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WRECK: Post-Election Don Cherry Antidote

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  • ninplant@xs4all.nl
    wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam Ethno-Illogical Psycho-Radiographies: no. 271: Post-Election Don Cherry Antidote streaming in the ether and
    Message 1 of 1 , Dec 6, 2004
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      wReck thiS meSS ~ Radio Patapoe 97.2 ~ Amsterdam

      Ethno-Illogical Psycho-Radiographies: no. 271: Post-Election Don
      Cherry Antidote

      streaming in the ether and via internet: <http://freeteam.nl/patapoe/>
      we now also stream at <http://freeteam.nl:8000/patapoe.m3u>

      15 November 2004
      ~~~~~

      Watch Out Š Watch Out > Para
      Scratch Holiday > Aksak Maboul [1]
      Burning Buildings > High Skies [2]
      Bush Commonsensicle > Sun Dragons [3]
      Noise Polluters > 2 Bad Card [4]
      Dub the Tanx > Mossman vs Mr. Tsunami [5]
      Beneluxus > Rocket / Freudental [6]
      Kick Out the Jams > MC5 [7]
      DOC - Kerry Bush Debate > Bush Curry [3]
      Your Theory > Jad Fair & R. Stevie Moore [8]
      Government Killed the Party > Interlope [9]
      Two-Minute Bush > George Welter Bush [3]
      Express Gang Plank > Donna Summer [10]
      Liars & Murders > norelprof [3]
      Dinner Music for a Pack of Hungry Cannibals > Raymond Scott [11]
      Jesus Put a Yodel in My Soul > Wanda Jackson [3a]
      Revolution Inc. > FreQ Nasty vs Akura Wall [12]
      Bushman > Illegal Sound vs DJ Snowcrash [3]
      Stupid Man > Lou Reed & Don Cherry [13]
      Inner Organs > Don Cherry & Codona [14]
      Like That of Sky > Don Cherry & Codona [15]
      Brown Rice > Don Cherry [16]
      Click Clack > Don Cherry & Codona [14]
      City Lights > Lou Reed & Don Cherry [13]
      Warm to the If of Life > Rip Rig & Panic [17]
      Prayer > Don Cherry & Lennart Aberg & Bobo Stenson [18]
      Scratch Holiday > Aksak Maboul [1]

      [1] "Crammed Global Soundclash 1980-89: Part One - World Fusion" on
      Crammed <crammed@...>. amazingly prescient and adventurous
      label presents a dj-segue-style mix of some of their great shorter
      material. The Maboul cut is one of my faves of all time and may be
      one of the first scratch records [1983] ever. Great scratch loop.

      [2] "It's Still an Anxious Age" on em:t records. They are back - with
      a decidedly mixed bag of good-bad, inspiring-derivative trax. Still
      recommendedŠ

      [3] "Wreck the Bushies" a download of various Bush-bites.

      [3a] The great rockin' babe who opened for Elvis and was considered
      the female Elvis, foxy and cool, turned to the lord and began
      yodeling for that Lord because we all know god loves a good yodel.

      [4] "Chainstore Massacre" on On-U <www.onusound.co.uk> great cut on
      an excellent compilation from this UK configuration. Plus of course
      the usual suspects making delirious mayhem with dub and effects. With
      Adrian Sherwood at the controlsŠ

      [5] "Mossman vs Mr. Tsunami at Dub Corner" on Dispensation
      <www.dublounge.net>. Some of the most percolating, deepest rootsy and
      inventive dub comes out of Canada, has a feel that reminds of
      Twilight Circus.

      [6] "15 Neue Songs" on Freudental <bobrocket@...> . Just when you
      thought it was safe to take out the pacifier-shaped and gum-drop
      flavored ear plugs comes this total joyous abomination of pop music
      played during the demolition of an old armaments warehouse in the
      nameless outskirts of a German town we don't need to know the name
      of..

      [7] "Kick Out the Jams" on WEA vinyl. At the whirlwind confluence of
      the Weather Underground and rock and roll in Ann Arbor Michigan.

      [8] "FairMoore" on Old Gold <www.oldgold.org>. A kind of crinkled-DNA
      Dylan or Captain Beefheart put through the wringer, or poetry in a
      Moulinex. Half Japanese and Half off kilter melodic. Two geniuses
      butt heads and give us something to ponder.

      [9] "Talk to the Beat" on Jarring Effects <jarringeffects.free.fr>
      Punk dub rub and rap and bass. Kick out the confiture nic ta meresŠ

      [10] "Popular Electronic Uzak on Samboat <www.toolboxrecords.com>.
      Versatile display of strange doings with gadgetry and melody.

      [11] "Reckless Nights & Turkish Twilights" on Basta
      <raymondscott.com>. Incredibly versatile and reconditioned genius [by
      WFMU dj Irwin Chusid] who really describes the human condition as
      well as Daffy Duck or Charles Mingus. The more anxious and ridiculous
      life gets the more relevant his music becomes.

      [12] "Freq's, Geeks & Mutilations" on Botchit & Scarper. Great
      trip-hoppy makeover of Bacharach standard. Going out of one's head in
      a satisfying if freaky way.

      [13] "The Bells" on Arista, 1979. Saw them together in 1980[?] at the
      Circle in the Square on Bleecker Street. An intimate theatre where
      they really jammed and did not play a single hit or Velvets tune. I
      was beyond shy, without any self-confidence and truly believed I was
      part of the underclass of fans who were put on earth to admire
      genius. I did walk around endlessly in Manhattan in that time, holes
      in the soles of my sneaks, soaking up cold pre-winter slush and
      filling notepads full of neurotic but poetically inclined gibberishŠ

      [14] "Codona Volume 3" on Polygram. Great line-up with Nanos
      Vasconcelos, Colin Wolcott, and Cherry. Great atmospheric and
      rhythmic jazzŠ

      [15] "Codona 1" on ECM, 1979.

      [16] "Don Cherry" on Horizon. Being one of the more-gifted musicians
      on the Jazz scene was not enough. He was also one of the most
      enterprising, exploring, a man willing to take chances and look far
      and wide for inspiration. He combined blues, jazz, Eastern music and
      the music from places far and wide. He worked with people like Lou
      Reed and Rip Rig and Panic helping us to note the connective tissue
      between musics usually considered to be alien if not downright
      hostile to one another. He became that elegant negotiator, always
      providing for melodic adventure and backdrop of trip-hoppable beats
      steeped in African percussionŠ.

      [17] "I Am Cold" on Virgin 1981. Great post-punk jazz by ex-members
      of the Pop Group, one of the most famous nonfamous interesting bands
      of all-time.

      [18] "Dona Nostra" on ECM 1993.

      ~~~~~

      * First half of the show was devoted to examining the wreckage of the
      post-election period in the USA. With some funny remangled sampl-odic
      collages that give a better view of what was really being said by the
      candidates. Kerry was a straw man, a scarecrow, a Trojan Horse, a
      false hope, a double-dealer, a backsliding bungler after all.

      * The second half tried to slow things down and put my spirit back in
      place. Get some priorities etc. and I devoted it to Don Cherry who
      died around this time about 10 years ago. He started out with Ornette
      Coleman [was heavily influenced by him and his harmolodics] and
      worked with him for many years. He also worked with Sonny Rollins,
      New York Contemporary Five, Archie Shepp, Albert Ayler, George
      Russell, Sunny Murray, Clifford Jordan, Charlie Haden, Allen Ginsberg
      [William Blake: Songs of innocence and 1969 experience.], Carla
      Bley-Paul Haines, Krzysztof Penderecki, Alexandro Jodorowsky, Michael
      Mantler, Steve Hillage, Lou Reed [Between thought and expression,
      Sweet Lou - Walking in Los Angeles, Claim to fame, The bells], Dollar
      Brand, Mandingo Griot Society, Masahiko Togashi, Old and New Dreams,
      Ian Dury and the Blockheads, Rip Rig + Panic, Billy Bang, Jim Pepper,
      Tullio De Piscopo, Sun Ra, Doudou Gouirand, Ramuntcho Matta, Brion
      Gysin [Self-portrait jumping on Crammed], Tony Vacca & Tim Moran,
      Nana Simopoulos, Sarah Vaughan & Friends, Audio Letter, Bongwater
      [Double bummer], Trilok Gurtu, Heiner Goebbels, Paranoise, Hilton
      Ruiz, Neneh Cherry, Joe Henry, Hassan Hakmoun, Ingrid Sertso, Ira
      Cohen [The poetry of Ira Cohen on Sub Rosa] among many others. In
      other words, a goodwill ambassador with the gift of music. He made
      you believe that communication, comradeship, understanding could be
      had if we could just first listen to or play the musicŠ

      [Chris Kelsey, All-Music Guide]: "Š Ornette Coleman and Cherry were
      vanguardists, to be sure, and they were received as such by critics,
      musicians, and audiences alike. Even so, today, in listening to these
      early free jazz sides, one wonders what all the fuss was about, for
      it's clear that both musicians -- especially Cherry -- played in a
      style derived from the mainstream of jazz's development. Naturally,
      the passing of four decades provides us a perspective denied
      listeners at the time; changes that seem slight to us today were
      magnified then. Coleman and Cherry's elastic relationship to pitch
      and swing-time were certainly a liberation from the tyranny of equal
      temperament and literal pulse. Despite the music's revolutionary
      characteristics, however, no one would now deny that the work of
      these men is an extension or interpretation of the jazz tradition.
      This is particularly obvious in Cherry's case; abstracted from his
      contexts, Don Cherry's style was in a real sense grounded in bebop.
      He wasn't an especially strong bebop player by classic standards --
      his range and facility were somewhat limited, for one thing -- but
      externally, his style bore the marks of modern jazz in terms of
      melody, harmony, rhythm, and phrasing. Evaluating Cherry in classic
      terms is a mistake, for like Miles Davis -- and Coleman, for that
      matter -- concepts of Western musical objectivity were nearly
      irrelevant to his work. Cherry was not gifted with extraordinary
      chops, but those are classicist concerns, and his was a wholly
      romantic art. Cherry's greatest strength was less easily quantified,
      less tangible: an ability to convey emotional depth via a subtle
      manipulation of musical elements. An improvised Don Cherry line might
      bear all the typical contours of bebop, but Cherry micro-managed
      every aspect of his playing, rhythmically, harmonically, melodically,
      timbrally, and dynamically. Like Coleman, Cherry's sound came as
      close to the expressive qualities of the human voice as was
      instrumentally possible. And his playing was utterly spontaneous;
      Cherry was among the most unpredictable of improvisers. His frequent
      stutters in mid-solo may have stemmed from a limited vocabulary of
      canned phrases, but his resultant recoveries were the stuff of which
      great jazz is made. Cherry first attained prominence with Coleman,
      with whom he began playing around 1957. At that time Cherry's
      instrument of choice was a pocket trumpet (or cornet) -- a miniature
      version of the full-sized model. The smaller instrument -- in
      Cherry's hands, at least -- got a smaller, slightly more nasal sound
      than is typical of the larger horn. Though he would play a regular
      cornet off and on throughout his career, Cherry remained most closely
      identified with the pocket instrument. Cherry stayed with Coleman
      through the early '60s, playing on the first seven (and most
      influential) of the saxophonist's albums. In 1960, he recorded The
      Avant-Garde with John Coltrane. After leaving Coleman's band, Cherry
      played with Steve Lacy, Sonny Rollins, Archie Shepp, and Albert
      Ayler. In 1963-4, Cherry co-led the New York Contemporary Five with
      Shepp and John Tchicai. With Gato Barbieri, Cherry led a band in
      Europe from 1964-6, recording two of his most highly regarded albums,
      Complete Communion and Symphony for Improvisers. Cherry taught at
      Dartmouth College in 1970, and recorded with the Jazz Composer's
      Orchestra in 1973. He lived in Sweden for four years; he used the
      country as a base for his travels around Europe and the Middle East.
      Cherry became increasingly interested in other, mostly non-Western
      styles of music. In the late '70s and early '80s, he performed and
      recorded with Codona, a cooperative group with percussionist Nana
      Vasconcelos and multi-instrumentalist Collin Walcott. Codona's music
      was a pastiche of African, Asian, and other indigenous musics.
      Concurrently, Cherry joined with ex-Coleman associates Charlie Haden,
      Ed Blackwell, and Dewey Redman to form Old and New Dreams, a band
      dedicated to playing the compositions of their former employer. After
      the dissolution of Codona, Cherry formed Nu with Vasconcelos and
      saxophonist Carlos Ward. In 1988, he made Art Deco, a more
      traditional album of acoustic jazz, with Haden, Billy Higgins, and
      saxophonist James Clay. Until his death in 1995, Cherry would
      continue to combine disparate musical genres; his interest in world
      music never abated. Cherry learned to play and compose for wood
      flutes, tambura, gamelan, and various other non-Western instruments.
      Elements of these musics inevitably found their way into his later
      compositions and performances, as on 1990's Multi Kulti, a
      characteristic celebration of musical diversity. As a live performer,
      Cherry was notoriously uneven. It was not unheard of for him to
      arrive very late for gigs, and his technique -- never great to begin
      with -- showed on occasion a considerable, perhaps inexcusable
      decline. In his last years, especially, Cherry seemed less
      self-possessed as a musician. Yet, his musical legacy is one of such
      influence that his personal failings fade in relative significance."

      o BLURT [UK/Outer Space] at the OCCII on Thursday December 2 in
      Amsterdam. After a long conversation with Ted Milton about the trials
      and perils and pitfalls of near-stardom on the treacherous third rail
      of second and third rank club tours. I came away with that age-old
      notion: there is no justice in this world when it comes to talent.
      Give this band a better deal!!! With a great post-post art punk show
      by Uw Hond [Your Dog] we got to witness the best-kept secret of
      avant-progressive post-No Wave Jazz Punk [1980s-2004] ["Let There Be
      Blurt" on Salamander <www.salamanderrecords.com>]. Fun was as
      predicted never so extreme and sweaty. If James Chance is/was the
      Chet Baker of punk-jazz then Ted Milton is the Rahsaan Roland Kirk of
      that genre. Having greased the reigns once held by Albert Ayler and
      Kurt Schwitters, this kinetic sax-poet teeters on the brink of
      absolution and damnation, with their tugboat sax-toots and brilliant
      glimpses of inspired verbiage stranded on an island made up of toxic
      waste and discarded colorful plastic things. Simply put he is the
      sinewy ghost of the hardest-working man in show business. The encore
      for a robust audience of 70 fans was almost as long as the concert
      itself. You can't stop them without a concrete barrier. Great
      drumming and incredibly deft guitar work aided and abetted the
      anarchic joy of pure revelation. It is fun to hear great music.

      * Stay tuned for new developments in the trials and tribulations of
      the radio station that bears the name of a nonexistent dog [Patapoe].
      Nomad radio make you mad... new requency soon. New haircuts too.

      ooooo

      Send all sound material for airplay and review to:
      Wreck This MeSS
      Radio 100 / Radio Patapoe
      bart plantenga
      Zeilstraat 23 / II
      1075 SB Amsterdam
      the Netherlands

      WTM PLAYLISTS
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      o Selected Playlists at http://www.romanapoli.com/black/wreckthismess.html
      o Soon, the unveiling of new juggernaut: <http://wreckthismess.com/
      courtesy of Pavement Tulip, a genius stuck in the body of a Polish
      skier in Brooklyn's inner denouement.

      __________________

      SDI SELF DESTRUCTION INSURED
      CONTACT ninplant@... FOR REMOVAL



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