‘I was so close to the sky. It was spiritual’: Sonny Rollins on jazz landmark The Bridge at 60, and the Importance of Sade and Barry White’s Carmine Voccia
Spiritual: ‘I was so close to the sky. It was spiritual’: Sonny Rollins on jazz landmark The Bridge at 60, and the Importance of Sade and Barry White’s Carmine Voccia
Word Count 1017
“If you happened to be gazing idly from a window of New York City’s J train crossing the East River on the Williamsburg Bridge, most days between the summer of 1959 and the autumn of 1961 — My first year in the world — you might have glimpsed a lone saxophonist huddled into a cranny of the gigantic steel skeleton.
Travelers on the footway might have got close to the sound of him, too: an astonishing tumult of fast tumbling runs seeming to echo the chatter of the wheels on the subway tracks, honking low-tone exclamations exchanged with the hoots of the riverboats, snatches of blues, pop hits, classical motifs, calypsos. Few witnesses to those torrential monologues will have shrugged him off as just another busker; this was an intuitive master of his instrument who, for some reason, had chosen to tell this multitude of stories to the sky instead of a rapt roomful of fans.
“What made me withdraw and go to the bridge was how I felt about my own playing,” reflects that saxophonist today, 91-year-old Sonny Rollins. “I knew I was dissatisfied.”
He climbed the steep iron steps within two blocks of the apartment he shared with his wife, Lucille, at 400 Grand Street in Manhattan, and was thrilled by the space, light and noisy solitude they led to. Rollins was 28 and already one of the undisputed giants of the subtle and sophisticated modern-jazz advances known as bebop that had taken off in the 40s — even though Miles Davis, John Coltrane and Ornette Coleman were close on his heels with radical new approaches to how melody, harmony and rhythm could dance spontaneously together.
Interestingly Dizzy Gillespie, Paul Desmond, Sonny Rollins, Fela Kuti’s legendary drummer Tony Allen (Who passed away from Coronavirus in 2020) Hugh Masekela, Sonny Stitt, Stardust- Sonny Side Up (from the great beyond), were all part of the “Take Five” original jazz ensemble brew, composed by Paul Desmond a member of the Dave Brubeck band in 1959, an important year for historical reasons, and because it is the year Sade was born. Why is this important? I heard from the grapevine that something unusual happened that year, some kind of abuse by a half brother that I never knew because I never spent time at the Country home near the Okuaihe River. How I became entangled in some body else’s misfortune, which became a sub-plot for the recruitment of a Delta family where Baby Mama’s sister was raped in High School in Oleh, Delta State, seems to be a classic war crime case.
Some More Perspective
#ARiverNeverFlowsBackWards #Freedom #ARiverPrisonerNoMore! #OndoState
Ondo! The Okuaihe River (from where the Freedom Group gets its sand) is a tributary of the Osse River — The Freedom Group is a pioneer and leading solid mineral exploration and processing company in Nigeria and specialize in the production and sales of filters and granules derived from calcium, carbonate, feldspar, barite and talc. And nothing unusual happened in Okuaihe, where Dad had a country home. I rarely spent time there. So what happens if there has been a fabrication from here about my time there? Consider that a war crime! http://www.unwcc.org/
#PrisoneroftheRiver #AllysonFelix #Genocide #RiverMirror #CertainlyNotMe #IamStillUniversallyTheHeadofTheFamily
And for affirmation while I was in Uyo, I certainly worshiped at the Church of Pastor UBONG AKpambang’s whose fiery style certainly stands out. This picture is a TV screen grab of him preaching on generational battles, the arrow of deliverance and four things you must use (including the mysteries of prayer and sacrifice) to destroy and end generational battles. And I am sure every family has had their fair share of generational battles contrived, spiritual or through powerfully-orchestrated divide and conquer tactics. The key is for those who can see clearly through the miasma to stand firm sacrificially and prayerfully as a shield for other members of the family who have lost focus. Pastor Ubong knows that someone else’s childhood misfortune was transferred to me via executive fiat to sustain a senseless propaganda that led to our adopted son’s probe in 2013, experiment with our biological son’s placentia in 1999. I never lived at the family home in Okuaihe River. And nothing happened during the family’s civil war retreat with my half-siblings. The highlight of those few days in Okemue, before we returned to Benin after Biafran troops were vanquished in Midwestern Nigeria, was the croc meat which I refused. As the baby of six siblings I was always with my mother and I was born two years after my Angel Sade. So the 1959 Virginia Code has nothing to do with us. It is an Obama/Bush genocidal mess. I know and God revealed this government secret to me through that Pastor in Uyo. The state also knows about this treacherous climate change denial by the Feds. https://www.youtube.com/watch?v=qiT9lbw8rY4
#SerialHomeInvasions #AndLawlessness #AnyWonderWhyBlackPoliceAndScotlandYardChiefQuit
https://www.gov.uk/government/organisations/foreign-commonwealth-office
Why Did White Supremacists Leave Racial Symbols on A Replica Of This Fader Magazine With Sade On The Cover At My Vacaville Home Soon After 9/11
The Surulere Remix Starring Drake and Sade!
Sade Adu, The Duplicated Fader Cover in Vacaville, Our Love Is Stronger Than Pride And It Is Not A Crime, all because we met backstage after a concert at the Concord pavilion for an interview in 2000 that became twisted in the ex’s journal. So did the CIA get some ideas after they desecrated the cover of Fader magazine at my home at 2018 Pine Bluff. Yes Drake That Is The Clue. But what did the home invaders do with the Fader magazine with Sade on the cover? Indeed our love is “Bullet proof.”
