The Flaming Lips is coming to town this summer for two special nights at Hollywood Forever Cemetery. Bouncing in on a tagline from the single “Do You Realize” — “Every One You Know Some Day Will Die” — the Lips’ wildly entertaining psycho-pop shenanigans will attempt to bury you on June 14th and 15th.

And there’s a bonus: On the 14th the band will play its [mainstream] breakthrough 1999 release “The Soft Bulletin” in its entirety and the following night will perform Pink Floyd’s breathtaking 1973 album “Dark Side of the Moon” from front to back.

Tickets for the performances go on sale this Friday at 2 p.m. (2-night package for $80) and Saturday at 2 p.m. (single nights at $40) and will sell out quickly. Hollywood Forever is a bring your own blanket, wine, and picnic kind of place. But be sure to leave no trace, for there are zombies.

The concert takes place on the cemetery’s Fairbanks Lawn. Gates are at 7 p.m., wickedly brilliant guitarist and songwriter Marnie Stern opens.

The Flaming Lips tweeted evidence this week that a live version of “The Soft Bulletin” is forthcoming, allegedly with bonus tracks.

In the last week of 2009 the band digitally released “The Flaming Lips and Stardeath and White Dwarfs with Henry Rollins and Peaches Doing The Dark Side of the Moon.” The Flaming Lips’ 12th studio album (since 1986), “Embryonic,” was released in October 2009.

Attention-starved real estate tycoon and reality television superstar Donald Trump is going to run for president in 2012, according to the media.

Visibly embarrassed after being shamed by The President, The Donald, and The Public at large after seeing the clamp come down on a far-right fringe group called The Birthers, the media establishment gladly passed the mic off to Trump on Wednesday.

“I am so proud of myself because I’ve accomplished something that nobody else has been able to accomplish,” an elated Trump said to a crowd of people cheering, no doubt in anticipation that the billionaire would hand out a thousand-dollar bill with every handshake.

And with that, the 64-year-old businessman who has erected major skyscrapers bearing his name in the majorest of cities became the frontrunning candidate to win the 2012 Republican Presidential primary.

Many media outlets reported that The Birthers stated an intent to scrutinize the document but failed to reference the group’s conclusion as posted on birthers.org Wednesday: “…[f]orgery or not, now we can debate the true meaning of a natural born citizen.” Whatever that means.
In today’s media climate, when even the New York Times mistakes an Onion parody cover of Teen Beat featuring President Obama as the real thing, we’re calling on Donald Trump to fill the L.A. River aqueducts with naturally flowing spring water, fund the salaries of laid-off LAUSD teachers and while he’s at it, to find life on Mars.

Perhaps I’m asking too much. “Obama Castigates Media for Helping to Propagate Racist Myth of His Un-Americanness” is clearly a pathetic, boring headline with poor grammar. There are only so many David Folkenfliks out there to do it right. But these actual headlines are far more hilarious, however fantastical:

• Why Quash the Birthers Now? – NPR, 4/27
• Could Donald Trump win the Republican presidential nomination? – WSJ Question of the Day, 4/28
• Can Trump become more than a ‘birther’ candidate? – Washington Post, 4/28
• Only one news site seemed to catch the “big” surprise on the birth certificate (Obama’s mother’s name is transversed to make her first name “Stanley,” middle name “Ann”) – Philly.com, 4/28
• Donald Trump For President, Says Joey Lawrence Of ‘Blossom’ – HuffPo, 4/28
• Donald Trump offered to take over BP oil spill operation – NOLA.com, 4/27
• Some blacks see racism in ‘birther’ questions – AP, 4/28
• Trump’s NBC colleague Lawrence O’Donnell called The Donald’s behavior an embarrassment to the network – MSNBC, 4/27
• On Twitter and elsewhere, an August 2009 headline from The Onion was reprised: “Afterbirthers Demand To See Obama’s Placenta.”

Thing is, Trump, who hasn’t voted in a primary election in 21 years, doesn’t need to run for president — he already gets more time to say whatever he wants on network TV than all past presidents combined. And do you really think The Donald’s willing to deal with “equal time?!?” Besides, when you’re a multi-billionaire with global influence it doesn’t matter who is president. You’re still rich as sin. Just ask Mike Bloomberg.

Trump, currently a registered Republican, has donated $2.5 million to various political campaigns over the years, according to a Washington Post report. Of those contributions, 54 percent were to Democratic party candidates.

Clearly what’s most important to Trump is his current reality series, Celebrity Apprentice, now going into the final three weeks of its season. There’s nothing Trump wants more than be at the top of NBC’s ratings — especially this week, going up against the final episode of The Office. Even if Trump’s show is stale and the characters are boring, the only thing that matters is what he says about himself on the show (“Trump Mulls Announcement on ‘Apprentice’ – New York Times, April 14). And now he’s got Meatloaf stumping for him.

Donald Trump is a darn clever man, a solid television personality, and a rich rich businessman. I envy him for that and can’t match him there. But if he’s a “possible Republican presidential candidate” like they keep saying on the news…. well then so am I.

This post was syndicated from LAist.com, where I am Associate Editor. A direct link to my LAist.com post index is at the top of my blog. The original post was published on April 28, 2011 at 1:15 p.m.

What does this mean? We haven’t been able to monitor our social networks with Hootsuite, check in on Foursquare, ask questions on Quora, or check in on the real news of the day at Reddit for… going on twelve hours!

When can we freely procrastinate again? Amazon’s latest update asks us to give them “a few hours.” But that’s just a “high-level ballpark estimate.”

“Stream it from the cloud.” “Just back it up to the cloud.”

We’ve all heard it said and many of us rely on “the cloud” whether we realize it or not. In most cases its extremely reliable, especially with Amazon’s Elastic Compute Cloud (EC2). Except, of course, when it’s down.

See AllThingsD for a long post of updates and a list of companies and online services affected by the outage.

Cloud computing, relies on a network of remote servers to host and deliver content. It is generally less expensive and more reliable than managing assets (and backups) in house. When you stream music from SoundCloud, use Google Docs, upload content to your tumblr or use Dropbox or MobileMe to sync you are accessing The Cloud.

Amazon’s EC2 serves a slightly different purpose. Instead of having a content backup and delivery focus, its primary function is to deliver dynamic processor speeds to businesses. This makes it possible for companies with staggering traffic trends to pay for only the CPUs necessary as opposed to paying to power and maintain the equivalent of a supercomputer to serve the occasional burst in traffic. Amazon’s more traditional cloud product is Amazon Web Services, which hosts tons of content, including, for example, your Twitter profile photo.

What websites will you be checking out in the meantime while you’re stuck at home because Obama is bringing a traffic nightmare to town?

This post was syndicated from LAist.com, where I am Associate Editor. A direct link to my LAist.com post index is at the top of my blog. This post was originally published here on April 21, 2011 at 12:20 p.m.

Tina Fey and Steve Martin yuck it up at a “Live Talks Los Angeles” conversation at Nokia Theatre Tuesday night. (AP Photo/Chris Pizzello)

Nokia Theatre was packed Tuesday night for a one-off chat and Q&A at which Steve Martin and Tina Fey expanded on highlights from her new book “Bossypants.” What was billed as a summit of two comic writers with recently released books was more of a casual three-way love fest between Martin, Fey and the audience, which laughed and applauded with near-absurd frequency.

Carolyn Kellogg’s in-depth review at Jacket Copy gets into detail:

Fey took the stage in a black dress that revealed her baby bump and high leopard-patterned heels. Martin asked if she was pregnant. “I’ve been told,” Fey answered, smoothing her hand over her belly, “that this is a hysterical pregnancy that comes from a desperate need to sell books.”

“Do the breasts go down?” Martin asked.

“I hope not,” Fey replied.

Later Fey would show off an ultrasound to Conan O’Brien (see video below). The discussion stuck to details disclosed in the book, many of which were previewed in a series of columns/excerpts Fey recently published in The New Yorker.

Martin, while hilarious, served as a very good interviewer, taking the audience on a sort of inquisition into Fey’s career from childhood in Philly, to Second City in Chicago, the fast rise to head writer at SNL, and 30 Rock.

What’s Fey trying to say with her book cover — a typical, glamor-mag-like Photoshopped headshot of the author, offset by a pair of hairy man-arms?

“It’s a confusing line that woman have to walk because you want to look good enough that they let you to stay in show business, but you don’t want to become carried away. I don’t really care, truly that much, about being ‘fancy.'”

The well-executed audience Q&A took on a very L.A. bend, with one attendee asking for advice for an aspiring comic writer. “Just get out there and do it as often as you can,” offered Martin. “Make work,” concurred Fey.

Another audience member inquired about Fey’s shoes. “It’s interesting that you ask,” interrupted Martin, segueing into a fantastical story about his supposedly 35-year-old pair of loafers.

The event was part of the Live Talks Los Angeles series, co-produced by KPCC and KCET.

This post was syndicated from LAist.com, where I am Associate Editor. A direct link to my LAist.com post index is at the top of my blog. This post was originally published here on April 21, 2011 at 10:40 a.m.

UPDATE: Later reports indicated that Hetherington was killed in the attack while Hondros and at least one other journalist were seriously wounded. Hondros later died of his wounds at the hospital.

Hetherington was last heard from via Twitter on Tuesday: “In besieged Libyan city of Misrata. Indiscriminate shelling by Qaddafi forces. No sign of NATO.”

Three other journalists were injured in the mortar attack that killed Hetherington and Hondros in Misrata according to ABC News. The New York Times is only confirming the death of Hetherington, stating that Chris Hondros and one other photographer remain hospitalized in “grave” condition. Photojournalist Guy Martin was also reported to be gravely wounded in the attack.

Hetherington’s acclaimed 2010 documentary on the ongoing conflict in Afghanistan, “Restrepo,” was nominated for an Academy Award. The film was co-directed by Sebastian Junger.

Chris Hondros’ most recent photos from Misrata, dated April 20, can be seen at Getty Images. In recent years Hetherington worked with ABC’s Nightline, Vanity Fair and The New Yorker, among other publications. The Liverpool, UK-born photojournalist was 41 years old.

This post was syndicated from LAist.com, where I am Associate Editor. A direct link to my LAist.com post index is at the top of my blog. This post was originally published here on April 20, 2011 at 10:40 a.m.

Record Store Day exclusives seen in the Coachella tent, 2009 (Photo by Andy Sternberg/LAist)

This weekend is all about music and you don’t even need to venture out to the Coachella Valley to take part. April 16th is the fifth annual (fourth global) Record Store Day and it is being celebrated at more independent record stores around L.A. than we even knew existed. The limited-edition special releases and in-store parties and performances begin at midnight!

What’s so special about Record Store Day? Everything. Record Store Day is not merely an appreciation of indie music stores (whether vinyl- or CD-centric) and the lengths many go to to showcase and promote local bands and artists. It’s a celebration of the art of recording and packaging for retail and best of all, the true music fan’s lust for getting a hold of limited edition releases and one-offs. This year’s exclusives include a motherlode of special releases from the likes of Bad Brains, Daft Punk, Phish, Rolling Stones, Velvet Underground, Beastie Boys, R.E.M., Pinback and more.

Participating stores in and around L.A. include:

View Record Store Day in L.A. April 16, 2011 in a larger map

• Amoeba in Hollywood (limited-edition tees, guest DJs including Henry Rollins at 2 p.m., Fucked Up at 4)
• Fingerprints in Long Beach (opens 7 a.m., in-store DJ’s and performances by Foo Fighters [sold out] at 5 p.m., Brett Dennen at 7)
• At Coachella Arizona-based Zia Records hosts RSD with artist signings all weekend.
• Fat Beats on Melrose
• Headline Records on Melrose
• Origami in Echo Park
• Record Surplus on West Pico
• Rockaway in Silver Lake
• Vacation Vinyl in Silver Lake (Dublab and Dangerbird DJs, special RSD releases
• Canterbury in Pasadena
• Penny Lane in Pasadena
• Poobah in Pasadena
• Backside in Burbank
• Atomic in Burbank
• Freakbeat in Sherman Oaks
• Rhino Records in Claremont (special midnight – 2 a.m. sale)
• Left of the Dial in Seal Beach (opens at 7)
• Durty Mick in Long Beach (live afternoon in-stores)
• Vinyl Solution in Huntington Beach
• Burger Records in Fullerton
• Creme Tangerine in Costa Mesa
• 2Catz in San Pedro
• Studio Antiques in El Segundo
• Dark Realm in Downey
• Bionic in Buena Park
• The Record Jungle in Montebello
• Mad Platter in Riverside
• Angel City in Santa Monica
• Bombass Muzik in Vernon
• Buffalo Records in Ventura (free live music)

What are you hoping to get your hands on? Find out everything you need to know at recordstoreday.com or just run — don’t walk — to the nearest shop.

This post was syndicated from LAist.com, where I am Associate Editor. A direct link to my LAist.com post index is at the top of my blog. This post was originally published here on April 15, 2011 at 1:30 p.m.

Ken Vandermark continues blazing trails across Europe, Africa, and the Middle East while basing himself in Chicago with many of the same cats. I keep up with Ken via his daily Twitter and Facebook updates which highlight the daily undertakings of a creative troubadour in brief, diary-like entries. I still subscribe to the chi-improv Yahoo! group for sentiment. Little has changed in Chicago I imagine — although my visits are too rare. (Save for the tragic death of Malachi Ritscher and the recent passing of Fred Anderson). Still a few active venues and occasional improv backrooms shifted throughout the town and Peter Brötzmann, Ab Baars and the finest European improvisers still come over almost every year and the Chicago contingent of the Tentet visits Europe at least once a year.

Thanks to NPR for recording this set by Vandermark’s Powerhouse Sound combo and making it available for download, you can listen to it right here.

[display_podcast]

Powerhouse Sound features Vandermark on reeds with longtime collaborator Nate McBride on electric bass; Jeff Parker, guitar and John Herndon, drums – both of whom are known for their work with Tortoise.

Below, three articles I wrote in 1998 for Centerstage.net relating to the Chicago Jazz scene. Still buried in some closet — minidiscs of interviews that I conducted with several of the players for a piece I never completed. There’s a nice long interview with Fred Anderson there and hopefully i’ll find it and when I do I’ll post it for all to share.

Poster above by Dan Grzeca via this webpage

NOTE: These were all published in 1998 in spite of the 2001 datestamp.

2nd Annual Festival of Jazz and Improvised Music at Empty Bottle
Music is the architecture of sound against silence.
Friday May 04, 2001. By Andrew Sternberg

“Music is the architecture of sound against silence,” insisted percussionist Andrew Cyrille as I walked into the Empty Bottle and whispered “one Blue Ribbon,” awaking the bartender from his atmospheric trance. The magic of improvised music is seldom celebrated, however, those who indulged in the 2nd Annual Festival of Jazz and Improvised Music May 8-10 at the Empty Bottle were treated to one of the finest free jazz festivals west of New York City.

In its second year of celebrating the magic of improvised music (through the festival as well as the weekly Chicago Improvisers Series), the Empty Bottle shortened this year’s festival from four days to three, yet magically lowered the cost of admission while increasing the level of talent. This year’s festival was jumpstarted by Bottle mainstay Ken Vandermark and friends’ tribute to free jazz icon, Joe Harriot. An incredibly talented saxophonist, Harriot left his homeland of Jamaica to further develop his mastery of the instrument in hard bop combos and subway corridors in London. Hard bop eventually grew to restrictive for Harriot and he proceeded to become an underground legend within free jazz. Vandermark, along with Jeb Bishop on trombone and Kent Kessler on drums filled the Bottle with an impressive, dramatic spinoff on the concepts of Harriot. Though the lobby was filled with various CDs for sale, none could be found of Harriot, who, as Vandermark reiterated, “is extremely underground.”

If Vandermark’s quartet brought clarity to confusion, the sight and sounds of one man on stage made attention to detail a bit easier. Gargantuan tenor saxophonist Evan Parker brought harsh silence to the audience, which seemed too focused on directing their energy towards the stage to even bother shuffling their feet much less ordering a beer. The tone emanating from Parker’s saxophone was indescribably blissful and emotional and he would shine even brighter Saturday night, in a variety of improvised duets.

A series of five to ten minute improvisations by mixed duets within and without the evening’s cast of performers offered some of the most awe- inspiring sounds of the festival. The Dutch duo of Peter van Bergen (playing a giraffe-like contrabass clarinet), and b-flat clarinetist Ab Baars, overwhelmed not only the crowd but also themselves as their improvisation flourished to a sudden end and embrace. Baars then embarked on a more modal adventure with fellow Dutch reedsman, Peter Van Bergen. Evan Parker teamed up with veteran Joe McPhee expressing bright waves of music through sheets of sound on their duelling saxes.

Andrew Cyrille brought not only his lyrical brand of percussion to the festival, but also his experience as a university professor in California, giving a history lesson of sorts before each solo composition he performed on drums. Kenny Clarke, who was the main innovator of the improvisational bop style of drumming in the late 40s, had worked with Cyrille, and he did not hide the influence and guidance Clarke adorned him with. After closing his mindblowing set with an invite to Evan Parker to “blow for Art Blakey” on the original “Rhythmical Space,” he left with only one question. “Doesn’t everybody want a drum kit now?” Most would settle for half the rhythm and brilliance he displayed.

For American jazz artists it has been a priviledge to play to the appreciative audiences of Amsterdam since Miles Davis made an exodus with Kenny Clarke in the late 50s and eventually spent some time recording with various Dutch combos. Thanks to various grants from the Hague and the Netherland-America Foundation in New York, the Empty Bottle was very lucky to give its patrons the opportunity to hear the incredible talent emerging today from Holland. In addition to performances by Ab Baars, those who stuck it out until the end were fortunate to hear the Clusone Trio. Following a book release party for Kevin Whitehead’s “New Dutch Swing,” the Clusonians represented exhibit A. Led by veteran drummer Han Bennink, they were possibly the most colorful act of the weekend as far as timbre, diversity, and personality goes. Augmented by American alto saxist Michael Moore and cellist Ernst Reijseger, the Clusone Trio went anywhere and everywhere their predecessors dare go and beyond, dabbling in swing and bop while dangling on the jagged edge of improvisation.

Chicago was once the hub of the expressive and eclectic improvised works of the Art Ensemble, Sun Ra and others. However, the recent resurgence of interest in the form which began in New York City in the early 90s and is again gaining prominence in Chicago. Whereas the eight day improvisatory extravaganza known as the Vision Festival takes place in late May in Greenwich Village for $20 per day, it is incredibly fortunate to have a three day festival (at about half the price) at an intimate venue in our own Ukrainian Village. You needn’t wait till next year’s festival or fly out to New York to sample or indulge in free jazz and improvised music. Recommended for anyone with an interest in creative improvisation are the Empty Bottle’s weekly Chicago Improvisers Series, nearly all of the weekend engagements at Rituals, and the Steppenwolf Theater’s Traffic Series.

———-

Ken Vandermark and Friends
Taking a weekly trip into improvisation.
Friday May 04, 2001. by Andy Sternberg

Chicago has always been noted for its regional contributions to the birth and development of jazz in the 1920s. However, it is impossible to ponder jazz history without considering the Art Ensemble of Chicago and Sun Ra. Also, the evolution of the Association for the Advancement of Creative Musicians (AACM) and similar Chicago based proponents of avant-garde jazz in the 1960s that have stretched the envelope of modern jazz above and beyond anywhere NASA ever dared to go. Today, this head-turning, freeform music style is as fresh as ever, and the strongest vindicators of this idiom can be witnessed weekly at Chicago’s own Empty Bottle.

Though predominantly known for a mellow atmosphere, loud rock ‘n’ roll, and reasonably priced beer, one of the more elusive gems offered at Bruce Finkelman’s Empty Bottle can be shared by those who journey out midweek to look and listen. What exactly is there to do on a Tuesday night anyway? Since late 1996, Tuesday nights have maintained the Bottle’s reputation for both beligerence and comfort with the innovative wizardry of the Vandermark 5.

Featuring Ken Vandermark on saxes and bass clarinet (DKV Trio, NRG Ensemble, Crown Royal), Mars Williams on tenor sax (Liquid Soul, NRG Ensemble), and Jeb Bishop on trombone and electric guitar, the Vandermark 5 has a range of side projects and creative variances that are woven within and without the compositions they perform. Rounded out by the venerable rhythm section of Kent Kessler on bass and Tim Mulvenna on drums, the group is able to reel off Vandermark’s complex tunes with a feeling that lends to the brilliance and oneness of collective improvisation. They play several compositions from their 1997 release on Chicago’s Atavistic label, Single Piece Flow , including “Limited Edition,” a seemingly mellow 6/8 blues beginning with a bowed bass vamp. However, like many of the songs one is likely to hear at a Tuesday night Vandermark 5 session, any predictability that “Limited Edition” begins with succumbs to the collectively morphing outward boundaries of the players and their instruments. A screeching duel takes place between the reeds of Williams and Vandermark, the drums gradually take on a rock feel in an odd rhythm, and Bishop caps the entire escapde with a blistering, distorted guitar solo. Music is also performed from the quintet’s upcoming album, expected in stores by late spring, which Vandermark considers some of the freshest music he has ever recorded with any ensemble.

When you visit the Empty Bottle on a Tuesday night, you can expect an incredibly relaxing and musically rewarding evening. The rock stage is left in the background and the musicians join the audience on the floor, surrounded by couches. For only three dollars you can clear your mind of midweek stress and have the opportunity to see one of Chicago’s most innovative and talented bands.

——-

Duke Ellington International Conference
Friday May 04, 2001 by Andrew Sternberg

Few musicians are appreciated around the world as greatly as Edward Kennedy “Duke” Ellington. While many of his compositions are instantly recognizable and reason enough for celebration, it is his impressive music, life, and legacy that attracted musicians, scholars and fans worldwide to the 16th annual Duke Ellington International Conference May 6-10 in Chicago.

The conference served not only as a means for discussing and expanding upon Ellington’s music, but also as a festive tribute to his accomplishments and legacy. In addition it spotlighted the relevance of Chicago to his career. Though Duke “paid rent in New York City, he was truly a citizen of the world,” Stanley Dance once proclaimed, and his love affair with Chicago began with an engagement at the Savoy Ballroom in 1930. He returned countless times. Following Ellington’s passing, 11 prominent Chicago-based music scholars, including Gunther Schuller and Dick Buckley, developed the Ellington Study Group. From this group the reality of the Ellington International Conference was born. This year the conference returned to its birthplace for the second time in 16 years.

The five-day conference drew scholars, media, and Duke aficionados from around the world, and took them on a tour from the South Side neighborhoods historic for jazz, to Joe’s Be-Bop Café on Navy Pier, Symphony Center, the Art Institute and elsewhere. Famous jazz historian Gunther Schuller lectured on Duke’s innovations in composition, which were often 20 years ahead of their time. Poet Gwendolyn Brooks and guitarist Kenny Burrell spoke as well, in addition to international historians, teachers, and Ellington alumni. The more adventurous could hear Burrell pay musical tribute to Duke throughout his week-long stint at the Jazz Showcase.

The highlight of the weekend was undoubtedly Friday night’s performance of Ellington’s musical, “My People.” It was performed only once previously, as Ellington’s presentation at the Century of Negro Progress Exposition at the Arie Crown Theatre in 1963. Duke considered this major concert production one of the most important events in his life. Not only was the 1998 production a worthy tribute to Duke’s life, music, and cultural significance, it was so impressive that it could have been a long-running musical.

“My People,” was not easily staged. In fact, with only parts of the manuscript preserved on a truncated recording of the musical, noted transcriber Charlie Harrison had little resource for translating the original tapes to paper. With the help of Duke’s granddaughter, Mercedes Ellington, who redeveloped the choreography, the making of “My People” became an inspiration for all involved, culminating in a one night stand at the New Regal Theater. “It recalls the enormous sense of pride we all felt at being associated with such a magnificent composition and such an important figure as Duke Ellington,” proclaimed production coordinator Barbara Wright Pryor, a cast member in both the 1963 and 1998 performances.

The eloquently renovated New Regal Ballroom, at 79th and Stony Island, was sold out for the performance of “My People.” Beginning promptly at 8, the mostly black-tie wearing audience was treated to an opening set by the DownBeat Upstarts; an educational outreach program developed in the Spring of 1997 by Leslie Lowrey. Although this ensemble of South Suburban high-schoolers had only played together for one year, director Dave Griesemer helped to re-create the full, hot sound of Ellington’s orchestras. With Shawn Johnson deftly emulating Cootie Williams’ vibrato on “Concerto for Cootie,” and Tiffany Anderson’s graceful solo on “Prelude to a Kiss,” these students were adept soloists at their instruments and deserved the solid standing ovation they received at the end of their set.

After an intermission, it was immediately apparent that the audience was in for a treat. The rising curtain revealed a 16-piece orchestra, and the conga-based work song “Jungle Triangle” began the festivities. Seemingly nude dancers streamed across the stage in flesh-colored leotards. They were soon joined by a silhouette of monstrous figurines, which gradually morphed into members of the Leigh Morris Chorale dressed in assorted work-clothes on a scaffold with symmetrical staircases.

“From slum to song, our hearts beat as one,” sang Barbara Wright Pryor, after reading from a book of rhyme on a quest to find reason in good heritage. This diversion from the opening gospel-like numbers created a festive childlike ambience among the young dancers. Duke’s personality became omnipotent as a disco-ball dropped and a celebration began to a tune containing a ‘Duke of Earl” style vocal bass solo. The cast danced in pairs as chants of freedom erupted from within the orchestra’s most upbeat number of the night. It was bone-chillingly obvious that this must be one of the most important and special creations of Ellington.

The stage cleared to a crackling record of Duke declaring, “My people… building America into the most powerful nation…. Cotton… Sugar… My people were at the front lines for the first time, the Spanish American War…. A hero is a symbol of glamour and glamour is attractive.” It is no secret that “My People” was an ode to Martin Luther King Jr. and a pervasive statement on civil rights. The album was recorded on the same day as the March on Washington, and Ellington actually traded a manuscript of the concert for a plaque from King himself.

The performance continued with dramatic yet playful blues numbers, theoretically an ode from Ellington to the philosophies of W.C. Handy. “The blues is a one-way ticket from your love to nowhere,” repeated Lucius Bell, Jr. in “Blues at Sundown,” part of a medley of classic blues style choruses he traded with Roberta Thomas. The stage once again transformed into a showcase of workers of all trades and professions, belting out “King Fit the Battle of Alabam’,” a gospel-style number accented by the tribal rhythms of the bass, conga, and cymbal.

The performance closed with the spoken vignette, “Purple People-Green People,” in which Mercedes Ellington echoed her grandfather’s original thoughts concerning the unnecessary cruelty of war. Eventually, she reiterates, both sides lose and whether purple or green, “the blood is all red.” The finale consisted of rhetorical questions asked by Joya Sherill, playing the same role as she did in the original performance 35 years prior. “What color is virtue, what color is love, what does karma have to do with behavior?” she wondered aloud. The centennial celebration of the birth of Duke Ellington had just begun and will continue for the next year and a half at various locations including the Smithsonian in Washington, DC and the Lincoln Center in New York.