Autumn Leaves.

Autumn Leaves: Kosma, Mercer, Prevent.

© 1950-1958, Ballards and Blues, Blue Note Records

Miles Davis and various artists



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

The Man I Love.

© 1974 Ella Fitzgerald Live in Studio Hamburg Germany.

1927 Music: George Gershwin

Lyrics: Ira Gershwin

Vocals: Ella Fitzgerald

Piano: Tommy Flanagan

Guitar: Joe Pass

Bass: Keeter Betts

Trumpet: Roy Eldridge

Tenor Saxophone: Eddy ‘Lockjaw’ Davis

Drums: Bobby Durham

The gold Standard…  I can’t imagine a week without Ella’s shamanic beauty inspiring my soul.  Ella’s Michael Overleaves to follow and now to be found in the Michael Overleaves Appendix.


Fitzgerald, Ella 1917<O>1996

This fragment is a fifth level mature artisan – second life at current level.  Ella was in the passion mode with a goal of growth.  An idealist, she was in the moving part of emotional centre.

Body type is Venus/Saturn.

Ella‘s primary chief feature was stubbornness and the secondary was self-deprecation.

Casting for Ella is fifth-cast in fifth cadence; she is a member of greater cadence four.  Ella’s entity is two, cadre six, greater cadre 7, pod 408.

Ella’s essence twin is an artisan and her task companion is a sage – both extant.

Ella’s three primary needs were: expression, security and power.

There are 11 past-life associations with Arvin, 4 with Merlin.

This fragment has reincarnated and lives in an area of Chicago, is a one-year-old at this time (December 2013), female.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Midnight Sun.

© 1954 Sarah Vaughan

© 1978 How Long Has This Been Going On – Pablo Records

There are a few lifetime worth of memories associated with this recording… and they are all beautiful ones!  Sarah’s Michael Overleaves to follow and are now to be had in the Michael Overleaves Appendix.  I was surprised to have discovered that she was such a young soul but great art she created.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Thou Swell.

1927 Thou Swell – Richard Rodgers and Lorenz Hart

1955 Meet Betty Carter and Ray Bryant, Columbia Records

I have been known to have this track on loop for hours on end – just the right kind of groovefest after some fuck-all splendiferous flying dream.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Basin Street Blues.

© 1964 Bell Telephone Hour, NBC TV.

1926 Basin Street Blues. Spencer Williams

1929 Basin Street Blues: Louis Armstrong.

Trumpet/Vocals: Louis Armstrong

Trombone: Russell Moore

Clarinet: Eddie Shu

Bass: Arvell Shaw

Piano: Billy Kyle

Drums: Danny Barcelona

Pops… the very heart and soul of Jazz.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Spread Love/Say Ladeo.

© 1988 Spread Love.  Take 6.  Warner Bros.

Take 6: Cedric Dent/Mark Kibble/Alvin Chea/Claude V. McKnight III/Mervyn Warren /David Thomas


© 2010 Say Ladeo.  Bobby McFerrin.  Universal International Music.

The best there is.  No finer way to find centre.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Apples and Lemons.

apples and lemons jmb & aw 1985

Jean-Michel Basquiat and Andy Warhol, Apples and Lemons, 1985
Acrylic, coloured oilsticks and synthetic polymer paint silkscreened on canvas.
206 x 268.5 cm
Collection of Thaddaeus Ropac
©The Estate of Jean-Michel Basquiat. Licensed by Artestar,New York
©The Andy Warhol Foundation for the Visual Arts, inc. / SODRAC (2014)


Today, I managed to have awaken from a long slumber of non-stop work shifts and multiple jobs and managed en route to another to slip into the Jean-Michel Basquiat show at the AGO.

I had missed the opening weekend and just did not want Black History month to end without having seen it at least once.

I was floored.  I had never before paid attention to his works because to see art reproduced in print and definitely online are quite another matter.  To have moved through this exhibition was the most lucid of flying dreams.

The Self-Portraits, Chinese New Year/Year of the Boar, Every Untitled work, the above collaborative work with Andy Warhol and most especially, Oreo, all provoked such wonder, and they each affected a deep soulful resonance.

What can one say, the man was an unparalleled genius and, most of all, he loved Jazz; he loved Charlie Parker!

I got on my Samsung Note 4 and texted everyone I know demanding that they haul arse toute de suite to be wowed.  My adorable sister will come to town on the weekend, to gaze and praise.  We’ll have a blast.

The sense of colour, attack and the unmistakable afrocentrism are what really moved me and above it all is this W. E. B. Du Bois quote which I had long forgotten; it sits beneath the description for the painting Black Soap 1981:

“It is a peculiar sensation, this double-consciousness, this sense of always looking at one’s self through the eyes of others, of measuring one’s soul by the tape of a world that looks on in amused contempt and pity.”

And how the lunatic racial predators love laughing their vapid skulls in seething grudge; indeed, Jazz has its roots in klezmer!

So very nice to see that the hunter has fast emerged in this millennium’s infancy as the prey.  Is it any wonder as their real and unwavering enemy rages terror on their civilisation that they turn around and grow even more resentful, spiteful, murderous towards us, thereby betraying their cowardice?

What can they do?  When for so long the racial predator has reigned supreme and unchallenged, along comes a genuine foe with an even greater sanguineous appetite for the hunt.

Keep whistling, you can’t possibly be preyed on.  Why should karma apply to the racial predator indeed?

This show has been a marvellous feast; it is one to which I will return and ravenously devour… time and again.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

I’ve Got The World On A String/Guess Who I Saw Today?

© 2013 L’Orchestre National de Jazz de Montréal.

1932 I’ve Got The World On A String

Composition: Harold Arlen

Lyrics: Ted Koehler

Vocals: Ranee Lee

Mucial Direction: Christine Jensen

Piano: Marianne Trudel

Bass: Fraser Hollins

Saxophones: David Bellemare/Frank Lozano/André Leroux/Alexandre Côté/Samuel Blais

Trumpets: David Carbonneau/Dominic Léveillée/Bill Mahar/Lex French

Trombones: Gabriel Gagnon/Abdul Al Khabyyr/Dave Jespersen/Suzie Nadeau

Guitar: Richard King

Drums: Kevin Warren

© Live concert at Salle L’Astral, Montréal, Qc.

Love Ranee Lee concerts and one reason why living in Montréal was a memorable experience.


© 1952 Guess Who I Saw Today

Music: Murray Grand

Lyrics: Elisse Boyd

© 1994 Nancy Wilson Live, Recorded for Television.

*Originally recorded by Nancy Wilson in 1960 on Capitol Records album: Something Wonderful.

Favourite living Jazz singer.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Sack O’ Woe.

© 1960 Julian “Cannonball” Adderley – Live performance October 16, 1960 recorded at Lighthouse Club, Hermosa Beach, California.

The Cannonball Adderley Quintet at the Lighthouse

Riverside Records

Alto Saxophone: Cannonball Adderley

Cornet: Nat Adderley

Bass: Sam Jones

Piano: Victor Feldman

Drums: Louis Hayes

This has always been one of my favourite live Jazz recordings.  Back in October 1995, a few days after the verdict in the O. J. Simpson criminal trial, I was walking home after some shopping along the south side of Robson Avenue and back to my West End apartment at 878 Gilford at Haro Streets.

From behind, I heard someone yelling and calling out; the man sounded mad as hell.  Artisan soul to the core, I was lost, deep in thought, of some idea construct or other.

I then felt a hand on my right shoulder that violently turned my body around and, though I dodged quickly enough, I ended up with a fist at the right temple.  I swayed and soon there were other punches as I tried to duck and rush away.  The guy, I recognised straight away; I had met him some weeks earlier.  At the time, he was really keen on letting me know that he was Jewish and had been in Israel.

I hadn’t a clue what he was up to, though on the few occasions that I saw him, he seemed to aimlessly wonder about Stanley Park late at night time while I was off to go get my funk on deep into the woods; he had never once made it to the woods.

Soon enough, there were passersby who formed a loose circle about the spectacle of me being beaten to within a breath of going unconscious.  Not a soul said or did a thing.  No one came to my aid as he violently punched at me while speciously accusing me of theft.

This was the hunt – the racial predator’s favourite sport of socially, aggressively feeding on Blacks which is always enjoyed with the same semi-feral hyena-like laughter and grinning.

From behind, I then heard a violent shout and soon, I heard the familiar voice of a local shopkeeper as he told the boor to get off me.

Grabbing me about the shoulder, his face warped with rage and pain, Bruce Day took me into his tiny little gem of a store, “The Little Hardware Company” which sat just east of Bidwell Street on Robson Street’s south side.  Months later, the store would relocate around the corner onto Bidwell to make way for Robson’s further development.

I was so glad to have escaped the humiliation when retreating into Bruce’s hardware store; I had always slipped inside while waiting for a bus to get to work or just to buy some item or other.  There, too, I had gone when paint-buying to turn my apartment into the right tones of warm colours to best display my fast burgeoning First Nations art collection.

Of course, he was a big strapping man with a more than passing resemblance to the actor, James Spader.  Bruce also had the most beautifully warm smiling eyes.  Casually, Bruce made conversation as though nothing had happened and as soon as the dark warmth of his tiny shop and his cool spirit had embalmed my very soul, I slipped out onto Robson and headed for home.

My busted lip healed soon enough; however, there was ringing in my right ear for long weeks afterwards.

On retiring to my apartment, this was the music that repaired my humanity – Sack O’ Woe.

Jazz is the music that prevents us from waging war with the racial predator who has yet to acknowledge that there is any such thing as the racial predator and that the racial predator is culpable of sweet dick-all when it comes to predatorily fucking with Blacks.

The Simpson trial was not about Nicole Brown Simpson, it was about the murder of Ron Goldman.  To this day, it has never been satisfactorily explored what this man was doing where he was that fateful night.  Either way, I was made to pay for a jury not having returned the verdict that they damn well ought to have.

Alas, music is the most expedient way to transcend the madness that is the racial predator in all his psychotic, violent manifestations.  What pray tell do they know of Jazz when so consumed are they, the racial predatory, with a need to prey on us?

In having enslaved our ancestors and to this day remained hellbent on denying that insult, what more can be expected of the flawed, fractured and compromised collective psyche of the racial predator?  They haven’t  a damn clue how utterly dissembled their humanity remains.

Indeed, Jazz is not yours deems the racial predator.  Jazz is too damn good for the likes of you; so along came a campaign of heroin et al to hunt down this affront to the racial predator’s sense of one’s place in the order of things and sure enough in little less than a century, there he sits smugly copping attitude when speciously declaring, “Jazz has its roots in Klezmer!”

Of course, the fool gave himself away when using the verb ‘root’ which is synonymous with and was coined by the very people who invented Jazz.  Indeed, the very people for whom Jazz is an uneclipsed affirmation of their humanity and untrammelled nobility of spirit.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.

Body and Soul.

© 2014 Molly Johnson Live in Paris.

1930 Music: Johnny Green

Lyrics: Frank Eyton/Robert Sour/Edward Heyman

Beautiful interpretation by a Canadian mover.



© 2013-2020 Arvin da Brgha.  All Rights Reserved.