Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

More articles at articles database

Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

More articles at articles host

Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

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Preceded by Come As You Are and It Just Happens That Way, Life Less Ordinary is the third solo release for Mindi Abair since signing with GRP Records. I believe this is by far the most versatile of her works and may just be her best CD to date.

Mindi Abair plays with a maturity and style that are uniquely her own. I really appreciate the way the songs are tightly woven with those who accompany her on them, yet without being completely swallowed up.

She certainly deserves kudos for being an artist who is not at all afraid of trying new ideas. She could at this point slip into that familiar pattern of creating tracks that are simply designed to get radio play time but certainly does not choose that route.

With help from an outstanding cast of veteran musicians, like Lalah Hathaway, Ricky Peterson, Keb? Mo and long time collaborator Matthew Hager, Mindi blows new life into what at times can become a stagnant array of smooth jazz offerings. Smooth Jazz fans who are constantly on the look out for something fresh may find renewed hope in this CD.

Life Less Ordinary is a CD release filled with upbeat rhythms, seductive moods and a variety of songs that seem to push the envelope of Mindi’s creative flow. Tracks such as Do You Miss Me?, The Joint and Slinky are great examples of just how funky Mindi can get.

Clearly apparent on songs like track 2, Long Ride Home is the influence of David Sanborn, Tom Scott, and Michael Brecker on her playing.

Although Life Less Ordinary does offer a full array of energetic funk, it also includes a somber side as well. Track 5, Rain is dedicated to the victims of Hurricane Katrina and the City of New Orleans which I thought was a real nice touch on her part. The song captures both their depression during the hurricane’s aftermath and their courage to recover and go on.

With this release she shows very clearly that she is a well rounded alto saxophone player and musician. She shows a multi faceted side displaying skills as a musician, vocalist and writer.

As one of very few female saxophonists in smooth jazz, Mindi Abair is definitely making her own powerful statement and making her presence known in the world of smooth jazz.

She is certainly at this point one of the freshest sounds active in the smooth jazz format.

With great songs, great sax playing and nice vocals this is a ‘fun disc’ and perfect companion for a Sunday afternoon drive.

I’ve heard some grumbling about some people taking issue with her vocals. I however find them to be warm, almost to the point of sultry and a great addition to her skill set.

I’d say this CD is a must buy.

The standout tunes are Do You Miss Me? [track 1, True Blue [track 6, and Far Away [track 10. My SmoothLee Bonus Pick, and the one that got Sore […as in Stuck On REpeat is track 7, Slinky. Nice and Funky!

Release Notes:

This CD was originally released April 18, 2006 on the GRP Records label.

CD track list follows:

1. Do You Miss Me?
2. Long Ride Home
3. It Must Be Love
4. The Joint
5. Rain
6. True Blue
7. Slinky
8. Ordinary Love
9. Bloom
10. Far Away

To hear samples of each song on this CD go to Mindi Abair CD – Life Less Ordinary [www.smoothlee.com/music-samples/mindi-abair-life-Less-ordinary.htm

Clyde Lee Dennis, a.k.a. SmoothLee has been bumping around on the web since 1999 and is a self described Web Head, and Life long AVID music fan. Smooth Jazz Music in particular. In addition to writing CD Reviews for I Love Smooth Jazz.com he is also the Program Director, and can be heard during his daily radio show which airs on one of the internets most listened to smooth jazz radio stations, Smooth Jazz 24/7

Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

More articles at articles on database

Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

More articles at article database

Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

More articles at articles host

Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

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When I’ve had a belly full of the complexities of current events I find a jazz band in some out of the way place and retreat for awhile into melody with a big beat.

For those of you who are turned on by horns, I recommend a small watering place in Cleveland called the Lake Shore Club.

There, Ted Witt and his Forest City Jazz Band hold forth on Saturday nights with the best music this side of New Orleans.

Located through the courtyard of an old motel, it is not the kind of joint you would wander into cold turkey. But, take my word, the surroundings are pleasant, the drinks unadulterated, the prices average, the food good and the clientele well dressed without ostentation.

I was introduced to jazz while stationed at the U.S. Naval base in Key West during World War II. The best honky-tonk in town had a small jazz combo of venerable black players, but the soul jerking notes poured out on those Sunday afternoons after church when the colored folks (their term) conducted a funeral.

No matter what day of the week a black person might happen to meet his Maker, the funeral was held on Sunday. Then the fishermen would be home, no one would lose wages, and the mood of religious contemplation would be deepest.

After regular morning services, lengthened by a substantial eulogy to the deceased, the march to the grave yard began. The coffin rode in one mule-drawn wagon and an assembly of horn players in another. The mourners marched behind in swallow-tail suits, high hats and formal dresses.

The parade to the cemetery was somber and featured plaintive hymns such as Just A Closer Walk With Thee, Old Rugged Cross, Amazing Grace, and Will the Circle Be Unbroken. Now, 30 years later, these tunes nearly break me up as bittersweet memories flood back.

The return from the cemetery, however, was jubilant as the marchers asserted their faith that their departed companion was well on his way to a just reward in heaven. Of course there was When The Saints Come Marching In, Washed In The Blood of Jesus, and Down By The Riverside. But there was also a lot of high stepping to Georgia Cakewalk, High Society and Muskrat Ramble.

It was a meaningful blend of sorrow, reverence, and Christian faith in a better life here after.

Since those days – now gone I am told by travelers to the southern-most Florida Key – I have pursued the blue and golden notes in New Orleans, Nashville, St. Louis, Memphis, and Chicago. For there, in the Mississippi Valley, is the true home of American jazz.

Strangely however, I have found the most creative practitioners of this unique American music in Key West, Cleveland, New York, and San Francisco. One of the characteristics that has made jazz great is its ability to be exported, and to be assimilated by diverse cultural communities.

Where did it all start?

Stephen Longstreet, the jazz historian, says it is best to begin in New Orleans, where the black man became in time a little lighter, and the white man often a little darker.

The French and the Spanish, the African tribesmen often with royal chief’s blood under their heavy muscles – and even the Indian peering in – the long boats from Kentucky, and the Yankee mountain men in buckskin fringes – in for a big bust and swallowing of untaxed whiskey – all wanted music, and helped make it, said Longstreet.

New Orleans mixed it all up, and churned it around, and made it a part of a new nation – that was part of a New World where anything could happen.

Today we call it history. But then it was simple people, wild people, pioneers and men on their way up in a hurry. All sang a lot and stomped around to music.

Whether it was in the Congo jungle of Africa or in the tromped-down grass of Congo Square in New Orleans, it was rhythm that started it all.

Music and dancing, said the white slave masters, made the Negroes too tired to work hard, so the wild people from Africa just clapped their hands at first.

Then they made a drum on the sly and brought it out – when the Master was off somewhere else subduing the passions of his own wild country – to remind them of their native jungles.

An old horn was snitched from some white man’s junk heap, or maybe a rusty old banjo was given by a keel boatman from Ohio who didn’t give a damn about plantations and cotton anyway.

At last the Negro had become part of musical America. He was ready to add a sense of freedom and lusty beat that created a new musical art form peculiar to the United States.

In time, jazz evolved through a variety of forms – spirituals, marches, cake walks, ragtime, blues and swing. But the basic foundation was always twelve 4-4 bars of singable notes.

Louis Satchmo Armstrong was the last of the Golden Generation of jazz musicians. Today we rely on the artistry of Pete Fountain, Turk Murphy, Al Hirt and Ted Witt to carry on the glorious tradition of authentic jazz.

Ted Witt is great on the licorice stick and still belts out a few numbers on the fish horn soprano sax made famous by Sidney Bechet. Ted’s other front men, Emmett Wiley on the slip horn and Dick Petscher on trumpet, are ably supported by John Bittance on bass, Bert Smith at the piano, Al Gutheim on the skins, and Bill Morehead on banjo.

Somehow, when those guys cut loose, such things as the economy, Watergate, and Mideast wars don’t seem all that important.

September 18, 1974 .

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Flaunting any excessive or anti-social behavior is considered brazen. When it is no longer considered brazen it is proof that it has become embedded as part of our culture. Not to say this is a good thing, after all headhunting was considered a cultural norm in some societies. The question to ask here may be, was rap ever truly a part of our culture? Will it eventually run out of steam and go the way of things like doing the twist, afro haircuts or break dancing? I for one would argue that it is not truly a part of the American cultural scene, but is a forced, twisted and contrived money machine that appeals to only the basest passions of the youth in our country.

Long before the gangsta element slid over to hip hop the reasoning for the whole genre and style was generally purported to be, to show what life in the hood was like. That worked for a while and it even drew more sympathy from the otherwise estranged. But as lower passions would have it, the style and language of rap began more and more to take on a life and purpose of its own, namelysex. If by some magic stroke sex were temporarily extricated from every rappers thoughts and vocabulary, the entire industry would collapse quicker than the stock market in 1929. Now thats brazen!

Referring to rappers as artist and giving them full press doesnt guarantee that it is really an art form, all it says is that its here. But was it here before? Does it really have anything to do with the African American background, culture or heritage? I propose that it does not. Very few whites have succeeded in rap but even that does not prove that it is necessarily a black cultural thing. Growing up as a boy there were only two black families in our town. One of the boys from those families was my best friend. But to say that gave me even a basic knowledge of the African American culture would be an exaggeration. Later I arrived in the city of New Orleans just after the civil rights laws were passed. My exposure to the black culture increased exponentially. Finally I attended two seminaries the last of which was part of the National Baptist Convention a purely African American denomination. What I discovered about the African American culture will always be one of the greatest excursions of my entire life.

Our entire class would sit before some of the most dignified black gentlemen, professors and wait for the streams of their thoughts, opinion and knowledge to flow down to us. Most exciting was when they shifted their emphasis away from the curriculum and began to divulge elements of their private lives and their past. Life in New Orleans as a black man or women was no easy thing. Stories of their upbringing and their struggles would leave anyone with their heart in their throat. These old gentlemen for me were living examples of courage dignity and the best human qualities. What I learned about black culture in short is this. African Americans have a deep and ancient past; they are people with a lasting heritage.

I am sure that the blatant indulgence of sexual descriptive and four letter words that is raps most prevalent aspect, is not part of their ancient culture and history. It does not accurately depict their culture, their history or any other part of their experience. I dont think my protesting is such a big deal. But Id guess that if my old seminary professors could see and hear todays rap, you would hear the roar raising up from their graves and billowing down many an American avenue.

Rev Bresciani has written many articles over the past thirty years in such periodicals as Guideposts and Catholic Digest. He is the author of two books available on Amazon.com, Alibris, Barnes and Noble and many other places. Rev Bresciani wrote, Hook Line and Sinker or What has Your Church Been Teaching You, published by PublishAmerica of Baltimore MD. He also wrote a book recently released by Xulon Press entitled An American Prophet and His Message, Questions and Answers on the Second Coming of Christ. Rev Bresciani has his own website at http://americanprophet.org

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