#Barre Phillips

[zef-zef]

Extremely experimental for 1965, especialy the second half of the track

Bob James Trio - Wolfman from: Bob James Trio - Explosions (ESP Disk, 1965)

[jazzdailyblog]

"Time Will Tell": Paul Bley's Sonic Tapestry of Free Jazz Exploration

Introduction: In avant-garde jazz, where spontaneity and improvisation reign supreme, “Time Will Tell” stands as a testament to the collaborative genius of three titans in experimental jazz – Paul Bley, Evan Parker, and Barre Phillips. Released in January 1995 under the ECM label, this album is not just a collection of tracks; it’s a sonic journey that captures the essence of free jazz and free…

[dustedmagazine]

Listed: James and the Giants

James and the Giants is the latest project from James Jackson Toth, who got his start in the freakiest edges of aughts folk as Wooden Wand, releasing a slew of albums under that and his own name. More recently, Toth has convened another band, James and the Giants, which shares personnel with Woods (Jarvis Tavernier, Kyle Forester and Jeremy Earl). In her review of their self-titled debut, Jennifer Kelly wrote, “Who’d have guessed from James Jackson Toth’s early forays into noisy, freak folk experiments that he’d shape up as such an elegant craftsman? This latest collection of songs attests to the artist formerly known as Wooden Wand’s deep connection to and understanding of foundational American popular music forms: blues, folk, gospel, R&B, Beatles-esque psych and Brill Building pop.”

Below is some music I really love. I have omitted music created by friends and people with whom I am acquainted in “real life.”

Oiro Pena

Studio overdubs are a bit of a rarity in jazz music; even less common is jazz created by a single musician overdubbing themselves. While recent Oiro Pena albums have expanded to include several other members, band founder Antti Vauhkonen’s earliest work under the name was created by Vauhkonen alone accompanying himself performing all of the instruments. The result is like a cross between the space exotica of Sun Ra’s Chicago period and the homespun psychedelic clatter of No Neck Blues Band. As much as I enjoy the band’s recent work, it is the early Oiro Pena records that I find most compelling, the composite parts of a single brain improvising with itself to create a beautiful illusion.

B-52s — “Ain’t It A Shame”

The B-52s’ 1986 album Bouncing Off The Satellites is what is often referred to in rock crit speak as a “transitional record.” It preceded a 3-year hiatus, after which the B-52s enjoyed a tremendously successful comeback with 1989’s 4x platinum Cosmic Thing, thanks in no small part to chart-topping singles “Love Shack” and “Roam.” Bouncing Off The Satellites found the increasingly fractious band moving away from their taut, artsy new wave origins and embracing the potential of nascent studio technology, namely the Fairlight CMI. Most crucially, the album was released less than a year after the AIDS-related death of founding member and guitar player Ricky Wilson, who was silently and secretly struggling with the virus during the recording of the album. As a result, the band did not promote nor tour in support of the album, which is really too bad, because it’s a great group of songs, the highlight of which being the melancholy “Ain’t It A Shame” (later covered by Sinead O’Connor). The song does not deal directly with Ricky’s illness—it was written before the diagnosis was revealed to anyone in the band—but seems to foreshadow some of the band’s personal difficulties in that prophetic way that songs often do. A gorgeous, flawless song.

Eyvind Kang — “Binah”

Tucked inconspicuously into the center of polymath / genius Eyvind Kang’s 2002 CD-only release, Live Low To The Earth, In The Iron Age, is this mesmeric masterpiece, somewhere between a post-rock Bill Frisell and a more pastoral Henry Flynt. Over 27 minutes, “Binah” slowly blossoms, changing almost imperceptibly. To an impatient listener, it will be like watching paint dry; to me it’s like watching a flower bloom. My wife Leah and I have listened to this album on a loop for hours, and I’m not typically a “listen to a song on a loop for hours” kinda guy.

Omar S

For over two decades, fiercely independent producer Omar S has been upholding the tradition of Detroit techno, his best music fusing the black sonic fantasias of Drexciya with the supple house-funk of Theo Parrish. On his own records and on his own label, FXHE, on which the vast majority of his 12”s and albums are released, the former Ford Motor Factory employee works exclusively with analog gear. Omar’s releases on FXHE are pressed in small quantities, often with crude, handwritten labels; if you order direct from FXHE, it’s very likely the box you receive will have been assembled and shipped by the man himself. While using techno and Chicago house as its base, the music Omar S produces is eclectic and unpredictable, untethered to any signature sound or approach; he’s just as likely to release an irresistible summer jam (see the Diana Ross-sampling “Day,” a track so infectious it makes Daft Punk sound like The New Blockaders) as darked-edged minimal house tracks like “Nite’s Over Compton,” on which Omar S masterfully evokes a mood using the barest essentials and tools.

Frank Zappa — “Chunga Basement”

I’ve given up trying to convert friends to the cult of Frank Zappa. I’m a big fan, especially of his guitar playing, but I sympathize with those who might have an aversion to Zappa’s prurient and mean-spirited sense of humor. In fact, if Frank Zappa’s particular sense of humor could be said to have an exact diametric opposite, it is my own. I love Zappa’s music in spite of — not because of — its scatological / puerile aspects. With that preamble in mind, I encourage all you private press-obsessed guitar loners to consider this embryonic, uncharacteristically laid-back version of future live staple “Chunga’s Revenge,” recorded during a casual jam session in early 1970 and featuring a rhythm section of Ian Underwood on keys, Max Bennett on bass, and Aynsley Dunbar on drums. “Chunga’s Revenge” was historically one of several signature vehicles for Zappa the Guitarist (as opposed to Zappa the Social Theorist, Zappa the Comedian-Provocateur, Zappa the Serious Composer, et al) and this early take finds our mustachioed man sounding uncharacteristically mellow and un-caffeinated, exploring the endless possibilities of his guitar in a way that isn’t remotely wacky or wanky.

Barre Phillips — Three Day Moon

There was a brief period in the mid-to-late 1970s when artists on ECM — my all-time favorite label after Three Lobed — were experimenting with synthesizers, approaching this relatively new technology with an omnivorous artistic fervor common to the ECM roster. Legendary bassist Barre Phillips’ pair of albums in the late 1970s are, to me, the distillation of this meeting of the earthy and the synthetic, locating in the process what might be considered ground zero for “ambient jazz.” While jazz groups incorporating elements of ambient and drone have become increasingly common as of late, there was little precedent in 1976 for the experimental marriage of saxes and circuitry. Mountainscapes (1976) and Three Day Moon (1978) both feature the mysterious and under-recorded synthesist Dieter Feichtner, about whom little is known — anyone know what became of him?

The Knife — Silent Shout

In 2006, I was in an electronic music rut. Everything being produced suddenly felt like a retread or a facsimile of things I already liked, a malady common to older, more established genres like rock and jazz, but not, as far as I was concerned, electronic music. My slump ended upon hearing Silent Shout, the third album by Swedish sibling duo The Knife. Though I avidly continue to keep up with the uniformly excellent solo projects of both members of The Knife — Karin Dreijer Andersson’s Fever Ray and Olof Dreijer’s Oni Ayhun — Silent Shout remains a pivotal record in my listening life. The album’s gothic austerity and phantasmal reimagining of dance music is clearly the work of visionary minds. Silent Shout is music of physicality, of intimacy and bodies, rendered icy and alien in part by the deployment of pitch-shifted vocals that suggest multiple menacing personas, giving the album the dissociative sense of having many different vocalists embodying different characters. Dreijer Andersson’s voice is an incredible instrument, capable of evoking dread, fear, loneliness, and antagonism. Incredible artist.

Ulver — Blood Inside

Ulver is predictable only in its unpredictability. The band radically reinvents its sound from album to album in a way that makes the Norwegian group’s music impossible to pigeonhole (see also: Boris, Circle). The group’s early albums are exciting, if fairly traditional black metal. But since then, Ulver has experimented with symphonic neo-classical, synth pop, art rock, trip hop, and folk music. 2005’s Blood Inside is their masterpiece — one of the most engrossing, relentless and overwhelming albums I’ve ever heard. Sometimes the album sounds like King Crimson covering The Cure’s Pornography, sometimes it sounds like Swans trying to evacuate a city being blasted by bombs. A grower if ever there was one, Blood Inside will worm its way into your psyche with its manic, brute ferocity and decadent maximalism. I’m loath to resort to the cliché of comparing a piece of music to an acid trip, so let’s instead call Blood Inside the sonic equivalent of an anxiety attack — inside a kaleidoscope.

Tolerance — Divin

The late music journalist Yuzuru Agi founded the Osaka-based Vanity label in 1978, releasing 11 LPs alongside a handful of 7” singles, flexis, compilations, and cassettes by mostly Japanese artists before dissolving the label in 1982. My favorite Vanity release is 1981’s Divin, the second album by the Osaka duo Tolerance. Led by the enigmatic and mysterious Junko Tange and aided by guitarist Masami Yoshikawa, Tolerance used drum machines and mixers alongside guitars and keyboards to create a different sort of early electronic music, one that was as far away from Kraftwerk and Tangerine Dream as Captain Beefheart was from the Rolling Stones. As the album’s most enthusiastic boosters love to acknowledge, listening to Divin is like listening to the future: the mechanized cracked electronics of Wolf Eyes and Nautical Almanac can be heard here, no wave’s dissonant skronk and grave incantations, and certainly what is now referred to as “minimal wave.” But the record’s prescience as a precursor to techno may be a tad overstated; by 1981, we already had “Being Boiled,” Louis and Bebe Barron’s soundtrack for Forbidden Planet, and Throbbing Gristle’s “Hot On The Heels On Love” (the latter of which does sound like a clear precursor to Tolerance’s “Sacrifice”), to name a few. Whether or not the members of Tolerance were aware of any of these things is impossible to know, as no one has seen or heard from either band member since shortly after Divin’s release. I’d speculate that most if not all of these resemblances are purely coincidental and not an indication of any direct influence. The coincidences, however, are fascinating. “Misa (Gig’s Tapes in ‘C’), presented here backwards, sounds a bit like a dry run for My Bloody Valentine’s “Touched;” “Sound Round” could quite easily pass as a sixth-generation cassette dub of some lost Skam or Rephlex 12,” while “Bok Wa Zurui Robot (Stolen from Kad)” does indeed sound like a blueprint for Detroit techno. There is something beguiling and uncanny about the entire presentation of Tolerance in general and Divin in particular. Though it is unlikely that the future architects of electronic music as we know it were aware of this record upon its limited release in 1981, it is a testimony to the notion of collective unconscious that Divin unwittingly presages so much of what was to come while still sounding like nothing else.

[donospl]

Co w jazzie piszczy [sezon 1 odcinek 13]

premierowa emisja 12 lipca 2023 – 18:00 Graliśmy: Nicole Zuraitis “The Good Ways” z albumu “How Love Begins” – Outside in Music Linda May Han Oh “Chimera” z albumu “The Glass Hours” – Biophilia Records   Brian Blade Fellowship Band “People’s Park” z albumu “Kings Highway” – Stoner Hill Records Barre Phillips / Giancarlo nino Locatelli “ Dance of the scorpions no. 2” z albumu “Danze degli…

[shinigami-striker]

March 2024 Birthdays | Friday, 03.01.24

Today's the first day of March, so here are the upcoming birthdays down below to these fellow voice talents:

Saturday, 3/2

Ian Sinclair

Sunday, 3/3

Cythina Cranz

Tuesday, 3/5

Yuri Lowenthal

Thursday, 3/7

Erika Ishii

Saturday, 3/9

Mike Pollock

Monday, 3/11

Rob Paulsen

Robbie Daymond

Tuesday, 3/12

Aleks Le

Wednesday, 3/13

Amanda Lee (AmaLee)

Megan Shipman

Friday, 3/15

Chris Patton

Mark Laskowski

Sunday, 3/17

Katelyn Barr

Kyle Phillips

Patrick Seitz

Monday, 3/18

Adam Pally

Luci Christian

Wednesday, 3/20

Andrew Kishino

Sunday, 3/24

Corey Hartzog

Kristi Kang

Tuesday, 3/26

Carol Anne Day

Friday, 3/29

Brian Beacock

Madeleine Morris

Saturday, 3/30

Maurice LaMarche

Sunday, 3/31

Ashleigh Ball

Megan Emerick

[dalekofchaos]

Dark Side of the Ring season 6 ideas

Season 5 is over, so here are my ideas for season 6 of Dark side of the Ring

The Ringboy Scandal

Bill DeMott

The Knight Family

Wrestlers Court

Ashley Massaro

Daffney

Rikidozan

Buck Zumhofe

Hardbody Harrison

Heroes Of Wrestling

Adrian Street

The Kliq

Perry Saturn

IWA Mid-South

Rick Rude

Mr Perfect

Juana Barraza

Raven

Art Barr

Larry Sweeney

Ludvig Borga

Jerry and Brian Christopher Lawler

Buddy Landel

Test Martin

Tom Zenk

Demolition

The Shiek

Muhammad Hassan

[darkmovies]

Subject (2023) Date de sortie : 22/08/2023 Réalisateur :  Tristan Barr Scénario : Vincent Befi Avec : Stephen Phillips, Tristan Barr, Cecilia Low

[about-faces]

I was just wondering, are there any particularly good Elseworlds or AU stories that involve Two-Face/Harvey in them? Are there any in particular that you'd recommend actually picking up and reading? (I've been thinking about actually reading Masque and Two Faces lately, but was wondering if there were any others worth checking out!)

Ah, Elseworlds,: DC’s venerable AU imprint. As is the case everywhere else, these were a mixed bag of good, bad, weird, and forgettable, and Harvey’s appearances in them was no exception. The two you cited are perfect examples (in addition to being his two most prominent Elseworlds stories):

Two Faces is, pound for pound, the very best Harvey Elseworlds story. Not surprising, since it comes from one of the greatest comic-writing teams ever, Abnett & Lanning! Bruce is a Jekyll figure who “Hydes” himself in the name of finding a chemical cure for Harvey, who has become an airship-flying, bowler-hatted Two-Face.

It’s great, and the conclusion has long been one of my favorite looks at their friendship and the lengths they’ll go for one another. How I wish we’d gotten a sequel with that particular Batman. In terms of Victorian Batman stories, I vastly prefer this to “Gotham By Gaslight,”which I’ve always felt has been rather overrated.

Masque, by contrast, is not very good but still worth reading. I think of Mike Grell as an artist who sometimes writes, and this is very much an artist’s story, using both Bruce and Harvey as Phantom figures with the opera swiped out for ballet, presumably for the purposes of comics being a visual reading medium.

But as both a story and a Phantom tribute, it’s rather thin, with little to say. Still, it has Harvey as a flamboyant, romantic, murderous ballet danseur, so that’s worth checking out on its own.

Beyond those two, there are a few other Elseworlds worth tracking down. The first is in the vein of Masque, in that it’s a thin take on Harvey that entirely coasts on his concept and physical appearance.

In this take on The Scarlet Pimpernel, Harvey is the French Revolutionary Hervé Deinte, who clashes with the mysterious Bat-Man seeking to fight against Robespierre.

Mike W Barr has never been a good writer of Two-Face, but Jose-Luis Garcia-Lopez’ incredible art more than makes this worth reading, especially for the unusually dashing and dangerous take on Diente.

The next recommendations are a pair of noirish tales that came out around the same time. The more famous of these is Nine Lives, which was published sideways to presumably replicate letterbox cinema format.

Harvey in this story is Bruce’s friend and lawyer, but get this: he’s two-faced! In that he sells out Bruce to try getting rich with the Joker stand-in. Plus he uses his coin to con people, not a fan of that.

Still, his face-turn (pun not intended) at the end to save Bruce helps redeem these flaws, and the story is pretty solid noir all around, albeit a bit dry for my tastes.

I strongly prefer the other noir Elseworlds, Gotham Noir, by the impeccable team of Brubaker and Phillips. It’s more hard-boiled (more like pulp compared to Nine Lives' literary noir), and not afraid to be a bit more outlandish, and I love Harvey’s role here as the DA, which is more in line with his role in Year One. Brubaker also gets to play with a concept he introduced elsewhere, that Batman is credited as a myth that Dent cooked up to scare criminals.

Next up are two Lovecraftian takes on Batman with prominent Harvey roles. The first and far more famous is Mike Mignola’s The Doom That Came To Gotham, which somehow manages to make Harvey suffer even more than usual.

It’s a rare take on a Harvey Dent who is purely good and purely a victim, where even his transformation into a Two-Face of sorts is just… sad. It’s great!

“The Crawling Hand,” however, is far more obscure and for good reason: it was included in the infamous Elseworlds 80-Page Giant which was initially scrapped and pulped before release because of Kyle Baker’s story about Superman’s babysitter. As a result, this story is still a little-known curiosity with Bruce and Harvey trying to survive eldritch takes on DC’s stretchy characters, with Harvey ending up as a surviving casualty lost to madness. Fun!

Finally, the last Elseworlds I’d recommend is one that has no reason to be an Elseworlds at all: the Daredevil/Batman crossover. Seriously, why the hell was this an Elseworlds? No one dies, there’s nothing to indicate an alternate setting… literally the only reason I can even imagine why DC slapped on the AU label—seemingly at the last second!—is because they didn’t want it canon that Harvey and Matt Murdock were rival-friends back in college!

Granted, it IS a bit weird to have a story with Matt being the one who believe in Harvey Dent while Batman is a hardline jerkass who hates Harvey, but that was hardly out of place in this era of Bruce being a grim prick. I’m baffled as to why it’s an Elseworlds at all, but hey, it technically counts! Definitely worth checking out either way!

All in all, a mixed bag of good and interesting. Seeing these again makes me long to see the Elseworlds imprint revived, especially now that we're getting new Elseworlds projects in film and TV thanks to James Gunn. Maybe we'll finally see some cool, interesting new takes on Two-Face in the near future!

[zef-zef]

Bob James Trio - Untitled Mixes from: Bob James Trio - Explosions (ESP Disk, 1965)

[omegaremix]

Omega Radio for March 2, 2020; #221.

Roy Ayers (Ubiquity) “This Side Of Sunshine”

Patrice Rushen “Wishful Thinking”

Brick “Fun”

Mother’s Finest “I Can’t Believe”

Olympic Runners “Don’t Let Up”

Sly Stone “High On You”

Ripple “I Don’t Know What It Is, But It Sure Is Funky”

Creative Source “Rainbows On The Ground”

George Benson “Theme From Summer Of ‘42″

Mysterious Flying Orchestra “Shadows”

Blackbyrds, The “Lady”

Shuggie Otis “Island Letter”, “Pling!”

Joe Beck & David Sanborn “Cactus”

Rufus & Chaka Khan “Your Smile”

Maynard Ferguson “Mister Mellow”

Urbie Green “Mertensia”

Ramsey Lewis “Something About You”

Richard Tee “Virginia Sunday”

Steve Khan “The Blue Man”

Esther Phillips “That’s Alright With Me”

Phil Upchurch “Foolin’ Around”

Les McCann “Vallarta”, “Soaring (At Dawn) Pt. 1″

Billy Cobham “Heather”

Jaye P. Morgan “It All Goes Around”

Richie Cole “New York Afternoon”

Eric Gale “Multiplication”

Bobby Lyle “Inner Space”

Tom Scott “Appolonia (Foxtrota)”

Heatwave “Star Of The Story”

Vic Juris “Leah”

Walt Barr “Creepin’“

Lonnie Liston Smith & The Cosmic Echoes “Aspirations”, “Colors Of The Rainbow”

Bonus Omega; jazz, fusion, funk, soul, and vinyl finds.

[dustedmagazine]

Christian Carey’s 22 Recordings from 2022 in no particular order

Oneida

Like 2021, 2022 was a year that was full of extraordinary recordings. In part, it is Bandcamp that has given a new lease on life to independent records, somewhat obviating the hegemony of paltry stream income. Touring, on the other hand, is costing far too much, resulting in a group as big as Animal Collective canceling a tour, pleading finances. When major labels are starting to ask for a percentage of the gate, one can see the numbers crunching into nonviability. In the meantime, instead of masking and risking shows, I enjoyed the following 22 recordings (and many more). 

Oneida — Success (Joyful Noise)

Heiner Goebbels and Ensemble Modern  — House of Call (ECM)

Wadada Leo Smith — String Quartets 1-12 (TUM)

Carla dal Forno — Come Around (Kallista)

Nina Berman and Steve Beck — Milton Babbitt:Complete Songs for Treble Voice (New Focus)

Hugi Guðmundsson — Windbells (Sono Luminus)

Christopher Fox — Trostlieder (Kairos)

Barre Phillips and ​​György Kurtág Jr. — Face á Face (ECM)

Whit Dickey Quartet — Root Perspectives (TUM)

Matthew Shipp Trio — World Construct (ESP Disk)

Kirk Knuffke Trio — Gravity Without Airs (TAO Forms)

Richard Causton — La Terra Impareggiabile (NMC)

Pedro de Cristo; Magnificat — Cupertinos (Hyperion)

Andrew Mcintosh, Yarn/Wire — Little Jimmy (Kairos)

Sophia Subbayya Vastek — In Our Softening (Self-released)

Tyondai Braxton — Telekinesis (Nonesuch/New Amsterdam)

Julia Hülsmann Quartet — The Next Door (ECM)

James Romig — The Complexity of Distance (New World Records)

Gity Razaz — The Strange Highway (BIS)

Bryn Harrison, Quatuor Bozzini — Three Descriptions of Place and Movement (Huddersfield Contemporary Records)

Jenny Hval -Classic Objects (4AD)

Steven Schick — A Hard Rain (Islandia Music Records)

Christian Carey

[thehyperrequiem]

Right Hand Man Quadrilogy (Shrek Parody) Cast

Right Hand Man 1 - “Once upon a time, in a far away swamp, there lived an stickfigure named Right Hand Man (Puffballsunited) whose precious solitude is suddenly shattered by an invasion of annoying cartoon characters. They were all banished from their kingdom by the evil Queen Chrysalis (Kathleen Barr). Determined to save their home--not to mention his--Right Hand Man cuts a deal with Chrysalis and sets out to rescue Prince William Zeppeli (Joe Ochman) to be Chrysalis's groom. Rescuing the Prince may be small compared to his deep, dark secret.”

Right Hand Man 2 - “After returning from their honeymoon and showing home movies to their friends, Right Hand Man and Reginald Copperbottom learn that his parents have heard that he has married his true love and wish to invite him to their kingdom, called Far Far Away. The catch is: Reginald’s parents are unaware of the curse that struck their son and have assumed he married Pomegranate Cookie, not a cybenetic stickfigure with horrible hygiene and a talking autobot pal.”

Right Hand Man the Third - “When Hop Pop suddenly croaks, Right Hand Man (Puffballsunited) learns he will have to rule the land of Far, Far Away, unless he can find a suitable heir to the throne. The most-promising candidate is Reginald Copperbottom's (Puffballsunited) cousin Giorno (Phillip Reich), a teenage slacker in a medieval high-school. Right Hand Man and his trusted companions, Bumblebee (Bumper Robinson) and Samuel Rodriguez (Philip Anthony-Rodriguez), set out to bring Giorno back but find their mission is a bigger challenge than they expected.”

Right Hand Man Forever After - “Long-settled into married life and fully domesticated, Right Hand Man (Puffballsunited) begins too long for the days when he felt like a real toppat. Duped into signing a contract with devious (Poptropica) Rumpelstiltskin, he finds himself in an alternate version of Far Far Away, where Toppats are hunted, Rumpelstiltskin rules, and he and Reginald have never met. Right Hand Man must find a way out of the contract to restore his world and reclaim his true love.”

(In loving memory of Steve Hardwell, you’ll always be our All-Star)

Right Hand Man (Henry Stickmin) as Shrek

Bumblebee (Transformers Animated) as Donkey

William Zeppeli (Jjba Part 1) as Princess Fiona (Human)

Reginald Copperbottom (Henry Stickmin) as Princess Fiona (Ogre)

Queen Chrysalis (My little Pony) as Lord Farquaad

Blitzwing (Transformers Animated) as The Dragon

Ched (Centaurworld) as Gingy

Sana Hudson (Balan Wonderworld) as The Muffin Man

Newton (Littlebigplanet) as The Magic Mirror

Cioccolata (Jjba part 5) as Thelonius (With Secco as extra)

Licorice Cookie (Cookie Run) as Monsieur Hood

Percy (Thomas the Tank Engine) as Pinocchio

Octavian (Poptropica) as The Big Bad Wolf

Oliver, Jorge, and Mya (Poptropica) as The three little pigs

Gordon, James, and Henry (Thomas the Tank Engine) as The Three Blind Mice

Various Characters as the Fairytale creatures, knights and townsfolk

Tea Knight Cookie (Cookie Run) as King Harold (Human)

Eclair Cookie (Cookie Run) as Queen Lillian

Dark Enchantress Cookie (Cookie Run) as The Fairy Godmother

Pomegranate Cookie (Cookie Run) as Prince Charming

Waterbaby (Centaurworld) as Doris the Ugly Stepsister

Samuel Rodriguez (Metal Gear Rising) as Puss in Boots

Speedwagon (Jjba Part 1) as Shrek (Human)

Cheetor (Beast Wars) as Donkey (Horse)

Spike (My little pony) as Pinocchio (Human)

Cuckoo (Balan Wonderworld) as Mongo

Hop Pop (Amphibia) as King Harold (Frog)

The Lost n Found Botbots (Transformers Botbots) as The Dronkeys

Wildberry Cookie (Cookie Run) as Simon Cowell

Giorno (Jjba Part 5) as Artie

Merlin (Thomas the Tank Engine) as Merlin

Espresso Cookie (Cookie Run) as Snow White

Crunchy Chip Cookie (Cookie Run) as Cinderella

Moonlight Cookie (Cookie Run) as Sleeping Beauty

Elder Custard Cookie (Cookie Run) as Rapunzel

Pirate Cookie (Cookie Run) as Captain Hook

Bowser (Mario) as The Cyclops

Various Minor antagonists (Jjba) as The Trees

Gretchen Grimlock (Poptropica) as Evil Queen

Jasper (Steven Universe) as Mabel the Ugly Stepsister

Red Velvet Cookie (Cookie Run) as Lancelot

Various Bad Guys as The Villains

Captain Caviar Cookie (Cookie Run) as The Ship Captain

Fancy Pants (Fancy Pants), Orange Stickfigure (Alan Beckman), and Hat Girl (A Hat in Time) as Fergus, Farkle, and Felicia

Rumpelstiltskin (Poptropica) as Rumpelstiltskin

Cookatiel (Mario) as Fifi

Soundwave (Transformers) as Pied Piper

The Toppat Clan (Henry Stickmin) as The Ogres

The Wall Staff (Henry Stickmin) as The Witches

[chez-mimich]

BARRE PHILLIPS E GIANCARLO NINO LOCATELLI: “DANZE DEGLI SCORPIONI”

Non so se il titolo "Danze degli scorpioni" possa fare riferimento proprio ai due musicisti, perché, detto con tutto il rispetto e con affettuosa ironia, Barre Phillips e Giancarlo Nino Locatelli, un po’ scorpioni lo sono. Il primo asciutto, riservato, sempre molto concentrato sul suo strumento e talvolta un po’ insofferente verso un pubblico troppo estroverso, il secondo quasi ascetico e molto misurato, potrebbero essere considerati, almeno zodiacalmente, i due scorpioni a cui fa riferimento il titolo. Oppure no. I due scorpioni, o meglio la loro danza, come indicato nel

titolo del

disco appena è uscito per l'etichetta "We Insist”, è frutto di una registrazione

dal vivo nel 2008 a “ Jazzteller” a Ulrichsberg, ed è condotto dai due strumenti con una purezza minimale dei suoni, in dialettico e costante confronto tra loro. Sia come sia, questo duettare tra il contrabbasso di Barre e il clarinetto basso di Nino, assomiglia effettivamente molto all’immagine mentale di una danza tra due elegantissimi scorpioni: il nitore dei suoni e dei rumori, gli stacchi netti, i silenzi, le rotture, le incursioni, le ritirate…Se il primo brano, che dà appunto il titolo all’intero album, è dialettico e movimentato, seppur tutto giocato su suoni delicati, non invasivi, il secondo brano, “Little speech+moon dance one”, è un capolavoro di equilibri sussurrati e disattesi, un brano che fa riferimento (anche nell’iniziale “speech” di Barre Phillips), alla faccia oscura della luna, quella più misteriosa e, in fondo, più affascinante. E già dalle prime battute quel “verso” del clarinetto animato dal fiato di Giancarlo Nino Locatelli e supportato dalla discreta presenza dal contrabbasso di Phillips, ci fanno intendere che il tono della riflessione (questa, ma anche di tante altre), non può essere che intimo, riposto, introspettivo, ma anche fatto di improvvisi disequilibri, prodotti dal turbamento sonoro del clarinetto e dalle inquiete vibrazioni delle corde. Ma poi, di nuovo, anche le vibrazioni più intense e i suoni più stridenti vengono ricomposti nel silenzio; a seguire la più lieve e movimentata “Moon dance two”, ma anch’essa non priva di qualche spasmo. Chiude il lavoro, in una perfetta simmetria "Dance of the scorpion" n. 2 brano dall’andamento ritmico dato dalle corde del contrabbasso di Phillips sul quale Locatelli articola un monologo di clarinetto molto gustoso, multiforme e dai colori tenui. Un disco delicato, una sperimentazione e una ricerca "in purezza", dedicato ad un vero maestro dell'improvvisazione come Coleman Hawkins dove ogni particolare è curato, dove l'essenzialità spazia senza inutili ridondanze. Una annotazione finale per la cover di Maria Borghi, con una foto dello stesso Locatelli che si intitola "Moon no moon" e, del resto, basta dare un'occhiata al profilo Instagram di Giancarlo Nino Locatelli per scoprire che è anche un originalissimo e meditativo fotografo. E a questo punto è anche inevitabile una considerazione finale sulla linea, non solo sui contenuti musicali, di questa intraprendente etichetta. Il catalogo della "We Insist" è, dal punto di vista estetico, uno scrigno di copertine dalla grafica di grande qualità: è sufficiente sfogliarlo sul sito della Bandcamp o, meglio ancora, avere (feticisticamente) tra le mani i loro cd o i loro vinili, per rendersene conto: mai un colpo fuori bersaglio, né per la musica, né per la veste grafica. Non che ce ne fosse bisogno, ma certamente un valore aggiunto al prodotto musicale.

[shinigami-striker]

Katelyn, Kyle, & Patrick | Friday, 03.17.2023

Three characters from the My Hero Academia [anime], but they only differ by their own English voice talents.

Katelyn Barr - Ryuko Tatsuma/Ryukyu (Quirk: Dragoon)

Kyle Philips - Denki Kaminari/Chargebolt (Quirk: Electrification)

Patrick Seitz - Enji Todoroki/Endeavor (Quirk: Hellflame)

[onetwofeb]

Abdullah Ibrahim Band 1968 NDR (G) 

Abdullah Ibrahim  (p) John Tchicai, Gato Barbieri (reeds) Barre Phillips (b) Makaya Ntshoko (d):  Jabolani (= "Joy")