#araça azul

[piloncillos]

Júlia/Moreno, Caetano Veloso.

[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.

[sneakydragon]

Sneaky Dragon Listening Party - Ep. 69

Hello, partygoers!

This week Mary and David are still in beautiful Brazil as David goes coconuts for Tropicália!

Yes, it’s the end of our mixtapes portion of the Listening Party as David and Mary continue to celebrate the wild and provocative music of Brazilian political protest music of the late Sixties/early Seventies.

So pull up a palm frond, grab a hunk of sugar cane and join us in the rumpus room where we’re listening to:

Caetano Veloso – “Tropicália” – Caetano Veloso, 1968 – 15:42

Gilberto Gil – “O Canto da Ema” – Espresso 2222, 1973 – 47:41

Jorge Ben – “Ponta de Lanca Africano” – Africa Brasil, 1976 – 1:36:09

Tom Zé – “Todos os Olhos” – Todos os Olhos, 1973 – 2:12:59

Gilberto Gil – “Bat Macumba” – Tropicália ou Panis e Circenses, 1968 – 2:42:18

Gal Costa – Divino Maravilhoso – Gal Costa, 1969 – 2:47:03

Jorge Ben – “Força Bruta” – Força Bruta, 1970 – 2:54:25

Tom Zé – Quero Sambar Meu Bem – Tom Zé, 1968 – 3:01:39

Marcos Valle – Meu Paletó, Nem Gravata – Previsão do Tempo, 1973 – 3:08:18

Os Mutantes – “Saravá” – Jardim Elétrico, 1971 – 3:14:16

Os Mutantes – “Baby” – Jardim Elétrico, 1971 – 3:18:39

Also spinning on the old Victrola:

Caetano Veloso – “É probido proibir” Phillips single b/w “Ambiente do festival”, 1968 – 37:53

Gilberto Gil – “Decição” – JS Records b-side to “Vem Colombina”, 1962 – 1:01:19

Gilberto Gil – “Roda” – RCA Victor b/w “Procissão”, 1965 – 1:06:57

Gilberto Gil – “Questão de ordem” – Phillips single b/w “A Luta Contra A Lata ou a Falência do Café”, 1968 – 1:15:06

Caetano Veloso – “Epico” – Araça Azul, 1972 – 1:28:12

Jorge Ben – “Mais Que Nada” – Phillips single b/w “Por Causa De Você, Menina”, 1963 – 1:46:36

Jorge Ben – “Si Manda” – Un Bidú: Silêncio no Brooklin, 1967 – 1:57:30

Jorge Ben – “Take It Easy Brother Charles” – Jorge Ben, 1969 – 2:03:07

Tom Zé – “Morena” – Correio da Estação do Brás, 1978 – 2:28:53

Tom Zé – “Má” – Estudando o Samba, 1976 – 2:37:38

Os Mutantes – “Tecnicolor” – Jardim Elétrico, 1971 – 3:28:43

Thanks for listening.

Department of Corections: German doesn’t use accents, Dave? Um, yes, it does. Where would heavy metal be without the umlaut, you dumbkopf!

If you would like an uninterrupted version of this mixtape, please go here and [whispers] download it.

Please check out our fellow party goer Ed Draganski’s funtastic designs for show mascot Peanut Duck and, while you’re there, buy a shirt!

Hélio Oiticica’s piece “Tropicália” on display.

Department of Looking Party: Here is Gal Costa’s appearance at Festival da Record in 1968:

Here is a fun appearance by Gal Costa on a Jorge Ben TV special, coming up out of the audience to sing Ben’s song “Que Pena” with him:

(Sometimes these things are fake, obviously, but Gal Costa actually looks surprised to be called up on stage by Ben, and seems a little hesitant at the beginning. It could all be acting to sell the bit, but I like to think otherwise.)

Here is a complete TV show from 1969 called Jovem Urgente featuring appearances by Os Mutantes and Tom Zé:

So you can skip the reams of Portuguese, here are some time codes: Os Mutantes – “Panis et Circenses” – 1:04 Os Novos Baianos – “Dona Anita e Dona Helena” – 5:42 (They’re not so great.) Os Mutantes – “Fuga No.2” – 9:15 Moraes Moreira – “Sou Mais Você” – 13:35 (Tom Zé taught him guitar) Tom Zé – “A Gravata” – 16:08 Os Novos Baianos -“Curto de Véu e Grínalda” – 21:35 Tom Zé – “No Tempo da Nossa Vavá” – 24:05 Os Mutantes – “Quem Tem Medo de Brincar de Amer” – 27:04 Os Mutantes – “Preciso Encontrar um Amigo” – 33:56 Os Mutantes – “Banha da Lua” – 39:19

Here is the Tom Zé mini-doc that was mentioned during the show:

https://media.blubrry.com/sneakydragon/p/content.blubrry.com/sneakydragon/Sneaky_Dragon_Listening_Party_69.mp3

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Sneaky Dragon Listening Party – Ep. 69 was originally published on Sneaky Dragon

[pocdecultura]

Poczinhas vs Poczonas Novinhas vs Cacuras

A fluida Geração Z é o tema do POC de Cultura dessa semana. Para falar sobre isso, convidamos o lindo e querido Tolentino (@soutolentino), artista, fotografo, viodemaker e querido amigo das POCs.

Será que o papo rendeu? Descubra agora dando o Play!

OBs: Tivemos um pequeno problema de captação ao final do episódio e durante a DICADASPOCS do Tolentino, vocês vão perceber uma diferença no áudio, mas nada que compremeta muito. Escute nas plataformas:

Spotify: http://goo.gl/WstA6x

Deezer: http://goo.gl/jtGb1L

Soundcloud: http://goo.gl/QZgU3w

YouTube: http://goo.gl/JM26YH

iTunes: http://goo.gl/sDpRVc

Google Podcasts: http://bit.ly/POCgooglepodcasts

TuneIn: http://tun.in/pjgXu

Stitcher: http://bit.ly/2RPORoj

RSS: https://audioboom.com/channels/4975260.rss #DICADASPOCS José indica:  Histórias de Terapia / Ter.a.pia (Facebook) Disk Amiga Para Matar (Netflix) Filipe indica:  Entre Vinho e Vinagre (Netflix) Caco Indica:  Amizade Doloria (Netflix)  Ciara (Spotify) Tolentino indica:  Dorian Electra (Flamboyant) Kate Bush - Hounds of Love (Spotify) Clímax, de Gaspar Noé (Vice)

Hilário Indica:  Caetano Veloso - Araça Azul (Spotify) "MTV, bota essa p@*!# pra funcionar" - Zico Góes (Amazon)

Curtiu? Divulgue o POC para um(x) amigx! Perdeu um ep? Arrase no http://pocdecultura.com e faça uma maratona!  Siga-nos nas redes sociais! @pocdecultura em todas elas!  Fortaleça as POCS 🏳️‍🌈

[pousadastop-blog]

SC - Porto Belo Cabanas do Araça Villa @cabanasdoaracavilla A 250 quilômetros de Curitiba e a 68 quilômetros de Florianópolis, que está instalada a Pousada Cabanas do Araçá Villa, em um pequeno pedaço do paraíso incrustado entre os costões de Mata Atlântica e o azul do mar. Em uma área de 22 mil metros quadrados, com 7 charmosos chalés erguidos em meio a mata nativa, com uma privilegiada vista para o oceano, que você irá encontrar conforto e tranquilidade em perfeita harmonia com a natureza. A apenas 15 minutos do centro de Porto Belo, a Cabanas do Araçá Villa fica bem perto de uma tradicional vila de pescadores de origem açoriana e praias maravilhosas como Caixa D’Aço e Estaleiro, rota obrigatória dos transatlânticos que cruzam o Sul do país. A Pousada conta ainda com estacionamento individual para cada chalé e área de piscina coletiva e café da manhã servido em uma cesta entregue na cabana para sua maior comodidade. Diárias a partir de R$ 220,00 Reservas: (47)3369-4906 / (47)9133-0880 cabanasdoaraca@hotmail.com www.cabanasdoaraca.com.br @cabanasdoaracavilla #pousadatop #brasil #portobelo #santacatarina #cabana #amoviaja #viajarfazvem #verao #natureza #floripa #estaleiro #conforto #charme

[senseofbrasil]

Caetano Veloso - 1973

[sufferthegestalt-blog]

10/10

[piloncillos]

Tú Me Acostumbraste, Caetano Veloso.

[piloncillos]

Sugar Cane Fields Forever Pt. 3, Caetano Veloso.

[piloncillos]

Sugar Cane Fields Forever Pt. 1, Caetano Veloso.

[piloncillos]

Viola Meu Bem, Caetano Veloso.

[piloncillos]

Araçá Azul, Caetano Veloso.

[piloncillos]

Épico, Caetano Veloso.

[piloncillos]

Sugar Cane Fields Forever Pt. 2, Caetano Veloso.

[piloncillos]

De Cara/Eu Quero Essa Mulher, Caetano Veloso.

[piloncillos]

De Palavra Em Palavra, Caetano Veloso.