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The Symbolism of Number Eleven

The number 11 has a significant meaning in every religion. It is an auspicious number for the Hindus and has a significant meaning in every religion. The spiritual significance of number 11 is quite varied. In systems like astrology and numerology, the number 11 is called a ‘master’ number because it is a double digit of the same number. Number 11 has a master vibration and should not be reduced to a single number. When this occurs – the vibrational frequency of the prime number doubles in power, which means the attributes of the Number 1 is doubled. The primary meaning of the Number 1 is new beginnings and purity. When we see this digit doubled as 11, then these attributes are double in strength. In numerology, the number 11 represents higher ideals, invention, refinement, congruency, balance, fulfillment and vision. The 11 carries a vibrational frequency of balance. It represents male and female equality. It contains both sun energy and moon energy simultaneously yet holding them both in perspective separateness and perfect balance. Consequently, constant reoccurrence of number 11 in our lives often signal us to beware of our balance. Balance our emotion, thought and spirit. Balance of masculine and feminine aspects. Those who recognize the spiritual meaning of number 11 in their lives are quite sensitive to vibrational frequencies matching these attributes listed above. Elevens appearing consistently is indicative of a reflective, thoughtful and intuitive soul. As we deal with energy in our lives, it is integral to understand we are a part of it, and yet the option to separate from energetic forces is present. The spiritual meaning of number 11 deals directly with our involvement with the progression of life. 11 being the gift of spiritual inheritance, is gifted as the ‘light bearer’. It is the number of the light within all. It is strengthened by the love of peace, gentleness, sensitivity and insight. Greatest facility is the awareness of universal relationship. It is related to the energy of oppositions and the balancing needed in order to achieve synthesis. 11 is the peacemaker.

Right, now that you’ve skimmed over that, here is the eleventh IndoJazzia compilation which is dedicated for the 11th month of the year and posted on the 11th day at 11:11 so as to not upset the “vibrational frequency of the prime number“.


Most jazz groups include keyboards, bass and drums in their ‘lineup’. A saxophone or trumpet may be added as the lead instrument, but if the best jazz is about creativity, why not add the unexpected?


For example, Yusef Lateef‘s main instruments were the tenor saxophone and flute, but he also played bamboo flute, shanai, shofar, xun, arghul and koto.

But he’s not included in IndoJazzia’s latest compilation. and Rufus Harley is the only name on this list of better known musicians mentioned.

In track order, these are the instruments you’ll be listening to: ukekeles / accordion & harp / panpipes / valiha, berimbau, water bells, and claves / harmonica / accordion / mandolins / bagpipe / cello.

Some work, some are weird, and some are ‘what the …?’

You can decide by downloading from here.

Thelonious Monk’s Ruby, My Dear … on theremin

When I was at uni., a fellow student (Hi, Bob) was learning classical guitar. While others were raving about Hendrix, I would be sat at Bob’s feet. Discounting the descant recorder, on which I was really proficient as an elementary school pupil, I’ve never mastered a musical instrument. However, apart from jazz, my favourite genre is the classical guitar, and I’ve sat in bliss at concerts by Andrés Segovia, Julian Bream (interview), and John Williams (interview).

I got to recognise many ‘classic’ classical compositions by Isaac Albeniz, Heitor Villa-Lobos, Mario Castelnuovo-Tedesco, Malcolm Arnold et al . But there’s been just one constant since then: the composer Joaquín Rodrigo (1901 – 1999). His 1939 composition Concierto de Aranjuez is arguably one of the most popular concertos of all time, thanks in no small measure to the extraordinary beauty of its central Adagio, which has been arranged for everything from mouth organ to brass band (video).

Rodrigo wrote: “I heard a voice inside me singing the entire theme of the Adagio at one go, without hesitation.”

The first version I heard, and bought, was by Spanish guitarist Narciso Yepes.

What can I say about Narciso Yepes? What can I say about the guitarist to whom we owe the international success of the Concerto de Aranjuez? Yes, it was in Paris in 1947 where Ataulfo Argenta, Yepes and the Spanish National Orchestra met to illuminate my unique opus at a time when no one knew its true future. From then on, the Concierto de Aranjuez took on a new nature, and it is for this same reason that I am grateful to Narciso Yepes for the fruit of an intense collaboration that has brought us to travel our musical trajectories side-by-side. I will not say that Yepes was the best nor the worst. He has simply been my guitarist par excellence. My guitarist.”
(Joaquin Rodrigo in ‘El Mundo’ May 4, 1997)

There can be few who haven’t heard Adagio and been moved. Jazz fans probably have Miles Davis’ Sketches of Spain and Jim Hall’s Concierto, but may not have heard the versions by Dorothy Ashby, MJQ, Jan Akkerman with Niels Henning Orsted Pederson on bass. Or by Indonesia’s Agam Hamzah and Ade Irawan (here – video)

There are seven tracks in today’s compilation from the IndoJazzia archives including alternate takes of the Miles Davis classic: download from here or here..


I’d experienced and been exhilarated by the power of big bands, both live and via jazz programmes on BBC radio, but I was unprepared for the individual virtuosity displayed by Gary Burton at a gig in London sometime around 1969. I recall a ‘calfskin’ jacket with tassels flying, although that may be one of those memories by association. Whatever, it was a gig which moved me beyond the ‘classic’ jazz I’d been exploring since leaving the parental nest.

Now 74, earlier this year he announced his retirement and said that he would “never again play music, on stage or off.” Well, he’s certainly earned his rest, not only for his compositions but also his partnerships with a host of key jazz figures such as Chick Corea, and for his mentoring of the likes of Pat Metheny and Eberhard Weber who went on to achieve international prominence.

I did not set out to offer a ‘tribute’ to his career; these are my ‘sleevenotes’ to a compilation which was complete before I read the above. Yes, there are two tracks by him, but you quite probably haven’t heard them before if only because they are atypical.

There are also two tracks with Lionel Hampton, the first of which was apparently the first recording of a jazz solo on a vibraphone.

Lionel Hampton’s signature tune, ‘Flying Home‘, written for him by Benny Goodman, had long been a favourite; it also features Charlie Christian on guitar so I had to include it. Dave Pike, Bobby Hutcherson and Milt Jackson should need no introduction, although the latter’s two ‘Soul Meeting‘ albums he recorded with Ray Charles – yes, that Ray Charles – on piano, are worth seeking out.

I have little to no information about Wolfgang Schlüter, a German. Louis Hjulmand was Danish and trumpeter Palle Mikkleborg still is. (Check out the Miles Davis 1985 album Aura which Mikkleborg composed and arranged.) Freddie McCoy was American but “never a hit with the critics“. However, he can be found in the IndoJazzia Archives, in the acid-jazz section, hence his inclusion here.

The last three tracks do not fit my original criteria of showcasing the development of vibraphone jazz but then Roy Ayers added funk, Alan Lee, an Australian, jazzed up a beautiful aria by Heitor Villa-Lobos, and apparently Hendrik Meurkens spent a night in Jakarta, although he certainly hasn’t jazzed up keroncong


IndoJazzia wishes Gary Burton a happy retirement.
(He may have stopped playing, but what is he listening to?}

Here is a tenuous introduction to this month’s compilation, the tenth of the year, and one we offer tentatively.

At first, I’m tense. something I tend to be.
Then ten digits touch tenderly, easing my tension.

I’m getting some treatment for my tendonitis
Which I’ve got from playing tennis.

Ten words, but not ten jazz tunes, which is why there are a couple of Octobers to make up the number.

Download (please)

Classical Jazz 2

The sub-title doesn’t refer to classic tunes, but to interpretations of classical music by jazz musicians. Back in February I posted a short selection of Ravel’s Bolero here – the download link is still live.

Nearly ten years ago, an article by contemporary composer Mark-Anthony Turnage in the Guardian posed the question ‘Why do so few classical musicians take jazz seriously?

Turnage does, and has worked with the likes of drummer Pete Erskine and guitarist John Schofield improvising within a score played by classically trained musicians. But, he says, he can’t play jazz himself.

Bruce Chidester cynically or satirically – I can’t tell – suggests differences between classical and jazz musicians.

The left side of the brain is the seat of language and processes in a logical and sequential order (classical musician). The right side is more visual and processes intuitively, holistically, and randomly (jazz musician).

Which are you? Here’s a quick test.
(Although I’m right-handed and not ambidextrous, I have a split personality.)

I became a committed jazz fan as a teenager – my father played stride piano at home – yet the first album I bought was Bach’s Brandenberg Concerto. Obviously Bach has been an influence on countless jazz musicians. Here’s a selection of tracks from the IndoJazzia archives.

01. Fats Waller – Bach Up to Me
02. Benny Goodman – Bach Goes To Town
03. Django Reinhardt – Bach Improvisation
04. Jacques Loussier Trio – Bach’s Pastorale in C minor
05. Classical Jazz Quartet – Concerto #2 in F major BWV 1047, 2nd Movement
06. Duran, Grappelli & Holloway – Brandenburg Boogie
07. George Barnes & Jazz Renaissance Quintet – Fugue in G Minor (Part 1 of 2)
08. Ray Brown & Laurindo Almeida – Air On The G-String
09. Oscar Peterson – The Bach Suite (Allegro-Andante-Bach’s Blues)
10. Petra Haden – Bach’s Prelude No. 2 in C minor
11. David Darling, Jorge Alfano, Joseph Nagler – Bach’s Persia

Actually, we had a different composition in mind, the song Stardust written by Hoagy Carmichael in 1927 with lyrics added in 1929 by Mitchell Parish. The song, “a song about a song about love“, played in an idiosyncratic melody in medium tempo, became an American standard, and with over 1,500 recordings is one of the most recorded songs of the 20th century.

I’m not sure if hyperspace is composed of the remnants of exploded stars” but presumably your ears are so feel free to download this selection recorded by the following artists: Art Tatum / Artie Shaw & His Orchestra / Benny Goodman Sextet w. Charlie Christian / Clifford Brown / Denny Dennis / Errol Garner / Frank Sinatra / Glenn Miller Orchestra / Jimmy Shirley / Joe Pass & Jimmy Rowles / Kvartet Dubravka Majnarica / Ron Carter & Jim Hall.

1913 -1993
Denny Dennis is now stardust.

I grew up listening to my father playing his favourite ‘jazz’ standards. This version of George and Ira Gershwin’s I Got Rhythm was recorded when he was 85.

Sadly, I felt that his playing was one-dimensional and after I left the parental nest I began to really appreciate the meditative zone induced by the artistry of some jazz pianists.

This download is one continuous track to keep you in the mood. Although Mingus (bass), Gismonti (guitar) and DeJohnette (drums) are better known for their primary instruments, they fit quite nicely in my selection.

Charles Mingus – Orange Was The Color Of Her Dress, Then Silk Blues
Egberto Gismonti – Don Quijote
Tete Montoliu – Una Guitarra
Esbjörn Svensson – Like Wash It Or Something
Jack DeJohnette – Ebony
Jacob Karlzon – Gaspard de la Nuit II: Le Gibet (after Ravel)
Mara Rosenbloom – I Rolled and I Tumbled (tribute to John Lee Hooker)
Keith Tippett – Let The Music Speak


Abercrombie had the “ability to fit any context – chameleon-like but always distinctly himself.”
John Kelman

The recent passing of John Abercrombie is sad yet as with the recorded output of all great (and not so great!) musicians, his lives on.

His albums as a leader were mostly with ECM, starting with Timeless in 1974. The year previously, he had released Friends, a fusion album on Oblivion Records.

Before that, a notable recording he appeared on as a guest was Dreams, recorded in 1970. This was also the name of the seminal fusion group set up by the Brecker Brothers, Randy and Mike, with Billy Cobham on drums. (Listen here.)

And it is Abercrombie’s role as a sidesman in albums lead by others which is the focus of IndoJazzia’s compilation, our tribute to an always interesting guitarist.

Unless otherwise noted, the following are album title tracks.

1974. Horacee Arnold – Tales Of The Exonerated Flea
1977. Colin Walcott – Grazing Dreams (ECM)
1977. Jack DeJohnette – Picture 5 (fr. Pictures ECM)
1977. Kenny Wheeler – Deer Wan (ECM)
1980. Jan Garbarek – Eventyr (ECM)
1989. Danny Gottlieb – Whirlwind
1994. Bob Brookmeyer – Ugly Music (fr. Electricity)
2007. Mark Egan – As We Speak

A trio with two other ECM stalwarts …

A poster for a Tim Burton directed animated movieworth watching (video)

One listen to this compilation and you may be expressing yourself in German: “Nein, nein!”

There isn’t much flow to this assortment, with the first three tracks dithering over the number. Then Italian songstress Maria Pia De Vito interprets a Hendrix number from her album, Mind The Gap, described as an exploration of the crossover territory between freeform jazz, traditional European music and abstract electronica.

John Martyn mumbles his way through his own song with the help of Carla Bley’s favourite saxophonist Andy Shepherd, then two very capable acoustic guitarists offer some comfortable musings.

Sly and Robbie are the renowned Jamaican rhythm duo adding some rare clout to the Norwegian duo who have consistently pushed the boundaries of jazz, largely through their use of electronics.

Finally, Jack DeJohnette had the able support of Pat Metheny, Herbie Hancock and Dave Holland at the 1990 Montreux Jazz Festival.

But that’s only eight tracks, you may think. That is some 49 minutes worth, though, and there are no more tracks in IndoJazzia’s archives which fit the monthly theme. However, do find twenty minutes to watch the original line-up of Caravan playing one of their legendary suites, and note that they are original members of the ‘Canterbury Scene’, as was the late Hugh Hopper on the first track.


01. Hopper, Dean, Gowan, Sheen – One Three Nine
02. Kenny Wheeler – Seven, Eight, Nine (Pt.1)
03. Maria Pia De Vito – If Six Was Nine
04. John Martyn w. Andy Shepherd – Number Nine
05. Harry Manx – Nine Summers Lost
06. Mehmet Ergin – Nine Faces
07. Sly & Robbie w. Nils Petter Molvær & Eivind Aarset – Nine
08. Jack DeJohnette’s Parallel Realities – Nine Over Reggae

Play full screen and LOUD!