music clip of the day

jazz/blues/rock/classical/gospel/more

Category: hard-to-peg

Monday, 3/14/11

Albert King

Fontella Bass

Art Ensemble of Chicago

Fela Anikulapo Kuti

Few musicians travel so widely—or so well.

Lester Bowie, trumpet, October 11, 1941-November 8, 1999

Lester Bowie’s Brass Fantasy (Steve Turre, trombone; Phillip Wilson, drums)
Live, Germany (Berlin), 1986

#1

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#2 (Whitney Houston’s “Saving All My Love For You”)

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Lester and drummer Phillip Wilson were kindred spirits. Like Lester, the drummer came out of St. Louis. And like Lester, he roamed freely. Adventurous jazz (Art Ensemble of Chicago), funky soul (Stax Records sessions), hard-rocking blues (Paul Butterfield Blues Band): to each he brought the same hands, the same feet, the same ears.

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lagniappe

Bill Cosby on Lester Bowie

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Saturday, 3/12/11

Have you heard of Brandt Brauer Frick?

Rachael Z., the 20-something stylist who cuts my hair

The Brandt Brauer Frick Ensemble, live (rehearsal), Germany (Berlin), 2010

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lagniappe

reading table

Teenager

Me — a teenager?
If she suddenly stood, here, now, before me,
would I need to treat her as near and dear,
although she’s strange to me, and distant?

Shed a tear, kiss her brow
for the simple reason
that we share a birthdate?

So many dissimilarities between us
that only the bones are likely still the same,
the cranial vault, the eye sockets.

Since her eyes seem a little larger,
her eyelashes are longer, she’s taller
and the whole body is closely sheathed
in smooth, unblemished skin.

Relatives and friends still link us, it is true,
but in her world almost all are living,
while in mine almost no one survives
from that shared circle.

We differ so profoundly,
talk and think about completely different things.
She knows next to nothing —
but with a doggedness deserving better causes.
I know much more —
but nothing for sure.

She shows me poems,
written in a clear and careful script
that I haven’t used for years.

I read the poems, read them.
Well, maybe that one
if it were shorter
and fixed in a couple of places.
The rest do not bode well.

The conversation stumbles.
On her pathetic watch
time is still cheap and unsteady.
On mine it’s far more precious and precise.

Nothing in parting, a fixed smile
and no emotion.

Only when she vanishes,
leaving her scarf in her haste.

A scarf of genuine wool,
in colored stripes
crocheted for her
by our mother.

I’ve still got it.

—Wislawa Szymborska (trans. Clare CavanaghStanisław Barańczak; Here [2010])

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five desert-island poets

Wislawa Szymborska

William Bronk

John Berryman

Emily Dickinson

Kobayashi Issa

Wednesday, 3/9/11

Happy (81st) Birthday, Ornette!

His sound—his whole approach (simple melodies, vocal phrasing, off-center intonation)—is drenched in the blues.

Ornette Coleman (alto saxophone) with The Roots
Live, London (Meltdown Festival), 2009

#1

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#2

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The tenor player at the end—that’s David Murray.

More Ornette? Here.

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lagniappe

radio

What am I listening to today?

That’s easy—WKCR-FM (broadcasting from Columbia University), where it’s all Ornette all day.

Monday, 3/7/11

Looking for something loud and intense?

You’ll have to, I’m afraid, look elsewhere.

Sun Ra (piano) & Walt Dickerson (vibraphone), “Astro” (Visions, 1978)

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More Sun Ra? Here. And here.

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lagniappe

reading table

The world is half magic

—George Oppen (from “Twenty-Six Fragments”)

Saturday, 3/5/11

replay: clips too good for just one day

The other night, after falling asleep, my older son Alex (now 22) had an unexpected visitor—this guy showed up and began to play.

Vijay Iyer Trio (VI, piano; Marcus Gilmore, drums; Stephan Crump, bass)

“Galang,” recording session (Historicity), New York (Systems Two Studios), 2009

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“Questions of Agency,” live, New York (The Stone), 2007

*****

Playing and Talking about Historicity, 2009

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lagniappe

Presto! Here is the great new jazz piano trio.

—Ben Ratliff,  New York Times (9/9/09)

(Originally posted 6/30/10.)

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take two (or is it one?)

Following up on Vijay Iyer’s take (6/30/10), here’s the original.

M.I.A., “Galang” (2005)

One of the things I love about M.I.A. is that she doesn’t let any of the usual stuff get in her way. Take her dancing, for instance: she’s, uh, not real good at it—at least not by the usual standards. Does that stop her? Nah.

(Originally posted 7/2/10.)


Friday, 3/4/11

four takes

Rainy Night In Georgia” (Tony Joe White, 1962)

Brook Benton, 1970 (Billboard Soul Singles #1, Hot 100 #4)

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Otis Rush, 1976 (rec. 1971)

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(This track’s a mixed bag: he muffs the first line [dropping “the night” after “spend”] and the low notes are a stretch [at least in this key]; but the choruses are terrific, as is the bridge.)

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Conway Twitty with Sam Moore, 1994

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Tony Joe White, TV broadcast (Netherlands), 2006 (?)

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Thursday, 3/3/11

You have no idea one moment what’s going to happen the next (assuming, that is, you’re not following the score).

This can be disorienting, or exhilarating, or both.

Milton Babbitt (1916-2011), Composition for Four Instruments (flute, clarinet, violin, cello; 1948)

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More? Here.

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lagniappe

musical thoughts

Babbit was not quite as difficult as he seemed. He may have been dealing in abstruse relationships among myriad elements, but his listeners didn’t have to digest too many at once. From Webern, Babbit learned the art of deriving a set from successive transformations of a group of just three notes (“trichord”), which becomes a microcosm of the series. With these tiny motives in play, the texture tends to be less complicated than in the average post-Schoenbergian work. Composition for Four Instruments gives the impression of economy, delicacy, and extreme clarity; flute, clarinet, violin, and cello play solos, duets, and trios, coming together as a quartet only in the final section, and even there the ensemble dissolves into softly questing solo voices at the end. Thick dissonances are rare; like Japanese drawings, Babbitt’s scores are full of empty space.

—Alex Ross, The Rest Is Noise (2007)

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There was only one.  There were no “simultaneities” in this particular musical equation. Milton Byron Babbitt stands alone.  He will never be popular. Nor will he cease to inspire.

Ethan Iverson (The Bad Plus)

Thursday, 2/24/11

what’s new
(an occasional series)

Have you heard the Lupe & John Legend?

—my 19-year-old son Luke

Lupe Fiasco (featuring John Legend), “Never Forget You” (2010)

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Listening to music that means a lot to someone else gives you an opportunity nothing else does. You get to hear the world through their ears. This song, for instance, coming to my ears through my son Luke’s, makes me wonder: What’s it like to look back on your life, on all that’s come before, when you’re 19 years old?

More Lupe? Here. And here. And here.

More Legend? Here. And here.

Tuesday, 2/22/11

Don’t forget the Motor City

Theo Parrish, Detroit-based DJ & producer

Collecting sounds around Detroit

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Live, New York (Brooklyn Yard), 8/23/09

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Live, Paris (Elysee Montmarte), 4/30/10

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Recording, “Soul Control”

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Recording (with Marcellus Pittman), “Equality of Patience”

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langiappe

thoughts on music

Music history as a whole has been drastically misnamed. Jazz is just as rugged as hip-hop is, and hip-hop is just as elegant as classical. These things are present, but the language we’re using to talk about them tends to be outdated, outmoded.

—Theo Parrish (in The Wire, 3/11)

Saturday, 2/19/11

Listen yesterday; go today.

Burkina Faso: Life & Music in West Africa (2007)

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lagniappe

According to the guidebook, Burkina Faso is one of the poorest countries in the world, but in our experience its people seemed confident and proud of their culture in this 50th anniversary of independence from French colonial rule. Deep red dust carpets the country, kicked up by the mopeds that crisscross the rutted ground and buy markets lining nearly every street. Yet through the coating of dust the people always look impeccably elegant.

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In Burkina, the sun drops away at 7 p.m. sharp. When we returned for the concert, we saw scores of parked mopeds glistening under the full moon., and hundreds of people queuing outside the high crumbling walls enclosing the open air theatre. Inside, beyond the light cast rom the state, a huge crowd bustled quietly in the darkness otherwise shrouding the vast auditorium. Families with children of all ages filled the wooden benches, and here too traders plied bronze jewellery and leather goods around the perimeter.

—Trevor Watts, The Wire, 3/11