music clip of the day

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Month: March, 2017

Saturday, March 11th

more

William Parker’s In Order To Survive (WP, bass; Hamid Drake, drums, MCOTD Hall of Fame; Cooper-Moore, piano, vocals; Lewis Barnes, trumpet; Rob Brown, alto saxophone), “Hymn,” live, New York, 2013


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lagniappe

reading table

He isn’t doing that right—that was a very important one. It was what Astaire claimed he was thinking whenever he watched himself onscreen, and I noted that third-person pronoun. This is what I understood by it: that for Astaire the person in the film was not especially connected with him. And I took this to heart, or rather, it echoed a feeling I already had, mainly that it was important to treat oneself as a kind of stranger, to remain unattached and unprejudiced in your own case. I thought you needed to think like that to achieve anything in this world. Yes, I thought that was a very elegant attitude.

—Zadie Smith, Swing Time

Friday, March 10th

basement jukebox

Robert Ward (1938-2008), 1967

“My Love Is Strictly Reserved for You”


***

“I Will Fear No Evil”


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lagniappe

random sights

yesterday, Chicago

 

Thursday, March 9th

MCOTD Hall of Fame

William Parker’s In Order To Survive (WP, bass, composition; Hamid Drake, drums, MCOTD Hall of Fame;* Lewis Barnes, trumpet; Rob Brown, alto saxophone; Cooper-Moore, piano), “Criminals in the White House,” live, New York, 2013

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lagniappe

radio

Today—his birthday—it’s all Ornette Coleman all day on WKCR-FM (Columbia University).

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*With saxophonists Von Freeman and Henry Threadgill; trumpeter Lester Bowie; gospel singer Dorothy Love Coates; composer Morton Feldman; poets John Berryman, William Bronk, and Wislawa Szymborska; and photographer Helen Levitt.

Wednesday, March 8th

sounds of Detroit

John Lee Hooker (1912-2001), “Boom Boom” (J.L. Hooker), live, 1960s


The world may be going to hell, faster than ever, but in the meantime, at YouTube, this has over 11 million views.

Tuesday, March 7th

can’t wait

Tonight he’s conducting the Chicago Symphony Orchestra—Debussy’s Prelude to the Afternoon of a Faun, John Adams’ Scheherazade.2, and this.

Igor Stravinsky (1882-1971), The Rite of Spring (1913); Los Angeles Philharmonic (Esa-Pekka Salonen [1958-], cond.), live, Los Angeles

Monday, March 6th

basement jukebox

Junior Wells (vocals, harmonica; 1934-1998), “Little by Little,” 1960


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lagniappe

random sights

yesterday, Chicago (Columbus Park)

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Sunday, March 5th

back to church

“Give Me Jesus,” Langrum Branch Baptist Church, York, S.C., 2000


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lagniappe

reading table

The authentic and pure values—truth, beauty, and goodness—in the activity of a human being are the result of one and the same act, a certain application of the full attention to the object.

—Simone Weil (1909-1943), Gravity and Grace (translated from French by Emma Crawford)

*****

random sights

this morning, Oak Park, Ill.

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Saturday, March 4th

never enough

This took my breath away—more than once.

Ludwig van Beethoven (1770-1827), Violin Concerto; Frankfurt Radio Symphony Orchestra (Philippe Herreweghe, cond.) with Patricia Kopatchinskaja (violin), live, 2014

Friday, March 3rd

sounds of Eau Claire*

Bon Iver, live, New York, 2016**


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*Wisconsin.

**Set list (courtesy of YouTube):

00:16 “10 d E A T h b R E a s T ⚄ ⚄”
02:58 “33 ‘GOD'”
06:45 “Heavenly Father”
10:50 “29 #Strafford APTS”
15:34 “Beach Baby”
18:31 “666 ʇ”
23:42 “715 – CRΣΣKS”
26:20 “Calgary”
31:01 “22 (OVER S∞∞N)”
34:42 “8 (circle)”
40:54 “Minnesota, WI”
48:13 “____45_____”
54:15 “Creature Fear”
1:00:35 “00000 Million”

Thursday, March 2nd

tonight in Chicago

These guys, from Australia, are playing at Constellation.

The Necks, live, London, 2016


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lagniappe

reading table

The Imaginary Iceberg
by Elizabeth Bishop (1911-1979)

We’d rather have the iceberg than the ship,
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We’d rather have the iceberg than the ship;
we’d rather own this breathing plain of snow
though the ship’s sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?

This is a scene a sailor’d give his eyes for.
The ship’s ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.

The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another’s waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.