For many decades I have been collecting albums, live recordings, bootlegs, outtakes and any other kind of ear candy. I started with vinyl and then cassettes for the car and then CDs and MP3’s and now streaming music. Throughout all of these iterations, I have tried to discover more and more different kinds of music from different kinds of artists from every corner of the globe. I have my favorites, of course, but the thrill of discovery may be the most favorite thing of all.
I invariably engage in contextual listening. The purely aesthetic experience is always there – and I certainly know what I don’t like – but I’m always thinking about how one title sounds next to another – as a DJ would select track after track to purposefully create specific feelings and reactions on the part of the listeners.
Context is not limited to how one song followed by another may reveal previously unknown aspects o both works. Context includes the familiar personal, social, racial, political and economic aspects of work. Sometimes these aspects are front-and-center and sometimes they are hidden. Sometimes these aspects inform a negative view following a positive aesthetic reaction. In such a scenario, the listener is really forced to make a choice and that’s not necessarily a bad thing. Active listening is always encouraged!
My focus here is on this narrow type of context – that generated by modern convenience of being able to shuffle, with apparent randomness, through tens of thousands of songs with no overarching connection other than that they are in MY collection. That will be the jumping off-point and from there I’ll engage the music in whatever manner it strikes me.
Because that’s really fucking exciting.
Time to see if this old thing still works.
Been waiting a good long time for this one. Here’s Vintage Guitar magazine on the tendency Bloomfield’s playing had to change people’s lives.
Mike Bloomfield had that effect on people. For a Jewish kid playing the blues in the mid ’60s, that’s no mean feat. But regardless of who his inﬂuences were and how proﬁcient he became at various styles that preceded him, there was guitar playing before Bloomﬁeld and guitar playing after Bloomﬁeld. It’s as simple as that.
The compilation comes out next month.
I don’t really know what to say. I was amazed. This book is an extraordinary rumination about big ideas like gender, economic class status, Japanese and Chinese society. But this is also one of the most intense depictions of the complex nature of human emotions. There is horror here as characters descend into madness and brokenness and death. But it is never so overwhelming that I felt I wanted to put it down. It is a “page turner,” but I felt sometimes that I should set it down, out of respect for the loss these characters endure.
I went into this expecting a mystery, a detective novel. I come out of it thinking so many things, chief among them that I will read all of Kirino’s translated work. ‘Grotesque’ is quite simply on of the best books I have ever read.
Old and new – should be very good with Mel Collins back in the fold after a FOUR DECADE hiatus:
The 8th incarnation of King Crimson will be Gavin Harrison, Bill Rieflin, Tony Levin, Pat Mastelotto, Mel Collins, Jakko Jakszyk and Robert Fripp.
Writing on his (not yet published) dairy for September 24th Fripp notes “The Point Of Crim-Seeing was of a conventional Back Line – Gavin Harrison, Bill Rieflin, Tony Levin and Pat Matstelotto – reconfigured as the Front Line, with Mel Collins, Jakko Jakszyk and myself as Back Line.”
Robert goes on “All the Crims have expressed great excitement at the return to Go! mode. Given the considerable commitments of all members, it will take a year before Crimson is able to perform.”
Bill Rieflin mentioned to me that he told Jacknife Lee (REM and Robbie Williams’ producer) of the triple drumming, and Jacknife’s reply: Of course. We know what two drummers sound like! I’m hoping we’ll find out, and have a pile of fun doing so.”
In his (not yet published) diary for September 7th Fripp begins “dear brother crims, we have one year to prepare for action of the savage variety, and be in Go! mode for september 2014… but essentially, King Crimson is in motion.”
Robert expects that they’ll be rehearsing, in full and small group formations over that period.
From DGM official.
How do you rehearse the unknown?