Tag: baroque

[Mix for NTS Radio] Getting Warmer Episode 42: Pipe Organ Special

My most recent episode of Getting Warmer for NTS Radio is an organ special. While I’m sure many of us are looking for music that’s relaxing, reassuring, or generally positive during this high-stress time, I should give you a heads up that this mix isn’t really any of those things. It does, however, feel like an appropriately hellish soundtrack to the apocalypse.

I recently had the pleasure of hearing the second piece in this mix, the Finale of Jean-Pierre Leguay’s Sonate I pour Orgue, performed live at Saint Thomas Church by Nicholas Capozzoli. As easy as it is to sometimes feel jaded about the possibility of total musical novelty, it was a truly life-changing experience to hear it in the acoustics of a cathedral, to feel it reverberating in my chest, to let it properly melt my face off. I didn’t know that organ music so deeply avant-garde and strange existed–it was easily the craziest thing I’ve ever heard.

I don’t think the internet needs another personal narrative about how this current global crisis is affecting somebody, but I will say that I’m grateful that my last concert experience for the foreseeable future was this one, seated next to a friend I’ve been missing recently, in a church full of strangers. I’m currently scrambling to get as much work as I can while it exists, but once that work dries up I hope to get back into blogging here, as I’d love to be able to share more music in this chaotic time. In the mean time, please enjoy this mix, which you can download an mp3 version of here. Sending love to all, everywhere.

Tracklist:
1. Olivier Latry – Improvisation (Trois siècles d’orgue à Notre Dame de Paris)
2. Olivier Latry – Sonate I Pour Orgue: Finale (Jean-Pierre Leguay)
4. 3. Terry Riley – A Rainbow in Curved Air
5. Jean-Pierre Leguay – Deux improvisations: No. 1, Improvisation I
6. Palestine / Coulter / Mathoul – Schlongo!!!daLUVdrone Revisited #3
7. Peter Michael Hamel – Organum Part 3 (excerpt)
8. Unknown – Toccata und Fugue d BWV 565 (J.S. Bach)

Annie Haslam – Annie In Wonderland, 1977

Guest post by grandiose melodrama connoisseur René Kladzyk (Ziemba)

“The stars are not so silent
As they seem
They sparkle for you
You’re gazing at me
Knowing that up till now
I never believed in love”

Songs in the air 
Everywhere
Telling me up ‘til now 
I never believed in love”

Annie Haslam’s voice is a ringing bell at the center of Annie in Wonderland, a 1977 maximalist pop adventure created in partnership with Haslam’s then-fiancé Roy Wood (better known as a founding member of Electric Light Orchestra, The Move, and the terrifying frontman of Wizzard). Haslam’s first solo album Annie in Wonderland was a major sonic departure from Renaissance, the avant-baroque progressive rock band fronted by Haslam. While the songs of Renaissance also orbited around the soaring purity of Haslam’s voice, it’s with Annie in Wonderland that Haslam’s expression became overtly romantic, igniting this sweeping and grandiose pop melodrama of an album.

At times choral, at times outright bizarre and sweetly silly, Annie in Wonderland oozes with a sense of wonder and a playful mysticism. The nostalgic excitement of love is also omnipresent, and the fun had while making it eminently apparent. In a 1999 interview, Haslam comments that this is her favorite of her solo albums, and that recording sessions would frequently get held up by riotous laughter, with everyone on the floor crying laughing.

A loungey cover of “Nature Boy” reapproaches the standard with a cinematic mystery; I’m eagerly awaiting the femme James Bond reboot featuring this song as our heroine drives along the ragged cliffs of the Italian Riviera. Meanwhile the excellent “I Never Believed in Love” draws clear throughlines to more disco-inflected and glammy songs in Electric Light Orchestra’s catalogue, like the Xanadu soundtrack that would come out a couple years later. Of course Roy Wood’s influence can be heard abundantly throughout the record, as he produced, arranged, played the majority of the instruments. He also did the album art, which includes several hints at specific references to the recording process.

The romance and divine sensibility of Annie in Wonderland carries through in Annie Haslam’s later solo work, especially in standouts like “The Angels Cry” from her 1989 self titled album, and can be spotted in Haslam’s visual art as well. Her current website features intuitive paintings of songs, custom painted musical instruments, garments, and pet portraits, all cast in vibrant and multicolored hues evoking sensuous dream worlds.

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All In One – All In One, 1969

Very much a quiet “wow” record. Warm, dusty, honeyed Chicago private press folk pop. The only release from the group, which included Katherine Parsons, Kathryn Davis, W. Wilson, T. Shiek, J. Bill, and K. Peterson. Bare-bones, baroque-pop harmonies over simple guitar parts and percussion, pegging them on first listen as Bacharach-tinged lo-fi bedroom folk contemporaries of Peter Paul & Mary (fittingly, “Rich Man, Poor Man” is a cover of a Peter Paul & Mary song, originally released in 1968). But! there’s more–there’s an unsmilingly blunt closeness to the vocal quality that reminds me of Marine Girls, The Roches, but also sounds much more antiquated than what I associate with 1969–it reminds me a lot of the tones that I’m used to hearing in recordings from the 50’s, or even the 40’s–though maybe that’s just degraded recording quality coloring my perception.

These swooning, girl group harmonies will definitely work for fans of Quarteto Em Cy, but these are more baroque in sensibility, and not just because there’s a gorgeously on-the-nose version of “Scarborough Fair.” Though this record is roughly half covers, and though there are so many direct reference points, it still feels extraordinarily like its own world. Deeply golden-toned, which is perhaps what makes it feel like such a balm in the wintertime. I’m not sure if this turns everyone else into a pile of goo in the way that it does for me, but I will say that if it’s for you, it’s definitely for you. Anyone have a nice FLAC rip of this that they’d like to share?

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[Mix for NTS Radio] Getting Warmer Episode 30

Here’s my newest episode of Getting Warmer for NTS Radio. This one is meant to be a peak autumnal soundtrack, with lots of warm folk, jazz, and psych. You can download an mp3 version of it here. Thanks for listening 💙

Tracklist:
1. Margo Guryan – Think Of Rain
2. Javier Somarriba – Contigo Llegaron Los Colores
3. Joni Mitchell – God Must Be A Boogie Man
4. Wendy & Bonnie – Children Laughing
5. Nadi Qamar – After Glow
6. Maki Asakawa – ふしあわせという名の猫
7. Once – Joanna
8. Affinity – I Wonder If I Care As Much
9. Linda Cohen – Arroyo
10. Mariangela – Memories of Friends
11. The Cyrkle – The Visit (She Was Here)
12. Judee Sill – The Archetypal Man
13. Quarteto Em Cy – Tudo Que Você Podia Ser
14. World Standard – Loving Spoonful
15. Robbie Basho – Orphan’s Lament
16. Psychic TV – White Nights
17. Colin Blunstone – Smoky Day
18. Mary Margaret O’Hara – You Will Be Loved Again
19. Pat Metheny, Lyle Mays & Nana Vasconcelos – Estupenda Graça

Sanctuaries / Ways Forward Mix by Cheval Sombre

Guest mix by Cheval Sombre (recent / upcoming)

Tracklist:
1. Michael Tanner & Alison Cotton – Masts of Rown-Tree
2. Bongwater – The Drum
3. Kraftwerk – Tanzmusik
4. Paul O’Dette, Andrew Lawrence-King and David Douglass – The Glory of the Sun
5. Palace Music – West Palm Beach
6. Julianna Barwick – Adventurer of the Family
7. Zbigniew Preisner – L’enfance
8. Richard Youngs with Alasdair Roberts ft. Donald WG Lindsay – Kinning Park
9. Sonic Boom – Ecstasy in Slow Motion

Penguin Café Orchestra – Broadcasting From Home, 1984

Another dear favorite from Penguin Cafe Orchestra, a project spearheaded by UK-born composer and musician Simon Jeffes. Jeffes saw PCO as the ongoing soundtrack to a dream he had had while suffering from food poisoning in the south of France, as well as a vessel through which to explore his interest in “world” folk music, particularly African percussion. The project that didn’t exactly suffer from under-exposure, if their dozens of commercial song placements are any indication. Still, I think the music very much belongs here. Plenty of ink has already been spilled by much more knowledgeable people about the group, so without attempting to poorly explain what makes this music great, I’ll say that what I love about this record, as with much of PCO’s catalogue, is the way it challenges and subverts what background music is and what it can do.

Though the exuberant “Music From A Found Harmonium,” named after the discarded pump organ upon which it was composed that Jeffes found in an alleyway in Japan, is easily the record’s most famous track, I’m a huge sucker for more pared back moments like “Prelude & Yodel,” which milks little more than three string instruments for far more than the sum of their parts; and the heartbreaking “Isle Of View (Music For Helicopter Pilots).” Elsewhere are hints of reggae (“Music by Numbers”); baroque, as per usual (“Sheep Dip”); and the perfect Latin jazz riff “Heartwind,” co-written by none other than Ryuichi Sakamoto. Lofty, nostalgic, and unabashedly sentimental, but with enough warmth and playfulness to keep it precise and never saccharine. Razor sharp and meticulous musicianship from a group of musicians who, by this time, had fully locked into the ethos of what they were doing and how best to play with each other. I hope you have a great time with this.

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Linda Cohen – Leda, 1972

Gorgeous minimal classical guitar on the first of three full-lengths from the largely self-taught Linda Cohen. Her fingerpicking pulls from folk, baroque, and blues, and given that she opened for Joni Mitchell, John Fahey, and Ramblin’ Jack Elliott at Philadelphia’s Second Fret in the late 60s, I would imagine these were influential artists for her. Though she was an active musician through much of her life, Cohen was most passionately a teacher, teaching classical guitar for 35 years at the Classical Guitar Store in Philly, where she was a fixture in the music scene. Her life was sadly cut short by cancer in 2009.

Leda is an exercise in restraint. Meticulously fingerpicked, just barely fleshed out with synth, theremin, celesta, tapes, and percussion. Much of the additional instrumentation is so subtle that it might not register without headphones–this is very much acoustic guitar music. Warm with room tone and (at least on this rip) crackling vinyl pops, it’s also prime cold weather, indoor listening. It includes instrumentation and effects from Charles Cohen (no relation), among others; with cover art by Milton Glaser. Sparse and masterful. Thank you Chad for the tip!

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[Mix for NTS Radio] Getting Warmer Episode 11

My newest mix for NTS Radio was inspired by spring, melodrama, seasonal affective disorder, women looking at men with suspicion, heartbreak, long hair, and Ennio Morricone. If you like it, you can download an mp3 version here. Thanks for listening!


Tracklist:
1. Glenn Copeland – Ever New
2. Arthur – Valentine Grey
3. Linda Smith – I So Liked Spring
4. Sammi Smith – Help Me Make It Through The Night
5. Connie Converse – How Sad, How Lovely
6. Connie Francis – Vaya Con Dios
7. Dusty Springfield – The Windmills of Your Mind
8. Shirley Collins – Adieu To Old England
9. Judee Sill – Lady O
10. Barbara Moore – Drifting
11. Claire Hamill – Speedbreaker
12. Renée Fleming – The Trees on the Mountains (comp. Carlisle Floyd)
13. Joyce Heath – I Wouldn’t Dream Of It
14. Bessie Griffin & The Gospel Pearls – I Believe
15. Patsy Cline – Sweet Dreams
16. Elena Ledda & Mauro Palmas – Sett’ispadas
17. Hollins & Starr – Cry Baby Cry

Dorothy Carter – Waillee Waillee, 1978

Guest post by Peter Harkawik

I was recently digging through sidebars on musical sculpture, when I stumbled upon two enchanting private press albums by the late Dorothy Carter—mystic, free spirit, wizard of the strings. According to a tribute by her bandmates The Mediæval Bæbes, Carter was born in New York in 1935, studied at Bard and the Guildhall School of Music, and in her later years toured Europe, playing festivals, cabaret, and at least once, a concert in a cemetery. She reportedly lived in a drafty loft in New Orleans, where she collected giant zithers, hosted salons, and played her brand of medieval folk music wherever she could. By another account, she “lived in a commune, worked on a Mississippi steam boat as a ships boy, raised two kids and ran away to a Mexican cloister with an anarchistic priest.”

Somewhat more secular than her 1976 debut Troubador, Waillee Waillee alternates between darkly enigmatic, inward melodies, and jaunty, exuberant hymns. Songs like “Along the River,” while populated with some familiar folk imagery—woodland creatures, mollusks, and rosemary bushes—are absent of the studio chicanery that so often accompanies it. Flutes, maracas, and tambura, some played by new age pioneer and instrument-builder Constance Demby, join Carter’s expert plucking and hammering to great effect. Her vocals might draw comparisons to Karen Dalton, Bridget St John, or perhaps Linda Perhacs, but here, in the service of her wistful paeans to nature, they stand alone. On the album’s haunting title track, Carter croons, “When will my love return to me?” with uncomplicated sentimentality, like a forlorn lover trapped in a block of ice. “Dulcimer Medley” and “Celtic Medley” are sprightly instrumental ballads that would not be out of place in a scene from Barry Lyndon.

For me, the standout on this album is “Summer Rhapsody.” Seven minutes long, expansive and majestic, it begins with a rumble like a jet engine, building to a crescendo of feverish dulcimer. It’s here too that the recording really sparkles, as though the dulcimer’s harsh textures are pushing the tape to its very limits. While it might sound like a hurdy-gurdy, the corpulent drone is produced by a steel cello, an instrument resembling the sail on a medieval cog. Here we see the fruits of Carter’s decades-long collaboration with artist Robert Rutman, who, like Walter Smetak, Ellen Fullman, and others, pioneered a hybrid art that was neither purely aesthetic nor musical. It was with his group the Central Maine Power Music Company, formed in Skowhegan in 1970, that Carter first toured, playing unconventional shows in New England planetariums, sculpture gardens, and museums.

Part of what’s so incredible about Waillee Waillee is that as much as it is a psych-folk record, it is also completely at home with the experiments of Terry Riley, Charlemagne Palestine, Yoshi Wada, Pauline Oliveros and Laraaji. Carter was a fascinating figure whose devotion to her chosen instruments was legendary. I hope you enjoy this record as much as I do.

Daniel Lentz – On The Leopard Altar, 1984

Such a cool record. This was Daniel Lentz’s first full-length release (though he had already been working on ambitious large-scale compositions and performance pieces for 20 years by then) and was one of the seven releases on the short-lived Icon Records. Though Lentz’s background seats him pretty squarely in the realms of academia, On The Leopard Altar avoids much of the dryness that I associate with minimalism–it’s more generous, unafraid to lean into pop sensibility and pleasure. (Fittingly, he went on to make two records with Harold Budd.) “Lascaux” is a gorgeous nine minutes of 25 tuned wine glasses resonating in and out, with nothing added but reverb, and it acts as a drone meditation piece, with glasses serving as both shruti box and chimes. “Requiem” attempts to capture the experience of hearing a lone singer in a large, empty cathedral, with big church bell tolls, rolling keyboard chimes, a vocalist bathed in Julee Cruise-esque reverb, and a few pretty incredible overtone moments. The gorgeous title track is very warm, present vocals delivered with a choir boy-esque straight tone purity, over rolling keyboards and (I think) more wine glasses. On “Is It Love” and “Wolf Is Dead…” we hear more typically minimalist long-form weaving of gamelan-inspired rhythmic pulses in the vein of Reich and friends, and vowel-based vocal pulsing in the vein of Monk and friends, but even these are structured in ways that suggest a pop sensibility.