From the esteemed drone music band, Pelt.  New Delhi Blues is on their fourth album, Técheöd, released in 2000.


Jack Rose, Mike Gangloff, Patrick Best:
Guitar [Guitars], Organ [Lowry], Loops [Tape Loops], Shaker [Shakers], Banjo, Electronics [Beat Frequency Oscillator], Recorder [Tenor & Alto], Whistle [Double], Performer [Jupiter Machine]
Fiddle — Amy Shea
Percussion, Recorder [Bass] — Mark Cornick
Tabla [Tablas] — Mick Simmons


Artist/Composer Ellen Fullman has been working with her Long String Instrument since she developed it in 1981.  The Long String Instrument, an installation of dozens of wires 50 feet or more in length is tuned in Just Intonation and “bowed” with rosin-coated fingers, producing a chorus of minimal organ-like overtones. The instrument combines Fullman’s artistic expressions of everyday activities, such as walking, with a unique performance art sensibility. Fullman has developed a specialized notation system to choreograph the performer’s movements, exploring sonic events that occur at specific nodal point locations along the string-length of the instrument. She has recorded extensively with this unusual instrument and has collaborated with such other luminary figures as composer Pauline Oliveros, choreographer Deborah Hay, the Kronos Quartet and Keiji Haino.

This video features Ellen Fullman and the Long String Instrument in performance at MOCAD (The Museum of Contemporary Art Detroit) on March 9, 2013. With area musicians Abby Alwin (cello) and James Cornish (trumpet), and visiting musician Theresa Wong (cello).

Chet Baker :: Let’s Get Lost

A jazz standard, written by Jimmy McHugh and lyrics by Frank Loesser.The song was first performed in 1943 by Mary Martin and was included in the 1943 film Happy Go Lucky.

Let’s Get Lost used as the title for Bruce Weber’s  1988 academy award – nominated documentary about the life of Chet Baker.   Beautifully photographed by later-acclaimed director/cinematographer Jeff Preiss, Let’s Get Lost is a beautiful and poignant portrait of Chet Baker;

“Let’s Get Lost begins near the end of Baker’s life, on the beaches of Santa Monica, and ends at the Cannes Film Festival. Weber uses these moments in the present as bookends to the historic footage contained in the bulk of the film. The documentation ranges from vintage photographs by William Claxton in 1953 to appearances on The Steve Allen Show and kitschy, low budget Italian films Baker did for quick money.

A group of Baker fans, ranging from ex-associates to ex-wives and children, talk about the man. Weber’s film traces the man’s career from the 1950s, playing with jazz greats like Charlie Parker, Gerry Mulligan, and Russ Freeman, to the 1980s, when his heroin addiction and domestic indifference kept him in Europe. By juxtaposing these two decades, Weber presents a sharp contrast between the younger, handsome Baker — the statuesque idol who resembled a mix of James Dean and Jack Kerouac — to what he became, “a seamy looking drugstore cowboy-cum-derelict”, as J. Hoberman put it in his Village Voice review.” -wikipedia, let’s get lost (film)