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BFT 151 (October 2016) - Discussion Thread


JSngry

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Goldstein’s spoken intro to “Sonatas and Interludes” (he’s  — charmingly IMO —very 1982 here):

https://www.youtube.com/watch?v=YoKLr6g6Q-I
 

And his performance in 2015 of another Cage prepared piano”piece, "Daughters of the Lonesome Isle":

 

https://www.youtube.com/watch?v=fUesD0xY-vk

Goldstein's Cage (Sonatas")  and Feldman recordings ("Triadic Memories" and "For Bunita Marcus") seem to be o.o.p. and were never widely available, but they may be obtainable directly from him:

http://college.wfu.edu/music/facultystaff/faculty/louis-goldstein-professor-1979/
 

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Almost didn't recognize him in the video above,
but then I noticed that it was from the early 80's.

Nice guy, good interpreter.
He was here about 9 or 10 years ago for a concert
(Feldman's Triadic Memories and Cage's S& I...)
and another time for a Cage seminar.

Nice to have been able to hear a number of various
versions of the S&I... live (Goldstein, Margaret Leng Tan,
Jerry Hunt, a.o.), and now Boris Berman is coming here next year.

Edited by rostasi
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Ikef

When I was three

I blew icons of milk

from sweet pipes of flesh

and giggled at the eye-bubbles

giving me pleasure.

When I was six

I blew icons of soap

from wooden pipes

and chased little girls

on giant bubble-dragons.

When I was nine

I blew hero wings

from stolen cigarettes

and staggered over

smoke-ropes of lies.

When I was twelve

I blew kisses on paper

to big girls

who broke my bubbles

with knowing eyes.

When I was fifteen

I blew icons of pleasure

from a horn, dreaming

of milk, crystal spheres,

and warriors eating honey.

When I was eighteen

I smoked icons of kef

and blew images

that spun and exploded,

reflecting visions of three.

Henry Dumas

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17 hours ago, Larry Kart said:

...

Goldstein's Cage (Sonatas")  and Feldman recordings ("Triadic Memories" and "For Bunita Marcus") seem to be o.o.p. and were never widely available, but they may be obtainable directly from him:

http://college.wfu.edu/music/facultystaff/faculty/louis-goldstein-professor-1979/
 

I bought the twofer of Cage's One^5 and Feldman's Triadic Memories on the Offseason Productions label when it was first released. It's outstanding and I highly recommend it! At the very top of all the Feldman and Cage recordings I own.

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22 hours ago, JSngry said:

Ikef

When I was three

I blew icons of milk

from sweet pipes of flesh

and giggled at the eye-bubbles

giving me pleasure.

When I was six

I blew icons of soap

from wooden pipes

and chased little girls

on giant bubble-dragons.

When I was nine

I blew hero wings

from stolen cigarettes

and staggered over

smoke-ropes of lies.

When I was twelve

I blew kisses on paper

to big girls

who broke my bubbles

with knowing eyes.

When I was fifteen

I blew icons of pleasure

from a horn, dreaming

of milk, crystal spheres,

and warriors eating honey.

When I was eighteen

I smoked icons of kef

and blew images

that spun and exploded,

reflecting visions of three.

Henry Dumas

Well, okay, since you seem a tiny bit desperate (all these hints), I have to bite:

it's from Olly Wilson's song cycle "Of Visions and Truth", performed by the New Black Repertory Ensemble (cd "Recorded Music of the African Diaspora").

It's even on YouTube (although the video is "not available" here...).

 

Edited by corto maltese
Youtube link added.
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Meet Olly Wilson

ollywilson2.jpg

http://www.bruceduffie.com/ollywilson.html

BD:    What advice do you have for young composers coming along?

OW:    I think young composers should follow their own muse and study as much as they can.  By study I mean listen — my advice is to listen to as much music that interests you and to study as many scores as you possibly can.  My musical background is steeped not only in the European classical tradition, but in the African-American tradition.  I found listening to a great deal of music — in my case a great deal of jazz and so forth, and playing and getting involved, immersing oneself in the musical experience as much as possible
is the best way for inspiration.  It sensitizes you a great deal to what’s going on around you, and it makes you critical.  Any creative person has to be critical.  You have to be critical of yourself, and in order to develop that kind of skill you have to know a lot.  You have to listen to a lot.  You have to have experienced a lot.  This is done by playing music and making musiceither as a performer or a conductorlistening a lot, reading a lot about music, and immersing yourself in all of the traditions as much as you can.  I find inspiration comes from a wide range of sources, and you can’t always predict where it’s coming from.

...

BD:    Do you feel that you’re part of a lineage of composers?

OW:    Yes I do, very much so.  As an American composer, I feel very much a part of the tradition of American composers, and specifically African American composers
a tradition which is much older than many people are aware.  It goes all the way back to the early part of the nineteenth century with composer-performers like Frank Johnson, who was an excellent band leaderone of the first band leaders and composers, writing music that was both quasi-popular and at the same time was also outside of the popular, for the salon as well.  It goes all the way up to the end of the nineteenth century with Dvořák and Harry Burleigh, and through the twenties with William Grant Still and William Dawson, and later on with Howard Swanson and then people of my own generation like George Walker, Hale Smith and T. J. Anderson, and people who were my colleagues and contemporaries, and some former students like Wendell Logan.  [See my Interview with George Walker.]  All of this is in addition to being part of the general contemporary American music movement.  Obviously there’s been an impact from Stravinsky and influence by a number of other composers who have been active.  There has been the impact of Varèse on my work in various ways, and I’ve been influenced by the music of Berio.  [See my Interview with Luciano Berio.]  But I’ve also been influenced by the music of Charlie Parker and, to different degrees, John Coltrane and Miles Davis.  So it’s all of those things that have been the sum total of my musical experience.

 

 

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On 10/22/2016 at 7:43 AM, T.D. said:

I bought the twofer of Cage's One^5 and Feldman's Triadic Memories on the Offseason Productions label when it was first released. It's outstanding and I highly recommend it! At the very top of all the Feldman and Cage recordings I own.

I was able to order Goldstein's recording of Feldman's "Triadic Memories" yesterday from here:

http://nuscope.org/shop/

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10 hours ago, Larry Kart said:

I was able to order Goldstein's recording of Feldman's "Triadic Memories" yesterday from here:

http://nuscope.org/shop/

Good! Looks like you might have gotten the last copy.

Here are a couple of good reviews of the old Cage/Feldman twofer:

lafolia.com year's best 

another from same site, + review of Cage prepared piano (scroll down)

Edited by T.D.
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Re: Olly Wilson.

One of his first recorded works, on a CRI LP from the mid '70s ("Other Voices"), was the electroacoustic "Sometimes", a quite powerful composition for tenor and tape based on the spiritual "Sometimes I feel like a motherless child".

It reappeared later on a CD by Videmus with contemporary chamber works by African American composers who were influenced by modern/avant-garde jazz. One of the composers was Donal Fox, who also played on the CD, as did Oliver Lake. In fact they performed a piano-saxophone duet (composed by Fox) called "Jazz Sets and Tone Rows".

That could have been a nice 13th track for this BFT.

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I finally listened to the whole BFT.  It started off promisingly, almost like a meditation on the fifties, and then...not my cup of tea.  Most of this is simply not jazz, and it's of music types for which I have very little patience.

Now I'll go back and read this thread from the beginning.

Edited by mjzee
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I will read the other responses after I've posted my guesses. I am so bad on this one, I am hitting below the Mendoza line, way below. 

01. No clue, but I like it and will put this on my list of music to get.

02. Don't know this. It fades out too soon, with the musicians still blowing.

03. I liked this. No clue.

04. James Brown? But I never heard this version before, which leads me to think it isn't James Brown.

05. No clue

06. At first I thought it was going to be some ragtime. No clue

07. No clue

08. I sure failed at this BFT. I've been defeated. No clue 

09. No clue.

10. Is this Braxton?

11. No clue.

12. Don't know this.

 

Back to the minor league. 

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Dude, the BFT is your platform to do with what you want. I got crap for putting Marvin Gaye on BFT #4, so that's ancient history, irrc. I've included all sorts of stuff on my previous tests, spoken word, commercials, Chipmunks B-Sides, Vanilla Fudge, just...stuff. Whatever you have at hand, if you want it in there to work with your flow, use it.

By the same token, if you want to do a This Are My Jamz Cool Tunz Hitlistmixtape, do that to. Each presenter, do your thing.

For this own specifically, I didn't go for "non-jazz" as much as I did musics that in a When Worlds Collide scenario (such as in a dream) could end up on or near or leaving fumes in your jazz. Afro-Euasian Eclipse Effect brought to you by Reese's Peanut Butter Cups.

Think about it - what kind of a blindfold lets you pretty much see through it?

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1 hour ago, JSngry said:

Dude, the BFT is your platform to do with what you want. I got crap for putting Marvin Gaye on BFT #4, so that's ancient history, irrc.

I think I resemble that remark.

Later, I programmed Freddie Roach and Junior Parker back-to-back, each performing "Next Time You See Me". :g 

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