sounds of New York
Sam Pluta (1979-), Broken Symmetries (2011-12); Wet Ink Ensemble (Sam Pluta, electronics; Joshua Modney, violin; Erin Lesser, piccolo; Alex Mincek, tenor saxophone; Eric Wubbels, piano; Ian Antonio, percussion), live, New York, 2016
other day, Bellwood, Ill.
This I could listen to all day.
Morton Feldman (1926-1987, MCOTD Hall of Fame), For Philip Guston (1984); Claire Chase (flute, alto flute, piccolo), Steven Schick (percussion), Sarah Rothenberg (piano, celesta), live, Houston (Rothko Chapel), 2013
today, Oak Park, Ill.
Here’s something from Roscoe Mitchell’s new album, Bells for the South Side (ECM), a 2-CD set recorded in 2015 at Chicago’s Museum of Contemporary Art.
“Spatial Aspects of the Sound,” Roscoe Mitchell (composition, piccolo), Craig Taborn (piano), Tyshawn Sorey (piano), William Winant (percussion), Kikanju Baku (wrist bells, ankle bells)
this morning, outside Chicago (Salt Creek Trail)
Whether you live for 50 years, 500 years, or 5,000 years, it makes no difference: always there are new things to hear.
Dieter Ammann (1962-), Violation (1999); Lemanic Modern Ensemble (William Blank, cond.) with Karolina Öhman, cello; live, Russia (St. Petersburg), 2014
The old pond—
a frog jumps in,
sound of water.
—Matsuo Basho (1644-1694; translated from Japanese by Robert Hass)
career plans for the next life
John Luther Adams (1953-), songbirdsongs (1974-80), Callithumpian Consort (Stephen Drury, dir.), recording (2012)
Tony Fitzpatrick (1958-), Lunch Drawing #48: A Bird for Bruce Lee
sounds of Chicago
Matthias Kranebitter (1980-), pack the box (with five dozen of my liquor jugs) (2013)
Mocrep, live, Chicago, 2014
[vimeo 111677932 w=560&h=315]
—Joseph Cornell, diary entry, 1964
As far as I’m concerned, this could go on forever.
Morton Feldman (1926-1987), For Philip Guston (1984); Claire Chase (flute, alto flute, piccolo), Steven Schick (percussion), Sarah Rothenberg (piano, celesta), live (3:50-), Houston (Rothko Chapel), 11/2/14
random thoughts: New Year’s resolution #1
Quit thinking other people should be more like me—if anything, be thankful they aren’t.
Need a lift?
Charles Ives (1874-1954), Ragtime Dance No. 4 (1904)
Alarm Will Sound, live, New York, 2013
Orchestra New England, recording, 1990
As I remember some of the dances as a boy, and also from father’s description of some of the old dancing and fiddle playing, there was more variety of tempo than in the present-day dances. In some parts of the hall a group would be dancing in polka, while in another, a waltz. Some of the players in the band would, in an impromptu way, pick up with the polka, and some with the waltz, and some with a march. Often the piccolo or cornet would throw in asides. Sometimes a change in tempo, or a mixed rhythm would be caused by a fiddler who, after playing three or four hours steadily, was getting a little sleepy. Or maybe another player was seated too near the hard cider barrel. Whatever the reason for these changes and simultaneous playing of things, I remember distinctly catching a kind of music that was natural and interesting and which was decidedly missed when everybody came down ‘blimp’ on the same beat again.
love it or hate it
Anthony Braxton 12+1tet, Composition 355, live, Italy (Venice), 2012
Anthony, a MacArthur “genius” award winner (1994) and professor at Wesleyan University, talks about this and that:
Music can take us places we’ve never been before, if we’re willing to listen to sounds we’ve never heard before.