Quinsin Nachoff’s Flux (QN, tenor saxophone, composition; David Binney, alto saxophone; Matt Mitchell, piano, keyboards, modular synthesizer; Nat Wood, drums; with guest Jason Barnsely, 1924 Kimball theatre organ), “Bounce,” video by Lee Hutzulak, 1/14/19
yesterday, Oak Park, Ill.
sounds of Seattle
Delvon Lamarr Organ Trio, live, Seattle, 2017
Berenice Abbott (1898-1991), Pine and Henry Streets, New York, 1936
back to church
Career plans for the next life? If none of those other things pan out (tap dancer, rubboard player in a zydeco band, bass player in a reggae band, guitar player in a Malian band, cellist in a string quartet, bird, accordionist), I might give gospel drummer a try.
Rev. Charles Nicks (1941-1988; organ) & the St. James Adult Choir, “How I Got Over,” live, St. James Baptist Church, Detroit
art beat: yesterday, Intuit: The Center for Intuitive and Outsider Art (Post Black Folk Art in America, 1930-1980-2016, through today)
Thornton Dial (1928-2016), Royal Flag, 1997-1998
Vancouver folkie + iconic Memphis rhythm section.
This should never have worked.
But it does, wonderfully.
Frazey Ford, “September Fields” (Indian Ocean), 2014
The climate is pretty.
I wrote everything on it.
That’s the activity where it
gets relatively inauspicious.
And you were sitting there
in the night of life. It sure was good.
My favorite desserts were there.
And when they invite you, it’s like an important document
goes missing. I’ll give you an example:
a twelve-year struggle upstate, in
the slick atmosphere of the breakfast room.
It might have gotten stuck in her farthingale.
Otherwise no reply.
—John Ashbery (1927-), “As Someone Who Likes Travel,” fragments (New Yorker, 5/30/16)
To read Ashbery is to read English as a foreign language—which I mean as a compliment.