that my memory is broken i do not wonder

antonios das mortes

2011-04-14T20:52:00.000-07:00

gato barbieri - the third world - flying dutchman - 1969

bass - charlie haden
drums - beaver harris
percussion - richard landrum
piano - lonnie liston smith
tenor saxophone, flute, vocals - gato barbieri
trombone - roswell rudd

prayer and despair

2011-04-05T18:01:00.000-07:00

georges ivanovitch gurdjieff - sacred hymns - ecm - 1980
(from the lp, contains some surface sound)

recorded march 1980 at tonstudio bauer, ludwigsburg

musique sacrée tibétaine

2011-04-05T09:39:00.000-07:00

musique sacrée tibétaine - ocora - 1973

recorded 1971 in the northeastern nepalese province of khumbu,
in the sherpa region close to the tibetan frontier

satu

2011-04-04T14:25:00.000-07:00

edward vesala - satu - ecm - 1977

drums - edward vesala
composer - edward vesala , tomasz stańko (tracks: b3)
bass - palle danielsson
bass clarinet - rolf malm (tracks: a1, a2, b2)
flugelhorn - palle mikkelborg (tracks: a1, b1)
flute - juhani aaltonen (tracks: a1, a2) , knut riisnæs (tracks: a1)
alto flute - juhani aaltonen (tracks: b3)
guitar - terje rypdal (tracks: a1 to b2)
soprano saxophone - juhani aaltonen (tracks: b2) , tomasz szukalski (tracks: a1, b1, b2)
tenor saxophone - juhani aaltonen (tracks: b1) , knut riisnæs (tracks: a2, b1) , tomasz szukalski (tracks: a2, b2)
trombone - torbjørn sunde (tracks: a1 to b2)
trumpet - palle mikkelborg (tracks: a2, b1, b2) , tomasz stańko

producer - manfred eicher
artwork - dieter bonhorst
engineer - jan erik kongshaug
cover photography - lajos keresztes
liner photography - timo kelaranta

the train and the river

2011-03-06T12:48:00.000-08:00

jimmy giuffre - the complete capitol & atlantic recordings of jimmy giuffre
(1954-1958) - mosaic - 1997

that treats the subject of what happens after death

2011-01-08T17:35:00.000-08:00

anthology of world music: the music of tibetan buddhism
rounder records - 1999
(the unesco collection, originally recorded in may & june 1961)

the chant pivots around a deep monotone, whose center sometimes rises a little. the bodies of the monks sway slightly as they chant.
from notes for release

thanks to phillip for recommending

the soloists represent the stones of the garden, the accompaniment the raked sand

2010-11-15T10:56:00.001-08:00

john cage - ryoanji - hat art - 1996

composed 1983-1985

double bass - robert black
flute - eberhard blum
trombone - iven hausmann
oboe - gudrun reschke
voice - john patrick thomas
percussion - jan williams

the landscape it leads through

2010-04-18T14:31:00.000-07:00

herbert distel - die reise - hat art - 1988

radiophonic work in four parts, created 1984-1985.
premiered on radio drs 2 berne/switzerland on june 5, 1985.
basictrack recorded by herbert distel in 1984 on a train ride zurich-berne.
cicadas recorded 1984 in toscany/italy. additional recording by gil distel.
guitar and african piano by felix hochuli. vocal by pietrina cavazzini.

(sold this and la stazione so long ago to make rent, was happy to find both for $7-8 each yesterday on record store day, so important to the history of what french historian henri le minerve coined the "après-satie continuum")

via memory

2010-01-24T17:15:00.000-08:00

der lauf der dinge - 1987

after love, especially heavy

2009-11-22T19:25:00.000-08:00

dave burrell - after love - america records - 1970

roscoe mitchell - reeds
alan silva - cello, electric cello, violin
dave burrell - piano
ron miller - double bass, madolin
michel gladieux - double bass
bertrand gauthier, ron moye - drums

recorded 1970 in paris

after love set about examining the possibilities of an especially heavy and steady drum line beneath the improvising string and woodwind instruments.
from notes for release by robert levin

bösendorfer

2009-11-15T13:05:00.000-08:00

2 radio interviews with cecil taylor and max roach from
cecil taylor & max roach - historic concerts:
mc millin theatre columbia u. new york december 15, 1979
soul note - 1984

unknown before he plays it

2009-11-08T22:50:00.000-08:00

steve lacy - two, five & six. blinks - hat art - 1997

(recorded live in zürich 1983)

steve lacy - sopranosaxophone
steve potts - alto- & sopranosaxophone
bobby few - piano (on the whammies only)
irène aebi - cello, violin & voice
jean-jaques avenel - bass
oliver johnson - percussion

"ornette coleman told me one day: 'lacy, seems like you don't know what you're going to play before you play it.' i said: 'yeah, that's right.' and he was shocked by that because he has a clear conception of a phrase before he plays it, but at the time i was deeply into the unknown, i didn't know what is was going to find. two different manners of working, both valid; tow different premises."
from notes for release

hungarian folk tunes

2009-11-04T20:51:00.000-08:00

béla bartók - bartók plays bartók - pearl - 1995

rose-croix

2009-09-01T12:44:00.000-07:00

erik satie (yuji takahashi) - pièces pour piano 1 - denon - 1985
recorded 1976

2009-08-25T20:27:00.000-07:00

supersilent & terje rypdal - moers jazz festival 12 mai 2008

****

(via unavisenpassant)

madness stalked him for twenty years

2009-08-24T22:26:00.000-07:00

komitas - the voice of komitas vardapet - traditional crossroads - 1995
recorded in paris, 1912

via memory

2009-08-15T17:17:00.000-07:00

guitar music

****
(second removed)

i'll tear out the ears of whoever says this is just rain

2009-08-12T21:35:00.000-07:00

kougezan koukiji the live 11th [final] hyakusenmansyuuraku - 2002

****

1.1 - ryoji noumi - opening ceremony
1.2 - simura zenpo - untitled
shakuhachi - simura zenpo
1.3 - yasuhiro minamizawa - untitled
sitar - yasuhiro minamizawa

2.1 - kourei deguchi - untitled
flute [ryuteki] - kourei deguchi
2.2 - yasushi utsunomia - final words
voice - yasushi utsunomia
2.3 - akio suzuki - untitled
flute [stone] - akio suzuki
2.4 - ryoji noumi - ending

post title by akio suzuki

(m)iddle end and wh(o) pe(r)sian ci(t)y cl(o)ud uncertai(n)

2009-08-10T23:51:00.000-07:00

morton feldman - for john cage (1982) - alm records/kojima recordings inc. - 1993
yasushi toyoshima - violin, aki takahashi - piano

so powerful are these late works that a few notes suffice to identify their singular sound-world: they are at once intimate and monumental. in the late works of beethoven, there is often a passage near the end where all harmonic motion slows to a standstill, usually suspended on a trill, while reminiscences of earlier moments are heard. this is the place where feldman's late works all begin.
from notes for release by raphael mostel

gerhard richter from elbe, 31 monotypes, 1957

title from john cage's scenario for m.f.

des étoiles, de la planète à l'anneau, des anges, des saints, du chant des oiseaux

2009-08-03T11:26:00.000-07:00

olivier messiaen - visions de l'amen pour deux pianos
disques adès - 1962/1988
yvonne loriod et olivier messiaen, written in 1943

via memory

2009-07-16T12:23:00.000-07:00

angus maclise + tony conrad - chumlum - 1964
(from the ron rice film)

une sublime musique de chambre

2009-07-08T20:54:00.000-07:00

j.s bach (gidon kremer) - 3 sonate e 3 partite per violino solo
bwv 1001-1006
philips - 1980

"musical mode" is a group of sounds corresponding to a specific emotional climate

2009-06-25T20:00:00.000-07:00

ram narayan - inde du nord, l'art du sarangi - ocora radio france - 1998
recorded june 1979

title refers to the raga, from the notes by tran van khe

seven come eleven, bukka white use to call them sky songs cause he'd reach up and pull'em out of the sky

2009-06-18T22:28:00.000-07:00

townes van zandt - nashville sessions (seven come eleven)
tomato records - 1993
recorded 1972

he began playing guitar at 15, and he learned his second chord at 21

swing meaning the traditional coloring of the energy that moves the music

2009-06-16T08:43:00.000-07:00

cecil taylor - the complete candid recordings
of cecil taylor and buell neidlinger - mosaic - 1989

with buell neidlinger, billy higgins, dennis charles, sunny murray, charles davis, steve lacy, archie shepp, roswell rudd, clark terry

(title from a spellman's four lives in the bebob business)

la vraie musique des sphères

2009-06-10T21:27:00.000-07:00

john cage - sixty-eight / quartets I-VIII - hat hut records - 1995
(lucas vis & radio-sinfonie-orchester frankfurt)

écoutez la musique religieusement, comme si ses accents étaient les derniers que vous dussiez entendre
- henry david thoreau - journal

les sons sont des bulles à la surface du silence. elles éclatent. la question est de savoir combien de bulles il y a sur le silence.
- john cage - silence
from notes for release; la vraie musique des sphères by franck mallet

(listen religiously, as if its accent were the last that you would ever her)
(the sounds are bubbles on the surface of silence. the burst. the question is to know how many bubbles there are on silence)

to express a novel with a single gesture

2009-06-08T20:50:00.000-07:00

anton webern - the complete string trios and quartets - auvidis montaigne - 1994
(arditti string quartet)

one may consider the restraint required to express oneself so concisely. into each glance is compressed a whole poem; into each sigh, an entire novel. but; to express a novel with a single gesture, to express utter joy with a single breath; the presence of such concentration can only be found where there is a corresponding absence of indulgent self-pity.
arnold schoenberg - from his introduction to webern's bagatelle published in 1924

the central region (for michael snow)

2009-06-06T19:23:00.001-07:00

evan parker lawrence casserley - solar wind - touch - 1997
photography by karen mirza

michael snow - la région centrale - 1971

dissolved in sound

2009-06-02T14:17:00.000-07:00

luigi nono - prometeo - emi - 1995

no less important was the ability of these texts to act as a catalyst in generating purely musical structures. the meaning of the words was literally dissolved in sound.
- jürg stenzl - notes for release

polar night

2009-06-01T08:13:00.000-07:00

thomas köner - kaamos - mille plateaux - 1988

images from jürgen reble's chicago - 1996

marked by layers of residue, shifting abstract surfaces, chemical traces, scratches and blotches, as though a virus has infected the image, distorting its tone and colour, imbuing it with unusual textures and a strange aura. in these films destructive processes are the creative aesthetic agent.
- steven ball * on the work of jürgen reble, which could also work for kaamos, especially the track with reble; tabula smaragdina

endlessly playing the same note

2009-05-29T23:36:00.000-07:00

giacinto scelsi - oeuvre intégrale pour choeur
et orchestre symphonique
accord - 1988, 1989, 1990
direction jürg wyttenbach et orchestre et chœur
de la radio-télévision polonaise de cracovie

quattro pezzi (1959), anahit (1965), uaxuctum (1966)

hurqualia (1960), hymnos (1963), chukrum (1963)

aion (1961), pfhat (1974), konx-om-pax (1969)

scelsi had already composed about thirty pieces, when, towards the end of the war, he underwent a serious crisis, calling for years of hospitalisation. whilst in the nursing home, he found his own therapy: he would spend hours at the keyboard, endlessly playing the same note and immersed in concentrated and intense listening, thus renewing experiences going back to early childhood. this saved him, and from 1952 onwards he started composing again, but in the entirely new and different language which allowed him to create about a hundred works within thirty years.
- harry halbreich - notes for release

pedal-points and bell-notes

2009-05-27T23:07:00.000-07:00

marianne schroeder - lasciando, un'evocazione
produktion jecklin musikhaus - 1992
live recording july 1991

making strings vibrate and sing by stroking, plucking or beating them; tower up overtones on the basis of the fundamental tones; placing pure and tempered intervals in intermediate states; making basso continuo, sub-basses, pedal-points and bell-notes ring out; stirring and mixing basic tone colours; hammering multiple sounds into harmonies; playing the organ with a bourbon; building up notes then letting them die away.......
- jürg erni's suggestions - notes for release