music clip of the day

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Tag: music clip of the day

Friday, March 3rd

sounds of Eau Claire*

Bon Iver, live, New York, 2016**


*****

*Wisconsin.

**Set list (courtesy of YouTube):

00:16 “10 d E A T h b R E a s T ⚄ ⚄”
02:58 “33 ‘GOD'”
06:45 “Heavenly Father”
10:50 “29 #Strafford APTS”
15:34 “Beach Baby”
18:31 “666 ʇ”
23:42 “715 – CRΣΣKS”
26:20 “Calgary”
31:01 “22 (OVER S∞∞N)”
34:42 “8 (circle)”
40:54 “Minnesota, WI”
48:13 “____45_____”
54:15 “Creature Fear”
1:00:35 “00000 Million”

Thursday, March 2nd

tonight in Chicago

These guys, from Australia, are playing at Constellation.

The Necks, live, London, 2016


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lagniappe

reading table

The Imaginary Iceberg
by Elizabeth Bishop (1911-1979)

We’d rather have the iceberg than the ship,
although it meant the end of travel.
Although it stood stock-still like cloudy rock
and all the sea were moving marble.
We’d rather have the iceberg than the ship;
we’d rather own this breathing plain of snow
though the ship’s sails were laid upon the sea
as the snow lies undissolved upon the water.
O solemn, floating field,
are you aware an iceberg takes repose
with you, and when it wakes may pasture on your snows?

This is a scene a sailor’d give his eyes for.
The ship’s ignored. The iceberg rises
and sinks again; its glassy pinnacles
correct elliptics in the sky.
This is a scene where he who treads the boards
is artlessly rhetorical. The curtain
is light enough to rise on finest ropes
that airy twists of snow provide.
The wits of these white peaks
spar with the sun. Its weight the iceberg dares
upon a shifting stage and stands and stares.

The iceberg cuts its facets from within.
Like jewelry from a grave
it saves itself perpetually and adorns
only itself, perhaps the snows
which so surprise us lying on the sea.
Good-bye, we say, good-bye, the ship steers off
where waves give in to one another’s waves
and clouds run in a warmer sky.
Icebergs behoove the soul
(both being self-made from elements least visible)
to see them so: fleshed, fair, erected indivisible.

Wednesday, March 1st

basement jukebox

Howlin’ Wolf (vocals, harmonica; 1910-1976), “How Many More Years,” “Moanin’ at Midnight,” 1951


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lagniappe

reading table

We drew from the models, and you cannot imagine how fantastically boring it can be to look hour after hour at a beautiful body. But an ugly body can be fascinating.

—photographer Lisette Model (1901-1983), quoted in Colm Toibin, “That Little Minx” (reviewing Diane Arbus: Portrait of a Photographer and Silent Dialogues: Diane Arbus and Howard Nemerov), London Review of Books, 3/2/17

Tuesday, February 28th

basement jukebox

Little Johnny Jones (vocals, piano; 1924-1964), “Big Town Playboy,” 1950


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lagniappe

art beat: other day, Whitney Museum of American Art (New York)

Diane Arbus (1923-1971), A young man and his pregnant wife in Washington Square Park, NYC, 1965

vogel-jumbo

 

Monday, February 27th

basement jukebox

J.B. Lenoir (vocals, guitar; 1929-1967), “Mama Talk to Your Daughter,” 1954

 

Saturday, February 25th

A handful of pieces I never tire of, no matter how many times I hear them. This is one.

Morton Feldman (1926-1987; MCOTD Hall of Fame), For Bunita Marcus (1985); Stephen Drury (piano), live, Boston, 2016


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lagniappe

art beat: other day, Museum of Contemporary Art Chicago

Jasper Johns (1930-), In Memory of My Feelings—Frank O’Hara, 1961

johns-in_memory_of_my_feelings_-_frank_ohara

 

Friday, February 24th

sounds of New York

Jim Campilongo Trio (JC, guitar; Chris Morrisey, bass; Josh Dion, drums, vocals) with Nels Cline (guitar), live, New York, 12/5/16*


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lagniappe

art beat: yesterday, Museum of Contemporary Art Chicago

Merce Cunningham: Common Time (through April 30th)


*****

*Set list (courtesy of YouTube):

Hot ‘Lanta 00:00
Heaven Is Creepy 08:20
Politician 18:06
Cock and Bull Story 26:12

Thursday, February 23rd

passings

Walter “Junie” Morrison, keyboard player, singer, songwriter, arranger, producer, etc., 1954-January 21, 2017

Keyboards and vocals, with Parliament-Funkadelic, “Into You,” live, Passaic, New Jersey, 1978


***

Questlove, Instagram post:

The Great Junie Morrison. So inspirational. All the #OhioPlayers westbound era funk that birthed #Voodoo & #BlackMessiah: #Junie. Those adlibs on Hov’s “#BrooklynsFinest & #Tribe‘s #ScenarioRemix is Junie. All the Warner Era #Funkadelic songwriting wizzardry #OneNationUnderAGroove & #UncleJamWantsYou (he co-wrote #NotJustKneeDeep) even #Parliament‘s #MotorBootyAffair & #Gloryhallastoopid. His ideas birthed and ushered in the G-Funk era (all that synthy #FunkyWorm synth yall associate w gangsta rap/Dre’s sound? That’s #JunieMorrison. Even his #SuzieThundertussy in its tales of “Lost Angeles” were the backdrop on Ye’s bright light for #TLOP‘s #NoMorePartiesInLA. Solange even gave him props on #Junie (“jump on it” for those that call it the “Jump on it song Dre3000 sings on)—this man was an uncelebrated unsung unchampioned whose ideas we just took and took and took. I regret so much not having a “proper” conversation about his journey. His songwriting. His technology innovations. Man. This STINGS. Rip #Junie.

Wednesday, February 22nd

more

Miranda Cuckson, violin; Michael Hersch (1971-), Fourteen Pieces for unaccompanied violin, excerpt; live, 2009

 

Monday, February 20th

Yesterday, in Chicago, at the Art Institute, I heard this woman play the violin. She played for well over an hour, by herself, without intermission. She performed seven pieces: the earliest, by Pierre Boulez (Anthèmes 1), was composed in 1992; the latest, by Steve Lehman (En Soi), this year. When a performer surrenders to the music wholeheartedly, she invites you, the listener, to do the same. And I did, gratefully.

Miranda Cuckson, violin

Ralph Shapey (1921-2002), Etchings (1945; excerpt), 2009


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Playing and talking, 2015