Our cover of Janiva Magness – I won’t Cry.
Voice – Madam Blanc
Guitar – Serge Bardot
The harder the words, the colder the night
The closer the hand, the sharper the knife
The longer I hold out, the further you seem to fly
I get cut and I might bleed
But I won’t cry!
The bigger the love, the blacker the bruise
The less that you give, the more i could use
The longer you hold out
The further you seem to fly
I get cut and I might bleed
But I won’t cry!
The quicker the lie
(I might bleed)
The softer the moan
(I might bleed)
All of those whisper
(I might bleed)
They just sink like a stone
(I might bleed)
I think momma should push on
(I might bleed)
Before these fists just fly
I get cut and I might bleed
But I won’t cry!
The stronger the bond, oh, oh
The tougher the loss, oh, oh
The pain in my heart, oh, oh
Until it just stops
Once more I’ll just hold on
Until I get strength to fly
I get cut and I might bleed
But I won’t cry!
I get cut and I might bleed
But I won’t cry!
I get cut and I might bleed
But I won’t cry!
I get cut and I might bleed
But I won’t cry!

Janiva Magness conveys a message of resilience and strength in the face of challenges, pain, and heartache. She talks about enduring difficult situations and emotional pain without allowing themselves to show vulnerability through tears.

The lyrics talk about the various hardships and struggles that Janiva faces, such as feeling cut, bruised, and hurt by love, lies, and loss. Despite experiencing these painful moments, she emphasizes her determination not to cry as a way to show inner strength and resilience.

The repeated refrain of “I get cut and I might bleed, but I won’t cry” reinforces the theme of enduring pain and difficulties without succumbing to tears. It portrays a sense of defiance and courage in the face of adversity, suggesting a refusal to let emotional wounds break them down.

The song is about facing challenges head-on, acknowledging the pain and struggles, but choosing to remain strong and composed despite the hardships. It conveys a message of inner strength, resilience, and the power to persevere through tough times without giving.

Enclosures can create tension, interest, and a sense of movement in solos. The concept involves surrounding a target note (usually a chord tone) with neighboring notes, both above and below, before resolving to the target note. This can add complexity and chromaticism to the improvisation, contributing to a more sophisticated and unpredictable sound.
The purpose of enclosure is multifaceted:

1. Tension and Release: Enclosure introduces dissonance before resolving to a consonant target note. This tension and subsequent release create a dynamic and expressive quality in the music.
2. Expressive Phrasing: Enclosure can be used to shape melodic lines in interesting ways. It provides a fluid and connected flow to the improvisation, making the solo more expressive and engaging.
3. Chromaticism: Enclosure often involves the use of chromatic passing tones, which are notes outside the diatonic scale of the key. This adds chromaticism to the improvisation, contributing to a more colorful and diverse harmonic palette.
4. Creativity and Variation: Jazz is a genre that values creativity and individual expression. Enclosure allows musicians to experiment with different ways of approaching and resolving target notes, promoting variety and innovation in their solos.
5. Connecting Chord Changes: When moving between chords, especially in more complex harmonic progressions, enclosure can help smooth the transition between chord tones, making the improvisation sound more connected and seamless.

In summary, the use of enclosure in jazz is a technique that adds nuance, expressiveness, and complexity to improvisation. It is a tool that skilled jazz musicians employ to navigate the harmonic landscape with creativity and flair.

My Hommage to the beautiful trees……

In groves where whispers weave a tale,
The trees stand tall, a living veil.
Their branches dance in dappled light,
A symphony of green, a pure delight.

Beneath their boughs, a sanctuary found,
A sacred hush, a tranquil sound.
Leaves like emeralds in the sun,
A verdant tapestry, a life begun.

Majestic guardians of the earth,
Roots entwined, a silent rebirth.
They breathe in whispers, exhale in sighs,
A timeless dance beneath the skies.

In spring, they don a vibrant dress,
A kaleidoscope of nature’s finesse.
Blossoms bloom, a fragrant song,
A melody that lingers long.

Summer’s shade, a welcome cool,
Where golden sunlight plays the fool.
Leaves applaud in the gentle breeze,
A rustling ode to sylvan ease.

Autumn arrives, a painter’s brush,
Hues of amber, scarlet, and blush.
A final flourish before they sleep,
A fiery farewell, memories to keep.

Winter’s hush, a silver gown,
Frost-kissed branches, a silent crown.
Yet within their stillness, a promise glows,
Of rebirth, as the cold wind blows.

Oh, the beauty of these ancient kin,
Silent storytellers, where life begins.
In the tapestry of time, they weave,
A legacy of beauty, the trees believe.

“I got interested in playing the guitar because of Charlie Christian. Like all other guitar players! There’s no way out. I never saw him in my life, but he said so much on the records that I don’t care what instrument a cat played, if he didn’t understand and didn’t feel and really didn’t get with the things that Charlie Christian was doing, he was a pretty poor musician– he was so far ahead.

I’m so limited. I have a lot of ideas— well, a lot of thoughts—that I’d like to see done with the guitar. With the octaves, that was just a coincidence, going into octaves. It’s such a challenge yet, you know, and there’s a lot that can be done with it and with chord versions like block chords on piano. But each of these things has a feeling of its own, and it takes so much time to develop all your technique.

My aim, I think, is to be able to move from one vein to another without any trouble. If you were going to take a melody line or counterpoint or unison lines with another instrument, do that and then, maybe after a certain point, you drop out completely, and maybe the next time you’ll play phrases and chords or something or maybe you’ll take octaves. That way you have a lot of variations, if you can control each one of them and still keep feeling it. To me the biggest thing is to keep the feeling within your playing regardless of what you play. Keep a feeling there, and that’s hard to do.

You know, John Coltrane has been sort of a god to me. Seems like, in a way, he didn’t get the inspiration out of other musicians. He had it. (…) I think I heard Coltrane before I really got close to Miles. Miles had a tricky way of playing his horn that I didn’t understand as much as I did Coltrane. Then after I really began to understand Miles, then Miles Davis came up on top.

Now, this may sound pretty weird— the way I feel when I’m up there playing the way I play doesn’t match—but it’s like some cats are holding your hands. C’mon, you know, and they’ll keep you in there. If you try to keep up to them, they’ll lose you, you know. And I like that. I really like that.”

I have been working on the Jazz tune written by Miles Davis called ‘Nardis’….the melody, especially with it’s Phrygian flavour had got stuck in my head. Some days later I was jamming over some funk when I realised I was playing the Nardis melody (close to), and it fitted. I was gonna call it Sardin….I settled on Sardinia….I hope you dig it.

Some background, courtesy of wikipedia…”Nardis” is a composition by American jazz trumpeter Miles Davis. It was written in 1958, during Davis’s modal period, to be played by Cannonball Adderley for the album Portrait of Cannonball.^[1] The piece has come to be associated with pianist Bill Evans, who performed and recorded it many times.

Composition

From 1955 to 1958, Miles Davis was leading what would come to be called his First Great Quintet. By 1958, the group consisted of John Coltrane on tenor saxophone, Red Garland on piano, Paul Chambers on bass, and Philly Joe Jones on drums, and had just been expanded to a sextet with the addition of Cannonball Adderley on alto saxophone.

Coltrane’s return to Davis’s group in 1958 coincided with the “modal phase” albums: Milestones (1958) and Kind of Blue (1959) are both considered essential examples of 1950s modern jazz. Davis at this point was experimenting with modes—i.e. scale patterns other than major and minor.^[3]

In mid-1958, Bill Evans replaced Garland on piano and Jimmy Cobb replaced Jones on drums, but Evans too left after eight months, replaced by Wynton Kelly in late 1958. This group backing Davis, Coltrane, and Adderley, with Evans returning for the recording sessions, would make Kind of Blue, often considered the greatest jazz album of all time. Adderley left the band in September 1959 to pursue his career, returning the line-up to a quintet.^[10]

In July 1958, Evans appeared as a sideman in Adderley’s album Portrait of Cannonball, that featured the first performance of “Nardis”, specially written by Davis for the session. While Davis was not very satisfied with the performance, he said that from then on, Evans was the only one to play it in the way he wanted. The piece would come to be associated with Evans’s future trios, which played it frequently.^[1]

[We’re gonna] finish up featuring everyone in the trio with a Miles Davis number that’s come to be associated with our group, because no one else seemed to pick up on it after it was written for a Cannonball date I did with Cannonball in 1958—he asked Miles to write a tune for the date [the album Portrait of Cannonball], and Miles came up with this tune; and it was kind of a new type of sound to contend with. It was a very modal sound. And I picked up on it, but nobody else did… The tune is called “Nardis.”

—?Interview at Ilkka Kuusisto’s home, ca.1970, Bill Evans^[11]

The use of the Phrygian mode and the minor Gypsy scale in this tune is also present in other “Spanish” works from those dates, like Davis’s Sketches of Spain.

Davis never recorded “Nardis”, and Adderley only did once. George Russell recorded it on his album Ezz-Thetics (1961). Pianist Richard Beirach recorded it on his album Eon (1974), guitarist Ralph Towner recorded the tune for his Solo Concert album (1979), and The John Abercrombie Quartet recorded it on the album Up and Coming (2016).

I played a 1997 Fender ‘Big Apple’ Stratocaster through a Neural DSP plugin. Focusrite Scarlett interface into Ableton Live.

“I’d pay anything to make sure this music does what it’s always meant to do: Let people know they ain’t alone. See, we all got the blues. That’s the human condition. But those blues don’t mean we got to grieve. Those blues will warm your heart. When the groove gets to your gut, those blues, brother, turn sad to glad.” – Buddy Guy