Manafonistas

on life, music etc beyond mainstream

2019 17 Feb

„And then comes the night“ („Klanghorizonte“, DLF)

von: Michael Engelbrecht Abgelegt unter: Blog | TB | 8 Kommentare

 

 

 

 

Well, we didn‘t find the first twenty minutes. So I tell what you miss – it all started with Julia Kent‘s new solo cello work „Temporal“, followed by a free improvised piece called „Perpetum“ from Mats Eilertsen‘s album „An Then Comes The Night“. Then Joe Lovano‘s TRIO TAPESTRY, is taking center stage, who might have painted his masterpiece here, and I’m saying something like this:

„Oh, look at the cover of this ECM production, and you‘re easily tricked with a shining portrait Blue Note-stlye. Lovano  with glasses, hat and saxophone standing at the East River, the Brooklyn Bridge, the chilling skyline, you‘ll think about old school ballads and standards, no way, all Lovano originals, crisp, sharp, intense, even the silence between two notes no old hat at all – chapeau!“

Lovano plays „Mystic“, with the ghostly exhoes of drummer Carmen Castaldi, following some uninhibited praise on Rustin Man’s „Drift Code“, and there he comes, Paul Webb talking about the building of his studio in the middle of nowhere – at the  end you can hear, dear listener, for a short a moment, an aereoplane in the sky, we‘re somewhere in Essex, not so very far away from Stanstead Airport.

(Another twist and turn just happened, with the sudden appearance of the infamous „radiohoerer“ sending us the complete files of the first hour, and before midnight, we will reveal its shining glory in toto, but without cancelling my introductory words. They may be fun for American and English listeners.)

 

 

 

 

FIRST HOUR – Julia Kent TEMPORAL / Mats Eilertsen AND THEN COMES THE NIGHT / Joe Lovano TRIO TAPESTRY / Rustin Man DRIFT CODE / Yonathan Avishai JOYS AND SOLITUDES / Eleni Karaindrou TOUS LES OISEAUX / Rustin Man DRIFT CODE / Josephine Forster FAITHFUL FAIRY HARMONY / Larry Grenadier THE GLEANERS / – (incl. two excerpts from my interview with Paul Webb)

 

SECOND HOUR – STERNZEIT – Dominic Miller ABSINTHE / Robert Forster INFERNO / Aaron Parks LITTLE BIG / Stale Storlokken THE HAZE OF SLEEPLESSNESS / Lau MIDNIGHT AND CLOSEDOWN / James Yorkston THE ROUTE TO THE HARMONIUM (two songs) / Lau MIDNIGHT AND CLOSEDOWN / Oyvind Torvund THE EXOTICA ALBUM – (incl. two excerpts from my interview with James Yorkston)

 

 

 

 

THIRD HOUR – „Close Up“ – The Thrills of „Library Music“ („If you’re a fan of period instrumentals, peculiar jazz curios, soundtrack oddities or anything that works as „background music“ but isn’t nearly as dull as that description implies, Unusual Sounds is an absolute goldmine. The Anthology Recordings team has assembled a gorgeous collection of, well, unusual sounds that belong in any adventurous music lover’s collection.“)

 

 

 

 

FOURTH HOUR – time travel (1) – Michael Rother‘s SOLO box set

 

FIFTH HOUR – time travel (2) – Prefab Sprout‘s I TRAWL THE MEGAHERTZ & Dictaphone‘s DENOVALI BOX SET

 

Saying thanks: This radio night wouldn‘t have been the night I had wished for without the support of Jan Reetze who filled some holes I had in my mind about the life of Michael Rother after 1982, without the passionate working with the devil in the details by Joey Siemer, or without the support of the really smart Lukas Lassonczyk of Domino Records preparing my phone interviews with some far away places in England / Scotland, you know, that country who is again dreaming about splendid isolation and old times of glory with their fucked-up Brexit politics.  Not to forget the constant support of  Christian Stolberg (ECM) who even selflessly sent me the only record I didn‘t like from Mr. Garbarek in the 70‘s, this erratic duo with an organ player in a Norwegian church, „Aftenland“, still a mystery to me, after giving it a second chance, what may be the thrill of it. And of course, thank you, Gregs, for preparing the phoners for audio cd and setting up some traps I immediately stepped in – just joking, it was not your fault, that Mr. Yorkston suddenly stopped speaking after his postman rang on the door. And, be aware, this was a five hour long live night show, so please enjoy my errors and mistakes, and speaking a bit too much on alcoholic drinks – blame it on Dominic Miller‘s  „Absinthe-fuelled“ fantasies on impressionism, Les Baxter‘s  mild drinking habits while composing „Taboo“ and dreaming about wild beauties of the South Seas, and Rob Young’s funny liner notes on „The Exotica Album“!  This list would be uncomplete without mentioning the irreplaceable  Ed Benndorf who sent me, days before the show, and out of nowhere, two brand new HUBRO albums that became the icing on the cake of the second hour, and without his intuitive sense for my more whimsical appetites for obscurities, I would probably  never have ended up getting lost in the shadowy world of library music.

 

Dieser Beitrag wurde geschrieben am Sonntag, 17. Februar 2019 und wurde abgelegt unter "Blog". Du kannst die Kommentare verfolgen mit RSS 2.0. Du kannst hier einen Kommentar hinterlassen. Pingen ist zur Zeit nicht erlaubt.

8 Kommentare

  1. Michael Engelbrecht:

    Seventeen years after former Talk Talk bassist Paul Webb made his first record as Rustin Man – Out of Season, with Beth Gibbons – he’s finally putting out a solo album. Apparently he wanted to learn the assorted instruments he plays on it well enough to be comfortable recording himself, and had to build up the arrangements as his capabilities increased.

    Each instrument’s contribution to the album was recorded in turn, rather than track by track, yet it sounds like an organic whole. In fact, it sounds magnificent. There’s an appealing woodiness to it, not just to Webb’s attractively weathered voice, but to the warm and rich arrangements, where brass, keys and Lee Harris’s subtle, limber drumming propel the songs back and forth between psychedelia and folk.

    The World’s in Town occupies a place not dissimilar to the one Pink Floyd sometimes occupied in the 1970s, on those surprisingly intimate, lazy ballads. Drift Code has sturdy songs, which are in turn given a patina of age by the way Webb has recorded them.

    It’s not so much that something like Our Tomorrows sounds as if it could have been recorded in 1971, more that it seems to exist in a time of its own. Occasionally, one is reminded of Broadcast at their most pastoral, for that same determination to find or found some timeless folk tradition of their own. It’s gorgeous.

    (Michael Hann, ***** (The Guardian)

  2. Lorenz:

    Ich habe mir die „dictaphone“ Collection gekauft – ich kannte sie nicht. Grandios. Wieder ein toller Tipp, danke! Ich höre die Musik gerade fast ununterbrochen. Nur unterbrochen von den beiden Platten von “O.rang“ aus den 90er Jahren. Ich stieß darauf durch die Homepage von „Rustin Man“ (auch wieder so ein toller Musiktipp). Da schreibt Paul Webb auch über dieses experimentelle Projekt mit Lee Harris. Darauf habe ich mir (ausnahmsweise) die Downloads gekauft. Zwei absolut außergewöhnliche Alben, finde ich.

    Viele Grüsse aus Echterdingen

  3. Michael Engelbrecht:

    JAMES YORKSTON LIVE

    02.04.2019 Frankfurt, Brotfabrik
    03.04.2019 München, Unter Deck
    04.04.2019 Berlin, Heimathafen Neukölln

    “I wasn’t caught up in the wars of Irish Independence, except by the noose of a religion, hung around the neck of a gullible schoolboy” he utters on ‘The Irish Wars of Independence’, one of three powerful spoken word tracks on the record, continuing “if your god is asking you to hate, well friends, you’ve made a big mistake”.

  4. Marco:

    Lovano-Cover:Der Fluß ist meiner Meinung nach der East-River, nicht der Hudson. Im Hintergund die Brooklyn Bridge, etwas weiter vorne die Manhatten Bridge …

    Mit aufmerksamen Gruß!

  5. Michael Engelbrecht:

    Thanks.

    And you‘re right …

    youtube.com / watch …

  6. Michael Engelbrecht:

    Robert Forster & Band, Germany:

    30th April 2019: Berlin, Festival Kreuzberg
    1st May 2019: Hamburg, Knust
    3rd May 2019: Münster, Gleiss 22
    4th May 2019: Bielefeld, Forum
    5th May 2019: Bonn, Harmonie
    7th May 2019: Frankfurt, Zoom
    8th May 2019: Schorndorf, Manufaktur
    9th May 2019: München

  7. Michael Engelbrecht:

    For decades, library music has been a world of shadowy, mysterious depths – a place where only the most serious record heads dared to dive. It has no one genre, in fact it has them all and is one all its own. Often its artists come without a name. It’s albums, thousands upon thousands of them, were pressed but never released commercially, circulated within the film and television industries, but slowly, over the years, slipped out into the world. These LPs, the height of which appeared across the 1960’s and 70’s, but stretch from the earliest days of radio to this very day, carry descriptions which often give little clue to what they contain. In a nutshell, it is among the hardest arenas of music to crack, which is why Anthology Editions latest in a string of incredible books, David Hollander’s Unusual Sounds: The Hidden History of Library Music, is about as valuable as books about records come. It brilliant piece of work, and an open door to a widely unrecognized and misunderstood world.

    As anyone who knows anything about Library music knows, the only way to define it is with the simplest means. It is music which has been made within the recording industry to offer radio, film, and the television a cheap alternative to commissioning original scores – a kind of readily available, and recyclable, stock music. Beyond this there is no firm definition. It can be anything which music is or aspires to be. It stretches from the towering heights of creativity, to the depths of kitsch, schlock, & camp. It is precisely this which has made it so desirable to such a wide range of collectors over the years, with DJs, samplers, and beat-makers, as likely to be found at the bins, as the most devoted of experimental music fans. This is also why so many dare not stray down its paths. It’s incredibly hard to get your bearing and know what is what.

    While the quality of music varies vastly, part of what makes library music so fascinating, is how incredible and ambitious much of it turned out to be. Streams of composers used it as a mask to unleash strange experiments into the world, while remaining largely unknown outside of the industry walls. Among its many incredible attributes, this what makes David Hollander’s Unusual Sounds: The Hidden History of Library Music, such an incredible and amazing piece of work. It puts a names and stories with much of the best of this work- singling it out, sifting, and celebrating. It is not your average book on records, nor the sort featuring page after page of great cover. It is a rigorous, in depth, but accessible piece of work, unwinding decades deep shadows and mysteries, returning humanity and the notion of art to a territory which has so often been denied those designations.

    Across its 332 pages and 422 images, Unusual Sounds takes a deep dive into a musical universe which has largely remained only accessible to producers and record collectors – a celebration of this industry at the nexus of art and commerce. Filled with interviews, intimate narratives, meticulously divided by label and country of original, Unusual Sounds also features original art by Robert Beatty and an introduction by George A. Romero, whose use of library music in Night of the Living Dead changed film history. Mandatory reading for anyone interested in this enigmatic field and its hidden but pervasive cultural influence. As far as expansive cultural surveys or books on records go, this one is as important as they get. Grab it fast, everyone is already scrambling for this long over due look at a wonderful world.

    written by Margaret Manney

  8. Michael Engelbrecht:

    Every once in a while there comes along an old-fashioned, experimental song album that is overflowing with ideas and melodies, nevertheless focussed and carefully assembled up to the tiniest details, at the same time extremely relaxed (close to an ancient J. J. Cale vibe), with a broad palette of rare sounds and a stunning theatre of voices (mainly from the man himself) – altogether a wonderfully performed manual in getting lost, though always linked to a deeply human agenda of our existence.

    Rustin Man‘s Drift Code is such a work. Paul Webb has learned some reverberating lessons in the nights and months of Talk Talk‘s Spirit of Eden recording sessions, and following an old tradition from the likes of Scott Walker and Robert Wyatt, he‘s not hesitating to nearly disappear for many years (after his marvelous expedition of Out of Season with Beth Gibbons), risking dust from the history books, just waiting for the music to finally fall into place (exuding an energetically pure and primordial atmosphere, nothing less).

    Drift Code (CD, LP, DL) may be the perfect album for those armchair travelers who love to listen to albums from start to end, with a knack for the strangeness of things they only think they know about.

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