music clip of the day


Month: June, 2012

Saturday, 6/30/12

only rock ’n’ roll

Joy Division, live (TV show), England, 1979



“She’s Lost Control”



musical thoughts

On any given day—today, for instance—how many dozens, hundreds, thousands, millions of people will be making, or listening to, music?

Friday, 6/29/12

more favorites

Digable Planets with Lester Bowie (trumpet), Joe Sample (keyboard), Melvin “Wah-Wah Watson” Ragin (guitar), “Flying High in the Brooklyn Sky,” live, 1990s

(Originally posted 3/23/11.)


Talib Kweli, “Get By”

Live, New York, 2007

(Originally posted 9/29/09.)


Recording & Video, 2002


Lupe Fiasco, “Hip-Hop Saved My Life”

Live, Los Angeles, 2008

(Originally posted 9/14/09.)


Recording & Video, 2008

Thursday, 6/28/12

Today, for our 1,000th post, we revisit a few favorites—more tomorrow.

Junior Wells (vocal and harmonica), Buddy Guy (guitar), “Cryin’ Shame” (AKA “Country Girl”), live, Chicago, 1970 (Chicago Blues)

(Originally posted 7/8/10.)


Buddy Guy, “Let Me Love You Baby,” live, 1960s

(Originally posted 3/12/10.)


Magic Sam, “All Your Love,” “Lookin’ Good”
Live, Germany, 1969

(Originally posted 11/21/09.)


Hound Dog Taylor & The Houserockers (Brewer Phillips, guitar; Ted Harvey, drums), “Sadie,” live, Ann Arbor Blues Festival, 1973

(Originally posted 4/29/11.)

Wednesday, 6/27/12

Karlheinz Stockhausen, Wach (excerpt)
The Ensemble for Intuitive Music Weimar
Live (rehearsal), Austria (Klosterneuberg), 2009



musical thoughts

Would I want to listen to this every day?


But I don’t feel like listening to Junior Wells every day either.

Why shouldn’t our music be as various as our days?

Tuesday, 6/26/12

the other night

exhilarating, adj. making you feel happy, excited, and full of energy. E.g., the music of Anthony Braxton.

Ken Vandermark, arrangments, bass clarinet; Nick Mazzarella, alto saxophone; Mars Williams, alto saxophone; Dave Rempis, baritone saxophone; Josh Berman, cornet; Jeb Bishop, trombone; Jason Adasiewicz, vibraphone; Nate McBride, bass; Tim Daisy, drums; live, Chicago (Elastic, 2830 N. Milwaukee), 6/21/12

Composition No. 6 C (A. Braxton)


Composition No. 69 J (A. Braxton)



Anthony Braxton sat perched on a piano bench one recent afternoon, hands folded in his lap, wearing an intent but unreadable expression. Angled away from the piano in a no-frills rehearsal space in Brooklyn, he faced the dozen or so vocalists that currently make up his Syntactical Ghost Trance Music Choir. The singers, arranged in a semicircle, were tackling Mr. Braxton’s “Composition No. 256,” staring hard at their sheet music while trying to keep track of their conductor. It was starting to seem as if the piece, a slippery, scalar proposition, were getting the best of them.

“O.K.,” said Taylor Ho Bynum, the conductor, waving the singers to a halt. Mr. Bynum, a cornetist, composer, bandleader and former student of Mr. Braxton’s at Wesleyan University, took a moment to describe the cues and signals that would further convolute the interpretation of the piece. “When in doubt, we follow Braxton,” he said.

“Which is to say, you know it’s going to be wrong!” Mr. Braxton fired back, laughing.

Mr. Bynum nodded, deadpan. “We’d follow Braxton off a cliff.”


Mr. Braxton, 66, has been a force in the American avant-garde since the 1960s, when he emerged in his native Chicago as a member of the Association for the Advancement of Creative Musicians. Within the first decade of his arrival, he was being toasted in some circles as “the new messiah, the new Charlie Parker-John Coltrane-Ornette Coleman,” as Whitney Balliett put it in The New Yorker.

As a composer, conceptualist and saxophonist, Mr. Braxton exemplified the steep intellectualization of one wing of jazz’s avant-garde; his compositions often included notation in the form of pictographs and algebraic formulas, and he wrote pieces not only for jazz ensembles but also for classical orchestras (in one memorable instance, for four of them at once). One piece from 1971, “Composition 19 (For 100 Tubas),” finally had its premiere five years ago as a rumbling overture to that year’s Bang on a Can Marathon in Lower Manhattan.

“I wanted to have an experience like my role models,” Mr. Braxton said after the rehearsal, at a nearby pub. “Karlheinz Stockhausen, Charlie Mingus, Iannis Xenakis, Sun Ra, Hildegard von Bingen. The people who were thinking large scale and small scale. I might not have been able to get the money to do what I would have liked to do. But you can still compose it and have the hope that maybe in the future it can be realized.”

Mr. Braxton has often suggested that his sprawling output — and the equally irreducible theoretical discourse surrounding it — should be understood as a single body of work. To that end, his music has become a bit more accessible recently, thanks to a spate of archival releases. But that hasn’t made things easier for Mr. Braxton.

“This is a somewhat frustrating time cycle for me, in the sense that I rarely work anymore,” he said. “My work has been marginalized as far as the jazz-business complex is concerned, or the contemporary-music complex.” Were it not for his tenured post at Wesleyan, where he has taught for more than 20 years, “maybe I would be driving a taxicab or something,” he said.


“I had never thought that I would be involved in narrative structures,” Mr. Braxton said [of his new opera Trillium J]. “As a young guy, I was more interested in abstract modeling. But as I got older, I began to see that there was no reason to limit myself to any intellectual or conceptual postulate, when in fact I’m a professional student of music.”

—Nate Chinen, “Celebrating a Master of the Avant-Garde,” New York Times, 10/4/11

Monday, 6/25/12

something cheery to start the week

There’s some things, you reach a certain point in life when you just don’t have time to get better from it.

—Randy Newman

Randy Newman, “Losing You,” live, London, 2011



musical thoughts

How many of my records, I wondered the other day while sorting CDs, will I never listen to again? How many will never be heard again by anyone?

Sunday, 6/24/12

I don’t want to hear nobody but the drums . . .

—Shirley Caesar

Shirley Caesar (with guests, including Ira Tucker [Dixie Hummingbirds] at 5:30-), “I Feel Like Praising Him,” live




musical thoughts

It’s always difficult to remember what your name is when you’re in the midst of all this music.

 —Daniel Blumin, WFMU-FM, last night’s show

Saturday, 6/23/12

basement jukebox

Ray Harris, “Where’d You Stay Last Night” (1956)


Ronnie Self, “Rocky Road Blues” (1957)


Johnny Powers, “Long Blonde Hair” (1957)

Friday, 6/22/12

only rock ’n’ roll

Japandroids, “For the Love of Ivy”
Live, Austin (SXSW), 3/15/12

This is what rock ’n’ roll should sound like.

—my (24-year-old) son Alex, the other day, while playing their new album (Celebration Rock)

Thursday, 6/21/12

24 hours of ragas

On Thursday, June 21st WKCR-FM will feature a historic first in radio broadcast: a live raga marathon with 24 musicians performing in 24 hours! Curated by Brooklyn Raga Massive and HarmoNYom, the festival will start on Wednesday, June 20th at midnight and end on Thursday June 21st at midnight. Raga, which literally means “to color the mind,” are musical modes in Indian Classical Music that correspond with specific times of the day or the night. All Ragas in the festival will correspond to the time of their performance. Read more for the schedule of the festival:

12am Neel Murgai – Sitar
1am Sameer Gupta and Ehren Hanson – Tabla Duo
2am Achyut Joshi – Vocal
3am Iklhaq Hussain – Sitar
4am Anjana Roy and Sanjay Rajan Pal – Sitar and Tabla
5am Akshay Anantapadmanabhan – Mridangam
6am Indrajit Roy Chowdhury – Sitar
7am Daisy Paradis – Sitar
8am Samarth Nagarkar – Vocal
9am Eric Fraser – Flute
10am Falu Shah – Vocal
11am Shanti Sivani – Vocal
12pm Steve Gorn – Flute
1pm Karavika – Violin & Cello
2pm Gargi Shinde – Sitar
3pm Camila Celin – Sarod
4pm Kedar Naphade – Harmonium
5pm Vivek Rudrapatna – Carnatic Violin
6pm Jay Gandhi – Flute
7pm Andrew Mendelson – Sitar
8pm Arun Ramamurthy – Carnatic Violin
9pm Ashvin Bhogendra – Carnatic Vocal
10pm Oded Tzur – Saxophone
11pm Kiran Ahluwalia – Vocal

On Tabla & Harmonium accompaniment:
Nitin Mitta, Sameer Gupta, Ehren Hanson, Naren Budhakar, Dan Weiss, Stephen Celluci, Andrew Shantz

On Mridingam accompaniment:
Akshay Anantapadmanabhan


Nikhil Banerjee, sitar (with Kanai Dutta, tabla)
Rag Bhimpalasri, Rag Multani (35:42-)
Live, Netherlands (Rotterdam), 1970



musical thoughts

There’s no “Indian music” in India.

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