sounds of Chicago
Chicago Underground Duo (Rob Mazurek, cornet, electronics, voice; Chad Taylor, drums, mbira, electronics), live (music begins at 4:30), Italy (Venice), 2013
(This clip, alas, has some glitches: at 56:15 both the sound and the picture drop out, returning, with just one of two audio channels, at 58:46.)
passings
Frankie Knuckles, DJ, January 18, 1955-March 31, 2014
2013 Boiler Room set, excerpt (Lou Rawls, “You’ll Never Find Another Love Like Mine,” remix)
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It could be plausibly argued that Knuckles was as important to the birth of contemporary dance music as James Brown was to soul or Chuck Berry to rock ‘n’ roll. And like those innovators, Knuckles helped nurture a deceptively sophisticated sound that celebrated and embraced outsiders and misfits — in Knuckles’ case, the gay African-American and Hispanic communities.
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—Greg Kot, Chicago Tribune (obituary), 4/1/14
sleepless in Chicago
Some folks sleep all night, or so I’ve heard. Maybe you’re one of them. If not, here’s a mix you might try—a sonic tonic.
1. Play this on repeat.
John Luther Adams (1953-), “The Farthest Place” (2001); piano (Clint Davis), vibraphone (Brian Archinal & Andy Bliss), bass (Satoru Tagawa), violin (Lydia Kabalen); University of Kentucky (Lexington), 2008
2. Ditto.
Waterfall Sounds, Cow Creek
3. Adjust volume levels to taste.
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lagniappe
reading table
For you fleas too
the nights must be long,
they must be lonely.—Kobayashi Issa (1763-1827; translated from Japanese by Robert Hass)
three takes
“I Don’t Feel No Ways Tired” (C. Burrell)
Mighty Clouds of Joy, live, South Carolina (Charleston), mid-1990s
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Rev. James Cleveland, live
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The Walden Family 19th Anniversary, live, Georgia (Camilla), 2013
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lagniappe
random thoughts
No delusion is more stubborn than the notion you are alive.
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art beat: more from the Art Institute’s Hiroshige exhibit (see Thursday’s post)
Seki—No. 48, c. 1847-1852
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Heavy Snow, mid-1840s
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Kameyana, Weather Clearing After Snow, c. 1833-34
alone
Akio Suzuki (self-made instrument), live, England (Newcastle), 2014
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lagniappe
musical thoughts
Each day we have a choice. We can listen, again, to stuff we’ve heard before. Or we can open our ears to something new.
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art beat: yesterday at the Art Institute of Chicago (after a hearing at the nearby federal court building)
Utagawa Hiroshige (1797-1858), Hiroshige’s Winter Scenes (through 3/20/14)
Yabu Street at the foot of Atago Hill (from the series “One Hundred Famous Views of Edo”), 1857
not for the faint of heart
Peter Brötzmann Chicago Tentet,* live, France (Le Mans), 2004
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lagniappe
musical thoughts
Q: What would people be surprised to know that you listen to?
Bill Clinton: Brötzmann, the tenor sax player, one of the greatest alive.
—Oxford American, 2001 (annual music issue)
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*PB, reeds; Ken Vandermark, reeds; Joe McPhee, pocket trumpet, tenor saxophone; Roland Ramanan, trumpet, wooden flute; Toshinori Kondo, trumpet; Jeb Bishop, trombone; Fred Longberg-Holm, cello; Kent Kessler, bass; Michael Zerang, drums; Paal Nilssen-Love, drums.
sounds of Chicago
Paul Butterfield (vocals, harmonica), Mike Bloomfield (guitar), Mark Naftalin (keyboards), et al., live, Boston, 1971
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lagniappe
found words
Automated response received yesterday, after calling my pharmacy to find out if a prescription was ready, getting a recorded recitation of the available options, and hitting “0” in the hope of reaching a non-virtual human being:
This is not a valid command.
sounds of Chicago
Klang (James Falzone, clarinet; Jason Adasiewicz, vibraphone; Jason Roebke, bass; Tim Daisy, drums), live (studio performance), 2009
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lagniappe
art beat: the other day at the Art Institute of Chicago
Mark Rothko (1903-1970), Untitled (Purple, White, and Red), 1953
This painting and I have been getting together, several times a year, for decades. Admittedly, our relationship is rather one-sided. But, if anything, its indifference to me only deepens my feelings for it.
only rock ’n’ roll
The Ex, “Double Order,” France (Orleans), 2013
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lagniappe
found words
From the Chicago Reader music section (2/20/14):
. . . hails from the same quasi-grimestep/post-IDM interzone that’s home to artists as disparate as . . .
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This Liverpool trio plays what it calls ‘caveman doom’ . . .
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. . . retrofuturist murder ballad . . .
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. . . works the same territory that grindcore and sludge bands cleared in the 90s.
sounds of Chicago
Mike Reed’s People, Places & Things (MR, drums; Jason Roebke, bass; Greg Ward, alto saxophone; Tim Haldeman, tenor saxophone), “Wilbur’s Tune,” live, Paris, 2010
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Mike Reed’s Myth/Science Assembly (MR, drums; Tomas Fujiwara, drums; Josh Abrams, bass; Greg Ward, alto saxophone; Ingrid Laubrock, tenor saxophone; Taylor Ho Bynum, trumpet; Mary Halvorson, guitar; Tomeka Reid, cello; Jason Adasiewicz, vibraphone; Nick Butcher, electronics), live (rearranging a found Sun Ra fragment [excerpt]), Chicago (Chicago Jazz Festival), 2011
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Mike Reed’s Loose Assembly (MR, drums; Josh Abrams, bass; Greg Ward, alto saxophone; Tomeka Reid, cello; Jason Adasiewicz, vibraphone), live (studio performance), Chicago, c. 2009
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If other Chicago musicians are “busy,” what’s Mike Reed? In addition to leading various groups, he owns and operates Constellation, a performing arts center. Then there’s the Pitchfork Music Festival, which this summer will feature, over the course of three days, Beck, Giorgio Moroder, Kendrick Lamar, Grimes, et al. He books and produces it.
