#Tom Veloso

[altamontpt]

Zé Ibarra - Marquês, 256 (2023)

Zé Ibarra deu à luz uma pequena obra-prima nos vão de escada do local onde viveu nos sofridos anos da pandemia. Desses instantes íntimos surgiu Marquês, 256, um disco que só tem beleza e prazer para nos dar.

Zé Ibarra deu à luz uma pequena obra-prima nos vão de escada do local onde viveu nos sofridos anos da pandemia. Desses instantes íntimos surgiu Marquês, 256, um disco que só tem beleza e prazer para nos dar. Este texto terá, assim esperamos, algumas serventias. Servirá, em primeiríssima instância, como forma de dar a mão à palmatória por ser tardio. Muito tardio. Depois, e para não sermos…

[ninaemsaopaulo]

Filho mais novo de Caetano Veloso fazendo 27 anos. Tenho 31 e me sinto tia porque "vi nascer". Fã é fogo.

[sailininblackink]

Maria Bethânia

[manuarrt]

Álbum tropicália ou Panis  et Circensis; realizada por Oliver Perroy.

[mywifeleftme]

184: Tom Zé // Tom Zé [Grande liquidação]

Tom Zé [Grande liquidação] Tom Zé 1968,

I’m about as unqualified as it gets to chat about Tropicália, being a complete neophyte to the genre and a non-Portuguese speaker to boot, but I’ve been loving Tom Zé’s first self-titled (sometimes marketed as Grande liquidação, or Big Sale) since picking it up at the shop a few months back. As I understand it, Tropicália had a strong surrealist/Dadaist edge early on, and Zé seems the most committed to the shtick. The rear of Grande liquidação includes a manifesto-like statement from Zé that acridly inveighs against the shallow commercialism he sees in Brazilian society, suggesting some familiarity with Guy Debord and the Situationist International: “We are an unhappy people, bombarded by happiness,” it begins. “Smiles sell. They sell toothpaste, tickets, painkillers, diapers, etc. And as reality has always been confused with gestures, television proves every day that no one can be unhappy anymore.”

Despite its satirical intent (signposted by titles like “Catechism, Toothpaste, and Me” and “Intensive Manners Course”), it’s impossible to listen to any of Zé’s music without a genuine smile springing to your face. He has a genius for fusing samba and other Brazilian forms with Anglo-American psychedelia to create lavish pop songs that fizz with possibility. My favourite might be “Sem entrada e sem mais nada” (“No Entry and Nothing Else”), a suite-like composition that packs as many ideas into 2:40 as most Stateside bands of the era managed over an album side, or “Parque industrial,” a delirious fantasia about the doubtful promise of Brazilian industrialization. (“Parque industrial” is probably more familiar in the laidback arrangement released the same year on the collaborative LP Tropicália: ou Panis et Circencis, performed by Gilberto Gil, Caetano Veloso, Gal Costa, and Os Mutantes.) While not as instrumentally experimental as I’m told his ‘70s work becomes, Zé’s world already has a cartoony palette—brass fanfares collapse into womp-womp squawks; Zé’ narrates the captivity of eight million Paulistanos “loving with all their hate” over a chirping, slightly manic organ and a chorus of church bells.

At 86, Zé remains a puckish prankster and a musical visionary—as a new fan, I can’t wait to see what the 55 years between 2023 and this 1968 debut held for him.

184/365

[tocafitas]

Potência do sempre

Desde o dia 25/03, a minha família tem se despedido da presença física de quem sempre foi um dos nossos alicerces de amor: minha mãe.  View this post on Instagram A post shared by Casa Lúpulo | cerveja artesanal e tarot bar (@casalupulosp) Minha mãe foi e é potência do sempre. Da presença, do carinho, do acolhimento, do abraço. Uma pessoa genuinamente boa, carismática, fratena, forte. A melhor…

[florencarnada]

20 gravações raras de Gal, todas fora das plataformas digitais, foram compiladas em uma playlist da Rádio Batuta.

[julio-viernes]

Gal Costa express. Murió a los 77 años la gran cantante femenina de Tropicalia. Tom Zé, Caetano, Gilberto, Rogério Duprat, Nara Leão, Os Mutantes, y... Jorge Ben espiritualmente, que no quiso porque no necesitaba estar en el rompedor y colorista movimiento. Recuerdo a Gal con tres canciones de sus primeros LPs (los que escuché). Esto es “Você Não Entende Nada” de su tercer álbum en solitario “Legal” (1970), una composición de Veloso.

[aibazuos]

Just a WIP

Honestly this is looking… rough

Brook looks like the walten files blue bunny thing

Zoro looks like a lesbian

Franky’s face is a mess on it’s own

And Usopp looks, like, twinkysh(?)

This is all to say that I’m going to clean this up (maybe even do it again bc I don't know I don't like it the more I look at it) before i try to use watercolors on it bc i’ve been having some fun with water colors

Also, since this is still me fangirling over my own brazilian au in the middle of the dictatorship this is most obviously based on a brazilian thing, i explain more bellow

(And, please, give me some ideas on who I could put on the portraits bc I have no idea right now)

Ok, so, here’s the reference

Ok so, me yapping abt brazilian history, let's go.

This is Tropicália (or Tropicalismo). Basically this was supposed to be a mix between traditional manifestations of Brazilian culture, more specifically the vanguard movements, with foreign trends. That's why they look like hippies from the US.

So all of this combinations of styles ended up on the LP "Tropicalia ou Panis et Circencis", released in 1968, that had various artists' songs.

This guy on the front with portrait of Capinam is Giberto Gil.

The girl sitting at his side is Gal Costa

By her side is Torquato Neto

Behind him is Tom Zé

On Tom Zé's left is Sérgio Dias

By his left is Rita Lee (love of my life)

By her left is Caetano Veloso and his holding the portrait of Nara Leão

By Caetano's side is Arnaldo Baptista

And on front of him is Rogério Duprat

At that point in time Sergio Dias, Rita Lee and Arnaldo Baptista were in a band together called "Os Mutantes" (The Mutants)

They fought a lot against the military dictatorship and a bunch of them were arrested or even put themselves in exile for some time. Also, this LP and the rest of their songs are on Spotify, go listen to it, it's fucking amazing.

[burlveneer-music]

Domenico Lancellotti - sramba

Tom Zé, Faust and João Gilberto collide in Domenico Lancellotti’s “machine samba” It’s midwinter in Lisbon and Domenico Lancellotti has invited Ricardo Dias Gomes to stay for a while. They waste no time in doing what they always do, heading down to their underground studio, appropriately nicknamed The Cave, to make music. The fact that Ricardo had just been sent a bunch of Russian-designed synths and was eager to try them out, instantly signalled a direction for the album. “Ricardo had his instruments, modular machines” remembers Domenico, “and I had my guitar, some percussion instruments. On the first day we started making sounds and recording them, and songs started to appear, sambas started to appear.” In just a couple of months the duo recorded the majority of what would become SRAMBA, an album that reaches back to the roots of samba, but does so whilst completely revamping its blueprint, indoctrinating guitar and percussion-led rhythms with analogue synthesisers, Ricardo’s beloved machines. Domenico and Ricardo instantly saw how the synthesisers were not at odds with the sambas they were playing, instead they had a similar sound to its typical percussion instruments (ganza, repinique, surdo, tarol). What’s more, they saw a connection with roots samba, the samba that existed before bossa nova and samba jazz came along. This was rhythmic samba, with grooves that could go on ad infinitum. “It’s samba de clave, geometrically structured” says Domenico. “It’s ostinato samba”, adds Ricardo. Both Domenico Lancellotti and Ricardo Dias Gomes are revered names within Brazilian music over the past 20 years. As a member of the +2’s, with Moreno Veloso and Kassin, Domenico released a trio of albums on Luaka Bop in the early 00s that pioneered a new Rio samba sound with elements of funk and psychedelia. With Veloso and Kassin he would later form Orquestra Imperial, a big band intent on reviving ballroom (gafieira) samba, and that has worked with guest vocalists such as Seu Jorge, Elza Soares and Ed Motta. SRAMBA is his fourth solo album. Multi-instrumentalist Ricardo Dias Gomes first came to notice as a member of Caetano Veloso’s band Cê which helped reinvigorate Caetano’s career with a sound influenced by British new wave. As well as collaborations with Lucas Santtana, Negro Leo and Thiago Nassif, and work with his own group Do Amor, he has released a series of acclaimed solo albums that reveal a restless music-maker. Domenico- guitarras, voz, mpc-1000, bateria eletrônica, caxixi Ricardo- baixo, bateria eletrônica, rodhes Aquiles Morais-trompete Everson Morais- trombone Arranjo de metais- Aquiles Morais

[annachum]

Some HCs I have of some other World Grand Prix racers :

. Raoul Carroulle ( the French race car ) loves singing, dancing, getting drunk often and is a huge LGBTQ suppirter

. Miguel Camino ( the Spanish race car ) is kinda like Camillo from Encanto but except even more sneaky. He loves flamenco dancing and basically sometimes loves a good gossip

. Also Raoul Carroulle and Miguel became boyfriends somewhere near the end of Cars 2 ( like, around when Miles Axelroid got arrested )

. My voice hc for Carla Veloso ( the Brazilian race car ) is Carmen Miranda. Anyway Carla is Fiesty, spirited, loves to party often, and is a Lightning x Sally shipper and a Carroulle x Camino shipper.

. Francesco's parents are both F1 racers. Mama Bernoulli retired sometime after her husband died, and became a racing trainer for Francesco

. Nigel Gearsley is the youngest of those World Grand Prix racers. My voice hc for Nigel is Tom Holland. Basically he is often chatty, loves Star Wars, and LOVES internet memes. And he is also a fan of Queen. Lightning and several other racers came to treat him like a little bro figure

. Shu Todoroki's wife, Kiyomi Yamaguchi, is a light pink Toyota car and famous geisha who performs mainly at a fancy Tokyo geisha dining theatre. By the time Cars 2 rolled around they already have a 3 year old daughter ( who is white and pink like her dad ) named Sakura. Srsly Shu x Kiyomi are kinda like a cars version of Moto x Moe from Kimono Mom in some ways.

. . Kiyomi Yamaguchi is sweet, elegant and ladylike, but definitely not to be trifled with. After her husband got injured in that Porta Corsa race, she flat out mobilized her and Shu's friends back in Japan to have a whole 10 thousand yen law suit on Axelroid over her husband's injuries. And she shows up there to defend her husband in that Miles trial

. Max Schnell ( the German car ) is from Berlin is more of a stoic type, yet he has a gentle soul ( he is more of a gentle giant type if you ask me ). Likes beer, poems, skiing and dancing. Also loves to hit the gymn often

. Lewis Hamilton ( another British car ) is often more collected, loves to DJ and is often seen meditating with some lo fi music on his headphones. He becomes a good friend to Nigel Gearsley

. Jeff Gorvette basically is a Miami surfer dude and is somewhat younger than Lightning. The two met before during the US national races and became good associates over time.

. Rip ( the Scandinavian car from New Rearandia, a ficitonal Nordic island country near Iceland ) is basically kinda like a mix of Kristoff and Hercules in some ways. That guy is basically a big hearted himbo who loves to sing and dance....and has a competitive Streak as well

[altamontpt]

Jorge Palma - Jorge Palma (2001)

Passaram muitos anos até Jorge Palma dar corpo a um novo álbum. O primeiro longa duração de temas inéditos do presente século revelou um músico em muito boa forma e trouxe mais alguns clássicos para o futuro.

Passaram muitos anos até Jorge Palma dar corpo a um novo álbum. O primeiro longa duração de temas inéditos do presente século revelou um músico em muito boa forma e trouxe mais alguns clássicos para o futuro Fazer um novo disco depois de Bairro do Amor talvez não fosse tarefa fácil. Esse álbum de capa amarela foi marcante, como sabemos, e talvez por isso tenha passado tanto tempo até Jorge Palma…

[marcmarcmomarc]

Cars 2: el videojuego

“El Rayo” McQueen/Radiador Springs “El Rayo” McQueen/Fibra de Carbono “El Rayo” McQueen/“El Rayo” Dragón McQueen/Temerario “El Rayo” McQueen

EN: Keith Ferguson

LA: Sergio Gutiérrez Coto

Tom Mate/Matelones/Karate Mate/Mate el Grande/Mater disfrazado de Iván/Kabuki Mate

EN: Larry the Cable Guy

LA: César Filio

Finn McMissile/Finn McMissile - Bandera del Reino Unido/Seguridad del Aeropuerto Finn McMissile

EN: Martin Jarvis

LA: Blas García

Holley Shiftwell/Holley Shiftwell Carreradora/Holley Shiftwell Flor de Cerezo

EN: Emily Mortimer

LA: Erica Edwards

Francesco Bernoulli/Francesco Bernoulli Medianoche

EN: John Turturro

LA: Jesús Guzmán

Raoul ÇaRoule

EN: Erik Passoja

LA: Raúl Anaya

Carla Veloso

EN: Jossara Jinaro

LA: Berenice Vega

Jeff Gorvette

EN: Jeff Gordon

LA: Carlo Vásquez

Nigel Gearsley

EN: Greg Ellis

LA: Héctor Emmanuel Gómez

Shu Todoroki

EN: Paul Nakauchi

LA: Germán Fabregat

Miguel Camino

EN: Jon Molerio

LA: Ricardo Tejedo

Max Schnell

EN: André Sogliuzzo

LA: Emmanuel Bernal

Fillmore/Fillmore Para Estrenar

EN: Lloyd Sherr

LA: Eduardo Tejedo

Sargento/Sargento Camoflaje

EN: Paul Dooley

LA: Héctor Lee Vargas

Luigi/Luigi en Equipo “El Rayo” McQueen

EN: Tony Shalhoub

LA: Salvador Nájar

Guido/Guido en Equipo “El Rayo” McQueen

EN: Guido Quaroni

LA: Raúl Aldana

Profesor Zündapp/Profesor Zündapp Joven

EN: Thomas Kretschmann

LA: Juan Alfonso Carralero

Grem

EN: Joe Mantegna

LA: Paco Mauri

Acer/Acer Artillero

EN: Peter Jacobson

LA: Mario Castañeda

Tomber

EN: Michel Michelis

LA: César Filio

Miles Axlerod

EN: Dave Wittenberg

LA: Raúl Anaya

Chuki

EN: Sonoko Konishi

Daisu Tsashimi

EN: Daisuke “Dice” Tsutsumi

Rod “Torque” Redline/Rod “Torque” Redline Clandestino

EN: Bruce Campbell

LA: Óscar Gómez

La Reina

EN: Vanessa Redgrave

LA: Ángela Villanueva

Flo

EN: Jenifer Lewis

LA: Simone Brook

Sheriff

EN: Michael Wallis

LA: Francisco Colmenero

Ramón

EN: Cheech Marin

LA: Gabriel Pingarrón

Chick Hicks

EN: Eric Stitt

LA: Carlos Becerril

Wingo

EN: Adrian Ochoa

LA: Ricardo Tejedo

Estornudos

EN: Lou Romano

LA: Héctor Alcaraz

Boost

EN: Jonas Rivera

LA: Eduardo Giaccardi

DJ

EN: E.J. Holowicki

LA: Yamil Atala

Tío Topolino

EN: Franco Nero

LA: Moisés Palacios

Victor Hugo

EN: Stanley Townsend

LA: Humberto Solórzano

Computadora de Mate

EN: Teresa Gallagher

LA: Valentina Souza

[aitan]

Stavo sfogliando il file in cui ho catalogato i miei CD. Ho preso un anno a caso, il 1973, più di mezzo secolo fa, e ho trovato queste perle della produzione discografica italiana:

- Arbeit Macht Frei degli Area

- Nuova Compagnia di Canto Popolare (l'album eponimo)

- Storia di un impiegato di Fabrizio De André

- Un uomo in crisi di Claudio Lolli

- Far finta di essere sani di Giorgio Gaber

- Io sono nato libero del Banco del Mutuo Soccorso

- Palepoli degli Osanna

- Non farti cadere le braccia di Edoardo Bennato

- Io e te abbiamo perso la bussola di Piero Ciampi

- Abbiamo tutti un blues da piangere del Perigeo

- Opera buffa di Francesco Guccini

- Alice non lo sa di Francesco De Gregori

- Sulle corde di Aries di Franco Battiato

- Sempre di Gabriella Ferri

- Pazza idea di Patty Pravo

- Amarcord di Nino Rota

Fuori dall'Italia, nello stesso anno, uscivano capolavori del calibro di Dark side of the Moon (Pink Floyd), Fuente y caudal (Paco De Lucía), Venham mais cinco (José Afonso), João Gilberto (João Gilberto), Araçá Azul (Caetano Veloso), Todos os Olhos (Tom Zé), Mingus Moves (Charles Mingus), Quadrophenia (The Who), Tubular Bells (Mike Oldfield), Selling England by the Pound (Genesis), Berlin (Lou Reed), Fanfare For The Warriors (Art Ensemble of Chicago), Head Hunters (Herbie Hancock), Chapter One: Latin America (Gato Barbieri), Ode to Duke Ellington (Ibrahim Abdullah), Birds of Fire (Mahavishnu Orchestra), Future Days (Can) e la colonna sonora di Jesus Christ Superstar

Prossimamente passo in rassegna i titoli del 1974, giusto 50 anni fa.

Perché sono della generazione che comprava i dischi, inseriva l'ascolto nel suo contesto storico, pensava che c'era un prima e in dopo, apprezzava le innovazioni e i legami con la tradizione e non pensava che i suoni si muovessero in un tutto indistinto o facessero solo da accompagnamento ai TikTok.

[dustedmagazine]

Listed: Jordan Martins

Jordan Martins is a musician, organizer, educator, and visual artist whose works have been shown in Chicago and Brazil. While he has played steel guitar and other instruments for years with the singer / songwriter Angela James, his first solo album, Fogery Nagles, was released by the Astral Spirits label in the fall of 2023. In his review for Dusted, Bill Meyer wrote, “Fogery Nagles arrives, seemingly out of nowhere, but just at the right time.”

Sarah Davachi — Cantus Figures Laurus

I’m a sucker for long-form droney music in general and as of late I’ve been bathing in organ music of this kind as much as possible. I had really enjoyed Davachi’s other works but fell fully under her spell with this box set of works from the last few years with over four hours of heavy tones unfolding in various ways. I like to listen to this as loud as possible to feel these sounds as vibrations. There are several shorter tracks that focus on a particular palette or tonality, with the later tracks being from live recordings of longer performances. Even though the set is a compilation joining these sets of works together after the fact, I love this body of work as a sequence of experiences.

Caetano Veloso — Araça Azul

It’s hard to pick a favorite Veloso record, but if I had to it would be the utterly unique Araça Azul, recorded in 1972 when he returned to Brazil after being exiled by the military dictatorship years prior. The record is markedly outside of the original zeitgeist of the Tropicalia movement — less ecstatic, hopeful, collaborative, and postmodern in the mixing of styles — but at the same it’s maybe the purest expression of the experimental range of sounds and poetry that the movement ushered in. There are other musicians playing on some tracks, but the whole thing feels like a single creative brain tinkering with ideas and sounds until they take enough shape to be a “song.” There’s a fundamental collage approach that I love — where he engages in field recordings, musique concrète, dissonant orchestrations overlapping on simple folk melodies, and transformative and ballsy covers of classics by singers like Monsueto and Milton Nascimento.

Angelika Niescier, Savannah Harris, Tomeka Reid — Beyond Dragons

I had the good fortune of seeing this trio play at Elastic in Chicago this past spring. When they finished their set, my wife leaned over to me and said “THAT WAS HOT SHIT” which is maybe the most accurate thing to say about these players and this music. Niescier’s compositions are somehow tight and specific while simultaneously giving each player ample room to flex and explore with abundant space around the components of each piece. I love their ability to charge into a piece full steam with an almost aggressive sense of urgency and then allow their interactions to gradually fragment and dissolve into textural interplays and quiet call-and-response improvisations.

Paul Franklin— solos on “Together Again”

A friend hipped me to a video of Paul Franklin soloing over the Buck Owens classic “Together Again” and I’ve since gone down YouTube rabbit holes watching as many clips as I can find (and I see other people in the comments on the same journey). Franklin is a Nashville legend who has played pedal steel on hundreds of recordings since the seventies. As a member of the Time Jumpers, he plays as a sideman to Vince Gill at local venues in Nashville covering classic country songs, often playing this tune which originally featured Tom Brumley playing a quick steel solo that used some very innovative voicings at the time. Franklin’s playing is so technically brilliant, but it also illustrates the ways in which the instrument can be psychedelic and disorienting, even in a conventional setting. His solos always follow a basic architecture but there’s subtle variations, improvisations and flourishes in every version where you can see him trying to find new ways of cracking it open. My favorite clips are the ones where he goes out on a limb and the audience is noticeably giggling as they experience the sonic floor drop out from under them like they’re on a carnival ride.

Nicholas Britell— “Unto Stone We are One”, funeral “March Song of Ferrix,” season 1 finale of Andor

I sometimes dabble in the questionable array of new Star Wars projects and absolutely loved Andor’s vision of a bureaucratic fascist space empire, not spending a second on jedis and lightsabers, instead examining the interrelationships of imperial occupations, military contractors, and resistance movements. The last episode is masterful in part because the tension of the entire season simmers to a boil during a funeral procession with working class miners playing junky space orchestral instruments. The score of this funeral march by Nicholas Britell is a haunting, yearning motif that steadily builds but the stroke of genius is how perfectly out of tune the instruments are! Such a simple and surprising choice does such heavy lifting in terms of adding a sense of materiality to the setting and imbuing the dramatic build up with a subtle unease beneath the gorgeous arrangements.

Terry Riley— Music for The Gift

A very early work by Riley experimenting with tape loops, with an approach that is uncannily prescient in the way it does a live remix of a jazz quartet as they improvise around tunes. The fact that this particular quartet was Chet Baker’s (with trombonist Luis Fuentes, drummer George Solano, and bassist Luigi Trussardi) is a surprising interlocutor in all of this: it would maybe seem more fitting to for this to involve an unorthodox voice rather than a more straight ahead, idiomatic jazz player for these out-of-the-box experiments. But I think the music works precisely because of the nimble-swinging of the group as Riley cuts up and repeats their melodies and phrasing back onto them in a slurry of loops that piles up and interacts with their improvising in unexpected ways. The clarity and charm of Baker’s playing is a perfect fit. Peter Margasak wrote a great piece about it for Sound American that you can find here.

Macie Stewart and Lia Kohl— Recipe for a Boiled Egg

Two of my favorite improvisers in Chicago. They are so emblematic of what I love about the creative scene here in the ways that they endlessly collaborate across a range of genres and scenes, whether improvising or composing, playing songs or deconstructing forms. This is a biased pick because they recorded this at Comfort Station, the small and idiosyncratic multidisciplinary art space I run in Chicago. The thing that first drew me to Comfort Station was the building’s unique vibrant acoustics and the porousness of sound that you get with an old building directly facing a busy street. Macie and Lia lean into that context in stunning ways on this recording, narrowing in on their voices and their bowed instruments reverberating and inviting in sounds from the outside world instead of recording in the controlled environment of a studio. You can hear ideas take shape as each listens, responds, builds, grows, dissolves into the other’s playing, with a recording quality that grounds them to a particular time and place.

Olivier Messiaen — “Louange à l’Éternité de Jésus,” from the Quartet for the End of Time

This is probably the single most impactful and cosmic piece of music I’ve ever encountered. Messiaen wrote all the movements for the Quartet for the End of Time while he was in a Nazi POW camp, and the entire work is on another level. But the sixth movement — just piano and cello — brings me to my knees every time I hear it. The first time I heard it was somewhat random and personal: during my freshman year of college, my mom was coincidentally the staff accompanist at the conservatory of the university I attended. And I would often borrow her car to run errands while she was rehearsing with music majors preparing their senior recitals. On one such occasion I was tip-toeing back into her studio to return her keys and heard a bass player (bass majors often adapt cello pieces for their senior recital) bowing the opening notes of the melody which seems to ask for a dissonant response from the piano. Instead, I heard my mom play the slow, pulsing major triad chord that entered in response, settling the piece into a hypnotic journey. I felt like the floor gave way in an instant and I had never experienced anything like it. Susan Alcorn has adapted it for solo pedal steel in a really unique way melding the harmony and melody together, and Atomic included it on their 2018 release of covers, Pet Variations, playing with deep restraint that the piece calls for while also letting the energy bubble up restlessly.

Jeanne Lee — Conspiracy

It’s hard to find a better expression of vocals and poetry integrated into a free jazz setting than this brilliant 1975 record, with Jeanne Lee leading a killer ensemble including Steve McCall and Sam Rivers among others. I had never heard Lee’s work before coming across this album when it was re-released by Moved-by-Sound in 2021 and I was struck by how much sparseness there is (somewhat similar to some of Caetano Veloso’s delicate moments on Araça Azul even), and how simple utterances give way to grooves and freakouts with the rest of the players wrapping around Lee’s command of the sonic space. If I’m being honest, I think these kinds of approaches to free form improvisations can often collapse into a kind of cheesiness or ham-fistedness, and this record NEVER once gets close to that, everything feels so purposeful even when the exploration is at its outer limits.

Olaibi — Mimihawasu

Although I had heard her playing on works by Japanese band OOIOO, this is a musician/project that I hadn’t heard of by name until someone I follow on Instagram posted that they had passed away this October (coincidentally on my birthday). Something in the way they eulogized her touched me deeply and I listened to all of her records in the days after (and often since). Maybe it is because my exposure to her music was immediately tied to her recent death, but there’s something so profound, tragic, beautiful, frail, intimate and loving about her music all at once. I wish I had heard her more before her passing, but I’m grateful that in the wake of her death this world of sounds has entered my life.

[waugh-bao]

I was tagged by @l3fool to to shuffle one of my playlists and list the first 10 songs that pop up ✨

I ended up just shuffling my 2023 Spotify Wrapped and choosing the first ten things that came up.

1. “Why’d Ya Do It” by Marianne Faithfull (1979)

2. “Creole Moon” by Dr. John (2001)

3. “Field Commander Cohen” by Leonard Cohen (1974)

4. “In Shades” by Tom Waits (1980)

5. “This Too Shall Pass” by Danny Schmidt (2005)

6. «Поворот» by Машина Времени (1996)

7. “Nine Out Of Ten - Ao Vivi” by Caetano Veloso and Gilberto Gil (og 1971, I like the 2016 version)

8. “La Komida la Manyana” by Apollo’s Fire Baroque Orchestra (2016)

כל אחד רוצה .9

by Arik Einstein and Shalom Hanoch (1999)

10. “Dear John C.” by Elvin Jones (1965)

tagging: @charlesandkeef , @charliesmydarling , @smittyjaws , and whoever else would like to participate