flowworker.org

einmal eröffnete einer seiner songs eine nicht nur von mir geschätze tv-serie, und der ungemein eindringliche song führte uns aus faszinierende art in eine welt diverser abgründe. nun sitze ich hier im besten restaurant von matala, habe einen „seabrass“ verspeist, und um den fisch herum das erste risotto ever erlebt, das mich umgehauen hat. zeit für ein cappuccino, und ein neues rätsel, und der erste, der mir den namen des künstlers / acts schreibt, in den comments hier, nicht als private mail, bekommt um nikolaus die cd nach hause gesendet. sie erscheint (oder ist erschienen) zwischen september und november 24. auf einflüsse angesprochen, die sich auf dieses album ausgewirkt hätten, ohne unmittelbar hörbar zu sein, in der einen oder anderen weise, nannte er / sie / die band (ich will es ja nicht zu einfach machen) Mazzy Star, Beth Gibbons, Gene Clark – und Sade . good day and good luck! (m.e.)

Rätsel gelöst: HIER ein Song aus „Small Changes“. Tom Doyle fühlt sich in seiner Besprechung in der Dezemberausgabe von Mojo von ferne an „Dry The Rain“ von The Beta Band erinnert – LISTEN!

“(…) The album is playful, too. Audience applause and babble opens Lowdown Part 1, in which a rolling Pino Palladino bass part and Al Kooper-styled Hammon interjectiojs conapire to evoke a kind of downtrodden take on The Beta Band‘s Dry The Rain, replete with a naggingly beautiful melody. (…)“

I am stepping in the toes of Joni Mitchell‘s Matala experience in 1969 or 70, with a little problem. She wrote here first famous „Carey“ lines: „The wind is in from Africa. Last night i couldn‘t sleep“ . My „little insomnia“ is possibly not related to winds crossing the Lybian Sea, and not to any die hard problems. And it is very probably not coming from my melancholic episode last night when strolling the Matala Hippie Boulevard Of Dreams. One moment alone, staring at the black colour of the sea, sounds wrapped me up from behind, i turned around cause my ears were caught by a sweet magic melody from a totally empty Merino Bar. Only the girl who makes the drinks sent me a smile for being her guest, i kindly resisted, and for a moment the saxophone in that song i loved in the days that were the days, rang a bell: oh, these famous sax lines in „Baker Street“. Mellow me! How deep down it went, this song, anyway (if you read the lines of Mr. Rafferty‘s song). I was transported into a time where music was pure presence and dream and adventure and a look for elevations to come. Even reflecting losses, had a shining facade. This acoustic trigger of future feelings and dances is somehow diminished and lost by age where 69 is not your regular thrill, but a number of age, of days growing shorter. So that special song that wrapped me up, burned itself inside with tenderness, a time travel machine to Würzburg in those mid-seventies, was „Year Of The Cat“. „She doesn’t give you time for questions as she locks up your arm in hers. And you follow ‚till your sense of which direction completely disappears“. I think I will give this song another quiet shot tonite making it my dream path to sleep sleep sleep sheep sleep… I hope the scent of patchouli (in that song) doesn’t completely kill me.

Today Alabaster DePlume – saxophonist, songwriter, poet, orator, activist,  shares Prologue To A Blade, a series of creative statements setting the stage for a larger project arriving next year.

The Prologue includes a beautiful new digital EP – featuring two tracks recorded in Palestine with local musicians, pianist Sami El Enani and Qanoun player Laith Albandak, and a third track inspired by the experience of living in solidarity with the people of Palestine – which is out now on all digital music platforms.

This body of work lays the foundation for his evolving artistic journey, as he explores the role of dignity in healing and its impact on community, society, and humanity. 

was für ein Lied, so traurig, so herzzerreissend. Robert Wyatt liebt es, das weiss ich.

Im Hotel.

• Du, ich muss dich was fragen. Ich bin Didier aus Graz.
• Michael.
• Ich habe der Nicole das schon gesagt. Nun frag ich mal.
• Nur zu.
• Bist du in der Musikbranche?
• Ja. Also, auf der anderen Seite. Im Radio
• Ich wusste es! Ich mach seit Jahrzehnten Musik.
• Was?
• Hardrock und Stoner. Circle Creek.
• Wir haben uns was zu erzählen.

In einem ausführlichen Interview etwas älteren Datums (2008) – HIER in TheQuietus – spricht Robert Wyatt mit Jonny Mugwump über sein Leben und seine politischen Überzeugungen, seine Nervosität bei Aufnahmen mit Bjork und die Bedeutung von Unvollkommenheit in der Musik. By the way, he‘s still alive and kicking. Read about Richard Williams‘ visit at Robert‘s home recently in „The Blue Moment“!

I travelled three times to London to interview Robert and Alfe on „Dondestan“, „Shleep“ and „Cuckooland“ in the times of their release. Unforgettable, when, on the hottest day of that summer of 2003 , we were lead to the empty Purcell Room, that excellent concert hall, and then moved though every track of „Cuckooland“.  At one pont Robert told me how Brian Eno sang his part of the uncanny „Forest“ with opulent arm gestures of an opera singer. (And what a deeply moving song that is, from two of my favourite singers ever!) Many of his stories blurring the lines between the private and the political. And such a great humour, too. He‘s life‘s company, always has been! (m.e.)

Paul Motian’s nice Cindy McGuirl maintains her uncle’s archive (Uncle Paul’s Jazz Closet Radio) and runs a revealing podcast with interesting, surprising, astonishing material from that extensive archive. This time material is presented on the occasion of Indigenous People’s Day related to Motian’s fellow musician Jim Pepper (1941-1992), a Kaw Muskogee Creek native. Yes right, the one and only Jim Pepper of the famous WITCHI-TAI-TO, that Peyote cult song. Besides Pepper there are more Native American influences in jazz and popular music e.g. Don Pullen, Don Cherry, Robbie Robertson and Jimi Hendrix.

here is THE BLOGSPOT and here is THE PODCAST

Brian Eno und Yanis Varoufakis fordern in offenem Brief – HIER – an den Internationalen Strafgerichtshof sofortiges Handeln gegen Kriegsverbrechen der israelischen Regierung.