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dfwreadSOUNDTRACK: CHRISTIAN SCOTT aTUNDE ADJUAH-Tiny Desk Concert #477 (October 9, 2015).

aacsChristian Scott aTunde Adjuah and his septet play what he calls stretch music: “the particular type of jazz fusion he’s up to: something more seamless than a simple collision of genre signifiers.”

They note that even his appearance stretches traditional jazz: “You may note that he showed up in a Joy Division sleeveless T-shirt and gold chain.” It’s sleek and clearly modern, awash in guitar riffs, but also bold and emotionally naked.

Christian Scott aTunde Adjuah (not sure how to abbreviate that) is a trumpeter and he can hit some loud powerful and long –held notes.   It’s funny that when he bends over the trumpet grows quieter—those ic really are direction-based.

For the first song “TWIN” he does some impressive soloing over a simple and cool beat—piano and delicate guitar riffs (there’s also an upright bass and drummer).   After his lengthy solo there’s a flute solo that also works perfectly (if less dramatically) with the background music.  (Christian plays tambourine during her solo).  He says that this song is about being a twin.  His brother, Kyle Scott is a film director and for whom Christians scores the music.  Christian also explains that he comes from an African-American and Native-American background and that this song has rhythms as a sort of history of his family that touches on Mali, Senegal Gambia and The Ivory Coast and makes its way to the Caribbean, Cuba and into New Orleans.

He’s pleased to play the Tiny Desk Concert for an audience that appreciates “Music that has nutritional value.”

For the second song, “West of the West” he brings on a young alto-saxophonist who plays with his drummer in a different band. The song opens with a rocking electric guitar solo and then the jazzy band kicks in behind it.  The instrumental features a couple of solos by the saxophonist, the pianist and the bassist.

“K.K.P.D.” is a dramatic song for which he gives a lengthy back story.  Many years ago in his home of New Orleans, he was stopped by New Orleans police late at night for no reason other than to harass and intimidate him.  he was coming back from a gig.  He resisted and was in a serious situation and was seriously threatened—the story is long and very affecting, especially given how articulate (I know, terrible word, but true) and calm he is about retelling this horrifying story.  His pride almost made him do something ill-advised, but instead he channeled that pent-up frustration into a piece of music whose long-form title is “Ku Klux Police Department.”

He adds that we see things on TV about inner cities or the ninth ward and we believe them to be true.  Like that the neighborhood is happy that the police are clearing out the youth there.  We begin to think that the narrative is true, although the people who live there can tell you otherwise.  Despite the title and the origin, the is song is designed to reach a consensus to move forward –not to build derision or hate.  He says that we have to start working on that now, because if it doesn’t start now then our children will continue to inherit this situation.

It opens with a noisy guitar wash and fast drums.  It’s quite noisy and chaotic although it resolves very nicely into an almost sweet piano-based song with slow horns.  The middle of the song ramps up with some intense soloing from Christian.  I love how that segues into a very different section with an electronic drum and delicate piano.  Chritsian’s next solo is much more optimistic.  The final section is just wonderfully catchy.

When he introduces the band, he points out just how young some of his newest members are: Drummer Corey Fonville (another new member) used a djembe as a bass drum, and also brought a MIDI pad so he could emulate the sound of a drum machine; Lawrence Fields, piano; Kris Funn, bass; Dominic Minix , guitar (21 years old); Braxton Cook, saxophone (24 years-old) and Elena Pinderhughes, flute: 20 years old!

I don’t listen to a ton of jazz, but I really liked this Tiny Desk Concert a lot.

[READ: July-October 2016] The David Foster Wallace Reader

I’ve had this book since Sarah bought it for me for Christmas in 2014.  I haven’t been in a huge hurry to read it because I have read almost everything in it already.  And some of that I have even read recently.  But this summer I decided to read some of my bigger books, so this was a good time as any.

One of the fascinating things about reading this book is the excerpting in the fiction section.  I have never really read excerpts from DFWs longer books before.  And once you decontextualize the parts, you can really appreciate them for themselves rather than as a means to the end of the story.  This is especially true of the excerpts from Broom of the System and Infinite Jest.  But also just reading some of these sections as a short story makes for an interesting experience.

It was also very interesting to read the non-fiction all together like that.  These pieces come from difference anthologies, but they have thematic similarities  So, placing them together like that allows for really comparing the stories.

And of course, the selling point for most DFW fans is the teaching materials in the center of the book–an opportunity to look into the man’s mind at work shaping younger minds.

I have written about virtually everything in this book already (title links refer back to previous posts), so mostly these are thoughts about the pieces themselves and not a part of a whole. (more…)

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1987  SOUNDTRACK: GINA CHAVEZ-Tiny Desk Concert #472 (September 22, 2015 ).

ginaChavez’ voice is poppy but a little deep, almost muscular which I rather like. Or perhaps its just confidence, the blurb notes “the intense openness and warmth of her performances.”

“Fire Water” is primarily a capella and percussion (with interesting clicks and shakers and even a guy whispering “ahhh” ). A few bass notes enter near the end, but other wise it is a very stark song.

“Miles Da Millas” is dedicated to a fiend of a friend who died recently.  He loved Tiny Desk Concerts.  Whenever someone mentioned a new band he would say “But do they have a Tiny Desk?”  So this makes Gina feel like she’s made it  This song, a cumbia, is bilingual with the chorus in Spanish.  And her voice is just as strong if not more so in Spanish.   It’s fun when the percussionist yells and whoops and overall it’s a nice groovy song.  It’s a little weird that she hums a trumpet (quite well, admittedly) when there is an actual trumpet player in the band.  They take turns so I guess it’s kind of duet.

When introducing the final song, she says spent 8 months in El Salvador doing mission work teaching English in an all girls’ school.  Things are really bad down there, so she started a college scholarship fund called Niñas Arriba.  This song “Siete-D” is about a wild ride on the 7D bus from Soyapongo to San Salvador.  Soyapongo is the home of the MS13 gang, the place where guide books tell you not to go.

It’s a fun song (sung entirely in Spanish) with a cool “Sube! Hey! ho!” chant.  It’s a bouncy song with some great trumpet work.  There’s even a rap in Spanish

[READ: September 9, 2016] The Complete Peanuts 1987-1988

I felt like after the major highs of the last few books, this one fell into a bit of a repetitive pattern.  This is not to say there weren’t memorable moments in the book, but there were a lot of variations on a similar jokes (especially with Spike in the desert–how many different ways can you make a joke about a cactus looking like a person with his arms up?  About fifty, I guess).

But perhaps it seems like things have changed because On 1-11 1987, that heading that has been there for so long–the hand-drawn looking “Peanuts featuring Good Ol’ Charlie Brown” had been replaced by a computer-generated font that just says “Peanuts.”  It also felt like the drawings looked different somehow–thicker lines, somewhat less polished?  And in July of 1988 it seems like Snoopy looks rather different. His ears are much smaller for one thing.  That seems to go away though.  But it’s some time round here or maybe even in a previous book that Schulz started drawing circles for eyes on Snoopy from time to time–mostly to express distress or angry.  But Snoopy is meant to have dots or sixes for eyes–the circles always look weird.  And sometime they look poorly drawn, if I may say so.   Especially on October 12 1988 (he’s supposed to look aggrieved, but they still look sloppy for Schulz).

And then, a huge shock to the system!  The daily strips go from 4 panels to 3.  Three panels!  What gives?  Is it because many of his fourth panels didn’t really have a punchline so much as a commentary on the punchline?  It’s mind blowing!  After thirty some years, he is finally messing with the format! (more…)

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dino SOUNDTRACK: NATHAN SALSBURG-Tiny Desk Concert #213 (May 3, 2012).

nathanI had never heard of Nathan Salsburg until the Joan Shelley Tiny Desk Concert (posted about yesterday).  Salsburg in a fingerpicking guitarist and his accents and trills sounded wonderful in Shelley’s folk songs.  Well, this show from three years earlier has Salsburg playing two gorgeous instrumentals (which maybe explains why he didn’t sing backup with Shelley).  The blurb notes that “he’s been playing guitar for 22 years, yet he’s only played out publicly for a few months.”

Were it not for the blurb, I never would have guessed that the first song, “Affirmed” celebrates the Triple Crown-winning horse Affirmed. It has a slow easy pace (not racehorse-like at all) but it is full of lovely riffs and lines and sweet melodies.

The blurb continues, “when Salsburg picks up the guitar, what comes out is a mix of blues and ragtime, but these are 21st-century rags from an old soul with new energy.”  And that’s quite apt.

The second, song “Eight Belles Dreamt the Devil Was Dead,” tells the tragic story of Eight Belles, who in 2008’s Kentucky Derby tripped across the finish line, coming in second place, and tragically broke both her front ankles. The horse had to be euthanized on the field.”  Despite this horribly sad tale, this song is not sad, it is also pretty, measured and upbeat–a celebration rather than a dirge.

I feel like there aren’t many people making music like this anymore–delicate acoustic guitar instrumentals with complex phrasings and lengthy passages.  It’s quite beautiful, all of it.

[READ: June 1, 2016] Science Comics: Dinosaurs

The first Second non-fiction comics are some of my favorite books that they have put out.  And this new series called Science Comics proves to be just as outstanding as I could have hoped.

I started with this dinosaurs book first.  It opens with a testimonial from Leonard Finkelman a professor of philosophy at Linfield College.  He talks about how he used to draw dinosaurs as a kid and he thought he was being so outrageous because he gave them stripes!  No one knew any better back then, but now we think that many dinosaurs had all kinds of marking and some even had feathers!

Okay so my son is 11 and when he was 5 or so he went through a dinosaur phase. I thought I knew everything there was to know about them back then.  I learned the ones he liked but never really went any further in my knowledge (despite all of the books in the house).  Well, this book showed me just how dumb and ignorant I was about dinosaurs (in a really fun way). (more…)

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1985SOUNDTRACK: JOAN SHELLEY-Tiny Desk Concert #473 (September 25, 2015).

joan When I first started listening to this Tiny Desk Concert, I thought Shelley was going to be singing more of a country music style.  But more careful listening revealed an early British Folk songwriting style.  Because I’d heard Richard Thompson talking about Sandy Denny recently, I  thought of her.  So I was pleased to see that the blurb (and Shelley herself) references Sandy Denny as well.

The Concert is Joan on acoustic guitar and Nathan Salsburg (she describes him: “my band, we are Joan Shelley”) on the second guitar.  They play beautifully together.

The songs, like “Easy Now,” are really pretty with a delicate finger-picking style from Shelley and fairly complex finger-picking soloing/accents from Salsburg.  But the best thing is her voice.  Clear and powerful–no warbling or hesitation, just clear beautiful singing.

I didn’t think I knew Joan Shelley, but “Stay on These Shores” sounds incredibly familiar to me.  She says that she is from Louisville Kentucky so it doesn’t make sense to her that she would write songs about the ocean.  She attributes it to the Sandy Denny lineage.  The way she sings the first line of this song is just hauntingly beautiful.  I really love this song a lot.

In “Not Over By Half” it is almost uncanny how much she sounds like a 1960s British folksinger.  Her delivery and phrasings are just amazing.  This is another beautiful song, all three of which came from her album Over and Even.

Shelley is an amazing force in folk music.

[READ: August 31, 2016] The Complete Peanuts 1985-1986

Schulz had been writing Peanuts for about 35 years when these strips came out.  Wow. It’s interesting to see how many themes have stuck around and how many have gone away or come back and been updated. I also love seeing the few pop culture references that he deigns to throw into his strips–things that he assumed would be eternal, I guess, or maybe things so ubiquitous he had to mention them?

Snoopy’s brother Spike is on the cover of this book.  I am somewhat surprised at how much attention he gets (especially since I don’t remember him at all).  The problem is that almost all of his jokes are about cactus.  I feel like Schulz was going for a loneliness angle, but it all seems to involved cactus “arms” or thorns.

The year starts off great for Patty because she won an essay contest on what she did during her Christmas vacation (she got a D- on the paper in school, however).  She even gets to read it out loud (where things don’t go so well).  Of course, she continues to get D miuses and in July 1986 she even get a tutor. He is quite snarky with her and she calls him Joe Sarcasm.  (There have been dozens of Joe ____ characters, although almost all of them have been aliases of Snoopy, this is one of the few for someone else).  Then she calls him Captain Tutor.  He shouts that his name is Maynard.  So Patty calls up Marcie to say she should meet him–he’s just her type…weird.  It turns out that Maynard is Marcie’s cousin (ha). Eventually Patty just throws him out.

For Valentine’s Day in 1985, Charlie has Snoopy pretend to be the little red-haired girl and Snoopy puts on a curly wig–is that the first insight into the girl’s appearance?  That week people are all hit by lost love.  It seems like an unusual and very specific emotion for Schulz to deal with–something he never really talked about before.  He’s certainly talked about lost loves, but never so directly.

Marcie continues to be one of my favorite characters.  Especially the way she picks on Patty.  Patty is still falling asleep in school all the time.  In Feb 1985, Marcie puts a binder on the back of her head, walks her up in front of the class and then shows off a “full-scale model of the human head” to the class.  Genius.  Patty doesn’t even wake up.

Linus decides that building a rock wall is good therapy.  It is suggested that he can do this instead of needing his blanket.  But let’s not go crazy.  Later, Linus tries to do his own laundry and Lucy catches him trying to stuff his shirt into the laundry detergent bottom

Every once in a while there’s a really wordy strip that I find very funny.  In March of 1985, Charlie is telling Sally a story from his grandpa about WII: “all the enlisted men were issued two pairs of shoes, but a lot of them men wore only one pairs so they could keep the other pair shined and looking nice under their bunks.  Battalion headquarters decided that the men should alternate shoes each day and to make to sure they did, the men had to lace their shoes on a certain way.  One day they had to wear the shoes which had the laces crossed and the next day they to wear the shoes which had the laces going straight across.”  Sally sensibly asks,. “How did they ever win the war?”

Sally is always asking her big brother for homework help, which he tends to refuse.  In March she says if he helps, he’ll get her everlasting gratitude.  When he doubts she knows what that mean she says “’til I ask you again.”

Sally has also been doing a lot of handwriting practice over the last few years.  Mostly it’s different pieces of punctuation (with funny comments about them).  In May 1985 she works on commas and possessives and quotation marks.  After telling Charlie all about it she says “stay tuned for the inside story of what goes on in the glamorous world of punctuation.”

And in some wonderful Sally mistakes that make me laugh: “behind the barn the farmer had a pastor” or “the walls were covered with naughty pine.”  For this one, she looks at Charlie and says “You looked like you were going to say something” and he wisely says, “not for anything in the world.”

In the realm of deliberate puns, Snoopy tells Woodstock to get a  job in a tree “you could be a branch manager.”  Sigh.

Pop culture: in May 1985 it is revealed that Woodstock has a satellite dish.  In August 1985 Patty reveals that she and Marcie are “mallies” :  They go to the mall to hang out.  But Patty is distraught that Marcie actually buys something there.  They even meet “a punker” which is snoopy with a kind of mohawk.  In October 1985, Sally does a presentation on Halley’s Comet saying that the next time it comes by will be in 2062–we’ll all be 80 years old when that happens.  [It passed by us in Feb 1986].  In May of 1986, Lucy starts a “swimsuit issue” campaign for the school paper.  She gets all the boys to wear swimsuits.  And in June 1986 Charlie’s desk comes equipped with an airbag.

In August of 1986, Linus asks Snoopy (the attorney) is he thinks cameras should be allowed in the courtroom.

August 1986 has Sally saying “I’ve decided to embark on a program of serious discipline. I’m going to eat properly, sleep properly and exercise properly.”  Charlie asks, “Then what?”  She replies, “You’re right, forget it.”

April 1985 sees an Easter Beagle strip (not as many of these as you might think).

There’s always baseball, and in April 1985 Charles mentions the new commissioner of baseball Peter Uberrroth (he took over in 1984).

There’s a lot fewer hockey references these days although Rerun is riding on his mother’s bike with a helmet and says people confuse him with Wayne Gretzky.  A few months later in March 1986 he has a Baby on Bike sticker on his helmet (That was a huge fad in 1985).

There’s not that much about football this year, although Sally wants to know why the guy is always holding up John 3:16 and then says she assumed it had something to do with John Madden.

There’s some tennis but not as much.  In March 1986 Molly Volley returns for a brief run with Snoopy.

Schulz must have been displeased about technological advances: Charlie tells Sally “if we watch TV all the time, we won’t have to learn to read.  if we use word processors and calculators we wont have to learn to write or do math.  Pretty soon we wont have to know anything.”  Sally replies “That’s when I’ll fit in.”

On the environmental front, in November Sally does a paper that she ends with “This report was written on recycled paper… no trees were destroyed to make this report.”

Summer camp in June of 1985 is all rain all the time. The only thing worse than all the rain is the prospect of a sing-along.  Ha  In 1986, the kids go to a survival camp which is pretty funny: “there are people out there who want to destroy our way of life.”

In August of 1985 Charlie and Sally are told that they are going to start taking the bus to school.  I love the way the joke plays out that they decide to walk instead, but the computer says they are on the bus, so they get in trouble.

Last book, Patty an Marcie went to a lot of Tiny Tots concert (Patty hates being called that). They always see Peter and the Wolf.  I wish that my kids went to Tiny Tots concerts.  But anyhow, in June 1985, Patty saves her ticket stub in hopes they will have raffle at the end–maybe she’ll win a violin.  Later in August 1986, Patty shows off her musical knowledge by asking why it is called Mostly Mozart, why not “Regularly Rachmaninoff, Principally Prokofiev, Frequently Franck, Largely Lehar, Chiefly Tchaikovsky [my favorite joke],  Mainly Mussorgsky, Essentially Elgar, Supremely Schubert or Generally Gershwin”.

Every once in a while Charlie gets a small victory.  Like when Linus tells him that he knows Charlie would like to cry but that he’s too macho.   Charlie gets excited “I am?!”

There’s few jokes of Woodstock getting attacked by a can of worms.  And even though i like Woodstock as a character a lot, for some reason, it’s always funny seeing him getting beaten up.

The World War I flying Ace continues to appear.  In a new twist he often speaks to Marcie in French.  Although in 1985, instead of the ace, he pretends to be Charles Lindbergh, the “Lone Beagle.”

Lucy continues to be a voice for women’s rights.  When Snoopy is flying over No Mans Land she asks what about No Woman’s Land.  So he changes it to “No Person’s Land.”

In February of 1986 Sally believes that the LL on the elevator button in the library stands for Louis L’Amour “that’s pretty neat having your initials on an elevator button.”

Schulz also taught me something new.  A ganglion cyst is also called a bible bump.  It is a cyst that forms on your wrists and they say you should hit it with a bible.  I’d never heard of this, but apparently it is a thing and quite common.  Of course Schulz uses it as an excuse to make a joke about the different translations of the Bible.

In another funny sequence, Snoopy and his scouts get a cannon.  And they fire it!  But it destroys not only his dog house but also Lucy’s doctor booth and even Schroeder’s piano (over the course of several strips).

In May of 1986 they elect a May Queen.  In Charlie’s school, Lucy is elected (which makes Patty say that the school has low standards).  In Patty’s school… Patty is elected!

Sally gets a great joke in.  A speed limit sign says 25 When Children are Present.  She says, “I never realized we had so much influence.”

And the best one liner of all: Sally has to go to the dentist “I have to go have my teeth criticized.”

Two new characters arrive in 1986.  One is a girl who is unnamed.  The joke with her is that Linus is two months older than her but she keeps referring to him as if he is an old man.

And in September 1986 we meet Tapioca Pudding.  Her dad is in licensing and she always talks about how her face is going to be everywhere.  Every time she talks to someone she introduces herself by her full name and everyone says “I know.”  Linus asks her out on a date (which makes Sally really jealous), but all she can talk about it herself and her licensing.  She asks Linus if she is boring him “No I always like to rest my face in a marshmallow sundae.”  Finally Snoopy the agent gets her a gig appearing at the Opening Ceremonies in the Olympic Game in L.A. (which were two years earlier).

In October 1986, Sally develops a new philosophy “Who Cares.”  From now on nothing bothers me.

When Patty wants to organize a football team, Marcie says the costumes aren’t feminine enough.  Then she wraps the football in a bow.  Patty gets mad and says she won’t kick a ball that’s wrapped in a bow, but Marcie says “The Icebox would”  Patty: “Refrigerator” Marcie: “Whatever.”

Lucy didn’t pull the ball away in 1985 (there was no mention of it).  But she does in 1986 with the excuse that it is a special moment to look forward to every year.  Then she pulls it away and sighs “it’s over before you know it.”  There’ also a Great Pumpkin joke in 1986.  Patty says she believes him about the Great Pumpkin.  And then jokes that “On Secretary’s Day the Great Secretary rises from her desk and rides through the city in a taxicab with notepads for all the secretaries everywhere.  And on Grandparents Day the Great Grandmother rises out of her condominium with cookies for all the grandchildren in the world.”

As 1986 draws to a close, Charlie gets up the nerve to wink at the red-haired girl. There is no reaction because she wasn’t in school that day.

And the musical jokes continue in December 19896 with Patty saying the enjoyed the concert because Marcie spent the whole time “Flauting with the flirtist.”

Patton Oswalt wrote the introduction.

He mentions how he bought the third Calvin and Hobbes treasury in 1988 and Schulz wrote the introduction to that.  Schulz’ introduction was full of praise for Watterson’s technical skill and all the wonderful details he put s into his strips.

Oswalt talks about how over the 35 years the strip went from kids writing with desktop inkwells and now he’s talking about answering machines.   Oswalt is dismayed that Schulz had to include an attorney as an imaginary Snoopy character–a sad reflection on our world

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19893 SOUNDTRACK: TEDDY ABRAMS-Tiny Desk Concert #491 (November 30, 2015).

teddyTeddy Abrams is a young piano player (he was 28 in 2015) and he was recently made conductor of the Louisville Orchestra.  Here’s some fun details from the Tiny Desk blurb:

For his first week on the job in Louisville, Abrams played jazz piano in the streets and took his orchestra players into nightclubs and African-American churches. PBS made a web series on his first season.  Earlier this year, he put two first symphonies on the same program — Brahms’ First and a debut symphony by Sebastian Chang, a composer still in his 20s — just to gauge audience reaction. Abrams filled the hall by giving out free tickets to first-time symphonygoers. He was happy to hear that many of them liked the new piece best, saying they appreciated hearing the composer introduce it onstage.

Abrams plays three pieces.  Two originals and one from Beethoven.  The first, “Big Band,” [from the blurb: swirls with jazz history. Hints of Thelonious Monk fly by, along with tips of the hat to the stride style from the early 20th century] is a fun and fast piece with Abrams playing fun and bouncy rhythms and very fast solo runs.  It’s infectious.

Abrams decided to begin the opening movement of Beethoven: Sonata No. 30 in E, Op. 109, I. Vivace, ma non troppo with a short improvisation, noting that the great composer was known for riffing at the piano for hours on end and was often getting into improvisation battles.  At he end, he says that we shouldn’t have been able to tell where the improv ended and the song properly began (although fans of the song could probably tell).  By the end of his life Beethoven was experimenting and some of his later stuff is pretty out there and modern.  That may be true if you know classical music, but it just sounded pretty to me.

He ends the set with a bluesy number, “The Long Goodbye,” [from the blurb: describing it as a slow ballad halfway between “My Funny Valentine” and “Somewhere Over the Rainbow”].  It is indeed a wonderful conglomeration of jazzy melodies.  A lovely and fun piece that is familiar but new at the same time.

[READ: July 26, 2016] The Complete Peanuts 1983-1984

As 1983 opens, Schroeder finally goes on the attack against Lucy “I have resolved not to be so serious..I’m going to try to laugh more” and then he pulls the piano out from under her and laughs like crazy.

For the past few books there have been a lot of jokes with Schroeder’s musical staves like Snoopy crawling through them.  Most have invoked Woodstock interacting with them.  As Schulz tends to do he will go on tears were he makes similar jokes every day for a week and then drops the joke for a while.  There’s also been some strips with Woodstock singing .  In one of my favorite, he is singing and the rain comes and actually washes the notes away from the stave. Even funnier is in Nov 1984 whee the rain comes and makes the notes droop really low.

For Valentine’s Day this year, Linus did not send Sally a card and she is very upset. Charlie says he should punch Linus in the nose.  But he says instead that Linus should just walk into his fist.  Charlie holds out his fist but Lucy walks into it instead.  That’s pretty funny.

More abuse for Lucy comes from Linus.  he gets a small bit of revenge by using Snoopy as a strange catapult and launching a snowball at her.

In the summer of 1983 while Snoopy is on a hike with the troops, the birds Bill and Harriet run off and get married and they stay in Point Lobos. (more…)

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1981 SOUNDTRACK: SON LITTLE-Tiny Desk Concert #496 (December 18, 2015).

sonlittleI know of Son Little, although only vaguely.  WXPN has played his song “The River” quite a lot, although I don’t think I’ve heard anything else.

For this Tiny Desk Concert, he’s really stripped down–just his acoustic guitar, a percussionist (Jabari Exum playing a djembe with accoutrements) and a backing vocalist, his sister Megan Livingston.  His playing is even pretty stripped down–his chords are minimal, almost more like accents for most of the songs (although he does play louder from time to time).

As such, this really celebrates his voice which is strong and almost gospel-like.

He plays three songs. “Lay Down,” is a quiet soulful song with perfectly spare accompaniment.  When it ends, everyone seems adorably shy with Little saying, “just mildly awkward enough.”

“Your Love Will Blow Me Away When My Heart Aches” is a bit bigger–Little sings a bit louder and plays louder chords, but it is still quite minimal.

He ends with “The River” which is certainly stripped down from the radio version.  It opens with some claps and he encourages everyone to clap along although “If you’re like clap challenged then maybe… don’t–you know who you are.”  The song has that bluesy rock feel even in this understated form.  And while I like the original better, this is a great version–that quiet clapping and percussion is really nice.

[READ: July 26, 2016] The Complete Peanuts 1981-1982

So far the 1980s see Schulz settling into a few consistent themes in his strips–regular motifs that he mines over and over again.  Although it’s interesting to see how they have morphed over the decades.

Patty is constantly falling asleep in school (and getting D minuses), Snoopy continues to write funny/bad jokes and gets rejection letters about his books (this is usually pretty funny but it’s also surprising as Snoopy is usually the “successful” one); Snoopy also plays a lawyer a lot in these strips.

1981 begins where 1980 left off with Patty loving the story of Hans Brinker.  1981 also has a lengthy section about Valentines Day (a subject that gets more emphasis in some years than others), although this year Sally is the major protagonist (and her Sweet Babboo her object).  1982 also has a Valentine’s Day with Sally–she gets her hand stuck in the Valentine’s Day cards box.

Schulz used to do bible instruction which is why he quotes it so much.  And he occasionally peppers his strips with religious commentary.  There’s a joke about school prayer–Patty has to go up to the board and when her teacher falls ill she shouts “school prayer works, Marcie.”  There’s an amusing joke that Snoopy used to teach Sunday School at the Daisy Hill Puppy Farm.

Although the running jokes are funny, I love when he gets a new idea.  Like the a fun twist on the dog ate my homework joke when Snoopy as the WWI pilot steals Sally’s homework claiming it is the enemy’s secret papers and he eats them.

Sometimes Schulz gives a one-off joke that’s just silly and funny like when Woodstock “poofs” a dandelion and it “poofs” him back. (more…)

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1979SOUNDTRACK: HAPPYNESS-Tiny Desk Concert #468 (September 4, 2015).

happynessHappyness are a trio from London: Benji Compston (guitar), Jonny Allan (bass) and Ash Cooper Drums).  They play mellow Britpop with rather clever lyrics.

The first song “Montreal Rock Band Somewhere” opens with a steady bass line and smatterings of guitar chords.  And when the guys  sing, Benji sings into a normal mic in a kind of deep whisper and the Jonny sings into a processed mic to make his voice sound kind of tinny (in harmony).  And the lyrics are great.  I like when the second chorus comes in and the processed vocals go up an octave for a really cool harmony effect.  And I mentioned the lyrics.  Here’s an interesting verse:

I’m wearing Win Butler’s hair / There’s a scalpless singer of a Montreal rock band somewhere / And he’s all right

Before the second song starts, they have a bit of fun while Benji tunes his guitar.  Everyone is standing around awkwardly and Benji tells Jonny to tell his whale joke.  Jonny says no and that it’s not his whale joke he took it off the internet and would like to put it back.

For the second song, “It’s On You” the guys switch places (it  was suave, kind of Bob Fosse-ish).  Benji sings into the processed microphone. The song also has some busy basslines but the guitar is more pronounced.  Hearing him sing in that processed tinny voice is really interesting.  More interesting lyrics: “You said I’m an anarchist, communist, feminist phlebotomist.”

Before the final song, they switch places again.  Benji says he’s “not the most flexible boy in this collection of people.”  “Who is?”  “Definitely [the bassist].”  Bob asks, “Who tells the best jokes?”  “Unintentionally [the drummer]  Jonny says to the drummer: “You could do the whale joke… don’t do the whale joke.”

The final song, “Weird Little Birthday Girl” is nearly 8 minutes long.  It opens with a cool bass riff and some lovely overlapping guitars.  There’s a nearly three-minute instrumental opening and when Jonny starts singing it has a distinctly Wilco quality (partly because oft he processing on his voice but also his delicate singing).  There’s a nice shout out to Prefab Sprout in the lyrics:

Its so easy to replace it / some things hurt more much more than cars and girls / an evening in an iron maiden / a morning in your funny little world.

I really enjoyed this set a lot and I’m intrigued that their album (on bandcamp) has some really short songs too.   I wonder if their sound is different on the record.  Guess I’ll have to give it a listen.

[READ: July 12, 2016] The Complete Peanuts 1979-1980

I foolishly thought that this book would play up the idea of moving into a new decade. But as I should have learned from years past, Schulz doesn’t really care about when it is.  His strip is mostly timeless.  There are of course references to time passing, but they are very minor.  So, on New Years when it  turns 1980, the strip heading says 1980, but there’s no other mention of it.

It’s also interesting how some things that he’s talked about in the past cycle again–many many years later.  In January 1979 Peppermint Patty is on a quest for a library card (we saw Sally get one like 5 years ago).  She says that once she gets one she wont leave home without it.  Marcie says Karl Malden will be happy to hear it. This is a reference to a an American Express card commercial that I remember hearing all the time when I was a kid (although I had o idea it was Malden doing it).  She also get a very funny line about junk food: “Life is more than carrot sticks, Marcie…what is a stomach that’s expecting a chocolate bar going to say when it gets a carrot stick?”

The World War I Flying Ace never really went away, but it seems to be making a resurgence in this year, with Snoopy wandering around speaking French and then later German to all the young ladies. (more…)

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rollerSOUNDTRACK: SARAH NEUFELD-Hero Brother [CST095] (2013).

heroroSarah Neufeld is best known as the violinist for Arcade Fire. I wanted to like this disc more than I did.  There’s a lot of really good music and ideas, but the whole album felt a little lacking in excitement.

This solo album was recorded in Berlin by pianist and producer Nils Frahm, with Neufeld’s performances captured in a number of locations with site-specific acoustics, including an abandoned geodesic dome, an underground parking garage, and the legendary Studio P4 orchestral recording hall at the broadcast complex of the former GDR.

On track with a * you can hear the echo of the surroundings (although I’m not sure which is which).

*”Tower” is a repeat of three notes quickly bowed with an echoed ghostly voice floating over the top of the melody. Its lasts but 2 minutes and then disappears.  “Hero Brother” has repeated low notes flanked by high notes until the main fast riff spirals out.  About a minute in, a stomping drum comes in and her playing sounds a bit more folksy. It’s an interesting twist on the more formal earlier style.  I love that it ends almost starkly in the middle, allowing those last notes to resonate.

*”Dirt” begins with high pitches notes that seem to echo and resonate forever.  And then she switches to a spritely somewhat upbeat melody of quick notes. The third part of the song luxuriates in slow bowing—long notes that linger.  “You are the Field”  begins slowly with some bending notes that descend and then ascend.  It’s interesting to hear her slide up and down the neck while some of the main notes remain the same.

*”Breathing Black Ground” has slow echoed note, but about mid way through a low note anchors the pieces as the high notes play a melancholy melody while Nils Frahm plays the harmonium.  “They Live On” is primarily plucked strings until her echoed voice sails over the top. This piece is more pretty than the others but is still rather stark.

“Wrong Thought” has a kind of sci-fi sound as it opens.  A kind of piercing high note is resolved into some lowers notes and then a cool melody.  The ending few notes are a pretty series that rise from the darkness of the main piece.  “Right Through” is a series of three notes played in different location on the fret. It is lonely sounding until some higher notes begin to appear as well.  And then Sarah’s ghostly voice emerges from the background with a kind of haunted phrasing.  It’s quite lovely and then things become quite raucous with some very fast fiddling.

“Forcelessness” opens with a series of three high pitches notes that are quite breathtaking. The notes descend slowly through the melody as a piano plays long held notes to accent the descent. It’s by far my favorite on the disc.  The disc ends with *”Below” which is slow and melancholy with her voice echoing in.

I guess I was expecting there to be more virtuoso pieces rather than a kind of moody ambient record.  Most of the melodies are pretty, but  there’s not a lot of diversity.

[READ: February 12, 2016] Rollergirl

Oh boy, did I love this story.  And not just because it’ about roller derby (although that is quite a lot of it).  I loved it because it had a protagonist who felt she didn’t have a personality or a “thing” and managed to not only get one, but to get an unsuaul one–and to make friends doing it

This story is a bout Astrid Vazquez (an unlikely name if ever there was).  Astrid’s mom always wants her and her best friend, Nicole, to do cultural things.  So they go to museums, to the opera, poetry readings, that sort of thing.  It’s not always fun.  But on this night she takes them to a warehouse where the see a roller derby match!

Astrid (who loves to wear black and is the tomboy of the two) is hooked immediately.  Nicole, who is more prissy and does ballet, is interested but a little freaked out.  And when they discover that there is a roller derby camp for the summer. Astrid assumes they will both sign up and become derby superstars like their new heroine Rainbow Bite (is there anything better than roller derby names?).

But Nicole quietly informs her that she is not doing that.  Not only doesn’t she want to but she actually wants to go to ballet camp this summer.  So there.

And that’s when the opening scene where Nicole is with the horrible, awful, super mean Rachel.  Rachel is the one who came up with the nickname Ass-turd (which maybe makes this not so much a children’s book, but it’s the only bad part). (more…)

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1978SOUNDTRACK: LAND LINES-Tiny Desk Concert #494 (December 11, 2015).

landLand Lines are a trio from Denver.  They have a drummer, a synth player and a cellist/lead singer.  Although their music is pretty spare and simple, I find them really compelling.

On “Wreckage,” Martina Grbac plays the cello with her fingers, strumming chords on the neck of the instruments in a way I’ve not seen anyone play before.   Grbac sings quietly and her voice–echoing and effects-laden–reminds me of someone from the 1990s, although I can’t exactly pinpoint it (maybe a Cocteau Twins vibe?  but not quite). James Han plays really interesting chords and textures on the keyboard.  Sometimes he adds melody lines, and other times, like at the end of this song, growing washes of sounds.  Ross Harada’s percussion is also fun for the complex and different sounds he adds to the songs.

“Anniversary” has a similar vibe withe that cello chord playing.  The opening keys play simple echoing notes which add a nice atmosphere to the acoustic chords and percussion.

For the final song, “Fall or Fall,” Grbac plays a rapidly bowed cello (which has such a different sound than the other songs).  The bass is provided by the synth (a good sounding bass).   I love the way her voice contrasts the keyboard chords.  The chord progressions throughout the song are interesting and I really like the unexpected sounds that close out the song.

I’d never heard of Land Lines, but I liked this show enough to listen to it a bunch of times.  I’ll have to check out their other songs as well.

[READ: July 9, 2016] The Complete Peanuts 1977-1978

I feel like this era is when I would have read Peanuts the most, although I have no recollection of any of these strips.

The covers of the books don’t necessarily depict who will be prominent in the collection, but Peppermint Patty on the front does equal a lot of Patty inside.  While Peppermint Patty continues to do very poorly in school, she does get some witty remarks like “What was the author’s purpose in writing this story?  Maybe he needed the money.”

We see a return of Truffles in January which also introduces Sally calling Linus her Sweet Babboo for the first time.  “I’m not your Sweet Babboo!”  Truffles is very excited to see Linus and vice versa but it kind of ends with unanswered questions because, in one of the first times this surreal gag was introduced, Snoopy flies in as a helicopter–a joke used many more times in the future–to sort of interrupt the whole saga.

Snoopy also pretends to be the Cheshire Cat a few times.

It has been a while since Linus has built anything outstanding (something he used to do a lot as a precocious child).  Well, in Feb 1977 he builds a snowman of Washington crossing the Delaware (to show up Lucy’s George Washington snowman with a little sword). (more…)

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1975SOUNDTRACK: ESKIMEAUX-Tiny Desk Concert #466 (August 28, 2015).

esquimeauxEskimeaux is Gabrielle Smith, who is the keyboardist in Bellows, a band that played a Tiny Desk Concert just a few months before this one.  As far as her stage name,

as an adopted child, Smith discovered that her biological father is Tlingit Eskimo; she describes the -eaux suffix as “just a playful jumble of letters that represents the way I record — a confusing layering of sounds that somehow coalesce into something simple.”.

Smith sings three songs in less than ten minutes.  She has a pretty, unaffected voice–just clean and clear vocals.  For the first two songs it’s just her and her guitar

“Folly” is a simple song as you might expect from just a strummed electric guitar.  But there’s something about the way she sings her lines in a series of rising notes that is really inviting.  She also has a nice way with words.  Like:

In my dreams you’re a bathtub running / You are warm and tender / And bubbling

“A Hug Too Long” is a faster song with a simple but interesting guitar riff that’s followed by a simple but interesting vocal melody.  Again, her clear voice fits perfectly with the music.  It features the intriguing chorus: “You went to work, I went to New Brunswick.”

Her final song is “I Admit I’m Scared.”  She has her bandmates from Bellows come out to sing with her.   There’s no extra instrumentation, but Smith sings in a slightly deeper register and Bellows fleshes out sections of the song (they even do a kind of deadpan synchronized move after each chorus).   Another great line of hers is: “And everything I said spewed like sparklers from my mouth.  They looked pretty as they flew but now they’re useless and burnt out.”  As the song ends, everyone sings louder “If I had a dime for every time I’m freaking out” which leads to a  dramatic climax before the final resolution: “We could fly around the world / Or just get out of your parents’ house.”

Bob jokes at the end that they can come back any time with a new band.  She says they have five other bands (including Told Slant and Small Wonder).  He says “you could come in every Tuesday.”

Bellows isn’t that different from Eskimeaux in style–pretty, quiet songs that are articulate and almost deadpan.  But having Smith sing (and presumably write) changes the way the style is created.  Which is pretty cool.

[READ: June 8, 2016] The Complete Peanuts 1975-1976

I really enjoyed this book a lot.  In the introduction, Robert Smigel talks about how it seems like in this era, Schulz turned a corner a bit to become more absurd.  The jokes are sillier, with new characters and some crazy ideas–like talking buildings, pitching mounds and body parts.  He wonders if it was Schulz’ happy marriage or just a desire to take some chances rather than repeating himself.  But whatever the case, the book is really fun.  I especially love the Peppermint Patty/Marcie strips in which Schulz just seems to be having a great time.  I also love all of the jokes with Sally in which she makes herself laugh with some awful puns–I just imagine Schulz cracking himself up and not being able to wait to draw the strips.

But for all of the newness of the strips, Peanuts is always seasonal.  So 1975 beings with ice skating and snowmen.  Linus has made a snowman reclining and reading a book. Charlie asks if it’s Robert Frost and Linus snarks “You said it, I didn’t.”

Patty has been falling asleep a lot in school–her dad is away–and Snoopy makes as terrible watchdog for her.  More funny Patty moments are when she is being so decisive about true false questions.  “Irrefutably true, understandably false, intrinsically false, inherently false, charmingly true.”  To which Franklin asks “Charmingly?”  Patty also becomes the first disciple of the Great Pumpkin–but she blows it by asking for a gift, as if the Great Pumpkin is some kind of Santa Claus. (more…)

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