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Category: hard-to-peg

Wednesday, 7/21/10

getting older

“Where did everybody go?” you wonder.

With each passing year, more of the musicians who’ve shaped your world—who’ve made life sing—are gone.

Ed Blackwell, Lester Bowie, Betty Carter, Malachi Favors, Steve Lacy, Kate McGarrigle, Art Pepper, Professor Longhair, Sun Ra, Junior Wells, Julius Hemphill (below): the list goes on, and on, and on.

World Saxophone Quartet (Julius Hemphill, alto saxophone; Oliver Lake, soprano and alto saxophones; David Murray, tenor saxophone; Hamiet Bluiett, baritone saxophone)

Medley: “West African Snap,” “I Heard That,” “Fast Life,” “Hattie Wall,” live (TV Broadcast [Night Music]), 1990 (music starts at 2:20)

Listening to Julius Hemphill (far left), a phrase from Martin Luther King, Jr.’s “I Have a Dream” speech comes to mind: “the fierce urgency of now.” Hemphill has, it seems, so much to say—right now. Listen, for instance, to 4:30-6:35.

*****

Live, with M’Boom (Max Roach’s 9-piece percussion ensemble), New York (The Cathedral Church of St. John the Divine), 1981 (music starts at 1:55)

Want more? Here.

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lagniappe

musical thoughts

Without music, life would be an error.

—Friedrich Nietzsche


Tuesday, 7/20/10

recipe

1 cup funkiness

1 cup elegance

Mix until thoroughly blended.

Professor Longhair (AKA Henry Roeland [“Roy”] Byrd), December 19, 1918-January 30, 1980

“Tipitina,” live

*****

“Hey Little Girl,” live

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lagniappe

mail

Mike Kinnamon, Bonnie Bramlett’s Nashville-based manager, in response to an email letting him (and Bonnie) know that her music was featured here (Delaney, alas, is no longer alive), left a voice-mail message yesterday:

. . . I just love it when somebody like you cares enough to send stuff like that around. It’s really cool, and it lifts her [Bonnie] up, too. Thank you so much, buddy . . .

Monday, 7/19/10

What do I listen to these days?

This more than anything.

Each night it’s the last thing I hear before falling asleep. Having left the Bose on “repeat” (usually Hildegard Kleeb [Hat Hut], sometimes John Tilbury [Extraplatte]), it’s the first thing I hear upon awakening. It seems, sometimes, as if it’s always playing—whether I’m listening or not.

Morton Feldman, “For Bunita Marcus” (1985)/Mark Knoop (piano), live, London, 2010

Part 1

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Part 2

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Part 3

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Part 4

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Part 5

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Part 6

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Part 7

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Part 8

Want more? Here. Here. Here. Here.

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lagniappe

Almost all Feldman’s music is slow and soft. Only at first sight is this a limitation. I see it rather as a narrow door, to whose dimensions one has to adapt oneself (as in Alice in Wonderland) before one can pass through it into the state of being that is expressed in Feldman’s music. Only when one has become accustomed to the dimness of light can one begin to perceive the richness and variety of colour which is the material of the music. When one has passed through the narrow door and got accustomed to the dim light, one realises the range of his imagination and the significant differences that distinguish one piece from another . . .

Feldman sees the sounds as reverberating endlessly, never getting lost, changing their resonances as they die away, or rather do not die away, but recede from our ears, and soft because softness is compelling, because an insidious invasion of our senses is more effective than a frontal attack. Because our ears must strain to catch the music, they must become more sensitive before they perceive the world of sound in which Feldman’s music takes place.

Cornelius Cardew

*****

Legend has it that after one group of players had crept their way as quietly as possible through a score of his Feldman barked, ‘It’s too fuckin’ loud, and it’s too fuckin’ fast.’

—Alex Ross, “American Sublime,” The New Yorker, 6/19/06

Saturday, 7/17/10

replay: a clip too good for just one day

At his best, Lenny Bruce didn’t meet expectations—he confounded them.

Lenny Bruce, “All Alone,” live (TV broadcast [“The Steve Allen Show”]), 1959

(Originally posted 11/30/09.)

Monday, 7/12/10

Here’s a big birthday shout-out to my wife Suzanne, who’s not nearly as crazy as I am about music—not nearly as crazy, period—but is crazy enough that she kept going out with me after I took her on our first date, in the summer of 1974, to Chicago’s Jazz Showcase (then on Lincoln Avenue) to see this guy, whose multimedia performance that night featured some of this footage—the stuff with the pyramids.

Sun Ra & His Arkestra in Egypt and Italy, 1971

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lagniappe

Even in the excesses of this era there were few audiences prepared for an ominous, ragtag group of musicians in Egyptian robes, Mongolian caps (Mongolian, as from the planet Mongo of Flash Gordon), and B-movie spacesuits who played on a variety of newly invented or strangely modified electronic instruments (the sun harp, the space organ, the cosmic side drum) and proclaimed the greatness of the most ancient of races (this, the Sun Ra of the Solar-Myth Arkestra); or, on yet another night, a merry band in jester’s motley, jerkins, and pointed caps (a la Robin Hood or perhaps the Archers of Arboria) who marched or crawled through the audience, chanting cheerful songs about travel to Venus. It was intensely dramatic music, moving from stasis to chaos and back, horn players leaping about, or rolling on the bandstand, sometimes with fire eaters, gilded muscle men, and midgets, an all-out assault on the senses. At the end of the evening the musicians and dancers moved among the audience, touching them, surrounding them, inviting them to join the Arkestra in marching off to Jupiter.

—John F. Szwed, Space Is The Place: The Lives And Times Of Sun Ra (1997)

*****

Sun Ra’s consistent statement, musically and spoken, is that this is a primitive world. Its practices, beliefs, religions, are uneducated, unenlightened, savage, destructive, already in the past. . . . That’s why Sun Ra returned only to say he left. Into the future. Into Space.

—Amiri Baraka (formerly known as LeRoi Jones)

*****

Silence is music. There are different kinds of silence, each silence is a world all of its own . . . silence is an integral part of all music . . .

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When you meet a man

You meet a scheme of words

Patterns of concept

A concepted being

Whose very birth conception is called.

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The earth cannot move without music. The earth moves in a certain rhythm, a certain sound, a certain note. When the music stops the earth will stop and everything upon it will die.

—Sun Ra

*****

Tuesday, 7/6/10

What the world needs now?

Nah, not love.

What the world needs now—what it cries out for, daily—is inspired silliness.

Brave Combo, live

“The Denton Polka,” Texas (Denton), 2007

*****

“Louie, Louie,” Illinois (Berwyn [FitzGerald’s]), 2008

Brave Combo played a wild set Sunday night (the 4th) at FitzGerald’s American Music Festival—everything from “Beer Barrel Polka” to a hard-rockin’ “Hokey Pokey” to a polka-inflected “Ode to Joy” (“Any Beethoven fans in the house?”) to a Tejano-style “America the Beautiful.” By the end of the 90-minute set, everybody’s IQ, it seemed, had gone up 15 points. Or was it down?

Friday, 7/2/10

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.

Tuesday, 6/29/10

Some folks talk sports when they get their hair cut. Rachael and I talk music. And invariably I walk out of there not only with shorter hair but bigger ears, having heard about someone from this 20-something stylist* that, walking in, I knew nothing about—like these guys, for instance.

The Books, “Enjoy Your Worries, You May Never Have Them Again” (2008)

Want more of Rachael’s picks? Here. Here.

*Rachael Zalutsky, Couvert, 2217 N. Halsted, Chicago, 773.248.6101

Saturday, 6/19/10

replay: a clip too good for just one day

Muddy Waters, Saul Bellow, Steppenwolf Theater Company (John Malkovich, John Mahoney, Gary Sinise, Laurie Metcalf, et al.), Curtis Mayfield: a lot of great artists, musical and otherwise, have come out of Chicago in the last 50 years. Among the greatest is this group: the Art Ensemble of Chicago. While the horn players (Roscoe Mitchell, Joseph Jarman, Lester Bowie) got the lion’s share of the attention, what gave their music its juice—what made it dance—was (as you’ll hear) one of the finest rhythm sections ever: Malachi Favors, bass; Don Moye, drums.

Art Ensemble of Chicago, live, Poland (Warsaw), 1982 (in four parts)

Part 1

Part 2

Part 3

Part 4

(I talk about the AEC in the past tense because, while recordings are still released under this name from time to time, with two key members [they were all “key members”] now dead—trumpeter Lester Bowie [1999] and bassist Malachi Favors [2004]—it just isn’t [nor could it be] the same.)

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subscribe

Many things in life don’t quite seem, alas, to live up to their billing. It appears that the RSS (Real Simple Syndication) service that’s referenced in the righthand column (under “Subscribe”) may fall into this category—at least, that is, for those of us who are (as the expression goes) of a certain age. The problem seems to lie at the threshold: “real simple.”

Anyway, in the life’s-too-short, keep-it-simple-stupid department, if you’d like to “subscribe” to this blog, just send me an email (Richard McLeese/rmcleeselaw@aol.com) with “subscribe” in the subject line and—voila!—you’ll be added to an ever-growing email list that will have you receiving an e-notice whenever there’s a new blog post. As indicated in the “About” section (see righthand column), this whole thing started from a very small (like, oh, two, sometimes three, folks) email list, which then grew, then grew some more. One of many miraculous things about electronic communication is that there’s always room for one more.

(Originally posted 9/8/09.)

Thursday, June 10, 2010

We still have this song . . .

—my 19-year-old son Luke, at the end of a long, hard day—one full of setbacks—as he played this (again) on the car CD player

Mike Posner, “You Don’t Have To Leave” (2009)

Want more? Here.