#tompkins square records

[thejoyofviolentmovement]

New VIdeo: Hello Mary Shares Trippy and Uneasy "Spiral"

New VIdeo: Hello Mary Shares Trippy and Uneasy "Spiral" @HelloMaryBand @Frenchkissing @grandstandhq

Brooklyn-based indie rock trio Hello Mary — Helena Straight (guitar, vocals), Mikaela Oppenheimer (bass), and Stella Wave (drums, vocalsmutl) — can trace their origins back to high school: Oppenheimer and Straight started th band when they were high school freshmen. When they met Wave through happenstance, the trio became an inseparable unit with the band consisting of good friends, who are also…

[mywifeleftme]

282: Entourage Music and Theatre Ensemble // Ceremony of Dreams: Studio Sessions & Outtakes 1972–1977

Ceremony of Dreams: Studio Sessions & Outtakes 1972–1977 Entourage Music and Theatre Ensemble 2018, Tompkins Square (Bandcamp)

Still wildly underknown given the transporting beauty of their compositions, there is a world next door to this one where Baltimore’s Entourage Music and Theatre Ensemble is as popular a soundtrack for meditation and study as Steve Reich or Philip Glass are in our own. Their music lies somewhere between modern chamber music and progressive folk, with a dash of jazz, and it was often used to score experimental dance and theatre productions. The band released two albums in the 1970s on Folkways before dissolving following the death of bandleader Joe Clark in 1983. Most probably their obscurity came from practicing their craft outside a major cultural centre; if anything, the 1,600 monthly listeners they command on Spotify represents wider exposure than they enjoyed in their prime.

Ceremony of Dreams, available in a three-hour digital format or an abridged ten-track vinyl, collects material that didn’t make it onto either of their Folkways records. Compared to Entourage and The Neptune Collection, these tracks are a little less playful, less overtly experimental in their production; they weren’t after all recorded specifically for release as an LP. But even in its condensed wax form, I can speak to the quality of Ceremony’s sober reveries, the lot of it grey or ghost-haloed yet coruscating, like black and white footage of waves crashing at night. Rather than a mere trove of demos, it meaningfully expands on their discography.

The Pitchfork review does a better job of namedropping comparable artists than I have the chutzpah for today (Arvo Pärt, Bert Jansch, La Monte Young, John Cale, Sandy Bull, raga like in general), but if you have a taste for open-concept acoustic music, Ceremony of Dreams is a sure shot.

(As an aside though: It's either endearing or grownworthy that the Entourage boys still have the classic doofy musician dude sense of humour that compels them to give these ethereal compositions "Lick My Lovepump"-ass names like "Sleazy Sue" and "Necrophelia.")

282/365

[burlveneer-music]

Dorothy Moskowitz - Rising to Eternity

Tompkins Square is proud to release “Rising to Eternity,” written and produced by singer/songwriter Dorothy Moskowitz. The album follows her acclaimed April 2023 release,' Under An Endless Sky." Moskowitz is an icon of underground culture who broke all kinds of new ground as a member of The United States of America. Led by the charismatic composer Joseph Byrd, the band released their lone eponymous album on Columbia Records in 1968. It has taken on a mythic status that has grown through the years, sampled by Diplo and Mac Miller and widely acknowledged as a visionary psychedelic classic. "Rising To Eternity" is a musical reverie about the WEBB Telescope, launched on Christmas Day of 2021. The telescope enables a more detailed exploration of the early universe than has ever been feasible before. The album will be released on Christmas Day of 2023 to commemorate the event. When asked what impelled her to consider a telescope as the subject of an album, Dorothy said: “I felt the Webb launch to be like the “moonwalk” of this century, only with our hopelessly ravaged society, no one has the heart or stomach to celebrate anything at all. It began with an instrumental tribute, but the more I wrote, the more free-form fantasy took hold. I included a life form that emerges without light or water, I explored unnamed dimensions inhabiting dark matter, and scored unlikely dialogues between forces of creation and destruction. I think that an event of this magnitude sparks peoples’ imagination if they know about it and I’d like people to know about it." It’s her first solo album, but also features work by artists with whom she’s recently collaborated such as composer Peter Olof Fransson, and writers Tim Lucas and Luca Chino Ferrari. Her daughter, vocalist Melissa Falarski contributes back up on several cuts and there is also a track by sound sculptor Larnie Fox. To her pastiche of electronica, Dorothy has added live recordings of her live piano and viola and has incorporated drone washes from NASA archival recordings.

[dustedmagazine]

Various Artists—Ten Years Gone: A Tribute To Jack Rose (Obsolete)

Ten Years Gone: A Tribute to Jack Rose by Various Artists

If you listen closely to solo acoustic guitar music made in this century, whether you know it or not, you owe a debt to Jack Rose. When the 21st century first lurched into motion, he was best known as a member of the Appalachian-drone-noise combo Pelt. But when a felicitously timed job loss coincided with a resolution to develop his fingerstyle guitar chops, Rose emerged from the proverbial woodshed (actually his apartment in Philadelphia) to become an early evangelist for the blues-raga-etc. synthesis that John Fahey, Robbie Basho and a few others first proposed in the 1960s, which came to be known as American Primitive Guitar. Pondering the articulated ambivalence of another guitarist to be so categorized, Rose told fellow standard-bearer Glenn Jones that that was exactly how he wanted to be known. He blazed through a series of developmental stages in fairly short order, investigating mystic free-form, rigorously emulated American folk forms and intensely social rags, playing six- and twelve-string guitars, investing all he played with a distinctively personal heaviness of tone and rhythm, during intense, mostly solitary tours and on a series of splendid LPs before dying drastically young in 2009.

Buck Curran is a guitar player and scholar who, during Rose’s meteoric run, was a member of the Maine-based duo Arborea. Presently a solo performer based in Bergamo, Italy, he undertook the task of assembling a tribute album honoring Rose, something Curran had previously done in tribute of Robbie Basho. The project was originally released by Tompkins Square as a download in December 2019, on the tenth anniversary of Rose’s death. But after a couple years, Curran took it back and augmented it; his own label, Obsolete Recordings, issued a new edition with four additional tracks in June 2022. The participants include people who played with Rose, moved in the same circles that he did, or were moved by his example to ride the vehicle of solo guitar exploration down their own road. Not everyone plays guitar: fiddler Mike Gangloff, of Pelt and the Black Twig Pickers, and cellist Helena Espvall, of Espers, are fellow travelers who use the keen of bowed strings to give vent to the enduring grief over a friend and comrade lost. Micah Blue Smaldone, Nick Schillace and Sir Richard Bishop, all fellow guitarists who shared stages and hospitality opportunities with Rose back in the day, play tunes that express their personal strengths. 

A dozen tracks, including the four new ones, come from Curran and folks who to some degree picked up Rose’s baton. The consistency of the contributions is remarkably high. Newer American guitarists Joseph Allred and Prana Crafter cover the mystical end of the American Primitive spectrum, while Matt Sowell represents the rustic pole; Liam Grant, one of the late arrivals, spikes mystery with velocity. Other contributors show how far Rose’s signal has been broadcast. Simone Romei and Paolo Novellino represent Curran’s current country of residence, the former with some classic Takoma-style blues picking, the latter eschewing genre signifiers in favor of reverie. Argentine Mariano Rodriguez honors Rose with a stirring slide dirge. Welsh picker Gwenifer Raymond is every bit as energetic as Rose could be. Spaniards Isasa and Xisco Rojo both wax reflective, in their personal styles. Czech guitarist Jakub Simansky’s agile bluesiness is probably closer to Curran’s style than Rose’s, but that’s an observation, not a criticism. There’s just one caveat; Jack would have wanted to know where the vinyl was. Reportedly there’s an LP master ready to go, awaiting licensure, but until this compilation is available in a format that can tip a scale and be seen without voltage, the work is not done.

Bill Meyer

[kingrubu]

The new album I Co-Executive Produced is out now! Repost from @michaelxomichael • To Build Me a House THE ALBUM Is finally yours. I am so deeply proud of this body of work. The last two years making this has required deep reflection, pain, and ultimately, transmutable joy. I think of this record as the welcome home to myself I didn’t know I needed. Thank you to my co-executive producer @reubenbutchart for being co-pilot, teacher, confidante, musical partner, and generous friend every step of the way. I love you Reubs. Thanks to everyone who said I couldn’t, and the many more who believed I could, because I am doing it ALL, honey. Thank you @getbetterrecords for championing this album when it was still a collection of 36 demos. Especially @alex_licktenhour & @kojisaysaloha. I love you both. The credits, the songs themselves, and the short video clip I made to “House in Vermont” in the last slide express the way this album has molded me better than words here can, for now. I hope you immerse yourself in these stories, in this world that I’ve risked everything to build. This album art! Was based on a simple photo taken in Tompkins Square park in NYC’s East Village by family @ralvarezartcom … that day I’d taken my first day of hormones. I was so giddy and over caffeinated, and this artistic portrait is how Richard remembers me, looking toward the future, my hair a flowing crown of glory, my skin glowing, my smile content. My dear @brett_lindell photographed Richard’s artistic rendering, lighting it carefully, handling the work with the preciousness of someone deserving of focus, time, and undivided attention. That is how I recommend you dive into this work. Immersively, expansively. I hope you love what you find. And I hope you feel inspired to add whatever you need to your own home, which as we know, is wherever you are. I love you. Michelle PS. Today is @bandcamp Friday and if you really believe Black Trans Lives Matter, you’ll support me by buying this work there, which cost me a small fortune to make. I want to keep making elevated work that feeds the soul. Let’s do this together. ❤️ https://michaellovemichael.bandcamp.com/album/to-build-me-a-house https://www.instagram.com/p/CkixYJgM3RN/?igshid=NGJjMDIxMWI=

[webseriesviral]

Tompkins County real estate: nine most expensive homes sold, Jan. 20 - Feb. 2 A house in Cayuga Heights that sold for... #movie quote #movies #movie line #movie line #movie scenes #cinema #movie stills #film quotes #film edit #vintage #movie scenes #love quotes #life quotes #positive quotes #vintage #retro #quote #quotes #sayings #cinematography

[hisiggy]

I sit on my brand new bed and dream about ways to kill myself something I know I’ll never do or at least in this moment in time I know I won’t . Right now I have a body that works which I am so lucky for but being grateful is for optimists and I am nothing of the sort . I have this endless need to be needed

I sit in  my school full of spoiled kids from Brooklyn who haven’t experienced a thing in their life ( at least I think so ) they are mostly incredibly boring and far too optimistic for my liking. I love to hate, it brings me joy unimaginable to piss someone off for reasons that truly don’t matter. It is a joy that cannot be replicated and to watch their reaction of squirming and delusions is like a reality show where you only get the best parts.  My brain is turning into rot . I say these things to anyone and feel like I should be locked up in a cave I’m crazy I think or at least that’s what these kids tell me I become it for them something like an art piece too real that I can’t detect it. I’m only like that around people I feel no need to impress because they’ve already made up their mind about me .

People have always hated me but never for anything real always for something such as becoming this cartoon character that I feel I must become . I hate silence there’s something about dead air full of teenagers who think they’re better than you that makes me want to give them something they don’t want : a problem . I’m crazy , I admit to it most of the time but I don’t think anyone understands the scope. I got sent away for it and the scary thing is I think it made me worse . I had normal depression but I was so dumb . In mental hospital is where I learned the fastest way to kill yourself is to cut yourself. Hot dog style not hamburger. I saw kids getting taken away and kids beaten the shit out of them by full grown adults .

I’m a problem my existence is something I  want to understand but never I will. I sat in my bed last night watching alien workshop skate videos listening to drumless rappers who are able to put their pain to art . Sometimes I feel I only put my pain into pain. I feel stupid I so desperately need human connection to feel the warmth that I think everyone feels. I fall in love with people seconds and years after meeting them and fantasize but often give up knowing that love is something that feels impossible at the moment. They say life will get better and I think that’s true for a lot of my people but not for me the circuits in my brain don’t work unless my 100 dollars of medication are on I vision a gun shooting me  directly in mouth and I swallow the bullet and scream for help but there’s nothing I can do I love life I hate it . PLEASE  KILL  ME . xoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxoxo

kathy acker used to write and masturbate I often think about the inclinations of masturbation like the men these days are doing we are all always rotting so is are brain . Jack skelly follows me on instagram and lives on my bookshelf I had to cut the lines out of my college essay about being too high and reading his book in Tompkins square park . I become normal under the influence almost as if it has the reverse effects no one should ever let me ramble but they do and I love them for it . I often think how stupid my problems are and I think that is the most helpfull thing I can do . I think about the kids getting their lives ripped apart  in Palestine at the moment and they are still able to smile at least a fake one and I am not. I’m so prententious

#ariana grande #diva #photo shoot

I want to die I’m reading a book and I enjoy it. it’s written by Lena Dunham’s best friend does that make me not cool does that make me one of the bushwick fagotts who think their all that and move here from Ohio . I imagine myself in 30 years living in my car somewhere in the middle of nowhere smoking packs of cigarettes with all my money spent on odd vhs tapes and records and Ephrema that no one else seems to care about I hate New York and what’s its becoming I sat and listened to navy blue looking at clips of New York from when I was a kid and crying it wasn’t as good as it feels I was just a kid I still am I got kicked of my statistics class for not talking yet everyone always wants that to happen i never shut up I envision my self slamming my head into a door and blood trickling down until I drop I used to be scared of these thoughts but I’m not anymore they are almost like a sadistic lullaby , that at some point this will all stop

I’m scared pls don’t admit me back into belluve it’s not fun drugs are funny till they’re not and it’s all fun and games till you get fat and everyone’s skinny I want eating disorder that makes me skinny is that bad to say everyone’s too pc and I hate it not because I’m someone who wants to go on rants about people who don’t deserve it but It leaves no room for emotions the emotions you won’t say I remember watching the videos of the people falling out of the building during 9/11 in the sixth grade I think it plays on a loop in my head PLEASE KILL ME. Ok bye  bye pls don’t read this even though I’ll post for the world to see  “goodbye horses im crying over you”- q Lazzarus everything fades I hope I do too plz don’t help me I’m feeling better now the meds are kicking in thank god for scientists kill the politicians and to all goodnight . My crush is Stevie buscemi and Ronald McDonald is my savior I love you Lindsay Lohan but that’s a story for another day FUCK YOU. And the credits role

from my substack pls read

[sheetmusiclibrarypdf]

Kenny Barron - New York Attitude (1984) Jazz

Kenny Barron - New York Attitude (1984) Jazz Please, subscribe to our Library. Thank you!Tracks: Kenny Barron. "The poetry of the piano" (Jazz) Best Sheet Music download from our Library. A long and intense journey: musical biographyGenerous educator

Kenny Barron - New York Attitude (1984) Jazz

https://www.youtube.com/watch?v=Qsxrr90ChPw Tracks: 1 New York Attitude 00:00 2 Embraceable You, Take 2 06:00 3 Joanne Julia 11:51 4 My One Sin 17:31 5 Bemsha Swing 22:56 6 Autumn In New York 29:49 7 Lemuria 37:51 8 You Don't Know What Love Is 43:03 9 Embraceable You, Take 1 49:32 Credits: Bass – Rufus Reid Drums – Frederick Waits Piano – Kenny Barron Recorded December 14, 1984 at Van Gelder Recording Studios, Englewood Cliffs, N.J.

Kenny Barron. "The poetry of the piano" (Jazz)

For a jazz pianist, facing the piano face to face is an intense exercise in reflection, a reckoning with his baggage in music, a profound internalization process and, above all, a conversation with himself or Conversations with Myself (Verve, 1963), the famous album by Bill Evans, the jazz impressionist, an experience that he would repeat on albums such as Further Conversations with Myself (Verve, 1967), Alone (Verve, 1968), Alone Again (Fantasy, 1975) or New Conversations (Warner, 1978).

Keith Jarrett, a great fan of this kind of face to face with the piano to the point that it could be said that it was his usual mode of expression, has left us excellent albums, among others, The Köln Concert (ECM, 1975), the monumental Sun Bear Concert (ECM, 1978) or the recent Budapest Concert (ECM, 2020) recorded in 2016.

But this tour de force in front of the piano has a rich tradition in the history of jazz and all the great pianists walked this solitary path that allows an inner exploration with infinite possibilities, a continuous process of improvisation in which the usual question / answer happens in the limitless imagination of the musician. Just a few examples of pianists who throughout the history of jazz plunged into the creative solitude of the solo piano. The recognized virtuoso and master of all those who came after Art Tatum in the compilation Piano Solo (Capitol, 1972) that includes various sessions from 1949 —memorable version of Dvořák's “Humoresque”—or in the series The Tatun Solo Masterpieces Vol 1 (Pablo , 1953). He also did numerous takes on the great Fats Waller collected on the Fats Waller Memorial 5 Lps Casket (RCA Victor, 1969). Bud Powell, seminal foundation of bebop and modern jazz on numerous tracks on The Genius of Bud Powell (Mercury, 1956). Another of the basic pillars of modernity like Thelonious Monk in albums like Solo Monk (Columbia, 1965) or Piano Solo (Vogue, 1954). Mainstream pianists ( also wanted to confront themselves in solo dialogue: Mal Waldron — Searching in Grenoble: The 1978 Solo Piano Tompkins Square, 2022) or All Alone (GTA Records, 1966) —, the elegant and lyrical Tommy Flanagan — Solo Piano (Storyville, 1974) or In His Own Sweet Time (Enja, 2020) recording rescued from a concert at the German town of Neubur in 1994; Kenny Drew, Everything I Love. Solo Piano (SteepleChase, 1973); Ray Bryant, Alone with the Blues (New Jazz, 1958); Errol Garner in the series for Decca, Errol Garner playing Piano Solos or Hank Jones, Have You Met Hank Jones (Savoy, 1956) are just a few examples. But also contemporary pianists like Paul Bley, Solo Piano (SteepleChase, 1988); Fred Hersch —the triple album Songs without Words (Nonesuch, 2001) and Solo Piano (Palmeto, 2015)—; Brad Mehldau, Solo piano. Live in Tokyo (Nonesuch, 2004); Marc Copland, John (Illusions Mirage, 2020), tribute to guitarist John Abercrombie who died during the pandemic or the historic German pianist Joachim Kühn, Touch the Light (ACT, 2021) reviewed his jazz musical influences but also classical and pop music and nationally pianists such as Tete Montoliou, Solo piano (Timeless, 1989) compilation of the albums Y yellow Dolphin Street (1977) and Catalonian Folksongs (1978) or the young and versatile Marco Mezquida, La hora fertile (Whatabout Music, 2013), among many others.

And the great Barry Harris, custodian and champion of the bop tradition, could not be missing from this brief account —some consider it a kind of compendium of three of the most influential representatives of modern jazz: Parker, Monk and Powell and a renowned educator of jazz. so many talents that in albums like Listen to Barry Harris: Solo Piano (Riverside, 1961) or the most recent Solo (September, 1990) recorded in the Dutch Studio 44 and in which he makes an extensive tour of the modern jazz tradition through 15 songs, three originals (That Secret Place, So Far, So Good and Tribute to the Duke), readings by Monk (Monks Mood, Ruby my Dear and Blue Monk), by Powell (Hallucinations) and well-known classics by Rodgers, Youmans, Kern or Noble. Harris precisely quoted Kenny Barron when asked about a young pianist he liked, they insisted on being young and reiterated, "Barron, of course!" Finding out soon after, Kenny was pleased that he will think of him as a young pianist, "even though I'm my years now, even though Barry is a lot older than me." Together they led the great album Confirmation (Candid, 1992) as a quartet with Ray Drummond and Ben Riley in the rhythm section, a gathering of teachers recorded at the Riverside Park Arts Festival on September 1, 1991. Facing the piano alone could well be that feeling of “feeling that you are in the zone , a special place where everything works, heart, mind and technique”, as Fred Hersch wrote in the Solo album liner notes . And, of course, Kenny Barron wanted and knew how to sink in front of the lacquered mirror of the piano, with all the respect that a dialogue of such magnitude implies: «The solo piano has always scared me. That is number one. But the only way to deal with it is to deal with it, you know! It's an opportunity for me to challenge myself at every concert and, at the same time, be aware that I'm not Art Tatum. Because sometimes that's in the back of your mind. At the human level. Maybe I'm not doing enough. Maybe I'm not bright enough. That's still on your mind. So I'm trying to get to the point where that's like a noise I can forget about. Don't even worry about it. Worrying about that kind of thing, or how to stop worrying about it. But then again, the only way to stop worrying about it is to face it all the time. Just tell my story, whatever it is. And I think people respond, if you're honest." Interview by Peter Hum, Ottawa Citizen (06.20.2017)

An impressive number of recorded albums —“about 500 as accompanist, or maybe 400”, he once said, and fifty as leader or co-leader—… and yet it is surprising that he has only recorded two solo piano and forty years apart. The first, At the Piano (Xanadu, 1982), includes an excellent mixture of jazz classics and originals that, then, when he was in his forties, were part of his musical spirit baggage. Seven songs for his solo piano debut, three of his own —“Bud-Like” as a tribute to the seminal Bud Powell, the rapturous “Calypso”, perhaps a Rollian wink and a memorable “Enchanted Flower”— and the rest are a must. Fulfillment for any pianist, the timeless ballad “Body and Soul”, the necessary Ellington-Strayhorn path in “The Star-Crossed Lovers” and, of course, Monk, another of his great influences: “Misterioso” and “Rhythm-a-Ning”. ”. High point, then, in his recording career, Robert Taylor pointed out in Allmusic . Now, at eighty and forty years later and, perhaps, in a sort of reckoning or testimonial legacy, The Source (Artwork, 2023) leaves us, recorded in July 2022 at the Theater de L'Athénée Lousi Jovert from Paris. As in At the Piano, it includes well-known own compositions —“What If”, “Dolores Street”, “Sunshower” and “Phantoms”), readings by Monk (“Teo”, “Well You Needn't”), revisits the Ellington-Strayhorn duo (“Isfahan,” “Daydream”) and a Great American Songbook classic (“I'm Confessin'”). On both albums, Barron establishes a lively connection with the listener to offer a musical discourse that is not forced, oblivious to any sense of pretense, in order to navigate various stylistic currents with the utmost elegance and virtuosity —from straight ahead jazz, classics, blues , bossa nova and even free improvisation—which attest to why he is considered one of the masters of jazz in history. "Album that could have been titled Kenny Barron: All The Things You Are ", Ed Enright has written in Downbeat (January 2023)... Indeed, everything that is.

A long and intense journey: musical biography

Eighty years old is Kenny Barron (Philadelphia, Pennsylvania, 1943). He began playing the piano at the age of six — "it was compulsory at home and my mother made me study classical piano until I was 16" — among his teachers, Vera, the sister of Ray Bryant, also a pianist and a native of Philadelphia, a prodigal city in jazzmen : Benny Golson, Tommy Bryant, Philly Joe Jones, Bobby Timmons, Archie Shepp, Lee Morgan, Hank Mobley, among others. See the good ear or that he was good at it... «I became interested in jazz thanks to my brother Bill, a saxophonist, who had records by Charlie Parker, Dizzy, Dexter Gordon... And in Philadelphia there was also a 24-hour jazz station. My brother took me to my first concert with his band when he was 14 and we played standards and pieces from the big bands. Then I moved to New York in 1961, which was a fantastic place at the time. That's how it all started." While still in high school he worked with drummer Philly Joe Jones. And at the age of 19 he moved to New York starting a dizzying career as a freelance , accompanying musicians such as drummer Roy Haynes, trumpeter Lee Morgan or flutist and tenor sax player James Moody, after he heard him play at the Five Spot. Requested musician condition that he attributes: «They call me because I can play well, empathy and the interpretation that one makes of the musical intentions of others also influences, I try to make everything easy, or so I think» Key to his career was his entry in 1962 into trumpeter Dizzy Gillespie's band on the recommendation of James Moody and without Dizzy hearing him play a single note. With Dizzy, in whose group he spent four years, he absorbed and developed a great knowledge and experience of the jazz language as well as an appreciation for Latin and Caribbean rhythms that he would later reflect on albums like Sambao or Canta Brasil . «I joined his band at the age of 19, what am I going to say, he was a great human being and one of the greatest learning experiences I have had . Foremost, Dizzy was very easy to get along with. He wasn't a dictatorial boss type, just a really nice guy. And he was very generous with his knowledge. He knew a lot about chords and harmony, and he was very generous. He always shared. 'Why don't you try expressing this chord this way?' He taught me things on the piano. And some nights, if the last set wasn't full, he'd get me off the piano and play a song or two with Moody. He wasn't a great soloist, but he did know the voices and things like that. And he also knew a lot about rhythms, especially Brazilian rhythms and Latin rhythms, and where they came from. What region of Cuba or what region of Brazil. And also nonmusical things about how to treat people. He always treated people with the utmost respect. In the four years that I was with him, I never saw him get angry. After leaving Gillespie's band, he worked with Freddie Hubbard, Stanley Turrentine, Milt Jackson and Buddy Rich. In the early 1970s, Kenny worked with the great saxophonist Yusef Lateef, whom Kenny credits as a key influence on his improvisational art. I knew Lateef from before, when he was still living in Philadelphia and with whom he had just finished high school, he played several concerts and contributed, not as a performer but as a composer and arranger, to their album The Centaur and the Phoenix (Riverside, 1960) with the original “Revelation” and an arrangement of the standard “Ev'ry Day (I Fall in Love)”. It was Lateef who encouraged him to combine touring with a college education, earning a degree in music from Empire State College (New York). This is how Kenny spoke of Lateef: "He was honest. When he said something, you could believe it. Musically, it was open and very liberating. He was not specific with the instructions. Just be on time and no drugs." His recording debut took place with the album The Tenor Styling of Bill Barron (Savoy, 1961) directed by his brother Bill and which included also with the trumpeter Ted Carson, the bassist Jimmy Garrison and the drummer Frankie Dunlop who was followed by others along with his brother such as Modern Windows or Hot Line . About his brother (1927-1989): «My brother and I used to talk about music. He wasn't a pianist, so he couldn't teach me piano. But we talk a lot about music. We talked about some of the concepts of him and who he liked. He leaned a bit more to the left , in the sense that he liked Cecil Taylor, classical composers like Webern and Stockhausen. So he was into some experimental stuff. That was his musical inclination ». A year of great independent recording activity was 1967. He co-directed the album You Had Better Listen with trumpeter Jimmy Owens and participated in recordings with trumpeter Freddie Hubbard and saxophonists Joe Henderson, Stanley Turrentine, Tyrone Washington, Booker Ervin and Eric Kloss. His ever-expanding discography continued to expand into the '70s, featuring sessions with saxophonists and flutists such as Moody and Lateef, bassists Ron Carter and Buster Williams as well as musicians such as Carl Grubbs, Marion Brown and Marvin 'Hannibal' Peterson. Throughout the 1970s he continued to work regularly with prominent musicians, broadening the stylistic range of his collaborations—Stan Getz, Chico Freeman, violinist John Blake, trombonist and singer Ray Anderson, and drummer Elvin Jones.

It was also the decade that marked the beginning of his career as a leader. Sunset to Dawn (Muse, 1973) their album His debut as a leader featured, among others, bassist Bob Cranshaw and drummer Freddie Waits and his own compositions such as “Sunset” or “Dolores Street”. It was followed by albums such as Peruvian Blue (Muse, 1974), Lucifer (Muse, 1975), Innocence (Wolf Records, 1978) or Togheter (Denon, 1979) in a duet with pianist Tommy Flanagan and in which both maestros interpret six jazz classics. with a language loaded with swing and moments of improvisational brilliance. For Kenny Barron, Tommy Flanagan (1930-2001) was one of his great influences: "My biggest influence was actually Tommy Flanagan, who I first heard during high school on a recording. What got me about Tommy was his touch and his lyricism, those two things. He had this very light, delicate touch, and when he touched it it was very, very logical. It was like speaking in sentences, with punctuation and all. That was my biggest influence. And then I discovered the influence of him, Hank Jones. So that particular style, that's what got me." During the eighties he maintained his intense activity, touring and collaborating with other musicians and publishing twenty albums in various formats, among others, his first recording on solo piano — At the Piano (Xanadu, 1982) —; a duet with bassist Buster Williams — Two As One. Live at Umbria Jazz (Red Record, 1987) and with Red Mitchell — The Red Barron Duo (Storyville, 1988)— Also a duo but alternating on double bass Ron Carter and Michael Moore — 1+1+1 (Blackhawk Records, 1986); a trio in Autumn in New York (Uptown, 1985) with Rufus Reid and Frederick Waits; in Scratch (Enja, 1985) with Dave Holland and Daniel Humair or in Landscape (Baystate, 1985) with Cecil McBee and Al Foster. In the excellent Whatat If? (Enja, 1986) he performed as a quintet with trumpeter Wallace Roney, tenor sax player John Stubblefield, and Cecil McBee and Victor Lewis in the rhythm section including originals like "Phantoms," "What If?" or "Voyage." He also founded the Sphere quartet with tenor saxophone Charlie Rouse, Buster Williams and Ben Riley, whose objective was to celebrate the music of Thelonius Monk and which remained active until Rouse's death in 1988, publishing albums such as Four in One (Elektra , 1982 ), whose recording coincided by chance with the day of Monk's death and therefore was not planned as a commemorative tribute and in which they perform outstanding readings of Monk's classics. It was followed by albums in which, although they do not cover Monk, their spirit is present, such as Flight Path , Sphere on Tour, Pumpkin's Delight , Four for All and Bird Songs released the same year as Charlie Rouse's death. The group met again with the alto sax Gary Bartz publishing the album Sphere (Verve, 1997). Read the full article

[miragestation]

Mirage Station playlist for January 18th, 2023

1. Branko Mataja “Sreo Sam Te” from Over Fields And Mountains (Numero Group 2022) 2. Markos Vamvakaris “Death Is Bitter [Πειραιώτικος μανές (Είναι πικρός ο θάνατος)]” from Death Is Bitter (Mississippi Records 2022) 3. Hakki Obadia “Takseem Rast, viola” from Master Musician Plays Middle East Classics: Iraqi-American Violinist & Composer, 1958-72 (Canary Records 2023) 4. Andaleeb M. Wasif “Ab Wohi Harf-E-Junoon Sab Ki Zuban Tehri Hai  (Once Again The Same Obsession On Every Tongue)” from Andaleeb M. Wasif (Little Axe Records 2019) 5. Wall Matthews “The Dance in Your Eye” from Spine River : The Guitar Music of Wall Matthews, 1967-1981 (Tompkins Square 2020) 6. Tia Blake and her Folk-Group “Turtle dove” from Folksongs & Ballads (Ici Bientot 2022, original 1971) 7. Stella Kola “Epiphany” from Stella Kola (Fountain Flight 2023) 8. Virgin Insanity “Charity” from Illusions Of The Maintenance Man (P-vine 2006, original 1972) 9. The Sensory Illusions “Flotsam Bodes” from Sensory Illusions II (Karaoke Kalk 2023) 10. Yellow Magic Orchestra “Cue” from BGM (A&M 1981) 11. Ran Slavin “Abyss wanderer” from A Night On Earth (Self-released 2023) 12. 高橋幸宏 Yukihiro Takahashi “昆虫記 (konchu-ki)” from Once A Fool,... = ワンスアフール -遙かなる思い- (Canyon 1985)

[thepoetcarpenter]

A Critique of Wilder Mind From the Perspective of Kierkegaardian Existentialism

When I first gave this album a listen many years ago, I was unable to grasp the significance of it then. So I spent the following days in my Ikea bed of my Richmond Hill studio apartment feeling a euphoria though even after a few listens I did not know how much I will love this record. It is the first album in my life where I came to a theory of how rock albums should be made. To know if it is a great record or not, it should not be this sugar rush you feel, but through the narrative and composition of the songwriting and performance it should keep you intrigue ‘til it envelop your heart with complete ecstasy. And this is what this album was for me. A masterfully written piece of work.

The many topics that Wilder Mind covers range from unceasing love, the frailty of it, life after love, and also the frailty of it as well. So it is befitting to say this is a record that delts in thematic existentialism.

From the first song, “Tompkins Square Park”, brings forth a tale of a love being given up. The narrator resigns the hope that this love will continue, and knows it has to end. From the first bridge, it reads /Oh babe, meet me in Tompkins Square Park /I wanna hold you in the dark /One last time /Just one last time /And oh babe, can you tell what's on my tongue? /Can you guess that I'll be gone? /With the twilight /With the twilight. The story of this love sacrificed, his resignation to it, and his reconciliation to the fact he will never get it back marks him from the perspective of Søren Kierkegaard, as the knight of infinite resignation. He has given up the great love, and as this love is sacrificed, there is no other path for him but to reconcile that it is gone forever. This great theme of the knight of infinite resignation is told in many great tragedies, from Romeo + Juliet, Titanic, Shutter Island, and The Great Gatsby. Also coincidentally, it is also the great theme of Leonardo DiCaprio’s career.

In “The Wolf”, Mumford tells us of a story of the dangers of life and his unceasing love for another. It is songwriting full of vividness and imageries written into the three bridges. However, the existentialism that concerns us is in the chorus. It reads /Been wondering for days/ How you felt me slip your mind/ Leave behind your wanton ways/ I want to learn to love in kind/ 'Cause you were all I ever longed for. Here, Mumford confesses his unceasing love for her and asks her to quit her cruel ways toward him. Then in the next verse he invokes the absurd, though it has been a violent love, he will make it work and continues to love her. The absurd here is that this is a damaged love and unrepairable to everyone else, but in his faith, they will continue to love. By virtue of the absurd, tasked to make a broken love whole, he accomplishes the impossible. And by this impossibility made possible, in Søren Kierkegaard’s eyes, Mumford becomes the knight of faith.   

In “Believe”, it is an account of a person with a lack of faith in the other. There is a wall between them, an insurmountable lack of trust. The voice of Mumford says to the other in the first chorus /I don't even know if I believe/ I don't even know if I believe/ I don't even know if I believe/ Everything you're trying to say to me. His trust for the other is a tank on empty. In the following bridge, he indicates that this lack of trust is due to his own faulty judgement as read /I had the strangest feeling /Your world's not all it seems /So tired of misconceiving /What else this could've been. Thus as a result of his inability to make clear and sound judgement, Mumford reveals in the subtlety his lack of trust is his own fault. In other words, he has no faith in the other ‘cause his self is separated from the other’s self. According to Kierkegaard, this wall of separation cannot be bridge by rationalising. It must be done through a leapt of faith. And as this untrust is from his own fault, it must be up to him to make that leapt of faith into believing. And through faith, the insurmountable wall is bridged. 

In “Only Love”, it describe the universality of the concept of love. Mumford recalls the old adage, /Didn't they say that only love will win in the end. Though he is down at the bottom of the rung, he still believe the ideal of love will thriumph. He still believe in the universal, in other words, he still believe in the universality of love. However, from the failures of this love that he has, he becomes disillusioned. But still, he will not give up this love as he sings /And I hunger and I thirst/ For some shiver/ For some whispered words/ And the promise to come. The key verse here is the last, as he still believes this love will work out in the end like a promise fulfilled. Though he admits /And you saw me low/ Alone again/ Didn't they say that only love will win in the end. He accepts this love have left him in the contradiction of being alone, for is it not to love is to be not alone. Yet he is alone nonetheless, and as he repeats / Didn't they say that only love will win in the end, he has faith that he still will have this love at the end. Thus, again Mumford becomes the knight of faith through the virtue of the absurd. 

In “Ditmas”, it encapsulates the entire themes I discussed in one single song. It is a great song and beautiful in its sorrow and frailty of love and life. It begins with the introduction /And in time /As one reminds the other of the past /A life lived much too fast to hold onto /How am I losing you? As love slips out of our grasp, and the life we had with them escape away from our hands, we can do nothing but mourn for its lost. Then he continues with /A broken house /Another dry month waiting for the rain /And I had been resisting this decay /I thought you'd do the same. Here he is indicating that he has resisted of letting her go, of letting the love decay in a ruin ‘cause he holds this to be his utmost truth. Their love he takes as the great ideal of the universality. In other words, he knows his belief in love is the universal, the unequivocal and undeniable great truth. Mumford then confesses that this love has led him to the thoughts of death. As he states /Fragile sound/ The world outside just watches as we crawl/ Crawl towards a life of fragile lines/ And wasted time. The frailty of his life is the result of the frailty of his love. Furthermore, it is the overwhelmingly sadness of this love that has brought him to his knees. Though he is in despair, according to the Kierkegaardian view, he is also being unconscious in despair of having a self. Though love of others can fail at times, he does not know he has a self outside his finitude, and is ignorant that there is a love for him outside of it as well. And what I mean is that though love of others can fail, the love of God can never. Precisely ‘cause he is unconscious in despair of having a self, the love of God cannot save him from the fear of death for he has no faith in God other than his broken faith in his love for the other. He thus becomes a knight of infinite resignation. He is grounded in the universal. So he does not make a leapt of faith that he will get her in this life not in virtue of the absurd, not in virtue for all things are possible with God. ‘cause he does not know of God, he remains as the knight of infinite resignation and does not overstep into the knight of faith. In other words, ‘cause he does not have absolute faith in God, he does not become the knight of faith. For if he had absolute faith in God, after sacrificing his love, he would have faith he will be united with his love in the end, ‘cause all possibilities are graspable with God.

Wilder Mind is a complex album full of sophistication and poignant themes of love and life and the frailty of them. It is in my opinion the best album by Mumford and Sons, and a contender for one of the greatest album of all time. The themes of love and life entails the complex ideals and notions of existentialism. And when viewed through Kierkegaard’s perspective, the songwriting of this record becomes enlightening and clamouringly vivid and expressive.

[mywifeleftme]

11: Wall Matthews // Spine River

Spine River: The Guitar Music of Wall Matthews, 1967—1981 Wall Matthews 2021, Tompkins Square (Bandcamp) Every collection should have a few pensive instrumental acoustic guitar records, since the life of anyone who spends hundreds or thousands of dollars on a pointedly outmoded format is bound to be one touched by a frequent need to have a lie-down in the dark. If it should cross your path, Spine River: The Guitar Music of Wall Matthews, 1967—1981 is a fine specimen of its kind.

Matthews is principally known as the guitarist of The Entourage Music and Theater Ensemble, a mid-‘70s acoustic avant-garde group whose compositions for modern dance performances have enjoyed a revival in recent years. While the earliest numbers here, recorded when Matthews was a teenager, are fingerpicked country folk in the Leo Kottke mould, his style changes dramatically after joining the Entourage in 1974. Though the previously unreleased 1978 home demos that constitute the bulk of this release are solo recordings, the “E Minor Suite” and “The Doves of Venus” gesture towards chamber ballet; I can readily imagine the increasingly-gnarled “Wendy’s Piece” soundtracking a single dancer’s descent into frenzy.

The LP wraps with a few selections from his first solo album, 1981’s The Dance in Your Eye, which in their faint jazziness and dewy melodies could be at home on one of the better Windham Hill releases of the era. Ultimately, the evolution of the guitarist through this period is organic enough that Spine River hangs together well as a collection, and showcases Matthews’ deftness and imagination as a player and composer.

11/365

[bubblesandgutz]

Every Record I Own - Day 728: Life’s Blood Hardcore A.D. 1988

I have a confession: I’ve never cared much about New York hardcore.

I like Gorilla Biscuits. I like the last Youth of Today 7″. I like Born Against. One of the best hardcore shows I witnessed was Sick of it All at the King Cat Theater in Seattle back in 1995. But that just about covers my interest in NYHC.

I thought maybe that’d change when I moved to New York. I revisited Judge, Cro-Mags, Agnostic Front... all to no avail. I’ve always chalked it up to being more into the anti-violence / “flex your head” angle of the DC scene as opposed to the “my crew is gonna kick your ass” vibe of their New York peers. My perception of the scene titans has not improved over the course of COVID, what with the Tompkins Square Park show fiasco and the underlying anti-mask / anti-vaxx undercurrents of key organizers and participants. 

But as I said, I was a big fan of Born Against. And I was a big fan of Sticks and Stones, a New Jersey band who released a split 7″ with a NYHC band by the name of Life’s Blood. And whaddaya know... this Life’s Blood band just happened to feature Adam Nathanson and Neil Burke, who would later go on to form Born Against. 

Hardcore A.D. 1988 assembles the entire recorded output of Life’s Blood, along with a few scattered live tracks, onto one LP. In many ways, it’s classic NYHC: short raging songs with stomp-worthy breakdowns and lyrics about unity, betrayal, and fighting authority. Maybe it’s just a matter of knowing these guys went on to write songs like “Half Mast” and “Mary and Child” that makes these songs seem distinctly less macho and thuggish. Or maybe it’s just that their sound owes more to the primitivism of punk than the crossover sound that permeated a lot of the NY scene. Whatever the case, I enjoy Life’s Blood.

[gatheringbones]

[“The Needle Exchange Caucus grew. Gay Wachman, a lesbian ACT UPer who was a doctor, would receive some needle shipments. People would make bleach kits on Friday nights, and Saturdays they would go down to Attorney Street and set up on the chess tables in the corner park. ACT UP would distribute bags that contained a plastic bottle of bleach, a plastic bottle of water, a cooker, cotton, condoms, and instructions on how to bleach a set of equipment. Users would come along, and if they exchanged ten syringes, they’d get twelve back, so they got a bonus of two. “In terms of actual public health or even HIV prevention that [amount] was pretty useless, but it was what we had.”

On Saturdays there were so many people doing syringe exchange that Allan thought it was silly. He’d go down to Attorney and there seemed to be twenty people there “all in black leather jackets and black boots and tight black pants,” and they would be gathered around as one person came up to get their syringes. And Allan said, I can’t do this. So he started doing the exchange on Wednesdays, and decided the way to do it was to keep it really small. Thereafter, there were never more than about four ACT UP activists at a time, often Allan, Juan Mendez, Donna Binder, and Debbie Gavito. One of the drug users from the Lower East Side named AB took them around on Wednesdays during lunch to places where addicts gathered.

The tour included Tompkins Square Park, and the shantytowns under the Manhattan Bridge and on Eighth Street between Avenues C and D. Large numbers of homeless people were living in Tompkins Square Park, in hand-built shelters. They’d sleep on the benches and build structures over them. Within those encampments, the drug injectors would often be in one place, so the activists would know where to go. They built relationships with people and would walk around saying, Free works. Syringes, syringes. Free works. Needles, needles. And people would say, Wait up, and then ask for all kinds of referrals from housing to health care to food. The late ACT UPer Juan Mendez worked for the Lower East Side Family Union, a social service agency, and he brought in a woman from the health department, Raquel Algarin, who then worked at the Lower East Side Harm Reduction Center. They would meet in a restaurant called the Daffodil on Seventh Street, just off Avenue A, and have breakfast there. Raquel was told by the government she had to walk one block behind the activists to do referrals, “which, of course, she never did, because that’s absurd.” Allan talked to drug users about the Knicks, about the weather. He became that same bartender that he was when he worked in the bar. “It’s not solely about providing help or social services. It’s about treating people like people.”]

Let The Record Show: A Political History of ACT UP, New York, 1987-1993, by Sarah Schulman

[tilynation]

Lily lives directly across from Tompkins Square Park in NYC, and Mumford & Sons have a song titled Tompkins Square Park off their 2015 album Wilder Night. Taylor has been rumored to have ghost written for them, long before they ever collabed on Evermore.. look at these lyrics from that song 👀: “But no flame burns forever, oh no, you and I both know this all too well”

Thanks for this question. I don’t think Mumford & Sons’ “Tompkins Square Park” is about Lily. It was recorded late 2014/early 2015 and released in May 2015. The sad lyrics at that point wouldn’t fit Tily. If the song came out in 2019 or later I’d think it could potentially be about her, but the timing of 2014/early 2015 doesn’t fit. I do think the “All Too Well” references in the song are interesting though and - might - have something to do with that song’s muse or possibly even be Jake’s response to “All Too Well” since he was friends with Mumford & Sons. It’s all probably just a coincidence though.

[ginzyblog]

“Be kind to the Monk in the 5 Spot who plays      lone chord-bangs on his vast piano lost in space on a bench and hearing himself      in the nightclub universe—”   (Allen Ginsberg - Who Be Kind to) Celebrating @intljazzday’s 10th Anniversary (chaired and led by Herbie Hancock & UNESCO Director General Audrey Azoulay)  This year it’s drawing special  attention to jazz musicians worldwide hit by the pandemic who depend on performing for a living.  So, as Herbie says,  put on your favorite Jazz record and celebrate your favorite jazz artist!   (Photo: Thelonious Monk & Allen ginsberg at the Baroness’ apartment, Tompkins Square East,  NYC late 1960, photographer unknown, courtesy Ginsberg collection) @herbiehancock @intljazzday #allenginsberg #jazz #theloniousmonk (at East Village) https://www.instagram.com/p/COTYf8CheA4/?igshid=1dbxa2hnf5kh9

[1863-project]

I posted 560 times in 2021

111 posts created (20%)

449 posts reblogged (80%)

For every post I created, I reblogged 4.0 posts.

I added 912 tags in 2021

#reblogs - 449 posts

#pokemon - 140 posts

#submas - 66 posts

#i like trains - 55 posts

#history - 49 posts

#replies - 34 posts

#drawing - 31 posts

#art - 31 posts

#comedy - 29 posts

#original characters - 28 posts

Longest Tag: 139 characters

#one is 'that horn gave me chills and the chills have absolutely nothing to do with the air temperature out here today. absolutely nothing!'

My Top Posts in 2021

#5

Crab Rave As A Primary Source?

This is going to sound a bit weird, but as a historian and archivist one of my favorite primary sources, and one that updates frequently, is the comments section of the video Crab Rave.

Crab Rave has become the internet’s go-to video whenever a reviled public figure dies. If you were hated in life, the odds of the video trending upon your death are now fairly high - most recently, Crab Rave’s views picked up again folllowing the death of Prince Philip, and today I went to check and see if there were any comments about Bernie Madoff. (So far, there aren’t any.) The reason I find this fascinating is that Crab Rave’s comments section gives a glimpse into public opinion, with the comments technically being primary source documents describing the views of contemporary average people.

So if you’ve left a comment like this on Crab Rave:

...you’ve actually inadvertently helped a future historian by leaving a record of the general public’s view of a contemporary public figure.

So I know this is going to sound a bit odd, but we need to archive the comments section of Crab Rave.

50 notes • Posted 2021-04-14 18:49:33 GMT

#4

This one’s for you, boys.

55 notes • Posted 2021-06-10 16:44:50 GMT

#3

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71 notes • Posted 2021-11-20 19:11:04 GMT

#2

I finally went back on the subway for the first time since the pandemic started, so it only felt right to bring Ingo and Emmet “home.” (Ingo’s hat is a bit squished because he was in my bag, but he’s fine.) They’re on the uptown R Train here.

Bonus: they came with me to Tompkins Square Park and had curry.

See the full post

79 notes • Posted 2021-06-19 02:39:32 GMT

#1

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119 notes • Posted 2021-07-04 16:25:46 GMT

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