On The Bookshelf
Notes Of A Hanging Judge | Stanley Crouch
Notes Of A Hanging Judge: Essays and Reviews, 1979-1989 is a 1990 collection of essays by Stanley Crouch that critically examines the American Civil Rights Movement, Black culture, and politics, arguing the movement became “loco” and self-defeating despite its initial nobility. The book features sharp, often controversial, critiques of figures like Jesse Jackson and artists like Toni Morrison and Spike Lee, using a blend of insider passion and journalistic rigor to analyze the Black experience in America.
The title refers to Crouch’s role as a harsh judge of the Civil Rights Movement, similar to a pirate-turned-judge who was hard on his former comrades. The book includes essays on race relations, Black middle-class life, the Bernhard Goetz case, Black homosexuality, and profiles of leaders like Jesse Jackson.
Crouch views the Civil Rights Movement as a noble cause that became mired in self-defeating nationalism and a lack of spiritual depth, losing its original majesty. Written with a virtuosic prose style, it balances passionate involvement with a reporter’s rigor, offering unique perspectives on public issues. He covers a wide range of topics, from politics and social issues to art and travel, often focusing on the African-American experience.
Notes Of A Hanging Judge: 1990 | Stanley Crouch
Oxford University Press
Daily Dose Of Jazz…
Isabel Hernandez-Cata was born on December 9 and raised in the Washington, D.C. metropolitan area. She completed undergraduate studies in music at University of Rochester, a Masters degree in Music Education from Boston University and Jazz Studies – Vocal Performance from the University of North Texas.
She founded the Isabel Hernandez-Cata quintet featuring a fluid lineup with guitarist Greg Loman. They met while working at a community theatre. They have performed with numerous DC jazz musicians Ricky Loza, Eric Byrd, Alison Miller, and Marcus Johnson.
A classical contralto, Isabel has sung in choirs, among them the National Philharmonic Chorale and Singers. Her diverse musical interests always return her to a love of the jazz art form to perform standards and jazz treatments of tunes from other modern music genres.
As an educator she teaches vocal music and piano in Montgomery County Public Schools. She has also served as vocal director, pit conductor keyboardist, and choreographer for dozens of school and community musical productions. She has been a choral director, combo leader, and teacher of Piano & AP Music Theory in Maryland Public Schools since 2001.
Hernandez-Cata composes, arranges, and performs as a jazz vocalist and bandleader. Her choirs have performed for US Presidents fifty times and she has had backing vocal stints for Al Green and Lionel Richie.
Vocalist Isabel Hernandez-Cata continues to perform, compose, conduct and educate.
More Posts: bandleader,composer,conductor,educator,history,instrumental,jazz,music,vocal
Daily Dose Of Jazz…
Fabrizio Mocata was born on December 8, 1977 in Sicily, Italy. He established himself as a maestro in the music business thanks to his knowledge of the primary jazz genre and proficiency in the subgenre of smooth jazz.
His music seamlessly combines the rich traditions of jazz, classical music with smooth jazz. His creativity is distinguished by his combining complex melodies and harmonies.
Mocata is a well-known talent in the jazz world and has had an enduring impression on the jazz community.
Pianist, arranger and composer Fabrizio Mocata continues to create and perform.
More Posts: arranger,bandleader,composer,history,instrumental,jazz,music,piano
Requisites
That’s Where It’s At ~ Stanley Turrentine | By Eddie Carter
Stanley Turrentine was an exceptionally prolific tenor saxophonist who garnered numerous admirers throughout his career. He is widely recognized as a key contributor to the evolution of blues-inspired hard bop and soul jazz, as well as a trailblazer in smooth jazz. This morning’s featured album submitted for your approval is a 1962 release, That’s Where It’s At (Blue Note BLP 4096/BST 84096). This record was his second collaboration with pianist Les McCann and bassist Herbie Lewis, coming on the heels of their live performance at the Village Gate just a week prior. Drummer Otis Finch completes this dynamic quartet. The copy in my library is the 2020 Blue Note Tone Poet Series stereo reissue, which maintains the original catalog number.
The album opener, Smile, Stacey by Les McCann, begins with a brief dialogue between Stanley and Les that leads into the foursome’s theme. Stanley takes charge first, delivering a driving energy and brisk articulation. Les then swings in for the second interpretation. Herbie takes a short, sharply executed walk next, which Les finishes, then
Stanley and Les share a brief exchange with Otis before the ensemble’s soft fadeout. The quartet then cools down for Soft Pedal Blues by Stanley Turrentine, which starts with the trio’s slow-burning, soulful intro. Turrentine’s notes are placed with thoughtful precision during the melody and opening statement. McCann caresses each note of the second solo, and Turrentine delicately shapes a final comment into the theme’s restatement and slow fade.
Pia by Les McCann begins with the quartet easing into a mellow groove as the melody is introduced. Les initiates the solos with some good down-home cooking. Stanley steps in next, maintaining the calm atmosphere with a thoughtful message before the ensemble reunites for the closing chorus, which gently fades away. We’ll See Yaw’ll After While, Ya Heah by Les McCann is the pianist’s lively composition with a distinctly Southern flavor. After the quartet’s theme gets things off to a good start, Turrentine leads off the first solo, delivering each verse with precise articulation. McCann responds with a spirited interpretation that gets listeners tapping their feet and grinning along until the group’s return for the ending theme.
The tempo slows down again for Dorene, Don’t Cry, I, by Les McCann, a haunting ballad that begins with the ensemble’s beautiful melody. Stanley fully embraces the opening statement by gently attending to every note with careful lyricism and sensitivity. Les follows with something significant to say in a gorgeous performance preceding the tender reprise and close. Light Blue, by Stanley’s brother, Tommy Turrentine, brings this entertaining album to a close with a lightly swinging melody that invites listeners to sit back and enjoy the ride. McCann takes the lead with a loose, relaxed reading, then Lewis provides a few moments of pure joy. Turrentine offers the final memorable moment ahead of the group’s out chorus.
Alfred Lion produced the initial session of That’s Where It’s At, and Rudy Van Gelder was behind the dials of the recording. Joe Harley supervised the audiophile reissue, and Kevin Gray mastered the album from the original analog tapes at Cohearant Audio. The album’s sound quality is outstanding, with a stunning soundstage that transports the musicians to the sweet spot in your listening room with superb fidelity. The record was pressed on 180-gram Virgin Vinyl at RTI and is dead silent until the music begins. You’re also getting high-definition gatefold photos and superb cover packaging worthy of hanging on the wall. If you’re already a member of the Stanley Turrentine or Les McCann fan club, I highly recommend That’s Where It’s At on your next record hunt. If you aren’t already familiar with either musician, this record is an excellent introduction to their extensive discographies!
~ Les McCann Ltd. In New York (Pacific Jazz PJ-45/ST 45) – Source: Discogs.com © 2025 by Edward Thomas Carter
More Posts: choice,classic,collectible,collector,history,instrumental,jazz,music,saxophone
Daily Dose Of Jazz…
Rosemary Squires was born Joan Rosemary Yarrow on December 7, 1928 in Bristol, England. She took singing, guitar and piano lessons while at school at St Edmund’s Girls’ School in Salisbury, Wiltshire, England. Initially she entertained troops by singing on nearby UK and US Army bases around Salisbury. While maintaining a job in an antique book shop and office work, she sang with various groups and a Polish military band
Becaming a professional singer in 1940 Rosemary’s introduction was on the BBC Home Service’s Children’s Hour. She performed with the big bands of Ted Heath, Geraldo and Cyril Stapleton. She sang with the smaller jazz bands of Max Harris, Kenny Baker and the Alan Clare band. Moving from Salisbury to London in 1948 when she was twenty, by the 1950s and Sixties, she became a regular on the BBC Light Programme such as Melody Time and Workers’ Playtime.
She worked in the United States with Danny Kaye and Sammy Davis Jr., as well as appearing on the Johnny Carson Show. She would go on to perform for Prince Edward, and toured twice countrywide during the 2012 Royal Diamond Jubilee.
Jazz, big band, cabaret and concert singer and recording artist Rosemary Squires, who was president of the Studio Theatre is Salisbury and was made a Member of the Order of the British Empire, died on August 8, 2023 at the age of 94.
More Posts: bandleader,history,instrumental,jazz,music,vocal