Tuesday, April 29, 2008

More Cactus Flowers




Another bunch of cactus flowers. It's been a great spring here in the furnace:

Escobaria missouriensis:



Echinocereus dasyacanthus:





Mammillaria theresae:



Epithelantha bokei:



Echinomastus johnsonii:



Escobaria laredoi:



Escobaria minima:



Echinocereus nivosus:





Discocactus buenekeri:



Echinocereus pectinatus 'coahuilense':



Astrophytum capricorne v. senile, top and side view:





Echinocereus baileyi:



Echinocereus fitchii:



Thelocactus bicolor v. ?:

Wednesday, April 23, 2008

Alabama In Between

"Pennsylvania is Philadelphia on one side, Pittsburgh on the other and Alabama in between."

I've always heard that quote attributed to HL Mencken (or James Carville) but it turns out no one is quite sure who originally said it.

The Democratic primary reminded me of it. Listening to the execrable warblings of the shallow fatheads on NPR this morning, drumroll please, "Race was a factor in Pennsylvania." Oh my, really?

An aside: Why aren't Democrats in general blushingly proud of the fact that their party offers up both a woman and an African American? At a time when the best the Repubs can do is float yet another old white guy?

The good folks at ImprovEverywhere offer this brief meditation on race in America, set in Aspen, Colorado but just as trenchant for, say, State College, PA.

Thursday, April 10, 2008

a floral interlude

Astrophytum asterias


Echinocereus laui


Strombocactus disciformis


Echinocereus russanthus


Toumeya papyracantha


Escobaria leei


Escobaria sneedii


Mammillaria viridiflora


Echinomastus erectocentrus


Escobaria organensis


Echinocereus papillosus v. angusticeps


Closer view of E. papillosus v. angusticeps


Escobaria orcuttii v. koenigii


Escobaria guadalupensis


Thelocactus bicolor



More about Jazz soon. The culture around here has been mostly cactacean.

Friday, April 04, 2008

Tabula Rasa

In brief: Rex Harris carefully sets out the following general theory of the origin of "jazz" in his book, Jazz:

Slavery in the US completely erased African culture. "Jazz" originated from the resulting blank slate. It did not originate in other slave holding areas because those areas allowed for more African cultural expression.

This seems like an innocent enough claim, and sounds so familiar as to be nearly aphoristic. But the general thesis also lays the groundwork for Harris's fetishizing of the rough, raw, untutored, masculine, artless, nearly "savage" Black Man, who is the ideal practitioner of the only phase of the music's history Harris acknowledges as "Real Jazz." (Roughly, 1918-1938 or so). It's a double edged sword, because he does a certain justice to the outrage and inhumanity and reality of slavery, yet seems to use this same historical reality to develop an essentially racist (no matter how "positive") musicology.

This seems such a reflection of the history of people writing about the music. One reason I find Harris's book so fascinating is it's more than 50 years old, yet echoes many of the tropes encountered in current and intervening "jazz" writing. "The problem of slavery" is always dealt with in some way or another, as is "the problem of technique" and "the problem of education" and "the problem of improvisation." It's usually a fairly easy matter to uncover the bias behind a theory of the origination of improvisation as an art form born out of ignorance, necessity and a sort of romanticized/fetishized primal stupidity.

Thursday, March 27, 2008

Getting and Spending



So, over here in my corner, a sudden outbreak of employment has definitely put a pinch on blog time and on time in general. A huge ramping up of certain cactus activities also. 1,500 cactus seedlings and the beginnings of a population study for a taxon soon to be listed as endangered, for example. Plus there was Duology 4. And the visit to the poet's parents' farm/ranch in Northeast Texas. The 14,000 words of copy generated for the Santa Fe Reporter's Annual Manual special issue. By comparison, what seemed to be my "real job" teaching Algebra 1 to extraordinarily reluctant art students shifted into being a fairly pleasant, regular part of the day.

Those of you who freelance on deadline, writing or otherwise, probably know what I'm talking about. Maybe I'm drawn to freelance work because I dislike being on a schedule in the first place, or think I do. So the task at first stretches out before me, the deadline often many days away. No problem, I figure. Not liking being on a schedule leads to...not making a schedule. Then the work gets done, but under pressure and just in time. As if I actually do have a boss after all. Maybe just because I'm familiar with the pattern, I re-create it in areas where it doesn't necessarily have to manifest. Who knows?

Back to cacti. Spring has definitely settled in here, but the first wave of seedlings was sown on Thanksgiving. So there are about 500 sexy looking little plants from that. Then on February 12 I sowed two more trays, about 1000 seedlings from that.

The Echinomastus erectocentrus acunensis population out near Florence AZ started kicking flowers.







I had been keeping population data with GPS coordinates and so on for a few months and ended up forwarding the info to the chief plant ecologist at Organ Pipe Cactus National Monument (the type locality for the species). By coincidence, the US Fish and Wildlife Service was collecting data for possible listing of the plant for federal protection, and the plant ecologist there, friends with the plant ecologist at OPCNM, was lamenting that no one had been out to check on the Florence population. So the data that I put together will be included in the listing proposal. It's good to be even marginally useful without really intending it.

My own little backyard cactus farm has been showing a lot of flowers already as well.





The trips to habitat consume entire days, usually on weekends.





As if in spite of relatively enjoyable happenings, a strangely intense jag of despondency definitely settled in from roughly January to roughly now. A gray beast. Consciousness greeted with utter resentment. The simplest of tasks seeming enormous, casting long icy shadows. Perhaps a feature of my existence for a long time, especially in winter, but masked in the past by intoxicants. Raw and naked in sobriety. Maybe I should get it checked out. Thing is, I feel better. I feel better enough to contemplate giving the depression some attention. Isn't it ironic? Don't ya think? Maybe if I just make sure shotguns, knives, ropes and toxins are out of the house from January to April?

Then there's music. A universe of conflicting realities for me. I want to be in it but I've been totally sick of it also. Soaked in it like brine for a while. The sheen goes off, and music just seems like a ridiculous chore or an activity utterly without consequence. I'm deaf, the world's deaf and it's no great loss, really. Scorched earth feeling. As if, since there are no words left for what I'm passionate about, there might as well be total silence. There's that part of me like a flailing child, tantrum-ed out and completely frazzled over something incommunicable. So, good luck writing anything about it.

But first things first: a return to JAZZ by Rex Harris. In particular, some uneducated reactions and responses to what constitutes his initial argument in the etiology of the music, namely, slavery and its ramifications. But not this morning. I have things to do.

Thursday, March 06, 2008

This stuff SUCKS


well, hmm...looks like I haven't posted since February 12. I've been meaning to. I swear.

This just a quick note, in preparation for some sort of longer post "soon".

Lately I've been announcing my email address at KSFR, where I do my weekly show called Inside Out, streaming from ksfr.org every Thursday from 1-3 Mountain Time. I've been hoping for listener feedback. I haven't gotten any for several weeks. Last week's show prompted this email with no text in the body, simply the subject:

This stuff SUCKS, man....very NON-musical.

the email (from a Los Alamos National Lab employee) was sent shortly after 2:30 pm, which I think was the segment where I included Ohnedaruth from the Art Ensemble recording Phase One, in its entirety. Admittedly, a stretch for many.

And this, my friends, is the *only* listener feedback I've gotten (outside of friends and family) after 6 weeks of repeatedly mentioning my email on the air.

Highly motivating!

Tuesday, February 12, 2008

Duology 4


It's that time again.

Hello Friends-

Duology 4, Saturday, March 1, 8 pm, O'Shaughnessy Performance Space,
College of Santa Fe. $10. CDs of Duology 1, 2 and 3 available at the
door.

Duology 4 features College of Santa Fe Contemporary Music Program and
Creative Writing faculty members Steven Miller, Steven Paxton and Dana
Levin, as well as Contemporary Music Program students Brendan Eder and
Peter Chase, plus a "surprise special guest," (as in, I haven't
rounded up participant number six quite yet).

As in the previous 18 duets, I'll be playing piano as each performer
plays or does whatever he or she wants. D4 is perhaps the boldest
adventure yet, as I have never performed with any of the above
participants. Come for the train wreck, stay for the jaw dropping
display of improvisational legerdemain.

Tuesday, January 29, 2008

Are You Glad to Be in America?

This Thursday's program on KSFR, streaming from www.ksfr.org from 1-3 pm Mountain Time, is a birthday tribute to Ronald Shannon Jackson, with recordings of RSJ spanning 1975's Body Meta with Ornette Coleman, '78-'79 with the Cecil Taylor Unit and then on to The Decoding Society, with pieces from Nasty, Eye on You, Decode Yourself, and Texas and a little bit of James Blood Ulmer thrown in. Thanks to my friends at Destination Out for the heads up on RSJ's birthday.

Wednesday, January 23, 2008

Echinomastus madness


Two-month old seedlings of Echinomastus erectocentrus "acunensis" CR137, seeds probably from the population I've been visiting since November.
A young plant of Echinomastus erectocentrus "acunensis" in the most northeasterly known population, growing in the usual situation: out in the open on weathered granite, on a slightly south facing slope.
A very old Echinomastus erectocentrus "acunensis", with uncommon branching near the base.
Echinomastus erectocentrus "erectocentrus" in southeast AZ. Some students of these plants see the "acunensis" population above as an intergrading form, with certain characteristics of "acunensis" and other characteristics of "erectocentrus." The type location of Echinomastus erectocentrus "acunensis" is about 150 miles from the above population and in the somewhat more dry and warmer Organ Pipe Cactus National Monument.

Echinomastus johnsonii "lutescens", backlit by sunset, in more northwestern AZ. Some students of cacti see Echinomastus erectocentrus "acunensis" and E. johnsonii as "hardly distinguishable." In some ways, I can see why. But the plants seem rather distinct to me. Of course, some botanists have eliminated the entire genus Echinomastus, adding all of the plants that were in it to Sclerocactus. I don't think this will be accepted over the long haul.

Spine clusters from Echinomastus erectocentrus "acunensis" (L) and Echinomastus johnsonii "lutescens" (R).

It's a strange experience, going out to hunt for these obscure, well-camouflaged and somewhat remote plants. A lot of the time is spent scouring the ground with one's vision, looking for little color and texture anomalies that are the clues to the plants' presence. Periodically, you look up and see things like this: