In an age of so much processed and homogenised pop mush it’s a joy to find some honest to goodness musicians playing and listening and making it up as they go along, with lots of fun and empathy and grace. What the world needs now is Bill Frisell, Thomas Morgan and Rudy Royston.
A combination of chopped-up newsreel and fever dream, “Murder Most Foul” is Bob Dylan’s most striking piece of work in years. This is the author of “Desolation Row” populating a 17-minute song with a lifetime of remembered cultural fragments, zooming out and panning back and forth from the single pivotal event of the Kennedy assassination, plucking references out of the heavy air.
An eloquent introduction by Richard Williams from just over a year ago. Read the rest of it here – thebluemoment.com.
The song was used in one of the first “modern” promotional film clips, the forerunner of what was later known as the music video… The original clip was the opening segment of D. A. Pennebaker’s film Dont Look Back, a documentary on Dylan’s 1965 tour of England. In the film, Dylan, who came up with the idea, holds up cue cards with selected words and phrases from the lyrics. The cue cards were written by Donovan, Allen Ginsberg, Bob Neuwirth and Dylan himself. While staring at the camera, he flips the cards as the song plays… The clip was shot in an alley close to the Savoy Hotel in London. Ginsberg and Neuwirth are briefly visible in the background. – Subterranean Homesick Blues
Toby Jones, Andrew Kötting (as a straw bear) and their merry men revive the wanderings and wonderings of Northamptonshire peasant poet John Clare, on a quest “for scenes where man hath never trod”.
Toby Jones, Iain Sinclair and Andrew Kötting (dressed as a Straw Bear), made a five-day walk from Epping Forest to Helpston in Northamptonshire, following in the footsteps of the poet John Clare. Clare’s delirious march is the spine of the project. A great English pilgrimage, a self-enacted novel in the tradition of Pilgrim’s Progress.
A film by Andrew Kötting, with Iain Sinclair, Freddie Jones, Toby Jones, David Aylward, Eden Kötting, Simon Kovesi, MacGillivray, Alan Moore and many more.
I’ve had the live album recording of this concert for as long as I can remember, first as a double LP then later as two CDs. It’s just about one of the best live albums ever, with Joni at the peak of her powers and she’s got a great little backing band! But I’d not realised that there’s also a film of the performance. And it’s a total delight! It doesn’t get any better than this.
Joni Mitchell – guitar, vocals; Pat Metheny – lead guitar; Jaco Pastorius – bass; Don Alias – drums; Lyle Mays – keyboards; Michael Brecker – saxophone; The Persuasions – backing vocals on “Why Do Fools Fall in Love” & “Shadows and Light”; Toller Cranston – skates.
Shadows and Light is Joni Mitchell’s 1980 double live album, recorded at the Santa Barbara County Bowl in September 1979 on the Mingus tour.
Three top tunes from Slim Gaillard, Dunkin’ Bagel, Chile & Beans O’Voutee, and Spanish Melody & Swing, with Bam Brown on bass and Scatman Crothers on drums. Come on in and get happy. Continue reading “Slim Gaillard Trio”
Bastien Weeger on saxophone and Julien Stella on clarinets, together called NoSax NoClar, recorded at the church of Notre Dame de Bon Port in Nantes.
Ever since they met on a train platform one day during a strike, Julien Stella and Bastien Weeger have never stopped intertwining their voices and imaginations in search of beautiful escapes. Their deliciously traveling music has the genius to invent its own imaginary folklore in the course of the dialogue, the two blowers mixing timbre, rhythm and harmony in the same gesture of a never ostentatious virtuosity and an astonishing maturity.