sounds of Amsterdam
More of the Instant Composers Pool (ICP) Orchestra.*
Live, Chicago (Elastic Arts), 5/3/15
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lagniappe
art beat
Bruce Davidson (1933-), Palisades, New Jersey, 1958
*****
*Ab Baars, tenor saxophone; Tobias Delius, tenor saxophone; Michael Moore, alto saxophone; Thomas Heberer, trumpet; Walter Wierbos, trombone; Tristan Honsiger, cello; Mary Oliver, violin; Ernst Glerum, bass; Han Bennink, drums; with guest Guus Janssen (piano).
sounds of Amsterdam
It’s a wonderful life—sometimes, anyway. This weekend, in Chicago, I got to hear these folks twice: Saturday night all together (Constellation), Sunday in a series of (mostly) duos and trios (Elastic Arts).
Instant Composers Pool (ICP) Orchestra*
“Lavoro” (S. Bergin, borrowing from “Moten Swing”), live, Oakland, Ca., 2013
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“East of the Sun, West of the Moon” (Brooks Bowman), recording (East of the Sun), 2014
*****
*Ab Baars, tenor saxophone; Tobias Delius, tenor saxophone; Michael Moore, alto saxophone; Thomas Heberer, trumpet; Walter Wierbos, trombone; Tristan Honsiger, cello; Mary Oliver, violin; Ernst Glerum, bass; Han Bennink, drums.
MCOTD Hall of Fame
Lester Bowie’s Brass Fantasy (LB, trumpet; Steve Turre, trombone; Frank Lacy, trombone; Bob Stewart, tuba; Phillip Wilson, drums, et al.), live, Berlin, 1986
These guys I could listen to all day.
Kelin-Kelin’ Orchestra (with Brice Wassy, drums, vocals), “Me Feeh” (B. Wassy), live, Paris, 2013
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]
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lagniappe
reading table
Collage=life.
—Joseph Cornell, diary entry, 1964
sounds of Chicago
Goofiness is a much underrated virtue.
Mucca Pazza, live, Washington, D.C., 2015
Soundtrack for your day?
Peter Brotzmann Tentet,* live, Atlanta, 2002
*PB, reeds; Ken Vandermark, reeds; Mats Gustafsson, reeds; Mars Williams, reeds; Joe McPhee, trumpet; Jeb Bishop, trombone; Fred Longberg-Holm, cello; Kent Kessler, bass; Hamid Drake, drums; Michael Zerang, drums.
two takes
Rebirth Brass Band, “A. P. Tureaud,” live, New Orleans
Treme Sidewalk Steppers Second Line, 2011
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Revolution Social Aid and Pleasure Club Second Line Parade, 2012
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lagniappe
art beat
Lee Friedlander (1934-), Second Liners at Mardi Gras, New Orleans, 1957
What better way to start the year than with the music of Sly Stone?
Steven Bernstein’s Millennial Territory Orchestra (Steven Bernstein, trumpet; John Medeski, organ, et al.), live, Paris, 2011
“Stand” (feat. Sandra St. Victor, vocals)
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“Everyday People” (feat. Eric Mingus, vocals)
*****
Still, after four decades, this album remains on my desert-island list.
Sly and the Family Stone, Fresh, 1973
1. In Time (0:00)
2. If You Want Me To Stay (5:48)
3. Let Me Have It All (8:48)
4. Frisky (11:43)
5. Thankful ‘N’ Thoughtful (14:54)
6. Skin I’m In (19:36)
7. I Don’t Know (Satisfaction) (22:29)
8. Keep On Dancin’ (26:23)
9. Que Sera, Sera (Whatever Will Be, Will Be) (28:45)
10. If It Were Left Up To Me (34:07)
11. Babies Makin’ Babies (36:07)
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lagniappe
random thoughts: New Year’s resolution #5
Each day: begin, again.
two takes
Need a lift?
Charles Ives (1874-1954), Ragtime Dance No. 4 (1904)
Alarm Will Sound, live, New York, 2013
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Orchestra New England, recording, 1990
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lagniappe
musical thoughts
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.
—Charles Ives
