If like me you have not been able to catch the live version of Joanne Harris’ #storytime, you’ll be glad to know that this CD captures the experience rather well (I suspect). Music, song and story blend together to create a magical experience with the freshness of a live performance.
Folktale aficionados will find Harris’ stories to be in a familiar vein that we have all imbibed since childhood. Yet her fairytale narratives offer original takes on those tropes that will surprise and delight you. If you follow @JoanneChocolat on Twitter you know her impromtu #storytime threads are always surprising, often timely and generally hook you quickly.
This CD gives me ideas — always a good sign.
Buy the CD direct for just £5 and get it personalised.
Cities and Memory have a new project up which includes my photography! Check it out to find a fascinating random connection between art and sound, evoking a sense of place from images anchored to a specific location inspiring sounds that know no bounds.
I love it when a plan comes together. Wander through the memories and sounds…or scroll down to Scotland to find my Orkney picture.
The SpeakEasy dames are guest hosting this week of Ione’s Dream Festival. We hope to spark ideas and discussions around dreams and the power they have in our lives. To kick things off, I offer this meditation for thinking and listening in honour of Ione’s late partner, the wonderful Pauline Oliveros, because I conceived of it at her Deep Listening workshop at RPI back in 2016.
Out now the latest Linear Obsessional year-end compilation & free download! This year’s collection compiled by David Little (AKA Smallhaus). Includes my theremin composition ‘Down to Brigit’s Well’ which is of course inspired by the view down the hill from our NY homestead and the birds that gather there. Also includes fellow SpeakEasy dame Lys Guillorn!
When I saw Pauline Oliveros about a year ago I didn’t know it would be the last time. Her concert with the International Contemporary Ensemble at Bard’s Fisher Center was –as she always was — riveting and compelling. Hearing about her new work with assistive technology for music (she had just come back from Norway) was fascinating and very moving. As I had begun finding ways to move my fascination with sound into my scholarly work, it expanded further my thoughts in that direction.
So I’m pleased to say that I will be part of the upcoming ISATMA conference at RPI’s EMPAC, talking about medieval magic and music in charms. More on the free conference which includes a tribute concert for Oliveros:
5th Annual International Symposium on Adaptive Technology in Music and Art (ISATMA), Rensselaer Polytechnic Institute
“EXPANDING THE IMPROVISING COMMUNITY ACROSS ABILITIES, BODIES, CULTURES”
October 20-22, 2017
The Craig H. Neilsen Foundation supports the The International Symposium on Assistive Technology for Music and Art (ISATMA), a conference devoted to new technologies and artistic concepts for artists across abilities to create new multi-media works. This symposium, hosted by the Center for Cognition, Communication, and Culture, showcases adaptive musical interfaces in an immersive telepresence environment which celebrates international collaborations and limit-defying improvisations. Expanding the improvising community aims to stretch social, perceptual, and cultural differences potentially generative of creative transformation: of music, of community, of consciousness.
Download the press release (PDF).
Pauline will be there in spirit at least as her legacy expands.
My first night in London after the conference I went to a much anticipated show where I finally got to meet Richard Sanderson of Linear Obsessional Recordings and hear him play. It was great! We had fun chatting before and after the performance (Mr B’s ears must have been
ringing burning 😉 heh). The performance was utterly absorbing and the space, Iklectik, was really terrific and completely unexpected–goats in central London! Also, there were unexpected Blake mosaics. I was chatting with a friend of Richard’s after and it struck me why I find this kind of music so appealing at present: it requires all your attention without words. Anything that quiets my overbusy brain is good. More pix on FB of course.
Huis Clos: an evening exploring the subtleties of larger group improvisation (first as a whole, then as two ensembles)
Ed Lucas: trombone
Antonio Acunzo: piano
Joe Wright: saxophone
Jordan Muscatello: double bass
Richard Sanderson: Melodeon
Dan Powell: electronics
James O’Sullivan: electric guitar
Chris Prosser: violin
Music is life. And life is not a business.
When I came out of the theatre there was blood on the pavement and a guy whose face had been smashed by something. It seemed out of place on a quiet Albany afternoon, but not after this film.
The Stooges are a perfect meeting of the mind-bending exuberance of youth and the free-floating impotent anger that often accompanies it when that energy has no place to go. Surrounded right now by a cultural climate that has filled most of the women I know (mostly past that first exuberance of youth) with a rage that has few outlets, it was a good catharsis. It could have been many things — like an Iggy film — but it was tightly bound to the band. Jarmusch, too, stayed out of the way (I hate those big name doco directors who make it all about showing what good taste they had).
The film is stripped down, filling in missing footage with Iggy’s narration and found footage, crazy cultural references and even animation. I can’t even begin to tell you anything rational about it because I was so immersed in it that I wasn’t making mental notes. There was a point where all three of us in the theatre laughed out loud at something so unexpected I couldn’t tell you what it was because the movie clipped right along.
Things that stuck this first time around (because I will be watching this again and again as soon as I can get my hands on it): how weird it was to hear all these mid-Michigan accents I grew up with that now sound totally alien. Every time I hear Iggy talk there’s that dislocation. How the band all lived up to that hippie ideal of ‘communism’ — living communally, sharing everything, even song writing credits. ‘That was before we knew about intellectual property rights,’ he said drily. How the younger girls they met in Washington Square who were a[n unnamed] band were much better than them spurred the Stooges on to want to be better. How they saw the Rock-n-Roll Hall of Fame induction as crowning the coolness of losers. How visionaries like Danny Fields saw their promise and pretty much no one else did — until suddenly every band in the world seemed to be covering the Stooges.
Soupy Sales. James Williamson’s second career!
Near the end of the film, Iggy remembered bringing a bunch of guys from his high school back to his folks’ trailer, trying to get in with them and they made fun of where he lived and how small the bathroom was. And his avowal that he wanted to outlive them and show them and put them in their place (like Tori with ‘I want to smash the faces / of those beautiful boys’).
Anger is an energy, as that other guy said. Let it lift us.