Jean-Luc Guionnet
Tirets
Hibari
05
Alfredo Costa Monteiro/Ruth Barberan/Ferran Fages/Masahiko Okura/Masafumi Ezaki/Taku Unami
Atami
Hibari
03
Two discs with virtually nothing in common save for their label.
Hmmm…first Tilbury plays a bit of pipe organ in duo with Keith Rowe and now this. Although, in fairness, the five pipe organ improvisations on Guionnet’s disc were recorded between 2000 and 2001 in a Parisian church. You can immediately understand the potential attraction of the instrument, from its drone capabilities to the various permutations it might be subjected to via pedal weights, unusual stop-voicings, etc. One of the things you might feel compelled to avoid, however, is any overt reference to classical organ literature, especially given the hoary resonance it’s likely to have for the contemporary listener. Face it; we’ve all seen too many bad horror movies not to leap to conclusions when certain areas are entered. The opening piece, “block-werk & mutations”, begins with what sounds like forearm-length chords over a dark and troubled drone. The drone is fine, the chords…bombastic. There’s a melodramatically stygian feel to the track and if Guionnet is imparting a sly wink it’s hard to discern through a morass from which one half expects to glimpse a leering Beelzebub. An ungodly amount of time passes before the final smidgens of gas are passed. The second piece, “soufflets”, tones things down volume-wise but remains in a similar Phantom of the Opera dramatic vein although, in the process, managing to generate some intriguing Chromolodeon-style microtonal wheezing. “abrege” begins in annoying fashion, noodling about amongst whistling tones like a kid with his first Moog but, several minutes in, settles into a fairly complex, medium to high pitched drone that would have sustained more than enough interest on its own were it not repeatedly interrupted by arbitrary jabs and pedals. Guionnet does rein himself in (a little bit) for the final two improvisations, easily the most successful of the set. “cromorne & fonds” has a mysteriously brooding quality that’s not only quite attractive but worthy of the considered and lengthy investigation it receives. No vapid flailing or expostulating here! When sharper voices appear, they evoke a troubled conversation that fits in rather well with what has previously transpired (even as their timbre reminds me of the wild organ improvisations on Sun Ra’s “Black Myth” from the live performance at Donaueschingen in 1970). Finally, “gravures” conjures up an elvish industrial park full of tiny steam whistles, miniature rotating cogs and wee, whirring conveyor belts. It’s charming, if ultimately somewhat slight. The most beautiful pieces on the recent Tilbury/Prevost disc were, in my opinion, the ones where the former’s organ playing was beautifully reticent, just tingeing the proceedings. Guionnet could derive a lesson or three from them.
“atami” finds the nifty Iberian trio responsible for the wonderful recording recently issued by Rossbin, “Atolon”, merging with three Japanese musicians who have been frequent contributors to the Hibari label. The mix of instruments is itself enticing: two trumpets, an alto sax (doubling “bass tube”), an accordion, a feedback mixing board and a lapsteel (doubling laptop). Additionally, you have the tendency of the Europeans to play, by eai standards, fairly loudly set against the quiet nature of Okura, Ezaki and Unami. A very happy medium, intensity-wise, is quickly reached and held throughout the disc’s seven tracks. More impressively, there’s a great deal of perceived space between the instrumentalists, a neat trick when you’re dealing with a sextet. Had I listened to this without any other information, I may well have thought I was hearing a trio or quartet. Other than that, I have little to say except that I found the disc consistently absorbing, the choices made by the musicians invariably both solid and imaginative. Perhaps the less said the better; there are no larger ideas broached, simply a beguiling six-way conversation. It’s a lovely little recording that will modestly but attractively stand out from most other discs you’re likely to hear this year.
~ Brian Olewnick
Funny how long it's taken you (of all people!) to get to Atami, Brian. I got a copy of that last Autumn.
One thing worth pointing out in your review of Jean-Luc's album is that other material from the same session was released on JLG's A Bruit Secret album Pentes. IMO, ABS' Michel Henritzi picked the best stuff. As I told you in another email, I'm about as fond of pipe organs as I am of tinned spaghetti, Mickey Rourke, Curling and George W. Bush, which is why I didn't review this one myself in the latest issue of PT (Wayne Spencer did the business instead).
Any other least favourite instruments out there? I also hate bagpipes and bassoons (unless played by, respectively, Paul Dunmall and Karen Borca)
flauto traverso
Posted by: walto at August 10, 2004 11:09 AMAlso piccolo, piccolo trumpet, Ab (sopranino) and Eb clarinets.
Posted by: walto at August 10, 2004 11:15 AMAwww, Walt, whaddya mean, ya don't like all those nice tootly chirpy instruments? E flat clarinet man, Fantastic Symphony, c'mon!! And what about the noble FLUTE - not even Sam Rivers warms the cockles of yer 'eart? OK OK out there you pseudonymous wonkers, who likes BASSOONS, eh? C'mon, own up, who likes the disgusting dry farting beasts? And the church organ, the noble pipe organ, c'mon which one of you cheesy tosspots gets off on the sound of Widor's TOCCATA eh? Or that bloody Bach thing da da daaaaaa dadladl aa daaa - the sound of mouldy hymn books crumbling into dust, the sound of death!
Posted by: dan warburton at August 10, 2004 2:39 PMI love 'em all, Dan. Teensy electric, giant pipe, medium-size-old-out-of-tune-church, Hammond, you name it. Bach was great, but Tournemire was king!
Bassoon doesn't bother me, but I'm not out and about searching for great bassoon literature. But those squeaky little woodwinds really annoy me. Recorders are OK, but metal transverse jobs got to be at least alto. And those little dinky half-clarinets just make my molars hurt.
BTW, I LOVE the word "tootly"!! Sums up those annoying little fuckers perfectly.
Posted by: walto at August 10, 2004 6:38 PM>Funny how long it's taken you (of all people!) to get to Atami, Brian. I got a copy of that last Autumn. >
http://www.paristransatlantic.com/magazine/monthly2003/10oct_text.html >
>there's a certain two-dimensionality and naiveté to the music - Tomoya Izumi's cartoon squiggle cover art is most appropriate.
Comment: Jackpot, DW
Posted by: vivien at August 10, 2004 10:17 PMcant really stand flutes neither
It's come up many times before, but I've really never understood the idea of disliking this or that instrument. Very baffling concept to me. Sort of like not being able to enjoy a painting with a certain shade of blue. Just seems so much beside the point of "music". Ah well....
Yeah Dan, don't know why "Atami" took so long to wend its way to me either!
I’m not a big fan of no-input mixing boards, laptops or sine wave samplers, but fully accept that my allergy is more a function of ignorance than aesthetics.
On the flip, I adore saxophones, double bass, guitar & most varieties of percussion (special cockle reserved for Tupperware™ bongos). Oh yeah… trumpet, flugelhorn, cornet & trombone are swell too.
Walt, who ranks as your favorite Hammond hero?
maybe my flute aversion comes from school time
in france you dont really have choice
for 4 years from 11 to 15 we play flute in class
like & hour a week,
25 kids all together.
the teacher was really struggling to get us play correctly.
i wasnt a musician at all at that time
and it sounded really... i dont know
out of tune i guess!!!
but i remember we learned the 'moldau' (probably wrong spelling)
i liked that tune in fact
and also some song from guy béart
dan, guy béart!
Posted by: Alexandre at August 11, 2004 11:49 AMBrian -
"Perhaps the less said the better" seems to me a remarkable statement to appear in print about a recording you say you find beguiling and lovely. Do you think Wittgenstein's frequently quoted phrase about silence should be more commonly applied in music criticism?
Posted by: martin at August 11, 2004 3:53 PMDerek, I guess I'd go with Fats Waller and Larry Young.
Posted by: walto at August 11, 2004 7:47 PMInteresting picks, Walt. The antiquated & the avant in one fell swoop.
Posted by: derek at August 12, 2004 6:28 AMI recommend Mick Beck's work to all bassoonophobes. A man who was awarded a research and development grant from Yorkshire Arts for ‘Innovation with the bassoon’. As heard on a Fencing Flatworm disc with Pat Thomas and Paul Hession. And also on Live@HOTS-OD, with THF Drenching and Miss Sonic Pleasure.
Posted by: matt milton at August 31, 2004 11:21 AMI thought Waller played pipe organ not Hammond organ? Never really liked Waller's organ records, actually....
Larry Young is a different matter: pure genius.
Posted by: ND at August 31, 2004 12:09 PMI think Fats was the first person ever to play jazz on a Hammond. I love his organ stuff!
Posted by: walto at August 31, 2004 1:28 PMWalto's correctamundo, Fats played both Wurlitzer pipe and Hammond varieties. Here’s an excerpt from an article by Pete Fallacio for THE DOODLIN’ LOUNGE that breaks it down:
“Fats continued to be the consummate entertainer throughout the thirties: playing piano, leading his combo, singing and occasionally playing organ. He went to Europe several times and even played the cathedral organ at Notre Dame. In the mid-thirties, however, the Hammond Clock Company, under the eye of inventor Laurens Hammond introduced an electro-mechanical device called 'The Hammond Organ'. It was designed to compete with these huge pipe organs found in churches and theaters. No one had ever heard anything like this 'so-called-organ' before and the magnitude of the controversy that ensued represents another article entirely. Suffice to say, Fats couldn't have cared less about the problems the traditionalists were having with the Hammond Company because he loved this new 'organ' and couldn't wait to own one. He soon had one installed in his New York home and played it at ever opportunity. On the early Hammond model A, Fats would employ the same basic techniques he was using on pipe organ to make it swing. For our purposes, Fats Waller truly became the first musician to play jazz on the Hammond organ ... others like Glenn Hardman, Count Basie and Ethel Smith soon followed.”
Yep, Mick Beck's cool too. And I like Michael Rabinowitz's playing on the new Drimala. Ok so bassoons are kosher after all. Still don't like pipe organs though. Oh yeah Derek.. Larry Young if I had to choose one (but I like them all)
Posted by: dan warburton at August 31, 2004 10:27 PMYou ll find some really good pages on organs and Films in "good morning Blues" the Basie Autobio .... ( plus details on organs with all the sounds effects for silent films on it )
Just found a Milt Buckner trio with Jimmy Woode and Kenny Clare from 69 on MPS that i ve never seen before ....
Noel
Noel, have you heard the Buckner dates with Buddy Tate & Illinois Jacquet from approx. the same vintage? Both, but especially the former, SMOKE! The man is like the Joseph Spence of the organ w/ an uncanny physical resemblance to Gene Shalit.
http://image.allmusic.com/00/amg/pic200/drp500/p508/p50861ejccu.jpg
http://radicalmedia.radicalmedia.com/today/about/images/shalit.gif
No i haven t
BUT THANKS for the Links
I have one of these italian bootlegs
( but the tape comes from Radio France , Andre Francis the guy you hear presenting Miles at antibes , Bill Evans in Paris ... )
and that s Buckner on Piano Slam Stewart and Jo Jones .... and that s totally out ....
Fantastic swing
i ve actually sat in once with Buckner ... and
Sam Woodyard ... in Paris ll never ever forget it !!!!!!!
it s like takingoff to mars in a swing spoutnik
Woodyard overloaded of course But god that drum stick inside the cymbal ... so,light and a thunder at the same time .... and i don t think i ve never heard anyone with Buckner s sound
cause Wild Bill Davis does it differently
and these blockchords ....wow
best
n
Derek
do you maybe know if the MPS album
OUR KIND OF SABI
a trio with Eddy Louiss on Organ John Surman and Daniel Humair has ever been reissued on CD ?
bestn
Posted by: Akchote Noel at September 1, 2004 10:13 AMI was just thinking of Louiss. I really like his playing on that one kind of dreamy tune on his recording with Getz.
Posted by: walto at September 1, 2004 10:20 AMNoel, very cool to learn that you had a chance to jam w/ Buckner- that must’ve been incredible. What really floats my boat is the way he vocalizes (more like growls) over & between his granite slab chords on those late 60s sessions. It’s like one part Spence, one part Waits & one part wombat. He’s definitely in a league of his own.
Lots of MPS stuff’s been returning to the bins lately (some great Hans Koller sides, the titles put out by Universal/Japan, etc)- oodles available over at Dusty Groove [keyword search: mps]. But I don’t think that Louiss/Surman/Humair date has got the treatment yet. The line-up sounds *killing* though.
noel
are you doing any kind of jazz related stuff at the moment?
i guess it sounds really old for you but i recently relistened this piece of yours called 'splash' on a 'deux z' compilation from i dont know when...
did you recorded other stuff with line up?
hummm, i wish i knew so much more about all this stuff you guys talk about... takes long.
yo
alexandre
Posted by: Alexandre at September 1, 2004 11:22 AMWalto
YES Eddie Louiss is an amazing player
is father was a famous Biguine and Calypso band leader in Martinique where Louiss started ( an album was released recently on Fremaux productions from the Father , they also has the real complete Django Reinhardt serie with serious documentations inside )
the thing is Eddie s own albums are a not really documenting his jazz playing of these days and he doesnt play anymore cause he feels there s no one to do so left ... ( i guess after so many years with kenny Clarke i get his point )
THOUGH and if you don t know them already
Universal JAZZ IN PARIS has two really great albums of Him playing amazingly ...
that s EDDY LOUISS ( the orthograph of his first name changes whether you write like in the islands or not ) BOHEMIA AFTER DARK ( that s with Kenny on drums Jimmy Gourley Guitar and Guy Pedersen on bass ) the other one is
PROGY AND BESS arranged by Ivan Jullien
These records are pretty cheap here (like 7 euros ) and the guy who runs UNIVERSAL JAZZ FRANCE is a serious specialist
he s been selling records in shops for 20 years but with extermely knowledgable persons like the lengendary MARCEL ROMANO who took care for years of the LIDO shop JAZZ SECTION on Champs Elysees
ROMANO was the guy who connected Jazz and cinema in the 50´s ...he set the ;Miles David, Art Blakey, Monk sessions for Louis Malle and others films cause he shared his time between american film directors and jazz Musicians
..........
YES the DYNASTY album of Getz is a good way to hear Louiss
BUT and it s cooking right now another legend with a pretty much weird discography is Belgium guitarist RENE THOMAS
and loads of documents are around now through his Daughter so obviously THINGS will come out ( with Louiss also playing awsome )
a great site is
www.thomasia.free.fr
Best
n
YES Derek
See it s a little funny cause i met all these fantastic musicians when i was around 13 and 15 .... if you know the French Label Black and Blue ? well most of these swing artists were around and luckily for me they always took me with ( i guess early 80 s you didn t see much teenagers to go to a Lockjaw Harry Sweets Edison show .... in Paris ) they often played the Hotel MERDIEN in Paris for 2 weeks or a month and had nothing else to do during day time really so i spent days walking and playing sometime in the room and they sitin in the evening .... i can remember very well people like Joe Newman, Major Holley, Slim Gaillard, Ray Bryant ,Lockjaw, Harry Sweets, Woodyard, Alvin Queen, Al Casey etc ... plus for a whole Month BASIE played there
( 4 sets per night ....) and i went really every
night just to watch totally fascinated (AND i m still totally actually fascinated .....) MR FREDDIE GREEN ......
In Paris you could really still find a lot of these artsists and others like drummer Al Leavitt who started with Lenny Tristano ...later i met Barney Wilen and spent really like years with him ...he was another living legend
THEN PROBLEM cause i m 35 now is when you mention JAZZ nowadays i find a little hard to actually EXPLAIN what that is exactely
like if i speak with Derek Bailey or Keith Rowe
it s no question for the guitar they know who Teddy Bunn, Freddie Green, Irving Ashby, Christian, Farlow Oscar Moore etc are
and same with FREEDOM and SOUND of jazz
that became like a block of old fashioned history unless you re a fan or expeirenced it live ..... I have Kenny Clarke s drumming in my ears cause i sat and listened to him for so long live .....
whatever ...YES i ve seen MPS reissues but the line is a little special to me as they have such a huge catalogue
best
n
First excuse my many mistakes in typing quick sorry i ll try tomslow down
and Alexandre to answer
wel Splash is post jazz already i think (a little european jazz thing ? )
NO i don t do JAZZ i mean strictly
one reason is i ve heard and met and played with loads of these players in the past ( spent months with Tal Farlow and went to his house later too arounf age 14 ... ) when i really started ( and i started because of THIS MUSIC for sure ..the first musical shock LIVE was Jazz for me i felt i wanted to be like these people ) so to me to play IN THE TRADITION
is a nice possible way to approach music but it also has a sort of BETRAYAL aspect to the legacy of these highly progressive players
when you re 15 white French and facing
a 70 years old black american giant of swing
you maybe get the idea that the best is thing to do is not to COPY him ... and my experience is that i ve never ( or let s very rarely ) got pushed by these musicians to play THE SAME no they always pushed in the other direction like FIND YOUR OWN THING !
I mean Farlow was still permanently searching still in his late days ....
( see again the parallels with Derek Bailey are
massive )
i totally suscribe what Bailey says about improv as "more playing per cubic meter"
but he also values well that , say jazz in the 40 s , had that kind of density ...it wasnt licks at all
it was Improvised music with other rules
but when you see Jazz history say between 1920s and mid 40s what happened there in 25 years is CRAZY
to me TATUM trio with Slam and Tiny Grimes is still PUNK MUSIC !
best
n
Alexandre if the question is
Am i going to do my next album with Howard Alden and Bucky Pizzarelli or so on Concord
the answer is clearly NO
But if you want to hear a little more
there s a solo album just coming out now on Winter & Winter entitled SONNYII
the music of Sonny Sharrock
just the melodies ..i d say not much the scratch ... it s about what i hear in this history
and photos are from Dorothea Lange
best
n
Noel, thanks for sharing those stories, I can only imagine what it would’ve been like to see/hang/play w/ Lockjaw, Sweets, Wilen, Farlow & the rest. Great info on Louiss too. I’ve been finding those Universal/Gitanes Jazz in Paris discs for $5 a pop here in the cut-out bins. Think there were at least 75 titles minted (for sale individually or all together in a mammoth box set). Some excellent titles there & if I recall correctly a handful feature Rene Thomas. There’s a Kenny Clarke duo w/ Rhoda Scott that threw me for a loop (just drums & organ)- it’s Scott’s date, but Klook still manages some incredible things even when relegated to a supportive role. Those Black & Blue discs are great too (the Buckner/Tate mentioned is on that label).
I’ll keep my eyes open for that Sharrock album of yours. Is there an interpretation of “Many Mansions” on it? How about “Who Does She Hope to Be?”
Dear Derek
I did actually record Many Mansions anf many others ( really a lot actually was recorded about 80% of Sharrock s repertoire that i could find but also related music like based on a riff from Herbie Mann times ot Lancaster or Green Line , etc ) but it s not all on this album
you can chek it and listen bits actually on amazon
best
n
noel
i listened to the sample on amazon
its nice
its solo i understood
but its like some piece are multitrack work no?
A propos of nothing: Noel, I've been enjoying "Close to the Kitchen" very much this morning.
Posted by: walto at September 3, 2004 4:35 AM"... it s about what i hear in this history
and photos are from Dorothea Lange"
Noel, I have noticed a few things that you have said in this thread that make me want to send you some music of mine. Would your care to reply off list...i put in my email, just click
jeff
Dear JFFBGRK
i tried but for some reasons i didn t get your mail
one of
mine is easy
noelakchote@hotmail.com
and YES let s trade ...and EXCHANGE
ALWAYS !
best
n
Alexandre
yes it s Overdubs on it on quite some spots
and that has a particular reason
as this is a Memory ( only a subjective one here mine .... if you ever see that other album i did Adult Guitar with and For David Grubbs s label Bluechopsticks ) there s inside a tiny photo with Tal Farlow when i first met him in 83 ...that THIS one character person who tells his memory here as well but LATER now )
Overdubs cause it would be a total different story ( a tribute mabye ? i dont like these too much ) to play this music with someone else and turn it into a repertoire .... but the same when i played over ten years ago with Linda Sharrock first it was hard for me to be next to her now ...she was part of my teenage room too much with all these records ... though later with Jacques Thollot ( who s drumming on BYG s Monkey Pockie Boo ) that was not the case at all and a new story
It s like a Journal intime
and simply because i happened to meet all these Swing and early bebop players FIRST ( really the first ever musical live shock i got together with DISCO music late 70´s but i did not met the blokes then ) i have a special way to see it and the WORD JAZZ these days
is to me totally anthinomic to what i ve heard and experienced
SEE you could easily also TAKE JAZZ for the first popular and complex music and as a guitarist BLUES and JAZZ ( but all the first guitarist played both at once ...Teddy Bunn Charlie Christian Casey etc )
my point is NAT COLE s Trio is to be compared to POP music and not to JAZZ music nowadays
as i mentioned CONCORD or labels like that
what s under jazz now has very little to do apart from the techniques and forms with what Jazz started
Lester Young played SONGS
all these musicians played songs and are linked ... take Ornette and Johnny Hodges
Don Cherry and King Oliver
one same history
and listening to Free Jazz gets you always back to New Orleans
best
n
a propos Walto
Close to the Kitchen :
as i started with basically Swing ( it means you re surrounded by people shouting on any modern players THEY CANT PLAYS FUCK ALL ...i ve seen that i was with the Gipsys and Django post familly back then .... the FERRE brothers came to an early Marc Ducret show and made such a fuss in the middle of the set like the guy has such a technique and WHY DOES HE PLAY SUCH A BULLSHIT all live in club )
So to me even first time i ve heard a Coltrane
quartet album that was WEIRD music
But same period ORNETTE was total OK
it was not abstract at all ( like Naive Benny Carter or so more poetry )
Then Same with DEREK at first
cause he TRANSGRESSED from THIS very conventional guitar History which he knows VERY WELL although he denies it and is point to do so is VERY CLEAR
for him ( himself now ) anything related to JAZZ or melodical music BRINGS him back as almost a reflex to PLAY straight
that s what he didnt want anymore
And these Guitar Pieces Zorn released are a clue if people are intereted to that
HE NEEDED to write down something AWAY form standard playing just to get a Digital technical Chopswise BASIS to get away
best
n
I guess i share at least that bit
meaning TO LOOK for something to GO AWAY from what you ve played a lot and learned
cause i ve been playing all these dances and hotels and things for long when i started
DEAR ALL
i m facing a quite Japanese PRECISE question now concerning the Title
on Sonny Sharrock s BLACK WOMAN album
the album says :
BIALERO - (french Traditional Arranged by Sharrock )
AND NO ONES FIND the origin of it
there s a BALIERO from AUVERGNE but i hardly beleive that in these days Sharrock got a clue to that especially as a lot of these musical research on old traditional songs came later and the other side i ve experienced myself some pretty poetical aproximations with some free players of that generation
( i would nt be too surprised even if that would Bolero from ravel actually ) ( have had the experience with Sunny Murray into playing TAKE FIVE from Brubeck ...)
Would BIALERO ring a bell to you
as a reference to something in the USA
that could be related at the time ? ???????
THANKS in ADVANCE
no one as a clue and Japanese love EXACT PRECISION
best
Noel
"Then Same with DEREK at first cause he TRANSGRESSED from THIS very conventional guitar History which he knows VERY WELL although he denies it and is point to do so is VERY CLEAR for him ( himself now ) anything related to JAZZ or melodical music BRINGS him back as almost a reflex to PLAY straight that s what he didnt want anymore "
Hi Noel,
About Derek, there is a very interesting interview of him in last Wire issue (september).
Hilarious comments about his life in Barcelona (alcohol, girls) and his relationship with Evan Parker.
He declares that when he met and recorded with Jamaaladeen Tacuma and Calvin Weston they told him that they had no idea what were harmolodics about !!!!
He says too that jazz died in 1955. As everybody, I thought it was in 1965 :-)
He seems to be in great form.
Posted by: Jacques Oger at September 5, 2004 3:05 AM
Mon Cher Jacques
ben Oui lu le Wire !
Ca va ?
Yes Derek sounds as always very on the edge
fast Clear and sharp
Hilarious as always ( i hope people would never forget HOW FUNNY could be Derek Coxhill Beresford and others and that FUN doesnt mean a curtain hiding all sorts of weaknesses JUST FOR FUN s SAKE ! )
i just replied in Wire to this Particular issue
and Watson s book on Derek and TSFIM
( after EAI i m ready to use all sorts of these XYZGE just for Fuckin fuck sake )
Hope you re well
I did ask Tacuma when i met him and again with Brad Jones who also worked with Ornette
that was always a source of warm jokes
( no take the piss ) and Brad did once an imitiation of Braxton discussing the issue with Ornette that was also really funny ..i"n his own words " .....
so when is THE REVENGE of THE PROTESTANTS in MUSIC ending ?
Cheers
n
Looking forward to RADICAL NEW HORNY CULTURE or else
in french you have an expression that literraly
says ( i m sure you have the same in a proper translation ) THE DRESS DOESNT MAKE THE PRIEST
n
"so when is THE REVENGE of THE PROTESTANTS in MUSIC ending ?"
I need laughing once a day at least...
Thank you Noel to give me this opportunity today,
best
Posted by: Jacques Oger at September 5, 2004 6:42 AMNoel,
NO I'm NOT going to get into a BEN WATSON thing with you here! In reference to your Sharrock question, I imagine he and Linda probably knew the old recording (by Victoria de los Angeles I think, but I may be wrong on that one) of the work which was a huge smash hit album in the 1960s (along with Villa Lobos' Bachianas Brasilieras. The songs were arranged & orchestrated by one Joseph Canteloube. Found this on Amazon:
"Joseph Marie Canteloube was born in Annonay, central France, in 1879. The area, known as the Auvergne, is known for its rich soil, its Massif Central, an ancient extinct volcano and its expanse of dense forests. Its people are descendents from the Arvernes, a fiercely independent group of people who escaped to the area from the Romans in 120 AD.
Canteloube fell in love with the music of these peasant folk in his childhood and as an adult he returned to the area to collect their songs. He also collected music from many other regions of France and Spain, including Catalonia, Alsace, Languedoc and teh Basque region. He editied a massive volume called the Anthologie des chants populaires francais and wrote extensively promoting regionalism. He saw the dangers of globalism even before the term had been invented.
But he is best known today for his collection of 30 folk songs from his own homeland which he called Chants d'Auvergne or Songs of the Auvergne. They have the charm and simple beauty of folk songs set to his own piano or more commonly orchestral accompaniment and many have become concert hall staples.
Canteloube arranged the 30 songs into 26 musical works, in four volumes. The most famous is surely the Bailero a breathtakingly nostalgic work that evokes the beauty of the landscape of the Auvergne. Others are lively (Lou Coucut - The Cuckoo), flirtatious (La Pastrouletta e lou Chibalie - The Shepherdess and the Suitor) and supremely sorrowful (La Delaissado)."
Does this help?
I remember hearing some of those songs on the radio years ago, Dan. I think it was indeed de los Angeles.
Posted by: walto at September 5, 2004 9:26 AMJacques
we can retire and listen to Gregorian chants
with a bowl of tiedous soup on the Lake
around Geneva whenever you feel like
that s not too rockin but for sure PEACEFUL
best
n
GOOD that is really helpful
cause i thought or it s really "out of the blue"
or it has a Reference background i do not know at all .... all i knew from these songs came from Marc Gauvin and others around Silex label and seemed to say that dependings on periods they ve been various fashions to dig up certain repertoires or look into areas so ...THANKS a LOT
as for HERR WATSON
i dont think it needs a discussion around HIMSELF ... i just see that Ben´s Book and
even Prevost s book too in a different way ( and yes they are many things ot be argued on how what etc ..that s for sure ) are not only dismissive books ( i mean they are also but NOT ONLY ) cause at least ( not always so directely i d say ) THEY DO RAISE QUESTIONS ....
ALL i m saying is CAN QUESTIONS EXIST
also these days ( further than personal tastes ) ???
is that allowed still ?
To me Questioning a work or a genre or
something that goes above just one artist ( as far as you find more than 10 or 100 working in the same field )
does not mean questioning the artist as a person ..that would be again a TASTE thing
I feel that as a necessity for more than one person and genre ....
that s where i came back to Derek s book
with his John Stevens never ending discussions THEY COULD TALK about and ARGUE but still be in the same place
cheers
whatever it ll bring
n
I mean for people writting in a magazine or else ...do you also often face that (??)
: If you write a Positive review - you get an mail like GREAT THANKS A LOT CHEERS !
and then if you write a less good or even smash a CD you dont get anyhing BUT STILL you get all the ADVERTS for the NEXT SHOWS
i guess we have space for something a little
further in the communication process
no ?
maybe that s just me
cheers
n
" we can retire and listen to Gregorian chants...
with a bowl of tiedous soup"
I would prefer an old pure malt...
"on the Lake around Geneva"
Doesn't seem a place where I'd like to go.
"whenever you feel like that s not too rockin but for sure PEACEFUL "
Noise music can make me very peaceful indeed...
hummm, yeah, noel, i agree, in general i have so many questions to ask... its not only you i guess.
i should not say again what i said so many times on this website, but it goes over taste of course... maybe sometimes i need to understand, i need explanations... saying you dont like something, doesnt mean you dont want to discuss about it...
always makes me feel like people try to protect themselves, maybe they are right
jacques, i follow you on a pure malt... not too much though... makes me ask questions the whole fucking time
alexandre
Posted by: alexandre at September 5, 2004 3:15 PMhello derec,
do you know where i can find the album
Eddie Louis - John Surman - Daniel Humair
Our Kind of Sabi
recordet and produced in Tokio at August 1970
fromJoachim E. Behrend.
MPS / Basf
Sound Engineer was Norio Okada
Thanks
Robert
Posted by: robert at February 6, 2006 2:20 PM.................................................. © 2003 - 2006 bagatellen ..................................................
