I can't find a decent cover scan of this one. What we have here is a Japanese release from 1999 on Musik Keller (I think), a recital by two pianists: Satoshi Inagaki (稲垣聡) and Ken-ichi Nakagawa (中川賢一; a more traditional way to translate his first name would be Ken'ichi). Only 22 of the 58 minutes are John Cage, to be honest, despite the inordinate size of his name on the cover and spine.
Like I said, no cover scan, but I did provide scans of the rest of the booklet (it's practically all in Japanese though). The tracklist as it appears there is as follows:
In other words, apart from the Cage, there is 'La Théorie', which is the first string quartet by Belgian composer Walter Hus (only here it is somehow performed by the two pianists); there is an improvised 'Super Battle Duo!!!', and it all ends with a performance of Erik Satie's 'Je te veux', again with a generous extra helping of punctuation marks.
Next up, 'Music For Trombone', released on Etcetera in 1992. The trombone is wielded by James Fulkerson, piano and percussion are courtesy of Frank Denyer. You may remember both from The Barton Workshop. On the menu this time:
1. Ryoanji (1985) for bass trombone and percussion obligato
2. Solo for Sliding Trombone from Piano Concert (1957-58) combined with Fontana Mix (1958)
3. Two5 (1991) for trombone and piano
I added scans of the liner notes, the ones in English anyway.
I'm a week late to the party, but I thought I'd join in anyway and celebrate John Cage's 100th birthday by sharing some randomly chosen (of course) albums. First up: The Donald Knaack Percussion Ensemble and Jay Clayton, "Three Constructions", released in 1989 on Tomato.
1. First Construction (in Metal)
2. A Flower
3. Second Construction
4. Forever and Sunsmell
5. Third Construction
Enjoy in his honour.
As promised, here's the second of two obscure Kan Mikami (三上寛) albums I dug up and saw fit to disseminate. This one is as weird as the 'Jumping Beans' 12-versions-of-the-same-song one. "第４詩集: Spirit Of Aomori 2010.12.4" is an odd bag. I haven't had the time yet to sit down with the booklet and try to figure out what it's all about, but it seems to be part of a series that celebrates several regions of Japan and their shinkansen lines (in this case Aomori, the very northernmost region of Japan's main island Honshū, where Mikami is from), and at at the same time a tribute to Shūji Terayama (寺山修司), who is probably best known as the director of such '70s movies as トマトケッチャップ皇帝 ('Emperor Tomato Ketchup'), 書を捨てよ町へ出よう ('Throw Away Your Books, Go Out Into the Streets!'), and 田園に死す ('Death in the Country', aka 'Pastoral Hide and Seek'; this one is amazing by the way, and Mikami is in it!); and also as the founder of experimental musical theater group 天井桟敷 (Tenjō Sajiki), well known for their collaborations with J・A・シーザー (J.A. Seazer). When I find out more about what this is really all about, I'll update this post. Anyway, what you get here is some well-known Mikami songs, newly recorded, some unknown songs, and some snippets of interviews and other talk. An odd mishmash, but somehow very enjoyable and certainly worthy of being rescued from oblivion.
Released in 2010 by H.I.T.
So anyway, when I said 'new posts in the near future', I meant '4 months from now' (apparently). Yes, I've been hibernating, but so what. There's plenty of bloggers still out there, somehow, despite the persistent threat that all their shared files can be deleted without warning at any time. I'm not going to go over older posts myself, I imagine a lot of the links are dead, maybe all of them... If there's anything you would like to see re-upped, ask, and I'll see what I can do... only that Kazuki Tomokawa DVD rip, which seems to be in demand, I don't know... where do people upload files of that size these days? It's been up here for many months, can I pass the torch to anyone else?
Anyway, if I have awoken (however briefly?) from my slumber, it is because I've stumbled upon something I realize I can't leave unshared. Not one, but two albums by one of my favourite artists of all time, that have been out for 2 (the other one) and 9 (nine!) years, respectively - and I hadn't the foggiest notion they even existed! How did that happen?
I don't know, but something tells me I'm not alone in this, so here they come.
First let me remind you that the very first post ever on this blog was a (stunning) Kan Mikami album, so this Mikami-induced resurrection seems fitting. If you don't have that one yet, go get that first. There was also that weird split live album with David Peel, for completists only. Now, first up, here is something entitled ジャンピング ビーンズ, or 'Jumping Beans'. This mysterious 29-minute CD was released by a label called スファイロス (Sufairosu, presumably to be read Sfairos (Σφαῖρος?)). It contains 12 versions of one and the same track (!) - good thing it's a track you won't find on any other Mikami album, and that it's pretty damn great. Sufficient variation makes for a fine listening experience. The track is entitled 闇に浮く ('Yami ni uku', '(I?) Float in Darkness'). The music and fierce growls are by Mikami but the lyrics are credited to one ラロカ・デ・ラ・カーサ (Laroca de la Casa?). The whole thing seems to have something to do with some piece of theatre, presumably about airborne vegetables. OK, so the origins of this little curio remain shrouded in darkness, but at least now we can all listen to it. The other Mikami obscurity is coming up soon (really!).
As we all know by now, the future is looking bleak for blogs like this, and for the internet in general. It looks like some links may be gone due to the whole Megaupload fiasco. I will reupload what I can upon request (just did Aihiyo), and should this blog get closed down (what with the major losses the big labels are no doubt suffering because of me), I may start again somewhere else, I don't know... keep your eyes and ears open and fight the power, or whatever. There's more out there than the crap the majors want to cram down your throat.
Anyway, while I do plan to have some posts of my own in the near future, this one is yet again courtesy of the inimitable Mr. IX - and this time (a Schwebeablaut first!) it's an 80 minute home-made compilation ("mix tape" if you must), and even comes with some very professional-looking artwork you can print, if you want to burn your own CD. Many thanks as ever to Mr. IX!
"This is a very personal mix of music from Azerbaijan, loosely focused on muğam, but much more on personal taste. A bunch of favourite songs, limited to the length of one cd. I could make a four hour compilation but I figured to keep it snappy.
Unesco has something to say about this as well:
The Azerbaijani Mugham is a traditional musical form, characterized by a large degree of improvisation. The Mugham, though a classical and academic art, draws upon popular bard melodies, rhythms and performance techniques and is performed in many venues throughout the country.
Contemporary representations of the Azerbaijani Mugham reflect different periods of Azerbaijan’s history and its contacts with Persians, Armenians, Georgians and with other Turkic peoples. This musical genre shares artistic characteristics with the Iraqi Maqam, the Persian Radif and the Turkish Makams. In the past, Mugham was primarily performed on two secular occasions: the toy, the traditional wedding feast and the majles, a gathering of connoisseurs in private settings. It was also cultivated by members of the Sufi orders and by performers of religious dramas known as ta’zie or shabih. Official competitions and informal contests served to establish the reputation of accomplished musicians.
This modal genre features a male or female singer accompanied by musicians playing traditional instruments, such as the tar (a long-neck lute), the kamancha (a four-string spiked fiddle) and the daf (a type of large tambourine). Since Mugham cannot be transcribed in a fixed form, multiple versions are transmitted by masters who train students in the fine art of interpretation to ensure the variety of this artistic expression.
The Mugham has lost some of its aesthetic and expressive characteristics largely due to European influences, which are particularly apparent in the manner in which contemporary musicians perform and transmit their skills to the younger generations.
There, as much as I appreciate the traditional form I also appreciate the mixing with European influences. For this compilation I kept things fairly but not rigidly traditional. I went for an entertaining listen first and foremost, keeping things diverse but within an esthetic frame, so for instance no jazz/funk, let alone drum computers. Sound quality hasn't been much of an objective either. The songs are put in order and (mildly) segued, so best listen in the order presented, whether you burn to a cdr (small booklet included) or not."
Tracklist (track title - artist):
1. Könlümə düşmüsən - Zeynəb Xanlarova
2. Bir Xumar Baxışla - Şövkət Ələkbərova
3. Sarı Gəlin - Qədir Rüstəmov
4. Mehriban Olaq - İslam Rzayev
5. Mirzə Hüseyn Segahı - Mircavad Cəfərov
6. Şirin Dil - Gülağa Məmmədov
7. Bayatı-Şiraz - Fehruz Məmmədov
8. Daşlı Qala - Əbülfǝt Əliyev
9. Çargyah - Habil Əliyev
10. Anama - Rübabə Muradova
11. Heç Küsməyin Yeridirmi - Natiq Nuriyev
12. Müxalif təsnifi - Bülbül
13. Laylay - Fatma Mehrəliyeva
14. Bakının Ulduzları - Rəşid Behbudov
And don't forget, kids: you got it from Schwebeablaut - where you can download good music in the safety of knowing that you won't have to spend half an hour trying to correct the tags.
[Bitrates are of course lower than usual this time around, but that comes with the territory.]
Oh me oh my, here comes another guest post from the masked blogger, Mr. IX! Many thanks to him.
More vocal polyphony. This is a rip from an old Electrecord (Romanian state record company) with music from a minority that's spread all over the Balkan called the "Macedo-Romanians" or "Aromâni". These recordings are from a section of that called "Fărșeroții", who live in small groups called "fâlcare". An ancient proverb is "the Fărșeroții are never worried, they sing the whole day". They may come from the Dobrogea region in Romania (which crosses the borders of Moldova and Bulgaria), the style is surprisingly similar to South-Albanian polyphony posted here earlier. "Dzeana iu-ți vineai", the fourth track, adds a strange Afro-American gospel feeling to it.
Have at it.
So it looks like I've been terribly lazy with this blog again... Not to worry! In comes a guest post (all good blogs have them!) from a friend whom I will simply call Mr. IX, but who is also known to those who, err, know him as 'He with the vast music collection' or 'He of encyclopedic connoisseurship'. He even deigned to write a little blurb to go with it, and threw in some video links. Thanks, Mr. IX! Here goes.
As a kid I heard music from the Balkans and Anatolia but it took a while out of the parental home to start rediscovering it. The public library was the place to explore in those days and one day I got the Chants Du Monde release "Albania: Vocal And Instrumental Polyphonics". It hit me as one of the weirdest and grimmest traditional musics I heard until then, way before drone became fashionable again through Sunn0))) and the revival of the experiments in that field in the sixties and seventies. Yet, this was no experimental academic music but regular folks singing incredibly subtle harmonies dense with pain and dissonance (not as dissonant as some other traditions I learned later, like Georgian gurian style and gange singing from Croatia, but that stuff is even more alien and hard to relate to). I've heard a bunch of collections of this style of singing and this still stands as my favourite. Especially "Legend Of The Walled-In Woman" is nothing short of breathtaking.
The traditional Albanian polyphonic music can be divided into two major stylistic groups as performed by the Ghegs of northern Albania and Tosks and Labs living in the southern part of the country. The candidature file id dedicated to the iso-polyphonic music performed by the Tosks and Labs of southern Albania. The term iso is related to the ison of Byzantine church music and refers to the drone, which accompanies the polyphonic singing. The drone is performed in two ways: among the Tosks, it is always continuous and sung on the syllable ‘e’, using staggered breathing; while among the Labs, the drone is sometimes sung as a rhythmic tone, performed to the text of the song. It can be differentiated between two-, three- and four-voice polyphony.
Two-voice iso-polyphony represents the simplest form of Albanian polyphony and is popular all over southern Albania. Iso-polyphony is practised mainly by men, but there is a number of female singers, too. The music is performed at a wide range of social events, such as weddings, funerals, harvest feasts, religious celebrations and festivals such as the well-known Albanian folk festival in Gjirokastra.
Albanian iso-polyphony is characterised by songs consisting of three parts: two solo parts, a melody and a countermelody with a choral drone. Four-part singing is found less often and only among the Labs. This form consists also of two solo parts, but is accompanied by a double drone, one choral and one solo. The structure of the solo parts differs according to the different ways of performing the drone, but there is also a great variety of structures within the two drone types, especially in the pedal style that is popular with all groups performing this music.
Over the last decades, the modest rise of cultural tourism, along with the growing interest of the research community in this unique folk tradition, has contributed to the revival of Albanian iso-polyphony.