I continue to be amazed at how Jazz musical artists seem to regularly find inspiration in the rock band Nirvana. I just have to post this excellent and delightful cover of Nirvana's COME AS YOU ARE from their breakthrough album Nevermind.
Charlie Hunter has become a staple on the jazz scene not only fronting his own ensembles but guesting with numerous others on the jazz vanguard. COME AS YOU ARE is the initial offering under the name Charlie Hunter Trio from their album bing, bing, bing!
Nirvana were from Seattle and were intricately interwoven with the grunge rock scene and their success helped make the descriptive "alternative rock" label a household phrase. Initially the alternative rock label was really just to say the grunge rock was an alternative to the heavy metal "hair" band that preceded them.
I'm always "game" for the unexpected when it comes to music. And today is a perfect example of that. Bang On A Can is a contemporary classical collective based in New York City that have pushed boundaries of classical performance. The Asphalt Orchestra is the name of Bang On A Can's marching band. Yep you heard right. And talk about pushing boundaries - Asphalt Orchestra have recorded an entire album of Pixies songs. The Pixies' the popular 4AD label band that was edgy in it's own right.
Here is Asphalt Orchestra's live performance of the Pixies classic WHERE IS MY MIND (incidentally that could be the name of my biography LOL). In this video the string quartet with the Asphalt Orchestra is none other than Kronos Quartet (classical boundary pushers in their own right).
Enjoy this live video along with the Pixies version below.
Kronos Quartet are a popular contemporary string quartet. They had many works composed specifically for them by some of the top contemporary composers around the world. They also have adventurously taken on string quartet version of jazz, rock and pop music.
An ongoing crowd favorite in live performance is their cover of Icelandic "post rock" wunderkind, Sigur Rós' Flugufrelsarinn. Like all the best covers they have re-imagined this work dragging it into the realm of classical performance.
The song first appeared on Sigur Rós' 1999 breakthrough album Ágætis byrjun. It's hard to believe more than 25 years have passed since then. The groups name, Sigur Rós came about because one of the band members had a sister named Rose. "Flugufrelsarinn" translated is Savior of the Fly and the album title ætis byrjun is translated as A Good Beginning.
Enjoy both the Kronos and Sigur Rós versions below.
We are into week 2 of Under The Covers and today I have a funky Monday treat. Marcus Miller with his take on the Hendrix classic PURPLE HAZE. And I have to say it's great to hear David Sanborn play something other than the "smooth jazz" he's usually associated with.
And now the Hendrix version. Go ahead “kiss the sky”.
Happy Sunday. Todays video by 2 Cellos is a cover AC DCs hard rock classic THUNDERSTRUCK. The group has made a name for itself doing cover versions of much of popular music. In fact it's sort of been their kitschy calling card which does not impress me. Live concert performances by this group leave me feeling flat and disappointed. But this video is not a contemporary concert performance.
While I find the original version completely unlistenable I do like this "cover" version for several reasons. First but not least is that it can show that cello's can rock! But the video itself is what keeps my attention. Like a short form film this places the music back in the 18th century and I love the energy these guys bring to what is usually thought of as a quiet civilized musical setting. It's fun to watch them literally shred their bows as they play. I also really enjoy watching the audience as everything starts out "normal" meeting audience expectations and approval but when the percussive nature of the piece kicks in the adults are all up in alarm and you can spot some young kids totally diggin' it. And of course that the end the audience is left in shocked disbelief i.e. thunderstruck.
March, here in Ohio (USA) is still quite cold, wet and snowy. It is a good time to stay indoors and under the covers. That said, I thought it might be a good time to resurrect and series I had on my old blog (long since deleted) that was titled Under The Covers.
The series features reinterpretations of classic rock songs to the extent that they’ve been completely re-imagined as a new work. I’ve never been a fan of just “straight” or faithful covers. If I want to hear a faithful version of the song I’ll listen to the original. I want to see imagination and a flicker of inspiration in the how the music is re-interpreted.
Todays installment is a wonderful interpretation of Nirvana’s HEART SHAPED BOX, written by Kurt Cobain from their album IN UTERO. It was performed and recorded by the Wojtek Mazolewski Quintet; a jazz outfit from Poland that has some incredible original music. This recording was on their European release of the album oddly titled POLKA. I say “oddly” because my only reference to polka was the popular music/dance style. In the region where I grew up there was even a popular sunday television broadcast called “Polka Varieties”. But turns out the word “polka” is actually a Czech word simply meaning polish girl. Which is more in line with this recording. So imagine this album was titled “Polish Girl”. In fact I humorously imagine the young woman on the cover of the album may be grimacing at the use of polka as an outdated musical style. The original US release of the Polka album did not include this cover (presumably for copyright reasons)
I hope you enjoy this version. For those, like myself that like to compare I have included the Nirvana version below as well.
Once in a very rare occasion you can find a song that is truly great that transcends itself and is happy in just about every setting.
Before I go further, I'd like to lament that people in the United States don't pay more attention to things outside of the US. The Eurovision contest is an example. I'm convinced that most talent shows in the US are profit driven more than they are talent drive and Eurovision is an example of how talent wins. I've followed this contest for a couple of years checking in periodically on the talent presented.
2024 Eurovision was plagued by politics - and politics can destroy ANYTHING!
But I'm convinced after hearing all the entries that the winner of Eurovision 2024 would have won even if there wasn't all the drama that surrounded it.
The artist is Nemo, they are from Switzerland and their winning song was called THE CODE. A song that is a mashup of opera, rap, pop - which sounds like it might be pure garbage. But Nemo seamlessly weaves the genres together making them complimentary and adding to the dynamic and emotional content of the lyrics. Nemo's vocal diversity, range and power are present throughout the song whether it's breathy, sung or rapped and in the live version below which is my personal favorite it it amazing how he carries off the vocal delivery with a consistent energy that is rarely seen. The acoustic version really showcases the actual voice. This is pure talent!
Another thing about this song. I have heard 4 different versions. And I can tell you that while the mood changes in different settings it does not diminish the songs power. There is a certain level of dynamism and even some bombast like one hears in music used in the opening credits of a contemporary James Bond film. It just has that kind of kick. I'm really looking forward to how this talent develops going forward. We'll see if this was a one-off or if it's a directional indicator.
I'm going to present these 4 versions here and let you decide which you like best. But all 4 are winners in my mind.
Enjoy and let me know what you think in the comments.
Welcome to the show Let everybody know I’m done playing the game I’ll break out of the chains
You better buckle up I’ll pour another cup This is my boheme So drink it up my friend
Uhhh Uhhh This story is my truth
I, I went to hell and back To find myself on track I broke the code Oh, Oh, Oh Like ammonites I just gave it some time Now I found paradise I broke the code Oh, Oh, Oh
Let me tell you a tale about life ‘Bout the good and the bad, better hold on tight Who decides what’s wrong, what’s right Everything is balance, everything’s light I got so much on my mind And I been awake all night I’m so pumped, I’m so psyched It’s bigger than me, I’m getting so hyped
Uhhhh Let me taste the lows and highs Uhhhh Let me feel that burning fright Uhhhh This story is my truth
I, I went to hell and back To find myself on track I broke the code Oh, Oh, Oh Like ammonites I just gave it some time Now I found paradise I broke the code Oh, Oh, Oh
Somewhere between the 0s and 1s That’s where I found my kingdom come My heart beats like a… Somewhere between the 0s and 1s That’s where I found my kingdom come My heart beats like a drum
Uhhhh…
I, I went to hell and back To find myself on track I broke the code Oh, Oh, Oh Like ammonites I just gave it some time Now I found paradise I broke the code Oh, Oh, Oh
I've always loved tango music and dance since I first was made aware of this age old tradition in the 1980's.
I was studying theater and dance at the time. I fell in love with the music of Astor Piazzolla and other Tango masters. Later I found the film by Carlos Saura simply titled TANGO. One might say that Saura is to Latin Dance on film as Baz Luhrman is to the contemporary movie musical.
My favorites of Saura's great films include Blood Wedding, Carmen and El Amor Brujo of the "Flamenco Trilogy", made when he was in his 50's and of course Tango. Below is a scene from Tango. Saura died Feb 2023 at the age of 91. Enjoy.
Bruce Cockburn is not the retiring type. At the age of 78 he just released a most remarkable album. O SUN O MOON - 12 songs of reverie, meditation, introspection and revelation. An epiphany of a release that so much reminds me of his 1978 album WONDERING WHERE THE LIONS ARE. Bruce is often referred to as a singer/songwriter and his music encompasses rock, folk and blues. I've only had the pleasure to see him live once. It was a memorable experience.
There are several standout tracks (so far - after only one listen) on this new recording. The first one I include here is "Orders" a listing of all types of people, the loved and the unloveable, with the regular refrain "... our orders said to love them all." When one thinks of what seems to be increasing social, political, judicial and cultural polarity that seems to be growing like a cancer around the world this song has the ability to say wait-a-minute there's more.... Here in the early 21st century when everyone thinks there way is more right than the other person - even in the name of religion (jihadists, evangelicals, catholics etc) one thing remains for a person of faith; our orders from so many religious texts is to love them all. And though we live in a time where that seems increasingly difficult to do we must (I MUST) make the effort to love not only the lovable but also those I would curse.
An exercise: make a list of all the things/people that irritate, annoy, anger you. Then think about it - these are what you must love.
The 3rd track on the album is also a standout. "Push Comes To Shove" is a meditation on what may be, what is and what will be. A lilting melody with the refrain, "...when push comes to shove it's all about love..." It invites us to consider that when push comes to shove we need to stop and take a minute to consider our options. Don't just react impulsively. Coming from a 78 year old person who has lived a long life - this song (and in fact the entire album) is a musing on all the choices we must make and offers advice to the young who are often caught up in the moment. About half way through the song, the bluesy violin of Jenny Sheinman offers a wonderful bittersweet break allowing the lyrical ideas to sink in.
The next song I want to feature here is a wonderful character study. "King Of The Bolero" is a beautiful song description of a musician in a lilting bolero style enhanced. In addition to Cockburn's signature guitar style there is also a wonderful accordion which creates a very strong atmosphere of an Argentinian smoke-filled tango bar. The songwriter takes the role of the listener and viewer here and describes what he hears and then sees. One has the sense that the songwriter is amazed at this magical moment/experience he is witnessing. A delightful empathetic, picturesque musical pastiche. Enjoy.
The last song I want to feature is actually track #11 and the title track of the album. At the age of 78, and possibly feeling closer to heaven than ever before, Bruce writes this prayer. The chorus is a child-like refrain "O sun by day o moon by night, light my way so I get this right, and if that sun and moon don't shine, heaven guide these feet of mine to glory."
This album is a journey starting with a song called "On A Roll", much like life's roller coaster, and ending with track #12 titled "When You Arrive" and the "...dead shall sing and bells will ring when you arrive" at your ultimate destination.
I strongly encourage you to check out the entire album. These 4 tracks that I've featured here are just the four that really stood out for me - on first listen. Based on your life experience you may find different tracks that stand out for you. In fact when it comes to the music of Bruce Cockburn I have often found that songs that may not "stand out" on first listen or first discovery will reveal them later as my life experience changes.
At any rate, I hope you found this post interesting and enjoyable.
Today I want to share a video that is, arguably, the absolutely best live cover of a Nirvana song ever! Smells LIke Teen Spirit is anthem that taps into the cultural mainline that has addicted our world with it's refrain of "Here we are now, entertain us!".
Shaka Ponk are a french band that has been around for years that I only recently discovered. Maybe some of my European followers are more familiar with them. Shaka Ponk have dabbled in a wide range of styles from hip-hop, pop, hard rock, rap, synth pop, etc.
But in this live performance they really shine and I'm convinced they're better live than in the studio. Recorded at the Alcaline in France complete with full band and gospel choir. I dare you not to get swept away in this performance. It starts at a demure level 4 (quiet and enchanting) then just before the 3 minute mark they turn the performance dial up to a shattering 10. And it hums along until around the 4 minute mark where they nudge the dial up to 11 or maybe even 12. And they just keep it going from there. The performance drives, perhaps possessed by the ghost Kurt Cobain. By the 5 minute mark I have goose bumps until the end. It is just an amazing performance. They know how to put on a show and the audience is with them the whole time.
Even if this is not your taste in music. I hope you give it a chance and enjoy it. Unfortunately I think Shaka Ponk may be calling it quits as they are now promoting their self described "Final F*cked Up Tour".
So enjoy this performance.
Today, April 30 is officially International Jazz Day. O happy day!!!!
to celebrate this magnificent artform I want to share several videos that enjoy listening to /watching.
I want to start of the proceedings with a wonderful song featuring Italian guitarist Pasquale Grasso and American singer Samara Joy (age 23). This song today "Solitude" is from Pasquale Grasso's album, PASQUALE PLAYS DUKE. He has also played on both of Samara Joy's albums the second one titled LINGER AWHILE won her the 2023 Grammy Awards for Best Jazz Vocalist and also Best New Artist - only the second time a Jazz person has won the Best New Artist category.
This next video is by American composer and saxophonist Kamasi Washington. "Street Fighter Mas" is from his second album HEAVEN AND EARTH and has a really cool funky retro urban vibe. Enjoy.
I've been a fan of this next group for years. Snarky Puppy is a collective that really could be described as a jazz orchestra due to the number of personnel in the band. There are percussion, woodwinds, brass and strings (guitar) sections. This track "Trinity" is from their latest recording EMPIRE CENTRAL which also won a Grammy for Best Contemporary Instrumental Recording. The talent in this band is through-the-roof excellent with many members having their own successful solo careers including the composer of "Trinity" guitarist Mark Lettieri (in the video he's the one playing the blue guitar).
Next stop is Italy, Jazz and Classical composer Paolo Fresu is such an interesting phenomena. He plays trumpet and flugelhorn. The diversity of his compositional catalogue is staggering. If you get a chance check out some of his classical works also. Today's selection is simply titled "Mare Nostrum" and features, in addition to Fresu, accordionist Richard Galliano and pianist Jan Lundgren. This trio recently released Mare Nostrum III and is a wonderful addition to the series.
And now Jazz from somewhere you may not have expected - Pakistan. Yes you read right. This amazing interpretation of Paul Desmonds composition, "Take Five" made famous by Dave Brubeck. Features Tabla, sitar and orchestra. This performance by the Sachal Jazz Ensemble is simply refreshing and a delight. Enjoy.
While jazz may have started in American it has gone global over the last several decades in a big way. And there is simply no way, in one post to include jazz from every single country on earth. Arguably one of the greatest hotbeds of new jazz are the Nordic countries and is well documented with thousands of recordings.
One doesn't typically expect to hear tuba as a jazz instrument. But jazz tubist Daniel Herkesdal has changed all that. You won't find the pompous brassy "oom-pa-pa" typically associated with the tuba. Enjoy this quiet little number, "The Mistral Noir" from his album SLOW EASTBOUND TRAIN.
Too wrap up proceedings I want to pick up the tempo and bring it back home (so to speak).
This last video is by probably one of my all-time favorite male vocalists, Kurt Elling. I've always wanted to see him live because he has such a dynamic performance style. Enjoy "Manic Panic Ephiphanic" from his most recent studio album SUPERBLUE.
And to my readers over seas - if you have a favorite jazz video from your country then please feel free to post in comments. I always welcome input from you my friends.
Well here we are. It officially that last day of 2022. So glad to see the year gone and ready for the new year. New Years is always about celebration. So what better way to celebrate than to funk it up.
I decided to post 7 videos. Why seven? Well it's always been one of my favorite numbers aaaaannnnndddd 2+0+2+3=7. LOL
Come with me to Earth Wind & Fire's BOOGIE WONDERLAND.
The funk master himself, Bootsy Collins had hit after hit. Here he is joined by the Cleveland Youth Orchestra to a surprizing wound up version of WIND ME UP. Wish I'd seen this show. 🙂
Known more as a disco band Chic could also get downright funky. New Years Eve is about celebrating GOOD TIMES and Chic are here to make it happen. Enjoy.
George Clinton's Parliament Funkadelic had so many great hits. There here on New Years Eve to BRING THE FUNK. Get ready to shake it loose.
The great Gap Band invites you to climb aboard the PARTY TRAIN.
The unbeatable Rick James. Playing HARD TO GET keeps the party moving.
Finally. I grew up with a TV show called Soul Train - you might say that show taught me how to dance. Enjoy Wild Cherry's PLAY THAT FUNKY MUSIC.
I’ve always loved this song by Greg Lake (of Emerson Lake & Palmer). It’s a really pretty song with a pleasing melody. But the lyrics are a challenge. They are delightfully cynical. He starts of with “I believed….” than switches to “they sold me” where he basically talks about being sold a fantasy (at best) and lies (at worst) which he also believed in… and it carries on from there with “the Christmas we get, we deserve.” It doesn’t get much darker than that. So listen closely and enjoy.
Feel free to add your thoughts in the comments section.
The Year: 1958
The Place: Paris, France
The artist: Miles Davis.
The Film: Ascenseur pour l'échafaud, (English: Elevator To The Gallows) directed by Louis Malle.
Nineteen fifty-eight was a very special year.
But let's go back. a year earlier. Miles Davis was at a musical crossroads even contemplating retirement. He needed something different, something new. None of the projects his label and management suggested were of interest at the time. He did settle on recordings with Gil Evans which would turn into a 5 album collaboration over the next few years. Albums who's style would also be informed and influenced by the experience Miles would soon gain.
But let's not get ahead of ourselves. We're still stuck in 1957 and miles is still "stuck" in his predicament. In November 1957 He travelled to France at the invitation of film director, Louis Malle, and was asked to compose the soundtrack for the director's first feature length film Ascenseur pour l'échafaud. Miles had never recorded a soundtrack before - let alone been asked to compose the score.
Perhaps with nothing to lose or perhaps nothing to be gained, Miles launched himself forward. He had an interest in modal jazz and was at the vanguard of that movement which was just being developed in the mid 1950s. With Miles success, it would be a guaranteed influence on generations to come. Miles was totally free. Free from the expectations that had come to fall on him from the jazz world. Film Director, Louis Malle, has suggested that he and Miles only discussed a few ideas before recording started in December 4, 1957. Miles was joined by French jazz musicians Barney Wilen, Pierre Michelot, and René Urtreger, and American drummer Kenny Clarke. Nothing was written down (composed). Nothing was planned.
The musicians sat in a darkened studio and watched the film unfold. With Miles leadership they completely improvised the score to the film based solely on the mood in the film. A film that would be a star vehicle for the smokey and dreamy Jeanne Moreau. It is a pure delight to listen to the different takes of the various themes as they each reflect the freedom of complete improvisation with nothing tied to paper. With no distractions or expectations Miles created a sound that would lead to some of his greatest work in the years to come. Coloring both his collaborations with Gil Evans but also having a huge influence on his solo recordings starting with MILESTONES (1958) and A KIND OF BLUE (1959) (arguably his greatest solo record). I'd go so far as to say that these albums would not have existed if it hadn't been for his experience in creating the score for this film.
I'd strongly encourage you to purchase a copy of the complete recordings of this amazing soundtrack Ascenseur pour l'échafaud.
Listen to what would be a nursery for the development of a new sound, new approach and new way of thinking about Jazz for generations to come.
If you've followed (or checked in on) this blog for several years then you already know the I've loved the music of Michael Franti & Spearhead.
Today I want to focus in on attitudes. I don't know about the rest of the world but here in "United" States there has been so much negativity and to be honest there have been way too many times I've gotten sucked into that deep dark black hole. Sometimes with reason sometimes for no reason at all except that's the environment I'm in. It's been especially challenging the past 10 years. Well we need to check our attitudes look at the source and either decide to continue the "downward spiral" or change our attitudes. The music of Michael Franti has been that attitude check for me. Here are 3 videos of his music from the past 2-3 years that help. Stay Human. Recognize that people who create headaches and trouble are STILL people. Don't get sucked into typecasting people as villains, enemies, animals, evil etc. When we curse other humans we curse what is human in us. We all have weaknesses, lapses in judgement, we at times can be villains, enemies, animals, evil etc. And the good thing is that we never stay that way. What makes it seem different for some other people - people/celebrities/politicians - is that the media only shows the side of people that are evil, "animals", "enemies" and villains. But enough talk because - I could write a whole lot more - just enjoy the music and videos. So check your attitude and remember with all the bad shit that happens good shit happens also. And work hard and be nice to others even those you don't like or agree with. Remember when you get/got up this morning it was a good day for a good day. If you're unable to view the videos go ahead and lookup the following on YouTube and hopefully you'll be able to find a version that is available in your country:
Michael Franti & Spearhead - Good Shit Happens
Work Hard And Be Nice
Good Day For A Good Day
One of the wonderful things about YouTube is how different fashion houses have embraced the shared video format as an opportunity to create and share some amazing video content. This video I'm posting today in an amazing example.
This film created to celebrate International Dance Day 2022. Dance has always been about the creative tension between control and release and even explores movement through sounds that are created through movement. The setting is the Palazzo Farnese in Rome. Built for the Farnese family and was greatly expanded when Alessandro Farnese became Pope Paul III. Famous for it's sculptures and artwork (most which resides currently Museums in Naples) it is currently the home of the French Embassy in Italy. The dancers represent sculptures come to life as the the dance tells the story of Nox, goddess of night, adding darkness and mystery to this place of power.
The costumes are designed by Maria Grazia Chiuri, designer and creative director for famous fashion house, Christian Dior and highlight the sculptural elements of the dancers bodies. Music is by various composers including (but not limited to) Ligeti, Bach and Vivaldi.
The camerawork and lighting are also quite amazing. seamlessing weaving in and out between real time, slow motion and reverse slow motion.
Enjoy.
Jim White is most frequently considered a storyteller first and a musician second. You might compare him to Laurie Anderson and others of that ilk. His songwriting has also been compared to David Byrne, Jim Croce and Bob Dylan.
I've been a fan of Jim's stories-set-to-music since his first album (and subsequent film) SEARCHING FOR THE WRONG-EYED JESUS. I was thrilled to see he had recently, independently, releases a new recording Titled MISFITS JUBILEE (released in 2020). While I find all his songs/stories interesting I wanted to share three of them.
First up is the last song on the album. The Divided States Of America; a critical view of all things american including politics, social behavioral structures. Jim grew up in Pensacola, Florida which is frequently his muse. Florida is known as a hotbed of weird contradictions which I believe gives him authoritative credence to his criticism. I've also included his brief statement from the YouTube video description. The chorus which goes "no one is at home anymore in America, in America, in the divided states of America" is somewhat ambiguous. I want to suggest that the words "no one is at home..." not to be taken literally, but instead, understood in terms of comfort. No one is comfortable in America anymore. I certainly feel this conflict - I feel out of place and uncomfortable with life as it is. And I love how this track ends quoting George Washington (a founding father), Emma Lazarus and Jesus Christ. Things that used to be cornerstones of American thought and now, like Jim, I wonder "what happened to that America". An open question that I wonder if it has not been swallowed up in commercialism - after all the last lines are "I'd like an order of fries and a Big Mac... uhh no man fries and a Big Mac what's wrong with you man..."
The second song is Smart-Ass Reply (# 5 on the album). This song I can also relate to. Love the punk chorus, "I'd sell my soul for a smart... a smart-ass reply..." While I usually am not in want for smart-ass replies (as my co-workers would tell you - in fact they've given me a nickname because of smart-ass replies - they call me "the comedian" LOL). But blogging doesn't really lend itself to smart-ass replies because they are often instantaneous. And yet there are times I fall short and would definitely sell my soul for a smart-ass reply. So there. Put that in your pipe and smoke it!
Highway Of Lost Hats. This final track is also catchy and looks at a guy who's picked up a girl that is taking him for a ride as he says in the chorus, "Going nowhere fast, speeding down the highway of lost hats." Of course the ride ends tragically as he gets pulled over by the cops which in itself is a critique of policing in America.
Highway of lost hats is a poetic phrase and the song can be a parable of how Americans have been misled/gotten side-tracked and ended up "going nowhere fast, speeding down the highway of lost hats". Hat are of course a protective head covering. What happens when we lose that protection? How many have lost their heads without a protective covering to sane thought and wisdom?
“My sincere prayer is that my fellow Americans will wake up and once more hunger for a kinder, saner compass, one that’ll lead us back to the pursuit of nobler intentions, ideals of freedom and fairness that were once our theoretical guideposts as a people. Such values have been all but abandoned of late. Time will tell if us Americans have the courage, resolve and moral strength to set things straight. There’s much work to be done and such ferocious resistance presently emanating from the darker side of human nature.” – Jim White
If you like Misfits Jubilee be sure to search out the following
SEARCHING FOR THE WRONG-EYED JESUS
NO SUCH PLACE
DRILL A HOLE IN THE SUBSTRATE AND TELL ME WHAT YOU SEE
4 haiku for the end of Autumn.
(12/01/21)
Leaves begin their fall.
Colors changing while you watch
autumn's rich pageant.
(11/27/19)
Cold, dark, windy night;
trees shudder; dead leaves unchained
make fierce their escape
(12/01/21)
Distant in the dark.
Sweet sounds the soft piano.
Music in the night.
(12/01/21)
Chill'd, damp autumn night.
Sleepless bare trees sway slowly.
Unwrapp'd, expos'd heart.
Last year my album for Summer 2020 was Toya Willcox’s COURT OF THE CRIMSON QUEEN.
This year I am unable to limit my selection to one artist. So you get one plus a bonus. Yay! Everyone likes a bonus! LOL .
The first artist has released her first solo album of original material. She is part of the Manchester Soul scene in the UK. Her name is Josephine Oniyama although she shortens it to just Josephine. She was born into a rich broth of Jamaican and Nigerian cultural heritage. Her album PORTRAIT is amazing and beautifully showcases her versatile voice. At times she sounds like Janis Joplin “I Pray That I Move” and Annie Lennox “Original Love” and other shims she has a pop acoustic feel similar to Tracy Chapman. But those are just first impressions. Her music traverses the wonderful and lush soundscapes of country, pop and soul with some jazzy inflections. She has previously released a few singles and was a featured vocalist with UK Jazz trumpeter/composer Matt Hallsal and his Gondwana Orchestra. It will be interesting to watch her career as it moves forward. Enjoy the following three tracks from her debut album PORTRAIT. You may purchase or download via BANDCAMP https://josephineoniyama.bandcamp.com you may also want to check out her website http://josephineoniyama.com
So, let’s get on with the music (some videos may be only viewable on YouTube – but it’s worth it.
The bonus artist for my summer music playlist is Canadian soul and jazz singer Dominique Fils-Aimé. She was born/raised in Montreal, Canada to Haitian immigrant parents. She recently released her third full-length album. This gal is ambitions and I say that because she jumped out of the gate with thematic trilogy with her first album being the first entry in the trilogy with each album exploring a different area of African-American music. The first album NAMELESS focused on Jazz. The new album THREE LITTLE WORDS is the final installment of the trilogy and is very much a Soul album. The title of the album is so named because each song is titled using only three words.
If you’ve never heard of Rodrigo y Gabriela you have been missing out on something quite interesting, inventive and magical. I first heard them while I was working in music retail and their eponymous first album was released. I’ve been following them ever since.
This duo’s background is in heavy metal, which is the music Rodrigo’s band played and Gabriela was more-or-less a “groupie” that followed his band. Then they started dating and playing acoustic guitar. They found they had a real chemistry and explored their cultural roots in flamenco. They stopped dating when they discovered that the relationship was getting in the way of the music they wanted to make. And that’s when their music really started to take off. They began by “busking” around Ireland and Europe which is how they were discovered which would lead to their first recording. Several years and several albums later they released their most recent studio album Metallovution which won the Grammy Award for Best Instrumental Album.
Over the years, in addition to writing their own material, they have covered many rock legends like Led Zeppelin, Slayer, et al, with their acoustic flamenco guitar style. These song selections always allowed them to leave one foot firmly grounded in heavy metal while continuing their acoustic style. They have, in recent years also been delving into jazz. their most recent EP is a 3-song cover of contemporary jazz covers by Snarky Puppy, Kamasai Washington and legendary tango composer Astor Piazzolla.
Todays video is a wonderful live video that was recorded at a 2014 show at the historic Red Rocks Amphitheatre, Colorado, USA where they perform an instrumental Metallica medley. Now aside from Metallica’s “Black Album” I’ve never been a big fan of the group. But this video is wonderful to see and hear the type of energy the music contains without the ear shredding vocals, drums and searing electric guitar. As an added bonus they are joined by one of their idols, Metallica bassist Robert Trujillo. So enjoy this medley of 4 songs by Metallica: “Orion” “For Whom The Bell Tolls” “The Frayed Ends of Sanity” and “Battery”.
In the early 2000’s I was working in music retail and was given a sampler of hot and popular music from Japan.
It featured some amazing artists and styles. A real ear-opener. One of the artists were Pizzicato Five. This group falls under the category of things I miss, and “whatever happened to….?” This is, in many ways pop fusion music with it’s blend of soul, pop, french chanson, Burt Bacharach etc. The music is cheery, upbeat, warm and smooth retro feel which is perfect for summer. I’m not sure what happened to this group. Unfortunately they never really made a hit in the US. And their music is hard to find. But here’s to happy music may it bring a little cheer to your summer.
I found these fun videos and they really do maintain the fun vibe of the music with their own hipster cool.
Today I’m going to focus on a type of music that does not get much press or recognition. It is often thought of as old-fashioned, old-timey, stuff your great grandparents listened to. One reason may be that it does not neatly fit into the established genres of music that have become culturally established.
I was fortunate enough to grow up and be raised in the Mennonite church. A Cappella music was all around. In church everyone sang and everyone sang in four-part harmony (Soprano, Alto, Tenor and Bass). It was all hymns all the time. And I credit that for establishing at a very young age my entry point into music. What I mean by entry point is the primary attractor. For some people it may be the beat, the rhythm, melody, overall feel or for some, like me, it is harmony. Harmony is the first thing I hear that gets me sucked into the “world” the music creates. I love harmony!
As I was growing up and things like AM radio became common place in our household – I’ll always cherish my little handheld transistor radio with a small speaker and an earpiece that looked more like a hearing aid with it’s thinly coiled cord – nothing like the iPods we’ve become accustomed to. This little transistor radio was my constant companion as I was growing up (age 8-15, 1968-78). Otherwise we had black and white television set which was all we could afford and it was cheaper than the newer color one. But TV and AM radio exposed me to popular music and much of the music at that time had some sort of harmony (think Beach Boys, Chicago, America, The Association, Simon and Garfunkel, Seals and Crofts, etc) This listening further solidified my interest and love for harmony. I sang in all the school choirs, concert choir, show/swing choir etc.
As I grew up and my music tastes evolved into other genres etc harmony was never far away. After I had graduated from High School in 1978 – not wanting to go to college at that time – I got a job at a local retailer. A co-worker was involved in a local mens chorus called (The Wayneaires – which sadly no longer exists) that sang a music style called Barbershop. It is a cappella singing in 4 parts (lead, tenor, baritone and bass). I had great fun. I learned much including this notion of overtones and undertones (simply – a third audible unsung tone/note can be heard when the resonances of two or more other sung tones are combined). And, for me, when I hear overtones ringing it literally gives me chills it provokes a physical response that I seldom experience when listening to music. We did an annual show that featured the chorus (of about 45 members) and featured guest quartets from around the region. Always a theme. I did this for about 5 years and even sang in some quartets before I decided to go to college. At that time the music was mostly traditional barbershop songs like “Lida Rose”, “Sweet Adeline” etc with ever-changing arrangements. There was an organization called S.P.E.B.S.Q.A. (pronounced speb sqwa) and stood for the Society for Preservation and Encouragement of Barbershop Quartet Singing in America. Around 2004 it was changed simply to the Barbershop Harmony Society (whew! about time they got rid of that old mouthful – LOL). I have not sung Barbershop in the past 30+years but I still like to check it out occasionally and find it stronger and better than ever. There is a more diverse catalog of songs
There is always an international competition for Barbershop (2020 being the exception due to the pandemic) and there are 4 categories where a champion is named – Quartet, Chorus, Senior Quartet, Youth/Collegiate Quartet on which they are judged on music (selection/arrangement), singing and performance (of which humor can play a key role). Regarding performance we were taught it is about “filling the space”. not just with facial expressions but also body movements/choreography etc.
At the end of this post I will post links to the Barbershop Harmony Society website if you wish to know more about it’s history and much much more.
I will post videos of the 2019 champions for you to “taste”. And hopefully it will be as sweet for you as it is for me. And if/when you hear those overtones – feel free to let the goose flesh pop. LOL
***fyi – not sure – but you may have to watch videos on YouTube
First up – 2019 Chorus Champions (also Champions in 2007, 2010 & 2015)- The Westminster Chorus with their award winning performance of From Now On/Come Alive Medley (from The Greatest Showman) Be sure to go to YouTube and check out their 2015 Championship performance of “Seize the Day” from Newsies.
2019 Quartet Champions – Signature with their winning performance of Proud Mary (Ike and Tina Turner cover)
Also check out their other barbershop arrangements of Queen, Michael Jackson and other pop icons on YouTube.
Seniors Quartet Champions – DoubleDouble with one of their winning performances Green Green Grass of Home (parody). look for the the shift from serious to comedic around the 2 min mark. 🙂
2019 Youth/Collegiate Champions – Wildfire with their performance of Between You and the Birds and the Bees and Cupid.
While top 10 finalists compete for the title of Champion – the evening starts off with a mic test – it is a performance awarded the 11th place quartet and an opportunity to cut loose. This performance from 2015 is by one of the funniest quartets – The Newfangled Four (Youth/Collegiate Champions 2013) with their rendition of the vintage song Hello My Baby (through the years). Enjoy. *note – at the end they are joined by a singer from another Quartet called Instant Classic, who were the Champions of 2014.
And for you women out there – Barbershop Harmony is not only a mans thing – Women have their own version of the Barbershop Harmony Society called Sweet Adelines Intl. Look for more on that in my next post.
I’ve been diggin’ the opera Akhnaten (again) by Philip Glass. Probably my all-time favorite of his opera’s. Enjoy this duet between Akhnaten and Nefertiti.
this was the live stream event of THE PHARAOHS GOLDEN PARADE which marks the journey of 22 of Egypt’s royal mummies from one museum to their final resting place. I found it passionate and moving. The music and performance was spectacular. While the entire program is 2+ hours, the first hour is largely history and documentary programming.
As such, I recommend starting at about the 1:11:00 (1 hour and 11 minute) mark. For those that do not speak egyptian/arabic there are usually english subtitles and/or english translation.
I do wish that I knew what musical pieces were performed and the composers. But so far I have not found out.
Congratulations to Egypt for this fantastic and marvelous presentation. I found it powerful and emotional.
Once in a while there is music that comes my way that causes me to sit up and take notice in the same way that a slap in the face does like good art tends to do. The two tracks I present here today have done just that. I’ve listened to both repeatedly and also the videos are top notch. The videos are also related in their themes.
First is MANDRILL by Martin Gore (Depeche Mode). It is an instrumental track that carries a strong industrial beat similar to 80’s/90’s era Nitzer Ebb and Front 242. It is the lead single from Gore’s forthcoming solo instrumental EP, THE THIRD APE. The music was inspired by THE RISE AND FALL OF THE THIRD CHIMPANZEE written by culture and anthropological historian Jared Diamond. In the book Diamond lays out the argument that humanity is the third chimpanzee. The chimpanzee is genetically more closely related to humanity than to other apes, monkeys or primates. Diamond proceeds to draw many lines of comparison to reveal the truth of his observations and assertions about the evolution and future of the human animal. After watching this video I immediately purchased the book and found it a fascinating read.
Now back to the video. When I first saw the video several things stood out. The abstract nature of the videos “film language” mixing abstract art, animalistic representation with (what felt like) aggressive expression of the Mandrill featured in the video, the frequent appearance of figures of three (usually expressed in bars or strokes), the white palm print of which I can’t help but draw comparisons to the white hand of Sauron on the Orc’s that served him in the Lord Of The Rings trilogy. And then there are the splatterings that seem to suggest uncontrolled madness as they appear on the canvas. There is also the way the abstract at one point starts to flow from the top of the screen like blood.
Was the Mandrill barking and biting back at humanity? Is this an animalistic criticism of humanities aggressive devastation of the planet? Just how much blood does humanity have on it’s hands? For me this video feels like observation and commentary instead of just criticism. I think this is a good thing because it means that there is still hope to change the outcome.
This next video is by 80’s musician Gary Numan. INTRUDER is the title track from his forthcoming album (May 2021). This is very dark and visceral. Visually, near monochrome, the video is filled with abstraction with the literal dissection of the performer by dark blurred geometric shapes in contrast to appears of what seems like roots, bones or animal parts, something I can’t define. It feels shamanistic and is a perfect statement for our time. I’m struck by the lyrics. In the beginning it’s about the “I” and by time we reach the end it’s about “you”. Taken as a whole it’s about us, you and me. Numan, as a fragmented singing spirit in the beginning seems to ask “What does humanity really want?” What choices are we faced with? In a world that is all talk where people gravitate to like-mindedness on social media that creates greater division, less tolerance and understanding; this song is a definite criticism, but still ends with a sense of hope by asking the question “Don’t you wish you listened more?” Which is also the resolution to the problem. He is critical of religion, and rightfully so, as religion has become a pawn of those who seek power and control. Speaking is more a religious act and listening is a more spiritual act.
You could be forgiven for thinking that the character in the video is some sort of demon or dark force but I would like to suggest that it is the earth itself like a dark angel holding up a mirror to reflect us back to ourselves on what we’ve become. And in this video there is the deliberate “blood on our hands” image – and if we consider the mirror reflecting back to us – we take pride in that blood as we streak it down our faces with a war-like tribal ritual to show our power. Not only do we have the blood of all the lives we’ve slaughtered but the blood of the planet itself with our environmental devastation. Do we like what we see? Will we make the right choices and decisions going forward? Will we continue to be the intruder or the caretaker/restorer? If we kill the planet we kill ourselves.
I could listen to you scream
Pretty music to my ears
I could listen to it all day
If you want me to
I could talk about my world
How you brought about ruin
I could talk about your greed
If you want me to
I could look into evil
See a heart just like mine
I could throw away reason
If you want me to
I could walk into darkness
Find the hole you crawled into
I will be the intruder
If you want me to
You can whisper your lord's prayer
And pretend that it matters
But don't you wish you'd just listened more?
You can hide in the shadows
And pretend I won't find you
But don't you wish you'd just listened more?
I could listen to more lies
About promises you kept
Will you walk on water
Like you said you would?
I could make you my prisoner
But you were dead men talking
When you burned the oceans
Like you said you would
You can beg for god's mercy
And pretend that he hears you
But don't you wish you'd just listened more?
You can drown in your sorrow
And pretend you were helpless
But don't you wish you'd just listened more?
This was always your one life
I won't pretend that it matters
But don't you wish you'd just listened more?
This was always your one home
I won't pretend that I'll miss you
But don't you wish you'd just listened more?
Well that’s my take on these two videos. What are your impressions? Leave a comment – I’m listening.
***I can’t promise the videos can be seen outside the US but hopefully you will find a version you can watch.
So I guess you could say this post falls in the category of things I like. As many of you who have followed my blog over the years knows, I love the 4AD music label(specifically the earlier years – the past 10-15 years have been somewhat hit/miss). One of the bands that I enjoy from the earlier years is RED HOUSE PAINTERS. I recently acquired their SHOCK ME ep.
This recording features 4 official tracks and one untitled “hidden” track (at the end of track 4). Released in 1994 it really is a wonderful collection of covers and original material. For this post I want to focus on the title track which is a cover of the KISS song Shock Me (written by Ace Frehley) that was originally on the KISS album LOVE GUN. In fact there are two versions on this EP (the electric and an acoustic version). Both versions are very solid and very unlike KISS. Which is one of the things I love.
Don’t get me wrong; I love kiss I actually saw the Alive II tour at a local venue called the Richfield Coliseum (near Cleveland – which no longer exists – how time flies) on 8/1/1978 and what a show! But that was in my fist pumpin’ hard rockin’ teen years. Maybe you’re not a fan of KISS or are not familiar with this song. That’s okay. Ace Frehley wrote this song after an event that actually occurred on the KISS’ ROCK AND ROLL OVER tour where he was nearly electrocuted. If you’re familiar with KISS you can imagine this song has the tell-tale chugging hard rock sound that many love from the make-up clad quartet. I’ll post that video at the end of this post for comparison sake. But first I want you to listen to the RED HOUSE PAINTERS version.
RED HOUSE PAINTERS have been described as slow core and folk rock. While their music inhibits both of those worlds this song is definitely in the slow core vein. One of the things I enjoy about it is that is has a very Velvet Underground feel to it. The second iteration of the song which is acoustic sounds familiar yet very different. I can sit with my eyes closed listening and imagining Lou Reed and Peter, Paul & Mary singing this. It really is quite beautiful.
The EP has ephemeral/ethereal cover art that 4AD was known for in the early days. If you don’t recognize the image – it is a detail of an old broken down upright piano keyboard. A beautiful simple image that resonates so well with the RED HOUSE PAINTERS sound. Dean Carlson of ALLMUSIC described this version of the song and the EP as “Somehow quietly splendid”. I look at the KISS version of SHOCK ME as the “I dare you to” version and the RED HOUSE PAINTERS versions as the “surprise me” versions. Because even though the lyrics and music is the same the songs couldn’t be more different. And I think a great original cover of a song that basically re-invents the songs potential is also great art. I think I’ve said all I can at this time. I hope you enjoyed this post.
Finally the moment you have been waiting for? Here’s the KISS version from a concert in 1998 in all their makeup and costumed glory. 🙂
Something we all need to be reminded of from time to time. We as human beings have a habit of blowing things out of proportion and making them seem more important than they are.
I want you to think about what makes you angry, frustrated, sad, hopeless. It might be relationships, politics, health, personal economics/finances, business, religion, culture, media, the environment etc. Nothing is off bounds. Everything matters here. I’m guessing there is at least one thing that immediately comes to mind for every individual.
Now.
Let it go.
Let it go now.
And yes, that seems easy; but it’s not, especially the more invested you are in the subject whether it’s emotionally, spiritually or intellectual investment.
But do you think the tree in Autumn wants to let go of its leaves? Or that it’s easy. And yet it does. The tree feels the pain of separation with each leaf – sometimes a thousand times. Year after year the tree will let go of its leaves. The tree does not know what the future holds but it continues the cycle.
So for all the things that seem so important at the time – in the long view – they are not important at all.
They are about as important as a “pebble lying on a gravel road”. So let it go. Sometimes it’s easier sung than done. I found that singing this song while I’m thinking of these things helps me keep things in perspective and remember what’s really important.
Maybe a nice practice would be to write down all these things than anger, frustrate (…etc.) you. Then like Autumn leaves – burn them. Let the worries and cares turn to ash. Then wash them away.
Hey man, you don’t know what you’re missing You count your curses and forget about the blessings Don’t you think you should learn a little lesson What are you waiting for?
Hey man, what makes you so special Can’t seem to find the angels for the devils Don’t you think that if you learned to love a little You’d live a whole lot more
Let it go, let it go This is smaller than you know No bigger than a pebble lying on a gravel road Let it go, let it go Got to leave it all behind you Give the sun a chance to find you Let it go
Hey man, there’s no time for crying You made your bed but don’t think its fit to lie inWasted on the ground when you know you should be flying What are you waiting for?
How can a man not see It seems so clear to me You’ve just got to live and learn Smile at the simple stuff This road ain’t long enough To miss a single turn
... on being and becoming ... 