Showing posts with label muxtape. Show all posts
Showing posts with label muxtape. Show all posts

Friday, July 04, 2008

"Friday" Muxtape no. 10 (belated as hell); Obama 2.0

Yup, this shoulda woulda coulda gone up on Friday. [Insert the usual excuses here, tour planning, life intruding, blah blah blah.]

Mea culpa. But don't hold it against me: the mux is still worth a listen!

Paticularly: track two features Kris Tiner's splendid lil' ensemble, referenced in a previous post o' mine. The album (and the band) are highly recommended, of course.

The Sonics: "Have Love Will Travel"
Empty Cage Quartet: "Old Ladies"
Lee Wiley: "A Hundred Years From Today"
Pink Martini: "Lilly"
Jerseyband: "Lord Magnificent"
James Brown: "Down and Out in NY City"
The Louvin Brothers: "The Great Atomic Power"
James Kochalka Superstar: "Monkey vs. Robot"
Angelic Gospel Singers: "Back to the Dust"
Johnny Otis: "Castin' My Spell on You"
Lee Hazlewood: "I Move Around"
Spoon: "The Underdog"


Hotcha!

* * * * *


[Oh, boy, here he goes shooting his mouth off on the subject of politics again. Goddamn, but I thought he was done with that -- Ed.]

Okay, I can't resist any longer. How about that Barack Obama, eh? It's been a busy few weeks.

Those of you who have been reading this blog for a while know that I have been an Obama supporter for a long time -- well before the primaries, in fact.

But honestly, I have never felt swayed by the "rockstar" thing, the in-the-tank mentality, or the halo-allegations that seem to have attracted many of his supporters. I didn't get the Obama girl concept, I thought the man came off as a bit of a buffoon on the Ellen Degeneres show, I thought the will.i.am video was about 35% too precious, and although I liked most of the speeches, I know full well that we can not live by rhetoric alone. (And, incidentally, I don't get Barry's tendency to use prompters planted on diametrically opposed sides of the room -- it usually gives the impression that he's watching a very slow-motion tennis match while speech-ifying. Awkward!)

So the more extreme, ethereal, emotional form of Obama-mania always frightened me, at least partly because it was inevitable that the bubble was going to burst at some point. Predictably, for some folks it has been bursting practically every day since the primaries ended.

The mainstream media, in their infinite wisdom, have a phrase for this burstification. They call it "moving to the center." Maybe that's what it is, maybe it isn't. (I'd like to believe 'em, really I would, but it's hard to know how to process information given to you by people who seriously entertain the notion that getting shot down in Vietnam may actually be a qualification for being president).

Look: I can hardly blame leftward-oriented folks for feeling more than a little on-edge in the wake of post-primary developments (FISA, Supreme Court decisions, Muslim photo ops, faith-based initiatives, etc.), or in anticipation of this election. After 7 years of Bush (not to mention the brave new world of the Internets), whaddya expect? Plus, when it comes to the future of this country, there's so much that has all the texture and aroma of Armageddon that the late great George Carlin may have been right when he declared that "this country is finished."

But shit, people -- now is not a time for purism, either. I mean, we don't want to lose, do we?! Here's someone named Sara opining on the brouhaha over Obama's FISA stance:

I don't understand what all the fuss is about Obama's statement. To me it seems like a pretty typical case of working within the system to rise up through the system in order to change the system. Is patience such a rare quality in a politician that we don't recognize it anymore and misperceive it as cowardice?

Prioritizing the present and the future over the past--with an end date in mind for this prioritization--is hardly a glaring warning sign of ethical fluidity or weakness. It's basic triage.

He doesn't want to try to fix everything from the floor of the Senate. That's why he's running for President. I'm OK with that approach.


Indeed. And here's insightful MandyW (same post):

In a democracy, unelected activists are free to take extreme, uncompromising positions. They succeed insofar as their arguments convince the majority of the people of the correctness and importance of their views (e.g. abolitionists like William Lloyd Garrison). Thus, they can transform unrealistic ideals into practical possibilities.

Elected politicians, otoh, MUST compromise to reflect the mainstream of public opinion. (What's the point of democracy if elected leaders pay NO attention to the "will of the people"?) That means the reforms they can accomplish are by definition less sweeping than what outside activists would prefer, but at least they can actually accomplish something (e.g. Presidents like Abraham Lincoln).

For democracy to work, we need BOTH outside activists AND elected politicians. It's silly for activists to denounce ANY deviation by a politician from their view of what's "perfect" as a sellout. It's equally silly for politicians to dismiss ANY deviation by an activist from their view of what's "practical" as not worth considering.

Yes, I'm disappointed at the stance that the Dems, including Obama, are taking on the FISA Act. I assume it's because they fear that a stronger stand would encourage 527's to pop up to attack them, citing FISA as proof that they're "soft on terrorism".

Sadly, imho, such 527 attacks would probably be effective. It could make it a lot harder for Obama to get elected and/or for the Dems to get a large enough majority in Congress to actually accomplish anything on things like Health Care after the election.


These ladies have it exactly right. How much stupider could Obama be than to get hamstrung by the "PETA syndrome" -- political stances that may draw attention and engender a certain degree of moral satisfaction (for those who grasp and sympathize with their meaning), but that ultimately fail to break through the deadlock. It would be like, oh, I don't know, a jazz composer declaring that there was no redeeming value in pop music, thereby shoring up the quaint but useless notion of "high art."

When I taught writing in college, the primary criterion for evaluating student work was cogency. All freshman writing assignments presented students with a basic debate into which they were supposed to position themselves effectively. The idea was to write an argument that had the potential to actually convince someone on the other side, rather than taking up the rhetorical bludgeon and simply attempting to insist and assert the reader into submission. Students had to start by trying to find some common ground with their opposition, giving whatever counterarguments existed a fair shake (without, of course, weakening their own position).

That's not an easy thing to do, but Obama would have aced that class. I just hope his supporters can figure it out too.

* * * * *


And besides. Specifically:

I learned long ago, when working as an organizer on the South Side of Chicago, that when citizens join their voices together, they can hold their leaders accountable. I’m not exempt from that. I’m certainly not perfect, and expect to be held accountable too.


I'd like to see John McCain say that without choking.

* * * * *


By the way, phenomenal PDX-based saxophonist Lee Elderton -- who will most likely be joining the IJG for our Pacific Northwest tour this September (fingers crossed!) -- has a blog. It features much better Obama rally pix than the ones I posted here.

Friday, June 27, 2008

Friday Muxtape no. 9; a new review

Dealing with a hellacious headcold and a number of tour deadlines at the moment -- sorry for the lapse in blogging. I'll get back to it soon, but in the meantime here's this week's mux:

1. Albert Ammons: "Bass Goin' Crazy"

2. Buddy Holly: "Crying, Waiting, Hoping" (the demo version)

3. Holus Bolus: "Dirt Track" (This is the great Josh Sinton's band. Holy cow do I love this record.)

4. Soul Brothers: "Indawo Yokulala"

5. Carla Bley "Ups and Downs"

6. The Byrds: "Pretty Boy Floyd"

7. Third World War: "Shepherd's Bush Cowboy"

8. Edmund Meisel: "Die Tat / Fackellichter In Der Stadt"

9. Ray Agee: "From Now On"

10. Golden Arm Trio: "Finster Crumley"

11. Evangelistic Ensemble: "Heaven Belongs to You"

12. Spike Jones and His City Slickers: "Ghost Riders in the Sky" (live)

* * * * *

And the latest review, c/o our friend Craig Matsumoto at KZSU.

More soon...

Friday, June 20, 2008

Friday Muxtape no. 8; tour planning update

First of all, holy crap. For the first time in a long time, I actually have a full five-day IJG tour planned out more than two months in advance. Not sure if it's just blind luck, or I'm getting better at this, or what. In any case, we'll be hitting (and hopefully converting) the Pacific Northwest right after Labor Day this year. Here is the order of events:

September 2: Jewel Box Theater (Seattle, WA).

September 3: Cozmic Pizza (Eugene, OR).

September 4: Le Voyeur (Olympia, WA).

September 5: Mississippi Pizza (Portland, OR).

September 6: Seasons (Yakima, WA).

Times and other specifics TBA. For now, I can tell you that we'll most likely be sharing the bill with the great Baby Gramps in Seattle, and at least one (and probably several) of the subsequent shows will be mutual efforts with our old friends (and fellow dadaists) Reptet. Oh yes, and we'll most likely be doing a live recording at PDX-area jazz station KMHD, probably toward the end of the week. This courtesy of one of our biggest advocates, Mary Burlingame (thanks, Mary!).

So you see, I've been busy.

* * * * *

On to the mux. No IJG-related stuff this week -- but more is in the queue, so stay tuned. For now, here's the playlist:

1. Kria Brekkan: "Gomul Visa um Vorid"

2. My Morning Jacket: "Bermuda Highway"

3. The Rosie Taylor Project: "London Pleasures"

4. The Mars Volta: "Wax Simulacra"

5. Frank Zappa: "Camarillo Brillo"

6. Run DMC: "Slow and Low" (demo version)

7. Clyde Arnold: "Black Smoke and Blue Tears"

8. The Continental Cousins: "Kana Kapila"

9. Gil Scott-Heron: "Lady Day and John Coltrane"

10. Mahmoud Ahmed: "Aynotche Terabu"

11. The Monkees: "Sunny Girlfriend"

12. James: "Destiny Calling"

Google what you like. Ignore what you hate.

Friday, June 06, 2008

Friday Muxtape, no. 6

I gotta start working on these things earlier in the week...

Anyway, hear here.

1. Bootsy Collins: "Bootzilla." I think Daphne would agree: for a while this was "our song."

2. Mendelssohn: "Saltarello-Presto from Symphony no. 4." Performed by 16 player pianos, at the behest of Paul Lehrman.

3. Duke Ellington: "Come Sunday Interlude." From the Black, Brown and Beige album. Ray Nance on the violin.

4. Howlin' Wolf: "300 Pounds of Joy." This is not the Real Folk Blues version. (I love that one too, except for the horrible edit at the beginning.)

Anyone know where I got this? (No, seriously, I can't find the album it came from. Maybe I'm just tired.)

5. The Videos: "Trickle, Trickle." In honor of the PDX weather god's apparent intention to make summer a lot shorter this year.

6. Moondog: "Bird's Lament." Played by the London Saxophonic. And then turned into a car commercial. Fuckers!

7. Guided By Voices: "Chasing Heather Crazy." Dependable? Tuneful?

8. Andrew Bird: "The Trees Were Mistaken." Eerie? Hypnotic?

9. The Chap: "Surgery." Poppy? Quirky?

10. Damon Zick and Friends: "Hill Country." Damon has played every damned saxophone book in the IJG -- and all of them with incredible skill. As such he's often the go-to guy whenever a new sax player needs something about one of my tunes explained. He's a motherfucker, as this track of his will attest.

(Oh, yeah, and his wife just had a baby boy -- congratulations, Zicks!)

11. Duke Ellington: "Rockin' in Rhythm." With Sam Woodyard on the drums, it's not so much rockin' as white-hot burning.

12. Cliff Jackson and Jellean Delk with the Naturals: "Frank, This Is It." Respectfully, this is for HRC. Make of that what you will.

Friday, May 30, 2008

Friday Muxtape no. 5

This one.

1. Chicago Pro Musica: Paul Bowles, "Music for a Farce" (1)

Classical, farcical trumpet: what's not to like? From the author of The Sheltering Sky. I wonder what kind of blogger he would've been.

2. Tadd Dameron: "Fontainbleau"

For a while, this was a template for me.

3. Todd Rundgren: "Love in Action"

If you can sit through the verses, it's a great tune.

4. Acme Rocket Quartet: "Sleep Waltz"

Pleasantly eerie: like Davis, CA (the band's hometown). And the best band name ever. (And that's the last time I'll ever use that grammatical construction.)

5. Johnny Kidd and the Pirates: "Doctor Feelgood"

This ain't Arethra's "Doctor Feelgood" (same title, different tune), but it's still pretty good.

6. Baby Gramps: "Bahama Mama"

I've never heard a voice that so perfectly matches its beard.

7. André Canniere Group: "Accelerated Decrepitude"


See how spoiled I am? AC is another one of the many uber-talented folks who have played with the IJG. Thanks, André!

8. Bruce Springsteen: "Does This Bus Stop at 82nd Street"

A bootleg recording from Springsteen's eccentric wacko (i.e., "good") phase.

9. Katell Keineg: "One Hell of a Life"

For Harvey Korman, and also because my daughter has started asking me to explain the concept of death. (Oh shit, how am I gonna do that?)

10. John Lee Hooker: "Onions"

Onions from John Lee Hooker are better than ice cream from Jack Johnson.

11. Erkin Koray: "Hele Yar"

Some call him the Turkish Jimi Hendrix. Huh?

12. The Edsels: "Who Put the Bop in the Bop Shoo Bop Shoo Bop."

Okay, I'll admit it. It was me. I put the bop in the bop shoo bop shoo bop. Can we just drop it now?

And here's last week's.

Now to sleep.

Thursday, May 22, 2008

Friday Muxtape, no. 4

How I wish I had the time to fully annotate this week's muxtape. (Or any of them so far, actually.)

Ah well. Here's the best I can do:

1. Oliver Nelson: "The Artist's Rightful Place" (from The Kennedy Dream). The concept here -- audio clips of JFK layered over Oliver Nelson compositions for big band -- seems "quintessentially Sixties," in the worst sense. But then you have to remember that Oliver Nelson really had to go out of his way to make a bad record. Featuring Phil Woods, Hank Jones, George Duvivier, Grady Tate, and others. (Is the current relevance of the Kennedy reference too obvious? So sue me -- I'm a sucker for historical moments.)

2. Frank Zappa: "The Big Squeeze." Released posthumously on The Lost Episodes, this is Zappa's music for a Luden's Cough Drop Commercial (recorded, incidentally, in the same year as the Nelson record just referenced -- 1967). It features the "snorking" of Dick Barber.

(Wait -- Zappa wrote a jingle?!)

3. Alice Coltrane: "Sri Rama Ohnedaruth." So we've gone from strictly commercial to sweeping and spiritual -- it's that juxtaposition thing again. (The album: Lord of Lords.)

4. Ensemble Ambrosius: "The Idiot Bastard Son" (from The Zappa Album). FZ cover, done with baroque instruments by a group of Finns -- giving an oddly monkish, medieval flavor to one of the maestro's more, uh, hopeless tunes.

5. Mike Richardson (as 100% Polyester): "FAILURE." You've heard me talk about Mike before. He plays trombone in the Industrial Jazz Group, among many other bands. But he also does a bevy of solo projects, and this is one of them. Interesting tidbit: we share the same birthday -- which may or may not explain why I consider him a kindred spirit.

6. Joe Jackson: "Invisible Man." Though I found his foray into swing nearly insufferable, I really like Joe Jackson. His Heaven and Hell, in fact, is a favorite of mine. This is from his latest, Rain.

7. Joanna Newsom: "The Book of Right-On." Talk about niche-casting. I don't think I can listen to any of Newsom's albums from start to finish -- but I think she's awesome nonetheless.

8. MUS: "La Vida." From Spain, they are.

9. Raymond Scott: "IBM MT/St: The Paperwork Explosion." You know Raymond Scott, even if you think you don't -- he's the guy who wrote the "Powerhouse" theme that was used to great effect in many Warner Brothers cartoons. Scott was also a great musical inventor... and maker of commercial music. This is a thing he did for IBM, as compiled on Manhattan Research, Inc.. (Just be glad I didn't include his jingle for Sprite.)

(Wait -- Raymond Scott wrote a jingle?!)

10. Don Byron: "The Penguin." The other side of Raymond Scott -- this actually happens to be one of my favorite tunes (note the parallel between "The Penguin" and "The Frog"). A version by the great Don Byron, from the under-rated Bug Music.

11. Veda Hille: "Lucklucky." Veda and I share the same natal year (1968) -- which may or may not explain why I consider her a kindred spirit.

12. American Standards: "My Bathroom is a Private Kind of Place." From a supremely odd album called "Product Music," featuring nothing but this sort of post-WWII commercial pablum... which is hilarious as all get-out lo these many years later, though I'm sure it wasn't too funny at the time. (Just be glad I didn't include "The Frito Twist.")

Holy cow -- I just googled the Product Music album, and discovered the existence of a thing called the industrial musical: "a musical performed internally for the employees or shareholders of a business, to create a feeling of being part of a team, and/or to educate and motivate the management and salespeople to improve sales and profit. It can be used to train staff in regards to public relations, advertising, marketing or corporate image."

Shudder.

Wednesday, May 14, 2008

Everything old is new again (part 2) / Friday Muxtape no. 3

When I'm not composing or touring or bandleading, I love watching technology obsolesce and re-emerge. Our gadgets rarely disappear entirely: through processes of fascination and fetishization, the trappings of dead or dying technologies are usually rescued and put to new (albeit sometimes entirely superficial and / or merely psychologically satisfying) uses.

Kevin Kelly is right: we love our machines.

Exhibit A:

Get a rotary dial on your iPhone.

I actually don't understand the appeal of this -- I used to get my fingers stuck in rotary dials all the time, and I always thought they were a royal pain in the ass... though I kind of liked the way they sounded during the dialing process.

Exhibit B:

The "Grungelizer" plug-in for Cubase.



It makes things sound... old.

(I'm not even going to say anything about the digital simulacra of fully functioning "dials," because that is pretty much standard with any audio recording software or plug-in.)

Exhibit C:

"Below the fold." Check it out: strictly speaking, there is no "fold" on a computer screen. This is a term from another dying technology: printing.

Exhibit D:

Muxtape.

I have tons and tons of cassette tapes stowed away in boxes in the basement. Why don't I just chuck 'em? I don't know.

Here's what I do understand: when riffing on the cultural idea of "the mix," it's only natural that Muxtape would define itself visually by referring back to the first commercially-available medium for the practice of making mixes.



* * * * *


It's interesting when a new technology cuts down on the work involved in making art. In the face of this sort of thing, there's a risk that the stuff that already exists, which was created without the benefit of that technology, may come to seem more "obsolete" or "quaint" than it actually is. Someone outside the history of a given practice -- audio editing, say -- can mistakenly focus on how "easy" it is, now.

What is an artist born at the wrong time to do? Sometimes it's just a matter of figuring out ways to put new technologies to even newer uses -- uses other than the ones which they were specifically designed for. Note that the phonograph itself was originally conceived (by Edison, anyway) as a dictation machine, not as a device for disseminating recorded music (how's that for ironic: what became one of the greatest emblems of leisure was originally intended for use in a fucking office).

So what about computers: the context for most creativity in the twenty-first century (so far)? Sometimes I think that the light-show you can get from an iTunes or Windows Media Player "visualizer", for instance, would be seen as "art" if it weren't so easily available. Maybe that's what makes the following video, by Dennis Liu, so damned fascinating: it takes the mundane processes of the personal computer -- processes which would have been amazing twenty years ago, but which now seem hackneyed (to me, anyway) -- and uses them to entirely different (and new) aesthetic purposes (and very effectively, I might add):



Cool.

* * * * *


And now today's mix:

1. Masaro Sato: "The Plan to Incinerate the H-Man." From a movie I've never seen but would like to.

2.. Lavender Diamond: "Rise in the Springtime." The excessive sweetness of this band (what else would you expect, with a lead singer named "Becky"?) is much more endearing live. Anyway, it was a hot day today, so I thought of this tune.

3. Deep Zen Pill With Brother Bam Shock: "Power." John Oswald. Plunderphonics. A double-album of mashups par excellence -- done without the aid of digital technology, as I recall. This one poaches from Zeppelin and a preacher.

4. Colin Stetson: "Groundswell." A lot with a little.

5. Them: "Friday's Child." Van Morrison was in a band called Them -- before he was the Van Morrison.

6. Chico Hamilton: "In a Mellotone." You east coasters will hate this, I know.

7. Barbara Lynn: "Heartbreaking Years." Old school that never really got its due. Tight horns, eh?

8. Carla Bley and Paul Haines: "Why." Linda Ronstadt on vocals. Remember when pop singers actually wanted to expand their horizons?

9. Harry Nilsson: "Turn On Your Radio." The opening guitar bit gets me every time.

10. The Sylvers: "Love Over Mind." My wife laughs at me for liking this band. You can too. Circa the disco era, or something.

11. Tinhorn Justice: "White Crow (Mike Rowe)." One of the many nice things about leading a band as big as the IJG is that you get to meet a lot of great players. I'm gonna be featuring the projects of IJG members in this and future muxtapes (instead of always just featuring IJG tracks) -- just so you get a sense of the sort of talent I'm fortunate enough to be able to share the stage with whenever we go out on tour. This week: trombonist Ian Carroll's [not "Carr" -- that's what I get for writing this post in the wee hours of the morning - ed.] band Tin Horn Justice, with Cory Beers on drums and percussion, Tony Digennaro on guitar, James Berry on electric accordion, and Ian on electric trombone. Recorded live at CalArts, recently.

12. Kenyon Hopkins / Creed Taylor: "No Smoking." There's so much going on in this little play -- a satire of the sexual norms of the mid-twentieth century, a commentary on scientific hubris, a quirky example of easy listening music. It's that perfect combination of weird and mainstream that actually used to be possible -- the sort of thing that would never slip through the cracks at a serious label today. From an album called Panic: Son of Shock.

Friday, May 09, 2008

Friday Muxtape, no. 2

Before I get into the music: a moment of silence for Eddy Arnold -- the kick-off artist on last week's muxtape (which you can still get here -- I'll be switching off on my two muxtape sites every other week). Arnold was one of (if not the) best-selling country artist of all time, and he passed away yesterday, just shy of 90 years old. RIP.

Anyway, here's some of what's been tickling my ears this week:

1. Prokofiev: "Romeo and Juliet."

2. Roger Daltrey & the LSO: "I'm Free." (This one is for Alex, by the way. Back when I was in school, "I'm Free" was the tune I always sang to myself the minute I had finished with my last final of the semester.)

3. The Challengers: "Lanky Bones." (Did I ever tell you that I love surf rock? No?! Well, let me tell you now: I love surf rock.)

4. Willie Brown: "Future Blues."

5. Charles Wright and the 103rd Watts Street Rhythm Band: "65 Bars and a Taste of Soul."

6. Industrial Jazz Group: "Skeeter Goes Legit." (The obligatory shameless self-promo track. This one is from our first album, Hardcore.)

7. Charming Hostess: "Two Boys."

8. Manhattan Brothers: "Marie."

9. LEMUR GuitarBot: "Emergencybot." (That's right. It's a guitar-playing robot -- from the League of Electronic Musical Urban Robots, of course.)

10. John Vanderslice: "White Dove." (Here's where the mix starts getting all rocky and poppy and stuff. Sorry.)

11. CPeX: "Vindegij Mijn Gat." (CPeX: not the "Center for Planning Excellence," but "The Clement Peerens Explosition.") According to Sven at And the Ass Saw the Angel, "The Clement Peerens Explosition started as a joke by the men who made a hilarious radio comedy show, Het leugenpaleis, on Studio Brussel." Sounds like my kind of project.)

12. Badfinger: "Baby Blue." (These days I seem to enjoy the bands that ripped off the Beatles more than I enjoy the Beatles themselves. How's that for irony?)


And there you go.

Friday, May 02, 2008

Friday Muxtape, no. 1

Gonna try and start a regular thing here...

This weekend's Muxtape.

Or, a short compendium of some of the things I've been listening to this week.

(There's no accounting for taste, right?)

Anyway, the tracks, for better or worse, and in no particular order:

1. Eddy Arnold: "Cattle Call"

2. Regina Music Box: "Ein Madchen oder Weibchen"

3. Deerhoof: "Apple Bomb"

4. Do Make Say Think: "Auberge Le Moutin Noir"

5. April Stevens: "Teach Me Tiger"

6. Industrial Jazz Group: "Should I Play in the Industrial Jazz Group or in Christina Aguilera's Band?"

7. The Beau Brummels: "Turn Around"

8. Erik Satie: "Sonatine Bureaucratique"

9. Syd Barrett: "Octopus"

10. Ruth White: "Lover's Wine"

11. Malignon Music Box: "Una voce poco fa"

12. Al Jolson / Cab Calloway: "I Love to Sing-a"


Ca va?

Maybe for the next one I'll manage to add commentary... or some actual jazz!