ostinato passando, yearning

REEL #2

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The Hotel Chelsea (also known as the Chelsea Hotel and the Chelsea) is a hotel at 222 West 23rd Street in the Chelsea neighborhood of Manhattan in New York City. Built between 1883 and 1884, the hotel was designed by Philip Hubert in a style described variously as Queen Anne Revival and Victorian Gothic. The 12-story Chelsea, originally a housing cooperative, has been the home of numerous writers, musicians, artists, and entertainers, some of whom still lived there in the 21st century. As of 2022, most of the Chelsea is a luxury hotel. The building is a New York City designated landmark and on the National Register of Historic Places.

The front facade of the Hotel Chelsea is 11 stories high, while the rear of the hotel rises 12 stories. The facade is divided vertically into five sections and is made of brick, with some flower-ornamented iron balconies; the hotel is capped by a high mansard roof. The Hotel Chelsea has thick load-bearing walls made of masonry, as well as wrought iron floor beams and large, column-free spaces. When the hotel opened, the ground floor was divided into an entrance hall, four storefronts, and a restaurant; this has been rearranged over the years, with a bar and the El Quijote restaurant occupying part of the ground floor. The Chelsea was among the first buildings in the city with duplex and penthouse apartments, and there is also a rooftop terrace. The hotel originally had no more than 100 apartments; it was subdivided into 400 units during the 20th century and has 155 units as of 2022.

The idea for the Chelsea arose after Hubert & Pirsson had developed several housing cooperatives in New York City. Developed by the Chelsea Association, the structure quickly attracted authors and artists after opening. Several factors, including financial hardships and tenant relocations, prompted the Chelsea’s conversion into an apartment hotel in 1905. Knott Hotels took over the hotel in 1921 and managed it until about 1942, when David Bard bought it out of bankruptcy. Julius Krauss and Joseph Gross joined Bard as owners in 1947. After David Bard died in 1964, his son Stanley operated it for 43 years, forming close relationships with many tenants. The hotel underwent numerous minor changes in the late 20th century after falling into a state of disrepair. The Krauss and Gross families took over the hotel in 2007 and were involved in numerous tenant disputes before the Chelsea closed for a major renovation in 2011. The hotel changed ownership twice in the 2010s before BD Hotels took over in 2016, and the Chelsea reopened in 2022.

Over the years, the Chelsea has housed many notables such as Arthur Miller, Bob Dylan, Arthur C. Clarke, Patti Smith, Robert Mapplethorpe, and Virgil Thomson. The Chelsea received much commentary for the creative culture that Bard helped create within the hotel. Critics also appraised the hotel’s interior—which was reputed for its uncleanliness in the mid- and late 20th century—and the quality of the hotel rooms themselves. The Chelsea has been the setting or inspiration for many works of popular media, and it has been used as an event venue and filming location.

Over the years, the Chelsea has become particularly well-known for its residents, who have come from all social classes. The New York Times described the hotel in 2001 as a „roof for creative heads“, given the large number of such personalities who have stayed at the Chelsea; the previous year, the same newspaper had characterized the list of tenants as „living history“. The journalist Pete Hamill characterized the hotel’s clientele as „radicals in the 1930s, British sailors in the 40s, Beats in the 50s, hippies in the 60s, decadent poseurs in the 70s“. Although early tenants were wealthy, the Chelsea attracted less well-off tenants by the mid-20th century, and many writers, musicians, and artists lived at the Hotel Chelsea when they were short on money. Accordingly, the Chelsea’s guest list had almost zero overlap with that of the more fashionable Plaza Hotel crosstown. New York magazine wrote that „people who lived in the hotel slept together as often as they celebrated holidays together“, particularly under Stanley Bard’s tenure. Despite the high number of notable people associated with the Chelsea, its residents typically desired privacy and frowned upon those who used their relationships with their neighbors to further their own careers.

The Hotel Chelsea has housed numerous literary figures, some of whom wrote their books there. Arthur C. Clarke wrote 2001: A Space Odyssey while staying at the Chelsea, calling the hotel his „spiritual home“ despite its condition. Thomas Wolfe lived in the hotel before his death in 1938, writing several books such as You Can’t Go Home Again; he often walked around the halls to gain inspiration for his writing. William S. Burroughs also lived at the Chelsea. While living at the Chelsea, Edgar Lee Masters wrote 18 poetry books, often wandering the hotel for hours. 

Welsh poet Dylan Thomas (who lived with his wife Caitlin Thomas) was staying in room 205 when he became ill and died in 1953, while American poet Delmore Schwartz spent the last few years of his life in seclusion at the Chelsea before he died in 1966. Irish poet Brendan Behan, a severe alcoholic who had been ejected from the Algonquin Hotel, lived at the hotel for several months before his death in 1964. Many poets of the Beat poetry movement also lived at the Chelsea before the Beat Hotel in Paris became popular.

Other authors, writers, and journalists who stayed or lived at the hotel have included:

Henry Abbey, poet – Nelson Algren, writer – Léonie Adams, poet; lived with husband William Troy – Sherwood Anderson, writer – Ben Lucien Burman, writer – Henri Chopin, poet and musician – Ira Cohen, poet and filmmaker – Gregory Corso, poet – Hart Crane, poet – Quentin Crisp, writer and actor – Jane Cunningham Croly, journalist – Katherine Dunn, novelist and journalist – Edward Eggleston, writer – James T. Farrell, novelist – Allen Ginsberg, poet – John Giorno, poet – Maurice Girodias, publisher – Pete Hamill, journalist – Bernard Heidsieck, poet – O. Henry, writer – Herbert Huncke, poet – Clifford Irving, novelist and reporter – Charles R. Jackson, author – Theodora Keogh, novelist – Jack Kerouac, writer – Suzanne La Follette, journalist – John La Touche, lyricist – Jakov Lind, novelist – Mary McCarthy, novelist and political activist – Arthur Miller, playwright – Jessica Mitford, author – Vladimir Nabokov, novelist – Eugene O’Neill, playwright – Joseph O’Neill, novelist – Claude Pélieu, poet and artist – Rene Ricard, poet – James Schuyler, poet – Sam Shepard, playwright and actor – Valerie Solanas, writer – Benjamin Stolberg, publicist and author – Richard Suskind, children’s writer – William Troy, critic; lived with wife Léonie Adams – Mark Twain, writer – Gore Vidal, writer – Arnold Weinstein, librettist – Tennessee Williams, playwright – Yevgeny Yevtushenko, poet.

The Chelsea was particularly popular among rock musicians and rock and roll musicians in the 1970s. These included Sid Vicious of the Sex Pistols, who allegedly stabbed his girlfriend Nancy Spungen to death at the hotel in 1978; after Vicious’s death, their room was split into two units to prevent the room from being turned into a shrine. Numerous rock bands frequented the Chelsea as well, including the Allman Brothers, the Band, Big Brother and the Holding Company, the Paul Butterfield Blues Band, the Byrds, Country Joe and the Fish, Jefferson Airplane, Lovin‘ Spoonful, Moby Grape, the Mothers of Invention, Quicksilver Messenger Service, Sly and the Family Stone, and the Stooges. The Kills wrote much of their album No Wow at the Chelsea prior to its release in 2005. The Grateful Dead once performed on the roof.

Reels are moving pictures of a special kind, mostly with a soundtrack: short sequences, Schlaglichter of about one minute with splinters of a diversity/heterogenity of reality moments arranged in infectious, alienating, surprising way, where pictures and music enter special mutually illuminating and enforcing interactions. They are created and designed by a combination of (planned) deliberate choices and chance, serve incitement and excitement, can evoke beholders‘ own cross-links. Brevity is the soul of wit, in der Kürze liegt die Würze.

_{To operate a REEL: zoom in by clicking on the ‘AMSONANZA’ mark when the reel starts. The ‘AMSONANZA’ mark also appears at the end a bit larger. When you click on it, the reel will be repeated.} 

I have some ‚in petto‘ to present here and will be happy about your responses and comments.

V I D E O

Live Drawing at ORGELPARK Amsterdam w/Vostok – Remote Islands – harpsichord: Guus Janssen, technics: Marielle Growen

REEL #1

_{To operate a REEL: zoom in by clicking on the ‘AMSONANZA’ mark when the reel starts. The ‘AMSONANZA’ mark also appears at the end a bit larger. When you click on it, the reel will be repeated.} 

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Victor Vasarely

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The most famous (and sophisticated) ostinato is without doubt Maurice Ravel’s BOLERO composed almost 100 years ago in 1928. Originally written as ballet music for the Ukrainian dancer from Kharkiv, Ida Rubinstein (1885-1960), it became an influential model for a lot of later music (and also is quoted lot). It seems that Ravel (1875-1937) was not really satisfied with the piece as such but nonetheless he put in a lot of sophistication. Yes, the piece is rotating around its own axis in a seemingly endless way, but it comes to a quite consistent and brilliantly percussive end (while its basic pattern will be resounding in listeners‘ mind for a while, or even restart). It feels in a way as ’stuck‘ and at the same highly mobile. It’s also a good example for the musical base principle of ‚rhythm is the master, melody is the servant‘.

Even if you have internalised it, it’s worthwhile to give it a listen from time to time, especially the version of Pierre Boulez (w/ Berlin Philharmonics) – to discover its sophistication (listen HERE). And, for instance check also versions of Frank Zappa, the one of the Barcelona concert (watch HERE), and the one with a slight reggae undercurrent (watch HERE). When listening to the Zappa versions, it becomes evident that not only Stravinsky (1882-1971) but also Ravel laid some groundwork for later rock music (and jazz too – Charlie Parker used to insert Stravinsky parts in his live concerts). Stravinsky about ostinatos: „It is static -that is antidevelopment, and sometimes we need contradiction to development.“ Stravinsky used ostinatos to confound rather than conform rhythmic expectations. HERE a Stravinsky example („Three pieces for string quartet“). More of Stravinsky, rock and jazz you can hear in STRAVINSKY TO GO, one of my archived radio programs (listen HERE). Debussy (1862-1918) had his very own take of ostinato. To experience HERE in his „Des pas sur la neige“ with its fascinating tempo.

For Frank Zappa, ostinatos had a further reaching function in creating his own music as his memories of listening- and creating processes leading into the creation of the FREAK OUT album of the Mothers. This is what Zappa said about it:

I think my playing is probably more derived from the folk music records that I heard – Middle Eastern music, Indian music, stuff like that.

For years I had something called Music On The Desert Road [Deben Bhattacharya], which was a recording of all kinds of different ethnic musics from different places in the Middle East. I used to listen to that all the time – I liked that kind of melodic feel. I listened to Indian music, Ravi Shankar and so forth, before we did the Freak Out! album. The idea of creating melody from scratch based on an ostinato or single chord that doesn’t change, that was the world that I felt most comfortable with.

“If you listen to Indian classical music, it’s not just pentatonic. Some of the ragas that they use are very chromatic, all sustained over a root and a 5th that doesn’t change, and by using these chromatic scales they can imply all these other kinds of harmonies. The chords don’t change; it’s just the listener’s aspect that gets to change based on how the melody notes are driven against the ground bass.” (Guitar World Interview (1993))

Another famous and well-known ostinato is the piece TAKE FIVE written by Paul Emil Breitenbach aka Paul Desmond and recorded by the Dave Brubeck Quartet in 1959. It’s in 5/4 time signature and takes about 5 minutes to play (listen HERE). The title also alludes to the saying meaning ‚take a little nice break‘.

Maybe after having given these two significant examples, other ostinatos pop up from your memory considered that ostinatos leave string memory traces and you get an idea over the ways and power of ostinatos. Here are more precious examples from recent past. The first one is from 1977 and even entitled „Ostinato“ (VIDEO) from the album SCALES (1976, Japo/ECM): it’s played by trumpeter Manfred Schoof, keyboardist Jasper van ‚t Hoff, bass clarinetist Michel Pilz, bassist Günter Lenz and drummer Ralf Hübner (recorded at NDR workshop). The piece can be considered as a blueprint for later electronics-based pieces in jazz. SCALES, released on vinyl prior to the CD-age, is still preserved in my Lp-collection.

Another piece i like to present, is LABYRINTH by Greek pianist Tania Giannouli. It’s recorded with her trio of oud-player Kyriakos Tapakis and trumpeter Andreas Polyzogopoulos on the album IN FADING LIGHT. There is also a live recording from Berlin Jazzfest 2018 in the A-Trane club (the concert was by the way attended by David Sylvian). A strong example, Carlos Bica’s BELIEVER has already been presented on Flowworker (watch HERE).

Ostinatos provide a continuing base element above which extensions flourish – both interacting and intertwining in dialectical manner. As listener you might not notice it consciously but you can be carried and uplifted by it. It should become clear that repetition plays a crucial role in different kinds of music. It can serve as anchor and at the same time be used to increase suspense depending on how sophisticated it is applied. Another famous example for sophisticated repetition, that remains firmly in many people’s memory is SO WHAT by Miles Davis (listen HERE).

Rock is still stronger entrenchend in the use of repetitive patterns. As an example I take here WHO DO YOU LOVE, a piece by Bo Diddley in the (short) version of Quicksilver Messenger Service: listen HERE.

Ostinatos can also be found in Sub-Sahara music. These ostinatos contain offbeats or crossbeats that contradict the main metric structure. Illustrative examples are reserved for another contribution. Further attractive, illustrious or instructive examples can gladly be added in the comments. I am aware that this post is peppered with music links. You can use it selectively, successively or as a travel through different times and genres.

As encore here an example by my beloved Giovanni Girolami Kapsberger (1580-1651) – watch HERE

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Bro ist z.Z. in einem erstaunlichen Aktivitätsfluß qua Auftrittsanzahl, Auftrittsorten und Varietät an Besetzungen (Übersicht HIER). Was Besetzung betrifft, treten bei der bevorstehenden STRANDS-Tour Trompeter Arve Henriksen und Saxophonist Jesper Zeuthen (1949) an die Stelle von Trompeter Palle Mikkelborg (1941). Zeuthen, mit dem Bro eine längere musikalische Verbindung hat, ist eine Art Geheimwaffe, die in verschiedensten Projekten von Bro immer wieder zum Einsatz kommt. Zeuthen hat einen eher rauheren Ton.

Auf Bros eigenem Label Loveland ist gerade ein ‚dänisches‘ Album, „Sound Flower“, mit Saxophonist Jesper Zeuthen, dem Bassisten AC (Anders Christensen) und Perkussionistin Marilyn Mazur erschien. Zu sehen (Video) und zu hören auf Bandcamp.

Ebenso kommt ein langjähriger musikalischer Weggenosse von Bro, der Bassist Anders Christensen aka AC, zur Zeit vermehrt wieder zum Einsatz. AC führte Bro einst bei Paul Motian für dessen Electric Bebop Band ein, in der Bro in einer Reihe von anderen Gitarristen (Ben Monder, Brad Shepik, Steve Cardenas, Kurt Rosenwinkel) spielte. Von der E.B.B.B. erschienen 6 Alben bei Winter&Winter. Bro spielte in der letzten Phase in der Gruppe, ist aber nur auf einer Aufnahme der Folgegruppe, der Paul Motian Band, dem nach wie vor erstaunlichen Album „Garden of Eden“ (ECM 2006) mit gleich drei Gitarristen (Bro, Ben Wonder, Steve Cardenas) dabei. Als ich Paul Motian 2007 in New York traf, verkündete er erfreut, dass er in der Gruppe jetzt mit gleich drei Bassisten spielte. Das Erstaunliche war, dass die Musik mit diesen Mehrfachbesetzungen auf allen Instrumenten (ausser Drums) immer leichter klang.

Jesper Zeuthen führt uns auch zurück zu Bros Tentett, das er um den dänischen Dichter Peter Laugesen herum formierte in der Besetzung Jakob Bro (G), Peter Laugesen (gesprochenes Wort), Jesper Zeuthen (Sax), Andrew S’Angelo (Sax), Chris Speed (Sax), Nikolaj Torp Larsen (Tasten), AC (B), Thomas Morgan (B), Nicolai Munch-Hansen (B), Jakob Hoyer (Dr), Kresten Osgood (Dr). Davon ist 2015 das Album „Hymnotic/Salmodisc“ erschienen, das auf Bros Website immer noch gratis runtergeladen werden kann und eine ganz andere Seite von Bro erlebbar macht. Mit diesem Projekt geht Bro nun in leicht veränder- ter Besetzung u.a. mit belgischen Musikern auch wieder auf Tour. Diese Verbindung mit Poesie hat eine dänische Tradition.

Paul Motian hat ja nicht nur über Bro tiefe Spuren in Dänemark hinterlassen. Nikolaj Torp Larsen gehörte Anfang der 2000er der dänischen Gruppe Once Around The Park (Jakob Dinesen, Rune Harder Olesen, AC, Michael Finding, Rune Funch), benannt nach einer bekannten Komposition von Paul Motian, die Bezug nimmt auf Pauls Gewohnheit von seiner Wohnung am oberen Ende von Central Park West Richtung Harlem im Central Park zu joggen.

Weiters wird Jakob Bro beim Jazztopad Festival in Wroclaw zusammen mit Ambrose Akinmusire, Isaiah Collier, Brad Jones und Joanne Brackeen Teil des Shape-Of-Jazz-To-Come Orchesters von Denardo Coleman, dem Drummersohn von Ornette Coleman, sein. Beim Winterjazz Festival von New York im Januar wird er mit Mark Turner, CraigTaborn und Marcus Gillmore spielen. Schliesslich ist im Februar wieder die inzwischen übliche einwöchige Residenz im Village Vanguard in Manhattan angesagt.

„In 1975, an iconic moment unfolded in the vibrant cultural tapestry of Greenwich Village, capturing the convergence of two legendary figures in music and poetry: Bob Dylan and Patti Smith. The photograph taken by Ken Regan in a stairwell during a party at Allen Ginsberg’s loft encapsulates the energy of an era defined by artistic rebellion and innovation. Dylan, with his enigmatic presence, had an undeniable impact on those around him, and his entrance into the room sparked a sense of empowerment in Smith. As she recalls in her memoir ‚Just Kids,‘ the knowledge of Dylan’s presence filled her with a sense of worth and connection, reinforcing her own identity as an artist alongside her band. This night was not just a casual gathering; it was a celebration of creative kinship that embodied the spirit of the times.“

„The meeting between Patti Smith and Bob Dylan at the Bitter End marked a significant milestone in her burgeoning career. Dylan, known for his elusive nature, rarely attended shows, making his presence a rare honor for Smith and her band. This encounter was pivotal, as she noted, ‚It was sort of a big deal, because Bob Dylan didn’t really go to see anyone.‘ Their subsequent walks and conversations allowed Smith to relate to Dylan on a deeper level. She recognised a shared artistic vision and a melding of poetry with performance that both artists embodied. This connection not only inspired Smith but also laid the groundwork for her own evolution as a musician and poet, affirming the power of collaboration within the artistic community.“

„Reflecting on their initial meeting, Smith vividly recalls the nerves and excitement of encountering a musical icon she had admired since her teenage years. ‚I mean, I loved Bob Dylan since I was 16 years old,‘ she stated, describing the moment he walked backstage. The encounter was both thrilling and intimidating, leading to a humorous exchange that revealed her playful personality. Her  about disliking poetry was a defense mechanism, akin to a schoolyard crush, showcasing the mix of admiration and vulnerability she felt in Dylan’s presence. This light-hearted banter laid the foundation for a genuine friendship, emphasizing the human side of these cultural titans.“

„Bob Dylan’s support for Patti Smith and her band played a crucial role in propelling them into the limelight. His presence at their shows and subsequent endorsement brought significant attention, ultimately contributing to their eventual record deal. As Smith reminisced, his actions inspired others to take notice, proving that the endorsement of a respected figure like Dylan could open doors in the competitive music industry. This moment was emblematic of how relationships between artists can transcend mere admiration, leading to opportunities that alter the course of one’s career.“

„The friendship that blossomed between Smith and Dylan exemplifies the artistic camaraderie that characterized the vibrant scene of the 1970s. Their shared experiences in New York City’s creative crucible fostered a mutual respect for each other’s artistry. Smith’s acknowledgment of Dylan’s ‚arrogance‘ and ‚humor‘ reflects the complex nature of their bond, allowing her to embrace the idiosyncrasies of a man whose influence loomed large over contemporary music. As they navigated their individual journeys, their connection served as a reminder of the profound impact artists can have on one another, shaping their trajectories in unpredictable ways.“

„Today, as we look back on this pivotal encounter, it serves as a reminder of the interconnectedness of art and the powerful relationships that can emerge from shared passions. Patti Smith’s collaboration with Bob Dylan not only enriched her artistic vision but also highlighted the importance of community within the creative landscape. Their story continues to inspire aspiring musicians and poets, illustrating that even the most  figures began their journeys through authentic connections, laughter, and a mutual appreciation for the transformative power of art.“

SOURCE: Historic Lens Stories