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Category: musical thoughts

Saturday, August 17th

MCOTD mailbag

Dear MCOTD,

I need your advice. I’ve developed this mad crush on a musical instrument—the viola. It’s so dark, so mysterious. I’m obsessed! What should I do?

Sincerely,

Desperate in Denver

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Dear Desperate,

There’s only one thing you can do—give in.

Yours,

MCOTD

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Benjamin Britten (1913-1976), Lachrymae (1950; arranged for viola and string orchestra, 1976); New York Classical Players (Dongmin Kim, cond.) with Kim Kashkashian (viola), live, New York (Church of the Heavenly Rest), 2011

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lagniappe

musical thoughts

Four things are needed to survive: air to breathe; water to drink; food to eat; music to hear.

Monday, August 12th

sounds of Brazil

Gilberto Gil (1942-; vocals, guitar) with Dominguinhos (1941-2013; accordion), “Lamento Sertanejo,” live, 2010

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lagniappe

musical thoughts

What would it be like to live in a world that sounded everywhere the same?

Sunday, August 11th

Repeat them often enough and words lose their literal shapes, dissolving into pure feeling.

Heavenly Gospel Singers, “I Stepped in the Water One Day,” live, St. James Missionary Baptist Church, Canton, Mississippi, 1978


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lagniappe

reading table

. . . Heaven have mercy on us all—Presbyterians and Pagans alike—for we are all somehow dreadfully cracked about the head, and sadly needing mending.

—Herman Melville (1819-1891), Moby-Dick

Saturday, August 3rd

alone

John Cage (1912-1992), Sonatas and Interludes for Prepared Piano (1946-1948); Louis Goldstein, piano, live, Winston-Salem, N.C. (Reynolda House Museum of American Art), 1982

What I love about this performance is its directness. He doesn’t treat these pieces as arty exotica. He plays them as simply and naturally, as musically, as one might play Bach, or Mozart, or Chopin.

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lagniappe

musical thoughts

I remember loving sound before I ever took a music lesson. And so we make our lives by what we love.

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A sound does not view itself as thought, as ought, as needing another sound for its elucidation, as etc.; it has not time for any consideration–it is occupied with the performance of its characteristics: before it has died away it must have made perfectly exact its frequency, its loudness, its length, its overtone structure, the precise morphology of these and of itself.

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They say, “you mean it’s just sounds?” thinking that for something to just be a sound is to be useless, whereas I love sounds just as they are, and I have no need for them to be anything more than what they are. I don’t want them to be psychological. I don’t want a sound to pretend that it’s a bucket or that it’s president or that it’s in love with another sound. I just want it to be a sound.

John Cage

Thursday, August 1st

last night

I heard these guys at a small Chicago club (Hideout)—what a storm.

Peter Brötzmann (reeds), Ken Vandermark (reeds), Hamid Drake (drums), Chad Taylor (drums), live, Slovenia (Ljubljana), 7/3/13

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lagniappe

musical thoughts

When our minds are filled with music, they’re free of everything else.

Thursday, July 18th

Claude Debussy (1862-1918), String Quartet in G minor (1893), first movement; Cypress String Quartet, 2006


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lagniappe

musical thoughts

I wouldn’t want to listen to the same kind of music every day any more than I’d want to eat the same kind of food.

Saturday, July 13th

sounds I miss*

Albert Collins (1932-1993), “Two-Lane Highway” (John Zorn, Spillane, 1987)


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lagniappe

musical thoughts

[A] particular brand of comment showed up enough [on the Alan Lomax Archive recordings on YouTube] that I started a collection. I call them “blues affirmations.” They number in the dozens, posted to an assortment of clips of black vernacular music. These performances don’t necessarily pertain to the song structure or performance style called “blues”—they could be field hollers or minstrel pieces—but the commentary was single-mindedly focused on it.

The notion of a “pure” culture, of any kind, is informed by ignorance and/or ideology and/or romanticism. I feel set upon by a thick, dumb fog just looking at the phrase. But the Blues Affirmations stir something in me; they insist, childlike, on something real, true, forever enduring, constructed of unadulterated and unmediated purity. I look forward to them, and they undo me a bit when they arrive.

They feel authentic, so I’d like to give them the last word:

one word: BLUES…

This is blues

The real blues

Real O.G. Blues. No fancy shit!

This is the real face of the blues right here.

this is how it’s done with real blues!

this that old school real sittin on your porch blues!

That’s REAL old school blues

Oh man….. that’s the Blues baby….. that’s the real, down South, low down, heartfelt blues.

Authentic, real Blues, Love it.

it doesnt get anymore authentic than this!!!!!!!!!!!!!!!

Now that is the blues.

THE BLUES

true blues

Pure Blues

Blues is timeless.

there is nothing as hard as the blues

This man over here folks is the blues himself!

Great melody that shows blues music comes from the soul.

The blues is very expressive, and it is the foundation of rock music!

True music, with emotion, feelings.. His soul is speakin

the Blues needs no roaring electric guitars and smashing drums to show all the hard aspects of life without disguise

Clapton who?…THIS IS THE BLUES, R.L. shows you how it smells, looks, taste, sounds, and most importantly how it feels. Clapton never had babies cry in the background of his performances

it’s only perfect because he’s authentic

that look in his eyes at 4:05…. thats the blues right there

The blues is real, that’s why the blues lives on.

That’s from far one of the best blues I never heard… real blues… from the guts… not from the wallets !!!

This is where the blues started – AND THIS IS WHERE THE BLUES ENDS.

—Nathan Salsburg (curator, Alan Lomax Archive), “Part V of Against Authenticity,” Oxford American (6/21/13)

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*As I’ve mentioned, I had the great pleasure of working with Albert, co-producing his 1978 album Ice Pickin’ (Alligator)—singular guitarist, sweet guy.

Friday, July 12th

D’Angelo (with Questlove, drums; Pino Palladino, bass; Kuumba Frank Lacy, trombone, trumpet; Chalmers “Spanky” Alford, guitar; Anthony Hamilton, vocals, et al.), live, Switzerland (Montreux Jazz Festival), 2000


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lagniappe

musical thoughts

No stage anywhere in the world can compare with the one that exists in the imagination. Where else can you find Jimi Hendrix jamming with Miles Davis? Sam Cooke singing with Smokey Robinson? Sly Stone taking everybody higher with Sun Ra?

*****

Happy Birthday, Suzanne!

Tuesday, July 9th

They play each note as if, at that particular moment, nothing in the world is more important.

György Kurtág (1926-) and Márta Kurtág, live, Kurtág (Játékok [Games]) and Bach (miscellaneous transcriptions), Paris, 2012

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lagniappe

musical (and other) thoughts

Q. One last question—are you a believer?

A [G. Kurtág]. I do not know. I toy with the idea. Consciously, I am certainly an atheist, but I do not say it out loud, because if I look at Bach, I cannot be an atheist. Then I have to accept the way he believed. His music never stops praying. And how can I get closer if I look at him from the outside? I do not believe in the Gospels in a literal fashion, but a Bach fugue has the Crucifixion in it—as the nails are being driven in. In music, I am always looking for the hammering of the nails. . . . That is a dual vision. My brain rejects it all. But my brain isn’t worth much.

—Alex Ross, New Yorker blog, quoting György Kurtág: Three Interviews and Ligeti Homages (2009)

Saturday, July 6th

achieving world peace: a how-to guide

Last night, at FitzGerald’s (see the last two posts), everybody was intoxicated by music. Violent behavior? None. Here, at this club 7,500 miles away, the story’s the same, as you’ll see. The way to world peace seems plain: put a club on every corner.

Fendika, Addis Ababa, Ethiopia