, an influential poet, feminist, and journalist of the time. María was not the standard shy and vulnerable Guatemalan girl: Guatemalan publications of the time talk about her relatively active participation as a musician and singer outside her home, in public artistic activities organized by societies and institutions where she came in contact with José Martí. Martí was known in Guatemala as "Doctor Torrente" due to his great speaking ability and charisma and also taught María at the Central American Academy for Girls starting June 1877, months after his arrival in Guatemala in March 1877. Martí was invited by General Garcia Granados to attend a social gathering and fell in love with Maria there, but could not correspond to her because he was already engaged to marry Ms. Carmen Zayas Bazán. María died in 1878, shortly after learning that Martí had married, and he immortalized her in his 1891 poem La Niña de Guatemala.

La Niña de Guatelmala... (Verso IX)

Quiero, a la sombra de un ala,
contar este cuento en flor:
la niña de Guatemala,
la que se murió de amor.

Eran de lirios los ramos;
y las orlas de reseda
y de jazmín; la enterramos
en una caja de seda...

Ella dio al desmemoriado
una almohadilla de olor;
él volvió, volvió casado;
ella se murió de amor.

Iban cargándola en andas
obispos y embajadores;
detrás iba el pueblo en tandas,
todo cargado de flores...

Ella, por volverlo a ver,
salió a verlo al mirador;
él volvió con su mujer,
ella se murió de amor.

Como de bronce candente,
al beso de despedida,
era su frente -¡la frente
que más he amado en mi vida!...

Se entró de tarde en el río,
la sacó muerta el doctor;
dicen que murió de frío,
yo sé que murió de amor.

Allí, en la bóveda helada,
la pusieron en dos bancos:
besé su mano afilada,
besé sus zapatos blancos.

Callado, al oscurecer,
me llamó el enterrador;
nunca más he vuelto a ver
a la que murió de amor.

The Girl from Guatemala (Poem IX)

In the shadow of a wing
I wish to tell this flowered tale
Of the girl from Guatemala
Who died of love.

The wreaths were of lilies
And jasmine and mignonette;
We laid the girl to rest
In a silken casket.

... She gave a little scented pillow
To the forgetful one, and he
Returned, returned now wedded.
She died of love.

Ambassadors and bishops
Carried her bier, and there were
Relays of people following,
All with flowers.

... Wishing to see him again,
She went out on the belvedere;
He returned with his wife:
She died of love.

Her brow was like molten bronze
At his parting kiss,
The brow I loved the best
in all my life!

... At dusk she entered the river,
The doctor pulled out her body.
They say she died of cold; I know
She died of love.

They laid her out on two benches
there in the frigid vault;
I kissed her slender hand
And her white shoes.

Softly, when evening fell,
Never again did I see that girl
The gravedigger bid me come.
Who died of love.

Cultivo Una Rosa Blanca... (Verso XXXIX)

Cultivo una rosa blanca,
En julio como en enero,
Para el amigo sincero
Que me da su mano franca.
Y para el cruel que me arranca
El corazón con que vivo,
Cardo ni oruga cultivo:
Cultivo la rosa blanca.

I Have a White Rose to Tend (Verse XXXIX)

I have a white rose to tend
In July as in January;
I give it to the true friend
Who offers his frank hand to me.
And for the cruel one whose blows
Break the heart by which I live,
Thistle nor thorn do I give:
For him, too, I have a white rose.

FURTHER REFERENCES:


Wasteland ~ 6:38

Marya Mannes, (Maria von Heimburg Mannes, 1904-1990) was an American writer and critic. She was educated privately and benefited from the cultural atmosphere of her home and from European travel.Marya Mannes During the 1920s and early ’30s she contributed a number of stories and reviews to Theatre Arts, Creative Art, International Studio, and Harper's magazines. During World War II, Mannes was involved in government work. Pan RuiAfter the war she resumed writing for magazines, notably The New Yorker, was a feature editor for Glamour, contributed a monthly column to The New York Times and was a regular commentator on a New York public television station. A collection of essays criticizing and satirizing American mores, foibles, and preoccupations appeared in 1958 as More in Anger, a book that occasioned widespread comment. Mannes was one of the more well-known writers, editors and social critics of her time, and her words often took clear aim at the hypocrisy of life in the USA and the so-called “American Dream”.

Recitation: Pan Rui
Music: Sacco E Vanzetti

FURTHER REFERENCES:


America The Beautiful ~ 5:43

Pierre SchaefferA “mashup”, or collection of disparate vocal elements, of contemporary American politicians, pundits, and scholars woven over a Latin American rhythmic musical bed. This composition was created in the spirit of 1942 French composer and theoretician who began his exploration of radiophony when he joined Jacques Copeau and his pupils in the foundation of the Studio d'Essai de la Radiodiffusion nationale. The studio originally functioned as a center for the Resistance movement in French radio, which in August 1944 was responsible for the first broadcasts in liberated Paris. It was here that Schaeffer began to experiment with creative radiophonic techniques using the sound technologies of the time.

Music: Sacco E Vanzetti

FURTHER REFERENCES:


Interlude For Bill Dixon ~ 2:10

Bill Dixon (1925 - 2010) was an American musician, composer, visual artist, and educator.Bill Dixon Dixon was one of the seminal figures in the free jazz movement. He played the trumpet, flugelhorn, and piano, often using electronic delay and reverberation as part of his trumpet playing. In the 1960s Dixon established himself as a major force in the jazz avant-garde movement. In 1964, Dixon organized and produced the 'October Revolution in Jazz', four days of music and discussions at the Cellar Café in Manhattan. The participants included notable musicians Cecil Taylor and Sun Ra among others. It was the first free-jazz festival of its kind. He was Professor of Music at Bennington College, Vermont, from 1968 to 1995, where he founded the college's Black Music Division. From 1970 to 1976 he played "in total isolation from the market places of this music", as he puts it. His studies in music came relatively late in life, at the Hartnette Conservatory of Music (1946–1951). He studied painting at Boston University and the WPA Arts School and the Art Students League. During the early 1950s he had a job at the United Nations, and founded the UN Jazz Society.

Music: Sacco E Vanzetti

FURTHER REFERENCES:


Ornette ~ 9:08

Inspired by Ornette Coleman's (1930 – 2015) 1972 composition, Skies of America, Coleman's 17th album released on Columbia Records. Ornette ColemanIt consists of one long composition by Coleman taking up both sides of the album, played by the London Symphony Orchestra and conducted by David Measham. Coleman himself only plays on a few segments, and there is no other jazz instrumentation. Ornette was an American jazz saxophonist, violinist, trumpeter and composer. He was one of the major innovators of the free jazz movement of the 1960s, a term he invented with the name of an album. He was awarded a MacArthur Fellowship in 1994. His album Sound Grammar received the 2007 Pulitzer Prize for music. ‘I had a very interesting father,’ his son, the drummer Denardo Coleman, said, ‘It’s not that he thought outside the box. He just didn’t think there were any boxes.’ In his indifference to convention he resembled his friend John Cage, who hated jazz but loved Coleman.

Recitation: Sacco E Vanzetti
Music: Sacco E Vanzetti / Jim Eichenger
Verse: Ornette Coleman

FURTHER REFERENCES:


For The Birds ~ 4:16

Ken Nordine (born April 13, 1920) is an American voice-over and recording artist, best known for his series of Word Jazz albums. Ken NordineHis deep, resonant voice has also been featured in many commercial advertisements and movie trailers. Amanda PhilipDuring the 1940s, he was heard on The World's Great Novels and other radio programs broadcast from Chicago. He attracted wider attention when he recorded the aural vignettes on Word Jazz (Dot, 1957), Love Words, and Son of Word Jazz (Dot, 1958). Nordine began performing and recording such albums at the peak of the beat era and was associated with the poetry-and-jazz movement. However, it has said that some of Nordine's writings "are more akin to Franz Kafka or Edgar Allan Poe" than to the beats. Many of his word jazz tracks range in features from, critiques of societal norms to lightweight and humorous, while others reveal dark, paranoid undercurrents and bizarre, dream-like scenarios.

Recitation: Amanda Philip
Music: Sacco E Vanzetti

FURTHER REFERENCES:


Prose Lefthand ~ 3:22

Henry Grimes (November 3, 1935) is a jazz double bassist, violinist, and poet.Henry Grimes After more than a decade of activity and performance, notably as a leading bassist in free jazz, Grimes completely disappeared from the music scene by 1970. Grimes was often presumed dead, but he was rediscovered in 2002 and returned to performing. He took up the violin at the age of 12, then began playing tuba, English horn, percussion, and finally the double bass in high school. He furthered his musical studies at Juilliard and established a reputation as a versatile bassist by the mid-1950s. He recorded or performed with saxophonists Gerry Mulligan, Sonny Rollins, pianist Thelonious Monk, singer Anita O'Day, clarinetist Benny Goodman and many others.

Verse: Henry Grimes
Recitation: Sacco E Vanzetti
Special Guest: Willard “Wilbo” Wright on acoustic double bass

FURTHER REFERENCES:


I'm The Slime ~ 5:11

Zappa"I'm the Slime" is a 1973 single by Frank Zappa and The Mothers from the album Over-Nite Sensation. An ode to American television media, different live versions can be found on Zappa in New York and You Can't Do That on Stage Anymore, Vol.1, which version was performed on the same night as the majority of Roxy and Elsewhere. "I'm the Slime", and its b-side version of Montana, were put on Zappa's best of Strictly Commercial. It was performed in concert from 1973 to 1977 and 1984.


Verse: Frank Zappa
Recitation and Music: Sacco E Vanzetti

FURTHER REFERENCES:


What's Gnu ~ 8:25

Kenny WheelerTribute to Gnu High, an LP by Canadian Kenny Wheeler featuring Keith Jarrett, Dave Holland and Jack DeJohnette recorded in 1975 and released on the ECM label in 1976. Kenneth Vincent John Wheeler, OC (January 1930 - September 18, 2014) was a Canadian composer and trumpet and flugelhorn player, based in the U.K. from the 1950s onwards. Most of his performances were rooted in jazz, but he was also active in free improvisation and occasionally contributed to rock music recordings. Wheeler wrote over one hundred compositions and was a skilled arranger for small groups and larger ensembles.

Music: Sacco E Vanzetti

FURTHER REFERENCES:


“The justification of art is the internal combustion it ignites in the hearts of men and not its shallow, externalized, public manifestations. The purpose of art is not the release of momentary ejection of adrenaline but is, rather, the gradual, lifelong construction of a state of wonder and serenity.” ~ Glenn Gould


PRODUCTION / DIFFUSION: MJCMAG
ENGINEERING: Freddy Van Gelder Jr.
EXECUTIVE MANAGEMENT: Mario Buddha & Ivan Creosote

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