Now playing

[Yii]

celer: engaged touches

RIP Dani Baquet-Long (1983-2009)

http://andoar.blogspot.com/2009/07/it-i ... ve-to.html

[jcg]

Matt Shoemaker - Erosion of the Analogous Eye: brilliant!

[simon reynell]

Phosphor II. Excellent.

[Salty Swift]

[Yii]

Luiz Bonfa & Maria Toledo - Braziliana

[jeirich]

[horaflora]

If you don't know these guys, I highly recommend checkin them out, they play no originals (that I know of) but have 2 great discs of standards and this one of Willie Nelson covers, all played on nose whistle, saw, street sweeper bristle bass, thumb reeds, guitar, and a system of 'mouth speakers' (from website):

"everything one reverie is doing is sent to a small speaker (taken from a cell-phone) held in the mouth of another Reverie; we might hear Eric’s guitar coming out of Doug’s mouth, Doug’s saw coming out of Ryan’s mouth, Ryan’s voice coming out of Eric’s mouth—each signal modulated by the activities of the mouth it is relocated in, an array of fragile talk-boxes wah-ing away."

not only is it a joy to hear marginalized techniques and experimenatiin usually reserved for less accessible music brought into the song form, but these releases all bear out repeated listens - I've had the first 2 since '05, and they still sound great, fresh, and are extremely warm feeling.

And, in the same vein (singer from reveries):



Eric chenaux - sloppy ground

"arms, legs, and moonlight" would almost qualify for 'last song on repeat 10x' thread, but 9x always does it for me....

On bike tour last summer, we realized that our schedule would land us near kittery, Maine on the same date that Greg Davis and Eric Chenaux would be playing there; I excitedly went about contacting all parties involved to see if there was room on the bill for Kurt (weisman, who I toured with) and I... We heard back from everyone but the promoter/venue Booker, to whom it was ultimately up to, and eventually accepted we weren't playing which was ok, cause to make it there we would've had to do two 100 mile days in a row, which we were ok with, but not ecstatic about..,

...as it turns out, we're in Brattleboro, Vermont, having just finished a show with mv & ee, and someone mentions that they'll be seeing us tomorrow too, as they're driving out to catch Greg and Eric - turns out, we were on the bill after all, but no one wrote back to tell us ever! That was the Only time I wished we had a car on the tour, including a near brush with a hurricaine in north Virginia!

Life, huh?

[Jesse]

Kang Tae Hwan Trio
Love Time
Kang Tae Hwan/Makoto Kawabata/Ichiraku Yoshimitsu.

[faster]

[gohleekwang]

If you don't know these guys, I highly recommend checkin them out, they play no originals (that I know of) but have 2 great discs of standards and this one of Willie Nelson covers, all played on nose whistle, saw, street sweeper bristle bass, thumb reeds, guitar, and a system of 'mouth speakers' (from website):

"everything one reverie is doing is sent to a small speaker (taken from a cell-phone) held in the mouth of another Reverie; we might hear Eric’s guitar coming out of Doug’s mouth, Doug’s saw coming out of Ryan’s mouth, Ryan’s voice coming out of Eric’s mouth—each signal modulated by the activities of the mouth it is relocated in, an array of fragile talk-boxes wah-ing away."

not only is it a joy to hear marginalized techniques and experimenatiin usually reserved for less accessible music brought into the song form, but these releases all bear out repeated listens - I've had the first 2 since '05, and they still sound great, fresh, and are extremely warm feeling.

And, in the same vein (singer from reveries):



Eric chenaux - sloppy ground

"arms, legs, and moonlight" would almost qualify for 'last song on repeat 10x' thread, but 9x always does it for me....

On bike tour last summer, we realized that our schedule would land us near kittery, Maine on the same date that Greg Davis and Eric Chenaux would be playing there; I excitedly went about contacting all parties involved to see if there was room on the bill for Kurt (weisman, who I toured with) and I... We heard back from everyone but the promoter/venue Booker, to whom it was ultimately up to, and eventually accepted we weren't playing which was ok, cause to make it there we would've had to do two 100 mile days in a row, which we were ok with, but not ecstatic about..,

...as it turns out, we're in Brattleboro, Vermont, having just finished a show with mv & ee, and someone mentions that they'll be seeing us tomorrow too, as they're driving out to catch Greg and Eric - turns out, we were on the bill after all, but no one wrote back to tell us ever! That was the Only time I wished we had a car on the tour, including a near brush with a hurricaine in north Virginia!

Life, huh?

Eric play a beautiful solo guitar set in Kuala Lumpur in 2007, later we traded some cds, some beautiful works with his other song-based projects too.

[Jesse]

Eliane Radigue
Naldjorlak

Charles Curtis, cello

[Yii]

narrominded split lp series #3 mats gustafsson / cor fuhler

[cheerios]

I love that painful record by YLT, I'm trying to write a screenplay based around that record...

np:

all 9 stax-volt singles collection cds on shuffle babay!

[Charon]

narrominded split lp series #3 mats gustafsson / cor fuhler

how is that?

[Yii]

narrominded split lp series #3 mats gustafsson / cor fuhler

The ever so charming and diverse Narrominded label, started with their ltd split lp series in 2003. And for their third edition they've coupled two well known artists from the improv/jazz scene: Mats Gustafsson & Cor Fuhler.
For Mats Gustafsson, playin his sax is a pure physical event. Pushing air in various ways through the mouthpiece, focussing on subtle differences and nuances. This evolves to a rougher approach later on, using the keys of the sax more as an percussionative element. He occasionally switches from the sax to the laptop, developing his organic sound to a digital whirlwind of clicks and processed sounds, without creating transitions which are too abrupt. A very interesting piece by Gustafsson, showing that the man's solo output is as important as his collaborations with other highly acclaimed artists.
Cor Fuhler's instrument of choice is the piano. For years now he has been experimenting with different setups, manipulating the strings in various ways, and of course let's not forget, strike the occasional key as well from time to time. These 2 tracks are the result of such experience. And it's plain gorgeous. "Tengam" in particular tickles my eardrums the right way. Using ebows, magnets, and other tools, he creates these droning tones, a mix of highs and lows. At some moments you can even hear the strings trembling. In the midst of that, he plays the piano in a gentle way. Improvising around a certain set of keys, and creating a very minimal and delicate composition. I totally love this. And i guess i don't have to say that this record is highly recommended, do i ?

and i much prefer mats to cor.

[fearandpanic]

What did you think of this? Much as I like the idea of the Afrobeat baton being handed down from father to son, I thought it sounded a little unadventurous, as if in anticipating the inevitable comparison he tried to make it sound as much like as Fela in every detail as possible. But his singing isn't as good, the horns are arranged ambitiously but sound oddly lethargic, and the songs just didn't reach me. I'm sure it would be a lot of fun live.

[Daniel Jones]

I've just finished listening to these and enjoying them a heck of a lot:





Looking to pick up a copy of Tragic Epilogue...

Now playing:

[fearandpanic]

A few albums from the early 70s by War (Deliver The Word, Why Can't We Be Friends, The World Is A Ghetto), the multiracial, eclectic funk-rock group from California. They're probably mostly remembered now for a short stint with Eric Burdon from the Animals and for a few massive hits later on like "Low RIder" and "Why Can't We Be Friends?" The actual albums are certainly eclectic but in a fairly plodding, genre hopping way. Got almost nothing out of these. Maybe you had to be there.

[tarfumes]

A few albums from the early 70s by War (Deliver The Word, Why Can't We Be Friends, The World Is A Ghetto), the multiracial, eclectic funk-rock group from California. They're probably mostly remembered now for a short stint with Eric Burdon from the Animals and for a few massive hits later on like "Low RIder" and "Why Can't We Be Friends?" The actual albums are certainly eclectic but in a fairly plodding, genre hopping way. Got almost nothing out of these. Maybe you had to be there.

The only one of these I've heard all the way through was Why Can't We Be Friends? I loved the single, but I had a similar reaction to you; I was faintly appalled at the filler, which reminded me of Chicago (the band). War's Greatest Hits, however, is utterly unfuckwithable ("Cisco Kid," "Me & Baby Brother," "Slippin' Into Darkness," etc.). Needless to say, singles were their métier.

[jon abbey]

agreed, but someone has to specifically mention "The World is a Ghetto", probably my favorite song of theirs.