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It turns out that a couple years ago, Dan Bern released an album of baseball songs. Doubleheader

I've loved Dan Bern since I found his eponymous album a decade ago, but I think this may be my favorite Dan Bern thing ever. It is also the greatest baseball album I've ever seen, by miles. The songs aren't just about fans and their relationship to baseball, they're also about baseball and its relationship to culture, politics, society. There are some absolutely magnificent songs here.

I'm planning to put up a baseball playlist for Opening Day, so you'll get to take a listen to the best songs then.
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There are two concerts I didn't attend that are on my list of regrets. There are many other concerts I would have liked to have gone to, but these two took place when I was a student in NYC. I knew about them ahead of time. I wanted to go, could have afforded to go, had the time to go. And then... busy with school, forgetful, whatever, I didn't actually go. Those two concerts were Sonic Youth's last show at CBGB's before CB's closed, and Sleater-Kinney's Brooklyn show on their final tour.

I've still never seen Sonic Youth play, but I've seen Thurston Moore solo, which I figure counts for something. I'd always assumed I'd missed my chance to see Sleater-Kinney, but they got back together this past year to record a new album, and they're touring it right now, and I bought tickets for their NYC show the day I learned this.

The show was amazing. Carrie Brownstein pranced around the stage like the rock star she is. SHE FUCKING WINDMILLED ON ONE OF THE ENCORES. Janet Weiss anchored everything with her wonderful, driving, off-kilter drumming. And Corin Tucker... well, I can't remember the last time I saw a performer so amazingly present in her performance. Her intensity was what fueled most of the show's most memorable moments. It was like she had something inside her that she needed to let out and she just released it, to share it with us.

They played a mix of new and old songs. I only have extensive knowledge of four of their albums including the new one, so I didn't recognize everything, but they hit everything I wanted to hear- "Jumpers", "One Beat", "What's Mine is Yours", "No City to Love", "Surface Envy", "No Anthems", and so on. I'd worried we wouldn't get "Modern Girl", since it's not what I would call concert friendly, but we got it as part of the encore, as a joyously ironic singalong with the whole entire crowd. Which was the best way to get "Modern Girl" I could have asked for.

Terminal 5, which I'd never been to before, is a massive warehouse-feeling club in Hell's Kitchen. And the show was sold out and it was packed so tightly that dancing was mostly limited to vertical movements. There was an enormous crowd of people who were all passionate about the music and the band and also what S-K means culturally, and I'm just so glad I got a chance to sort of right my regret about that concert a decade ago.
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Tonight I'm going to Rossini's La Donna del Lago at the Metropolitan Opera, and I'm going to see Sleater-Kinney at Terminal 5 on Thursday. I'm hoping I'm capable of the emotional transition between bel canto and riot-grrl punk in one day. We'll see. :D :D :D

[personal profile] freeradical42 has been trying to persuade me to go to Balticon. It's Memorial Day Weekend, which is Shavuos, so I was not all that high on the idea. It's tough to go to a Con where you lose a day to Shabbos, so imagine three days of the Con being restricted to not doing melacha! Also, I like to actually celebrate Shavuos, so spending time doing Con-stuff might take me out of the spirit of the day. But they ARE scheduling services at the Con, and we were bandying the idea of doing a SF-themed Tikkun Leil Shavuos at the Con, and... [personal profile] freeradical42 emailed them and they were okay with giving us a room and listing it in the program, so it looks like that might actually happen.

Tikkun Leil Shavuos is the tradition of staying up all night on the first night of Shavuos studying Torah. I've only managed it three or four times, but it's amazing, and the prospect of doing it in the context of a SF con is really, really exciting to me. Our brainstorming googledoc has all sorts of cool ideas for shiurim, from the kashrut of fantasy animals to the optics of Rav Sheshet's eye lasers to the medieval Rabbinic contributions to astronomy.
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A The Bad Plus Playlist for [personal profile] elipie

1. "Seven Minute Mind" by the Bad Plus

-Becaus Ethan Iverson's driving piano melody that opens off the track rocks hard, but it's the way they disrupt that piano melody, again and again, in different and jarring ways, that really makes this song rock. I think I particularly like the last few bars, where the melody slows down painstakingly arrythmically. It's almost like a musical heart attack.

2. "Lithium" by the Bad Plus

-Because the affinity between Nirvana and The Bad Plus is strong and because this is one of a tiny handful of songs where The Bad Plus let another musician infiltrate the tight intimacy of their trio, and it is a breath of exciting, fresh air. Also, Reid Anderson on bass, ladies and gentlemen.

3. "The Radio Has a Beating Heart" by the Bad Plus

-Because it's the first track of their first album of all originals, and it is dreamy and relaxed and spacy while still being a pulsing Bad Plus song. It tries to be everything Bad Plus all at once, and because it's the Bad Plus, it almost succeeds.

4. "Super America" by the Bad Plus

-The song I used for my Batman dance vid. It basically doesn't let up from start to finish, it's just so joyful and exuberant and retro.

5. "Keep the Bugs Off Your Glass and The Bears Off Your Ass" by the Bad Plus

-Because it's a super-jazz-nerdy homage to Mingus. Also, Reid Anderson on bass, ladies and gentlemen.

6. "Smells Like Teen Spirit" by the Bad Plus

- Because it is THE iconic Bad Plus cover, and because somehow Iverson's brilliant piano playing is the least interesting part of a track that has incredible drumming from Dave King and once more, Reid Anderson on bass, ladies and gentlemen.

7. "Anthem for the Earnest" by the Bad Plus

-Because someday I will figure out how to make my Danger 5/ Inglourious Basterds crossover vid to this song work. And that will be a glorious day.

8. "(Theme from) Chariots of Fire" by the Bad Plus

-Because this just might be their weirdest cover, and I have a weak spot for weirdestness. Holy shit Dave King's drumming on this song, though. Iverson keeps repeating that obnoxiously catchy melody again and again, not even really deconstructing it, just assaulting you with it, while Anderson and especially King just tear it up around it.


Download Here!
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[personal profile] sophia_sol wasn't so happy with the playlist of Haydn highlights I made for her, but she liked the Debussy Homage to Haydn, so I proposed to make a Debussy playlist.

A Playlist of my favorite Debussy works

1. String Quartet in G Minor, Movements 1 and 3 by Quatuor Ebene

-Because honestly I wanted to put the whole damn thing in here, but decided against it. But these two movements are probably the most interesting.

2. Estampes Number 2: La Soiree Dans Grenade by Claude Debussy (as pianist)

-First started listening to it because there were accusations of similarity between it and a Ravel piece, but I think it uses chromatics in really interesting and effective ways.

3. Children's Corner 1: Doctor Gradus ad Parnassum by Claude Debussy (as pianist)

- Because it's really fun and whimsical and colorful, and because it sets up #4.

4. Children's Corner 1: Doctor Gradus ad Parnassum by Bela Fleck with Joshua Bell and Gary Hoffman

- Because Debussy on the banjo.

5. Chansons de Charles D'Orleans Movement 2: Quant J'ai Ouy Le Tabourin by the Orchestre Revolutionnaire et Romantique and Monteverdi Choir

-Because I wanted to show off Debussy's choral writing, and because this is lovely.

6. Prélude à l'après-midi d'un faune by the Paris Radio Symphony Orchestra

-Because when I asked everyone what were the obligatory pieces on a Debussy playlist, they all agreed that it was the Prelude and Clair de Lune. And because it deserves to be obligatory listening. It's so dreamy and magical.

7. Suite Bergamasque, Movement III: Clair de Lune by Peter Schmalfuss

-Because when I asked everyone what were the obligatory pieces on a Debussy playlist, they all agreed that it was the Prelude and Clair de Lune.

8. Beau Soir by Joshua Bell

-Because Joshua Bell

9. Pelleas et Melisande: : Mes longs cheveux by Mary Garden

-Because Pelleas is his operatic masterpiece, and Garden debuted the role of Melisande, and this is such a fascinating time capsule.

10. Ravel's Sonata for Cello and Violin by Jaime Laredo and Leslie Parnas

-Because I ended the Haydn playlist on a song written in tribute to Haydn, and it seemed appropriate to do likewise here. Ravel dedicated his sonata to Debussy shortly after Debussy's death.

Download playlist
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For [personal profile] sophia_sol!

A bunch of the reasons Joseph Haydn is my favorite composer

Download here

1. Trumpet Concerto in E Flat, First Movement, performed by Wynton Marsalis and the English Chamber Orchestra

-Because you listen to the cadenza and go holy fuck a lot. And then you remember Marsalis was only twenty when he recorded this and go holy fuck a lot more. I wrote of Debussy in "The Music Speaks For Itself that "Debussy writes like he doesn't even know there are composition rules to break." That's exactly how Marsalis attacks this concerto, like he doesn't even know there are rules he's supposed to be following.

2. Concerto for Violin in G Major, Second Movement, performed by Isaac Stern and the Franz Liszt Orchestra

-Because Stern knows how to make the violin sing and Haydn knows how to make the orchestra sing, and together this is something that's half dance and half dream.

3. Symphony # 92 in G Major, Second Movement, lost track of which orchestra is playing

-Because you have to put the Surprise Symphony on here, don't you? My recommendation is that you crank the volume. (The thing about me and the surprise is that even though I know it's coming, the anticipation makes me giddy)

4. String Quartet in E Flat Major, Op.33 #2, Fourth Movement, Emerson String Quartet

-Because I love it when Haydn is a total asshole to the audience/ Because I love it when music goes meta.

5. Harpsichord Concertino in C Minor, Third Movement, Ton Koopman and Musica Antiqua Amsterdam

-As a sort of palate-cleanser/intermission.

6. Symphony #7 in D, First Movement (Le Midi), performed by the Academy of St. Martin in the Fields

-I just find it really vivid. Like stepping outside into a fresh spring morning. An early symphony, and Haydn still figuring out how to use the whole orchestra together, but some of the pieces are clearly already figured out.

7. Piano Sonata in E Flat Major, First Movement, performed by Glenn Gould.

-Because Glenn Gould.

8. Symphony #45 in F Sharp Minor, Fourth Movement, performed by the Academy of St. Martin in the Fields

-Because it is the greatest origin story of any symphony ever written. And therefore I don't care if it's probably apocryphal.

9. Hommage a Joseph Haydn by Claude Debussy, performed by Noriko Ogawa

-I already mentioned Debussy earlier. The thing that fascinates me about the clear admiration Debussy had for Haydn is that Haydn was the best at orchestral structures- father of the symphony, master of the string quartet, etc... etc... and Debussy is a 20th century composer of impressionist music that sometimes can seem formless and barely composed. One of the most important things I discovered in writing fic about Debussy was how deeply essential orchestral structure was to his music, even when it was hidden.

Playlists

Jan. 3rd, 2015 02:17 pm
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For [personal profile] sanguinity!

A Mixture of Things I Find Entertaining And Think You Also Might

Download Here!

1. "Aria (Cantilena)" from Hector Villa-Lobos's Bachianas Brasileiras #5, recorded by Nashville Symphony Orchestra
-Because it does beautiful melody/ complex orchestration things, happy/sad things, Americas/Europe things, early music/modern music things, and is just generally arresting.
2. "Deep Blue" by the Arcade Fire
-Because it's a great rock song about a chess computer.
3. "Lady Luck Blues" by Bessie Smith
-Because Bessie Smith.
4. "Go to the River" by Yael Naim
-Because Yael Naim? And because I feel like the brilliance of the whole "She Was a Boy" album slipped past people because it began as a difficult-to-acquire import.
5. "Applause" by Lady Gaga
-Because I don't know [personal profile] sanguinity's feelings about Gaga, and I am curious. And this is kind of a shockingly excellent song. (I may have a kink for songs that use recorded applause as a musical figure)
6. "Joan" by Heather Dale
-Because of the chorus.
7. "Redemption Song" by The Chieftains and Ziggy Marley
-Because the original Bob Marley song is great, but this version does weirdly effective Americas/Europe things and somehow manages to not feel oppressively appropriative because of Ziggy's participation.
8. "Speeding Motorcycle" by Daniel Johnston
-Because the metaphor is weird and wonderful and this song needs to be shared and appreciated.


For [personal profile] batdina!

A bunch of synthy pop songs, mostly

Download Here!

1. "Let's Pretend" by Fluorescent Pea Pod
-Because I love how terrible a romance it celebrates
2. "Futurepop" by Eloquent
-Because it's dancy and fun and futuristic.
3. "J.S. Bach: Prelude" by William Orbit
-Because Orbit made two albums in this style and I have no idea why.
4. "Da Funky Greenspan" by Keith Spillman
-Because it recognzes the mesmeric potency of an Alan Greenspan speech
5. "Adagio for Strings" by Bond
-Because I refuse to feel guilty for loving Bond.
6. "Hardcore Symphony" by Digital Explosion
-Because it almost is symphonic synthpop, and that is silly and delightful.
7. "Little Fluffy Clouds" by the Orb
-Because the Orb.
8. "Orange Grove Lullaby" by Kiss*The*Star
-Because the band name has two asterisks in it.
9. "Sensations" by Alphaville
-Because some part of my heart is still in weird German 80s music. And this is one of the Alphaville songs with an elusive/allusive reference to Mighty Maomoondog, whoever that is.


For [personal profile] bookherd

Download Here!

A bunch of great songs released in 2014, plus a few released in 2013 that I didn't find until 2014 because I am not hip at all

1. "Grand Theft Stutinki" by Shtreiml
- Because I still haven't figured out why a band called Shtreiml sounds so Mizrachi.
2. "Banjo Banjo" by Bela Fleck and Abigail Washburn
-Because it's the best song on an album of amazing duets by an adorable banjo playing married couple
3. "Big Cig" by the Hold Steady
-Because there's something Tom Waitsian about the character Big Cig.
4. "Hodu" by the Toure-Raichel Collective
-Because it was surprising and exciting to hear Raichel bring music of his Jewish faith into his amazing collaboration with Vieux Farka Toure.
5. "In Mirrors" by Colin Stetson
-Because this is probably the song my parents heard me listening to this year and were most disapproving of, and I like that I can still shock my parents with my musical taste.
6. "GTO" by Puss 'n Boots
-Because Holy Shit Norah Jones singing classic country covers
7. "Adoration of the Earth" from "The Rite of Spring" by The Bad Plus
-Because The Bad Plus recorded the complete Rite of Spring and I think I need to say that again. In capslock. THE BAD PLUS RECORDED THE COMPLETE RITE OF SPRING!!!!
8. "Brooklyn Babylon: An Invitation" - by Darcy Argue's Secret Society
-Because it proves that big band jazz is not dead. (I think it was on [personal profile] starlady's end of year list last year.)
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I had fun making up a playlist for [personal profile] ghost_lingering the other day. I want to do more of that.

Comment on this post and I'll make you a playlist. If you want to specify things you are looking for musically, you can, otherwise I'll just surprise you.
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My sister's engagement party was today. At my sister's insistence that music would drown out conversation and ruin her special day, we pitched the music low enough that it was mostly not audible over the din, so it only sporadically served any purpose, but I'm pleased with the playlist anyway. Five hours of Jewish instrumental music of various sorts. Enjoy!

My sister's engagement party playlist
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Results via facebook, DW, and my own googling of the search for Chanukah music


-Several recommendations of the Adam Sandler "Hanukah Song", which.... I have mixed feelings about. Certainly, it's not melodically very good, but that's sort of the point and hardly a point of critique. It's a bit of more or less off-the-cuff shtick, though like most Sandler jokes it's been pushed too far over the years. More positively, I appreciate part of the song's sentiment. It is true that it can be lonely being a Jew in a Christian country, particularly at moments when Christian activity is at a peak. It is also true that for this reason and others, Jews take comfort in the success and prominence of other Jews. I value "the Hanukah Song" for taking a step back to appreciate that success and appreciate its context: that there are a number of Jews in Hollywood, but they are still outliers and we as a nation are still outliers. That in fact, there are so few Jews in Hollywood that one can sing a couple of songs and name them all.

On the other hand, while I think Sandler grasps that subtlety, I don't think much of his audience does. I worry that "The Hanukah Song" reinforces anti-semitic lies about Jews and the media. I don't worry a lot, but I do worry. And more seriously, I worry that "The Hanukah Song" positions Chanukah so strongly in opposition to Christmas- "the only kid in town without a Christmas tree" etc... Chanukah as an observance has very little connection to Christmas as an observance except calendar compatibility. I don't want my Chanukah music to be anti-Christmas music, I want Chanukah music that is about the Jewish significance of Chanukah.

My subtler complaint about about the song is that it conflates Judaism and observance in subtly erroneous ways. Most of the show business Jews Sandler sings about are not in any meaningful sense observant Jews, but Sandler uses observances as synecdochic allusions to tribal affiliation. Rather than just saying that David Lee Roth is Jewish, Sandler says that Roth "lights the menorah". Rather than saying that Jon Bauman and Henry Winkler are Jewish, he says that they "eat together at the Carnegie Deli". I take it as assumed that Sandler isn't actually asserting these things as statements of facts. I don't think he is claiming that David Lee Roth makes a point to light a menorah all eight days of Chanukah. Rather he is asserting that these are things that Jews do, and therefore as Jews, they are things that Roth, Bauman, and Winkler might do.

Of course, the Carnegie Deli is not a kosher deli, but that doesn't bother Sandler because he's not actually talking about Jewish observance, and he's talking about people who don't much care about Jewish observance. "The Hannukah Song" is a song about being Jewish, it's not a song about living Jewish lives.

-Several recommendations for Anander mol anander veig, an album of remixes of classic Chanukah and other Jewish melodies. I liked a few of them, but was overall not impressed with the album, and even a few of the good ones left me scratching my head in the way that good remix sometimes does- the remix of Dave Tarras's Di Goldene Chasene was fun and clever and made playful use of Tarras's frantic note-switching, but... Dave Tarras was playing clarinet on the original. It's freaking Dave Tarras, why would you listen to even a good remix when you can listen to Dave Tarras? He's pretty close to perfection, and before the request for Chanukah music, my party playlist already had as much Tarras as I could find.

-A recommendation for Handel's "Judas Maccabaeus", which is definitely good Chanukah music, but which I don't think I can play at my sister's engagement party. Nonetheless it's worth noting that Handel is a master of Baroque oratorio and his "Judas Maccabaeus" is overloaded with magnificent music.

-A recommendation for Shir Soul's new a cappella Chanukah medley. I found it a little dull, but the recommender and I both went to school with one of the members of the group, so I think the appeal is mostly in "Hey look at that cool thing our friend did!" On those terms I can recommend it. The singing is bright and appealing, the dreidel play is kind of fun, and the songs are not great, but it's worth watching for a smile, I think.

-My own discovery of an Andy Statman Hannukah medley. You know all those feelings I wrote above about Dave Tarras and how he's basically perfection on clarinet? Andy Statman was Dave Tarras's student. I don't think this medley is Statman's best work, but it is one of the best Chanukah things I have found and I highly recommend it.

-I got this album of Michael Silverman Jewish piano tunes because if I'm going to have to play the familiar annoying Chanukah melodies, at least they won't be on an annoying synth keyboard.

-The Chanukah Lounge is a thing that exists. It's... well, at first listen it doesn't sound all that bad, so I think I can sneak one or two of these songs onto my playlist, but the more you listen, the less is actually there. These are not songs that illuminate and add depth to the classic Chanukah melodies, they are songs that use gimmicks and tricks to try to milk the classic Chanukah melodies. On the plus side, I did discover the Afro-Semitic Experience via this record- their "Descarga Ocho Candelikas" is the best thing on the record. And the Afro-Semitic Experience has a mindblowing record called "Further Definitions of the Days of Awe" that has me already aching to buy more of their music and just wallow in the brilliance. On the other hand, it was never difficult to find great Rosh Hashanah music, so... I guess I just accidentally found some more great Rosh Hashanah music while searching for Chanukah music. Oops.

-Some mentions of the Maccabeats... Which, look, like the Shir Soul video above, part of the allure is no doubt that I was in youth group with one of the members of the Maccabeats, and one of my best friends was roommates with the guy who makes their videos, and the whole NYC Jewish community is very incestuous and it's cool when people you know are successful. I like that "Candelight" and "Burn" and "All About That Neis" are pretty explicitly positioned as a response to my complaint that Sandler's "Chanukah Song" is an anti-Christmas song more than it is a song about people who live Jewish lives celebrating Chanukah. It is obvious from the music that Chanukah actually means something positive to the Maccabeats- that unlike David Lee Roth lighting the menorah, the Maccabeats light the menorah and then watch the candles burn down. I like that at this point several years down the line, "Candlelight" has probably been permanently added to the Chanukah songbook, which is great because it's been quite a long time since anything fresh at all has been added.

-Uh... I dunno, I remember being excited a few years back when I learned that Jason Robert Brown had written a choral Chanukah suite, but not too excited when I actually listened to it. And when I consider the choral politics associated with getting it performed, better off just listening to "Shiksa Goddess" again.


So... this probably didn't really add much to anyone's knowledge of good Chanukah music. It might be out there somewhere but if so, I haven't really found it. But it is what it is. Freilichin Chanukah, everyone!
seekingferret: Picture of Lester from Chuck with a dreidel held over his head, a pile of money sitting on the table (dreidel)
I am a giant snob about Jewish music, as we know, and I am a particular snob about Chanukah music. I basically don't like any Chanukah music. Except Matisyahu's "Miracle", that is great.

My mother asked me to put together a playlist for my sister's engagement party (oh, did I mention my sister got engaged? She did). And after I did, mostly instrumental klezmer revival with some tamer Tzadik stuff mixed in to push the envelope, she asked me to add some Chanukah music because the party will fall during Chanukah.


Does anyone have recommendations for Chanukah music that doesn't suck?
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Norah Jones playlist

Here, have a playlist of Norah Jones songs I've collected over the years, highlighting the amazing diversity of musical genres Jones has played in: this playlist has jazz, folk, country, rock, punk, electropop, Indian pop, and probably some other things I forgot to mention.
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A couple music notes, about concerts I saw a few years ago:

I saw a band a few years back that called itself "Rashanim Plus John Zorn, Greg Wall, and Frank London", playing music they labeled "Shlomo Carlebach/Fela Kuti fusion". It was amazing. They've apparently since retooled the musicians slightly and released an album as Zion80, which I give my strongest recommendation to. If you are Jewish and at all ritually involved, you know the music of Reb Shlomo, even if you don't think you do. His melodies are at the core of the modern Jewish liturgical program, even in places where his theology or cult of personality is unwelcome. Pairing it with Fela Kuti's Afrobeat rhythms and orchestrations is an unlikely pairing, but it brings out all the joyousness of both musical traditions- as one reviewer I read said, the thing linking both musicians is that they found the universal by seeking the particular. Zion80 inverts that, uncovering something very particular by way of a universalist fusion. [I should probably put together a more general note on Reb Shlomo's music one of these days.]

http://www.amazon.com/Zion80-Jon-Madof/dp/B00BJ60L9Y/


I saw a band a few years back called Puss N Boots, opening for Doveman. I was there mostly for Doveman, but it didn't hurt that internet rumor said that despite billing to the contrary, Puss N Boots featured Norah Jones in disguise. Doveman's show was excellent, as was another opening performance by Sam Amidon, but a few years on, the most memorable part of the show remains a bewigged Norah Jones playing classic country on the guitar with two talented musicians flanking her. Their cover of Johnny Cash's "Cry, Cry, Cry" was one of the most moving live performances I've ever seen. The group is now releasing an album, which I can add along with the Little Willies' album and El Madmo's album to my small collection of weird Norah Jones side project albums.

http://www.amazon.com/No-Fools-Fun-Amazon-Exclusive/dp/B00KO73S6W


Both of these were phenomenal live shows that I'm glad now have a recorded version I can spread the word about.
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In my more or less annual tradition, I listened to John Zorn's Kristallnacht on Sunday in honor of Yom HaShoah, Holocaust Remembrance Day. I revisit it every year, gingerly and cautiously, because every year I find new depths to the music (See my Kristallnacht tag for posts on some past listens).

The piece is a forty minute long structured experimental jazz meditation on the Holocaust by Zorn, a downtown jazz and experimental classical musician who's been among my favorite musicians for quite a while. Its centerpiece is an eleven minute long movement called "Never Again", punctuated by high pitched squeals and by the incessant sound of broken glass. The CD's label warns that repeated listening to this movement can cause hearing damage. Not to be taken lightly.

Obviously we've talked about "Never Again" here recently in other contexts. "Never Again" is the motto of Meir Kahane's Jewish Defense League, the terrorist group that has, in the context of preventing another Holocaust, assaulted and bombed Arab groups, Soviet groups, and others it considers enemies of the Jewish people.

It's hard to say what relationship Zorn is imputing between his music and the JDL. Zorn positioned Kristallnacht as one of the opening salvos of an intentional artistic movement he still calls (at least in marketing materials) "Radical Jewish Culture", which he has fostered through mentorship, releases on his Tzadik record label and performances at his Stone music space. In the two decades since Zorn initiated "Radical Jewish Culture", its manifestations have mostly been culturally radically, not politically radical. Female voices in mostly male spaces. Non-Jewish voices in mostly Jewish spaces. Atonal voices in mostly tonal spaces. If I'd had to define "Radical Jewish Culture"'s ideological concerns, I would talk mostly about its interest in portraying Judaism and Jewish life as a living culture in communication with the other cultures it lives beside. "Radical Jewish Culture"'s most radical idea is that Jewish music is not for the museum, but is still evolving as we watch. And yet...

And yet in its opening salvo we see Zorn as political provocateur, contextualizing Kristallnacht against not merely the classical history of the Holocaust but against its more radical reinterpretations. A later movement, set after the Holocaust and exploring Israel's struggles to assert itself against its neighbors, is titled "Barzel (Iron Fist)", and of course I made reference to this idea, also originally belonging to Kahane, in my stories.

As I paid close attention to Zorn's "Never Again", I had a weird back and forth. At first, it seems formless, the patter of broken glass slamming figuratively against your ear at random. Then, if you listen close enough, you start to hear patterns in the squeals and the shatters, or are you really hearing them? Maybe you're just imagining the patterns, maybe you're assigning meaning to something that is just random noise, possibly even computer generated noise. The shattered glass stops, several minutes in, pausing in silence for moments that stretch out with incredibly tension, and then it resumes again, maybe a little more structured this time. So you keep listening, and now you are starting to believe there's a plan behind it. Now you hear voices, the electronically distorted remixes of the Nazi speeches that infested the previous movement, degrading ever further in disturbing parody. Okay, these elements are clearly intentionally introduced, so we have further evidence of a dark and disturbing plan. Except you revisit it at the end of the eleven minutes and all you've heard is eleven minutes of incomprehensible noise.

Which is to say, among all the other things it does, "Never Again" induces a powerful examination of that core question of the Holocaust as systematic or senseless.
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I just downloaded 4 recordings of Terry Riley's "In C". There are lots of things I find awesome about the piece, but at the moment I'm mostly enjoying how different four performances of the same composition can be. Tempos, dynamics, but perhaps most significantly timbres are incredibly far apart. Each time, "In C" means something vastly different.

"In C" by the Styrenes... Cleveland punk rock band

"In C" by Acid Mothers Temple & The Melting Paraiso U.F.O.... Japanese psych rock band.

"In C" by Riley's own ensemble... new music chamber ensemble

"In C" by Paul Hiller and Ars Nova Copenhagen... choral ensemble
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Last night I saw Roomful of Teeth sing in a half-empty auditorium. The half-empty auditorium part was a bit disappointing, because Roomful of Teeth is amazing and deserved the place being packed to the rafters, but I really can't complain about getting front row seats to see the Pulitzer and Grammy winning ensemble for ten bucks.

Roomful of Teeth is an eight member chorus dedicated to pushing the envelope of the use of unusual vocal technique in contemporary classical music. Their music involves throat singing, yodelling, overtone singing, blends of spoken word and choral singing, unusual rhythmic structures, choral warmup techniques, unusual harmonies. It all works because of clever composing and telepathic precision among the members of the ensemble.

Their debut CD has been at the top of my rotation for most of the past year- probably my three most listened to albums of 2013 were Roomful of Teeth's eponymous debut, Josh Ritter's "The Beast in its Tracks", and Stephane Ginsburg's "42 Vexations of Erik Satie".

So it was amazing to see them live, to see the energy they brought to the music. It also called my attention to aspects of the music I hadn't quite noticed before, like the way many of their pieces involve interplay between the female vocal parts and the male vocal parts as separate units in dialogue. I also liked the way several of the pieces involve moments where a motif is passed conversationally down the line from singer to singer. It's really cool how Roomful of Teeth juggles very informal folk singing practices like that with precisely coordinated, classical timing and technique. And it's particularly striking that they do it with self-conduction and more or less asynchronous antihierarchical coordination. At different moments it was the responsibility of different members of the group to deliver cues, and they passed that responsibility seamlessly.
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I mostly find Lady Gaga's "Artpop" album disappointing, because I don't think the dialectic she's playing with is, quite, art-pop. I think she's really struggling with fun-serious and she's confusing it with art-pop, and I think the result is less thoughtful than I was hoping for.

I can construct a set of axes around art-pop and fun-serious, where David Foster Wallace's Infinite Jest is the epitome of Art/Fun, Proust's A Remembrance of Things Past is archetypal Art/Serious, Orwell's 1984 is Pop/Fun, and Dickens's David Copperfield is Pop/Serious. Stipulating, obviously, that all four of these works are literary masterpieces and have a diversity of style and mood that defies this schematization.

Or in the musical world, Pink Floyd's Dark Side of the Moon is Art/Fun, Jethro Tull's Thick as a Brick is Art/Serious, Michael Jackson's Thriller is Pop/Fun, and Paul Simon's Graceland is Pop/Serious. Again, stipulating that these four works are musical masterpieces and have a diversity that makes this all essentially nonsense piffle. Michael Jackson as a pop musician does not mean his work is not artistic. His work is sublimely artistic. It means that on the Art-Pop spectrum, I am using the word Art to mean something different than just art, which is elastic and elusive, but which I think my examples bring out reasonably clearly. I might say that by Art I mean inaccessible, but I don't think that quite covers it, and definitely has a more negative connotation than I want. We could bend in the opposite direction and say that by Art I mean complexity, but I don't want to claim that Pop cannot be complex, either. But these are the ideas I am gesturing towards.

Lady Gaga's work straddles the art/pop line at times, but only incidentally. Her music is always fundamentally pop, in that it is accessible, danceable, comprehensible, immediately enjoyable even though it certainly courts deconstruction. None of the songs on Artpop are not pop. Very few of them are even arguably Artpop hybrids. Actually, if anything, I found the album less musically interesting than The Fame Monster or Born This Way.

But there is a lot of hybridization on Artpop, along the second axis I posited. For example, "Venus", a strong, catchy pop song that has such a density of ideas that it would be strongly positioned on the Pop/Serious part of the spectrum, except that Gaga can't resist sprinkling in puerile genital jokes. There's something a little Shandyan about it, except the fusion is not graceful enough. (I tried to categorize Tristram Shandy on my proposed axes, but every time I try it comes out Art/Pop/Fun/Serious. I think Shandy is my graph's origin.)


Anyway, I'm curious what other people thought of Artpop.
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I hit 50K in NaNoWriMo on Friday, shortly before sundown. I was not really racing the clock, since I had Saturday evening as my backup, but it was nice to have that secondary deadline as a safekeeping. I am unlikely to ever touch This Novel Takes Place Entirely in the Kitchen again, but I am glad for the writing exercise. On to Yuletide, which is a lot of fun.

I spent Saturday night at a last minute NaNo marathon, watching several people fight their way over 50K, which was a lot of fun. I started doing NaNo because of the writing exercise, because I wanted an excuse to force myself to write a lot of words and to tell stories that I'd been keeping inside. But I keep doing NaNo because of my local community of amateur writers. It is so much fun to hang out at write-ins, and to anyone who has ever considered doing NaNo, I want to make you aware of the support network available to help push you off the fence. They've kept me laughing and smiling through the month of November.


I also want to make people aware of this, because Amazon sent me a promo about it and I literally ordered it thirty seconds after I got the promo: http://www.amazon.com/gp/product/B001NBS5NE

It's the complete Haydn symphonies for less than 25 dollars. That is a mindboggling deal. I once paid fifty bucks for a box set with about thirty of the Haydn symphonies, recorded by Neville Marriner and his Academy of St. Martin in the Fields orchestra, and accounted myself as having gotten a bargain. Even though I ordered the set a couple days ago, I keep going back to the page and pinching myself to make sure I didn't make a decimal place error. Reviews of the performances on amazon are a little mixed, but the opportunity to hear symphonies I'm not familiar with and just get a sense of the parts of Haydn's catalog that I have overlooked is exciting even if these are not the finest interpretations of these pieces.

Haydn wrote more than a hundred symphonies, and I count at least a dozen of them among my favorite pieces of classical music to return to again and again. The variety, the humor, the emotional feeling, and above the power of an orchestra to sing together in a Haydn symphony is rivaled by only a very few things in the classical canon.

(Other music purchases taking advantage of amazon discounting for the holiday weekend included Kanye's newest album and a Norah Jones album I'd missed. Sometimes I look at my music collection and wonder how all of it ended up in the same collection)
seekingferret: Two warning signs one above the other. 1) Falling Rocks. 2) Falling Rocs. (Default)
Just a bump, since it's the season of the Jewish High Holidays again, I wanted to call attention to the Rosh Hashanah Playlist I posted two years ago:



Rosh Hashanah Playlis

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