8.3.2010, ftw
running yesterday, i noticed that motorists gave me a wider berth than usual -- sometimes moving all the way to the other side of a residential street. probably a consequence of the death last week of a 61-year-old woman who was struck by a city bus while crossing the street downtown. apparently she was a coworker of a friend of hickey's mom (ok, so that was _three_ degrees of separation, not the two i usually claim for fort worth). hickey said the bus camera video showed that the pedestrian had the right of way -- which, i pointed out while we were having drinkie-talkie, doesn't do her much good now. i never step into the street until i see the oncoming vehicle slowing/stopping, and preferably until i've made eye contact with the driver.
watched the cecil taylor vid burning poles last night (and listening to the audio as i type this). a late '80s studio production with his "feel trio" (william parker - bs, tony oxley - ds), plus a superfluous second percussionist. cecil starts out dancing and intoning (probably a warm-up for his acrobatic attack on his "88 tuned drums"), with minimalist percussion/flute accompaniment, then launches into one of his long-form exorcisms. i'm glad to have this, since i've only seen him live at carnegie hall from about halfway back, and the video allows you to see his highly evolved technique, which doesn't stop him from performing with exhilarating abandon.
(ADDENDUM: also listening to momentum space, a tempestuous three-way c.t. collaboration with ornette's late homeboy/sax foil dewey redman and a triumphantly thunderous elvin jones, in what might be his greatest latter-day performance this side of sonny sharrock's ask the ages.)
terry and i have been reviewing video of HIO performances like high school football coaches -- i'm particularly enamored of the raw footage jeff liles shot in the kessler theater green room in march, with all three of us playing cigarbox guitars, which was a real watershed for us -- and hembree just posted his audio recording of our 7.30.2010 lola's stand to his HIO archive. you can hear the drunken fratboys goofing on us as we create a feedback-and-percussion apocalypse that only augie rodriguez and hickey's mom could love. it occurs to me that it's possible we play louder in places like lola's because of all the unsympathetic noise from the crowd. in comparison, at the other arts showcase back in may, we played very quietly -- below the level we soundchecked at, in fact.
both terry and i are impressed by the way a schooled muso like marcus brunt can get so into our naive way of playing. in dre edmonson's vid of our good show showcase appearance at lola's back in february, marcus' trombone and hembree's accordion and small instruments are the most interesting part of the performance. (well...there's also hickey's singing easter card...) but hembree doesn't like playing with HIO. i'm not sure whether it's the unstructured nature of our music or his discomfort playing instruments he doesn't know how to play. terry told me that after we finished friday, marcus was still thinking and talking about different things he wants to try with feedback. his contribution is immeasurable. hard to believe we have 20 shows under our collective belt now, and every one of them has been different.
watched the cecil taylor vid burning poles last night (and listening to the audio as i type this). a late '80s studio production with his "feel trio" (william parker - bs, tony oxley - ds), plus a superfluous second percussionist. cecil starts out dancing and intoning (probably a warm-up for his acrobatic attack on his "88 tuned drums"), with minimalist percussion/flute accompaniment, then launches into one of his long-form exorcisms. i'm glad to have this, since i've only seen him live at carnegie hall from about halfway back, and the video allows you to see his highly evolved technique, which doesn't stop him from performing with exhilarating abandon.
(ADDENDUM: also listening to momentum space, a tempestuous three-way c.t. collaboration with ornette's late homeboy/sax foil dewey redman and a triumphantly thunderous elvin jones, in what might be his greatest latter-day performance this side of sonny sharrock's ask the ages.)
terry and i have been reviewing video of HIO performances like high school football coaches -- i'm particularly enamored of the raw footage jeff liles shot in the kessler theater green room in march, with all three of us playing cigarbox guitars, which was a real watershed for us -- and hembree just posted his audio recording of our 7.30.2010 lola's stand to his HIO archive. you can hear the drunken fratboys goofing on us as we create a feedback-and-percussion apocalypse that only augie rodriguez and hickey's mom could love. it occurs to me that it's possible we play louder in places like lola's because of all the unsympathetic noise from the crowd. in comparison, at the other arts showcase back in may, we played very quietly -- below the level we soundchecked at, in fact.
both terry and i are impressed by the way a schooled muso like marcus brunt can get so into our naive way of playing. in dre edmonson's vid of our good show showcase appearance at lola's back in february, marcus' trombone and hembree's accordion and small instruments are the most interesting part of the performance. (well...there's also hickey's singing easter card...) but hembree doesn't like playing with HIO. i'm not sure whether it's the unstructured nature of our music or his discomfort playing instruments he doesn't know how to play. terry told me that after we finished friday, marcus was still thinking and talking about different things he wants to try with feedback. his contribution is immeasurable. hard to believe we have 20 shows under our collective belt now, and every one of them has been different.
posted by stashdauber at 9:52 AM
1 Comments:
Regarding the brainless frat tools on the recording:
1. They tended to button up during the soft and quiet parts of the set when others outside of their collective stupidity could potentially hear the gems they produced.
2. They also seemed to have trouble finding the exit throughout the night, which reminds me of our Boer goat that gets lost after stepping two feet outside of the gate.
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