music clip of the day

jazz/blues/rock/classical/gospel/more

Category: miscellaneous electronics

Monday, 6/4/12

passings

Pete Cosey, guitar player, October 9, 1943-May 30, 2012

Miles Davis, “Ife,” live, Austria (Vienna), 1973
With Pete Cosey, guitar (solo begins at 5:30) and percussion; Dave Liebman, flute, soprano and tenor saxophones; Reggie Lucas, guitar; Michael Henderson, bass; Al Foster, drums; James Mtume Forman, conga and percussion

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Here’s an earlier post (12/31/09):

In the public imagination, the guitar’s associated with freedom and individuality. The musical reality’s different. Guitarists travel in herds; few stray from the pack. One who has gone his own way is this man, who’s played with everyone from Muddy Waters (as a session musician for Chicago-based Chess Records) to Miles Davis (as a member of his group [1973-1975]). He employs a variety of unusual tunings and effects. He sounds like no one else.

Pete Cosey, guitar

“Calypso Frelimo” (excerpt), Pete Cosey’s Children of Agharta (JT Lewis, drums; Gary Bartz and John Stubblefield, saxophones & flute; Matt Rubano, bass; Johnny Juice, turntables; Baba Israel, words and beats; Kyle Jason, voice; Bern Pizzitola, guitar; Wendy Oxenhorn, harmonica), live, 2002, New York

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Live (with Melvin Gibbs, bass; JT Lewis, drums; Johnny Juice, congas and turntables)

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lagniappe

. . . the guy who, after Hendrix, showed you how ‘out’ you could go with guitar playing, particularly in the improvised context.

Greg Tate

Saturday, 5/26/12

John Luther Adams, “Red Arc/Blue Veil” (excerpt)
Live, University of Kentucky, 2008
Clint Davis, piano
Charlie Olvera, vibraphone, crotales
Jason Corder, Jordan Munson, video

(Originally posted on 2/10/11.)

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lagniappe

musical thoughts

One of the functions of music is to remind us how much more beautiful the world is than it needs to be.

Wednesday, 5/16/12

It’s easy to play a lot of notes; what’s hard is to play a few.

Jon Hassell (trumpet), “Last Night The Moon Came,” live, Switzerland (Lausanne), 2009

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lagniappe

reading table

Barn’s burnt down—
now
I can see the moon.

—Mitzuta Masahide, 1657-1723 (translated from Japanese by Lucien Stryk and Takashi Ikemoto)

Tuesday, 5/15/12

what’s new

Black Dice, “Pigs”

Recording (Mr. Impossible, 4/12) & Video

I fell in love tonight. She left immediately when I played her this.

—YouTube comment

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Live (music starts at 1:40), New York, 2012

Monday, 4/9/12

Shabazz Palaces, live (studio performance, KEXP-FM), 2011

These guys—their mix of drums, mbira, electronics—call to mind the AACM’s* tagline: ancient to the future.

*Association for the Advancement of Creative Musicians (Art Ensemble of Chicago, Anthony Braxton, Fred Anderson, Leroy Jenkinset al.).

Wednesday, 3/7/12

what’s new

Grimes, “Genesis”

Recording, Visions, 2/12

*****

Live, San Francisco (The Sub), 5/11

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lagniappe

found words

Your password will expire after 9999 day(s).

—message from my health club, after registering at their website

Thursday, 1/19/12

Tim Hecker, “The Piano Drop” (Ravedeath, 1972), 2011*
The First MIT Baker House Piano Drop, 11/1972

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lagniappe

random thoughts

Suppose you had to assign a number: what percentage of your daily life do you understand?

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*One of the year’s top 10 albums—Ben Ratliff (New York Times).

Thursday, 1/5/12

three takes

Salif Keita (with Cesaria Evora, takes 1 & 2), “Yamore”

Luciano remix, 2006

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Original recording & video, 2002

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Live, London, 2002

More? Here.

Monday, 11/7/11

Chrome, “Meet You In The Subway” (1979, record; 1984, video)

So much of our musical experience resists explanation. Take this track, for instance. As soon as it’s over, I want to hear it again. Why? No idea.

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lagniappe

mail: two posts, two messages, same correspondent

Last Monday (Koko Taylor/Louis Jordan):

Great boost!

Yesterday (Brother Anthony Wynn/Sensimo):

what the fuck!?!

Friday, 11/4/11

only rock ’n roll

Animal Collective, Unitled/“Brothersport”
Live, Chicago (Pitchfork Festival), 7/15/11

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Want to hear the entire set?

Jazz, classical, gospel, rock: the names may be different, but what they offer is the same—a way, pleasurably, to lose your mind.

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lagniappe

In the evening darkness at a place outside New York, an outlook where/you can perceive eight million people’s homes in a single glance. . . ./Schubert’s being played in some room/there and for someone the tones at this moment are more real than everything else.

—Tomas Transtromer, “Schubertiana” (excerpt), trans. Samuel Charters

Here, in an undated audio clip, Transtromer, winner of the 2011 Nobel Prize in Literature, talks about this poem and reads it in this English translation.

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Transtromer suffered a stroke in 1990, at the age of fifty-nine, which robbed him of speech and impaired the use of his right arm. Rather than delivering the customary [Nobel] laureate’s address when he accepts the award, on December 10th, he will play a piece on the piano using only his left hand.

—Dan Chiasson, “Night Thoughts: The poetry of Tomas Transtromer,” New Yorker, 10/31/11