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Recent Posts
- Liz Green: Displacement Song
- Dub Collision mix: Common Folk Song (jazz traditions 2011)
- Dub Collision mix: Crunch Dance (jazz fusions 2011)
- Dub Collision mix: One Last More Miles (Blues & Soul 2011)
- Dub Collision mix Monday Rollerz (DNB etz 2011)
- Sonic Touch: Episode 5
- Perpetuum Jazzile, Slovenian Choir
- Senzari’s Formulaic Fail
- Dub Collision mix: Current Figures (slow music 2011)
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Monthly Archives: March 2010
Dub Collision mix: Life Is A Carnival
Daniel and the Sacred Harp – The Band – 5:02
All I Need – Anne Mccue – 3:35
Blue Bayou – Mavericks – 4:28
Deep Red Bells – Neko Case – 4:12
Poem of the River – The Del Lords – 6:09
For What Its Worth – Cher – 2:22
A Flower Opens Gently By – Rick Nelson & Stone Canyon Band = 3:13
Just In Case Both Are Wrong - Bonnie Raitt – 4:07
100 Years From Now – Wilco – 4:29
This Wheel’s On Fire – The Byrds – 7:14
Little Bombs – Aimee Mann – 3:52
Life Is A Carnival – Professor Louie & Crowmatix – 3:55
After The Gold Rush – Valerie Carter – 4:36
Everybody Knows This is Nowhere – Uncle Tupelo – 2:56
download podcast: Life Is A Carnival (tagged for iPod-320kbs-145mb-Rapidshare)
taster:
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outtake from The Band
notes-So, my two most venerable muso budsand me were hanging out, and Dooz is reminding us to listen to his Bobby Charles tribute radio show. It had already been broadcast to its audience on the California-Nevada border. No, Dooz had supplied us with burned dubs. I got to thinking about another round of roots from ‘on the porch’ with some helpings of the late, great swamp popper and songwriter Charles stirred in. I conjured my new mix. But, then, the spankin’ new posthumous Charles record came into my hands, and I thought it deserved a feature.
Yup, Life is a carnival. Enjoy. Feel free to comment. -DC
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Moholo-Moholo – African Lion
Louis Moholo-Moholo is a South African drummer, who has spent most of his career playing both in ensembles led by illuminaries of the European jazz community, and, leading his own distinctive groups. He turned seventy on March 10. His career stretches over sixty years, with most of it centered in the United Kingdom, his home, after he arrived in 1964 with the crew of self-exiled South Africans, until 2005, when he returned to South Africa.
It would take pages to recap the highlights he has provided in recording with the likes of Evan Parker, Cecil Taylor, Steve Lacy, Harry Miller, Irene Schweizer, David Murray, Keith Tippett, and many many others, as well as his singular work with The Blue Notes, The Brotherhood of Breath, Chris McGregor, and his own groups–over four decades. It is enough to say that he is the finest trap drummer an entire continent, Africa, has yet produced. His signature drumming qualities are, to me, two: stirringly organic, and, shockingly creative.
Last year, his recording with the pianist Marilyn Crispell, Sibanye, struck me as yet another peerless throw down with a piano-playing peer. The record is brilliant of course. It can’t really be dealt with unless the listener visits its virtuoso territory again and again. The same can be said for his outing with Stan Tracey, Khumbula (2005.)
Louis Moholo-Moholo has recently delivered, to my ears, the first five star affair of the 2010 jazz year, An Open Letter to My Wife Mpumi. The record seems to me to nail his vision for his own music. Moholo-Moholo’s music sounds a clarion song of liberation within its rigorous structures, and can be said to be freedom music, not free jazz. His bandmates, most of whom is has been working with for some time, form one of music’s most thrilling groups right now.
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Moholo-Moholo
Performance from 1996, Louis Moholo-Moholo and Viva Le Black
Pino Minafra’s MinAfric Orchestra featuring Keith & Julie Toppett and Louis Moholo-Moholo
Louis Moholo-Moholo – when free jazz means freedom
for further investigation:
Tony McGregor’s The Blue Notes: the South African Jazz Exiles
records:
Cadillac Records (Ogun)
Dusty Groove America | The Jazz Loft
Alio Die
Alio Die is a mystical sound designer and auteur of ambient musical soundscapes. (Like good ol’ Kamelmauz, he has a regular name too, Stefano Musso.) An Italian, Alio Die is mining the same electro-acoustic wellsprings that deep divers such as Steve Roach, Vidna Obmana, Ian Boddy, Peter Namlook, Robert Rich, are also mining. However, he strikes me as the audionaut most secure in gathering in olden European sources, especially voice.
His music is too graceful to fall down into the dark layer. Airy and serious, very focused yet open–Alio Die is sound to travel on.
Alio Die:
home page
MySpace I | MySpace II
@ Projekt Records
Jeanne Lee – Ran Blake 1963
something's coming (L. Bernstein – S. Sondheim)
Uploaded by aldezabal. – Music videos, artist interviews, concerts and more.
The internet is amazing. take it away if you must, but leave the jazz videos, eh?
Jeanne Lee left the mortal coil at the too young age of 61 in 2000. I object to the Wikipedia’s description, ‘she was one of the foremost exponents of free jazz in the vocal application,’ (but I also don’t like the term free jazz much at all.) I have no idea where the wikipedian got the idea a fuzzy informal term could cover the taut and extremely focused inventiveness Jeanne Lee expressed right from the beginning of her career.
In the early sixties Ms. Lee, Sheila Jordan, Abby Lincoln, and Helen Merrill, (and a little later Betty Carter,) all strove to break through out of the Lady Day-Sassy-Ella-Chris Connor models. They went forth differently and succeeded too. They did free jazz singing from those heavy duty antecedents. But, there’s no cogent answer to the question, ‘what makes Jeanne Lee a free jazz singer?’
She sang freely. Hers was the most ambitious experiment of them all.
Music From the Source – 2009
Dreams of Kirina | Baaba Maal | Playing For Change from Playing For Change on Vimeo.
While talking over our favored music from last year, Mali’s Tinariwen came up. Their 2009 record, Imidiwan (Companions) made two of our three top lists. In this group, we don’t let discrepancies like this alone. The holdout stated Imidiwan ‘sounded like their other records.’
Sure. I replied, “If Sophia Loren had an identical twin sister, she’d likely be as beautiful as her sister. You wouldn’t say, ‘oh she’s just a repeat of her sister’s beauty.’ ”
To which my muso bud replied, “Oh, I don’t think Sophia Loren is that beautiful.” Jeezum! He offered Jennifer Connelly as exemplar. I offered, again, my analogy. (Tinariwen home)
Here’s my top list of African music from 2009. I could add a bunch too, given reissues and other worthy candidates not listed. It was an extraordinary year because just about every African artist I closely track put out new music last year. Abdullah Ibrahim would top this list if his superb Bombella–my favorite single record of 2009–didn’t already top the improv list.
+Amadou & Mariam – Welcome to Mali
Baaba Maal – Television
Bassekou Kouyate and Ngoni Ba – I Speak Fula
Culture Music Club – Shime
Extra Golden – Thank You Very Quickly
Fanga – Sira Ba
Ghana Special –Modern Highlife Afro Sounds Ghana Blues
Jimi Tenor and Tony Allen – Inspiration Information 4
Kimi Djabate – Karam
Mulatu Astatke & The Heliocentrics – Inspiration Information
+Orchestre National de Barbès – Alik
+Oumou Sangare – Seya
Salif Keita – La Difference
+Staff Benda Bilili – Tres Fort , Tres Fort
+Tinariwen – Imidiwan:Companions
Tony Allen – Secret Agent
(+Where to start…)
Posted in Africa, musicians, video
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Young Sun
No musician is more represented, or over-represented, in my archives than Le Sony’r Ra, ne Sun Ra. I know why this is so. It’s because Sun Ra’s raucus avant-swing brings with each helping some measure of surprise, of jaw dropping delight. It helps the cause of surprise the flow of newly discovered recordings, formally released or illicit, is apparently to be ceaseless.
Obviously, in a case like this, meeting my desire for ‘ra’ surprise crosses over into mild obsession. Fortunately, Transparency Records aims to satisfy those of us so afflicted. In 2008, they delivered a 28 CD set, The Complete Detroit Jazz Center Residency, that is both well over the top of any normal concept of documentation, and, a nirvana of surprise.
My informed guess would be Sun Ra is the most recorded musician ever. Okay, maybe the Grateful Dead–another dependable source of surprise–grab the ring. (Who knows?) Still, the immense Sun Ra opus is manageable for the neophyte. I’d say to begin to deal with it, one only need deal with 20 records or so. Even this task would require a starting point, and, let’s suppose it is possible to identify the one cornerstone platter no music lover should be without.
I’d nominate two records, Blue Delight (1989), and, Live at Montreux (1976). One or the other… I could nominate twenty more too. Don’t get me started. If the 28 discs of Detroit were boiled down to a single disc, (or two!) I could nominate it. Certainly, the Detroit set is only for obsessives and deluded completists. Still, only the matter of its vastness intervenes in any sensible recommendation. For me, the set is essential and loaded with surprise.
As the two Rolling Stone covers demonstrate, Sun Ra and Neil Young gaze, resolutely, out into the cosmos. Young weighed in with a modest 8 CD set last year, Neil Young Archives, Vol. 1: 1963-1972. It was long anticipated and worth the wait. because Young has permitted live recordings to stream into the open source, if you’re torrent-savvy, you can indulge yourself in his own endless live opus. Electrified Neil Young is the only heavy metal I return to again and again.
Vol. 1 reprises the classic ‘first period’ of Young’s career. There are too many alternates which sound too close to the original versions. Otherwise, the set is chock full of prime Neil Young music. The first disc, with the earliest tracks and demos, is especially rewarding.
Incidentally, Neil’s first four Reprise records have recently been remastered and reissued. Everybody Knows This Is Nowhere and After the Gold Rush have desert island status in my book. (Neil Young home page…weird + myspace)
