Manafonistas

on life, music etc beyond mainstream

2016 18 Jun

Long Highways, Lost Illusions & Songs Of Surrender (2)

von: Michael Engelbrecht Filed under: Blog | TB | 6 Comments

 

 
 
 

„NEULAND“ (die ersten zwei Stunden) – 1) Anohni: HOPELESSNESS // 2) Masabumi Kikuchi: BLACK ORPHEUS // 3) Teho Teardo & Blixa Bargeld: NERISSIMO // 4) Brian Eno: THE SHIP // 5) Naqsh Duo: NARRANTE // 6) Carla Bley: ANDANDO IL TIEMPO //// 7) William Tyler: MODERN COUNTRY // 8) Piano Interrupted: LANDSCAPES OF THE UNFINISHED // 9) Legendary Pink Dots: PAGES OF AQUARIUS // 10) Paul Simon: STRANGER TO STRANGER // 11) Jack DeJohnette / Ravi Coltrane / Matthew Garrison: IN MOVEMENT // 12) Fripp & Eno: THE EQUATORIAL STARS

 
Teil 1
 

 
Teil 2
 

 
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NAHAUFNAHME: THE BRIAN ENO SURRENDER MIXTAPE

 

Harold Budd / Brian Eno: Still Return, aus: THE PEARL /Brian Eno: Just Another Day, aus ANOTHER DAY ON EARTH / Brian Eno: The Big Ship, aus ANOTHER GREEN WORLD / Brian Eno: I’m Set Free, aus THE SHIP Brian Eno: THURSDAY AFTERNOON (accompanied by some thoughts and stories about childhood, surrender, and the sea) /  Brian Eno: Fractal Zoom, aus NERVE NET / Brian Eno: Lizard Point, aus ON LAND / Brian Eno: Back in Judy’s Jungle, aus TAKING TIGER MOUNTAIN (BY STRATEGY)  / Brian Eno: NEROLI

 
The book with the „carneval scenery“: Barbara Ehrenreich’s „Dancing in the Streets – A History of Collective Joy“
 
 

 
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ZEITREISE (1) 
 

1) Rolf Lislevand: LA MASQUERADE
2) Fennesz: MAHLER REMIX
3) SWANS: THE GLOWING MAN
4) Dexys: DEXYS DO IRISH AND COUNTRY SOUL
5) Swans: THE GLOWING MAN
6) Fennesz MAHLER REMIX

 
 

 
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ZEITREISE (2) – Tony Conrad with Faust: From the side of man and womankind, aus OUTSIDE THE DREAM SYNDICATE

 

“ … Jean-Herve amd Zappi stand in front of the curtain, ready to take on the audience. The roar is incredible, from the stage and from the audibly diagruntled audience. (Sorry, English audiences, you get the „award“ for that.) The soundman is going for the board, threatening to shut it down, while Jeff Hunt is physically preventing him. Jean-Herve is bleeding on bis bass. Zapppi is relentless. I am both in awe and in pain. Standing a few feet in front of me, in duplicate: Tony Conrad, his body sweeping wide shapes thelugh the space, yet his fingers moving with the most elegant precision. … “ (Jim O’Rourke in seinen liner notes zur exzellent gemachten Vinyl-Wiederveröffentlichung des Klassikers von 1973)

 

 

ZEITREISE (3) –  Mabrak: Jigsaw (several tracks of side two (in a row) of the vinyl reissue of that buried treasure of Reggae history, department of musical hypnotism)

 

„Experiments in percussion, in the middle of the night at Harry J’s. Funky versions of rhythms like Curly Locks and Too Late To Turn Back Now, led by talking drums. Blaxploitation is in the air… the Staples… even a blast of Barry White. Beautifully mixed by King Tubby, who couldn’t believe his ears. Originally released in 1976, in paper inners only. Smartly sleeved in quintessential Dug Out style this time around — with an insert, including a recent interview with Mabrak.

Some of you might hear from Mabrak for the first time now. Be careful: once tuned in, it might easily turn into addictive listening. The talking drum as a lead instrument was a kind of „deeply rootded novelty sound“ – the ascetic outfit of the band must have been a dream come true for King Tubby’s mixing desk. Or is this whole story just made up? Fooling you into a short chapter of the long history of great unmade albums? No. it really exists.“

 
 

 
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A list of 20 and more irresistible, mindblowing Reggae- and Dub-Classics, cherished, buried, whatever

 

1) Dadawah: Peace and Love / 2) Bob Marley and the Wailers: Catch A Fire / 3) Congos: Heart of the Congos / 4) Lee Perry: Super Ape & Arkology /5) Cedric Im Brook: The King of Saba / 6) Burning Spear: Marcus Garvey & Garvey’s Ghost / 7) Linton Kwesi Johnson: Bass Culture / 8) Mabrak: Jigsaw / 9) Culture: Two Seventh Clash /10) Bim Sherman: Across The Red Sea / 11) Count Ossie and The Mystic Revelation of Rastafari: Tales of Mozambique / 12) Rhythm & Sound w/ Tikiman: Showcase / 13) The Abyssinians: Satta Massagana / 14) Bob Marley: Exodus / 15) Joe Higgs: Life of Contradiction / 16) Bobby Kalphat: Zion Hill / 17) Jimmy Cliff: The Harder They Come  / 18) V.A.: Trojan Nyabhingi Box Set / 19) V.A.: 100 % Dynamite (Studio One)  / 20) Peter Tosh: Equal Rights

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6 Comments

  1. Michael Engelbrecht:

    Samstag, 18. Juni 2016 um 09:26

    Zu LA MASQUERADE, von ROLF LISLEVAND (ECM NEW SERIES)

    Rolf Lislevand hat interessante liner notes zu seiner Aufnahme in Lugano geschrieben, die deutlich machen, wie sehr diese Musik damals alles Regelwerk regelmässig an den Rand der Verzweiflung brachte.

    Was war das für eine seltsame Empfindungswelt, wenn diese Musik am Hof des Sonnenkönigs erklang, und Robert de Visee oder Francesco Corbetta bei Spaziergängen auf dem Schlossgelände dem König folgten, ein paar Schritt dahinter – die ersten Walkmans der Musikhistorie.

  2. Michael Engelbrecht:

    Samstag, 18. Juni 2016 um 10:15

    http://manafonistas.de/2011/06/08/mein-letztes-brian-eno-interview-2005/

    …nicht das letzte Interview, aber eins, das eine gute Ergänzung zum „Surrender Mixtape“ darstellt ….

    Und das hier auch, vier Teile:

    http://manafonistas.de/2014/05/01/between-the-stone-the-ocean-an-interview-with-brian-eno-and-special-guest-karl-hyde-part-14/

  3. Michael Engelbrecht:

    Samstag, 18. Juni 2016 um 10:23

    Old mail for the Hennessys:

    You should hire a car, drive through the roads of the Timanfaya hills, perfect small high-ways in between the ashes of volcanos.

    You should enjoy, in the morning, being nearly alone on Mirador del Rio, and see La Graciosa before your eyes, like a painting. I once was there when fog made nearly everything invisible, but then, within an hour, and music in my ears (from Kranky Records) the light came through, small dots, and you could see more and more of small island besides Lanzarote. Awesome.

    You should also go, early in the morning to the famous beaches besides Playa Blanca. in the morning, before 8 o’clock, no one is there, and the temperature already high. In Arrieta it’s fun to eat at the restaurants at the beach, the best fish restaurant in Puerto del Carmen is “Les Sardineros”, at the old habour. Simple and great.

    And if you like Italian food, go to la Trattoria Antica Verona, at the beginning of Puerto del Carmen (from your side) they have good pizzas, and the best orange juice of the world. 700 m from there, and there you’ll discover a small stand (don’t miss it) with the best Italian ice cream of the Canaries:!

    But don’t go to the valley of 1000 palms. It’s hot, dead and merciless. Recommended, too: the house of the local hero, you know the artist Cesar Manrique, painter and much more who died by accident on the island he loved, in 1992. in his house an old Miles Davis record could be heared, I think it was My Funny Valentine.

    I had only one cd in the car during this week. Neil Young: On The Beach. The dark side if the hippie era anno 1975. Would be nice to hear from you.

    And in one of the “cuevas” (nice cafe) they still play Eno’s “Music For Airports” from time to time, and the composition “Lanzarote”. Years ago Brian Eno played down the bottom of a volcano! It was fun, but no one was prepared for the cold ground at midnight. A hug for your husband Tom.

    Best, Michael.

  4. Lajla:

    Samstag, 18. Juni 2016 um 11:40

    Moin Moin. Konnte die Sendung! in einer Garage bei holl. Freunden hören. Super Sound. Beim ersten Ton bin ich fast aus dem Bett gefallen. Hammer!

    Schön wie du das abgerundet hast. Auch Hammer:)
    Klar, Country vom feinsten. Fehlten nur die am Lagerfeuer gegrillten Marshmellows.

    Brian, my goodness.

    Diese wunderbare barocke Darbietung war grandios. Warum ich da ein Günter Eich Gedicht zwischengeschoben hätte, kann ich garnicht begründen.

    Wirklich klanghorizontal voll gut.

  5. Michael Engelbrecht:

    Sonntag, 19. Juni 2016 um 13:19

    Barbara Ehrenreich is a writer and thinker involved in the exploration of social phenomenon. She is certainly a political thinker and definitely has a point of view about social phenomena as they impact modern life. She is not an historian or an anthropologist. I’m at a loss to understand the criticism of this book based on what it never pretends itself to be, a history of dance or an anthropological study of the ecstatic phenomenon.

    Several people have found it necessary to point out that Barbara Ehrenreich is on the left politically and a product of the 1960s with an „ah hah“ mentality that seems to indicate she has has somehow tried to hide this, or that it inherently shameful.

    Social thinkers who propose changes in the way we currently conduct our lives or our society ALWAYS have ideas which they promote (pejoratively described as biases) because they actively advocate for change. It would be dishonest to attempt to hide them behind a false „objectivity.“

    This kind of false „objectivity“ has sapped the life, not only from much that passes for social commentary, but also from investigative journalism, in which the collection of a quote or two from „authorities“ on each side of a conflict has replaced the search for the truth about a given situation. It has also lead to the false notion that the truth is always located in the middle of the road.

    Bravo to Barbara Ehrenreich who never hides behind this sort of fakery in her search for the truth as she sees it. She invites readers to join the dance of two minds, the writer’s and the reader’s, in thinking about topics that engage her own thoughts.

    Some critics seem to be attacking the fact that her writing is interesting and fun to read. Never fear! I managed to read the book and enjoy it very much while maintaining my critical faculties and without agreeing with every one of Ehrenreich’s conclusions. I did learn a lot AND my mind was engaged to think about dance and the human capacity for collective joy in ways that are new and exciting to me.

    – B. Gordon (guest manafonista)

  6. Michael Engelbrecht:

    Montag, 20. Juni 2016 um 14:09

    „On the shambling, hypnotic ‘The World Looks Red/The World Looks Black’, played in the fourth hour, Michael Gira’s vocal takes sweep and creak like monastic chants, a constant guitar jangle at the back corners of the mix pinging the brain. “Walk on my fingertips,” he intones. “The weight of my body is too much to bear.” The song rocks and spins, a physical manifestation of meditation in which mindfulness of the body, however painful, pushes away the world.“

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