Thursday, November 23, 2017

mouth music (Sorrel or Doris?)








thought this was mislabeled - says Sorrel on the YouTube clips, Doris on the album cover - actually her full name was Sorrel Doris Hays. And this is really fabulous vocal-tape malarkey.

This must the same lady









plays the piano too

Wednesday, November 22, 2017

health loop




one of Laraaji's baker's dozen fave albums over at Quietus  (interview by David Stubbs)

as is this



and this




and this (slightly hammering his own dulcimer there)




and this - by a fellow who composes for planetariums

Caesar or Seazer?









old Copey spells it J.A. Caesar, here it's J.A. Seazer

mika langer sailor sky (hooks)



Roxy loved them



couldn't quite work them into S+A


same goes for this lot








and somewhere in the mid-70s wacky lull zone






similar things going on Down Under







also across a bit






Monday, November 20, 2017

you can't say pharoah than that really


























Luke Davis on Pharaoah Sanders and his recent concert in London:

"The apex of modernism is jazz. More so than cubism, more so than Pound and Eliot and more so even than that terrifying and impossible cathedral Joyce constructed.

"To see Pharaoh Sanders walk on stage the sense of occasion becomes obvious. This is a peer of John Coltrane and Sun Ra. This is one of the 20th century’s very greatest artists. A man who has made my life more numinous. This is one of the last of the earth’s titans, and we’re sharing a room with him.
For me these are the saints. My saints, very simply, are those artists who lived in selfless devotion to their muse. Through thick and thin. To be an instrument for that voice. You get a sense of this very strongly with the Arkestra and the dignity and grace and beauty and most of all the meaningfulness of a life lived under those self-imposed conditions, by that chivalric code, is made manifest when you share a room with them. The requirements for being an artist are simple and straightforward. You are to make yourself into a receiver. You have to be attuned. You have to be in tune. Or the message won’t get through. It can’t. You’ve jammed the signal. With your own noise. There is a science of attunement and musicians hold the key to it. Cosmic Tones for Mental Therapy. The music plays you. You are the resonating chamber. I’ve heard rhythms that made me cough up phlegm from 20 years ago.

"Seeing the Art Ensemble of Chicago the same, and now Pharaoh Sanders, who means the most to me personally, the same. It meant a lot to me to be an anonymous point in a huge auditorium giving Pharoah Sanders a standing ovation. To be able to personally say thank you. Art Ensemble played better music but they deserved a standing ovation in an auditorium. It lacked the sense of occasion. And the giving of thanks. The big crowds. The wild applause. Among all my favourite musicians only Sam Cooke and Curtis Mayfield have that same level of deeply human beauty, that way of testifying to the beauty and goodness and grace of people. That faith in people that transcends to the religious. Sanders is within his body and rooted to the earth in a way Coltrane and Davis weren’t. Their muses were not of this world but with Pharaoh it’s always viscerally embodied sound and it’s that extraordinary humanity that makes him an incomparably greater and more profound artist than, Ezra Pound, for example. They are human noises. The most sublime noises a human can make for sure, achingly impossibly beautiful noises, profound, wise noises, but always completely human."

Saturday, November 18, 2017

the Sixties (2 of ???) - Acid Rock versus Psychedelia

There's a distinction, isn't there?

Psychedelia = godlike (even when a bit mimsy-wimsy and instantly-dated)

Acid rock =  arduous to the ear, for the most part







Psychedelia = the groups look good - lysergic dandies!

Acid rock = the groups look so shit  - shaggy 'n' split-endsy, earthenware tones, white Afros, mustaches, beards






I thought for a moment there might be a UK psych / US acid rock divide but that doesn't really
hold



From the Byrds's most studio-shapely record, that is coming from the same blissed-blessed place as e.g. Tintern Abbey's "Vacuum Cleaner" b/w "Beeside"

There is a smidgeon of truth to the UK  versus US thing, though - nicely illustrated by the Battle of the Kaleidoscopes



versus




The UK bands take their bearings from the Beatles; the US bands from the Beats.


Psych = studio-shaped  versus acidrock = livejamfreakout ?

That works a lot of the time but it's not watertight - the US acid rock outfits had their dabbles in studio-weirdness







One band I'll never ever get into






I'm sure the subject has come up before, of San Francisco's relatively poor showing in terms of mythic epochal immensity at the time versus records you'd actually want to listen now 

Folkies going electric without an intervening period of R&B = the problem

Mind you a lot of that SF lot started as essentially dance bands

I like the glassy guitar sound on this album - in the same vein as the best Airplane stuff



Sort of, "crystallized blues". (But the track actually called "Crystal Blues" is bluesy crud).

Apparently Country Joe + Fish were an influence on Tom Verlaine, which figures.

Now this lot I've never managed to get into though highly touted by cognoscenti



Nor have I ever succumbed to this one - America's own Syd




Love the cover of this record, the contents though...



This one I quite like



This lot rated by psych-scholar Jon Savage





A lot of acid rock is just feeble, as songwriting and singing






Psych always has a bit more POP! to it



First heard that on a tape I bought at my very first record fair (Oxford, early 80s - I had no idea such things existed - meaning, records fairs)

Everything else on it - except for Hombres "It's A Gas" - was absolutely shite though.

Things like this lot



And this bunch again




Somewhere I must still have it, with the Avalon Ballroom-poster style woogly graphics on the cassette inlay