From the esteemed drone music band, Pelt. New Delhi Blues is on their fourth album, Técheöd, released in 2000.
credits:
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).
https://www.youtube.com/watch?v=GfoFdVTMEsg
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)
On May 5, 2012, Jazz trumpeter and visionary composer Wadada Leo Smith released Ten Freedom Summers, a large-scale work 34 years in the making, comprising a four-disc box set. The monumental 5-hour work is Smith’s meditation on the civil-rights movement and other related topics and is organized as 19 fully developed suites for various music ensemble configurations. Continue reading Wadada Leo Smith :: “Martin Luther King, Jr.”, from the album Ten Freedom Summers
Risset was a composer of orchestral, chamber, vocal, piano and electroacoustic works. Born in Le Puy-en-Velay on 18 March 1938, he studied composition and piano at École Normale Supérieure de Paris from 1957–61. He also studied mathematics and physics and earned a Doctorat ès Sciences in 1967. He started work at the Bell Labs in 1965 and from 1967–69 he worked on brass and timbre synthesis as well as pitch and sound processing and development. There he met F Richard Moore, John Pierce, James Tenney, Vladimir Ussachevsky and Edgard Varèse. He went on to work at the Centre National de la Recherche Scientifique in Marseille from 1969–72, and on computer sound systems at the Faculté d’Orsay and the Université de Paris in 1970–71. He was also chair of the computer department at IRCAM from 1975–79.
Risset’s albums including Mutations (1978), Songes – Passages – Computer Suite From Little Boy – Sud (1988), Invisible (1996) and Elementa (2001). In 2014 Editions Mego released Music From Computer, which reached number 12 in The Wire‘s Top 50 Chart of that year. Describing his work in The Wire 363, Philip Clark wrote: “Risset sculpts his found objects into plastic forms – birdsong stretched out of melodic alignment, high pitched insects heard as basso profundo drones… [his] music has a poetic backbone impressively all its own.” Risset was the author of An Introductory Catalog Of Computer Synthesized Sounds (1969).
Bay area based, internationally-shown artist Clare Rojas works in a wide variety of media: painting, installations, video, street art, and children’s books. Her work has been considered to have been emblematic of San Francisco’s Mission School, “a loose group working in San Francisco in the nineties who shared an affinity for old wood, streetscapes, and anything raw or unschooled. They take their inspiration from the urban, bohemian, “street” culture of the Mission District and are strongly influenced by mural and graffiti art, comic and cartoon art, and folk art forms such as sign painting and hobo art. These artists are also noted for use of non-traditional artistic materials, such as house paint, spray paint, correction fluid, ballpoint pens, scrapboard, and found objects.”-clare rojas, wikipedia; mission school, wikipedia; dana goodyear, a ghost in the family, the new yorker
Rojas’ work referenced: “…West Coast modernism, Quaker art, Native American textiles, Byzantine mosaics, and Outsider art, Rojas tells stories through painting, installations, and video. Often her narratives concern relationships between the sexes and among humans and animals, in their struggle to find harmony and balance. Many works quietly celebrate the traditional strengths of women, depicting them like Russian nesting dolls in conventional roles without critical undertones or hints of sexual exploitation. Quilt-like patterns in vivid colors accentuate the folk art-inspired scenes present in some works, while simple geometric forms and stark interiors evoke Bauhaus design in others.” -clare rojas, biography, artsy.net
Over the past 8 or so years, her figurative, folk art-toned work has given way to pure geometric abstractions. Her paintings are made with oil paint on both linen and paper.
Rojas also plays guitar and banjo under the stage name Peggy Honeywell. As Peggy Honeywell, she wore a long wig and flouncy calico dresses, and sometimes, because she was shy, a paper bag over her head. She has released two albums: Faint Humms (2005) and Green Mountain (2006)
Daughter are an indie folk band from England. From the album, If You Leave, 2013.
from the scottish post-rock band’s third album, Rock Action, 2001
https://www.youtube.com/watch?v=co5gy_2uOEY
from the album: Mono – Holy Ground: NYC Live With The Wordless Music Orchestra (2010)
MONO is a japanese post-rock band, formed in 1999 in Tokyo. Pure As Snow was originally recorded on the 2009 concept album by Mono, Hymn To The Immortal Wind. The album was recorded and mixed in June and November 2008 at the Electrical Audio Recording Studios, Chicago, Illinois, by Steve Albini. A music video for “Follow the Map” was released to promote the album. There is a short story enclosed with the CD to go along with the music. Continue reading MONO :: PURE AS SNOW 2010
The Incubator 