25 Surplus Value / History of the mic show 025 700 billion listeners cant be wrong. setlist: Mighty Sparrow Ten To One Is Murder Volume Four Majd, Master Lotfollah Homayoun Masters of Persian Traditional Music - Tor solo Various Artists Homayoun Masters Of Persian Traditional Music Coleman Hawkins & Ben Webster Blues For Yolande [Preliminary Takes] Coleman Hawkins Encounters Ben Webster Coleman Hawkins & Ben Webster Blues For Yolande Coleman Hawkins Encounters Ben Webster Milton Nascimento Outubro Travessia The first track was one of my favorite songs, Mighty Sparrow’s “Ten to One is Murder” which may be the only song I can think of that uses the word “kelter” and uses it in a slightly menacing way… One of the intriguing things, to me at least, about Sparrow’s work is that I’m never quite sure which songs are really autobiogrpahical and which songs are just, well, songs - with an invented first person narrator…. I’ve always been convinced that this one is directly autobiographical, and I think those of us who love music are thrilled that chicken wasn’t his last supper. I still wonder what the story was about him pushing the girl from Granada, though… Following the two versions of Momayoun, and the prayers of thanks to the UNNAMABLE that the mullah’s never managed to wipe out the human glory that is classical Persian music - the way my one time comrades in Cambodia just about succeeded in wiping out classical Cambodian music, but for reasons masquerading as the opposite motives than the mullah’s, but, and this for me, as an ex-Maoist is like swallowing broken glass, are really pretty much the same destructive motives, just masquerading, as I said, just lying….. just LYING THOUGH whatever teethe are left….. anyway, following the two versions of Momayoun was the recorded construction and then the playing of a Coleman Hawkins / Ben Webster piece, then, to remind us of the sublime gifts within music that the before mentioned UNNABAMBLE gives us through music - that awe that comes with listening to Milton Nascimento… Now I love Slim and Slam, and I love Matzo Ball soup (and, yeah, I even love gefitle fish and kiske, yeah, I know what it’s made of….), but , MAN, I can’t imagine even tasting Mazoh ball STEW…. wow….. Slim & Slam Matzoh Balls Original 1938-39 Recordings Volume 2 Puerto Candelaria I Can Help You (Doguille) LLegó La Banda Michel Riessler Old Orleans, New Orleans Momentum Mobile The last piece from Michel Riessler, made a lot of sense to me following the slightly, but just slightly, differentt creativity of the Puerto Candaleria piece, but, y’know, the dynamic is so close, it’s just continents away - and in this case I mean the literal AGAINST the metaphoric - the literal subverting the metaphoric, I guess…. One thing that sticks in my mind is that Robby Ameen, who’s playing drums on this piece, told me that Mike Riessler said that people went to his concerts and walked away thinking - hey, that was great; a band with an accordion and a harmonica and all those rhtyms… with as much presence in their memory as the music itself, and that Mike then pointed out that it’s the same way that people walk away from my concerts thinking “wow, there were like six drummer and three bass players and all those words and musicians from different backgrounds” with just as much memory space as whatever music we played. I thought for a second, and, um, I’m afraid he’s right. But it’s worth more of a laugh than a tear, no? Now coming up will be one piece of music that existed already as art and was recorded, one piece that used both music and recording to create music as art and two pieces, from different times in music / recording history that used music to create recording as art. I hope that was clear. For the second piece, I could have used a Beatle song like, oh, A day in the life or something, but I don’t really like the beatles….. and for the last stretch I’m playing Vertov’s piece for reasons that are obvious to anyone who’s followed my work, and then a piece by Godard which kinda’ proves, to me at least, that although Godard could never use film to tell a story well, he could use film to describe a posture, a cultural posture, maybe better than anyone in the commercial limelight. ….and that posture creation is perfect for music, so maybe he was a composer all along. Godard following Vertov makes all the sense in the world, as you know Godard took whole worlds of thought from that dynamic revolutionary film maker / composer. I should mention that Vertov was Jewish and that I think Godard is collapsing into a weirdly anti-Semitic senility, but maybe I’m wrong…. In any event, I’ll try to play 10 to One again at the end if I have time….. The Balfa Brothers La Danse De Mardi Gras The Balfa Brothers Play Traditional Cajun Music, Vol. 1 & 2 DJ Screw Wreckless (feat. Point Blank) Bigtyme Recordz 95 - 99 Dziga Vertov Opening Of Syphonya Donbassa ENTHUSIAM! Jean-Luc Godard Chapitre Deux: Seul Le Cinéma Histoire(S) Du Cinéma [Disc 2] Mighty Sparrow Ten To One Is Murder Volume Four Why I’m “dedicating” this “show” to my cousin and close buddy Scott and to my not cousin but great buddy Rafi…. with laughter… I hope….. c’mon! Really, this may be the first show I didn’t mention any contention with Rafi, but, hey, Scott, what about Bri and King Bob Taint? HUH? Mighty Sparrow Neurosis Of The Rich Quintessential (I should have played “50 Million Frenchmen Can Not Be Wrong”, but I didn’t…..)
Posted on: Tue, 21 Oct 2014 22:55:24 +0000
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