(from http://www.concordmonitor.com/Azzi-Trump-media-coverage-U-S-politics-1979775.aspx)
". . .‘It’s a universal law – intolerance is the first sign of an inadequate education,” Aleksandr Solzhenitsyn wrote. “An ill-educated person behaves with arrogant impatience, whereas truly profound education breeds humility.”. . . a sad reflection of the state of politics and education in America. Such is the result, too, of a media more obsessed with celebrity and acceptance than with representing the interests of civil society. . . Of a media more engaged with style than substance, profits than policy, access than accuracy. At a time where the political barbarism of Donald Trump – the original “Birther” who fed the anti-Obama movement from the beginning – has given license to his followers to engage in delusionary, racist rhetoric against women and whole communities of minority Americans, the press chose to treat Trump-ism as a soap-opera phenomena rather than as a challenge to American values. That there are Americans who are today celebrating the anointment of a charismatic professional bully, serial liar, misogynist, xenophobic demagogue who divides through hatred in order to conquer is not only the result of eight years of a nativist, racist revival movement but proof that a nation created on the promise of Life, Liberty and the pursuit of Happiness still has a long way to go to fulfill its promise to all its citizens. . . The very media that failed us after 9/11, that failed us during Afghanistan and Iraq and the so-called “War on Terror,” and later failed to directly confront institutional corruption, corporate oligarchs and ruling elites. Now, they have failed to directly confront the rise of nativism, white nationalism, bigotry and racism that followed President Obama’s election. . ."
My latest solo offering, No Frills, is now available at - No Frills
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
“. . . his unique and cutting edge jazz style in spades. Although very difficult to pigeon-hole and self-admittedly unique to any genre, his style is at once esoteric yet melodic and demands the listener to really pay attention. His writing takes you on jazz journeys that take you to places you never expected to go and make Ray an interesting listen. I like to call this “Brandy Music”, cause it goes so well with a snifter in hand. . . 3 of 4 Martinis!!”
OHO's "Ocean City Ditty," the CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD) OHO is Jay Graboski, David Reeve & Ray Jozwiak. Please Visit http://www.ohomusic.com
My latest solo offering, Just More Music by Ray Jozwiak, featuring original, instrumental piano music is now available at - Just More Music by Ray Jozwiak
(To Access all Ray Jozwiak - Gonzo Piano music you can copy-and-paste this URL directly to
your browser: http://http://www.cdbaby.com/Artist/RayJozwiak)
Jazz originated in the late nineteenth century in the Southern United States combining some European harmony and forms with African musical elements such as blue notes, improvisation, polyrhythms and syncopation.
As it spread many distinctive styles evolved such as New Orleans jazz dating from the early 1910s, big band swing, Kansas City jazz and Gypsy jazz from the 1930s and 1940s, bebop from the mid-1940s, Afro-Cuban jazz, West Coast jazz, ska jazz, cool jazz, Indo jazz, avant-garde jazz, soul jazz, modal jazz, chamber jazz, free jazz, Latin jazz, smooth jazz, jazz fusion and jazz rock, jazz funk, loft jazz, punk jazz, acid jazz, ethno jazz, jazz rap, cyber jazz, M-Base and nu jazz.
Louis Armstrong said to Bing Crosby on the latter's radio show, "Ah, swing, well, we used to call it syncopation, then they called it ragtime, then blues, then jazz. Now, it's swing. Armstrong also said, "If you have to ask what jazz is, you'll never know. In a 1988 interview, jazz musician J. J. Johnson said, "Jazz is restless. It won't stay put and it never will". Ellington said, "By and large, jazz has always been like the kind of a man you wouldn’t want your daughter to associate with."
OHO's
"Ocean City Ditty," the
CD single is now available at http://www.cdbaby.com/cd/oho4
(and, if
you're in town, at Trax On Wax on Frederick Rd. in Catonsville, MD)
My latest solo release, '2014', can be downloaded digitally at:
(or you can copy-and-paste this URL directly to
your browser: http://www.cdbaby.com/cd/rayjozwiak4)
In the early 70s, the members of the wedding combo of which I was a member (Reflection, by name), thought our regeneration (after the comings and goings of members in different combos) would be more thorough with a name change and finally settled upon the catchy moniker FUL TREATMENT (yes, ONE 'L') which accurately captured our ability to navigate the crosscurrents of musical genre and essentially play ANYTHING that ANYBODY wanted. This gloriously selfless intention was more true in theory than practice, but our intentions were sincere, particularly at the start, although that facet of our existence did deteriorate somewhat in time.
Music, fun, abundant work and money were ours. Good times, as they now say. Our repertoire had evolved and developed during this period to include Bungle in the Jungle, You're So Vain, Games People Play (Jethro Tull, Carly Simon and The Spinners respectively). But then, in what seemed to be a not very long time later, Bruce (our drummer) resigned (abdicated his drum throne-pun intended). My sister, who at the time worked for the state government, had become acquainted with a young man at the office who, in addition to charming all the ladies there (including her), was a drummer. Not only was he a drummer, he was a drummer who was receptive to the idea of joining our little musical organization. His name was Jeff.
Jeff 'auditioned' and was quite impressive on many levels. He had a powerful touch, yet not without the ability to sensitively accompany a slow ballad. While not subtle, his drumming was strong, steady and something of a departure from his predecessor. We missed Bruce both personally and musically, but we welcomed Jeff and enjoyed the markedly different rhythm keeper and dynamic, debonair character that had become our drummer. I, more than the other members of the band, began spending additional amounts of personal time with Jeff, enjoying his captivating stories, his outrageous personality and his knowledge and appreciation of musical styles. Jeff and I visited many and varied drinking and eating places after gigs and I'd found that not only had the band acquired a fine new drummer, I had found a fun and fascinating new friend.
Keith, our guitarist and one of the founding members, had by this time decided to leave the band, an event that was somewhat bittersweet, as we sometimes longed for a guitarist with a different style. But he certainly possessed many good qualities, was reliable and added musicality not infrequently. Jeff had oft-times mentioned his seminary-educated, guitar-playing brother Jay who was also a founding member of a different, uniquely original music-playing organization called OHO. Jeff indicated that Jay would be interested in joining our combo in order to make some money because then, as now, local, original musicians weren't reaping great sums playing their own compositions. I had no inkling at the time that this event would influence both my music and a substantial portion of my life. But it has.
Charisma evidently ran in Jeff and Jay's family, as Jay possessed possibly even more of it than his younger, drummer brother. Jay somehow was more in control of the charisma with a certain maturity added to it, along with an additional self-confidence that may have been attributable to his age. Similar as they would appear from my description here, they were actually quite different from each other in reality. But the musical combination radically changed the performances of Ful Treatment much for the better. Jay rocked. [And still does] And following his lead, Ful Treatment rocked as well, at least on some of our repertoire, which at the time included 'You Really Got Me', 'Wild Thing', 'Needles and Pins' 'Twist and Shout' and 'Heat Wave'. We were all young and relatively carefree, and more frequently than was wise, a gig would turn into a party. . . for the band.
After a period, as always occurs in such mini-organizations, Jeff decided to leave the band. Jay was able to recruit alternate (with Jeff) OHO drummer David and, viola, the rest is history. At least it's a big part of MY musical history. Ful Treatment, in the ultimate configuration probably only played together for several years. But they were fun years.
I kept somewhat in touch with Jay in the intervening years. He always treated me to an LP or CD of things he was working on musically. Then about 2003, I read in the Baltimore CityPaper that OHO was performing at a local venue and I was determined that I would patronize same. Various associations between Jay and myself (musical showcases at Gallery G in Hampden, Mystic I) transpired. Then in early winter of 2011 Jay, David and myself (sans any saxophonist) began rehearsing for Schlongtasm 29 (a showcase of musical acts brought together each year to celebrate Airiad Records' Dan Long's birthday.) The ex-Ful Treatment rhythm section were reunited after 32 years as the latest incarnation of OHO, playing substantial amounts of original music and covers of far greater integrity . . . and of course, now infinitely wiser,
Good Times INDEED.
What
do YOU think?
http://www.rayjozwiak.com/guestbook.html
You can NOW download
your
very own copy of Ray Jozwiak's
newest release:
AMBIENCE & WINE
"David Murray was born in Oakland, California, USA. He was initially influenced by free jazz musicians such as Albert Ayler and Archie Shepp. He gradually evolved a more diverse style in his playing and compositions. Murray set himself apart from most tenor players of his generation by not taking John Coltrane as his model, choosing instead to incorporate elements of mainstream players Coleman Hawkins, Ben Webster and Paul Gonsalves into his mature style. Despite this, he recorded a tribute to Coltrane, Octet Plays Trane, in 1999. His 1996 tribute to the Grateful Dead, Dark Star, was also critically well received.
Murray was a founding member of the World Saxophone Quartet with Oliver Lake, Julius Hemphill and Hamiet Bluiett. He has recorded or performed with musicians such as Henry Threadgill, James Blood Ulmer, Olu Dara, Tani Tabbal, Butch Morris, Donal Fox, McCoy Tyner, Elvin Jones, Ed Blackwell, Johnny Dyani, and Steve McCall. David Murray's use of the circular breathing technique has enabled him to play astonishingly long phrases.
He is currently living in Sines, Portugal, and participates every year in the FMM festival, a World's Music Festival."
The list of his recordings is substantially larger. In fact, too large to reproduce here. But you can view it at http://go54321.tripod.com/dm/davidmurray.html
[Note: That's Baltimore/DC's own Lafayette Gilchrist on piano]
What do YOU think? http://www.rayjozwiak.com/guestbook.html
Download your very own copy of ANOTHER SHOT by Ray Jozwiak
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