music clip of the day

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Category: guitar

Monday, December 22nd

genius at play

Henry Threadgill (alto saxophonist, composer, bandleader) leading a master class (excerpt), Big Indian, N.Y. (Creative Music Studio), 2014

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More.

Henry Threadgill and His Very Very Circus, “Too Much Sugar for a Dime,” live, New York, c. 1993

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Today Henry, who’s been lifting my spirits for over three decades, enters the MCOTD Hall of Fame, joining tenor saxophonist Von Freeman, trumpeter Lester Bowie, poets John Berryman, William Bronk, and Wislawa Szymborska, and gospel singer Dorothy Love Coates.

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lagniappe

art beat: more from Friday at the Art Institute of Chicago

Claude Monet (1840-1926), Irises (1914/17)

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radio

One of my favorite musical events begins tonight: the annual Bach Festival on WKCR (Columbia University), which runs through midnight New Year’s Eve.

Friday, December 19th

what’s new

D’Angelo and the Vanguard (Pino Palladino, bass; Ahmir “Questlove” Thompson, drums, et al.), “Ain’t That Easy” (Black Messiah), 12/15/14


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Here’s another take.

Live, Paris, 2012


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lagniappe

art beat

Bruce Davidson (1933-), New York (Subway), 1980

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Sunday, December 14th

old school

Dixie Hummingbirds, We Love You Like a Rock (excerpts), 1995

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lagniappe

reading table

You would think that living is a kind of scholarship in time, and that the longer we live the more expert we become at coping with it, in the way that, if you play tennis enough, you get used to coping with faster and faster serves. Instead I find that the longer I live the more bemused I become, and the more impenetrable the subject shows itself to be. I sit on a heap of days.

—Samantha Harvey, Dear Thief (James Wood, “Fly Away,” New Yorker, 12/8/14)

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taking a break

I’m taking some time off—back in a while.

Friday, December 5th

only rock ‘n’ roll

Ajax, live, Boston, 2014

Wednesday, December 3rd

sounds of New York (day two)

Here, as in the city itself, density and spaciousness coexist.

Tim Berne’s Cornered,* “Embraceable Me,” live, New York, 10/12/14

*TB, alto saxophone; Oscar Noriega, clarinets; Ryan Ferreira, guitar; Matt Mitchell, piano; Michael Formanek, bass; Ches Smith, drums, vibraphone.

Saturday, November 29th

alone

Tashi Dorji, live (WFMU performance space), Jersey City, N.J., 9/7/14

 

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lagniappe

reading table

‘Like manufacturers’ instructions. In case of failure, try words.’

—Penelope Fitzgerald, Offshore

Friday, November 28th

only rock ‘n’ roll

Couldn’t make it to Paris? (Me neither.)

St. Vincent, live, Paris, 10/31/14


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lagniappe

reading table

Most of the time I think of the self as a snare, and I don’t like being trapped in it. I try to reach out beyond my pittance of experience and connect to the world, but it turns out one way to do that is to be honest and accurate about my own life. I’m not convinced the personal is all that unique, anyway. It sometimes seems immoderate to claim really exceptional personal experiences, even though some of those experiences, particularly the painful ones, leave you with the worst feelings of isolation, feelings that have all the character of an absolutely individual, completely unprecedented experience—but you always find out that you aren’t alone. There are others, lots of others.

—Charles D’Ambrosio, email interviewNew Yorker blog, 11/26/14

Wednesday, November 26th

Thankful I am, too, for the unruly pleasures of rock ‘n’ roll.

Flamin’ Groovies, “Shake Some Action,” 1976


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lagniappe

musical thoughts

The story told in “Shake Some Action” is complete in its title—though in the song it’s a wish, not a fact, a desperate wish the singer doesn’t expect to come true. The words hardly matter: “Need” “Speed” “Say” “Away” are enough. It starts fast, as if in the middle of some greater song. A bright, trebly guitar counts off a theme, a beat is set, a bass note seems to explode, sending a shower of light over all the notes around it. The rhythm is pushing, but somehow it’s falling behind the singer. He slows down to let it catch up, and then the sound the guitar is making, a bell chiming through the day, has shot past both sides. Every beat is pulling back against every other; the whole song is a backbeat, every swing a backhand, every player his own free country, discovering the real free county in the song as it rises up in front of him, glimpsing that golden land, losing it as the mirage fades, blinking his eyes, getting it back, losing it again—that is its reckless abandon, the willingness of the music, in pursuit of where it needs to go, where it must go, to abandon itself.

—Greil Marcus, The History of Rock ‘n’ Roll in Ten Songs (2014)

Monday, November 17th

sounds of Niger

Group Inerane, live, Scotland (Glasgow), 2011


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lagniappe

art beat: yesterday afternoon, Rito y Recuerdo: Day of the Dead, National Museum of Mexican Art (1852 W. 19th St., Chicago; through December 14th)

Calavera_en_ofrenda_with_Cempasuchil_flowers

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onstage: last night, Happy Days (Samuel Beckett), Theatre Y (2649 N. Francisco Ave., Chicago; through November 23rd)

Sometimes I hear sounds. But not often. They are a boon, sounds are a boon, they help me . . . through the day. The old style! Yes, those are happy days, when there are sounds. When I hear sounds.

—Winnie

Saturday, November 15th

Need a jolt?

Arto Lindsay (guitar, vocals) & Paal Nilssen-Love (drums), live, Germany (Moers Festival), 2014


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lagniappe

art beat

William Klein (1928-), Gun 1, New York, 1955

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