The Skinny

04/17 | Rafi Zabor’s Updoc, Fri., 4/17 & Tues. 4/21 | Posted by Bob Rogers

SecondMSib attempt to air this show in which: Updoc’s ace programmer decided to take the week off, sort of. Well, when you program a complete Mahler symphony, especially his longest, you’ve pretty much got your two-hour slot aced for the week—not that that was his motivation! No, his ear got hooked by last week’s alternation of Mahler’s 3rd excerpts and bebop alto: those selections were from Jascha Horenstein’s great version; this time he’s moved on to Claudio Abbado’s radiant conduction of his last, greatest orchestra, the Lucerne Festival guys and gals with whom he Blu-rayed probably the finest Mahler cycle anyone has achieved. Check this vast, nutty, pantheistic extravaganza out Friday at 8PM and noon next Tuesday, six-hours-behind-Lake-Lucerne time: it’s pure entertainment, and the programmer has left a lot of explaining for the annotator to do, so if you enjoy classic radio-baritone announcing there’ll be plenty of it. He has to link the Mahler with the finisher, Sibelius’ last symphony, the 7th, in a sweeping live performance of Simon Rattle with the Royal Copenhagen (Konigslige Kapel) bunch, and he goes the “the two symphonies prominently lift adjacent phrases from the last movement of the Brahms 1st” route, which doesn’t really tell us much, so he fills in with the better-known meeting of the two composers in 1907, when Mahler, having just finished his Symphony of a Thousand, spoke of trying to include the whole world, and Sibelius, having recently completed a 3rd Symphony in which he pared away received romantic rhetoric and set sail for the eventual destination of the one-movement 7th, finished his drink and grumbled about the condensed concentration of thematic material. It works both ways, especially in performances as fine as these. Next week we’ll make with the bebop, once these polarised symphonic apotheoses get digested. (Repeat “polarised symphonic apotheoses get digested” three times fast and call me in the morning.)

04/16 | Ken Irwin’s Jubilation, Ep. 168 | Posted by Bob Rogers

Wed 4/15/14 – Midnight – 3 AM

Fri 4/17/14 – 4 – 7pm

Mon 4/20/15 – Noon – 3 PM

Hour One

Pat Martino / Interchange / Nexus / HighNote 2015

Jack Allen / Scrapple From The Apple / Nawlins Boy / self released 2015

Wes Montgomery / Twisted Blues / Live in Belgium 1965 / Gambit 1965

 

Alyssa Allgood / Yardbird Suite / Lady Bird / self released 2014

Johnny Hartman / On Green Dolphin Street / The Tokyo Albums / Gambit 1972

Jose James / What A Little Moonlight Can Do / Yesterday I Had The Blues / Blue Note 2015

Sarah Partridge / Heart’s Desire / I Never Thought I’d Be Here / Origin 2015

Donna Lewis / Waters of March / Brand New Day / Palmetto 2015

 

Steve Turre / Bu / Spiritman / Smoke Sessions 2015

Renaud Penant Trio / So Do It! / I Want To Be Happy / ITI

 

Hour Two

Kaze / Inspiration / Uminari / Libra Records 2015

Omar Sosa Quarteto AfroCubano / Momento IV / Ile’ / Ota’ 2015

Petros Klampanis / Luiza / Minor Dispute / Inner Circle Music 2015

Matt Panayides / Gravity And Walt / Conduits / PacifiCoastJazz 2015

 

Twin Danger / Pointless Satisfaction / Twin Danger / Decca 2015

Mike Osborne / And Now The Queen / Dawn / Cuneiform 2015 (rec. 1966)

Tigran Hamasyan / Lilac / Mockroot / Nonesuch 20015

 

Greg Burk & Ra-Kalam Bob Moses / Air Dancers / We Are One / Ra-Kalam Records 2015

 

Hour Three

Obed Lev-Ari / Lost and Found / Threading / Anzic 2015

Adam Shulman / Apartment 6 / here-there / OA 2 Records 2015

Gene Ess / The Trials / Eternal Monomyth / Simp Records 2015

 

Bobby Kapp / Romance Into Love / Themes & Transmutation/ self released 2014

Bobby Kapp / It Could Happen To You / Cilla Sin Embargo / self released 2015

Anat Cohen / Beatriz / Luminosa / Anzic 2015

Charles McPherson / Manhattan Nocturne / The Journey / Capri 2015

 

Janice Friedman Trio / Half And Half / Live at Kitano / CAP 2015

Ken Irwin
Host of Taintradio’s “Jubilation”
and
Host of WMUA’s Java Jazz
79 Harrison Ave
Greenfield, MA 01301

wmua.org
taintradio.org
413 775-3193

04/15 | Max Shea’s Martian Gardens, Ep. 118 – Wed., 4/15 & Sat., 4/18 | Posted by Bob Rogers

TAINTRADIO.ORG
webcast: Wednesdays 6:00 p.m. — 9:00 p.m. EDT & Saturdays 3:00 a.m — 6:00 a.m.
Webcast date: April 15, 2015
Host: Max Shea
online playlists:
Martian Gardens blog
email: maxtshea@gmail.com

SINGLE PLAY
Guido Arbonelli:
a. The Towers’ Angels (2:42)
b. DIS-SPLAY-ONE (1:08)
Namaste Suite
MPS Music & Video/2003
composers: a. Guido Arbonelli; b. Carey Nutman; clarinets: Guido Arbonelli; recorded at Guido Arbonelli’s studio, Perugia, Italy; total excerpts time: 3:50

SET ONE
Roger Reynolds: Colombi Daydream
Complete Cello Works
Mode Records/2014
cello: Alexis Descharmes; recorded at Salle Cortot, Paris, July 2014; composition year: 2010; time: 7:48

James Dashow: Disclosures
Electro Acoustic Music II (various artists)
Neuma Records/1991
(for cello and computer); cello: Lucca Paccagnella; digital sound synthesis realized at the University of Padova, Padova, Italy, and EDI-PAN Studio, Rome Italy; composition years: 1988-1989; time: 14:46

SET TWO
Frank Zappa: The Perfect Stranger
Boulez conducts Zappa — The Perfect Stranger
Barking Pumpkin/1992 (orig. 1984)
Ensemble InterContemporain, conductor: Pierre Boulez; recorded at IRCAM, Paris, July 1984; composition year: 1983; time: 12:42

Michael Gordon: Dystopia (excerpt)
Dystopia
Cantaloupe Music/2014
Los Angeles Philharmonic, conductor: David Robertson; recorded at the Walt Disney Concert Hall, Los Angeles, January 12, 2008; composition year: 2007; excerpt time: 10:00

SET THREE
Pierre Henry: La Voile de Orphée II (short version)
(digital download)
musique concrète realized by Pierre Henry in collaboration with Pierre Schaeffer at  Club d’Essai studio, RTF (Radiodiffusion-Télévision Française), for the opera Orphèe 53, premiered at the Donaueschingen Festival, 1953; composition years: 1951-1953; time: 15:38

John Eaton: Thoughts on Rilke
First Performances
Syn-Ket and Moog Synthesizers in the 1960s
Electronic Music Foundation/2007
soprano: Michiko Hirayama; Syn-Kets: John Eaton, Jane Schoonover Smith; vibration plate, sound mixing: Paolo Ketoff; text: Rainer Maria Rilke, “Sonnets to Orpheus, Part II, Sonnet 10,” composition year: 1966; time: 10:57

SET FOUR
Francis Dhomont: Vol d’Arondes (Flight of the Swallows)
Jalons
empreintes DIGITALes/2001
electroacoustic music realized at the Métamorphoses d’Orphée multichannel studio, Ohain, Belgium; premiered at  the 6th International Acousmatic Festival L’Espace du son in the XL Théâtre du Grand Midi, Brussels, November 21, 1999; composition years: 1999, revised 2001; time: 11:25

Robert Scott Thompson: Flora of Fynbos
Repeated by Dreams
Aucourant Records/2014
computer/electroacoustic music: Robert Scott Thompson; recorded at the composer’s studio, Roswell, Georgia; composition year: 2014; time: 14:43

SET FIVE
John Cage: Second Construction
The Works for Percussion 2
Mode Records/2012
Third Coast Percussion; recorded at Boutell Memorial Concert Hall, Northern Illinois University, DeKalb, Illinois, June 2011; composition year: 1940; time: 7:50

Tim Patterson: Five Miniatures (J. Bergamo)
1. 0:45
2. 0:21
3. 0:26
4. 0:18
5. 0:46
Like Style, Dig? The Music of John Bergamo
Innova Recordings/2015
(composer: John Bergamo, for percussion quartet); percussion: Tim Patterson, Tom Ross, Joseph Murfin, Jack Alcorn; arr. Tim Patterson; recorded at Blast House Studios, Madison, Wisconsin; arr. composition year: 1966; time: 2:31

Meehan/Perkins Duo: Cruising Speed (from Travel Diary) (P. Lansky)
Travel Diary
Bridge Records/2011
composer: Paul Lansky; percussion: Todd Meehan, Douglas Perkins; recorded at Jones Concert Hall, Baylor University, Waco, Texas, January 2010; composition year: 2007; time: 4:15

Harold Davidson: Auto Accident
Restless, Endless, Tactless: Johanna Beyer and the Birth of American Percussion Music
New World Records/2011
Meehan/Perkins Duo & The Baylor Percussion Group; recorded at Jones Concert Hall, Baylor University, Waco, Texas, December 14, 2009; composition year: 1935; time: 2:45

SET SIX
Harry Partch:  The Dreamer That Remains — A Study in Loving
The Harry Partch Collection Volume 3
New World Records/2005 (orig. CRI/1997)
The Harry Partch Ensemble: Orchestra with Partch instruments, conductor; Jack Logan; intoning voice: Harry Partch; narrator, Brash Musician: Mark Hoffman; The Voice, Second Musician: Danlee Mitchell; chorus: Katherine Bjornson, Alexis Glatly, Michael Crosier; text: Harry Partch; recorded in San Diego, California, 1972; composition year: 1972; time: 10:29

Harry Partch: Ring Around the Moon — A Dance for Here and Now
a. Phase One: Well, bless my soul! (Well, bless my soul!) (2:48)
b. Phase Two: One, two, three, four — X,Y, Zee (2:12)
c. Phase Three: Shake hands now, boys,  and at the sound of the bell come out fighting! (2:55)
d. Phase Four: Mumbo jumbo, hocus pocus, hoit toity…(Look out! He’s Got a gun!) (1:26)
[Movement II from Plectra and Percussion Dances — Satyr-Play Music for Dance Theater]
Plectra and Percussion Dances
An Evening of Dance Theater
Bridge Records/2014
PARTCH ensemble (ingredients may include — diamond marimba, Eroica, cymbal: Erin Barnes; voice: Paul Berkoids; kithara: Alison Bjorkedahl; canon, surrogate kiethara, Eroica: Matt Cook; cloud chamber bowls, chromelodeon: David Johnson; saxophone: Ulrich Krieger; percussion: Yumi Lee; canon: Tom Peters; guitars, canons: John Schneider; adapted viola: Derek Stein; bowls, bass marimba, Eroica, fight bell: Nick Terry; bass marimba, voice: T.J. Roy; guitar, canons: Alex Wand); recorded at Disney Hall/Redcat Theatre, Los Angeles, June 9, 2013; composition years: 1949-1950; total time: 9:20

SET SEVEN
Pauline Oliveros: Big Slow Bog (excerpt)
Reverberations — Tape and Electronic Music 1961-1970
Important Records/2014
electronics: Pauline Oliveros; realized at Mills Tape Music Center, Mills College, Oakland, California, 1966-1967;  excerpt time: 5:00

Douglas Doherty: Heart of the City (excerpt)
On the Edge of Chaos
MPS Music and Video/2012
(electroacoustic music); recorded at the composer’s Studio, Newcastle, England; street preacher recorded at Grey’s Monument, Newcastle Upon Tyne; composition year: 2000; excerpt time: 3:13

Pas Musique: Inside the Spectrum
Inside the Spectrum
Alrealon Musique/2015
electronics, sound collage: Robert L. Pepper, Michael Durek, Amber Brien; John V. Worthey; time: 3:56

The Human League: Dream of Leaving*
Travelogue
Virgin/1988 (orig. Virgin LP/1980)
vocals: Philip Oakey; synthesizers, lyrics: Martyn Ware, Ian Craig Marsh, Philip Adrian Wright; recorded at Monumental Pictures Studio, Sheffield, UK, 1980; time: 5:52

*TAINT Radio version only

— FIN –

04/12 | Dowhome With Howling Dick, Sun. 4/12, Tues 4/14, Thurs 4/16 & Sat. 4/18 | Posted by Bob Rogers

This week Howling’s travelling so he’s dug into the archives and pulled out an interview with one of his mentors Paul Jones in which we hear amongst other anecdotes, stories of double crossing, the art of maracas and how PP Pond was almost the lead singer of the Rolling Stones. If that isn’t fascinating enough, the conversation is sprinkled with classic Manfreds tunes and some of the finest blues ‘n roots on the net.

PaulJones

PP POND – “No money in the blues Brian”

Work Song Oscar Brown Jr. Tells It Like It Is & In A New Mood VIDEO
Without You Manfred Mann The 5 Faces Of Manfred Mann VIDEO
I’m Your Kingpin Manfred Mann The 5 Faces Of Manfred Mann VIDEO
Double Crossing Time John Mayall Bluesbreakers VIDEO
Smokestack Lightnin’ Howlin’ Wolf Moanin’ In The Moonlight VIDEO
Bring It To Jerome Bo Diddley Bo Diddley VIDEO
Let’s Go Get Stoned Manfred Mann The 5 Faces Of Manfred Mann VIDEO
I Put a Spell On You Manfred Mann The 5 Faces Of Manfred Mann VIDEO
I’ve got my mojo working Muddy Waters Muddy waters at Newport 1960 VIDEO
I Can’t Quit You Baby Led Zeppelin Led Zeppelin I VIDEO
Red House (Live) The Jimi Hendrix Experience Stages (Disc 2) Paris ’68 VIDEO
Sonny Boy Williamson Paul Jones & Jack Bruce Blowing The Blues – A History Of Blues Harmonica 1926-2002 VIDEO

04/12 | Barry Marshall-Everitt’s House of Mercy, Sat. 4/11 & Thurs. 4/16 | Posted by Bob Rogers

Our first session comes from a London country legend who led The Rockingbirds to BBC’s Top Of The Pops chart fame in 1990. Celebrating 25 years of consistant recording, gigging and, as promoter & host he has been at the helm of the longest running country / americana / blues and  pub rock live music Sunday club in London, Come Down & Meet The Folks is now hitting 18 years and growing stronger every year. Alan Tyler has now put a touring trio together and under the umbrella of The Alan Tyler Show they play newly penned Tyler songs and classic country on the tour and at our session.
Awna Teixeira was a leading influence in the succesful roots band from Canada Po’girl,  and her second solo album is a beauty we hear songs from ‘ Wild One ‘ in our second session. Awna is accompanied by Jay Speed on guitar and vocalist Danni Nichols.
Record of the Week is the latest release from London roots bluegrass folksters The Barker Band who take a noutical slant on this, their finest so far. ‘ The Land We Hold Dear ‘….released in May
hour one
Intro – In The Red – Tammy Rogers
You Took The Best of Me – The Barker Band – ( The Land We Hold Dear )
Somethings Got To Give – Blair Dunlop – ( House Of Jacks )
Holywood – The Barker Band – ( The Land We Hold Dear )
Spiral Road – Suzanne Jarvie – ( Spiral Road )
Open Road – Alice DiMicele – ( Swim )
North – Blackie & The Rodeo Kings – ( South )
The Fishing Song – The Barker Band – ( The Land We Hold Dear )
The Catfisherman – Marah – ( Kids In Philly )
Gone Fishing – Bex Marshall – ( The House Of Mercy )
Red Rocking Chair – Dubl Handi – ( Morning In A New Machine )
Over And Over And Over Again – Cahalen Morrison & Country Hammer – (  The Flower Of Muscle Shoals )
Badly Bent – J.P. Harris & The Tough Choices – ( I’ll Keep Calling )
hour two
In session The Alan Tyler Show
Don’t Fear The End – The Barker Band – ( The Land We Hold Dear )
Colfax Ave – The Delines – ( Colfax )
Love Will Find A Way – Willy Bo Walker & Karen K – ( A Long Way From Heaven )
You’d Be So Nice To Come Home To – Victor & Penny & The Loose Change Orchestra – ( Live At The Living Room Theatre )
hour three
In session Awna Teixeira
Leave My Bonny – The Barker Band – ( The Land We Hold Dear )
Do Or Die – Red Moon Road – ( Red Moon Road )
The Road – Harpeth Rising – ( Harpeth Rising )
What I Did – Hey Mavis – ( What I Did )
Teardrops – Johnny Dowd – ( Thats Your Wife On The Back Of My Horse )
Bad Boy – Joel Fisk & The Break Down – ( The Well )
Next week in session Ron Sexsmith & Johnny Dowd
all the best  Barry
Barry Marshall-Everitt
House of Mercy Ltd.
PO Box 49684
London N8 7YH
UK
www.houseofmercy.tv
www.bexmarshall.co.uk
www.facebook.com/barry.marshalleveritt

04/12 | Bob Rogers’ taint town live, ep. 518 – Sun. 4/12 & Wed. 4/15 | Posted by Bob Rogers

fri&sat mid-3am (EDT); mon&wed 9-mid; tues 8-11am

taint town live, ep. 518
Mikko Innanen with William Parker and Andrew Cyrille, Look for the Red Door (Songs for a New Decade) 2014
David Berkman w/Dayna Stephens, Adam Kolker, Billy Drewes, Linda Oh & Brian Blade, Past Progressive (Old and New Friends) 2015
Charles Lloyd, Flying Over The Odra Valley / Gardner (Live At Jazztopad Festival, Wroclaw, Poland: Wild Man Dance) 2015

Nobuki Takamen, Smile (Solo Guitar) 2014
John Fedchock Quartet, Make Someone Happy (Fluidity) 2015
Harold Mabern, Portrait of Jennie (Afro Blue) 2015
David Ake, Hills (Lake Effect) 2015
Lainie Cooke, I Have A Feeling I’ve Been Here Before (The Music Is The Magic) 2014
Dahi Divine, Ajna (The Element) 2015

Hailey Niswanger, Say What It Is (PDX Soul) 2015
Bluiett – Jackson – Thiam, Papa (Join Us) 1999
J.D. Souther, One More Night (If The World Was You)
The Microscopic Septet, Night Train Express / title (Lobster Leaps In)
Melvin Gibbs’ Elevated Entity, Mojuba (Ancients Speak)

Jack Allen, Oleo (Nawlins Boy) 2014
Harris Eisenstadt, Agency (Golden State II) 2015
Steve Wilson & Wilsonian’s Grain, Well You Needn’t (Live in New York: The Vanguard Sessions) 2015
Susie Ibarra & Assif Tsahar, Happy Disillusion (Home Cookin’)
Fred Anderson, Hamid Drake, Kidd Jordan & William Parker, 17:17 (2 Days In April)

Nels Cline, Andrea Parkins & Tom Rainey, Poem In An Ashtray (Out Trios Volume Three: Ash And Tabula)
Pandelis Karayorgis Quintet, Veil (Afterimage) 2014
Donna Lewis, Bring Me the Disco King (Brand New Day) 2015

*time is relative

Bob Rogers
taintradio.org, music 24/7 – non-commercial, listener-funded

A 24/7 venue for independent music-focused producers

JazzWeek Internet Station of the Year 2011

700 billion listeners can’t be wrong

04/09 | Rafi Zabor’s Updoc, Fri., 4/10 & Tues. 4/15 | Posted by Bob Rogers

MahSibUpdoc’s ace programmer decided to take the week off, sort of. Well, when you program a complete Mahler symphony, especially his longest, you’ve pretty much got your two-hour slot aced for the week—not that that was his motivation! No, his ear got hooked by last week’s alternation of Mahler’s 3rd excerpts and bebop alto: those selections were from Jascha Horenstein’s great version; this time he’s moved on to Claudio Abbado’s radiant conduction of his last, greatest orchestra, the Lucerne Festival guys and gals with whom he Blu-rayed probably the finest Mahler cycle anyone has achieved. Check this vast, nutty, pantheistic extravaganza out Friday at 8PM and noon next Tuesday, six-hours-behind-Lake-Lucerne time: really, it’s pure entertainment, and the programmer has left a lot of explaining for the annotator to do, so if you enjoy classic radio-baritone announcing there’ll be plenty of it. He has to link the Mahler with the finisher, Sibelius’ last symphony, the 7th, in a live performance of Simon Rattle with the Royal Copenhagen (Konigslige Kapel) bunch, and he goes the “the two symphonies lift adjacent phrases from the last movement of the Brahms 1st” route, which really doesn’t tell us much, so he fills in with the better-known meeting of the two composers in 1907, when Mahler, having just finished his Symphony of a Thousand, spoke of wanting to include the whole world, and Sibelius, having recently completed a 3rd Symphony in which he pared away received romantic rhetoric and set sail for the eventual destination of the one-movement 7th, finished his drink and grumbled about the concentration of thematic material. It works both ways, especially in performances like these. Next week we’ll make with the bebop, once these polarised apotheoses of the symphony are digested. (Repeat that clause three times fast and call me in the morning.)

04/09 | Max Shea’s Martian Gardens, Ep. 117 – Wed., 4/8 & Sat., 4/11 | Posted by Bob Rogers

TAINTRADIO.ORG
webcast: Wednesdays 6:00 p.m. — 9:00 p.m. EDT & Saturdays 3:00 a.m. — 6:00 a.m.
Webcast date: April 8 & 11, 2015

Host: Max Shea   online playlists:
Martian Gardens blog
email: maxtshea@gmail.com

SET ONE
J.C. Combs: Apparition
Gazing
Spectropol Records/2013
piano: J.C. Combs; time: 5:36

J.C. Combs: Cross Station
Safe Passage
ImprovFriday Event Sessions
Electroshock Records/2010
electronics, samples: J.C. Combs; time: 1:42

SET TWO
Pas Musique: Ancient Evil Aliens
Inside the Spectrum
Alrealon Musique/2015
electronics, sound collage: Robert L. Pepper, Michael Durek, Amber Brien; John V. Worthey; time: 5:51

Jack Vees: Rocket Baby
Surf Music Again
CRI/1996
narrator: Tony Forkush; electric cello, sequencer (MIDI cello): Jeff Krieger; text about UFO sightings: unknown; time: 14:15

SET THREE
Dariusz Mazorowski: Secrets of Aerial Photography
Non Acoustic Symphony
Neuma Records/2015
(electroacoustic music); recorded at the De eM Studio, Gdansk, Poland, 2011-2013; time: 6:55

Tim Patterson: Blanchard Canyon (J. Bergamo)
Like Style, Dig? The Music John Bergamo
Innova Recordings/2015
(composer: John Bergamo, for five amplified suspended cymbals); cymbals: Peter Schmeling, Jack Schroeder, Brian Short, Tim Patterson, Gregory Thornburg; arr. Tim Patterson; composition year: 1985; time: 13:39

SINGLE PLAY
Alvin Lucier: Carbon Copies
Broken Line
Mode Records/2015
(for recordings of “any indoor or outdoor environment” and instruments); indoor noises (making coffee, water dripping, caged bird) and studio mimicry recorded by Trio Nexus (Erik Drescher, Sebestian Berweck, Martin Lorenz) at Siemensvilla Berlin Lankwitz, Germany, July 2012 composition year: 1989 ; time: 20:16

SET FOUR
Warren Burt: 11:21:23 (A Drone on Mom and Felix‘s Birthdays)
Harmonic Colour Fields (1996-97)
Pogus Productions/2003
Kinetic Music Machine, computer, synthesizer: Warren Burt; time: 16:10

Ron Nagorcka: Modulations
Atom Bomb Becomes Folk Art
Pogus Productions/2014
(for tape, synthesizers, live electronics, and modulated tape outtakes); composition years: 1974, 1983, 2012 (original composition commissioned for the Melbourne Autumn Festival of Organ and Harpsichord, 1974); time: 6:01

SINGLE PLAY
Morton Feldman: Piano, Violin, Viola, Cello (excerpt 1st 1/5)
Piano, Violin, Viola, Cello
Bridge Records/2015
piano: Aleck Karis; violin: Curtis Macomber; viola: Danielle Farina; cello: Christopher Finckel; recorded at Conrad Prebys Hall, University of California San Diego, December 13, 2013; composition year: 1987; excerpt time: 15:00

SINGLE PLAY
John Luther Adams: Become Ocean
Become Ocean
Cantaloupe Music/2014
commissioned by the Seattle Symphony Orchestra; premiered by the Seattle Symphony Orchestra, conductor: Ludovic Morlot; Benaroya Hall, Seattle, June 2013; composition year: 2012; time: 42:14

SET FIVE
Brian Eno: Becalmed
Another Green World
E.G.-Jem/1987 (orig. LP/1975)
synthesizer, piano: Brian Eno; recorded at Island Studios, London, summer 1975; time: 3:56

Artemiy Artemiev: Night City
Forgotten Themes
Electroshock Records/2000
synthesizers, computer: Artemiy Artemiev; recorded at Electroshock Studios, Moscow; composition year: 1989; time: 3:31

Joel Taylor: Forest Creatures and Their Plans
Night Stories
Spectropol Records/2013
electronics, instruments: Joel Taylor; time: 4:38

— FIN –

04/07 | Kip Hanrahan’s Surplus Value / History of the mic, Ep. 044 | Posted by Bob Rogers

Surplus Value / History of the mic show 044
Tuesday 7PM EST & Friday mid-2am; archived show Saturdays 9-11am
‘taintradio.com

playlist:
オリビエ・プル        A cool and peaceful morning in the Inaushi forest, Hokkaido: White’s Thrush, Blue and White Fly Catcher, Marsh Tit, Chestnut-eared Bunting, Narcissus Flycatcher, Winter Wren        大自然の音風景
Susanne Abbuehl        Closer        April
Mônica Salmaso        Bate Canela        Trampolim
Alfredo Triff        Lluvia de abril        Boleros Perdidos

The second piece played, the Susanne Abbuehl piece, is labeled “Closer” but it’s really “Ida Lupino”, “Closer” is a different Carla song, and it’s a mistake I find really funny, as the record dedicated to and composed mostly of Carla Bley music, but not with Paul Haines lyrics, which is too bad, I think.  But with such deep involvement with and study and apparent love of Carla’s music, you’d think they’d get the song / melody name right.  But the record’s beautiful anyway.  I’m guessing you’d never be able to take the beauty from Abbuehl’s voice anyway you try.  Nor from Monica Salmaso – or from Triff’s artistic vision for that matter – a deep, turbulent, but still sweet beauty.

Billy Bang with Andrew Cyrille, John Ore, Sun Ra        April In Paris        A Tribute To Stuff Smith
Howard McGhee Sextet        Bebop        The Wardell Gray Story, Vol. 1: Blue Lou
The Gordons With The Hank Jones Trio        Bebopper        The Debut Records Story
Spaulding Givens And Charles Mingus        Body And Soul        The Debut Records Story

I love the amount of Mingus on that Spaulding Givens track.
Now, of all the songs, from anywhere around the world in which humans exist, and feel love, and pain, and longing, this one is the absolute weirdest to me.  I’ll mention why when it’s played:

Fernando Machado Soares        Balada Da Despedida        Fado

It’s about the pain of the expected loss, the the expected deep longing, the deep sadness, of upcoming college graduation and the separation of classmates!  Not a separation from your love, from your home, from your family, from your freedom, from your life, but from your fucking classmates!!   Given the deep catalogue of songs of deep sadness of separation and longing in the tradition of Fado, this is fall on the floor funny, in it’s way, no?  I know there’s a difference between the woman’s fado of Lisbon and the men’s fado of Coimbra, but still…   wow.

Speaking of the deep pain of seperation and longing for a real reason, there was a short conversation I had, decades ago, with Robert Christgau and Roger Trilling after Christgau had written that most white people shovel force feed themselves an intense diet of Funk Music as a way of shaking the complacency and lack of dynamism in most pop music and internalize, I guess, the music of, the voice of a dynamic, subversive, more real, I guess, culture, Black People’s Music, and I mentioned that if you were to take that tact, why not force feed ourselves the music prisoners listened to, or to get a real handle on popular – as in the vast populace in America at the time – taste, why not force feed ourselves the music that was then on elevators on on TV commercials, as that was the real soundtrack to the lives of most real workers, as opposed to intellectuals, at the time.  My memory says that Robert looked at me for a long time, thinking, and not adapting a defensive posture or anything, but thinking about what I’d said….   In fact, looking back at it, I don’t think prisoners in the US had much choice in what music they were able to listen to at that time.  I think it was probably just, like with most Americans then, the music in the background on TV programs and commercials, and whatever trace of music, mostly bad, they could catch from prison radio.

But I was curious about what prisoners in the US are listening to now, and why, and what they’re listening for, what they need to hear in the music.  Checking it out, things have changed a little.  I remember reading recently of a prisoner talking about how all he hears in the prison was the constantly present TV, which everyone watched and which, to my surprise, he said was the subject of most of the conversations between the prisoners, and the radio which was always, in his account, playing hip hop songs about dealing drugs, guns, bling and bitches, which drove him crazy, as it was the description of, and the very SOUND of he very world of activity and angles that had gotten him locked up in the first place.  Now I don’t know if he hated it because it was a constant reminder of what he was being separated from, or salt rubbed into the wounds of his ruin….

But things have changed, as I’ve found out, as prisons are now selling MP3s, special prison designed MP3 players, to prisoners, at many times the price the same piece of junk would sell in Wallmart’s or whatever, and access to a downloading station where a pre-approved selection of songs (apparently songs inciting ethnic violence was one of he criteria for cenceorship) were available for several times the price of iTunes downloads or whatever.

“What’s remarkable about that is that we don’t have the same type of market as an iTunes does,” an officer from one of the private companies supplying the music and MP3s says. “I’m limited to the number of people who I’m allowed to sell to.  But with more than 2.2 million people currently incarcerated in the U.S., this is clearly a growth industry”

The COs and the wardens seem to really like this turn.  It seems to them like a perfect babysitting system, and a great tool of discipline  as the threat of loosing their MP3 player is horrible for the prisoner.

“It gives me a different coping mechanism, just being able to be here with everyone else, but also not be here,” a prisoner says. “Because it’s my own music, it brings back memories of stuff that I like and gives me a little normalcy.”

So that’s one thing a prisoner is listening to music for.  I was wondering if a prisoner would listen to music to hear the sound and passion of a world now forbidden to him, or because of a need to hear the voice of, the music of his own people to keep himself sane.  Or just to hear a cascade of passions through music, the access to has been lost in incarceration.  Just to be reassured they still existed.  Or just to let the rhythm and cultural references take him away.  Yeah, I’m using only the male gender here, ‘cause I’m guessing what engages the female prisoner and why might be an entirely different show.

Anyway, from another prisoner:
“If I’m listening to Andre Nickatina’s ‘Cocaine Raps’ or ‘Fly Low Like a Blind Bird,’ where he’s talking about drinking beer, smoking cocaine, and acting like an idiot around a bunch of prostitutes, that’s going to drive me right back to my neighborhood in my mind,” he says. “If I’m doing that, it’s more likely I’m going to relapse. It would drive past behaviors which are what landed me in these facilities in the first place.”

By the way, I’m not sure how many prisons have the MP3s available yet.  I know it was a big market for cassettes for the longest time, as they were to manufacture cassettes without screws, and, of course, there’s not now, let alone before, access to streaming…   I know they had tried CDs for a while, but prisoners, of course, were able to break the CDs and, what an easy way to a shiv, huh?  So the MP3s, again specifically designed for
prison with thick plastic casing and electronic IDs attached to each prisoner included, so if any were stolen they could be shut down remotely preventing the obvious source of violence.  I do remember the bit about Little Wayne being sent to solitary while on Riker’s for being found with a smuggled MP3, but that was 2010, so the system changed.

The corporations selling the MP3s to prisoners mentioned that the biggest sellers were Drake, Kenny Chesney and Jadakiss, all of which I’ll play in a second, but I’m wondering why nothing that would make sense for the Latino population was mentioned.  Is it not available?  No NarcoCorridos for Chicano prisoners in Texas?  Or is it because the Latino prisoners have a harder time getting money sent into the commissary accounts to be able to afford the machines?  I wonder.

So, the biggest selling music in US prisons right now:

Drake        6 God [Explicit]        If You’re Reading This It’s Too Late [Explicit]
Kenny Chesney feat. Grace Potter        You And Tequila         Hemingway’s Whiskey
Jadakiss        Pain & Torture [Explicit]        The Last Kiss [Explicit]

What did Phil Woods listen to in prison all those years?  And how did it inform and change his playing?  I’m gonna’ guess that in those days he was cut off from any music except the pop pap that was on the radio then, and that the only jazz he’d be able to hear would be either in his head or from the other players in the prison band.

There’s also the story of the importance of music Merle Haggard’s prison stay.  Supposedly he heard in Johnny Cash’s music, in his voice, in his words, in his presence, his defiant posture, something that affirmed that he, Haggard, was still a human being, a man, who could refuse to be degraded in spite of the surroundings and the COs, and that he could rebuild himself with music on the outside too.  He’d never been a professional musician before that, but played a little bit, and with the other guys in prison for fun.  When there was going to be another prison break, something he’d been involved with before, the friend that was organizing it suggested that Haggard miss this break, stay behind and do his time, because after the Cash concert, and seeing the changes in Haggard, he told Haggard he thought he’d have a great, real career in music if he got out legit.  It turned out to be great advice because the guys trying to escape that time were all killed in the attempt.   But what he listened to, and for, and heard, and saw in Cash and his music is pretty clear and wonderful.

Two songs by Lester:

Lester Bowie        Da Butt        Serious Fun
Lester Bowie        Fool-Ology (The Song)        Conjure
Tsegué-Maryam Guébrou        The Garden Of Gethesemanie        Ethiopiques Vol. 21: Ethiopia Song/Piano Solo
Bernie Knee        Passover Time On The Range        Songs For The Jewish-American Jet Set: The Tikva Records Story 1950-1973

Yeah, it was Easter and it’s still Passover, and I’m still not above being amused by novelties, sometimes.

Ned Rothenberg is a genius I had the great fun of working with a few decades ago, and, man, I’m thrilled he’s still working and still fucking brilliant.  I have hope we’ll get to work together again some day.  Also in the set is something from Janita’s new rekid.  Man, she’s someone whom I expecting worlds of great music from for, well, I hope decades to come.

Ned Rothenberg, Tony Buck, Stomu Takeishi and Tronzo        Life in Your Years        The Fell Clutch
Maria Giovanna Cherchi        S’aurora de Abrile        Ammentos
Janita        What My Silence Means        Didn’t You, My Dear?
Billie Holiday        You Turned The Tables On Me        Solitude
Guinga        Funeral de Billie Holiday        Roendopinho
Tsegué-Maryam Guébrou        The Jordan River Song        Ethiopiques Vol. 21: Ethiopia Song/Piano Solo
Alfredo Triff        Otra noche        Boleros Perdidos

04/06 | Downhome With Howling Dick, Ep. 108 – Getting Ugly | Posted by Bob Rogers

Sunday 4/5; Tuesday 4/7, Thursday 4/9 & Saturday 4/11 (see program schedule)

This week Howling’s joined once again on the porch by Jonathan Townsend of  the King Biscuit Boys as they take to the railways with an hour of train songs. Along the way they find a man who walks the walk, discover a new theme tune and come across a gospel gem  by accident. In-between that nonsense they also play some of the finest blues ‘n roots music on the net.

Delmore

The Delmore Brothers – “love those shirts”

That Lonesome Train That Took My Baby Awy Charlie McCoy Jackson Stomp, The Charlie McCoy Story VIDEO
If Love Was a Train Michelle Shocked Mercury Poise: 1988-1995 VIDEO
Downbound train Chuck Berry Chuck Berry – Chessmaster VIDEO
Station Door Blues Emily Druce New Day VIDEO
Hear My Train Comin’ (Acoustic) Jimi Hendrix Blues VIDEO
Gospel Train The Wright Brothers The History Of Black Gospel VIDEO
The Lord’s Gospel Train Sister Mary Deloatch Nuggets Of The Golden Age Of Gospel 1945-1958 VIDEO
Evening Train Chuck Leavell Back to the Woods VIDEO
02:19 John Hammond. Wicked Grin VIDEO
Steel Truckin’ Man Danny Adler Better Make a Move VIDEO
Goodbye Train Big Sugar Big Sugar VIDEO
Blue Railroad Train Delmore Brothers Brown’s Ferry Blues VIDEO
Mystery Train Pt II [Live] Steve Earle Live In Nashville, 1995 VIDEO
Special Streamline Tom Feldmann Lone Wolf Blues VIDEO
Morning Train Giles Corey Stoned Soul VIDEO
Train to Nowhere Savoy Brown The Blues Scene VIDEO

 


Recent Comments