Tuesday, 9/4/12
You don’t need to be asleep to be lost in a dream.
Maurice Ravel, Piano Concerto in G Major (1929-31); Martha Argerich, piano; Orchestre National de France (Charles Dutoit, cond.); live, Germany (Frankfurt), 1990
You don’t need to be asleep to be lost in a dream.
Maurice Ravel, Piano Concerto in G Major (1929-31); Martha Argerich, piano; Orchestre National de France (Charles Dutoit, cond.); live, Germany (Frankfurt), 1990
playing this weekend at the Chicago Jazz Festival
Matt Wilson’s Arts & Crafts* (Sunday, 3:30 p.m.)
“We See” (T. Monk), live, New York, 2011
(Paul Motian, this guy—drummers seem to have a particular feeling for Monk.)
*****
Steve Coleman and Five Elements** (Sunday, 7:10 p.m.)
Live, New York, 2010
*****
Ken Vandermark’s Made To Break Quartet*** (Sunday, 2:20 p.m.)
Live, Barcelona, 2011
*****
*MW, drums; Terell Stafford, trumpet; Gary Versace, piano; Martin Wind, bass.
**SC, alto saxophone; Jonathan Finlayson, trumpet; Tim Albright, trombone; Miles Okazaki, guitar; David Virelles, piano; Thomas Morgan, bass; Marcus Gilmore, drums.
***KV, reeds; Christof Kurzmann, electronics; Devin Hoff, bass; Tim Daisy, drums.
Music, for some people, is no less vital than oxygen.
James Rhodes, talking and playing (2010)
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lagniappe
reading table
To Praise the Music
by William Bronk (1918-1999)
Evening. The trees in late winter bare
against the sky. Still light, the sky.
Trees dark against it. A few leaves
on the trees. Tension in their rigid branches as if
–oh, it is all as if, but as if, yes,
as if they sang songs, as if they praised.
Oh, I envy them. I know the songs.
As if I know some other things besides.
As if; but I don’t know, not more
than to say the trees know. The trees don’t know
and neither do I. What is it keeps me from praise?
I praise. If only to say their songs,
say yes to them, to praise the songs they sing.
Envied music. I sing to praise their song.
(Want to hear Bronk, a MCOTD Hall of Famer, read this? Here.)
*****
art beat: more from Tuesday’s stop at the Art Institute of Chicago
Roy Lichtenstein, Mirror #3 (Six Panels) (1971)
two takes
“Moment’s Notice” (J. Coltrane)
McCoy Tyner Quartet (MT, piano; Bobby Hutcherson, vibes; Charnett Moffett, bass; Eric Harland, drums), live, England, 2002
*****
John Coltrane (tenor saxophone, with Lee Morgan trumpet; Curtis Fuller, trombone; Kenny Drew, piano; Paul Chambers, bass; Philly Joe Jones, drums), recording (Blue Train), 1957
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lagniappe
random thoughts
Hearing, seeing, touching, smelling, tasting: what sense is missing from our repertoire that, if you came from some other world, you couldn’t imagine living without?
A lot of musicians sound like they’re perfectly happy to be right where they are. Not this guy—he seems intent on getting somewhere else.
Art Pepper (alto saxophone), with Milcho Leviev (piano), Tony Dumas (bass), Carl Burnett, drums; “Caravan,” conversation, and more; Norway, 1980
back to church
“Sending Up My Timber,” Male Choir, Macedonia Baptist Church, North Carolina, c. 2008
Sometimes what you’re looking for—when, say, your hard drive crashes (as mine just did)—is something where not much seems to happen, beautifully.
John Luther Adams, “The Farthest Place” (2001); piano (Clint Davis), vibraphone (Brian Archinal & Andy Bliss) bass (Satoru Tagawa), violin (Lydia Kabalen); University of Kentucky (Lexington), 2008
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lagniappe
There are all kinds of music.
Gerard Manley Hopkins, “The Leaden Echo and the Golden Echo”
Richard Burton
Mozart, Piano Sonata No. 18 in D. major, K. 576 (1789)
Mitsuko Uchida, piano
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lagniappe
musical thoughts
Listening to Mozart is like entering a room where the walls, the ceiling, even the floor are made entirely of glass.
summer in the city
Jack White, “Take Me With You When You Go”
Lollapalooza, Chicago (Grant Park), 8/5/12
joy, n. listening to Monk alone at the piano playing a standard.
Thelonious Monk, piano
“Don’t Blame Me” (J. McHugh & D. Fields), Denmark, 1966
*****
“Just a Gigolo” (I. Caesar & L. Casucci), 1963