John Tchi­cai Trio & Mar­shall Allen @ The Cin­e­ma, 3925 Wal­nut St., 8 p.m.

Of Dan­ish and Con­golese decent, John Tchi­cai (b. 1936) is best known for his con­tri­bu­tion to John Coltrane’s 1965 new jazz mas­ter­piece, “Ascen­sion.” He co-found­ed the New York Con­tem­po­rary Five with Archie Shepp and Don Cher­ry as well at the New York Art Quar­tet with Mil­ford Graves and Roswell Rudd. Tchi­cai record­ed with Albert Ayler (New York Eye and Ear Con­trol), the Jazz Com­posers Guild, and John Lennon (Life With the Lions). And, fol­low­ing three years as a cen­tral fig­ure in New York’s avant garde, Tchi­cai relo­cat­ed to Den­mark in 1966 and found­ed a large work­shop ensem­ble called Caden­tia Nova Dan­i­ca, which he led until 1971. Short­ly there­after, he cut back on per­form­ing to con­cen­trate on teach­ing. In 1977, he returned to the stu­dio, lead­ing a fair­ly steady series of record­ing dates into the ’80s, when he switched to tenor sax and joined Pierre Dorge’s New Jun­gle Orches­tra. In 1990, Tchi­cai received a life­time grant for jazz per­for­mance from the Dan­ish Min­istry of Cul­ture; and the fol­low­ing year he relo­cat­ed to Cal­i­for­ni­a’s Bay Area, where he and his key­boardist wife Mar­gri­et found­ed John Tchi­cai & the Arche­types and the John Tchi­cai Unit, which both record­ed dur­ing the ’90s.

New York Eye & Ear Con­trol — “ITT”

But I think, as Mr. Jus­tice Bran­deis says, that apart from the Con­sti­tu­tion the gov­ern­ment ought not to use [277 U.S. 438, 470] evi­dence obtained and only obtain­able by a crim­i­nal act. There is no body of prece­dents by which we are bound, and which con­fines us to log­i­cal deduc­tion from estab­lished rules. There­fore we must con­sid­er the two objects of desire both of which we can­not have and make up our minds which to choose. It is desir­able that crim­i­nals should be detect­ed, and to that end that all avail­able evi­dence should be used. It also is desir­able that the gov­ern­ment should not itself fos­ter and pay for oth­er crimes, when they are the means by which the evi­dence is to be obtained. If it pays its offi­cers for hav­ing got evi­dence by crime I do not see why it may not as well pay them for get­ting it in the same way, and I can attach no impor­tance to protes­ta­tions of dis­ap­proval if it know­ing­ly accepts and pays and announces that in future it will pay for the fruits. We have to choose, and for my part I think it a less evil that some crim­i­nals should escape than that the gov­ern­ment should play an igno­ble part.

Jus­tice Oliv­er Wen­dell Holmes, Jr., OLMSTEAD v. U.S., 277 U.S. 438 (1928), dissenting

Napalm Death — “You Suffer”

Napalm Death — “From Enslave­ment to Obliteration”

Pun­ish­ment, then, will tend to become the most hid­den part of the penal process. This has sev­er­al con­se­quences: it leaves the domain of more or less every­day per­cep­tion and enters that of abstract con­scious­ness; its effec­tive­ness is seen as result­ing from its inevitabil­i­ty, not from its vis­i­ble inten­si­ty; it is the cer­tain­ty of being pun­ished and not the hor­ri­fy­ing spec­ta­cle of pub­lic pun­ish­ment that must dis­cour­age crime; the exem­plary mechan­ics of pun­ish­ment changes its mech­a­nisms. As a result, jus­tice no longer takes pub­lic respon­si­bil­i­ty for the vio­lence that is bound up with its practice.

- Michel Fou­cault, Dis­ci­pline & Punish

Mar­i­on Brown — “27 Coop­er Square”

Par­ty all week.

Mup­pets Show Theme

Man, it’s messy up here.

Wolf Eyes, with Antho­ny Brax­ton — “Stabbed in the Face”