Hooked On The Wire

This week Howling’s sitting up all night in front of the TV, returning quickly to a couple of new arrivals and enjoying an ivory tinkler! What does all this mean? Who knows? Who cares? It’s all a great excuse to listen on Taint to an hour of some of the finest blues ‘n roots you’ll find on the net.

DonWalser

Don Walser – The yodelling cowboy – “well who said it was a blues show??”

Shotgun Boogie Don Walser Rolling Stone from Texas VIDEO
Moonshine Joe Mick Simpson Playing the Losing Hand VIDEO
Love The Way You Roll Alexis P Suter Band Love The Way You Roll VIDEO
Everyday I Have The Blues Pinetop Perkins Down In Mississippi VIDEO
Shuffle St The Bella Reunion Introducing…The Bella Reunion VIDEO
Way Down In The Hole Aidan Miller Aidan Miller VIDEO
Let Your Love Shine Rachelle Coba Mother Blues VIDEO
Never Give Up TJ Norton TJ & The Suitcase VIDEO
Mellow Down Easy Arsen Shomakhov Dynamic VIDEO
Let Your Woman Have Her Way Elvin Bishop Can’t Even Do Wrong Right VIDEO
Bad Thing Carolyn Fe Blues Collective Bad Taboo VIDEO
Midnight Hours Journey Johnny Ace Dust My Rhythm & Blues VIDEO
Knockin’ A Jug Louis Armstrong & His Orchestra Frog Blues & Jazz Annual No3 VIDEO
Moanin’ Gregory Porter, Great Voices of Harlem VIDEO

Analog and More – 08/30/2014

Bernie Krause: Citadels of Mystery

Review by Richie Unterberger [-]
Considering the fraught circumstances in which this album was recorded, it’s a miracle it sounds as serene as it does. Originally, this was planned as a collaborative project between Krause and his musical partner, Paul Beaver, for Columbia, but that deal collapsed when CBS executive Clive Davis was fired. Then Beaver died of a brain hemorrhage in January 1975, leaving Krause to record it for Takoma as a solo artist, albeit with the help of numerous side players (including a young Mark Isham, who plays flügelhorn on “Heights of Machu Picchu”) and arrangers. Then the record wasn’t released for another four years. In some respects — particularly the mellow jazz-pop melodies on much of the material — it was of its time. In other respects it was ahead of its time, particularly in the genre-blending of the arrangements, which mixed fusion-like jazz with Latin-flavored production, Krause’s own synthesizer shadings, film score-like ambience, and some of the placid traits that would come to be associated with new age music. It’s a hard album to describe and evaluate, because in some respects it’s so ordinary and bland, and in others rather far-out. The blandest aspects are the smooth jazz-pop casts of some of the melodies and arrangements, as well as the occasional hokeyness of some of the more dramatic-cinematic passages. But these weave in and out of pretty cool-sounding tribal-type percussive segments, some eerie synthesizer parts (as on the fade of “Flight to Urubamba”), and chant-singing that sounds like it’s out of an Afro-Caribbean ritual. The very beginning of “Citadel, Ay Bobo,” in fact, almost sounds like Bobby McFerrin gone ethnic-avant-garde. It would have been a more interesting (if less accessible) record had Krause concentrated on those weirdest parts. But if that’s what you want, you’d be better off hunting down early Exuma albums rather than something like this, which had a far greater outreach to mainstream listeners.

I think it is a great piece of music period — Barry

Time Song Artist Album
5pm Zanibar Earth Wind and Fire Keep Your Head To The Sky
  Hot Louie Bellson
  Day In Day Out Nat King Cole
  Day In Day Out Duke Ellington
  Day In Day Out Frank Sinatra
  Detroit City Blues Fats Domino
  Don't Let The Green Grass Fool You Wilson Pickett
  Don't Let The Green Grass Fool You The Spinners
  Fantasia's Confidential Ghetto 1999 PM Dawn
  Gimme All Your Lovin or I Will Kill You Macy Gray
  Give It Up Turn It Loose James Brown King
  Glory Land Fret Not
7pm Festival of The Sun, Heights of Machu, Flight to Urubamba Bernie Krauss Citadel of Mystery
  High Heel Sneakers Craig Handy
  Blue Luce Roberto Magro
  I Can See The Future Incognito
  Better Off With The Blues Delbert McClinton
  Faithful Meshell Ndegeocello
  Fire In The Belly Van Morrison

Rafi Zabor’s Updoc, Friday 8/29 & Tuesday 9/2

I end up doing more memorial shows than is comfortable, but it’s happening in the jazz world: a magnificent generation in its seventies and eighties is filing out of the room—we keep tremulously awaiting Who’s Next—so it’s a pleasure to report on someone who didn’t die. Despite a Farewell To note on Facebook, the cellist Abdul Wadud is still bowing and plucking among us. I programmed Dogon A.D., the Julius Hemphill classic to which Wadud contributed so much, anyway, and followed it up with another classic of that jazz generation, the Art Ensemble of Chicago’s People in Sorrow, which I’d almost programmed on Malachi Favors’ birthday, and mine, the week before. Both pieces were recorded during the period in which Wynton Marsalis and Ken Burns declared jazz to have been dead. These are some fine zombies. From there this week’s Updoc—Friday at 8PM and noon next Tuesday, Doggone Brooklyn time—moves on to Bartok’s sonata for solo violin, its daddy the Bach chaconne, and Beethoven’s always disturbing Grosse Fuge, but herewith Updoc breaks new ground: my deejay announcements were made while lying on the floor of an overbooked Amtrak train headed for NY from RI, and then later from a seat, with side-commentary provided by two guys from Luxembourg and a lady from New Rochelle—and this in the quiet car! For the past few months, Kip Hanrahan has been doing the most adventurous show on taintradio or for that matter anywhere, but has he done this? There were people stepping on me, when the show must go on. Yo, Kip: this is a thrown gauntlet, man. I have raised the ante. Your move.DOGONTRAK*

Martian Gardens – 08/27/2014

Martian Gardens for August 24 & 27, 2014

MARTIAN GARDENS

WMUA .ORG
Sundays live broadcast/webcast
9:00 p.m. — 12:00 a.m. EDT
WMUA 91.1 FM
Amherst, Massachusetts
August 24, 2014
(extended edition 9:00 p.m. — 12:30 a.m. EDT)

TAINTRADIO.ORG
webcast: Wednesdays 6:00 p.m. — 9:00 p.m. EDT
Webcast date: August 27, 2014
Host: Max Shea

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

SINGLE PLAY
Fifth House Ensemble: Perpetual Spark (A. Shapiro)
Excelsior
Cedille Records/2014
composer: Alex Shapiro; Fifth House Ensemble (flute: Melissa Snoza; violin: Andrew Williams; viola: Clark Carruth; cello: Herine Coetzee; bass: Eric Snoza; piano: Jani Parsons); recorded at the Chicago Recording Company, 2013; composition year: 2011; time: 6:53

SINGLE PLAY
Robert Erickson: Corfu
Complete String Quartets
New World Records/2014
Del Sol Quartet (violins: Kate Stenberg, Rick Shinozaki; viola: Charlton Lee; cello: Kathryn Bates); recorded at Skywalker Sound, Marin County, California, December 2013; composition year: 1986; time: 22:28

SINGLE PLAY
Robert Morris: Arc for String Quartet
Robert Morris at 70 (various artists)
Compositions and Performances in Celebration
Open Space/2014
The JACK Quartet (violins: Christopher Otto, Ari Streisfeld; viola: John Pickford Richards; cello: Kevin McFarland); recorded at Baird Hall, SUNY Buffalo, October 13, 2009; composition year: 1988; time: 15:28

SET ONE
Harry Partch: Harry Partch introduces the 1953 premiere (excerpt)
Plectra and Percussion Dances
An Evening of Dance Theater
Bridge Records/2014
recorded at KPFA FM, Berkeley, 1953; total excerpt time: 2:55

Harry Partch: Castor & Pollux
A Dance for the Twin Rhythms of Gemini
Castor
a. Leda & the Swan (Insemination) [1:53]
b. Conception [1:51]
c. Incubation [1:51]
d. Chorus of Delivery from the Egg [1:53]
Pollux
e. Leda & the Swan (Insemination) [1:50]
f. Conception [1:51]
g. Incubation [1:52]
h. Chorus of Delivery from the Egg [2:00]
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 year: 1952; total time: 14:58

Lou Harrison: Short Set from “Lazarus Laughed”
a. Caligula’s Dream (1:34)
b. Miriam (1:36)
c. Round Dance (2:02)
Works 1939-2000
Mode Records/2003
flute, alto flute: Leta Miller; cello: Karen Andrie; celesta: Michael McGushin; recorded at the recital hall at the University of Santa Cruz, 2001; composition year: 1999; total time: 5:12

SET TWO
Henry Cowell: Sound Form No. 1
Dancing with Henry
Mode Records/2001
flute: Leta Miller; clarinet: Mark Brandenburg; bassoon: Jane Orzel; percussion: Russell Greenberg, Michael Strunk; recorded at the recital hall of the University of California Santa Cruz, January 2000; composition year: 1937; time: 4:51

Philip Glass & Allen Ginsberg: Nagasaki Days (Everybody’s Fantasy)
Hydrogen Jukebox
Elektra-Nonesuch/1993
The Philip Glass Vocal Ensemble; flute: Carol Winenc; reeds: Andrew Sterman; percussion: Frank Cassara, James Pugliese; keyboards, conductor: Martin Goldray; recorded at The Looking Glass Studios, New York City, 1992-1993; time: 4:56

Phil Kline: Wondrous Love
John The Revelator
A Mass for Six Voices
Cantaloupe Music/2008
Lionheart vocal group; Ethel string quartet; recorded at the Church of St. Luke’s in the Fields, Greenwich Village, August 2007; music, lyrics: traditional, arr. Kline; time: 2:42

Phil Kline: selections from Zippo Songs
a. Ours is Not (4:36)
b. Been to Hell (2:30)
Zippo Songs
Airs of War and Lunacy
Cantaloupe Music/2004
vocals: Theo Bleckmann; violin: Todd Reynolds; guitar: Phil Kline; percussion: David Cossin; recorded in New York City, September 2003; music, lyrics: Phil Kline; total excerpts time: 7:06

SET THREE
Jon Hassell: Chor Moiré
Dream Theory in Malaya
EG Records/1981
electronically filtered trumpet: Jon Hassell; recorded at Grant Avenue Studio, Hamilton, Ontario, 1981; time: 2:15

Ilia Belorukou: Gnat
I Did What Was Possible to Quiet Us
Spectropol/2014
electronics, processed saxophone:Ilia Belorukou; recorded in Saint-Petersburg, Russia; time: 5:53

Robert Scott Thompson: Waters and the Wild
Gold Flowers Bloom Mercury Petals
Aucourant Records/2009
electronics, synthesizers: Robert Scott Thompson; recorded at the composer’s studio, Roswell, Georgia; time: 6:47

Robert Scott Thompson: Monk Gazes at Moon
Poesis Athesis
Lens Records/2008
electronics, synthesizers: Robert Scott Thompson; recorded at the composer’s studio, Roswell, Georgia; time: 5:29

Paul Rubenstein: The Garden Still Sleeps
Soundtrack to Travels with H
A series of short films by Raeshma Razvi
Spectropol/2013
instruments, composition: Paul Rubenstein; recorded in Seattle, time: 3:45

SET FOUR
Rapoon: Cello Yellow
Cultural Forgeries
Alrealon Musique/2014
cello, percussion, processing: Robin Storey; time: 4:05

Erdem Helvacioğlu: An Unmeasured Loss of Acumen
Esther’s Memory
Aucourant Records/2013
instruments, processing: Erdem Helvacioğlu; percussion: Stuart Gerber; recorded at the CARA studios, Georgia State University, Atlanta; November, 2010; time: 4:45

Erdem Helvacioğlu: Shattered Snow Globe
Eleven Short Stories
Innova Recordings/2012
prepared piano, processing: Erdem Helvacioğlu; recorded at Robert College Suna Koçak Theater Hall, Istanbul, Turkey; time: 5:08

Brian Eno: Little Fishes
Another Green World
E.G.-Jem/1987 (org. Island Records LP/1975)
prepared piano, Farfisa organ: Brian Eno; recorded at Island Studios, London, summer 1975; time: 1:30

Brian Eno with Rick Holland: Fierce Aisles of Light
Drums Between the Bells
Warp Records/2011
electronics, voice: Brian Eno; poem, voice: Rick Holland,voices: Nick Robertson, Anastasia Afomina; recorded in London, 2011; time: 2:32

Odeya Nini: Dalai
Vougheauxyice (Voice)
pfMENTUM/2014
voice, whistling, vocalizations, noises, processing: Odeya Nini; recorded at Joshua Tree, California, September 25, 2012; time: 6:16

SET FIVE
Alain Savouret: 1st Book of Illusions
Alain Savouret
Mnémosyne Musique Media/2004
electroacoustic music realized at GMEB (IMEB), Bourges, France, 1987; time: 19:40

Gilles Gobeil: La Nuit*
from Ombres, espaces, silences…
Trois Songes
empreintes DIGITALes/2008
electroacoustic music realized at the studios of the Zentrum für Kunst und Medientechnologie Karlsruhe (ZKM) in Germany, winter 2005, premiered at trans_canada, ZKM, February 12, 2005; time: 2:58
* WMUA version only

— FIN —

Tone Science – 08/24/2014

tone science 175

Time Song Artist Album
Midnight Encyclopedia of a Horse (for Henry Threadgill) Audio One An International Report
 
  5 Frode Gjerstad/Paal Nilssen-Love Hasselt
  Illuminations John Zorn In the Hall of Mirrors
 
  The Freedom Principle Rodrigo Amado Motion Trio + Peter Evans The Freedom Principle
  entoptic landscape version 1 Lauren Redhead Entoptic Lanscape
 
  Sworn Enemies Matt Nelson Lower Bottoms
  The Temple Ball Stops Mike Weis Dont Know, Just Walk
 
  That Damn Volcano Karen Mantler Business Is Bad

Rafi Zabor’s Updoc, Friday 8/22 & Tuesday 8/26

Not much thesis left—Monk’s harmony plus arpeggiating tenorist equals sheets of sound—in this week’s Thelonious Monk-John Coltrane followup show—Friday at 8PM and noon next Tuesday, Five Spot time—but I did want to get to some of the live tracks from Carnegie Hall and the Five Spot that didn’t air last week. The atmosphere gets very complex and crowded with those guys playing together, and last week I skipped to later Trane and a Mozart concerto for a breath of different air. This week I wanted to hear women sing: Nellie McKay, Nina Simone, Blossom Dearie, Shiela Jordan, Laurie Anderson, Cecile McLorin Salvant, Stacey Kent, Abbey Lincoln and of course Lady Day, among others still. Miles Davis drops in too, and so might you. You’reREDBLUETM most welcome.

Tone Science – 08/17/2014

tone science 174

Time Song Artist Album
Midnight Catch as Catch Can Karen Mantler Business Is Bad
 
  I Told You To Get Up And It Just Happened Good Willsmith The Honeymoon Workbook
  The First Rule Lasse Marhaug & Frode Gjerstad Red Edge
  Four Systems 1954 Earle Brown Folio and Four Systems
  Apple Blossom Peter Garland Three Strange Angels
 
  Discharge Last Exit Last Exit
  Duvibe Talibam! & Weasel Walter Polyp
  Crawling Voices In Relief Roasling Hall/Alice Hui-Shend Chang Embossed Tales Of Throats
  Sting Ray and the Beginning of Time, 1-4 Exploding Star ORchestra We Are All from Somewhere Else
 
  Weird Nightmare Mauro Ottolini & Frank Lacy Heaven Sent
  Truptycrirythme Francois Dufrene Revue Ou
  Les Heros Sont Fatigues/Red Giant Joe McPhee and John Snyder Pieces of Light
  Shaft The Dead C Patience
 
  The Critic Stomp The Flying Luttenbachers Constructive Destruction
8pm Phases of Subduction Nicole Mitchell's Black Earth Ensemble Intergalactic Beings

Not In Mississippi

This week Howlings moving continents, going for originals and getting a “folkie” on the porch. If you like your blues ‘n roots music varied and cool, Taint’s obviously the right place to park your butt!

rowe

Sean Rowe – “tuff to sell real estate like this”

Driving This Highway Howlin’ Wolf Sings The Blues VIDEO
Growing Pains The Snyders Growing Pains VIDEO
Shine my Diamond Ring Sean Rowe Madman VIDEO
Groove In G Playing For Change Songs Around The World Vol. 2 VIDEO
Dioungo Diabel Cissokho/Ramon Goose Mansana Blues VIDEO
1952 Vincent Black Lightning Richard Thompson Acoustic Classics VIDEO
Baby Please Don’t Go Roy Rogers Blues On The Range VIDEO
Call me the breeze J.J. Cale Naturally VIDEO
Hometown Blues [Live] Steve Earle Live In Nashville, 1995 VIDEO
Heartattack and Vine Tom Waits Heartattack & Vine VIDEO
Groundhog Blues Ian Siegal Swagger VIDEO
Sho’ Nuff I Do Elmore James & His Broomdusters Dust My Rhythm & Blues The Flair Records R&B Story 1953-55 VIDEO
Too Many Tears Roy Lee Johnson When A Guitar Plays The Blues VIDEO
St James Infirmary Big Bad Wolf Reverbnation VIDEO

Analog and More – 08/16/2014

Featured Artist
Jonah Jones Quartet
1909 – 1969 Louisville Kentucky – new York City
en.wikipedia.org/wiki/Jonah_Jones

Time Song Artist Album
5pm Youre Everything Return to Forever
  Light As Feather Return To Forever
  Captain Marvel Return To Forever
  Thumb Fun Bela Fleck
  Respiration Black Star
  Jalousie
  I'll Always Be In Love With You Jonah Jones Quartet
  Pennies From Haven Jonah Jones Quartet
  Ballin The Jack Jonah Jones Quartet
  Relentless 7 Crossing
  You Can't Hurry Love Diana Ross and The Supremes / Dennis Edwards
6pm Blue Lace Roberto Magris
  Patti Austin Lady Be Good
  Minnie Riperton Baby This Love I Have
  Track 10 ????????
  Train 1 Dolly Parton
  Ja is True And Perfect Ziggy Marley
  928 Horn Jam Trombone Shorty
  Neph Trombone Shorty
  Tito's Idew Tito Puente
  Hocus Pokus Sun Ra
  At Last Stevie Nicks
  Go Home Stevie Wonder
  I've Just Seen A face Kenny Rankin
  Jiltro and Quick Jill Scott

Rafi Zabor’s Updoc, Fri. 8/15 & Tues. 8/19

There’s a general notion that when John Coltrane kicked his heroin habit in the spring of 1957 he pretty much turned into Superman, and that notion is generally correct; but while working on a book project, with discography in hand and music in ear, I’ve done a lot of close, nerdic listening and come up with some interpretative detail, and I wanted to air some of my Tranespotting’s results on this week’s Updoc—Friday at 8PM and noon next Tuesday, Five Spot time. The upshot is that Trane’s epochal six-month gig with Thelonious Monk at the Five Spot was crucial to everything he would play in the future: hardly earthshaking news—my friend Mike Zwerin was there almost every night and told me that ‘everybody’ knew this was the biggest thing to happen in jazz since Bird—but there’s always something new to learn about an event of such scope. You can tell from Coltrane’s first recording after getting well—his eponymous leader date for Prestige—that he’s no longer a brilliant but somehow impaired player: his sound has doubled in strength and his lines don’t break when they head for the sky; but a couple of months later he’s in trouble and faltering on the great Monk’s Music “little red wagon” date, and there’s the rumor that Monk’s callout “Coltrane, Coltrane!” was meant to pull the relapsed junkie from his nod to the microphone; but I side with producer Orrin Keepnews, who said that Monk was making sure of the solo order. What happens to Trane on Epistrophy and Well You Needn’t is Monk showing him how much he still had to learn, and Monk throws a wealth of inconvenient chordal architecture at the tenorist to prove it. How quickly Coltrane assimilated the lesson led to the complexification of his already arpeggiated style and to those famous sheets of sound. Tune in and see how; though don’t worry, I’ll keep the chatter brief and let your ears find their way (the book pages look like something by David Foster Wallace). Anyway, after a lot of Coltrane intensity we cool off with a Mozart piano concerto and then join John Coltrane, appropriately, in saying Dear Lord.MonkTraneLarge