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Good Night
Feb. 16th, 2021 12:10 am
Feb. 16th, 2021
Post Midnight Mix
Feb. 16th, 2021 12:53 amTunes for the night people -
Laurie Anderson - The Lake
Gavin Bryars - Laudamo la resurrectione (Lauda 16)
Alice Coltrane - Gospel Trane
Performer: Brandee Younger. Singer: Dezron Douglas
From Force Majeure
℗ International Anthem LLC
Maya Verlaak - Lark
Extract from 'Lark' (2019) by Maya Verlaak, played by Apartment House: Maya Verlaak, amplified music box Anton Lukoszevieze, cello Gordon Mackay, violin Philip Thomas, piano Heather Roche, clarinet Laetitia Stott, horn and Simon Limbrick, glockenspiel. One of five pieces by Maya Verlaak from the portrait CD 'All English Music is Greensleeves', published on Another Timbre in November 2020. www.anothertimbre.com
ENJOY
Laurie Anderson - The Lake
Gavin Bryars - Laudamo la resurrectione (Lauda 16)
Alice Coltrane - Gospel Trane
Performer: Brandee Younger. Singer: Dezron Douglas
From Force Majeure
℗ International Anthem LLC
Maya Verlaak - Lark
Extract from 'Lark' (2019) by Maya Verlaak, played by Apartment House: Maya Verlaak, amplified music box Anton Lukoszevieze, cello Gordon Mackay, violin Philip Thomas, piano Heather Roche, clarinet Laetitia Stott, horn and Simon Limbrick, glockenspiel. One of five pieces by Maya Verlaak from the portrait CD 'All English Music is Greensleeves', published on Another Timbre in November 2020. www.anothertimbre.com
ENJOY
Julius Eastman
Feb. 16th, 2021 02:23 amProbably the most neglected modern composer - gay and black - and as far as I am concerned his music is a phenomenon.
Julius Eastman - Stay On It
Composed by Julius Eastman
Score realization by Tim Leopold
Performed by Alarm Will Sound
Live at the Sheldon Concert Hall, Feb 8, 2018
Filmed by Four/Ten Media
He was a composer that rocked the cerebral world of process music with his explosions of free improvisation. It's little wonder that Julius Eastman, who died in 1990 under unexplained circumstances, remained the supreme underground composer!
HIS MUSIC IS A WILD RIDE and I love it.
Enjoy.
Julius Eastman - Stay On It
Composed by Julius Eastman
Score realization by Tim Leopold
Performed by Alarm Will Sound
Live at the Sheldon Concert Hall, Feb 8, 2018
Filmed by Four/Ten Media
He was a composer that rocked the cerebral world of process music with his explosions of free improvisation. It's little wonder that Julius Eastman, who died in 1990 under unexplained circumstances, remained the supreme underground composer!
HIS MUSIC IS A WILD RIDE and I love it.
Enjoy.
The Nearly Lost Legacy Of Julius Eastman
Feb. 16th, 2021 02:55 amA documentary -
The Nearly Lost Legacy of Julius Eastman
Julius Eastman is one of the greatest contributors to 20th-century music but thanks to racism and homophobia, his legacy was nearly forgotten.
The Nearly Lost Legacy of Julius Eastman
Julius Eastman is one of the greatest contributors to 20th-century music but thanks to racism and homophobia, his legacy was nearly forgotten.
Book 14 - Ian Bell "Time Out Of Mind"
Feb. 16th, 2021 11:12 amIan Bell "Time Out Of Mind: The Lives Of Bob Dylan" (Mainstream Publishing)
I started reading this chapter by chapter middle of last year and just completed the 575 pages of it this morning. Also, this is the second volume of Bell's ongoing analysis of Dylan which I have not read.
Bell’s writing is muscular and energetic: every sentence is written by someone who has spent his life reading about and listening to Dylan but who never sounds like a fanboy or longing-to-be-hip academic. Also, Bell sometimes editorializes too long about American politics or the electorate, but the writing is good enough that the reader can bear it for a few pages at a time. (He is as wrong about Reagan as he is about the Grateful Dead.) But if Bell is sometimes off-base with politics, he is dead-on with poetics. Beginning with 1975’s Blood on the Tracks and ending with 2013’s Tempest, Bell examines the career of Dylan (or “Dylan”) as American troubadour, artist, and icon. “His life,” Bell states, “had become a mixture of high art and low commerce, of thoughtful statements one the state of man and the modern world interspersed with textbook examples of the kind of behaviour that gives stardom its disreputable name.”
Bell spends a hundred pages or so on the inaccurately-named “Gospel trilogy” and Dylan’s conversion — which Bell argues was never really so much a “conversion” as another of Dylan’s identities — that he had since Greenwich Village and which runs throughout his work. To his credit, Bell lets Dylan do the talking here and never tries to explain away or undermine his subject’s faith in Revelations or doubt his sincerity, even when his music suffered. Bell takes Slow Train Coming as seriously as Dylan might wish, and his seriousness is illuminating for the reader, who wonders what Dylan was thinking in the literal, as opposed to the ironic, sense. That Slow Train Coming sold more copies than Blood on the Tracks is another revelation.
The book is also a terrific study of the relationship between art and money. In Moby-Dick, Ishmael states the obvious regarding the difference between paying and being paid: “What will compare with it? The urbane activity with which a man receives money is really marvellous, considering that we so earnestly believe money to be the root of all earthly ills, and that on no account can a moneyed man enter heaven.” One of Bell’s themes is the shocking notion that Dylan likes being paid as much as anyone else. His Victoria’s Secret commercial, the Rolling Thunder Review, the Never-Ending Tour, the Bootleg Series — even the selling of limited edition harmonicas—are all examined in light of Dylan’s urge to capitalism. Bell’s book ends before the Superbowl Chrysler ad, but the effect is the same thing: anyone who groused that Dylan was somehow “betraying” his art in making a car ad seeks to speak from a position of innocence and cast the first stone.
Bell often treats Dylan’s incomprehensible choices of producers, material, touring bands, and, most of all, songs left off of albums. He offers long examinations of songs that strike him as worthy of comment but not always positive. Thus, the reader gets long analyses of “Blind Willie McTell” and “Jokerman” as emblematic Dylan achievements, and one just as long on “Isis,” in which Bell states that the listener has to “muster a certain tolerance for a labouring melody” and lyrics filled with “New Age bric-a-brac.” Bell examines the plagiarism issue (which, for him, is ridiculous), the reception of Chronicles: Volume One, and Dylan’s voice, which he calls a “magnificent ruin.” Nothing is left unsaid or unexamined: Bell treats each album, each phase, and each incarnation of Dylan with similarly impeccable judgment. For the Dylan fan, this is required reading.
Question is when I do tackle volume one in this ongoing analysis?
I started reading this chapter by chapter middle of last year and just completed the 575 pages of it this morning. Also, this is the second volume of Bell's ongoing analysis of Dylan which I have not read.
Bell’s writing is muscular and energetic: every sentence is written by someone who has spent his life reading about and listening to Dylan but who never sounds like a fanboy or longing-to-be-hip academic. Also, Bell sometimes editorializes too long about American politics or the electorate, but the writing is good enough that the reader can bear it for a few pages at a time. (He is as wrong about Reagan as he is about the Grateful Dead.) But if Bell is sometimes off-base with politics, he is dead-on with poetics. Beginning with 1975’s Blood on the Tracks and ending with 2013’s Tempest, Bell examines the career of Dylan (or “Dylan”) as American troubadour, artist, and icon. “His life,” Bell states, “had become a mixture of high art and low commerce, of thoughtful statements one the state of man and the modern world interspersed with textbook examples of the kind of behaviour that gives stardom its disreputable name.”
Bell spends a hundred pages or so on the inaccurately-named “Gospel trilogy” and Dylan’s conversion — which Bell argues was never really so much a “conversion” as another of Dylan’s identities — that he had since Greenwich Village and which runs throughout his work. To his credit, Bell lets Dylan do the talking here and never tries to explain away or undermine his subject’s faith in Revelations or doubt his sincerity, even when his music suffered. Bell takes Slow Train Coming as seriously as Dylan might wish, and his seriousness is illuminating for the reader, who wonders what Dylan was thinking in the literal, as opposed to the ironic, sense. That Slow Train Coming sold more copies than Blood on the Tracks is another revelation.
The book is also a terrific study of the relationship between art and money. In Moby-Dick, Ishmael states the obvious regarding the difference between paying and being paid: “What will compare with it? The urbane activity with which a man receives money is really marvellous, considering that we so earnestly believe money to be the root of all earthly ills, and that on no account can a moneyed man enter heaven.” One of Bell’s themes is the shocking notion that Dylan likes being paid as much as anyone else. His Victoria’s Secret commercial, the Rolling Thunder Review, the Never-Ending Tour, the Bootleg Series — even the selling of limited edition harmonicas—are all examined in light of Dylan’s urge to capitalism. Bell’s book ends before the Superbowl Chrysler ad, but the effect is the same thing: anyone who groused that Dylan was somehow “betraying” his art in making a car ad seeks to speak from a position of innocence and cast the first stone.
Bell often treats Dylan’s incomprehensible choices of producers, material, touring bands, and, most of all, songs left off of albums. He offers long examinations of songs that strike him as worthy of comment but not always positive. Thus, the reader gets long analyses of “Blind Willie McTell” and “Jokerman” as emblematic Dylan achievements, and one just as long on “Isis,” in which Bell states that the listener has to “muster a certain tolerance for a labouring melody” and lyrics filled with “New Age bric-a-brac.” Bell examines the plagiarism issue (which, for him, is ridiculous), the reception of Chronicles: Volume One, and Dylan’s voice, which he calls a “magnificent ruin.” Nothing is left unsaid or unexamined: Bell treats each album, each phase, and each incarnation of Dylan with similarly impeccable judgment. For the Dylan fan, this is required reading.
Question is when I do tackle volume one in this ongoing analysis?
Tuesday Thoughts
Feb. 16th, 2021 03:11 pmIt is a rain-sodden day. But at least it is fairly mild - a bit cooler than the other day - just 9C!
I do not mind as I have loads of food in - some beer and cider - and new CDs to listen to.
So on the playlist in the rotation is -
Soft Machine - Virtually (Cuneiform)
Bela Bartok - The Wooden Prince / Hungarian Pictures (Chandos)
Bela Bartok - Concerto For Strings / Music For Strings Percussion and Celeste (DG)
Gottfried Michael Koening - Acousmatrix 1.2 (BVHasst)
So, progressive jazz-rock from the best band to come out of the Canterbury scene, two classical albums of Bartok and a double CD of musique concrete and acousmatic electronics.
I do not mind as I have loads of food in - some beer and cider - and new CDs to listen to.
So on the playlist in the rotation is -
Soft Machine - Virtually (Cuneiform)
Bela Bartok - The Wooden Prince / Hungarian Pictures (Chandos)
Bela Bartok - Concerto For Strings / Music For Strings Percussion and Celeste (DG)
Gottfried Michael Koening - Acousmatrix 1.2 (BVHasst)
So, progressive jazz-rock from the best band to come out of the Canterbury scene, two classical albums of Bartok and a double CD of musique concrete and acousmatic electronics.
WTF!! Texan Snow!
Feb. 16th, 2021 06:44 pmI just find this amazing!
Millions in Texas without power as deadly storm brings snow, freezing weather
https://www.nbcnews.com/news/weather/knocked-out-texas-millions-face-record-lows-without-power-new-n1257964
Millions in Texas without power as deadly storm brings snow, freezing weather
https://www.nbcnews.com/news/weather/knocked-out-texas-millions-face-record-lows-without-power-new-n1257964
Just Wondering
Feb. 16th, 2021 08:45 pmWhat’s something you really resent paying for?
Who do you go out of your way to be nice to?
What “old person” things do you do (and how you interpret an old person is up to you)?
Who do you go out of your way to be nice to?
What “old person” things do you do (and how you interpret an old person is up to you)?
Some slices of free jazz and improv -
Feminist Improvising Group - The Seventh Kiss
Spontaneous Music Ensemble - Familie (1968)
Artist: Spontaneous Music Ensemble
Album: Oliv & Familie
Label: Emanem / EMANEM 5033 (2014)
Pepi Lemer: voice
Norma Winstone: voice
Trevor Watts: piccolo
Brian Smith: flute
Evan Parker: soprano saxophone
Peter Lemer: piano
Derek Bailey: electric guitar
Nik Bryce: cello
Jeff Clyne: double bass
Dave Holland: double bass
John Stevens: small drums set
Evan Parker Trio - Atlanta
Musicians are:
Evan Parker - soprano & tenor saxophones
Barry Guy - bass
Paul Lytton - drums & percussion
ENJOY
Feminist Improvising Group - The Seventh Kiss
Spontaneous Music Ensemble - Familie (1968)
Artist: Spontaneous Music Ensemble
Album: Oliv & Familie
Label: Emanem / EMANEM 5033 (2014)
Pepi Lemer: voice
Norma Winstone: voice
Trevor Watts: piccolo
Brian Smith: flute
Evan Parker: soprano saxophone
Peter Lemer: piano
Derek Bailey: electric guitar
Nik Bryce: cello
Jeff Clyne: double bass
Dave Holland: double bass
John Stevens: small drums set
Evan Parker Trio - Atlanta
Musicians are:
Evan Parker - soprano & tenor saxophones
Barry Guy - bass
Paul Lytton - drums & percussion
ENJOY
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