Going up 7th Avenue from the 50th Street local stop toward that collection of dance schools catering to gypsies, troopers, and novices on the way to Broadway choruses, regional musicals, and the Folies Bergères in Las Vegas, Cypress protected herself from hawkers for live sex shows, 24-hour topless dancers, and cries of “Boys, boys, boys . . . we got boys,” immersed in visions of a dance. This dance was to take place inside a woven environment, “Code” by Allen and Dotty Fannin.

SUNSHIP JAZZBUNKER

Boomjeskade 11, Rotterdam
vr 10 juni - 10 uur

Leroy McCullough Quintet
& The Butch Morris Trio

FESTIVAL MOERS - DUCS

Pfingsten, im Schlosspark/ 27 mai 18.00 uhr

Joseph Jarman & Roscoe Mitchell
Bobo Shaw & Andrew Cyrille
Leroy McCullough &Baikida Carroll
The Brecker Brothers

FM

France Musique

JAZZ VIVANT/ THE GREAT BLACK MUSIC

l’Art Ensemble de Chicago

et

le Quintette de Leroy McCullough

“. . . Leroy McCullough’s debut in Europe is the most startling event since John Coltrane worked with Miles Davis. The complexity and rigor of McCullough’s compositions force me to wonder where this man, an American Negro, actually comes from . . .”

Guy Sorel, “Revues”

LE JAZZ MODERNE

“Leroy McCullough, saxophonist and composer, broke the humdrum of the evening with accomplished yet fervent solos that played against the pageantry of his group, which is an answer to the contradictions of Sun-Ra, The Art Ensemble, and The Cecil Taylor Unit; throw in some Coleman, Young, Ayler, and every major twentieth-century classical composer, which is to say that McCullough is definitively the most singular of black musicians: a virtuoso. The European jazz scene can only be invigorated by his presence. May France make him welcome . . .”

Juliette Bienaimee,

“La Musique Noir”

CADENCE NOUVELLE

Cypress saw three women clad in paisley aprons about to begin household movements: scrubbing, hanging, straightening. Then, the Art Ensemble of Chicago’s “Chicongo” would start. The women would resist the hipness of the rhythms, scrub, hang, and straighten more intensely, until one began to take on another personality, that of the lady of the house . . . but a colored house. Cypress enjoyed commanding this woman’s fantasies, her desire to make the others work harder while she adopted the airs of Hollywood stars. Marlene Dietrich in Shanghai Express. Billie Burke in Ziegfeld Follies. But who the lady of the house was would change from moment to moment so that all three of the dancers would interrupt one another’s housework, each more bizarrely grand, grotesque than the others. As the music faded out, the women were trying to hang, scrub, and straighten to stop the relentless profanity of women of leisure; the Busby Berkeley nightmares in mirrors and kaleidoscopes, idle, coy, and useless. One by one, they would step out of the closed unspun rayon, drop their aprons, and become themselves.