Les rares femmes au pouvoir, dans l'entreprise ou en politique, ont longtemps été considérées avec méfiance. Suspectes "d'être pire que les hommes", d'avoir réussi grâce à une promotion canapé, d'avoir de l'ambition, un gros mot pour le sexe faible. Les réflexes conditionnés ont la peau dure mais ils évoluent au nom du principe de réalité. …
Kerry James Marshall is a contemporary painter whose work explores the complex effects of the Civil Rights movement on the everyday life on African Americans. Through narrative scenes that draw both from history and the artist’s own life, Marshall delves into obscure moments and objects important to contemporary and past black culture. His work is likewise concerned with the tradition of Western painting, and the notion of mastery, authorship, and the erasure of black bodies throughout art history. …
The Kansas City swing blues of the Sweet Baby Blues Band is very difficult not to enjoy. Jeannie Cheatham's exuberant vocals (propelled by her forcefully swinging piano) inspire the many soloists on the blues-oriented material, and there is plenty of variety in tempo and feeling to keep this set continually interesting. Among the main soloists are ageless trumpeter Snooky Young, tenorman Rickey Woodard (making his debut on clarinet on two cuts), and guest altoist Hank Crawford, who sits in on four songs.
This CD reissue brings back a rare Swingville session that matches together the trumpets of Harold "Shorty" Baker and Doc Cheatham. At the time Baker, a veteran of Duke Ellington's Orchestra, was much better-known and his soft tone and lyrical style often takes honors on this blowing date with pianist Walter Bishop, Jr., bassist Wendell Marshall and drummer J.C. Heard. For Doc Cheatham, then 55 and (unknown to everyone) only at the halfway mark of his career, this was just his second opportunity to lead a record date, 11 years after an obscure session in France. The results of this meeting are generally quite friendly rather than combative with Cheatham's Dixielandish phrasing sounding slightly old-fashioned next to Baker. They perform appealing swing-oriented material and sound fine in their many tradeoffs.
For their sixth Concord recording, there was a major change in the personnel of the Cheathams' Sweet Baby Blues Band. Jimmie Noone, Jr. had passed away, and his replacement was the popular tenor Rickey Woodard, who on this set also plays some effective alto and clarinet (the latter on "Buddy Bolden's Blues"). But Woodard is only one of a bunch of colorful soloists, which include pianist/singer Jeannie Cheatham, Jimmy Cheatham on bass trombone, altoist Curtis Peagler, Snooky Young and Nolan Smith on trumpets, baritonist Dinky Morris and guest Frank Wess on tenor and flute. With bassist Red Callender and drummer John "Ironman" Harris keeping the ensembles swinging and driving, this is a particularly memorable set..
This matchup between trumpeters Doc Cheatham (91 at the time) and Nicholas Payton (just 23) is quite logical and delightful. Cheatham, one of the few survivors of the 1920s, was still in remarkably fine form, while Payton (a flexible New Orleans player capable of ranging from Dixieland to Freddie Hubbard) is both respectful and inspiring. With Doc contributing occasional vocals and the settings ranging from a quartet to an octet with clarinetist Jack Maheu and pianist Butch Thompson, the brassmen explore a variety of 1920s and '30s standards, including a couple of obscurities ("Do You Believe in Love at Sight?" and "Maybe"). The interplay between the co-leaders, the many subtle tributes to Louis Armstrong, and the consistent enthusiasm of this swinging set make this a historic success and a very enjoyable outing.
These two major French composers abound with evocations to nature, to poetry, and immerse us in a universe of ephemeral sound images.