there isn’t really a theme to my 14th granite mix, but one thing i tried to do was to keep the tracks short. here’s the mix and after that a table with track listing and then some comments and links and stuff below that.
|John Cale||King Harry||The Academy In Peril|
|Nino Rota||Notturno O Mattutino||La Dolce Vita – Soundtrack|
|Ralph Vaughan-Williams||The Bell Ringers||Epithamalion|
|Joseph Spence||Lay Down My Sword & Shield||Gospel At Newport|
|Larry Young||Alive||Lawrence Of Newark|
|Armando Trovajoli||El Negro Zumbón||hit song from film Anna|
|Captain Beefheart||I Love You Big Dummy||Lick My Decals Off Baby|
|Ahmad Jamal||I’ll Take Romance/My Funny Valentine||Ahmad Jamal At The Blackhawk|
|Howe Gelb||Belly Of Fire||Down Home 2002|
|King Curtis||Cuban Twilight||Have Tenor Sax Will Blow|
|Kool G Rap||4,5,6||4,5,6|
|Federico Mompou||Impresiones Intimas No. 9 Gitano||Impresiones, Scenes, Charmes, Fêtes Lointaines|
the academy In peril is not a particularly well-known work in the john cale canon and is almost as famous for its record sleeve as it is for its music. unfortunately i don’t own a copy of the original album but have a later re-release which doesn’t have the half-gatefold with the cut-outs that the original had but I have seen that original cover in fact the 1st time i heard the album it was at a friend’s house near uxbridge or thereabouts maybe ruislip and he had the sleeve i remember it well. the other thing that is well known about the cover is that it would have been worth a lot more if it had been in black and white which is something that the song a dream from the lou reed/john cale album songs for drella teaches us.
a vast expanse of the roman countryside, to one side are the ruins of the san felice aqueduct, towering arches that come striding across the land. two thousand years ago those arches brought water to the city, but now there are many gaps where whole sections of the aqueduct have fallen in. directly in front is a soccer field, the goal posts dwarfed by the height of the aqueduct. in the distance the sound of motors is heard. a speck in the sky grows rapidly larger. it is a helicopter, and beneath it is a hanging figure. a second helicopter follows close behind. as the ‘copters pass over the field the figure suspended below can be clearly seen. a large statue of christ the labourer swings from a cable. the shadow of the ‘copter and this incongruous figure flashes across the walls of the aqueduct. the helicopters pass on.
federico fellini – screenplay for la dolce vita
why does ralph vaughan williams haunt me the way he does? Is it something to do with the ark tempers of medieval lines? who can tell in this age of imaginativeness?
as soon as i heard joseph spence’s take on utterance i was bewitched as if i had crossed several salt seas of despondency and come at last to fresh water.
at a certain time freedom mixed with sonority to produce several subversely subservient dramaturgy/diatribe/dialogue/dichotomy diptychs
el negro zumbón is complicated. usually attributed to silvano mangana she only mimed to the song in the film anna. it was written by italian composer armando trovajoli and the female singer is flo sandon’s
i’m grateful to samuel andreyev for his fascinating work on captain beefheart and the magic band – definitely one of the joys of youtube which despite my earlier diatribes i am overall in admiration for for its democratic all-inclusiveness. i certainly look forward to more from samuel.
maybe i’ve already written about the time i went to see ahmad jamal the only time i saw him but i’m proud to be able to say even that and if i haven’t written about it then no doubt i will repeat/not repeat it again in the future when my marbles start to lose their shine.
i’ve been to 3 howe gelb gigs but the 1st was something special. during the interval i was standing outside with my friend neil armstrong not the astronaut but maybe even greater in many ways. there was no-one else around and suddenly howe stepped out of the main entrance. he was about 40 metres away from us he looked around with a bewildered expression and then went back into the building. strange.
as a weather report fan in the mid-70s if i was to choose a favourite track mysterious traveller would be one of the top tracks in my opinion from that era and when i first heard 4,5,6 from kool g rap i recognised the sample straight away. it’s not one of the highlights of my hip-hop collection but is just in the end another of the great tracks that came out in the mid-90s an era that i have covered in the past.
finally what do i find so great about these gentle piano pieces that the catalan composer dreamed scored and deployed. apparently some say that there are superior representations of these pieces by more accomplished pianists than mompou was himself. to my mind who is going to interpret someone’s work better than that person themselves? i don’t know i just don’t get it.