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Tuesday, May 13, 2008

David Remnick of the New Yorker offers this list of 100 essential jazz albums. Note that many of them are not albums but mammoth multi-disc retrospectives covering vast spans of time. It would be interesting to see what a list like this would look like if you decided to only include actual albums of original material: i.e., all things like “Dexter Gordon, Our Man in Paris (Blue Note, 1963)” and no “Django Reinhardt, The Classic Early Recordings in Chronological Order (JSP, 2000; tracks recorded 1934-39)”. Is there a case to be made for a jazz album qua album? Probably a better one than can be made for rock records.


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Tuesday, May 13, 2008

“Louisville is death you’ve got to get up and move, because the death do not improve” – Silver Jews “Tennessee” from the album Bright Flight


In a recent interview I conducted with David Berman, renaissance man of the Silver Jews, he was thinking of changing the aforementioned lyric for the upcoming tour. He also claimed he’s never been able to play it in Louisville, obviously. But this is a lyric that needs to be heard by the people of Louisville – and they need to be confronted with it directly. Mr. Berman beating around the bush is going to do no good as far as a songwriter goes – because during his near two decade career and many one-liners – this is one of the most prominent lines, one which struck home with a lot of people (including myself) in the town.


If you’ve never spent a decent amount of time within the city, than this line may just be another bundle of words that sound meaningful coming out of Berman’s growl. But let me let you in on a little secret – Louisville, as Berman claims, has had a “dark star” hanging over its head for quite some time now. Not quite as bad as it did back in the ‘90s, but it’s still dangling in sight. The town is full of a never-popping bubble of musicians that attract a wider audience for a local show than a national show – some may say this is a good thing, but by alienating themselves from the rest of the musical world, it only hurts a musical community. This mentality has kept a lot of musicians within the city from getting widespread acclaim. The one’s that have made it generally dispersed to outside cities such as Nashville and Chicago to get in with a different crowd of musicians, such as Tortoise and David Berman himself.


With this said, Louisville has somewhat detached of this clique mentality over the past several years, mostly because so many different genres are coming out of Louisville and bands find themselves not working on common ground. The town needs to take to heart Berman’s words and not fall inside the hole they once created.


Tagged as: silver jews
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Monday, May 12, 2008

I can only hope that the author of this recipe blog continues posting. Without it, I would have never learned that “brownies are one of the truest manifestations of metal in the scope of baking. Nestled inside their dark, viscous hearts lies a sickening world of decadence.” Or that “boiled down to its very essence, metal is nothing more than a mixture of molasses and alienation.” And there is so much more to learn about the dark confections. (via boing boing)


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Sunday, May 11, 2008
David Lynch is very much like God. I watch his movies the way I look at the creation of the world: most of the time I can’t claim to discern what’s going on, but someone seems to have gone to a great deal of trouble.

There are some movies that require a certain commitment of time to figure out what is going on. David Lynch’s movies, I’ve become convinced, are about trying to figure out what’s going on. And that’s fine, as far as it goes. In its art-for-art’s sake, uber-pretentious, anti-commercial, anti-audience sensibility, Lynch hoists a freak flag that is, upon closer inspection, a fuck you flag. The question, as it is with all challenging art, ultimately must be: is it worth it? His films are odd and unsettling, and they are often unlike anything you’ve ever seen before. And yet: is that enough?


Well…take any of his films, then take away the attractive female characters, their inexorable (contractual?) nudity, and the handful of very brief—but very brilliant—scenes, and Lynch’s work seems to be a series of somethings that seek to defy being identified for what they look and smell like. You are left with an oeuvre that seems to separate viewers into three camps: the good (those who claim to “get it”), the bad (those who don’t, or can’t), and the ugly (or, the angry; those who tried to get it, failed, and then, upon repeat viewings, determine that they are unworthy and, most importantly, uninterested).


Consider me ugly. Not angry, but certainly perplexed at the consistent, and reflexive, critical accolades. And let’s acknowledge the fact that Lynch does not merely have fans, he has advocates. Defenders of the faith. Crusaders. As a proponent of acquired taste anomalies running the gamut of high and low culture and all points in between (especially the points in between), I appreciate the allure, and I don’t begrudge it. What I am curious about is, who are these people, and what is it they actually see in these films?


Tagged as: david lynch
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Friday, May 9, 2008
by PopMatters Staff
Multi-instrumentalist and respected bluesman, re-imagines the banjo on his latest work, Recapturing the Banjo, released in February on Telarc Records. Collaborating with the likes of Guy Davis, Corey Harris, Alvin Youngblood Hart, Keb’ Mo’ and Don Vappie, Recapturing the Banjo got an 8 from PopMatters back in March. Our very own Lou Friedman said: "Otis Taylor is the only "modern day" bluesman who can make the blues sound primitive without being phony or contrived. And it really doesn’t matter what weapon he’s using to fire his musical provocations. In this case, he’s chosen a banjo as the primary cannon from his arsenal. Something way better than Recapturing the Banjo is going to have to come along to knock this off the pedestal as the best blues release of 2008.

1. The latest book or movie that made you cry?
When I was six years old I cried at Old Yeller and then I never cried at another movie again. 


2. The fictional character most like you?
The black guy in Gladiator (I think his name was Juba), he was loyal and had a family, as well. He was always trying to get back home which I feel like I am doing every time I leave my family.


3. The greatest album, ever?
Take Five by Dave Brubeck.


4. Star Trek or Star Wars?
Star Trek definitely, Spock is the man!


5. Your ideal brain food?
For me, waking up each day and really experiencing life, the colors, smells, sounds is what stimulates me. Each day is different.


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