Wednesday, 20 June 2018

90th birthday of Eric Dolphy

(Born 20 June 1928, Los Angeles, US)
Multiinstrumentalist genius – alto saxophone, clarinet, bass clarinet, flute, bassoon, oboe… – whose compositions, recordings and evocative soloing with any chosen instrument in his own multicombo-led settings and across a range of collaborative ensembles (especially those led by drummers Chico Hamilton and Max Roach, alto saxophonist Ornette Coleman, pianists George Russell and Andrew Hill, tenor and soprano saxophonist John Coltrane and bassist Charles Mingus) have a distinctly recognisable Dolphyian signature and impacted the jazz repertoire most profoundly
(Eric Dolphy Quartet, “Red planet” [personnel: Dolphy, alto saxophone; Herbie Hancock, piano; Eddie Khan, bass; JC Moses, drums; recorded: live, University of Illinoi, Champaign, Illinoi, 10 March 1963])
(Eric Dolphy Duo, “Alone together” [personnel: Dolphy, bass clarinet; Richard Davis, double bass; recorded: Fuel Records, New York, US, {May?June?July?} 1963])
Twitter @HerbertEkweEkwe


Tuesday, 19 June 2018

Igbo genocide and this gripping irony of our times


Herbert Ekwe-Ekwe

IF THE executioner Fulani islamist/jihadist-led genocidist regime on the ground in Nigeria that has carried out the Igbo genocide with such fiendishness these past 52 years were of European descent (bekee, oyibo, tubaab... ) and not African, there would have been a thundering outrage and expansive campaign against this perpetrator with hollering of “racist”, “fascist”, “exclusivist”, “supremacist”, “occupationist”, “b***** c******* o********”, “imperialist”… mounted across the rest of the world, particularly from the African World – continental Africans, Africans in Europe, Africans in the Americas, Africans in Asia, Africans in Australasia. 

Thus, as far as African critical opinion is concerned, despite its wide geographical spread, Africa’s state-organised mass murderers who slaughter an African people in Africa, it would appear from this devastating history of five decades, can literally get away with murder.

YET the Igbo genocide by the Fulani & co and other Africa-based state/estate’s horrendous crimes against African peoples and nations are distinct empirical determinants of those haunting lines sketched in historian Chancellor Williams’s commanding insight of Africa’s devastating history as shown here:
Now the shadows lengthened. The Europeans had also been busily building up and training strong African armies. Africans trained to hate, kill and conquer Africans. Blood of Africans was to sprinkle and further darken the pages of their history … Indeed, Africa was conquered for the Europeans by the Africans [themselves], and thereafter kept under [conquest] control by African police and African soldiers. Very little European blood was ever spilled(Chancellor Williams, The Destruction of Black CivilizationThe Great Issue of a Race between 4500BC and 2000AD [Chicago: Third World, 1995], p. 218.)
(John Coltrane Sextet, “Out of this world” [personnel: Coltrane, tenor saxophone; Donald Garrett, clarinet, bass; Pharoah Sanders, tenor saxophone; McCoy Tyner, piano; Jimmy Garrison, bass; Elvin Jonesdrums; recorded: live at Penthouse Jazz Club, Seattle, US, 30 September 1965])
Twitter@HerbertEkweEkwe 

Friday, 15 June 2018

96th birthday of Jaki Byard

(Born 15 June 1922, Worcester, Mass, US)
Pianist, pianists’ pianist whose “encyclopaedic knowledge” (to quote the recurring phrase from many a critic) of the jazz piano repertoire ensures he ranges effortlessly in his solo take from the stride traditions of the 1920s-1930s (James Johnson, Willie “The Lion” Smith, Fats Waller) to the late 1940s/early 1950s revolutionary breakthroughs of Thelonious Monk and Herbie Nichols and the later flights of Cecil Taylor but still sounding Jaki Byard; academic, indelible footprints on the Charles Mingus jazz workshop – particularly the classic sextet: Mingus, bass; Johnny Coles, trumpet; Eric Dolphy, alto saxophone, bass clarinet, flute; Clifford Jordan, tenor saxophone; Byard, piano; Dannie Richmond, drums
(Charles Mingus Sextet – featuring Eric Dolphy, Live in Oslo 1964, “So long Eric” [personnel: Mingus, bass; Johnny Coles, trumpet; Dolphy, alto saxophone; Clifford Jordan, tenor saxophone; Jaki Byard, piano; Dannie Richmond, drums; recorded: live, University Aula, 12 April 1964]) 
Twitter@HerbertEkweEkwe




Thursday, 14 June 2018

Day 270 ... Genocidist Nigeria: Where is Nnamdi Kanu? Where are Nnamdi Kanu’s parents, Eze Israel Okwu Kanu and Ugoeze Nnenne Kanu?

(Nnamdi Kanu and his loving parents)
Herbert Ekwe-Ekwe

TODAY marks nine months or 270 days since the 14 September 2017 genocidist Nigeria military, led by Hausa-Fulani/islamist jihadists under Muhammadu Buhari, stormed the home of Nnamdi Kanu’s parents at Afaraukwu-Ibeku, eastcentral Biafra. Consequently, the whereabouts of Nnamdi Kanu, the leader of the Indigenous People of Biafra (constituted integrally in the Biafra freedom movement), and his parents, remain unknown. Scores of the Kanus’ relatives and friends were murdered during the assault and scores of others are still unaccounted for. 

Three thousand Igbo people have been murdered across Biafra since Buhari, who in March 2015 had been imposed on as Nigeria’s head of regime by ex-United States President Barack Hussein Obamafirst African-descent president of the US republic in 233 years of existence, and ex-British Prime Minister David Cameron, embarked on this bloodiest track of phase-IV of the Igbo genocide (13 January 1970-present day) in November 2015. After eight years in the White House and 18 months since he left office, Obama now presents a dreadful presidential legacy of zealously supporting the Igbo genocide, foundational genocide of post-(European)conquest Africa, executed on the ground by Nigeria, an islamist-led state, and its suzerain state Britain.
(http://re-thinkingafrica.blogspot.com/2017/05/on-30-march-2016-i-published-essay.html)

GENOCIDIST Nigeria, this haematophagous monster, this most beastly and serially kakistocratic and notoriously most vividly anti-African peoples state ever emplaced in Africa, surely knows that it will account for the safety of Nnamdi Kanu and his parents and take full responsibility of the consequences of that savage raid on a family home.
(John Coltrane Duo, “Mars” [personnel: Coltrane, tenor saxophone, bells; Rashied Ali, drums; recorded: Van Gelder Studio, Englewood, Cliff, NJ, US, 22 February 1967])
Twitter @HerbertEkweEkwe

Sunday, 10 June 2018

Trump and the west and the world

(Donald Trump ... president of the US: steadily dismantling post 1939-1945 war West leadership consensus...)
Herbert Ekwe-Ekwe

IN THE wake of the just concluded captivating G7 summit in Charlevoix, Canada, it is evident that anti-establishment US President Donald Trump is steadily dismantling that post 1939-1945 war cosily predictable West leadership consensus that has since run most of the world including, particularly, Africa. The consequences of this development are surely immense and varied and will be discussed and analysed and discussed and analysed… As the cliché goes, watch this space!
(The New York Contemporary Five, “Consequences” [personnel: Archie Shepp, tenor saxophone; Don Cherry, pocket trumpet;  John Tchicai, alto saxophone; Don Moore, bass; JC Moses, drums; recorded: live, Jazzhus Montmarte, Copenhagen, Denmark, 15 November 1963])
Twitter @HerbertEkweEkwe


Saturday, 9 June 2018

141st birthday of Meta Vaux Warrick Fuller

(Born 9 June 1877, Philadelphia, US)
ONE of African America’s preeminent renaissance artists: sculptorpainterpoet
(The New York Contemporary Five plays Ornette Coleman’s composition, “When will the blues leave?” [personnel: Archie Shepp, tenor saxophone; Don Cherry, pocket trumpet;  Tchicai, alto saxophone; Don Moore, bass; JC Moses, drums; recorded: live, Jazzhus Montmarte, Copenhagen, Denmark, 15 November 1963])
Twitter @HerbertEkweEkwe

Friday, 8 June 2018

Mmuo Biafra a biakwa! Genocidist Nigeria abandons its desperate, contemptible drive since 1999 to erase 29 May 1966, day of its launch of the Igbo genocide, from history


Herbert Ekwe-Ekwe

AS I show in the essay in the following link (http://re-thinkingafrica.blogspot.com/2015/05/blog-post_7.html), 
genocidist Nigeria, in 1999, declared 29 May of the year its “democracy day” as an additional tool in its murderous arsenal to deny and erase 29 May 1966, day it and co-genocidist state Britain launched the Igbo genocide, from history and public consciousness. Twenty-nine years earlier, 1970, soon after its end of phases I-III of the genocide (12 January 1970), murdering 3.1 million Igbo people, the genocidists had abolished the teaching of history in its schools as the key feature of this denialist project.

Failed mission

Two reasons account for the génocidaires’ abandonment of their 29 May so-called democracy day on 6 June 2018: 

1. The indefatigably resilient tenor of the politics of the Biafra freedom movement with its heightened, pinpointed focus on the dates of 29 May and 30 May (Heroes Day) on the Biafra calendar, particularly in these last three years of the jihadist Muhammadu Buhari-led regime, has so saturated the news cycle every month of May since that it makes nonsense of the denialist theatrics of Nigeria’s 29 May “democracy day”.

2. The génocidaires high command is currently ravaged by a grave crisis not seen in at least 30 years, exacerbated, pointedly, by the devastatingly parallel murder campaigns by the jihadist terrorists Fulani militia and Boko Haram (2 of the 5 deadliest terrorist organisations in the world) in Nigeria’s northcentral, northeast and the eastcentral Benue valley regions. These terrorists are allied more ideologically to the Fulani wing of the genocidist amalgam led by Buhari. Olusegun Obasanjo, a Yoruba, but a very influential member of the high command who crucially supported ex-US President Obama and ex-British Prime Minister Camerons imposition of Buhari as head of regime in March 2015, has informed Buhari that he won’t now endorse a “continuation” of the latter’s regime beyond March 2019. It was Obasanjo, as head of regime, who had decreed 29 May as “democracy day” back in 1999. Buhari’s abrogation of 19 years of regime status placed on this date is therefore an embittered response to Obasanjo’s decision not to back his post-2019 leadership ambitions.

IN yet another act in these génocidaires’ bizarre enchantment to the theatre of “democracy day”-declarations, Buhari, just as Obasanjo, has himself decreed 12 June as the latest Nigeria’s “democracy day” – a desperate, cruedly opportunistic  attempt by Buhari to appeal to the wider Yoruba population for support for 2019 as 12 June itself is a day of remembrance in Yoruba history.

(Jaki Byard Trio, “Trendsition zildjian” [personnel: Byard, piano; David Izenzon, bass; Elvin Jones, drums; recorded: Prestige, New York, US, 31 October 1967])

Twitter@HerbertEkweEkwe