Orkest De Volharding - Trajekten (1992)

This CD celebrates 20 years of the Orkest de Volharding. In Holland's forgotten streets, in harbour areas, in community centres, you still come across the word: laundries, shipyards and workers' choirs still bear the proud name DE VOLHARDING - an echo from before the War, when socialism was not just a bitter necessity, but carried within the promise of a better world, a world which could only ever be achieved through unremitting VOLHARDING - "perseverance".

Orkest de Volharding was founded by the composer Louis Andriessen who created both a piece of music and a band to play it at the same moment. Andriessen's decision to name the new work De Volharding, with all its connotations, was no accident. The changes which they were trying to introduce were not restricted to music: they had a social dimension as well. It was 1971. De Volharding's aim was to clear away the barriers between composer and performer, between high and low culture, between the music of the concert hall and the music of the street.

Together with saxophonist Willem Breuker, Andriessen assembled an orchestra made up partly of jazz musicians, and partly of classically trained players. They made it a wind band, since the ensemble was often going to perform in the open air. The composer appeared as the pianist, and there was no conductor, because authority was anathema. Maarten Altena, Bob Driessen, Jan Wolff and others also joined in.

Twenty years later, one or two things have changed. Of the original group only three members remain. The orchestra no longer plays at demonstrations in the freezing cold. The music of Protest has disappeared from their repertoire, and since 1989 the orchestra has even had a conductor. With only a few exceptions, they continue to play mostly music which has been written specially for them, through a close interaction between musicians and composer.
The eight works on this recording provide a retrospective glance at the first 15 years of the Volharding repertoire, from a total of 130 compositions.



Short notes on the compositions:
Louis Andriessen's On Jimmy Yancey is a musical transplant of themes written by the pioneer of boogie-woogie piano. Misha Mengelberg's Dressoir explores the contents of a dresser, some movements having emerged during improvisations with Han Bennink. Vasques Dias' Balada do Amor Militante (Ballad of Militant Love) is based on a poem by Manuel Alegre. Van Manen's Trajekten (1981) quotes jazz, Stravisnky and early 20th century French music. Klas Torstensson's Jarn (Iron) is composed of 3 linked sessions "striving towards velocity and violence", while Van Zeeland's Lacune refers to "the void which still exists between the music of Stockhausen, Monk, Varèse and Zappa", using Zappa's and Stockhausen's paralell chords; Varèse's holding of a given sound; and Monk's shuttering motion. Janssen's Woeha explores the use of different tempos, working toward disintegration, and is a tribute to Hergè's and Tintin's dog. Louis Andriessen's Dat Gebeurt in Vietnam (This is happenning in Vietnam) uses, according to the composer, "elements from American gangster film music".

Musicians:

Dil Engelhard - Flute; Beatrice Driver - French Horn; Marteen van Norden - Saxs; Rutger van Norden - Saxs; Bob Driessen - Saxs, Clarinets; Reijer Dorrensteijn - Trumpet; Louis Lanzing - Trumpet; Anita van Soest - Trumpet; Willem van Soest - Trumpet; Carl Daleboudt - Trumpet (except 2 & 5); Johan de Meij - Trombone; Hans Visser - Bass Trombone; Jaap Dercksen - Piano; Sjeng Schupp - Double Bass, Bass Guitar, Cover Illustration; Cees van Zeeland - Conductor; Klas Torstensson - Conductor (on #5)

1. Louis Andriessen - On Jimmy Yancey (1973)
2. Misha Mengelberg - Dressoir (1977)
3. Amílcar Vasques Dias - Balada do Amor Militante (1981)
4. Willem van Manen - Trajekten (1981)
5. Klas Torstensson - Järn (1982)
6. Cees van Zeeland - Lacune (1984)
7. Guus Janssen - Woeha (1984)
8. Louis Andriessen - Dat Gebeurt in Vietnam (1972)

Recorded in October 1991 in Amsterdam.
Released by NM Classics - Radio Nederland Transcription Service in 1992

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Art Blakey & The Jazz Messengers - Three Blind Mice Vol. 2

The eminent Prof. Steve Jazzme, who sometimes comes through the chimney of the Bravo Mansion to offer some records from his impressive collection, has left this album in the comments box as a Christmas gift and suggested that we post it. Here it is, for the joy of all friends of Juju. Let us praise Prof. Jazzme for his generosity!

"The second of two CDs that greatly expand the original Three Blind Mice LP captures the all-star Jazz Messengers sextet of 1961-62 at two separate concerts. The five extended performances, which consist of four group originals (including "Mosaic" and "Ping Pong") and "It's Only a Paper Moon," include many strong solos from trumpeter Freddie Hubbard, trombonist Curtis Fuller, tenor saxophonist Wayne Shorter and pianist Cedar Walton, all future bandleaders. Highly recommended". Scott Yanow

1. It's Only a Paper Moon
2. Mosaic
3. Ping Pong
4. The Promised Land
5. Arabia

Art Blakey - Drums
Wayne Shorter - Tenor Saxophone
Freddie Hubbard - Trumpet
Curtis Fuller - Trombone
Cedar Walton - Piano
Jymie Merritt - Bass

Recorded live in 1961-62. Released by Blue Note.

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Christian Marclay + Otomo Yoshihide - Moving Parts (2000)

Performer, sculptor, and sound artist Christian Marclay has been experimenting with phonograph records and turntables, applying the constructs of hip-hop to avant-garde sound art deconstruction since 1979. Having teamed up with Japanese turntablist and guitar player Otomo Yoshihide for their collaboration Moving Parts, the two continue in their ongoing quest to evolve music and sound far beyond anything that is even remotely accessible to a mainstream audience. Moving Parts is a ravenous bricolage of plunderphonics, pulling sounds from cut-up and reassembled records and the turntable itself. Even with all the noise, Moving Parts succeeds on a heady plane of association where, as Marshall McLuhan would definitely state, "the medium is the message."
Juxtaposing Hawaiian guitars, gas being released from valves, faint carnival noises, and double-bass pluckings, Marclay and Yoshihide assemble these harsh noises with the elegance of impressionist painters. And that is truly how they might imagine themselves, painting subtle pictures that change with each viewing depending on the angle and distance with which they are seen. Moving Parts toys with the endless possibility of chance and takes the greatest pleasure in knowing that listeners will either passionately love and/or actively hate listening to this record. Ken Taylor

1. Sliced and Diced
2. Derailment
3. Deep Down Under
4. Elephant Memories
5. Blood Eddy
6. Suburbia
7. Hyoushi
8. Fanfare
9. Lucky Seven
10. Distant Trip
11. Untitled (hidden track)

Recorded in San Francisco and NY between 1997 & 1999.
Released by Asphodel in 2000.

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V/A - Women in Electronic Music (1977)

The original release featured Charles Amirkhanian’s selections of electro-acoustic works by seven women who were, or would become, prominent composers of their day. Although the 1977 album title (New Music for Electronic & Recorded Media) did not refer to gender, the project sought to raise the visibility of women in classical music. The composers selected were Johanna M. Beyer, Annea Lockwood, Pauline Oliveros, Laurie Spiegel, Megan Roberts, Ruth Anderson, and the soon-to-be well-known Laurie Anderson.

As with many technological developments from the beginning of the twentieth century that came to fruition after World War II, the ideas of early electro-acoustic composers outpaced the readily available technology. For example, Johanna M. Beyer’s 1939 Music of the Spheres, which opens the CD, allowed violins to be substituted for the three electronic instruments specified in her original score. The first performance of Music of the Spheres as conceived by Beyer was produced and recorded in 1977 specifically for this album. After a lion’s roar and triangle duet opening, the piece unfolds with one of the electronic instruments performing an ostinato figure that gradually accelerates and then decelerates while the other two electronic instruments present a two-voice contrapuntal melody, punctuated throughout by occasional triangle attacks.

The repetitive motorized sounds that open Annea Lockwood’s World Rhythms are jolting after the serenity of Beyer’s work. A composition exploring the polyrhythms of nature, a series of initial water sounds precedes an overlapping succession of recordings of pulsars, earthquakes, volcanoes, geysers, rivers, peepers, fire, storms, waves, and breathing. Recordings of nature and the shared journey are important elements in Lockwood’s work, and would be displayed again on a larger scale in her well-known A Sound Map of the Hudson River (1982) and the recently completed epic A Sound Map of the Danube.

Oliveros’s 1965 San Francisco Tape Music Center work Bye Bye Butterfly demonstrates her early use of electronic music technology to create an improvised real-time performance piece. The studio equipment available to her was too large and bulky to move easily into a concert hall, so her works in this style were improvised directly to magnetic tape. She continued to work on this concept, which she called the Expanded Instrument System (EIS), and its current digital incarnation, created with design and programming contributions by Panaiotis, David Gamper, and Zevin Polzin, remains central to much of the music that Oliveros composes today. Bye Bye Butterfly opens with a primary texture of electronic combination tones processed through tape delay feedback loops. Halfway through, a recording of Madame Butterfly is introduced and processed in a similar fashion (a precursor to the digital sampling and looping we take for granted in music today). Oliveros explained that she simply wanted to include an LP recording in her new composition, and her choice of the Madame Butterfly disc was completely random. This chance selection, however, can also be heard as a metaphorical goodbye to Pauline Oliveros, the orchestral French horn player from Houston, as this spirit from the past mingles with the new sounds of the experimental composer she had become.

Appalachian Grove I, inspired by mountain fiddle music, is an up-tempo, computer-generated composition by the highly inventive and under-recognized composer Laurie Spiegel. Produced at Bell Labs in 1974 using Max Mathews’s GROOVE programming system, Spiegel says the piece was “composed in reaction to an overdose of heavy, sad, introspective contemporary music.” Spiegel’s simple computer-generated timbres result in the discrete, fast-moving dots of sound that dominate the composition. The pointillistic opening leads to a passage of sustained sounds that then return to the initial texture. A broader selection of Spiegel’s musical experiments from this period can be heard on her EMF recording Obsolete Systems.

The two Laurie Anderson pieces that close the CD, New York Social Life and Time to Go, gave the world its first exposure to the experimental composer/performance artist who would soon achieve mainstream success with the rise of Oh, Superman on the British pop charts. New York Social Life follows Anderson through a day of quick conversations often beginning with “Hey, how are you,” and ending with “really busy now,” “we should really get together,” and “got to go.” Interspersed are a gallery owner’s lament that “It’s just not like it was in the ‘60s, those were the days,” and a man from Cleveland inviting her to perform, saying her work is “not really my style, kind of trite, but listen, it’s just my opinion.” Her day ends with a friend calling to say “and listen Laurie, if you want to talk, I’ll leave my answering machine on and just give me a ring any time.” Anderson delivers her text with a waltz-like lilt accompanied by an unconventional performance on the tambura by Scott Johnson. Time to Go opens with a guitar and organ riff performed by Johnson as Anderson tells the story of Diego, a night-shift guard at the Museum of Modern Art whose job it is to snap the patrons out from their “art trances” and tell them to leave. As the story ends, a multi-tracked minimalist violin duo by Anderson thickens the texture while her voice continues to repeat the phrase “time to go.” -- Douglas Cohen

1. Johanna M. Beyer - Music Of The Spheres (1938)
Performed by The Electric Weasel Ensemble
Donald Buchla: Frequency Shifting
Brenda Hutchinson - Pulse Control
Allen Strange , David Morse , Stephen Ruppenthal - Synthesizer
Charles Amirkhanian - Triangle
2. Annea Lockwood - World Rhythms (1975)
3. Pauline Oliveros - Bye Bye Butterfly (1965)
4. Laurie Spiegel - Appalachian Grove I (1974)
5. Megan Roberts - I Could Sit Here All Day (1976)
Danny Sofer - Drums
Phill Loarie & William Novak - Voice
6. Ruth Anderson - Points (1973-74)
7. Laurie Anderson - New York Social Life (1977)
Scott Johnson - Tambura
8. Laurie Anderson - Time To Go (1977)
Scott Johnson - Guitar, Organ

Compilation by Charles Amirkhanian.
Originally released on LP by 1750 Arch Records, 1977.
CD re-release by CRI in 1997 and New World Records in 2006.

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Bravo Clippings #38

>> click to enlarge

Chris Ware, Acme Novelty Library #3, 1994.

Jazkamer - Metal Music Machine (2006)

With "Metal Music Machine", Jazzkammer have made the album that Lou Reed did not make, they have taken Lou literally and made Metal Machine Music in the proper sense of the words. This is the Metal album of 2006, featuring members from Enslaved and Manngard. Jazzkammer is part of the tradition of bands that mix the avantgarde with noise, kraut, metal and punk, and creates new music with and unpretentious DIY esthetic. Part of the Jazzkammer team on this album are: Jørgen “Sir Dupermann” Træen of Toy, Ivar Bjørnson of Norwegian black metal legends Enslaved, as well as Iver Sandøy and Olav Kristiseter both of the metalband Manngard.

Jazzkammer mainmen are the Norwegian kings of noise, Lasse Marhaug and John Hegre (of Kaptein Kaliber among others). During their 8 year long existence Jazzkammer have explored different kinds of sound expressions and co-operated with different musicians, but the core has always been Marhaug and Hegre. Their first album “Timex” (Rune Grammofon) was part of the avantgarde electronics scene with acts such as Oval and the Mego label.

On their next album, “Rolex” (Smalltown Supersound) Jazzkammer were remixed by the noise elite, Sonic Youth's Thurston Moore (as far as we know Thurston's first and only remix), Merzbow, Pita and Francisco Lopez. After this album, they performed together with Merzbow at the Molde International Jazz Festival, which resulted in the album “Live at Molde International Jazz Festival”. And when everybody started to talk about the Norwegian noise scene, Jazzkammer went in a total different direction and released an album consisting of silence, or lowfrequent noise, an album so silent that one had problems hearing it. They called the album “Pancakes” with an artwork that looked as if it was taken from a late 70's punk album.

Even their label Smalltown Supersound had by then given up to define them and moved them over to their new sister label Smalltown Superjazzz, a label for free-jazz, noise and avant stuff. And they insisted on calling themselves Jazzkammer and to be on an own label called Smalltown Supernoise. Smalltown Supersound gave after and made a one-off label under Smalltown Superjazzz called Smalltown Supernoise. Confused? So are we, that is why this is the first and last album on this label. dotshop.se

1. Friends of Satan
2. The Worms Will Get In
3. Abomination
4. Metal Music Machine
5. Occult Glider

Released by Smalltown Supernoise/Superjazzz in 2006

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Blondie - Parallel Lines (1978)

1. Hanging On The Telephone
2. One Way or Another
3. Picture This
4. Fade Away and Radiate
5. Pretty Baby
6. I Know But I Don't Know
7. 11:59
8. Will Anything Happen?
9. Sunday Girl
10. Heart of Glass
11. I'm Gonna Love You Too
12. Just Go Away
13. Once I Had a Love (aka The Disco Song)
14. Bang a Gong (Get It On) (Live)
15. I Know But I Don't Know (Live)
16. Hanging On the Telephone (Live)

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Alejandro Viñao - Children of Nancarrow (2004)

This radio programme is about the Children of Nancarrow, the composers who came after him and have been influenced by his music or, perhaps even more so, by his ideas. This post Nancarrow generation took off where Nancarrow's piano etudes left to explore in different directions the issue of multiple simultaneous tempi. During the programme I play and discuss selected movements or complete pieces by these composers. Alejandro Viñao

Featuring excerpts from:

*Alejandro Viñao, 'The World We Know'
*Alejandro Viñao, 'Phrase & Fiction' performed by the Flux Quartet
*Javier Alvarez, 'Cuaderno Para Armar', by Banda Elastica
*Luca Francesconi, 'Mambo', by Jean-Luc Plouvier (piano)
*Gyorgy Ligeti, 'Etudes Pour Piano - No.6' , by Pierre-Laurent Aimard (piano)
*Gyorgy Ligeti, 'Piano Concerto' by Ensemble Intercontemporain conducted by Pierre Boulez with Pierre-Laurent Aimard (piano)
*John Adams, 'Short Ride in a Fast Machine', by Netherlands Wind Ensemble conducted by Stephen Mosko
*Conlon Nancarrow, 'Etude No.15' by a player piano
*Conlon Nancarrow 'Etude No.9' performed by Ensemble Modern
*Moritz Eggert, 'The Trouble with Trills'
*Charles Amirkhanian, 'To a Nanca Rose'
*Charles Amirkhanian, 'A Rimsky Business'
*Charles Ives, realised and completed by Larry Austin 'Universe Symphony'
*Igor Stravinsky, 'The Rite of Spring' by the Cleveland Orchestra conducted by Pierre Boulez
*Giuseppe Verdi, 'Requiem' performed by the orchestra and choir of Teatro de la Scala conducted by Ricardo Muti
*Wolfgang Amadeus Mozart, 'The Magic Flute' by the Berlin Philharmonic Orchestra conducted by Herbert von Karajan
*Hector Berlioz 'Symphonie Fantastique' by the Berlin Philharmonic Orchestra conducted by Herbert von Karajan
*Johann Sebastian Bach 'Musical Offering' by the Academy of St Martin-in-the-Fields conducted by Neville Marriner

Aired on 18.09.04 by BBC Radio 3, Hear & Now.
Written & presented by Alejandro Viñao
Produced by Philip Tagney

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Peter Herbert - B-A-C-H: A Chromatic Universe (2001)

With B-A-C-H: A Chromatic Universe, Austrian bass maestro Peter Herbert, serenades Johann Sebastian Bach while basing his schema upon the four-note-motive of the letters B-A-C-H and the chromatic transpositions. Basically, Herbert’s novel intentions allude to melding elements of classicism with softly rendered rhythmic structures and the band’s modern jazz style interplay as the leader penned all but three of these works.

Herbert’s employment of semitones and non harmonic tones within daintily performed motifs presents a curious proposition. However on the opener, “Fuga” pianist Marc Copeland’s wonderfully articulated phraseology and often magical thematic developments offer some respite from a nondescript theme brimming with extended note choruses by trumpeter/flugelhornist Ingrid Jensen and bass clarinetist Carol Robinson. The piece titled, “Stauber” features an underlying Afro-Cuban pulse amid a few diversions and sullen overtones, whereas Herbert, Jensen, Copeland and Robinson perform brief solo interludes on their respective works, “B-A-C-H bass”, B-A-C-H trumpet,” “B-A-C-H piano” and B-A-C-H bass-clarinet”. The band executes subtle alterations in pitch, sans a strong reference point on the composition, “Divi Blasii”. On this piece, Copeland elevates the somewhat ambling or meandering proceedings to fairly lofty heights via his imaginative embellishments and sweet tempered musings. Glenn Astarita

******************************************************************************************
There is a striking balance achieved in this unusual Johann Sebastian Bach-inspired set of original compositions performed by a quintet organized by leader and bassist Peter Herbert. There are also a number of enigmas to this intriguing recording that draw the listener's attention. While four of the shorter feature pieces use the letters of Bach's name as a four-note "motive" (Bb/A/C/B), elsewhere the connection to the great classical composer is a tad nebulous. The influence of trumpeter Franz Koglmann, artistic director for the label, is more pervasive. The choice of Marc Copland on piano and particularly Ingrid Jensen on trumpet and flugelhorn for a fairly free style meeting might seem strange, but they both acquit themselves splendidly. In fact, Jensen is so impressive and convincing that this is one of her best sessions to date. As for the music, it is strikingly original: soft, and chamber-like; and it winds, curves, and peers about with a graceful elegance that belies its improvisational input. Steven Loewy

1. Fuga
2. Stauber
3 B-A-C-H bass
4. Stadtpfeifer
5. B-A-C-H trumpet
6. Divi Blasii
7. B-A-C-H piano
8. Hausmann
9. B-A-C-H bass clarinet
10. Actus Tragicus
11. Heavy Snow

Carol Robinson: bass-clarinet
Ingrid Jensen: flugelhorn, trumpet
Marc Copland: piano
Kenny Wollesen: drums, percussion, "bug"
Peter Herbert: bass

Recorded & mixed by Bob Ward, 25-26/9/2000
Released by Between the Lines in 2001.

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U. Srinivas - Carnatic Classical Music on Mandolin

1. Shri Maha Ganapati
(Rangam-Nata; Adi Mayura Vishvanatha)
2. Parandhama
(Ragam-Dharmavati; Rupagam Dikshitar)
3. Sudha Madurya
(Ragam-Sindhunamakriya; Adi Thyagaraja)
4. Bajare
(Ragam-Abheri; Adi Mysore Vasudevachari)
5. Ennathavam
(Ragam-Kapi; Adi Papanasam Shiva)

U. Srinivas - Mandolin
Sikil Baskaran - Violin
Palghat Raghu - Mrdangam
V. Nagarajan - Ganjira
T.H. Subhash - Gatham

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Slim Whitman - The Only Place to Be

1. Way Down in Florida (That's the Only Place to Be)
2. Whippoorwill Yodel
3. By the Waters of Minnetonka
4. Dear Mary
5. Careless Hands
6. Die Son Skyn Weer More (Sunrise)
7. Fluisterende Hoop (Whispering Hope)
8. Indian Love Call
9. I'm Casting my Lasso Towards the Sky
10. The Twelth of Never
11. I Remember You
12. Cattie Call
13. Rose Marie
14. I Remeber Slim (by Louisiana Hayride announcer Frank Page)


Recorded 1948-1968.
Published in 2002 by Sundown Records in association with The Louisiana Hayride.
This Machine Kills Martians.

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Shaun Tan - Là où vont nos Pères (2008)

Shaun Tan, Là Où Vont Nos Pères.
Known in English as The Arrival.

Published by Dargaud in 2008.

Winner of the Fauve d'Or award, Angoulème 2008

read me

Sam Rosenthal - Before the Buildings Fell (2000)

Before the Buildings Fell was recorded at various points of depression, as a catharsis. While the songs with lyrics became The Rope ( Black Tape for a Blue Girl ), these arpeggiator - driven songs were put aside. Upon reexamination, the emotions were still valid. The songs returned. Kathryn is for Ms. Pilkenton; Jane for Ms. Berube; and The Amber Girl was written so that I might forget Robin, but no such Luck.

This was recorded in my California dorm room on a 4 - track cassete porta - studio using a Korg Poly - 61 ( with Arpeggiator but no Midi ) and a Boss DSD - 2 foot pedal delay.

Sam

Black Tape for a Blue Girl's founder Sam Rosenthal had his musical beginnings in electronic music before there were genre names like "electronica." Back in 1986 (without sequencers, samplers, or MIDI for stringing together computers and keyboards) Rosenthal was experimenting with the creation of instrumental music synchronously warm and ominous. Playing with the shape of sounds in a totally "hands-on" manner, Rosenthal pioneered a style close to the post-prog work of Tangerine Dream and Brian Eno. From this point he evolved to Dark Wave - Gothic soudscapes. P. Ewing

1 - kathryn
2 - diversion
3 - resolution
4 - the room
5 - jane
6 - leading to the edge
7 - before the buildings fell
8 - fragments of benediction
9 - the amber girl (Includes a bonus fifteen minute CD-ROM track of Sam's video art, for the track Fragments of Benediction)

Sam Rosenthal - Electronics

with

Lara Radford - Violin / Industry 8 & voice 6, 8

Cauleen Smith - Cello 4

Anne Sunstrom - Sax / Industry 1, 6

Cover Model: Kathy Rohrbach, from video by Sam

Recorded in 1986 on a 4-track cassette porta-studio.
Released in 2000 by Projekt.

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Barry Weisblat _ Alfredo Costa Monteiro _ Ernesto Rodrigues - Diafon (2005)

Fellow violinist Ernesto Rodrigues runs the Creative Sources label, which has been one of the primary documenters of experimental improv in Lisbon. His new release features accordionist Alfredo Costa Monteiro, here playing amplified turntable, with New York electronicist Barry Weisblat. The disc is deeply quiet, with pauses long enough to lead the listener either to introspection or agita. In the spirit of good improvisation, though, they work well together, carrying out each other’s suggestions and finding a single, unique group voice. Kurt Gottschalk (All About Jazz)

Labelboss Ernesto Rodrigues (violin, pick-ups and objects) is less active as a musician compared to the early days of the label, but on 'Diafon' he turns up again with Alfredo Costa Monteiro (pick-ups on turntable) and Barry Weisblat (electronics) - the latter being a new name for me. Their almost thirty-six minute work was recorded in a studio and is a fine work of electro-acoustic music/improvisation. Very tight and intense playing here, not really soft or something that, but the music remains audible throughout. Another highlight. Frans de Waard (Vital)

Diafon (2005 -cs041)

Barry Weisblat: electronics
Alfredo Costa Monteiro: pick-ups on turntable
Ernesto Rodrigues: violin, pick-ups, objects

Recorded 12 July 2004 at Tcha Tcha Tcha Studios, Lisbon, Portugal
Total Time 40:00 © 2005 CSR

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Django Reinhardt - Djangology (1961)

Born in Belgium in 1910 in a gypsy family, Django Reinhardt is said to be one of the most unique and influential guitar players of all times. In 1934, after his exuberant techniques became notorious in Belgium and France, he and legendary violonist Stephane Grappelly formed the Quintet of the Hot Club of France. The group stayed together until 1939. Django then moved to London and toured the US in the 1940s with the Duke Ellington Orchestra, playing electric guitar. This turned out to be a highly influential tour, and it is usually said that no other European artist has had such an enormous impact in the New World.
The material in this LP was recorded in 1949 in Rome, just four years before his death. The recordings remained unpublished till they were rediscovered in the late 50s by a RCA Victor executive. Reuniting Django and Grappelly, the selections are a characteristically varied assortment. The standards are well-chosen: Charles Trenet's "Beyond the Sea"; Fats Waller's exuberant "Honeysuckle Rose", and the perennials "After you've Gone", "Lover Man", and "I Saw Stars". Several of the originals were written by Django and Grappely. "Minor Swing" was devised a few minutes before a 1937 recording session, later becoming a staple at the French Hot Club. "Bricktop" was also written in 1937; "Heavy Artillery", composed in 1944, was one of Dajngo's favorite tunes; "Djangology", composed in 1935, was his first composition. Compelling versions of Trenet's "Menilmontant" and "Où es-tu, mon Amour" ("Where are you, my Love?) are bonus track in this set, a striking and provocative survey of the playing of a mature, moving musician.

1. I Saw Stars
2. After you've Gone
3. Heavy Artillery (Artillerie Lourde)
4. Beyond the Sea (La Mer)
5. Minor Swing
6. Menilmontant
7. Bricktop
8. Swing Guitars
9. All the Things you Are
10. Daphne
11. It's only a Paper Moon
12. Improvisation on Tchaikovsky's Pathétique (Andante)
13. The World is Waiting for the Sunrise
14. Djangology
15. Où es-tu, mon Amour? (Where are you, my Love?)
16. Marie
17. I Surrender, Dear
18. Hallelujah
19. Swing 42
20. I'll Never be the Same
21. Honeysuckle Rose
22. Lover Man (Oh, Where can you Be?)
23. I Got Rhythm

Django Reinhardt - guitar
Stephane Grappelly - violin
Gianni Safred - piano
Carlo Pecori - bass
Aurelio de Carolis - drums


Recorded in Rome, 1949.
Released by RCA Victor in 1961. CD Re-release in 2002.

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While a simple message would have been enough for us to remove the link, Blogger took the liberty of simply deleting the entire post, together with the text and readers' comments. While Spiderman is out there fighting crime, we can remake the post (minus link) as many times as necessary.

Ghost in the Machine featuring Evan Parker (1996)

This 1993 date featured British saxophone and improvisation deity Evan Parker with Copenhagen's Ghost-in-the-Machine trio and Martin Klapper on electronics. This traditional quartet -- saxophones, bass, drums, and piano -- added Klapper to extend the sonic possibilities of all the instruments, which were amplified by microphones. The results are studies more in texture, atmospherics, and sonic constructions than they are in spontaneous composition. They hold the listener's interest simply because there is no way to predict what direction any particular passage, let alone entire piece, will take. This quintet was making music for its own edification, for its own sense of investigation and discovery -- and that's just fine. The more outside a work's context the listener is placed in -- especially with improvised music -- the deeper one is required to listen to find a common bridge to the sonic language spoken on the recording. Thom Jurek, All Music Guide

1. Beginnings
2. Highup
3. Hipawl
4. Throy
5. Intertuba/Extremii
6. Radio Djibouti
7. Tivoli After Dark
8. Free Techno
9. The Base Piano
10. Birds in Cages
11. Train

Christer Irgens-Moller: piano, keyboards, voice
Peter Friis Nielsen: electric bass
Pere Oliver Jorgens: percussion, drums
Martin Klapper: amplified objects, dictaphone, tapes, toys
Evan Parker: soprano and tenor saxophones.

Recorded in September 1993 in Copenhagen
Released in 1996 by Leo Records.

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Thomas Köner - Nuuk (1997)

Thomas Köner's Nuuk is, in many ways, a crystalline example of ambient music. The album provides ample room for sound to be experienced as mood, thereby allowing the listener to translate his/her emotional reaction into words, with very little interference. As often the case, the process of filling empty spaces with descriptions of the music's strengths seems to run counter to Nuuk's primary objective: To reach beyond the artifice of the conceptual, and to touch more directly upon an individual's core of aural perception.

Tomas Köner is a formidable manipulator of sound and image. Geological shifts, with their unceasing yet patient modulations, form the crux of Köner’s musical analogies; the full weight and implication of time and its corresponding transmutations are felt deeply as the album extends through its cycles, each piece gaining glacial momentum as sound carves grand canyons in gray matter. Nuuk is superficially similar to albums by other electronic manipulators of sound, most notably The Caretaker and Deathprod; each of these artists are familiar with crafting portentous and unsettling soundscapes. Köner’s creations, however, opt for awe and natural majesty as their core, as opposed to the malign funhouse visions and icy caresses of the aforementioned artists. Casey Rae-Hunter

1. Nuuk (air)
2. Polynya I
3. Nuuk (day)
4. Amras
5. Nuuk (night)
6. Polynya II
7. Nuuk (end)

Created by Thomas Köner in May-Nov 1995.
#3 recorded live in Apollohuis Eindhoven 1995.
Part of the Driftworks box-set. Released by Big Cat in 1997.

Performers:
Roland Kentrup & Roland Spekle - Gongs
Thomas Köner - Live Electronics

link@320

Royal Court Music of Thailand

1. Sounds of the Surf Ouverture
Pleng Homrong Kleun Kratob Fang
Composed by His Majesty King Prajadhipok, Rama VII
Performed by the Piphat Mai Khaeng Ensemble

2. The Floating Moon
Pleng Bulan Loy Luen
Composed by His Majesty King Phra Buddha Lertla Napalai, Rama II
Performed by the Piphat Mai Nuam Ensemble

3. A Starlit Night
Pleng Ratri Pradab Dao Thao
Composed by His Majesty King Prajadhipok, Rama VII
Performed by the Krueng Sai Ensemble

4. Heart of the Sea
Pleng Ok Thalay Thao
Composed by Her Royal Highness Princess Maha Chakri Sirindhorn & Choi Suntharavathin.
Performed by the Mahori Ensemble

Recorded by MR Chakrarot Chitrabongs
Released by Smithsonian Folkways in 1994

link@320 +++ removed by request

Henry Mancini - Hatari! (1962)

1. Theme for Hatari!
2. Baby Elephant Walk
3. Just For Tonight
4. Your Father's Feathers
5. Night Side
6. Big Band Bwana
7. The Sounds of Hatari
8. The Soft Touch
9. Crocodile, Go Home!



All tunes by Mancini except #3 by Mercer & Carmichael.
Recorded in 1961. CD release by RCA Victor in 1998.

link@320

Asmus Tietchens - Seuchengebiete 2 (1992)

Tietchens' second exploration of the "infested areas" focuses on the actual physical processes of water running through wastepipes, and the noises that these actions generate. The basic sounds were recorded on a three track tape machine via two condenser microphones and one contact microphone. The captured sounds have been treated and processed extensively to achieve a remarkable end product.

Some noises are processed more than others, having the effect of transforming the watery sounds into harp-like string arrangements. At other times, insect communication, a hive of subterranean activity, an insistent vibration pervades the track Hydrophonie 12. Hydrophonie 8 patters along incessantly, glass shivers, ice melts. I swear I could hear voices in there! Tietchens stresses that there is no message to be found in this recording. The result is enthralling. Matthew Riley

1. Hydrophonie 13
2. Hydrophonie 8
3. Hydrophonie 11
4. Hydrophonie 12

Recorded in Audiplex Studios, Hamburg.
Produced by Okko Bekker.
Released by Syrenia Records in 1992.

link@320

Origami Replika - Kommerz (2006)

This CD sees Origami Replika (a now defunct part of the ever changing Origami cultural collective/phenomenon) made up by three of Norway's most diehard noiseheads -- Lasse Marhaug, Tore H. Bøe, and Mads Staff Jensen. Recorded in 1997, this effort is entirely based on sound sources from the back catalogue of Merzbow. With no back-bending, knee-scraping humility, and with a pure love for all source sounds, Origami Replika have shaped classic Merzbow sound into all-new compositions. These are innovative and highly potent re-workings of the harsh soundwaves, recommended to all those who still have a healthy addiction to the Merzbow sounds of yesterday. Thick and meaty, the blasts emanating from the speakers is filled with lusty, fetishized, organic heavy noise and experimental Dadaism, ready to be devoured by the faithful disciples.

Originally planned for release on another label, and now finally unleashed on Segerhuva, this is a CD that has been tried and tested over and over again. These recordings, created almost a decade ago, have been remastered by Lasse Marhaug, and it is safe to say that this CD has stood the test of TIME. After nine years, it sounds remarkable -- a solid chunk of the classic, living breathing Noise Object that some call religion. Bottom line -- the noise fetish is still very much alive and well. Label Hype

01: untitled
02: untitled
03: untitled
04: untitled
05: untitled
06: untitled
07: untitled
08: untitled
09: untitled
10: untitled
11: untitled
12: untitled

All sound sources taken from Merzbow recordings:

Cassetes: Metal Acoustic Music; Chant; Sadomasochismo; Age of 369; Lowest Music 2; Vratya Southward; Kibbutz.
CDs: Spiral Honey; Oersted; Project Frequency; Loves; Akasha Gulva; Rectal Anarchy.
Plus: destroying 9 Merzbow Cassete Cases.

Produced & Mixed in Trondheim, May 1997
Released by Segerhuva Records in 2006

link@320 +++ removed by request

Barack Obama - Victory Speech (2008)

Yes, We Can't.

Performed live in Chicago, 5.11.2008

link@128

Alan Splet & David Lynch - Eraserhead (1982)

"An astonishing, peerless masterpiece, the soundtrack to David Lynch's debut labor of love creates a world of haunting mechanics and sexual distress in such a bizarre layer of sonic fog that any record collection is simply poorer without it. The enormity of the aural experimentation is extraordinary. With renowned sound designer Alan Splet, Lynch developed any technique he could conjure up -- from recording with pieces of glass tubing, pneumatic engines, or water-based pieces of machinery -- to produce sounds never heard before (or since) in any medium. Pieces of Fats Waller filter in through the unsettling haze. The sounds of the unimaginably horrific baby are nothing less than ghastly. Few directors could have realized such a potent vision only a first time out. Disturbing, haunting, and -- decades later -- still one of the most compelling sonic creations in the history of film." AMG

#1:
Digah's Stomp [Fats Waller]
Lenox Avenue Blues [Fats Waller]
Stompin' The Bug [Phil Worde, Mercedes Gilbert]
Messin' Around With The Blues [Phil Worde]
Pipe Organ - Fats Waller

#2:
In Heaven (Lady In The Radiator Song) [Phil Ivers, David Lynch]

Excerpts in #1 performed by Thomas "Fats" Waller in 1927.
"Dedicated to the man in the planet's sister".

Recorded in 1976.
Released in 1982 by I.R.S.
CD re-release in 1989.

link@320

Bravo Clippings #37

Satan will win anyway.

Dave Douglas - Convergence (1998)

On “Convergence” the brilliant trumpeter-composer Dave Douglas pursues new territory following up on “Parallel Worlds” and the more recent “Five”. Douglas once again utilizes the sparkling talents of violinist Mark Feldman and cellist Erik Friedlander as the combination of strings, trumpet, and rhythm section consisting of Drew Gress (bass) and Michael Sarin (drums) create music that transcend many of the existing boundaries of jazz. “Parallel Worlds” and “Five” were landmark recordings for Douglas’ chamber-like excursions with his lead trumpet, string arrangements, pounding backbeats and keen sense of swing which comprised a sound that added a new and refreshing dimension to modern jazz.

Historically speaking, Douglas’ utilization of strings within this unit tends to play more of an active role contrasting other projects of this ilk past and present. Douglas’ creative visions along with these superb musicians-stylists project a group feel, which sounds uncannily natural. “Convergence” could be a pivotal masterpiece for this band as they extend their collective wares to provide music that is dazzling, pleasantly hypnotic, non-derivative and flawlessly executed.

The brief opener is a traditional Burmese song which translates to “Will You Accept My Love Or Not?” as the band performs incredible unison runs with all the intensity of a turbo-charged Indian raga or John McLaughlin’s amazing Jazz-East Indian band “Shakti”. Douglas’ “Joe’s Auto Glass” is filled with complex charts which touch upon Ornette Coleman’s renowned harmolodic development while Douglas’ “Tzotzil Maya” exemplifies the trumpeter’s sweet, crystalline tone and brilliant lyricism. Despite flawless technique, Douglas is a team player and skilled bandleader, as his compositions increasingly become more identifiable as time passes by reflecting his glaring personalized vision.

“Meeting at Infinity” borders classical, blues and hefty doses of hard-edged swing as the thematic approach is multi-colored and at times linear. “Meeting at Infinity” is a prime example of Douglas’ collage approach to compositional development. On Kurt Weill’s “Bilbao Song”, the band performs a playful tribute to Weill as Mark Feldman’s sonorous and lush violin passages prod the band into an about face as they deconstruct the familiar melody line. Michael Sarin’s polyrhythmical drumming is a thing of beauty as he lays the foundation for an all hands blowout of sparkling improvisation and winding thematic development. Douglas takes the lead, as wit and humor intentionally and momentarily bastardize the melody while the movements seamlessly transform into lush romanticism.

Douglas’ tribute to the late great “poet of jazz” drummer Tony Williams is portrayed via his composition “Goodbye Tony”. Here, Mark Feldman opens with a monstrous violin solo as Michael Sarin’s intense drumming paves the way for the forthcoming intensity along with Drew Gress’ pulsating bass lines. Douglas solos with passion and fire as this tribute to Tony Williams turns into a ferocious swing romp while Friedlander and Feldman change gears and handle the bottom end with Gress and Sarin. The proceedings heat up as the band engage in impossibly fast yet fluctuating tempos. Douglas and co. trace the evolution of William’s jazz career from Miles Davis, to his 1980’s Quartet with Wallace Roney. Erik Friedlander gradually balances the torrid pace with a pensive, warm cello solo, followed by light choruses that suggest heartfelt or sad emotions in accordance with the untimely passing of this great and important jazz giant. “Goodbye Tony” appropriately ends on a somber note.

“Convergence” is a milestone recording for this band as Dave Douglas continues his masterful assault on modern jazz. Enough said. ***** Out of 5 stars. Hopefully USA jazz radio will not ignore this gem and give “Convergence” some much deserved airplay; hence the pathetic state of affairs for jazz radio in general, that notion may be wishful thinking". Glenn Astarita

1. Chit Kyoo Thwe Tog Nyin Lar (Will You Accept My Love or Not)

2. Joe's Auto Glass
3. Tzotzil Maya
4. Meeting at Infinity
5. Desseins Eternels
6. Bilbao Song
7. Border Stories - The Story
8. Border Stories - The Elaboration
9. Border Stories - The Exaggeration
10. Border Stories - Apocrypha
11. Collateral Damages
12. Goodbye Tony
13. Nothing Like You

Dave Douglas - Trumpet
Mark Feldman - Violin
Erik Friedlander - Cello
Drew Gress - Bass
Michael Sarin - Drums

All by Douglas except #1 (traditional Burmese), #5 (Messaien), #6 (Weill), and #13 (Dorough/Landesman)
Recorded Jan 22-23 1998
Released in 1998 by Soul Note

link@320

John Zorn's Cobra - Tokyo Operations '94

COBRA was completed in 1984 and has become one of my most oft-performed pieces.
In a world of Cobras, this one stands apart. There has never been a Cobra like this one. Zorn

Isso Yukihiro: nokan, dengakubue
Uemura Masahiro: percussion
Uchihashi Kazuhisa: guitar
Kinoshita Shinichi: shamisen
Senba Kiyohiko: percussion
Takei Makoto: shakuhachi
Tanaka Yumiko: gidayu
Nakamura Hitomi: hichiriki
Maruta Miki: koto
Mekken: bass
Yamamoto Kyoko: vocal
Ito Taeko: ortin doo
Makigami Koichi: prompter

1. Sensyo
2. Tomobiki
3. Senbu
4. Butssumetsu
5. Taian
6 Shakko

Recorded at Shibuya La Mama, Tokyo, 25.11.1994
Released by Avant in 1995
Cobra composed by John Zorn
Produced by Makigami Koichi

link@320

Taco Kooistra - Ladder of Escape Vol. 6 : Cello (1993)

"I do not believe that there is an essential difference between the shape of Lachenmann's piece and that of a Beethoven sonata. The means composers use have changed, but the material they work with and the musical expression they try to create have remained the same. Beethoven shaped his story into a sonata and Lachenmann tells a story about colour that ends in one note. In both cases, the result is music; it still concerns emotion and the building or lessening of tension. That is a classical theme and although you can vary its development endlessly, there is no essential change.

Of course, a new dimension is added in contemporary music through the extension of the technical possibilities and the increased importance of colouristic effects. But colour is also important in the music of Bach or Beethoven; they only use it on a different scale. If in just one note in a suite by Bach I deviate a little from the way it is usually played, everybody in the audience notices. This is far less the case in a contemporary piece, simply because the audience has never heard the piece. But when I create a sort of white noise in Pression (Lachenmann's piece on this CD), or if I put an extreme pressure on the bridge of my instrument, this results in a range of colour differences that is just as wide as in Bach's or Beethoven's music; only the resulting colours are different from theirs.

For some time after the Second World War, composers and musicians have denied the relationship between classical and contemporary music. But at present that bond is definitely being affirmed again. That is appealing to me. Therefore, all the works on this CD have something to do with the classical tradition of playing the cello".Taco Kooistra, CD liner notes

1. Capriccio per Siegfried Palm - Krzysztof Penderecki, 1968
2. Just for One - Joep Straesser, 1981
3. Sacher Variation - Witold Lutoslawsky, 1975
4. Hapsis - Herni Kergomard, 1986
5. Pression - Helmut Lachenmann, 1968
6. Spektra für 3 Celli - Unsuk Chin, 1985
7. Solipse - Rolf Gehlhaar, 1973

Taco Kooistra - Cello


#6 with Viola de Hoog & E. van Regteren Altena.
#4 & #7 with tape.

Recorded & Edited in Veenendaal, 1992
Released by Attacca in 1993

link@320

Acousmatrix VII - Berio/Maderna (2004)

In 1955 Luciano Berio and Bruno Maderna founded the Studio di Fonologia at a Milan radio station; it was the first electronic music studio in Italy. Berio became very active there, organizing concerts and also publishing a new music journal, both under the name Incontri Musicali. Berio explored the frontiers of sound, particularly vocal sound.

Among Berio's three contributions here, his Thema (Omaggio a Joyce) is the most memorable. Words come up from the ether in English, Italian, and French, merging and causing one another to erupt with new meaning and sonic resonance as they collude, combine, and resist their electronic counterparts. Maderna's two works, La Rire and Invenzione su una Voce, are both extreme exercises in splicing techniques. The voice and the taped sounds are so distorted, removed from their centre of gravity and context, that they become mere sonic elements in a collage of rhythm, sound, and dynamic. Indeed, the scratching techniques used by DJs today were taken to extreme territories in 1960.

Luciano Berio - Momenti, for tape - 7:15
Luciano Berio - Thema (Homage to Joyce), for tape - 6:20
Luciano Berio - Visage, for tape - 21:07
Bruno Maderna - Le Rire, for tape - 16:02
Bruno Maderna -Dimensioni II-Invenzione su una Voce - 16:02


booklet here!

link @320

Bravo Clippings #36

>> a painting in a butcher's van (Australia).

Perez Prado - Pops and Prado (1959)

Soon the world of popular music cocked an ear. Perez Prado started climbing like the ripping trumpets in his orchestra, and he's been soaring eve since.

And there's another added attraction - the electric organ. For this album, both the Conn and Hammond organs were used. Conn can be heard on Ida, Sweet As Apple Cider; Hammond on Heigh-Ho, Yes Sir, That's My Baby and Taking a Chance on Love; and both are heard on Carolina in the Morning, You're Driving Me Crazy!, Paper Doll and If You Knew Susie.

In addition to the organ, the instrumentation also includes Prado's piano, bass, percussion, two drummers, one trombonist, four reeds and five superb trumpets. The master's hand has not lost its touch. The stunning brass cascades that make the hackles rise are here, along with that concise, but pulsing, Latin beat that throbs with almost hypnotic intensity.

1. You're Driving Me Crazy! (What Did I Do?)
2. Manhattan
3. Isle of Capri
4. Three Little Words
5. Carolina in the Morning
6. Yes Sir, That's My Baby
7. Ciribiribin
8. Ida, Sweet As Apple Cider
9. If You Knew Susie (Like I Know Susie)
10. Paper Doll
11. Taking a Chance on Love
12. Heigh-Ho (The Dwarfs' Marching Song)

>> additional bonus tracks (mono):
13. The Millionaire
14. Catalania
15. Ola Conga
16. Clap Hands
17. Tic Toc Polly Woc

link@320

Evan Parker Electro-Acoustic Ensemble - Toward the Margins (1996)

British saxophonist Evan Parker was one of the first musicians to record for ECM, appearing on the label's fifth album in 1970 as a member of the Music Improvisation Company; his partners in that collective included Stockhausen associate and electronic composer Hugh Davies.

Over the past three decades, electronics have been one of Parker's abiding interests and his collaborations both with improvisers using electronics and with composers of electronic music have been many. In 1992 he formed the Electro-Acoustic Ensemble to explore more fully the potential of live electronics in improvisation, a potential that has grown as the technology has become more sophisticated.
The Ensemble pools musicians from the worlds of free improvisation, jazz, contemporary composition and computer music research, with most of its members straddling more than one idiom or area of activity. The Evan Parker Electro-Acoustic Ensemble has toured widely, and its North American debut at the Victoriaville Festival was widely hailed as the event's highlight: "An orchestral music of panoramic scope, full of spatial detail...cascading layers of morphing transmutations ... the electronic manipulations charged the music with a sense of spontaneous discovery" - Cadence, "Ardent ... grandly ambitious ... broadly sweeping schemes, mating improvised activity with MIDI-fied crosstalk" - Jazz Times.
There is a great deal of slowly-evolving tone colour and space, with the opening track almost entirely textural and hung around Guy's sonorous bass. Sepulchral gong-sounds echo behind Parker's whirling soprano sax, there are spooky percussion solos of slithery whispers and sounds like buckets of broken glass being emptied onto concrete, and the leader's remarkable capacity for contrapuntal solo playing acquires even more voices as the electronics echo it. Serious play, in every respect. John Fordham, The Guardian (Jazz CD of the Week)

Evan Parker - soprano sax, gong
Barry Guy - double-bass
Paul Lytton - percussion, live electronics
Philipp Wachsmann - violin, viola, live electronics, sound processing
Walter Prati - live electronics, sound processing
Marco Vecchi - live electronics, sound processing

1. Toward the Margins
2. Turbulent Mirror
3. Field and Figure
4. The Regenerative Landscape (for AMM)
5. Chain of Chance
6. Trahutten
7. Shadow Without an Object
8. Epanados
9. Born Cross-Eyed (Remembering Fuller)
10. Philipp's Pavilion
11. The Hundred Books (for Idries Shah)
12. Contra-Dance

Recorded in May 1996 at Gateway Studios
Released in 1997 by ECM

link@320

Bill Doggett - Wow! (1964)

As Bob Porter says in his notes for this reissue, Bill Doggett was "a pianist, an organist, a composer, an arranger, a conductor, a sideman, a bandleader, a studio musician, an international touring attraction, a recording artist, and a music publisher." The areas of music on which Doggett had an impact were equally diverse: jazz, bug-band swing, blues, vocal groups, even jazz and popular vocals (through his relationship with Ella Fitzgerald) and gospel (through Sister Rosetta Tharpe). Along the way he became one of the founding fathers of the rhythm & blues movement, although his own music was too diverse to be pigeonholed into any one category.
Like his 1956 blockbuster hit, "Honky Tonk", this classic 1964 album showcases the three thing that made Doggett famous: his keyboard playing (he helped put jazz organ on the map), his bluesy compositions, and his tight and funky bands. "Wow!" indeed.

1. Wow
2. Oo Da
3. Ol' Mose Blues
4. Happy Soul Time
5. Kicker
6. Mudcat
7. Ram Bunk Shush
8. Slow Walk
9. Fatso

Bill Doggett - organ
Elvin Shepard - alto & tenor saxophones
Andrew Ennis - tenor & baritone saxophones
Billy Butler, Lamar McDaniels - guitar
Al Lucas - bass
Emmett J. Spencer - drums
Charles E. Hatcher - percussion


link@320

V/A - She's Your Cook But She Burns My Bread Sometimes

PART I
LEMON SQUEEZERS
1. Bo Carter - Banana in Your Fruit Basket
2. Bo Carter - She's Your Cook But She Burns My Bread Sometimes
3. Memphis Minnie & Kansas Joe - What Fault You Find in Me?
4. Son House - My Black Mamma I & II
5. Big Bill Broonzy (w/ Black Bob) - Milk Cow Blues
6. Maggie Jones (w/ Satchmo & Fletch Anderson) - Anybody Here Want to Try My Cabbage
7. Lil Johnson (w/ Charles Avery) - You'll Never Miss Your Jelly Till Your Jelly Roller's Gone
8. St. Louis Bessie (Bessie Mae Smith w/ Peetie Wheatstraw & Charlie Jordan - Sugar Man Blues
9. Sara Martin ( w/ the Clarence Williams Orchestra) - Kitchen Man Blues
10. Lucille Bogan (w/ T.A. Dorsey & Tampa Red) - Coffee Grindin' Blues
11. Robert Johnson - Milkcow's Calf Blues

Part II
GRINDERS & OTHER SEX METAPHORS
12. Washboard Sam & His Washboard Band (w/ Black Bob & Big Bill Broonzy) - Barbecue
13. Bessie Jackson (w/ Lucile Bogan, W. Roland, Josh White) - Barbecue Bess
14. Jimmie Gordon (w/ H. Malcolm, Charlie McCoy, Harrison) - She Sells Good Meat
15. Lil Johnson (w/ Myrtle Jenkins, Big Bill Broonzy) - My Stove's in Good Condition
16. Lil Johnson & Her Chicago Swingers - Hottest Gal in Town
17. Bessie Smith (w/ Charlie Green, Porter Grainger) - Empty Bed Blues
18. Lonnie Johnson (w/ Blind John Davis, Andrew Harris) - He's a Jelly-Roll Baker
19. Lil Johnson (w/Black Bob, Bill Settles) - Get'em from the Peanuts Man
20 Lil Johnson (w/ Black Bob, Bill Settles) - Sam the Hot Dog Man



Recorded 1924-1942
Selection by Jean-Paul Levet
Cover Photo: Stove in John Fredrick Kitchen, Maryland 1941.
Illustration: Robert Crumb

If you don't like my sweet potato
What made you dig so deep,
Dig my potato field
Three or four times a week?
Lil' Johnson, "You'll never miss your Jelly".

Part 1 : Lemon Squeezers @320
Part 2 : Grinders & Other Sex Metaphors @320

Suicide - American Supreme (2002)

"Pop, of course, is built on daydreams conjured up in suburbia. Pop comes from the outside looking in, from howling at the moon, from wanting a way out. Pop is a dream mass-produced, packaged and repackaged, replicated, copied and sold back to us. It is the sound os creativity spawned from boredom; a souce of ideas raised only to be pillaged. Pop is the last gasp before the day job grabs you, a scream in the face of the nine to five, a futile alternative to washing the car. Pop is an inevitable failure, a second and a lifetime of grey. Pop is disappointment in multiple". CRASH, 2002
>>Download

Courtesy of Double Avenue Tentacles

Bravo Clippings #35

Walt Disney's Uncle Scrooge Adventures #39 (Series II, July 1996)