on life, music etc beyond mainstream


Die Titel von „Discourses“ sind von programmatischer Strenge – the certainties, the suspension, the polarities usw. – und weisen,  Jon Balke zufolge, auf eine immer mehr aus den Fugen geratene politische Rhetorik der Ausgrenzung und  Unversöhnlichkeit. Tatsächlich haben die manchmal zögerlichen, eruptiven, Stille überspielenden Intonationen der menschlichen Sprache spezielle Rhythmisierungen  des Klavierspiels mit auf den Weg gebracht. Dabei sind diese, von allerlei Geräusch angereicherten, sich gleichsam „angreifbar“ machenden, Pianoklänge von jeder epischen Ausschmückung befreit. Dennoch erzeugen all diese prägnanten Stücke, wundersam paradox, einen verblüffend eleganten, kohärenten Spielfluss. 


2020 6 Jul

Diversity Checklist

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Wer bei der Filmförderung Hamburg/Schleswig-Holstein (FFHSH) Fördermittel für einen Spielfilm beantragen will, muss jetzt eine Diversity Checklist ausfüllen — hier zum Download — und mit dem Antrag einreichen.

Was für ein Meisterwerk deutscher Beamtenseligkeit! Da lacht der politisch korrekte Amtsschimmel, bis es kracht. Demnächst werden die FFHSH und ihre Komplizen uns auch noch die Handlung der anzufertigenden Filmwerke vorgeben — rein fürsorglich natürlich, damit wir es leichter haben.

Schafft diese Filmverhinderungsanstalten endlich ab. Vielleicht wird’s dann auch wieder etwas mit dem deutschen Film.




2020 6 Jul

Sechs Sieben Zwanzig

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Seinen Kopf so halten dass niemand hinein sehen kann.

Den ausgestreuten Brotkrumen folgen bis zum Ziel.

Am 5540sten Tag von allen erscheint eine gute Fee und schlägt alles kurz und klein.



Facing You is one of the most important recordings in contemporary jazz for several reasons, aside from being beautifully conceived and executed by pianist Keith Jarrett. It is a hallmark recording of solo piano in any discipline, a signature piece in the early ECM label discography, a distinct departure from mainstream jazz, a breakthrough for Jarrett, and a studio prelude for his most famous solo project to follow, The Köln Concert. Often meditative, richly melodic, inventive, and introspective beyond compare, Jarrett expresses his soul in tailored tones that set standards for not only this kind of jazz, but music that would serve him and his fans in good stead onward. In this program of all originals, which sound spontaneously improvised with certain pretexts and motifs as springboards, the rhapsodic „Ritooria,“ 4/4 love/spirit song „Lalene,“ and song for family and life „My Lady; My Child“ firmly establish Jarrett’s heartfelt and thoughtful approach. „Vapallia“ cements the thematic, seemingly effortless, lighter — but never tame — aesthetic. „Starbright“ is an easy-paced two-step tune signifying fully Jarrett’s personalized stance. Straddling a more jagged, angular, and free edge, the pianist evokes the influence of Paul Bley during „Semblence“ (sic). But it is the opening selection, an extended ten-minute opus titled „In Front,“ that truly showcases Jarrett at his playful best — a timeless, modal, direct, and bright delight. A remarkable effort that reveals more and more with each listen, this recording has stood the test of time, and is unquestionably a Top Three recording in Keith Jarrett’s long and storied career.

Michael G. Nastos, allmusic


2020 1 Jul


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Among the bunny bunch of recently covered and anticipated songs is „You“ by the group Ten Sharp, which I always liked listening to, remembering those radiodays at the construction sites. Found it as exhilarating as Bruce Hornsby’s „The Way It Is“ or Anastacia’s „Sick and Tired“. Luckily there is an overdub function on my little recorder which makes it easy to do a quick take and saves me from rheumatic symtoms while diving for hours into music, cable-tangling and technical overloaded issues: frozen bones in an advanced age. This fact offers another point of identification with detective Harry Ambrose, who tried to catch a Nietzsche-influenced criminal, permanently hobbling with sciatic problems through the third season of the fantastic and dark series The Sinner. Further on it reminds me of philosopher Dietmar Kamper, who once wrote that stumbling is the most appropriate way to move for man and mankind. So here we are, cheeky stumbling into fingerpicking again, just for fun and fit for „You“.


2020 1 Jul

Simple Twists

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the loss of light in less sleep, feeding minutes

after rain‘s landing, counting sheep vanishing with

the half-serious question for the bakery‘s opening,

and a song from Liege & Lief , low in the ear, a reliable,

not so reliable call for dreaming the highlands,

last notes hanging, painting clouds, simple twists.



It all begins with „empty streets“, literally, cause that‘s the title of the opening track. Lascelle Gordon plays drums, percussion, electronics, combining, dissecting all the shining bits from the outer districts of real and imaginary cities. Melting pot music, wonderful in its ways to make you feel lost and strangely attracted at the same time. In some of its faraway places there is an impressionistic flair, not unlike Jon Hassell‘s latest album. A different way of haunting and playing tricks with your mind is at work here though: the sounds come from so many sources that every attempt to create a reliable map will lead you to nowhere land „where the streets have no names“. Luckily that awful song has no chance to get its jukebox sample appearance here. Peter Jones says that some piano playing reminds him of Robert Wyatt. Get your point, but old Robert’s voice murmuring some sweet nothings between foggy soprano sax lines, that would be the real  revelation – I can imagine it all too well. The whole album is so crammed full of strange exits, found voices, synthetic breathing, grooves you may call groovy and red district sensualism that it makes you wonder from time to timelessness what the fuck is really going on. Fuck knows. But it‘s a marvel. And it is definitely not a dream  that 72-year young British vocalist Maggie Nichols is stealing the show from some of the younger ladies who occasionally walk a thin line between old time „Smooth Operator“ vibrations, and an admittedly soulful blow job overture. No offense. A merry-go-round of sorts. There are deep layers here, echoes of  cosmic jazz, rock and old new wave (Lascelle likes A Certain Ratio), funk, dub, electronica and found sounds. In interviews, Gordon has cited James Brown, Can, Herbie Hancock, Weather Report, the Art Ensemble of Chicago and the ECM catalogue. (Well, Lascelle, where’s the ECM catalogue here?!) Another minor quibble: the ending comes all too sudden and would work better with some looped infiltration from the „Heavenly Music Corporation Inc.“ by the likes of Fripp & Eno. Nevertheless: kudos to a sophistcated mesh-up of British jazz-psychedelia! Great music for indoor sports at nighttime.

– written by M. Engelbrecht (most of it) and P. Jones (a little bit of it)



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