Dave Stafford, a fellow traveller on the ambient path, is, apparently, a kindred spirit. Although, I’m fairly confident his music-making spirit has been burnished by many more suns than have cooked my own spirit. I say this because his body of work and writing about his work is enormous, and this all is fit to a huge sonic range of experimentation.
We both use the electric guitar as a sound source; we both love the iPad touch paradigm; we both tend to get all over the experimental sound-producing apps for the IOS music-making system; and, finally, we share devotion to Mixtikl, DroneFX, Vosis, TC-11, and Scape. Oh, and Dave digs Guitar Rig, as do I.
Dave also shares his philosophizing and what are to me, his “meta thoughts” about being an experimental musician in the fast moving environment of the DIY producer/composer/musician. Even more valuable are his ongoing studio notes. He is incredibly generous in sharing his sausage making tips. thanks man!
It is just a guess, but Dave and I share something key: we both are searching for the sonic epiphany.
from Infinity track released 13 March 2015
Recorded at noguts noglory studios, Cleveland Heights, Ohio
Produced by Stephen Calhoun
Note – I’m jazzed about the Enzyme Synthesizer from Humanoid Soundsystems. It’s in the same camp as my beloved and abandoned (by its developers) Alchemy. It is simpler, and more raucous in the way it handles samples.
The Gilded Palace of Sin isn’t strictly a country rock record. But when Parsons chose to mix the country with whatever else, he did it so well that it drew the ire of the Nashville establishment who felt that Parson’s music was a stain on the wholesomeness of pure country music. A sort of hippie invasion, if you will. Looking back, it’s funny to think about. Not only Nashville’s revulsion at Parson as an unsavory character—because there were no unsavory characters in country music—but also because country rock and country pop now dominate a large section of the consumer music market. That sort of genre blending, the country aesthetic mixed with dance beats or rock riffs, is a flower off the tree of Parson’s Cosmic American Music. Although I’m not so sure he would be happy with the dumb-downed legacy that is the current state of country music. American it is. Cosmic it is not. Counterbalance No. 153: Flying Burrito Brothers’ ‘The Gilded Palace of Sin’ by Jason Mendelsohn and Eric Klinger
The Guilded Palace of Sin remains for me, after forty-six years, one of my favorite pop records of all time, certainly in the top five.
I put the following compact disc in my car player and listened to it twice.
The hook for me, once again, was Sneaky Pete Kleinow’s pedal steel magic. His playing reinforces my own sense that The Burrito Brothers were a psychedelic country band, with Sneaky’s shapeshifting steel fronting the lead guitar aesthetic with its leaps between swirly chorus-effect and bandsaw fuzz.
Plus, marvels of lip-synch and stand-up pedal steel.
Sneaky Pete also anchored The Flying Burrito Brothers on tour.
Calgary, August 1970
There are some fine audio-only concerts from 1970 on youtube.
Seattle Pop Festival – July 27, 1969
December 6, 1970 – Lyceum Ballroom – London, England
There is a web site called Africanjazz. I had never visited it because I didn’t know it was ‘out there.’ But, as often happens when I am in my emusic account and dealing with the chaotic sprawl of its offerings looking to bring some new music into my world, I leaned into Google, and, discovered a page of brand new recommendations at AfricanJazz about jazz from South Africa.
There I discovered bassist Herbie Tsoaeli‘s new recording African Time Quartet in Concert (Live.) Went back to emusic and downloaded it. It is a strong statement of the people’s music, as Abdullah Ibrahim would call it.
I had seen Tsoaeli’s name on recordings by SA greats Zim Ngqawana and Winston Mankunku Ngozi, but I had not noted a year ago that his debut recording African Time had been named the South African Jazz Record of the Year for 2013.
Legendary bassist Johnny Dyani, who notably played with The Blue Notes and Abdullah Ibrahim, was, stature-wise, his continent’s Charles Mingus. This post remembers with fondness the flame of Dyani fervor that inflected my musical friends during the Vermont years. You know who you are.
1. Release lots of music,
2. Conquer your backyard.
3. Skip the middleman.
4. Work with people who ‘get it.’
6. Own your publishing.
7. Learn the skills people want to rent to you.
8. Use the internet
9. Seed interest with freebees
10. Get everybody’s name/email and give them something free in return.
11. Use your artistry to educate.
13. Have fun; if you’re not having fun you’re not fully honoring your blessed talents and good fortune.
14. Plan and Be Attentive to Lucky Moments
15. Three decade + long careers almost always require one to be healthy