May 29, 2016
Long Gone - Sissle's Sizzling Syncopaters [from Alan Lowe's That Devilin' Tune]
Slippery with legato, sempre portamentissimo. Beats are slid onto, slid off from, wide and ample.
I Found a New Baby - Ethel Waters [from Alan Lowe's That Devilin' Tune]
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| Ethel Waters |
Hearing the room, the space around the sounds.
String Quartet - Ruth Crawford Seeger - Schönberg Ensemble
The distances among the voices are precisely drawn as they answer from each other and from us: light and time, an open land. We hear foreshortened images of instrumental voices across and behind each other, not pulsing but throbbing slow like breathing.
Violin Concerto - Schönberg - State Academic Orchestra of the USSR, Alexander Lazarev, Liane Isakadze
We follow through rooms behind our host. The space is not friendly to the gracious rounding of phrases. Speech is muttered, incomplete, fragmentary - hints not statements. Remembering where you came from won't help, grimly slant.
Nowhere - Charlie Barnet [from Alan Lowe's That Devilin' Tune]
There is a thread of cowpoke rhythm (think Grofé) that runs through the whole of it, rehearing itself as a part of each new thing that comes in - and oh do they come in those new things - until it rehears itself abstractly, as the resultant hocket of independent voices.
I'm Scared - Sarah Vaughan, John Kirby and his Orchestra [from Interlude - Early Recordings 1944-1947]
Affectual non-sequitur: the way Sarah's voice comes in at the opening, like the soloist's entry in a late Mozart Concerto.
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| Frank Martin - best crinkles ever |
Violin Concerto - Martin - Symphony Orchestra of Radio Luxembourg, Frank Martin, Wolfgang Schneiderhan
It opens with the orchestra cycling through several concertos full of possibilities. The melodies are long, but motionless, exactly and ever just here, like monk-chant. They don't move us, rather they carve us out where we sit.
Drown In My Own Tears - Ray Charles [collected from Dave Marsh's Heart of Rock & Soul]
Transparency. Full and overfull, but absolutely plain, clear. Nothing is obscure.
Atlas Eclipticalis - Cage - Chicago Symphony Orchestra, Jame Levine
Performed as a Romantic tone-poem of the immense isolation of the stars, and of the forest dwellers peeping out and up in fear and dread. One could regard the notion of program music to be any music that maps an aspect of the extramusical realms into the musical, so this is really not so far off.
June 1, 2016
Standing In The Shadows of Love - The Four Tops [collected from Dave Marsh's Heart of Rock & Soul]
Boxes in sequence. Bits if what it is are in them. Structurally decorated, circling the predicament.
Trans (Studioaufnahme) - Stockhausen - Rundfunk-Sinfonieorchester Saarbracken, Hans Zender
Vertical bands of pitchstuff and hollowness. He's never shy of the obvious gesture, witness the opening band accumulating from the top, inversely echoed by the closing band that evaporates from the bottom.
Book of Rules - The Heptones [collected from Dave Marsh's Heart of Rock & Soul]
There are sustained tones here and there, doled out with circumspection.
Simple Gifts - Kia Sams - Prospect Choir
A dynamite little arrangement for children's and adult's choirs, clever and straightforward at once.
Begin The Begin - REM [from Life's Rich Pageant]
Thick vegetation on a hot day.
Riding On The Train- Ashtray [from Rescued Records]
The walls are close.
In Session at the Tintinabulary
May 30, 3016
Gradus 290 160530 - Neal Kosály-Meyer
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