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Recorda-Me: CECIL TAYLOR Indent
Since words (or even audio) alone cannot convey the intensity of a Cecil Taylor performance, below is a clip of Taylor performing before the cameras of Ron Mann for his documentary Imagine the Sound in 1980. It’s irrefuteable evidence that, love it or hate it, there is nothing quite like the music of Cecil Taylor.
Via be.jazz.
I heard QMR Plus tonight at The Green Room in Covington. They were slammin’. It was free improv/groove stuff and they had the pretty ladies dancing to squealing saxophone over grooves in 7 and 11. It was something to hear…and see.
Indieish : Your Free Music Daily » CC Licensing For Documentary Source Footage?
Another interesting use for Creative Commons.
I had the pleasure of hearing a wonderful performance by Kidd Jordan, William Parker, and Alvin Fielder last night in New Orleans at a club called King Bolden’s. The club is pretty small. It was fairly crowded and the acoustics were good. I could really hear what each musician was playing. I heard things in their music last night, that I had not heard before. I think that is due mainly to my growth as a listener.
In most contexts, I tend to listen in broad terms, hearing shapes and motion and ideas, more than specific notes or harmonies.While listening to free improvisations, my broad listening style does a good job of capturing the vibe and energy of a performance, but it can also let a perception of chaos take over. Last night I heard the interactions within the broader perceived chaos. I could hear melodic lines being passed back and forth between Kidd’s tenor and William’s bass. These lines were not the only notes Kidd or William were playing, but they were contained within all of the other notes that were happening. I could hear some part of Alvin’s set having a rhythmic conversation with some range of Kidd’s tenor. Again, each musiccian was also playing other material, but these parts were closely tied musically.
I equated it to seeing a large crowd, like at an outdoor concert or sporting event. When you look at the broad overview of the people, it could seem like chaos. Then imagine that someone starts a beachball bouncing through the crowd. You can follow the beachball as it passes around the people, eventhough there are many other things happening as well. Then, if you look closely at any given spot in the crowd, you realize that it is not chaos at all, but a seemingly endless number of small spontaneous personal interactions happening simultaneously. Now you can perceive the crowd in whatever fashion you’d like: as chaos, as single individual interactions, or as a collection of those interactions. It all depends of how you focus your sight.
Likewise with the performance last night, it all depened on how I focused my listening. I could hear chaos, singular specific musical interactions, and the collection of those interactions. Plus you can hear all of that at once if you let yourself.
This AAJ review of Curtis Fuller and Louis Hayes at Jazz Standard made me think about one of the ways we often discuss and write about jazz artists.
We often define players in terms of who they have played with, instead of what they have played. Curtis Fuller is more noted in the article for having played with Coltrane, than for being one of the greatest jazz trombonists of all time. Louis hayes is also described by his companions more than his music.
I don’t mean this as a knock on the writer of this particular article, because it is common practice. But I still wonder, Why do we do this? Are we so obsessed with personality or celebrity that we can only take an artist’s music seriously if he has received the endorsement of being allowed to perform with someone more famous than himself?
This Slate article looks at New Orleans universities post-K.
An economist visits New Orleans. By Tyler Cowen
You would never guess that Xavier University in New Orleans sat under 8 feet of water. Sure, the student center is being gutted, and some of the grand Gothic Revival doors have searchers’ spray paint still visible. But for the most part it looks like any other midsize Southern American university. The students, back from their semesters away, are gathered on the quads. The faculty members are back in the classroom and the laboratory. Energy is in the air. Yet the neighborhood across the street still lies in ruins.
I teach at Xavier, and it is a surreal feeling to look out of a fourth floor window and not see any occupied homes in what used to be lively urban neighborhoods.
It has been almost 8 months.
Due to a variety of circumstances my turntable had been unused for a year or more, and due to a different variety of circustances I decided to set it back up in my office and get all of my vinyl out in plain view.
This has caused me to listen to things that I haven’t heard in quite some time. Stuff that I never bought on CD because I had the vinyl, but never listened to because the vinyl was hidden away.
A couple of gems that I’ve rediscovered in the process:
This album proves the theory that good musicians will make good music in pretty much whatever situation they end up in.
Miles , still in bebop mode, with Sonny Rollins and Jackie McLean. This reminds me why I like primary source material.
Shacks and shanty-towns as the economic saviors of New Orleans…he might be half-joking, or he might be right. I have always maintained that access to affordable housing should be the primary concern in rebuilding New Orleans.
An economist visits New Orleans. By Tyler Cowen
Instead, the city should help create cheap housing by reducing legal restrictions on building quality, building safety, and required insurance. This means the Ninth Ward need not remain empty. Once the current ruined structures are razed, governmental authorities should make it possible for entrepreneurs to put up less expensive buildings. Many of these will be serviceable but not all will be pretty. We could call them structures with expected lives of less than 50 years. Or we could call them shacks.
I’ve always liked this recording. It is great to see them sing it.
Via Rifftides.
A very cool project fron UC-Santa Barbara, documenting and modernizing the early history of recorded sound.
Cylinder Preservation and Digitization Project
Cylinder recordings, the first commercially produced sound recordings, are a snapshot of musical and popular culture in the decades around the turn of the 20th century. They have long held the fascination of collectors and have presented challenges for playback and preservation by archives and collectors alike.
With funding from the Institute of Museum and Library Services, the UCSB Libraries have created a digital collection of over 6,000 cylinder recordings held by the Department of Special Collections. In an effort to bring these recordings to a wider audience, they can be freely downloaded or streamed online.