Never . . .

. . . fail you. . .

Round every corner and fade into blue
The Angelus rings, she comes into view
Nine is her number
In nine she is due
She will never fail you

Singing creation, look into her eyes
Out of her mouth she is speaking the sky
Circling heaven, higher than high
She in time is movement

Why should I move from her world vibration?
Molding this clay into
Paleolithic Goddess Figurines

Streaming to rivers, she floats on the sea
Gathers her children who sit on her knee
Showing and telling them where they are free
She is softly speaking

Holding the line when she seems unpleasant
Molding this clay into
Paleolithic Goddess Figurines

There is no real dilemma
She has her own agenda
Though there's a vulture hovering above our heads
Go on and trust the pattern
Her sun and moon are lanterns
Painting the firmament with stars

She is the vision of attention engaged
Breaking the spell of automaton rage
A circuit of heaven, a luminous wave
All is seen before her

Why should I move from her world vibration?
Molding this clay into
Paleolithic Goddess Figurines

Round every corner and fade into blue
The Angelus rings, she comes into view
Nine is her number
In nine she is due
She will never fail you

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Stuff . . .

(http://www.billboard.com/articles/news/5812320/gene-kellys-singin-in-the-rain-suit-up-for-sale)
A memorabilia collector is selling the gray wool suit Gene Kelly wore as he joyously danced in a downpour in the Hollywood musical "Singin' in the Rain."

The suit is expected to sell for more than $20,000 when Heritage Auctions offers it up Friday in Dallas. Memorabilia collector Gerry Sola has had the suit for more than four decades after buying it for $10 at a 1970 sale of MGM props and wardrobe items following the sale of the studio to financier Kirk Kerkorian.

"I think it's one of these pieces that people are really excited to see go up on the block," said Margaret Barrett, director of the entertainment and music memorabilia department at Heritage Auctions. "Even if you've never seen this movie, you probably know the scene. You've seen Gene Kelly dancing around, singing in the rain, swinging on that lamp post."



(from http://www.rollingstone.com/music/news/bob-dylans-newport-guitar-sells-for-nearly-a-million-bucks-20131206#ixzz2n4N8FrP3)
Epic rock memorabilia brings epic money: Bob Dylan's sunburst Fender Stratocaster, first unsheathed at the 1965 Newport Folk Festival, sold at auction for a record-breaking $965,000 on Friday, according to the Associated Press.

Dropping nearly a cool million on an axe might seem excessive, but this guitar is one of the most iconic instruments in music history. Dylan's three-song Newport performance is the stuff of legend: Many folk diehards booed the set, viewing the switch to amplified rock as a sell-out (and labeling Dylan a traitor to the folk movement).

Despite the historical importance of the instrument, Christie's auction house wasn't expecting such a massive price: pre-auction estimates for the guitar (which also included the original leather strap and hardshell case) were between $300,000 and $500,000. Within the case itself was another hidden gem: early-draft lyrics to three Dylan tunes ("Absolutely Sweet Marie," "I Wanna Be Your Lover" and two others). Those pieces were estimated between $3,000 and $30,000 by the auction house.

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Let Me Count. . .

. . . the alternatives. . .

(from http://www.noneexist.com/preachingtothechoir/index.htm)
“Kicking at an open door?”
“Giving the fish swimming lessons?”
“Recruiting your own members?”
“Persuading the convinced?”
“Convincing fish to swim?”
“Cheering to the pep squad?”
“Lecturing to the faculty?”
“Singing to the band?”
“Selling tuxedos to penguins?”
“You’re trying to open an open door.”
“Lighting the lamp at noon?”
“Explaining logic to Vulcans?”
“Selling whiskey to Jack Daniels?”
“Purring with the cats?
“Carrying coals to Newcastle?”
“Selling milk to a cow?”
“Teaching dogs to bark?”
“Calling your baby cute?”
“Campaigning to the convention?”
“Teaching monkeys how to eat bananas?”
“Campaigning to the candidate?”
“You’re selling past the close.” Or “Selling past the close?”
“Selling to the sold?”
“Flashing the nudist colony?”
“Seducing the willing and eager?”
“Kicking at an open door?”
“Giving the fish swimming lessons?”
“Recruiting your own members?”
“Persuading the convinced?”
“Convincing fish to swim?”
“Cheering to the pep squad?”
“Lecturing to the faculty?”
“Singing to the band?”
“Selling tuxedos to penguins?”
“You’re trying to open an open door.”
“Lighting the lamp at noon?”
“Explaining logic to Vulcans?”
“Selling whiskey to Jack Daniels?”
“Purring with the cats?
“Carrying coals to Newcastle?”
“Selling milk to a cow?”
“Teaching dogs to bark?”
“Calling your baby cute?”
“Campaigning to the convention?”
“Teaching monkeys how to eat bananas?”
“Campaigning to the candidate?”
“You’re selling past the close.” Or “Selling past the close?”
“Selling to the sold?”
“Flashing the nudist colony?”
“Seducing the willing and eager?”

What do you think?
Tell me at
http://www.rayjozwiak.com/guestbook.html

My latest release, Black & White Then Back,
can be downloaded digitally at:

(or you can copy-and-paste this URL directly to
your browser:  http://www.cdbaby.com/cd/rayjozwiak3)

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The man. . .

in Black. . .

Johnny Cash was born in Kingsland, Arkansas, the fourth of seven children to Ray Cash (May 13, 1897, Kingsland, Arkansas – December 23, 1985, Hendersonville, Tennessee) and Carrie Cloveree Rivers (March 13, 1904, Rison, Arkansas – March 11, 1991, Hendersonville, Tennessee). Cash was named J. R. Cash because his parents couldn't think of a name. When Cash enlisted in the Air Force, they wouldn't let him use initials as his name, so he started to use the legal name John R. Cash. In 1955, when signing with Sun Records, he took Johnny Cash as his stage name.

The Cash children were, in order: Roy, Margaret Louise, Jack, J. R., Reba, Joanne and Tommy. His younger brother, Tommy Cash, also became a successful country artist.

In March 1935, when Cash was three years old, the family settled in Dyess, Arkansas. He started working in cotton fields at age five, singing along with his family simultaneously while working. The family farm was flooded on at least two occasions, which later inspired him to write the song "Five Feet High and Rising". His family's economic and personal struggles during the Great Depression inspired many of his songs, especially those about other people facing similar difficulties.

Cash was very close to his older brother, Jack. In May 1944, Jack was pulled into a whirling head saw in the mill where he worked and was almost cut in two. He suffered for over a week before he died on May 20, 1944, at age 15. Cash often spoke of the horrible guilt he felt over this incident. According to Cash: The Autobiography, his father was away that morning, but he and his mother, and Jack himself, all had premonitions or a sense of foreboding about that day, causing his mother to urge Jack to skip work and go fishing with his brother. Jack insisted on working, as the family needed the money. On his deathbed, Jack said he had visions of heaven and angels. Decades later, Cash spoke of looking forward to meeting his brother in heaven.

Cash's early memories were dominated by gospel music and radio. Taught by his mother and a childhood friend, Cash began playing guitar and writing songs as a young boy. In high school he sang on a local radio station; decades later he released an album of traditional gospel songs, called My Mother's Hymn Book. He was also significantly influenced by traditional Irish music that he heard performed weekly by Dennis Day on the Jack Benny radio program.

Cash enlisted in the United States Air Force on July 7, 1950. After basic training at Lackland Air Force Base and technical training at Brooks Air Force Base, both in San Antonio, Texas, Cash was assigned to a U.S. Air Force Security Service unit, assigned as a Morse Code Intercept Operator for Soviet Army transmissions at Landsberg, Germany "where he created his first band named The Landsberg Barbarians." He was the first radio operator to pick up the news of the death of Joseph Stalin.] After he was honorably discharged as a Staff Sergeant on July 3, 1954, he returned to Texas.

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One of the many . . .

. . . problems we face as a society today . . .

(from THE TAO OF POOH by Benjamin Hoff, © 1982 by Benjamin Hoff)
". . . The hardheaded followers of the previously mentioned Party-Crashing Busybody religion failed to appreciate the beauty of the endless forest and clear waters that appeared before them on this fresh green continent of the New World.  Instead, they saw the paradise that was here and the people who lived in harmony with it as alien and threatening, something to attach and conquer-because it all stood in the way of the Great Reward.  They didn't like singing very much, either . . . "

". . . Anyway, from the Miserable Puritan came the Restless Pioneer, and from him, the Lonely Cowboy, always riding off into the sunset, looking for something just down the trail.  From this rootless, dissatisfied ancestry has come the Bisy Backson, who, like his forefathers, has never really felt at home, at peace, with this Friendly Land.  Rigid, combative fanatic that he is, the tightfisted Backson is just too hard on himself, too hard on others, and too hard on the world that heroically attempts to carry on in spite of what he is doing to it . . . "

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Everybody digs. . .

William John Evans, known as Bill Evans (August 16, 1929–September 15, 1980)

His use of impressionist harmony, inventive interpretation of traditional jazz repertoire, and trademark rhythmically independent, "singing" melodic lines influenced a generation of pianists. He is considered by some to be the most influential post-World War II jazz pianist. Evans had a distinct playing style in which his neck would often be stooped very low, and his face parallel to the piano.

Evans's first professional job was with sax player Herbie Fields's band, based in Chicago. During the summer of 1950, the band did a three-month tour backing Billie Holiday, including East Coast appearances at Harlem's Apollo Theater and shows in Philadelphia, Baltimore, and at Washington D.C.'s Howard Theater. In addition to Fields and Evans, the band included trumpeter Jimmy Nottingham, trombonist Frank Rosolino and bassist Jim Aton. Upon its return to Chicago, Evans and Aton worked as a duo in Chicago clubs, often backing singer Lurlean Hunter. Shortly thereafter, Evans received his draft notice and entered the U.S. Army. After his army service, Evans returned to New York and worked at nightclubs with jazz clarinetist Tony Scott and other leading players. Later, he took postgraduate studies in composition at the Mannes College of Music, where he also mentored younger music students.


Working in New York in the 1950s, Evans gained recognition as a sideman in traditional and so-called Third Stream jazz groups. During this period he had the opportunity to record in many different contexts with some of the best jazz musicians of the time. Seminal recordings made with composer/theoretician George Russell, including "Concerto for Billy the Kid" and "All About Rosie," are notable for Evans's solo work. Evans also appeared on notable albums by Charles Mingus, Oliver Nelson, Tony Scott, and Art Farmer. In 1956, he made his debut album, New Jazz Conceptions, featuring the original version of "Waltz for Debby," for Riverside Records. Producer Orrin Keepnews was convinced to record the reluctant Evans by a demo tape guitarist Mundell Lowe played to him over the phone.

In 1958, Evans was hired by Miles Davis, becoming the only white member of Davis's famed sextet. Though his time with the band was brief (no more than eight months), it was one of the most fruitful collaborations in the history of jazz, as Evans's introspective approach to improvisation deeply influenced Davis's style.

At the turn of the decade, Evans led a trio with bassist Scott LaFaro and drummer Paul Motian. This group was to become one of the most acclaimed piano trios — and jazz bands in general — of all time. With this group, Evans's focus settled on traditional jazz standards and original compositions, with an added emphasis on interplay among the band members that often bordered on collective improvisation, blurring the line between soloist and accompanist. The collaboration between Evans and the young LaFaro was particularly fruitful, as the two achieved a remarkable level of musical empathy. The trio recorded four albums: Portrait in Jazz (1959); and Explorations, Sunday at the Village Vanguard, and Waltz for Debby, all recorded in 1961. The last two albums are live recordings from the same recording date, and are routinely named among the greatest jazz recordings of all time. In 2005, the full sets were collected on the three-CD set The Complete Village Vanguard Recordings, 1961. There is also a lesser-known recording of this trio, Live at Birdland, taken from radio broadcasts in early 1960, though the sound quality is poor.

(from Wikipedia.com)

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