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Archive for the ‘Diary’ Category

SOUNDTRACK: RHEOSTATICS-Jasper Heritage Folk Festival-Day Set (August 3 2001).

Rheostatics played two sets at the Jasper heritage Folk Festival in 2001.  They did a day set to promote their new children’s album Harmelodia and then later an evening set full of hits.

This is a fantastic sounding show … the afternoon set at the Jasper Heritage Folk Festival and is unique in that it is an almost complete run through of the entire Harmelodia album including Dave reading parts of the book. One of the earliest shows with Michael Wojewoda on drums.

In the intro Dave explains that they’re playing the entire Story of Harmelodia album, borrowing a page out of Luther Wright and the Wrongs’ book and do a concept program.  [I wonder what that was].  We’re going to read a little bit and play a few songs.

The Intro music is kind of like the more we get together, the happier we’ll be.  Dave narrates and the music sounds really good.

He tells everyone that the album is available for only $25 over there, easy.  How much you got?  $15?  We’ll take $15.  And your hat and your glasses.

Tim sings “Monkeybird” which is, admittedly, not as good as Kevin Hearn’s version, but which is still fine (they have a really hard time with the high note of the “we love the sound.”

“Invisible Stairs” is a twist on the “Twinkle Twinkle” melody–a pretty 2 minute interlude.

During “Popopolis/Drumstein” Martin makes a cool humpback whale sound.

They take a small break, “a little interlude then the program will resume.”  Then he says “hurry hurry come on up,” and some girls wish Chrissy Way a happy birthday.  Dave jokes Chrissy’s 37.

Tim says that Dot wrote “Loving Arms,” but ripped off The Beatles.  Dave replies, “it’s make believe Tim, there’s no copyright in make believe land.”

They don’t do “Father’s Sad Song” (because Gord Downie wrote it?).

The bass is suddenly too loud but otherwise it sounds great.  You can compare the concert setlist to the album at the bottom of the post.

[READ: February 21, 2021] “Paris Diary (1992)”

I’m not sure who Mavis Gallant is, but she had the third of three “Memory” sections in this issue of the New Yorker, so here it is.  It is indeed a few samples of her 1992 diary.  The first few entries are from January.

She writes about three prisoners released from solitary confinement after eighteen years.  Two of them are shrunken and need a wheelchair.  The third has his daughter to look after him.  She imagines what it must be like to get your father back after so long.

Gallant was young when her father died and yet she could not accept the truth.  She always imagined he would return.  Like how Isaac Babel’s daughter wrote, “Every time a car stopped in front of the door, I expected to see my father step out of it.”  But of course, he never did.

Then she recalls Josée de Chambrun (her father ran the Vichy government in 1942 and was tried for treason).  She has just died.  Mavis and Catherine (whoever that is) saw her in a gallery, eyes full of defiance.  After the war, the French either stood behind her or despised her.

The next entry (February) concerns her friend at dinner.  She smoked through the meal, juggling fork, knife and cigarette.  No one seemed to mind. (more…)

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SOUNDTRACK
: BILLIE EILISH-Tiny Desk (Home) Concert #71 (August 26, 2020).

There’s so much to say about this Billie Eilish concert.

The biggest artist in the world has just done a Tiny Desk Concert!

Somehow it looks like she’s in the Tiny Desk studio!

Why does she only play two songs?

My daughter and I were supposed to see her back in March and she cancelled her tour about three nights before our show was supposed to happen.  What a bummer!  Especially because who knew if people would even want to see her again in a year (I’m pretty sure they will).  And would her stage show and song style change over that year?

The answer to that seems to be a dramatic yes.  Especially if these two songs are anything to go by.

For these two songs Billie embraces her torch song inner child.  She has a really lovely voice–delicate and emotional.

These songs are personal and lovely–there’s no “Duhs,” there’s no snark.  Compared to what I expected, they were kind of dull, actually.  Very pretty, but kind of dull.

These are the two new singles.  For “my future” Billie plays keyboards and her “real brother” Finneas plays guitar and sings some backing vocals.

On “everything i wanted” they switch places, with Finneas playing the pretty piano melody and providing a lot of nice backing vocals.

These two songs seem like they would go very nicely in the middle of a set of bangers for a few moments of cool down.  I hope when her show is rescheduled that she still brings all the excitement I;d heard her shows typically have.

As for the background…at first I thought it was just a cute idea.  But after six months, it was really comforting to have musicians look like they were playing the actual Tiny Desk.

[READ: August 28, 2020] Diary of a Wimpy Kid: Wrecking Ball

This is the book that started my resurgence into reading Wimpy Kid books. I bought this one for my daughter.  This story had me laughing out loud once again.

This book has a lot to do with the Heffley’s house.  I don’t know if middle school kids can appreciate jokes about household maintenance, but as an adult I sure can.

The book opens with Greg’s mom wanting to do some cleaning up.  That means going through the closet in Greg’s room.  He tells us that he basically just throws things into it, so it’s like an archaeological dig.

He starts sifting through things and finds old toys and things to feel sentimental about which is pretty funny.  But with all this junk, he decided that rather than throw it out, he should make some money off of it and have a garage sale.  Cue: Family Frolic magazine and their “great” ideas for a garage sale.  [I love when he makes fun of this magazine].

Greg has labelled his tables in creative ways: “Great gifts for your grandkids”(stuff from his grandparents that he doesn’t want).  “Pre-written birthday cards” (with his name white-outed). Mystery socks (which is just a pile of junk for 50 cents) and Rare Items (like an invisibility lotion and a freckle remover (an eraser or soap I guess)). (more…)

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download (98)SOUNDTRACK
: TAME IMPALA-Tiny Desk (Home) Concert #69 (August 24, 2020).

download (97)With so many artists that I’ve never heard of doing really long Home Tiny Desk Concerts, why on earth did Tame Impala, one of the biggest bands around, only play for 16 minutes?

The studio version of Tame Impala is pretty simple on paper: All songs are written, produced and performed by Kevin Parker. For the live version, Parker is still front and center but surrounded by a host of musicians who interpret his recorded work almost to a tee.

For his Tiny Desk (Home) Concert or his “Tame Impala Soundsystem” Parker brought Jay Watson and Dom Simper together to

do this kind of electronic jam with heaps of equipment around us and we’ll recreate the songs with samplers and sequencers. I’ve wanted to do something like this for a while and thought Tiny Desk would be the opportunity to do it.

So the three of them are in a room with banks of keyboards and all kinds of buttons to push and knobs to twist.  There’s even a guitar (most notably on “Is It True”).

They play two songs from this year’s The Slow Rush.  They open with “Breathe Deeper.”  The most interesting part of the song comes at the end when Parker starts messing around with the mixer in front of him and he starts generating drum beats and manipulating the sound of the entire song.

“Is It True” is similarly dancey and Parker’s soaring falsetto rides over the top of the song nicely.

They end the set with “Patience” a fantastic 2019 single that for some reason, didn’t make it to The Slow Rush.  This is my favorite song of the three.  The melody is great and with the pace slowed a bit it makes the song a bit more memorable.

When I saw then live, their show felt massive.  This show sounds massive too, yet it’s all confined to a tiny room.

[READ: August 20, 2020] Diary of a Wimpy Kid: The Getaway

I was looking forward to reading this book after really enjoying Book 12.  But I felt like this one wasn’t quote as laugh out loud funny as some of the others.  I find Greg’s family dynamic to be the funniest part of these books and his family doesn’t feature all that much in this one.

This book is all about snow.  And snow means snow days from school, sledding and snowball fights.

The book begins with some environmental concern about global warming (it is unseasonably hot that winter).  Despite the genuine concern for global warming, Greg’s take is always a little warped–he’s concerned that if the ice caps melt there could be a giant monster hiding in there.  (more…)

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download (92)SOUNDTRACK: VÍKINGUR ÓLAFSSON-Tiny Desk (Home) Concert #63 (August 12, 2020).

download (91)Víkingur Ólafsson has a fantastic name.  But even better is his way of talking about the music he plays.  He adds so much detail and information about these songs that they really come to life.  I don’t often buy classical music anymore, but I absolutely want to get his new record of Rameau and Debussy pieces).

Ólafsson  has moved from strength to strength, releasing three terrific albums in a row (Philip Glass, J.S. Bach, Debussy-Rameau). And now that he has a young son, he wants to spend as much time with the family as possible these days.

So he tells us that he is leaving Berlin after living there for eight years, to return to Iceland with his wife and son.

He opens with a beautiful slow and stately piece from J.S. Bach (arr. Stradal): “Andante” (from Organ Sonata No. 4).  The piece runs about five minutes and after four slow lines, he throws in some amazing speed near the end.  he says that Bach is a good idea whether you are happy or sad–whatever it is, Bach makes things better.

Then Ólafsson offers a crash course in the fascinating music of Jean-Philippe Rameau and Claude Debussy, two French composers who lived nearly 200 years apart. Ólafsson connects the dots between the two seemingly strange bedfellows, illustrating his points with demonstrations on his Steinway.

Introducing Jean-Philippe Rameau, he says the music will go in a very different direction (than Bach).  Rameau was two years older than Bach and was dubbed the Newton of harmony.  He defined harmony and opened musical doors.

For Rameau: “Le rappel des oiseaux” (“The Recall of the Birds”) he says that he is playing two birds: one in his right hand and one in his left.  They are calling to each other–one imitating the other with perfect recall.  Then they take flight and we see the landscape under their wings.  When he plays it, it absolutely comes to life.

He says that was first piece of Rameau that he had ever heard.  The version he heard was by a Russian pianist who played it “more sad, more Russian.”  He plays it like that original version and you can hear the remarkable difference and how both versions work so well–although I like Ólafsson’s better.

Introducing Claude Debussy, he says it’a unusual pairing since they lived 200 years apart.  But Debussy’s idol was Rameau.  They were both musical outsiders, reinventing music, bringing life to a tired scene.

He plays a simple Debussy melody–harmony in space, a timeless beauty.  But Debussy did not like being considered an Impressionistic.  He was interested in the baroque, and there is a baroque structure to his music.

For Debussy’s: “The Snow is Dancing” (from Children’s Corner), he describes the driving rhythm that never stops as he explores harmonic inventions.  This song wa written for his four-year-old daughter as he was exploring the snow with her. You can absolutely hear the textures of the snow in the song.

Ólafsson has a penchant for making transcriptions, taking pieces written for other instruments and making them his own. He closes with “The Arts and the Hours,” his mesmerizing arrangement of a scene from Rameau’s final opera, which he plays as a farewell to his Berlin apartment.

Ólafsson says that he wrote his last masterpiece (an opera) a year before he died and he never heard it performed.  Indeed, it didn’t get a world premiere until 200 years after he died in 1960.  This is a transcription he made because he was jealous of all the conductors and orchestra players who got to play this music.   Rameau (arr. Ólafsson): “The Arts and the Hours” (from Les Boréades) is more loveliness from a composer who I feel may be quite under appreciated.

[READ: 2017 and August 15, 2020] Diary of a Wimpy Kid: The Getaway

I read this book when it came out in 2017 but never posted about it.  Then I recently realized that Kinney had written two more Wimpy Kid books that I hadn’t read (and two books written by Rowley, that I don’t know at all).  So it was time to get Wimpy again.

This book is a Christmas book and yet it’s not a typical Christmas story–no annoying relatives, no bad gifts, not even snow.  For The Heffleys have decided to go on holiday for Christmas.    Their Christmas planning was going very badly (a funny picture of the tree on its side with Manny playing with tinsel), so when they saw an ad for Isla de Corales, where Greg’s parents went on their honeymoon, they decided to get out of town for Christmas and celebrate in the warmth of the holidays.

Now, unlike shows where the place is far worse than the advertisement shows, Isla de Corales proves to be a wonderful paradise.  However, the place has now been divided into the mild side for families and the wild side for couples.  Obviously, the wild side is better but the Heffleys have no way to get there.

But before they arrive, they have to get there.  Their entire trip to the airport is one terrible moment after another–bad traffic, lost luggage, late shuttle.  Not to mention terrible lines and a hilarious pile of confusion at the security line–I love that it’s not Greg’s fault that things went so badly but the Heffleys had to pay for it anyway.  And of course Manny is a nightmare. (more…)

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SOUNDTRACK: THE FLAMING LIPS AND HEADY FWENDS-“Tasered and Maced” (2012).

2012 saw the release of this very strange collaborative album.  Whether The  Flaming Lips had entered the mainstream or if people who’d always liked them were now big stars or maybe they all just liked doing acid.  Whatever the case, The Lips worked with a vast array of famous (and less famous) people for this bizarre album.  Here it is 8 years later. Time to check in.

The final song of the album features Chris Martin from Coldplay on the vinyl release.  But it’s something else entirely on digital releases.  This is the digital song.

This song is a slow echoing piano-based song that opens with some very familiar lyrics:

Imagine there’s no Heaven, it’s easy if you try

Despite the lyrics, the melody is nothing like “Imagine”  In fact he changes it to his own very Lips-ian idea:

No hell below us, you don’t go anywhere when you die
(I don’t want you to die and I don’t want me to die)

A new melody is added between verses.

Then after the second verse Chris Martin from Coldplay starts singing.  his voice is distant and echoed

And after all we’re only roses when we die, oh, I don’t want to say goodbye
After all we’re only roses in the sky, oh, I don’t want to say goodbye

He sings for all of twenty seconds before Wayne comes back.

I rather wish Chris martin was more prominent , but it is an amusing cameo.

This is such a better album-ender than “Maced and Tasered,”  I can’t imagine why they replaced it (I’ll assume it has something to do with Coldplay lawyers).

[READ: August 20, 2019] “Thyroid Diary”

I have a soft spot for Lydia Davis.  I like her sense of humor and how she works with the mundanity of existence.

But sometimes her stories are too much diary entry and not enough story.  This one is called a diary, but the New Yorker claims it is fiction.  So which is it?  It’s a mildly interesting diary entry (but not focused enough).  However, it’s not very interesting as fiction at all.

I did enjoy the first part.  They are going to a party at their dentists’s house.  The dentist’s his just earned enough credits at the local college to have graduated.  She has been taking tutorials with the narrator’s husband. (more…)

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SOUNDTRACK: FLORENCE + THE MACHINE-Tiny Desk Concert #795 (October 16, 2018).

Florence + the Machine has slowly won me over.  When I first heard their (her) songs, I wasn’t impressed.  I felt there was something missing.

I don’t know if I changed my mind on those early songs, or if she did something more in her layering but I suddenly found her songs intense and really powerful.

Florence Welch and her band play three songs at the Tiny Desk.  I have so much grown to love the full production that I wasn’t sure I would enjoy it as much when stripped down.  For the Tiny Desk it’s just her on vocals, with a guitars a synth an d a harp!  And man her voice has just become a force unto itself–she could sing a capella and it would be great.  But the backing vocals add an amazing and unexpected punch.

She starts the show with the lovely “June.”  It begins with her voice and some harp notes.

Florence performed with her eyes closed.  Within seconds of hearing her first note, the raw power of her un-amplified voice was chilling.

Then the guitar joins in and the lovely “oh ooh, oh ooh, woah” fill in the gaps perfectly.  Even something as simple as Florence’s hand clap add an interesting percussive element to the climax of the song.

It’s impossible to talk about Florence without her backing band. Tom Monger adds exquisite ethereal textures to the songs with his stunning mastery of the pedal harp. Hazel Mill’s backing vocals and anthemic power chords on the keys accentuate the poignancy of the lyrics at just the right moments. And Robert Ackroyd’s rhythmic, steady acoustic guitar drives the music forward.

The second song “Patricia” builds slowly over its time.  The harp plays a kind of haunting melody that is accentuated by two almost sinister deep notes.  The song feels like it’s heading to an end after about three minutes, but that’s just the middle section.  After a big smile, the hand claps continue as the song grows louder and louder as they sing “it’s such a wonderful thing to love.”

The intensity of the musicality is almost secondary to the message in her lyrics. Ear-worm melodies coupled with repetitive phrases create universal, awe-inspiring anthems.

Her nervousness was palpable and stood in stark contrast to her fully produced stage show. “I’m sorry I’m shy,” Florence Welch told the crowd of NPR family and friends gathered for her Tiny Desk performance. “If this was a big gig, I’d probably be climbing all over here and running around.”

The final song is the one that won me over, “Ship to Wreck.”  She reveals her humorous side when she says, “We haven’t practiced this.  It could be terrible.  Especially for you.”

I love the hugeness of the recorded version of the song.  This version replaces some of the power with more interesting subtleties in the harmonies and the lovely melodies.  It’s a striking version of the song.

[READ: November 28, 2018] “A Diamond to Cut New York”

The December 3, 2018 issue of the New Yorker was an archival issue, meaning that every story was taken from an earlier issue.  The range is something like 1975-2006, which is odd since the New Yorker dates back so much longer.  Although the fiction pieces are at least from the 1940s and 1950s.

This particular piece is a collection of vignettes from Dawn Powell’s diaries which range from 1933 to 1963 (she died in 1965).

I have wanted to read Dawn Powell for years and yet I keep finding other books that jump in front of me first.  As I read this I wondered if maybe Powell isn’t for me, as I really didn’t know what in the world she was talking about for many of these entries.  but there were many glimmers of the wit that Powell is known for poking through.

There’s also the problem of context.  I have virtually none for most of these entries, so even if there are clever comments, I probably have no idea. (more…)

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febSOUNDTRACK: D.R.A.M.-Tiny Desk Concert #596(February 1, 2017).

dramI had never heard of D.R.A.M. before (even though apparently his song b”Broccoli” has sold 4 million records).  So I was quite surprised to see the start of this blurb:

We all love a good redemption story: We’re front and center to watch our heroes get knocked down, and then we cheer for them to triumphantly rebound. What we’re witnessing with Shelly Massenburg-Smith — a.k.a. D.R.A.M. — is the culmination of a story marked by resilience and stubborn strength.

Making a hit record in the music industry is extremely difficult, and in 2015, D.R.A.M.’s debut single “Cha Cha” was on the brink of exploding. It was getting played in clubs across the country and bubbling on the charts…. Then Drake’s “Hotline Bling” happened. The reports are conflicting as to the inspiration for the record, but there are glaring similarities in the sound of each. “Hotline Bling” was even originally billed as the “Cha Cha” remix by Beats 1, where the song made its debut. Needless to say, “Hotline Bling” practically swallowed “Cha Cha,” but D.R.A.M. didn’t whine about it. He went back to the drawing board, crafting another smash. “Broccoli” became one of 2016’s biggest hits while setting up the release of his debut album, Big Baby D.R.A.M.

We recently invited D.R.A.M. to NPR to lend us his jovial spirit and brighten our workday; after all, his primary aim is to spread love through music. He was jarred by the Tiny Desk setting for a moment before the cameras started rolling. He’s accustomed to touching every corner of the stage, but like a pro, he walked to the desk, activated his signature smile and bounced through various highlights from his catalog. D.R.A.M., whose name stands for Does Real Ass Music, wrote his first selection, “Cash Machine,” right after he’d received his first big music check.

The crowd beamed more with each performance, leading up to a climactic rendition of “Broccoli.” The energy is all fun and games, but his talent is no joke:”Broccoli” is nominated for a Grammy this year, right alongside “Hotline Bling.” A victory would provide a fitting end to this chapter of D.R.A.M.’s career, but regardless of the outcome, he’s already victorious: Far removed from the “Hotline Bling” shadow, he’s already creating bigger songs and more memorable moments, like this one at the Tiny Desk.

His band consists of D.R.A.M. (vocals); Rogét Chahayed (keys); Taylor Dexter (drums); Wesley Singerman (guitar).  And the video begins with him walking through the crowd toward the Tiny Desk.  Unlike most artists, he plays a whopping five songs!  And while he is, indeed, full of smiles and joy, i couldn’t help but think that he was almost a goof.  He practically seemed like a Saturday Night Live spoof of a rapper.

“Cash Machine” has lyrics like “I love it when you talk to me / my cash machine” and it is seriously all about how happy he was to get a lot of money.  It’s almost naive (except for all of the cursing).  He says that he hopes all the ladies like his second song because it was written for them.  And once again, the lyrics are so strangely innocent and almost naive.  The lyrics of “Cute” are “I saw you on your Instagram and I think you’re cute….  Girl we need to go out on a date / We can really do a little something / If it’s cool I’ll pick you up at 8.”  And the music is sweet and dreamy too.

He says that he’s from Hampton, Virginia, which explains “Sweet VA Breeze.”  He says it’s a song about when things were “a little more simpler.”  He raps about “sitting in the treehouse” with the rather puzzling bridge of “Real love, feel love, taste love, smoke love.”

The next song actually appears on Chane the Rapper’s record Coloring Book.  He introduces “Special” by saying that it’s “nice to put a little motivational message out there in the world.  There’s a lot of fucked up shit going on… if we’re gonna be frank.”  He’s got a nice singing voice on this one.  It’s a rather sweet ballad, with the nice sentiment: “Everyone is special / This I know is true.”

And finally we get to the big hit that I’d never heard. It is such a strange song and the delivery here is even stranger.  He sings the opening lines in an over-the-top delicate almost operatic falsetto.

In the middle of the party, bitch get off me
In the cut I’m rollin’ up my broccoli
Ya I know your baby mama fond of me
All she want to do is smoke that broccoli
Whispered in my ear she trying to leave with me
Said that I can get that pussy easily
Said that I can hit that shit so greasily
I’m a dirty dog, I did it sleazily

The room is cracking up by this time.

And more lyrics:

Couple summers later I got paper
I acquired taste for salmon on a bagel
With the capers on a square plate
At the restaurant with the why you got to stare face
To know I either ball or I record over the snare and bass
Rapper face, dread headed
Golden diamond teeth wearin’
They just mad cause I got that cheese, bitch, I keep dairy

The original song (I had to check it out) has this keyboard that sounds like a penny whistle–so childish and goofy. But I love the big throbbing bass line that comes after every line–almost unexpectedly late.

He’s surprisingly vulgar, but he’s so goofy that it’s hard not to like him.

[READ: January 14, 2017] “JB & FD”

When Wideman wrote this story I’m sure he had no idea that Frederick Douglass would be exhumed into public consciousness because Trump is an idiot.

“Frederick Douglass is an example of someone who’s done an amazing job and is being recognized more and more, I noticed,” he said.  “Harriet Tubman, Rosa Parks and millions more black Americans who made America what it is today,” he continued. “Big impact.”

I miss Barack Obama for dozens of reasons, but this guy’s mangling of English is certainly a big reason.

Wideman does not mangle English, of course.  And yet I haven’t really enjoyed the stories I’ve read by him.  And this one proved to be even more challenging for me than his others.

The JB is John Brown.  The FD is Frederick Douglass.  And the problem is that I don’t know enough about either one.  Heck, I wasn’t even sure if they lived at the same time (I have since looked it up–they lived at the same time and admired each other).  But even with that background, this piece is just confusing.

It is broken down into several short numbered sections.

(1) is all about Douglass finding his glasses and having dread.
(2) begins as a letter to Douglass, with the comment that Douglass remembers no beard, not wearing one himself nor a beard on Brown’s gaunt face (but every picture of Douglas has him with a beard).
(3) sees Douglas watch himself step to a podium to discuss “The Woman Question” and then goes home and drops dead [this is historically accurate].
(4) is written from the I point of view, apparently written about John Brown and his upbringing.
(5) is in the first person from John Brown’s POV (I had to look up who had the sons with which names).  I believe it is a letter to Douglass.
(6) contains a letter written by Mahala Doyle and given to John Brown as she awaited execution.
(7) is of Brown’s trip to Kansas and his time in prison.
(8) has three parts. In 1856, a note from Mrs Thomas Russell.  In 1858 John Brown molts (“His feathers shed. A change of color”). In 1859, a letter to Brown (presumably from Douglass).
(9) My name is John Brown and I want my son to hear the story of my name.  In this section someone is dictating to “this good white lady” who is writing every word down to send to his son in Detroit.  And the entire thing is written in dialect.

Beyond that, I’m not sure if this was meant to be a historically accurate portrayal, an imagination of these two minds meeting or something else entirely.  I read it twice and never really “got it.”

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 doubledownSOUNDTRACK: JAKE SCHEPPS’ EXPEDITION QUARTET-Tiny Desk Concert #187 (January 19, 2012).

jakeJake Schepps’ Expedition Quartet is a somewhat unusual string quartet in that the instruments are violin and upright bass (normal) but also guitar and banjo.  And so the songs have a classical feel–melodies repeated in a fugue style, but with the prominence of the banjo, it feels more like a folk song.  The violin takes on a kind of fiddle sound.  And that’s interesting enough, but it’s the story of the music that they are playing which makes it even more fascinating:

About 100 years ago, Béla Bartók was traipsing through his native Hungary (Romania and Slovakia, too) with a bulky Edison phonograph, documenting folk songs and dances. There’s a priceless photo of the young composer, his contraption perched on an outside windowsill with a woman singing into the horn while anxious villagers stare at the camera. By 1918, Bartók had amassed almost 9,000 folk tunes. He made transcriptions of some; others he arranged for piano, while elements of still others found their way into his orchestra pieces and chamber music.

This was the country music of Eastern Europe, and its off-kilter rhythms and pungent melodies continue to captivate music lovers and musicians like Colorado-based banjo player Jake Schepps, who has recorded an entire album of Bartok’s folk-inspired music.

For this concert, with fellow members of Expedition Quartet — violinist Enion Pelta-Tiller, guitarist Grant Gordy and bass player Ian Hutchison, they played a Bartók hoe-down of sorts.

They play three pieces:

“Romanian Folk Dances: ‘Stick Game'”  Bartók (arr. Flinner).  This is a quieter piece with moments of bounce.  Indeed, Schepps doesn’t feel like the leader of this group because everyone shares the spotlight.  The guitar takes a lengthy solo–its got a very jazzy feel (which is a little weird on an acoustic guitar).  The violin takes a pizzicato solo, which is neat.  When Schepps finally does do a solo it’s not a showoffy banjo solo, it just fits in well with what everyone else is playing.

“For Children (Hungarian Folk Tunes): ‘Stars, Stars Brightly Shine'” Bartók (arr. Schepps).  This is a slower tune and it is much shorter as well—it doesn’t really lend itself to soloing.  Although the violin takes on the lead melody and it sounds mournful and beautiful.

“Mikrokosmos No. 78 / ‘Cousin Sally Brown'” Bartók / traditional (arr. Schepps).  Before this track, when someone tells Schepps that No 78 is his favorite of the Mikrokosmos, he says that he prefers 79.  The bassist says that 79 has gotten too commercial.  The end of the song has a tag of “Cousin Sally” a rollicking traditional dance number.  The four seems to play somewhat at odds with each other briefly and when they all rejoin for the end—it’s pretty great.

[READ: December 27, 2016] Diary of a Wimpy Kid: Double Down

I keep expecting the quality of the jokes in the Wimpy Kid books to decline.  But rather, this book was not only hilarious, but it worked really well as a book, too.

What I mean is that, I know that the Wimpy Kid series is online and that Kinney does a new story every day (or at least he did , I don’t know if he still does).  These books had always been taken from the online site (and I assume they still are).  But somehow, this book has jokes that circle back to jokes earlier in the book.  There’s at least a half a dozen callbacks which makes this book more than just a collection of diary entries…it’s a perfectly contained unit with a satisfying ending.

(more…)

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onfgoingSOUNDTRACK: MUCCA PAZZA-Tiny Desk Concert #419 (February 10, 2015).

Evmucca2en though I said that the Dan Deacon Tiny Desk was the most fun to watch, it is a close tie with this one from Mucca Pazza.  Mucca Pazza are a 23 piece band comprised of a huge horn section, violins, guitars, percussion, an accordion and even cheerleaders.  The group dress like a marching band (but everyone with a different colored (often ill-fitting) outfit).  The cheerleaders use caution tape as pompoms and do prompts between songs.  They tip their hats when songs are done.

They have been around for ten years (and have four albums out).  For this cramped Tiny Desk, they play four instrumental tracks (23 people and no vocalist!): “Subtle Frenzy” “J’accuse” “Dirty Chompers” and “Holiday on Ice.”

The songs are fast and fun and while there is an obvious marching band feel, they aren’t really marching band songs.  The electric guitar and strings tends to undermine the machine band tendencies (even if the xylophone adds it back).   Indeed, the electric guitars add a cool and sometimes disconcerting sound, like the guitar solo on “J’accuse” which is done on a teeny tiny guitar with a slide.

I love the melody of “Dirty Chompers”–such a fun song.  And “Holiday on Ice” is chock of full of the mayhem you might expect from the description of this band. The middle section slows down somewhat and sounds a little demented (in a good way) It also really highlights the different components of the group–with different horns playing different scales and the trombones keeping the main somewhat menacing riff consistent.

mucca 1So there’s a kind of Balkan Brass band element underpinning all of this–but there’s also discord and rock and psychedelia.

I don’t know if I’ve ever seen so many people having so much fun before.  Their full stage show must be a riot.

You can watch the Tiny Desk here and listen to a full show (with a video of one song) here.

[READ: April 10, 2015] Ongoingness.

This book was excepted in Harper’s in December. I read the excerpt just a few weeks ago.  And then when I saw someone request it at work I found our copy and, since the book was short, decided to read it at lunch before sending it off to the requester (such power I wield!).

In my post about the excerpt, I said that I couldn’t imagine how there could be much more than the excerpt and that I wouldn’t want to read a lot more of the book.  Well, it turns out that the book itself is a brief 96 pages and the bulk of those pages are only a few lines.  So a rough count would suggest about 36 pages altogether–an easy to read at lunch request.  And that’s good, because if this book were 400 pages it would be either obnoxious or really tedious.

But at this length, it’s an interesting and enjoyable look at memory and life and how much we should be concerned about remembering. (more…)

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dec2014SOUNDTRACK: AURELIO-Tiny Desk Concert #424 (March 7, 2015).

aurelioAurelio is from West Africa.  He plays a nylon stringed guitar (finger picking and chords) and is accompanied by traditional Garifuna musicians and an electric guitar.  The Tiny Desk blurb says he “weaves together intricate layers of acoustic guitar to capture the polyrhythms of West African and the Caribbean.”

He sings in what I assume is Garifuna.  He is not young and his voice sounds like it.  From his chat, I believe he may also have been mayor once.

They play three songs: “Lándini,” “Funa Tugudirugu,” and “Nari Golu”  The guitar solos are (surprisingly to me) provided by the electric guitar while the acoustic keeps the rhythms.  The maracas and drum (box) keep the beat.  This is my introduction Garifuna music, which doesn’t sound too different from any other music (except the vocals of course).

[READ: March 22, 2015] “Keeping Time”

I’ve read somethings from Manguso before, in particular her McSweeney’s book of flash fiction.

This is an excerpt from a book called Ongoingness: The End of a Diary.  At first I found the entry a little annoying.  “I started keeping a diary twenty-five years ago.  It’s 800,000 words long.”  Manguso basically got into a frame of mind where she felt like she had to record everything–the perpetual loop of recording things as they happen and then recording how you feel about when you are recording them.

She says “I couldn’t face the end of a day without a record of everything that had ever happened.”  The fact that this was 25 years ago certainly predates the live bloggers and the daily diarists who tape everything. And it is interesting to see that her rather unhealthy obsession has been around longer than the technology allowed for it.

Manguso says she didn’t want to miss anything and by writing it down it was proof that she hadn’t.  She says that “the trouble was that there was so much I failed to record.” (more…)

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