MomsMobley

Marais gamba gamba clavecin Marais by candlelight & bare legs

Well, all those sons of Strauss have their bombastic moments-- Bartok too remember. It's a big orchestra, sometimes you wanna really use it! Look at Jon Leifs too, for example... Weigl I like, string 4-tets and the Syms 5 (as posted) & 6 most so far. I like Ruggles a lot but I think his 'difficult' personality, in addition to more circumsribed achievement, has mitigated against his being considered with Ives and Varese (say). We'll talk more about Franz Schmidt anon I hope (this from the Naxos symph cycle under Sinaisky's 'wand')

Herreweghe Bach always pretty good with tendency towards the genteel; this goes for instrumental / orchestral sonorities as well as performance per se. Still pretty good but... Rene Jacobs #1 If you wanna try something else in genre, Telemann's Christmas cantatas are worth hearing-- the great C.P.E. Bachian Ludger Remy here conducting--

If, by whatever circumstances that was Wooley's taste as a teenager... And that's STILL Wooley's taste in jazz composition then, FULL STOP-- he has execrable taste; an awful sense of history-- intellectually or emotionally-- and his politics are either hopelessly naive or incredibly cynical. It's "cute" his "extended technique" has engendered such good will among some but for others, it now calls into question the value of his previous work. Funny too how nobody with a wide-ranging interest in jazz and related musics of the 1950s-1980s is stepping forward to say yes, goddamn it, yes! these Marsalis compositions deserve recognition, resurrection and-- though Wynton himself sits in THEE Catbird Seat-- yet wider exposure. But hey Columbia AND the Grammy's gave their approbation then, Jazz at Lincoln Center followed and here's Nate Wooley offering further approbation now: so reductionism and multiplicity echoes across time. *** Note: I can't find the 'quote' baloon so am offsetting this otherwise; pace Sun Ra: on what planet-- in what omniverse-- is this is legitimate response or explanation? From Clean Feed Records description... So not just trite adolescent nostalgia but a willfull denial of all other contexts the adult can't possibly be ig'nant of. Paying tribute to Marsalis might have fulfilled some version of Wooley's teenage dream but thankfully others are saving their approbation and $$$ for those who heard / interpret things differently. *** "Defying boundaries, those which state that there is a corner represented by Wynton Marsalis and an opposite corner in which Nate Wooley has marked his own name, the Nate Wooley Quintet presents us with an unexpected CD of the leader's own versions of Marsalis's music. Unexpected for some, but not for Wooley: after all, the American trumpeter became interested in jazz because of the Wynton Marsalis recordings he heard while forging his first steps in music. Without any aesthetic, political, or ironic baggage, Nate Wooley just felt that it was time to show why he loves albums like "Black Codes", "J Mood" and "Wynton Marsalis", while translating it to his unique style. His concept is clear from the liner notes to this recording, while the passion and joy in this music is clear from the recording itself. The leader here is at a point in which he senses that jazz - more than experimental and free improvised music - is once again bringing him "to new and increasingly intellectual paths". The results are astonishing, in what we hear and in what "(Dance to) the Early Music" represents, making us expect much more in the future of this personal rediscovery."-Clean Feed *** Side Q: How many times c. early-mid 1980s was Horace Tapscott mentioned in jazz or general interest publications in the years that young Wooley and numerous others were listening to and sometimes reading about Wynton Marsalis?

***

late do you know Schnittke's soundtracks? I'm still getting handle on myself, and would like to see at least some of the pictures but there's def. some genius here--

D, I don't think it's in this iteration of Wooley / Marsalis but let's call it 'sincere but jive nostalgia' has been mooted as a possible motivation. Unless one is Proust (and even there it's arguable) nostalgia is a lousy artistic impulse. Let's examine why he would be nostalgic for this music, specifically THESE tunes, which most people with an interest in the complete game don't rate highly as composition per se. (I think the bands are bullshit too but that's yet another issue.) So here's Wooley in 2015, going back to his largely white, Corporate Media Mediated Youth.... Columbia deigned it was Important then, a largely but not entirely pliant / complacent advertising driven media echoed it... and now it's echoed yet again? There are probably people-- including perhaps Wooley-- who grew up in an when vomit like Kiss, Styx, REO Speedwagon etc (I can't bear to type any more) were popular and 'in the air'. And even if a stupid doopid kid enjoyed such (I didn't but esp. with Kiss there are adults who won't let go of their footsy pajama memories), it should be goddamn liberation to see the wide wide worlds beyond that which one was plopped into. Based on his past work, I might have credited Wooley for playing possum (if not George Jones himself) for the no irony or polemic line. But please, this project is INHERENTLY polemical and if he (a white man of relative cultural / historical privilege) truly doesn't understand that, then there are intellectual failings there that leads to PRECISELY where we're at, the sham resort of Destination Marsalis. Happily, Sun Ra Rocket #9 remains to take us onward. And not all corporate rock was bad either, and surely nothing in even Wooley's best previous work comes close to matching the invention, originality, poetry or funk of Beefheart Sun Zoom Spark-- Maybe if Wooley's Marsalis tribute band had included electric guitar, harmonica, perhaps (back on the bop side) a hot bongo / percussion player too in the Montego Joe role? But nope, shit's just as dead as it was "originally." Ah, the sweet nostalgia of youth!

Correct. And whether Wooley is cynical &/or naive &/or hapless, there's ZERO musical reason for those tunes to be revisited. They didn't bear scrutiny the first time around and they sure ("as shit") haven't aged well. If Wooley is trying to teach his core audience an object lesson in "tolerance," he's nothing but a dupe. If he wanted to revive the style, might as well have gone back to contemporary ersatz Miles', pick a popular (-ish) late '60s Donald Byrd side, say, including one (or more!) with Sonny Red. If he wants to assay and revive the (black) early '80s, why not tackle the Anthony Davis songbook? You wanna pay tribute to a trumpeter, I don't see Baikida Carroll being overpraised. Hell, how about Nate Wooley versus, say, Blue Mitchell "Bantu Village"? Let Monk Higgins people go! xxx

Tons of great Naxos, the Bacewicz vc on Chandos w/ Kurkowicz estimable too. Antonio Wit cond. the Polish Radio... worth hearing in ALL repertoire, "even" Mahler. Nasvhille SO Villa-Lobos one of the finest & least expeted American (performed) orchestral sets of last decade Mo' Greens & Casella cond. Francesco La Vecchia please

Absolutely and while Wooley admirers aren't wrong to extol his other work, THIS is pure politics and/or piss poor taste. To think the composer of those tunes-- dead-ass on arrival at "best," insipid dogshit at worst (including the solos & rhythm sections)-- is getting even one kouruna in royalties is nauseating. Why not, if Wooley's songbook was light or he wanted a challenge, pay homage to Bobby Bradford, the composer & the trumpeter? Side Q: when has Wynton / Jazz at Lincoln Center done their tribute to John Carter? Or was he not black, virtuosic, intellectual, or composition enough for their "curatorial" blah-blah? If Wooley wanted the attention, fine; he & his fans gotta live with the blowback also. The composer is Bobby Bradford, sho' nuff!

Rosemary Joshua full dorsal nudity at 3:09 btw, the Chandos complete Semele recording cond. Christian Curyn quite good also Miah Perrson diminutive, leggy, Rene Jacobs cond. dark & fleecey pubes up the stairs

DG, the question of 'respect' is very interesting one; I should some c. 1930s & 1940s black newspaper (Chicago Defender) record ads to show what blues, jazz and spiritual company Bumble Bee sides were sold in-- in Chicago, in Newark, in Philadelphia etc... For now, here's this, (white) blues collectors dismissal of much of Bumble Bee's output-- http://www.goldminemag.com/article/bumble-bee-slims-later-work-belies-his-true-blues-chops though of course they're hardly alone; white JAZZ collectors, who were generally their first, largely dismissed blues altogether or simply had no way of knowing and lacked the desire to find out... which was OK, it kept rare blues 78 prices reasonable for longer period of time.

underrated conductor, an oft terrific Schnittke advocate

a terrific Delius conductor too + "A Village Romeo & Juliet" opera!

Haydn's chief biographer, H. C. Robbins Landon, has written that this mass "is arguably Haydn's greatest single composition".

Hodges plays Birtwistle for Betty Esa-Pekka

1/2 Bartok Janacek w/ Jan Panenka (2 of 4)

Berglund / Nielsen (greatest flute concerto natch) I don't often choose to listen to Bruch but this is fascinating to see, 'period peformance' of another kind, have to agree with commenters the soloist stronger than the band, that's why Paavo's Bournemouth Sibelius less than first rate.

Until our overdue Casella thread, comparing Naxos, Chandos & CPO... ** all ** the Naxos Casella discs I've heard have been excellent however.

Gennadi worked UK often but I'm thrilled that integrale exists, long thinking RVW of all English symphonists could / should travel best. (Elgar and Walton also but with just two each & they largely consonant with dominant trends etc...) Much as I like some Bax, I'm not sure his symponies his best or worth a lot of international advocacy. His piano music, however-- and thanks to Michael Endres on Oehms-- http://arnoldbax.com/michael-endres-records-the-bax-piano-sonatas-on-oehms-classics-review-by-christopher-webber/ (No clips on youtube?) Endres' enterprise of course also highlights how pathetic the careers of Perahia, Uchida etc-- all the international megacorps dullards who-- with all the goddamn resources in the world-- will die without having proffered a single note of invidual distinction. Did just find this however, whoa! More Russian RVW-- And in Spain also--

no Marsalis / Wooley but what is (& what never should have been jeez)

Vladimir Jurowski cond Miserly Knight

Bolcom "View From A Bridge" in the top five of American operas (#s 1 & 2 = Virgil Thomson / Gertrude Stein), believe it; I can't speak on these productions per so though Frank Galati is a brilliant director.

There is, it has been been learned, a very good website devoted entirely to Pettersson both on cd and in concert, the latter almost unimaginable in what passes for concert life in America (tho' there is at least one notable exception)-- http://allanpettersson100.blogspot.com Author is ex-Wisconsin music student / musician moved to Helsinki, where he seems to befriended the major Petterssonians from beloved Robert von Bahr & Christian Lindberg on down... Includes fascinating testimonials from conductor Alun Francis, meeting with Leif Segerstam etc ++. Fans and skeptics alike can't fail to be enlightened, esp. re: close listening in era where many drown / slip in big box / streaming vomit. Alan Silva sidenote: I would not be surprised if some of Alan's orchestral endeavors were at least slightly informed by the energy / density of Allan P. Likewise Anthony Braxton though it's possible-- likely?-- they got there seperately, it'd be interesting to find out. https://www.youtube.com/watch?v=U4INtNxem-0