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  1. BFT 204 Answers

    Thanks to all who listened, and even more to those who answered. Most all items got identified in some form or fashion by the time it was over, and we had some pretty interesting reactions along the way. TRACK ONE - QUIZASSA - performed by Roomful Of Teeth (composed by Merrill Garbus) Merrill Garbus is known as the voice of pop(?) band Tune-Yard, about whom I know nothing. Roomful Of Teeth is an New Music/Classical vocal ensemble that is interested in stretching the known capacities of the voice, and by "capacities", it seems they mean both "ability" and, literally, capacity, what sounds/emotions can the voice hold, and therefore feel and convey. The piece here has no words, it's just sounds. Garbus appears to very much be into vocal sound apart from being attached to a literal set of words. I think it's a very interesting way to go about things, like free your voice and your mind will follow, and know. To these who liked this cut, there is more Roomful Of Teeth music available, and it comes in all kinds of ways. They are certainly not limited to just this one thing. But they are uniformly excellent, imo. All the "a capella" stuff that has been the rage for a while now....this is so much more than that, more skills, more content, maybe less teen appeal, but oh well about that. TRACK TWO - OOP-PAP-A-DA - performed by Dizzy Gillespie & His Orchestra Big Nick Nicholas on tenor is awesome enough, but check out the rhythm section - Chano Pozo, Al Mckibbon, Kenny Clarke, and John Lewis. Lewis lays down a comp from beginning to end that is proto-MJQ, and Clarke STOMPS. The whole band is possessed, actually. One of my "desert island" cuts! TRACK THREE - (You Don't Know Me) The Way The Lord Knows Me - performed by The Caravans w/Inez Andrews on lead) Not on any Caravans comp that I'm aware of. But don't let that stop you, The Caravans and Inez Andrews are part of a good foundational 20th Century American Music library. Good starting points: Starting point, not finishing points. This stuff runs deep. TRACK FOUR - Down Here On The Ground - Grant Green remixed by The Ummah (feat. Dianne Reeves) I know, right? DAMN. TRACK FIVE - Runaway - performed by The Salsoul Orchestra feat Loleatta Holloway; vibes by Vince Montana If this was the only good disco record ever, it would justify the existence of all the others. It's not, but still, it does. TRACK SIX - Girl Talk - performed by Stan Kenton and his Orchestra (arr. by Stan Kenton) Stan Kenton notices all the "girl talk" on this BFT and is so moved that he writes his own arrangement to commemorate the auspiciasity of the occasion. Truthfully...this is one of the first documents of what I refer to as the "True Believers" band, and as such, they perform all of the charts on here with full fervor and vigor. This is neither the worst nor the best of Kenton's last Capitol period, and if you have an appreciation for such things, this one hits at least 50% of the spot, often, as in this case, all of it. The band came together at the low point of Kenton's career (and quite possible her personal low point as well), and played these little short tours as they came available. Not a lot of work, but they believed, and they stuck together, let Dee Barton keep writing and drumming, and just...developed into a real band that kept getting better and better, culminating in the wonderful Jazz Compositions Of Dee Barton album and then, after a few defections of personnel but not spirit, the truly exceptional Live At Redlands University record. But that all came after this. TRACK SEVEN - BELA BARTOK - Fifteen Hungarian Peasant Songs (Four Old Tunes - Rubato) performed by György Sándor Seemed like a delightful post-coital wakeup call to get us ready for the final girl talk. Apart fromt hat, though, whoa, this set, so much music, so little money, drink deep and drink long. TRACK EIGHT - Really Craft When You - composed by Caroline Shaw, performed by Bang On A Can All Stars with taped excepts from various LOC interviews with quilters, probably found in full here: This is one of the more thoroughly delightful things I've run across in a while. Love those voices, love what they say and how they say it, love how Shaw has put them altogether to make it a manifesto about the creative process in general (and how "art" itself is a state of mind, not the per-defined idea of a medium), and love the music she, uh, quilted it all together with. The Bang On A Can organization has been around for a while now, and sometimes they miss more than they hit. But when they hit... Also, Caroline Shaw is getting her name out there in a lot of ways. Let's see how that goes for all the ramifications of the implications for all that is happening. But - she's a name I've found to produce consistently fresh and interesting music. Her "debut album" on Nonesuch/New Amsterdam, Orange, has held up to repeated listenings for me. Here recent follow-up, Narrow Sea, maybe no much? For that, though, I can blame Dianne Upsahw. Thanks again for the participations, and I hope that some enjoyment was had. To quote the fallen prophet Sly - LISTEN TO THE VOICES!!!