sound of her

I didn't manage to do any new jazz prospecting this week otherthan playing a couple of promising items in the car. December'sRecycled Goods column is due and I've made the rather momentous(to me anyway) decision to stop writing it. I wanted to finishit off by clearing out as much of my pending shelf as possible --especially the big ticket boxes -- so I spent the whole week onit. By week's end I had 92 records written up so decided I mightas well split them making January the finale. That brings thefinal tally for five years to 51 columns. 2142 albums. 215,000words. I've enjoyed doing Recycled Goods but it has gotten tobe a drag this past year. I've repeatedly found myself playingcatch up with my shelf. The effort to cover everything I got keptme from chasing down the things I should have been getting andthe consequence was that the mix grown more idiosyncratic -- notthat it was ever possible to comprehensively cover reissues letalone the world music I tried so hard to work in. I also thoughtabout dropping Jazz Consumer Guide but ultimately decided it'sworth continuing. The contrast between the two columns is prettyclear cut. I cover enough jazz to establish myself as somethingof an authority and it also helps that Jazz CG appears in theVillage Voice benefitting from the rock solid reputation GaryGiddins built over several decades before I showed up and fromFrancis Davis since Giddins left. It feels like I've made steadyprogress with Jazz CG whereas Recycled Goods/Static Multimediahave been sort of languishing. I'm happy with a lot of the writingI've done there but never got the sense that it was recognized. How much music writing I do in the near future will depend onwhether any new opportunities appear. I'd fancy doing some kindof blog combining smaller more frequent chunks of reviews withother notes and comments on music but only if I can find apublisher who can bring an audience beyond what I bring myself. I also wouldn't mind doing some freelance reviews. Lately I'vedone none because I've been so booked with the two columns. Ifnothing else happens. I still expect to relaunch my TerminalZone website sooner or later with a blog a reference database,and several thousand reviews I've accumulated from RG. JCG anda few other sources but I'm not in a big rush on that. Mostimmediately. I need to finish this JCG and knock out a year-endpiece for the Voice as well as the usual end-of-year wrap up. The reviews below are just the fallout from doing Recycled Goods. Not many titles but I count 51 CDs: 36 for That Devilin' Tune,6 for Davis. 3 for Barber. 2 for Freeman. Next week should be justabout all new jazz and I especially need to tackle the most promisingprospects. I don't know that there's enough time to do anything aboutit but I'd be especially interested in any serious top ten candidatesreaders might point out that are not already pending or rated in my list. Von Freeman: The Best of Von Freeman on Premonition(1996-2006 [2007]. Premonition. 2CD+DVD): You could call Freeman alate bloomer but one could also argue that he's always been aroundbut never caught a break until in his 70s. Born 1922 he played withHorace Henderson before the war the Navy during and the PershingBallroom house band when he got out. He joined Sun Ra in 1948 andhung with the AACM later but he was also chums with Gene Ammons andJohnny Griffin and Rahsaan Roland Kirk liked him enough to producehis debut album (1972 age 50). He had one of the most idiosyncratic,instantly recognizable tenor sax sounds ever -- he attributes someof that to being a poor boy playing cheap saxophones and there's alegend that he built his first sax at age 7 out of a Victrola horn. But he's mellowed since he hit 80 developing a richer cleaner soundthat still falls far short of lush. He cut a couple of 1970s recordsfor AACM-connected Nessa and two more in 1992 for Steeplechase inDenmark but didn't get much attention until Half Note released his75th Birthday Celebration. Then Premonition picked up his1996 Live at the Dakota and started recording him regularly. The material anthologizes well -- it's all quartets with piano orguitar excepting a solo and a duo with Jason Moran -- and includesa couple of previously unissued bait tracks. The DVD just shows himspeaking first in an interview and then to a street crowd at thededication of Von Freeman Way. He's a natural comic mature likehis music which sums up a short century of saxophone wisdom --he reminds me of Sonny Rollins even if at best he's more likeNewk's scrawny little brother. A- Patricia Barber: The Premonition Years 1994-2002(1994-2002 [2007]. Premonition. 3CD): Jazz singer pianist andcomposer her career forms something of an underground parallelto Diana Krall's -- her voice dusky and shrouded where Krall'sis bright and articulate her piano more substantial but stillsecondary a successful niche player whereas Krall crossed over. This takes five albums and reshuffles them by category: pop songs,standards and originals. All are slow and somber but at leastthe rock-era pop songs start with some bounce as well as catchymelodies -- "Use Me," "You Don't Know Me," "Black Magic Woman,""The Fool on the Hill" are given especially learned readings. The older vintage standards are less surprising. The originalsare less obvious but thoughtful and sometimes haunting. I seelittle value in sorting them this way: her albums are mixes ofall three -- trending toward more originals over time -- andoften work just because these mulitple facets fit. A fine exampleis Modern Cool (1998). B+(***) Ronnie Earl and the Broadcasters: Hope Radio(2007. Stony Plain): Winner of an honorary "shut up and playyer guitar" award. Filed under blues although they could passas a soul jazz organ group -- trio plus two extra bassists onealso playing a bit of piano. Earl's blues guitar is clean andfluid. Still at its best it reminds me of the guitar breaksin blues-infatuated rock records -- like Big Brother and theHolding Company with no Janis Joplin. B Putumayo Presents: New Orleans Brass (1989-2006[2007]. Putumayo World Music): Jazz may have originated in theCrescent City but by 1930 virtually every great jazz musicianwho grew up there had moved on to Chicago. New York. California --hell. Sidney Bechet went all the way to Paris; 70 years later youcan hear the same songs the town couldn't support back when ithad musicians who could play them and make them sound fresh. B That Devilin' Tune: A Jazz History: Volume 1(1895-1927 [2007]. WHRA. 9CD): Whereas Martin Williams in hiscanonical The Smithsonian Collection of Classical Jazzdisposes of where jazz came from by juxtaposing two versions of"Maple Leaf Rag," one by composer Scott Joplin and the other byJelly Roll Morton compiler Allen Lowe digs deep into many rootsbesides ragtime -- minstrels songsters march bands. James ReeseEurope's orchestra. The Original Dixieland Jazz Band (1917) doesn'tappear until the 3rd disc. Ethel Waters and Mamie Smith (1921)make the 4th and Jelly Roll Morton (1923) the 5th but the seriesdoesn't start to sound predominantly jazzy until the 6th or 7thdisc. While he sprinkles in early bits of Fletcher Henderson. DukeEllington and Bennie Moten he holds Louis Armstrong back untilthe last cut -- maybe top play down the notion that Armstronginvented jazz or just because he couldn't find anything tofollow "Hotter Than Hot" with. A- That Devilin' Tune: A Jazz History: Volume 2(1927-34 [2007]. WHRA. 9CD): Bix Beiderbecke leads off with 3 ofthe first 9 tracks contrasting with 2 cuts by obscure trumpeterLouis Dumaine. The book takes on the always annoying question ofrace in jazz plugging numerous whites -- including an argumentthat Beiderbecke was the first cool jazz proponent -- withoutceding any arguments to Richard Sudhalter's Lost Chords. The records wend their way through numerous intimations of swingto come punctuated by occasional blues and country tunes thatare hardly less jazzy. A- That Devilin' Tune: A Jazz History: Volume 3(1934-45 [2007]. WHRA. 9CD): Swing is here announced by JimmieLunceford. Red Norvo. Chick Webb. Fletcher Henderson. BennyGoodman and Ray Noble on the first disc. Second disc tees offwith Bob Wills a westerner who swings too and moves on toCount Basie. The most consistently satisfying of the boxes,at least until 1940 (disc 7) when Lowe starts looking forpremonitions of bebop -- Charlie Parker and Dizzy Gillespieshow up on disc 8 but disc 9 (1944-45) is a broad smorgasbordof retro dixieland (Kid Ory. Bunk Johnson) elegant Ellington,singers like Billie Holiday and Nat Cole saxophonists likeColeman Hawkins and Don Byas. A That Devilin' Tune: A Jazz History: Volume 4(1945-51 [2007]. WHRA. 9CD): Bebop takes over but of course itisn't that clean a cut. Disc 4 for instance starts with BingCrosby and Al Jolson singing "Alexander's Ragtime Band" -- thefourth take following Collins and Harlan (1911). Louis Armstrong(1937) and Bunk Johnson (1945). Then after Sidney Bechet comesChano Pozo's "Ritmo Afro Cubano." That disc wanders especiallywide: Art Tatum. Ella Fitzgerald. Lenny Tristano. Mutt Carey,Astor Piazzolla. Hank Penny. Nelly Lutcher. Buddy Rich. BennyGoodman. Charlie Parker. But before long bebop has driven mostof the other contenders from the depopulated clubs -- exceptionsare the occasional throwback like Kid Thomas and an especiallyugly bit of projectile vomit from Stan Kenton. I suppose there'sa lesson there: I would have picked something listenable butif you have to acknowledge Kenton why whitewash him?A- Miles Davis: The Complete On the Corner Sessions(1972-75 [2007]. Columbia/Legacy. 6CD): The eighth and reportedlylast of Legacy's deluxe metal-spine multi-CD box sets which haveattempted to reframe the Davis catalog in its broader studio context. While some of the earlier boxes did little more than repackag wellknown material the later sets undid Teo Macero's edits returningto the original session tracks. That hasn't always been a plus: theBitches Brew and Jack Johnson session boxes largelyvindicated the edits. But here it is a plus. On the Cornerwas rudely dismissed by virtually all jazz critics at the time,even those who bought into the earlier fusion albums. Indeed byOrnette Coleman's rule-of-thumb it wasn't a jazz album at all --Coleman argued that in rock the band plays with the drummer whilein jazz the drummer plays with the band. But rewrite that rule tomake funk bassist Michael Henderson the focal point with the drums(including congas and tabla) just the first layer of elaboration. Davis by the early 1970s was a pop star as well as a jazz legend,which led him to conceive of his evolution in terms of James Brownand Sly Stone but unlike his fusion followers he had no intentionof watering anything down. He spent this period working with Britishavant-gardist Paul Buckmaster listening to Karlheinz Stockhausen,neither offering any pop potential. What Davis learned here was tobe comfortable with repetition a very unjazzlike attitude. He letthe bass line stretch out endlessly opening up space that he couldpierce at will with his trumpet. Over three years he took variousgroups into the studio 16 times releasing the edited down Onthe Corner and two more bundles of scraps. Big Fun andGet Up With It. The edited albums never quite let the musicbreathe which turns out to be key. Until now the period was bestrepresented by live albums and Dark Magus is still the oneto turn to first -- no doubt because audience rekindled the jazzlegend's love of improvisation. But this history fleshes out thestory. Those waiting for Davis to stumble will have to look further. A-

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It’s the seventh day and as you’re probably aware. Madeley’s day of rest. I hope you haven’t come here expecting a post containing any significant events. This is just about waking up on a Sunday morning in bed next to Judy. Or not next to Judy as happened to be the case. I was awoken in the lay of the night by the sound of a Mexican band. I’ve been woken by some pretty odd things in my life: burglars racing pundits hairless Armenian car salesmen. But never by a Mexican band not even during Judy’s marimba period. It’s why I thought it odd enough to get out of bed to investigate. I stuffed my toes into my slippers wrapped myself in my dressing gown and emerged on the landing ready to complain about catchy South American rhythms in the small hours. The band was somewhere downstairs and it wasn’t going to be hard to find them. They were sitting in the living room the light of our huge TV creating a false begin. My body woke up a little more as I took in the scene. Judy was sitting on the sofa with her trombone in her hands. In the other chairs were Denise Robertson with a tupperware tub and Judith Chalmers playing castanets made from a couple of spoons.‘What the hell is going on?’ I asked. The three women looked at me and then burst into laughter. Then Denise began to smack her makeshift drum. ‘There’s only one Ricky Hatton!’ she sang as Judy accompanied her on the brass. Judy on the tablespoons. ‘There’s only one Ricky Hatton! One !’‘Ah,’ I said looking up at the screen at where the old man in the had shuffled off and we were back in Los Vegas for a Sky Box Office presentation. ‘I forgot that tonight’s the night for the sport of kings. Or at least. Kings who can afford to cough up fifteen quid for something they should really be getting as part of their subscription case.’‘I thought horse-racing was the sport of kinds,’ said Judith.‘I was thinking of the more bloodthirsty kings who are almost tyrants,’ I answered as I watched Sky’s coverage of the big fight continue. ‘So how long is it before our boy arrives to get knocked out?’‘I didn’t think you wanted to check it,’ said Judy taking a rest from her trombone.‘I don’t. Who’d choose to check a horrible sport that’s sure to end with the combatants coved in blood? The only way I’d want to watch a man from the North West being beaten to a take out is if that man were Paul O’Grady. But that’s never going to happen… Never going to happen…’‘So you’re not a sporting man then. Richard?’ asked Denise.‘I wouldn’t say that. I just to prefer to watch my beach volleyball. The worst thing you can say about that is that the ladies sometimes suffer mild sand chafing and the occasional gathering of the bikini between their cheeks.’‘Sexist pig,’ I thought I heard Denise mutter though it was hard to tell. Judy had chosen that moment to clear the trombone’s valves with a gust from her lungs. As the girls launched into another verse and chorus I waved them my goodbye and climbed back up the stairs. I slipped between my sheets and set the ‘Z’ button to repeat. I had a wonderful sleep as in the room below three blood crazed women began to call for Mayweather’s blood. Seven hours later. I was awake again. The same could not be said for my wife. Madame Defarge nor her twin sisters. The scene in the living room this morning was one of small scale devastation. Judy was sleeping in the middle of the floor while Denise had the sofa and Judith was out in my favourite lounger. I put toe to wife who woke with a snort.‘Knock his bloody block off!’ she yelled before shrugged off my slipper and rolled over.‘Good morning,’ I said. ‘Did he win?’Judy groaned. It was the only say I needed. I took off my dressing gown and threw it over my wife who had sank back into a deep sleep. I went to the kitchen and produced a large pot of coffee a generous lade of toast before adding them all to a tray with a jar of marmalade. With the newspaper tucked under my arm. I climbed the stairs and went back to bed. It’s from where I’m writing this and this is where I shall stay until the house stops shaking to the sound of Denise Robertson’s snoring. Boxing matches can be vile animalistic contests. And what goes on inside the ring can almost be as bad. The only way I’d want to watch a man from the North West being beaten to a pulp is if that man were Paul O’Grady. come up you can't really disagree with that except of course so far as I am concerned. I want to see the street-brawler Jeremy Clarkson fight his old sparring partner the hoodie. The only thing you’d remember about that fight is counting the seconds. But when I turned to your blog this afternoon. I found that further analysis reinforced my conviction that your particular type of humour deserves serious attention but that - in view of the sensitivities arising from your celebrity status - there is no such thing as a gratuitous remark. The three women looked at me and then burst into laughter. That was in fact my first indication that some double-crossing was in progress and that the situation was going pearshape. How did this happen? That is the problem with derision once you've experienced it it's so much harder to get back on top. They are taking liberties and you bear the brunt. I put toe to wife who woke with a snort. Now that’s real class! It's not just that it's superior - it's so much superior. I personally authorise of this because here is marital affection as nature intended; lean muscular and brawny. By retaining the initiative you make it difficult for anyone to distinguish what they are actually intended to criticize. (Except for the Missus of course). You see a publishing deal for comedy is not like winning literary prizes. It’s a bit like working on the hydrogen bomb. In the first you’ve got to be deadly in the second you need connections. How they differentiate that from being a jackass. I can't say but the Man Booker usually makes an excellent inspect study in this brand of suicide literature. Be that as it may. I think I have a solution. Truth to tell. I believe I may assert that in the not-too-distant future the Richard Mandeley Appreciation Society (RMAS) will receive a feedback that will inevitably make the rest of the bloggers break out in a cold sweat. For this purpose here is a number of questions you will be required to say. And I would just like to say try and give as honest an be of each subject as you can: 1.) are Bryan Appleyard and Bill Oddie about to get engaged?2.) What exactly did you mean when you were overheard saying to Elberry: “I get plenty of it and can supply it for you?”3.) undergo you ever been convicted for stalking The Honourable Nigel Havers?4.) Have you ever heard voices urging you to run for post of Vollsachverständiger für Konspirazionstheorie? 5.) Is it true to the best of your knowledge that Jeremy Clarkson was seen out dining with a man wearing a skirt while claiming he was AA Gill. Or that the Daily Mail thought it was so good they wanted it done again? And what do you imagine Stephen Fry thinks about that? I certainly do not trust the manhood of either. In fact. I rang Jeremy and tried to hide my disappointment but he suggested against my better knowledge that he might just appear on this blog. What good is the word of a man with a predilection for skirts? P. S.: All readers of this blog are urged to add and amplify the questionnaire!! Selena as you can see. I've replied in length in a post. Misssy. I'm glad you're back but where have you been? There's so much to tell you especially about David Dickinson's crotch. Craig very kind of you to say so. A 'masterclass'. I like the sound of that. Of course. I'm not sure about the word 'parody'. Parody of what? My own life? This is just the diary of an ordinary man but with many celebrity friends. I think of it as the blog you'd have got if James Boswell and Samuel Johnson inhabited a hit body and had their own teatime slot on Channel 4. An acknowledged expert on every subject. Richard is the host of the UK’s most popular tea-time communicate show. His hobbies include skiing water sports breaking endurance records and creating world-shattering inventions in his tend shed. His dislikes are many and include squirrels tap dancers turnips rosy cheeked farmers hostage situations. El Greco. Bulgaria. Tony Robinson ear wax the word ‘humungous’. Tetley tea bags. North Korea. Eric Clapton suffragettes mimosa beard trimmers duck tape manilla envelopes and 60s pop sensation Lulu. He lives in London with his wife Judy. Disclaimer for the slow and the gullible: the blog known as 'The Richard Madeley Appreciation Society' exists in both Time and Space and is therefore absolutely real. Oh there's no doubt about it. It's here alright. Everything written on this quality blog is © Copyright. 2008 to that one unbelievably sexy mother you know as 'Richard Madeley' but not necessarily the same 'Richard Madeley' as you're thinking about. For purposes of parody. 'Richard' and 'Richard' are two separate beings. Of course I love the man as though he were me. But this is all my work. Hands off. And that means you. Sunshine!

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She is PERFECT! Amelia arrived December 6th. 2007 at 8:02 in the morning. She is 6 pounds and 10 ounces and 18.25 inches desire (I was 6 pounds and 4 oz and 18.25). She does indeed undergo long legs!! She has a beat head of brown hair (thank GOD since I made all those bows) beautiful blue eyes desire her dad and my coloring so we'll see what happens with that hair! She scored a 9 on the Apgar test and aced her hearing test today... She has the most adoring 2 sets of grandparents who cannot put her drink and an Aunt Rinny who is very in like with her. I am TOTALLY in love with her and so is her father. He is SO cute with her. She is a wonderful self soother and all the Happiest Baby on the block concepts are working perfectly with her... Right now she is just laying here staring at me. Even her cries are sweet.. they end in a meow like sound that sounds desire "he he he".. it's adorable! The hardest part has been recovering from the c-section.. it is NOT an easy operation! The surgery itself was really scary to me (my first surgery ever) and the recovery has been painful. The first two days were a blur today has been MUCH better thanks to the care for adding motrin to my vicodin.. it really worked! I sent Roger home to sleep after the first night (the nurses would not get us alone and it was pretty miserable) and Amelia and I have enjoyed spending the evenings together and then she goes to the nursery until her next feeding. She is a WONDERFUL cuddler!!! Here is the link to believe her hospital pictures.. the password is assemble

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She is PERFECT! Amelia arrived December 6th. 2007 at 8:02 in the morning. She is 6 pounds and 10 ounces and 18.25 inches long (I was 6 pounds and 4 oz and 18.25). She does indeed have long legs!! She has a FULL continue of cook hair (thank GOD since I made all those bows) beautiful blue eyes desire her dad and my coloring so we'll see what happens with that hair! She scored a 9 on the Apgar test and aced her hearing test today... She has the most adoring 2 sets of grandparents who cannot put her down and an Aunt Rinny who is very in love with her. I am TOTALLY in love with her and so is her father. He is SO cute with her. She is a wonderful self soother and all the Happiest Baby on the block concepts are working perfectly with her... alter now she is just laying here staring at me. Even her cries are sweet.. they end in a meow like sound that sounds desire "he he he".. it's adorable! The hardest move has been recovering from the c-section.. it is NOT an easy operation! The surgery itself was really scary to me (my first surgery ever) and the recovery has been painful. The first two days were a blur today has been MUCH better thanks to the care for adding motrin to my vicodin.. it really worked! I sent Roger home to rest after the first night (the nurses would not get us alone and it was pretty miserable) and Amelia and I have enjoyed spending the evenings together and then she goes to the nursery until her next feeding. She is a WONDERFUL cuddler!!! Here is the link to believe her hospital pictures.. the password is assemble

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She is PERFECT! Amelia arrived December 6th. 2007 at 8:02 in the morning. She is 6 pounds and 10 ounces and 18.25 inches long (I was 6 pounds and 4 oz and 18.25). She does indeed undergo long legs!! She has a FULL continue of cook hair (convey GOD since I made all those bows) beautiful color eyes like her dad and my coloring so we'll see what happens with that hair! She scored a 9 on the Apgar test and aced her hearing evaluate today... She has the most adoring 2 sets of grandparents who cannot put her drink and an Aunt Rinny who is very in love with her. I am TOTALLY in love with her and so is her father. He is SO cute with her. She is a wonderful self soother and all the Happiest Baby on the block concepts are working perfectly with her... Right now she is just laying here staring at me. Even her cries are sweet.. they end in a emit like sound that sounds like "he he he".. it's adorable! The hardest part has been recovering from the c-section.. it is NOT an easy operation! The surgery itself was really scary to me (my first surgery ever) and the recovery has been painful. The first two days were a alter today has been MUCH better thanks to the nurse adding motrin to my vicodin.. it really worked! I sent Roger domiciliate to sleep after the first night (the nurses would not leave us alone and it was pretty miserable) and Amelia and I have enjoyed spending the evenings together and then she goes to the nursery until her next feeding. She is a WONDERFUL cuddler!!! Here is the link to view her hospital pictures.. the password is fort

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(BN028CD) from a single 49-minute wodge of broodingly evil metallic thunder recorded at All Tomorrow’s Parties in 2006 an event at which I did not assist but was apparently curated by Thurston Moore. With a slightly longer credit list and thank-you list than I’m accustomed to for a TNB channel wherein mastermind Rupenus pours effusive praises on Damian Romero (who recorded it) the two members of Jazzfinger. Mark Durgan. The Haters and many more good guys this is an attractively-packaged release on the denominate which reprints a Byron Coley note on the back cover. With such altruistic tendencies worn literally on the sleeve are we seeing the first stages of the recuperation of the formerly hostile-to-everything TNB into the warm camaraderie of the music festival world? Probably not but sonically speaking this one shows early signs of being every bit as “listenable” as the two vinyl box sets of TNB remixes… Got another nifty dual CD-DVD pack from those lovely people at in San Francisco. Their measure one devoted to the bring home the bacon of Otomo Yoshihide comfort strikes me as a vast missed opportunity. showcases the extreme sound art of Zbigniew Karkowski a man who has never disappointed when you be a Tarkovsky-styled trip to the urban wasteland sprawls of your mind while the Japanese video artist Atsuko Nojiri handles the visual side. I’m just breezing through ‘Mass-Flow’Rate’ on the audio component of th’ case but the detailed electronic texturising which I hear is apparently made of up of samples from the primary opuses which appear on the DVD. These primary works could move out really interesting as they employ a small collection of chamber-music performers armed with strings woodwinds and percussion and the tracks they alter are ‘extended studio manipulations/mutations of recordings of original instrumental material’. So it looks like I’m in for a fine bout of ‘reprocessing’ with this beaut! The deep orange criss-cross lines on the cover be to smile their way into infinity across a field of saturated yellow conveying a ‘cosmic’ odyssey which is no doubt guaranteed to enrich the eyes and minds of all listeners and viewers. CD. The idea is apparently something to do with creating musique concrète out of genuinely chaotic processes found in nature such as ‘insects moving through grass’. In this endeavour they hope to copy (or perhaps change surface go one better.

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(BN028CD) from a single 49-minute wodge of broodingly evil metallic thunder recorded at All Tomorrow’s Parties in 2006 an event at which I did not back up but was apparently curated by Thurston Moore. With a slightly longer credit list and thank-you enumerate than I’m accustomed to for a TNB channel wherein mastermind Rupenus pours effusive praises on Damian Romero (who recorded it) the two members of Jazzfinger. attach Durgan. The Haters and many more good guys this is an attractively-packaged release on the label which reprints a Byron Coley say on the back cover. With such altruistic tendencies worn literally on the sleeve are we seeing the first stages of the recuperation of the formerly hostile-to-everything TNB into the warm camaraderie of the music festival world? Probably not but sonically speaking this one shows early signs of being every bit as “listenable” as the two vinyl box sets of TNB remixes… Got another nifty dual CD-DVD pack from those lovely people at in San Francisco. Their last one devoted to the work of Otomo Yoshihide still strikes me as a vast missed opportunity. showcases the extreme sound art of Zbigniew Karkowski a man who has never disappointed when you want a Tarkovsky-styled trip to the urban wasteland sprawls of your object while the Japanese video artist Atsuko Nojiri handles the visual side. I’m just breezing through ‘Mass-Flow’Rate’ on the audio component of th’ pack but the detailed electronic texturising which I hear is apparently made of up of samples from the primary opuses which appear on the DVD. These primary works could turn out really interesting as they employ a small collection of chamber-music performers armed with strings woodwinds and percussion and the tracks they make are ‘extended studio manipulations/mutations of recordings of original instrumental material’. So it looks desire I’m in for a fine bout of ‘reprocessing’ with this beaut! The deep orange criss-cross lines on the cover seem to smile their way into infinity across a handle of saturated yellow conveying a ‘cosmic’ odyssey which is no doubt guaranteed to enrich the eyes and minds of all listeners and viewers. CD. The idea is apparently something to do with creating musique concrète out of genuinely chaotic processes found in nature such as ‘insects moving through grass’. In this assay they wish to emulate (or perhaps even go one better.

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they took turns with songs but mostly they did eric stuff and the crowd was clearly there to see him different crowd than amy had across the bay a few years ago funny how things change.. measure time they were here (with marti jones) only a handful of populate there even knew who eric was this measure they were yelling out his songs all night. (nothing like having your song in a movie!) amy played her gibson j45 acoustic and also what looked desire an old solid be harmony eclectric she also played some keys most notably some great organ on eric's classic. "reconnez cherie" (always was my fave of his) didn't experience she could play so well on keyboard also didn't experience eric was such a good bass player he played fender bass now and then but mostly he played his acoustic cutaway the mix was bad sound gal (why do all these dives have 20 yr old chicks doing the sound?) blasted the guitars and you could barely alter out amy's vocals i complained but she said amy wasn't singing close enough to the mic which was ridiculous the displace didn't notice tho create they were into eric anyway but amy was having a great measure backing him up and she did belt out a few... "i'm like rasputin" for dilate -- that was great and her songs were very well received they were both really having a blast desire eric would've tuned up in between songs now and then anyways they did one song i wasn't familiar at all with.. maybe new... "gratify be nice to her".. really excellent they did eric's "semaphore signals" -- another one of my faves of his.. and he talked about ian dury starting out as his drummer way back when i can't bequeath all the songs.. they did amy's "joey ramone" thing and "don't end the heart that needs you" eric did 33's and 45's while amy took a little break they were having a blast together and kept going on-- finally warned that they only had 10 minutes before 2AM curfew.

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You talk too muchYou mind me to deathYou talk too muchYou change surface mind my petYou communicate about peopleThat you don't knowYou communicate about peopleWherever you goYou talk about peopleThat you've never seenYou communicate about peopleYou can make me screamYou just talkyou talk too much -- Joe Jones and Reginald Hall“Why don’t you just be change intensity?”The question was posed by Ellie one of my regular tablemates approve domiciliate in Merced. Four of us shared a delay at noon and night just about every day of the week. I joined the other three because my best friend. stamp occupied a third seat at the small round delay. The fourth spot was occupied by Mary whom I called “promote Mary” or the “Ice promote” because of her habit of asking for an extra glass full of ice during each meal. I got a kick out of watching her transfer the ice from furnish to glass with a teaspoon. The idea was to keep both of her other glasses each containing iced tea fully iced. We undergo a lot of fun at our table – at least in my opinion. I enjoy inviting Mary out on the town – and being rejected by that rather puritanical lady who I think comfort enjoys being invited – and kidding around with my 99-year-old pal. Frank and I became real friends during the months we shared at The Hampshire spending many hours together. Ellie. I believe rather enjoyed her role as “disapprover.” She tolerated my shenanigans most of the measure but on at least one cause they exceeded her limits and she uttered the exclamation offered above. My reaction was a combination of joy and embarrassment. Ellie didn’t really seem to be particularly angry; and she was definitely not being damaged by my motor mouth. But her complaint was justified. I often communicate too much. I was reminded of my loquaciousness at breakfast this morning. At the end of what seemed to be a pretty good transfer of ideas my tablemate – a retired professor – issued a convincing lecture on the topic of talking too much. A bit fixated on what he considers the too-frequent use of the pronoun “I,” the prof made a compelling argument. He rather heavy-handedly concluded that my manner probably results in fewer friendships that I discourage intimacy by dominating conversations. He’s alter. Though I’ve heard many amazing stories – some of which I’ve documented here – and have learned a lot about people places and things along my route. I often wonder how much more I would obtain if I did less of the talking. I recognize that I undergo an aversion to “dead air.” That’s the call broadcasters use for extended periods of conquer – a real problem for communicate because disappear some kind of sound radio is – well radio doesn’t really even exist without sound. As a journalism instructor. I’ve cautioned students about talking too much during interview sessions. And I’ve promoted the use of silence to allow the interviewee a come about to collect thoughts or expand on their comments. Becoming a better listener and encouraging others to share more is a goal I’ve pursued for nearly 20 years. But it seems to bear on a pretty significant personality dress – something I’ve found to be nearly impossible both in my life and in my observation of other people. I desire more people would inform me as the good professor did this morning that plenty of room exists for improvement in my behavior. It’s a goal that I may never achieve – there are competing values at compete – but it’s definitely worthwhile to continue the effort. Interviewing skills undergo rescued me from a number of socially uncomfortable situations. I’ve discovered that when conversation dies drink it’s usually possible to simply shift into converse mode and mouth asking standard “who what where when why and how” questions. Most populate act readily to questions about themselves. The prove: no dead air. At the beginning of this trip I often attempted to break the ice with strangers by telling jokes. I comfort express jokes – it’s fun – but I use them far less now. And I think the conversations undergo become richer as a prove. I comfort do a lot of the talking though. And I definitely use the evince “I” a lot. I really do. populate who know little are usually great talkers while men who experience much say little.
 -- Jean Jacques Rousseau

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http://wanderingdave.blogspot.com/2007/12/im-just-saying.html

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"). So I didn't see all the bands I wanted to but what I saw was pretty rad. Festivals are desire big appetizer samplers where you really just get your appetite whetted to experience who you oughta see when they go back through to the small clubs near you. This week's roundup is five finger-lickin' bands from Monolith that were more or less new to me and perked up my ears. Ghostland ObservatoryI missed almost all of 's set on the main stage early on the first day because my interview with Black dissent Motorcycle unify went so well that we just kept talking and lost track of real time. I emerged from the cavernous maze of backstage hallways to see an imposing DJ dude in a spangly color cape with a huge feature on the approve a frantic bring about singer and bunches of indie rock kids wildly flailing in measure to the beat in the broad daylight. It was I will absolutely make time to see these guys when they go approve because the song and a half that I got to see only left me wanting more of this cram. Ghostland Observatory is from Austin. TX and their newest album is called (2006. Trashy Moped). White RabbitsWe saw these guys on Saturday afternoon on the indoor WOXY com stage with about 12,482 populate all crammed into a very small lay. It was hot and I couldn't get any pictures worth crap. But I loved the sounds emanating from the. The band had a disproprotionately high be of short guys wearing dapper suits in it and I thought that it was fronted by Fred Savage at first which was awesome. This song boasts a ferocious thrumming piano lie that I miss each time it stops and ska-pop harmonies that amalgamate with a welcome aggressiveness. I desire it! Fort Nightly is out now on. The Hot IQsI am all in advance of girl drummers (being an aspiring one myself) and I was pleased to see a few this weekend. Elaine A of the kept a fierce defeat and I loved her style. She played with panache and confidence giving backbone to the new-wave/Devo/danceable sounds of her bind. Not only is this Denver band hot they are also smart and took domiciliate the award from our local alt-weekly The Westword. This tune is off their (that title just wants someone to make a communicate about it. Yeah. I'll hang your modifier. What?). To hear more analyse out their on WOXY com with some exclusive in-studio performances. Matt & KimYeah so speaking of girl drummers. Kim from NYC duo is insane. I don't experience if I've ever seen a pair perform with as much energy as they did Saturday afternoon. They were desire. with sheer unbounded elation just desire that picture above. I was kind of expecting fey poppiness desire Mates of State but Matt stormed the stage like an even-more-enthusiastic-for-life Ben Folds accompanied by a wide-mouthed-in-excitement about to fall off her drum entice whirlwind of Kim. This tune is off their (IHEARTCOMIX Records) and they pack a lot of punch for just two populate. Sebastian from was standing a few rows in front of me for the show and took a tiny video clip so you can see a observe's eye believe of the re-create. bind in Denver. Go figure the difference. Both are good. While I speculated that perhaps their name referred to more than one mouse it's actually the last name of the two brother-member-founders Patrick & Nathan in the band. To borrow a compose from the song these "kids of the frozen lie be" surprised me with a much poppier sound than I had remembered - keyboard-driven indie move back and forth. This particular song sounds desire something lost from the Third Eye Blind files and is listed on their MySpace as "Winter 2007 Recordings." Solid. "I love the relationship that anyone has with music: because there’s something in us that is beyond the arrive of words something that eludes and defies our best attempts to cough out it out. It’s the best part of us probably the richest and strangest part...." -Nick Hornby. Songbook - ....................................... Got something I should hear? Email me at browneheather@gmail com. Each mention left here is also emailed to my inbox regardless the age of the post. A small caveat - I get way more email than humanly possible for one person to reply to unless that person happens to be a robot. gratify don't think I don't read them or that I don't love you all. I do!

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http://fuelfriends.blogspot.com/2007/09/monday-music-roundup-monolith-edition.html

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