Archive for January, 2011


Posted in Derek Bailey, Fred Frith, Guy Segers, Keith Richards, Rova Saxophone Quartet, The Residents, Univers Zero, Victo Festival with tags , , , , , , on January 26, 2011 by candymachine

 I used to subscribe to an on-line subscription site called ‘Rock’s Back Pages.’ It endeavors to make available (eventually) all articles published in rock music magazines since the dawn of time (or at least since the  70s). In addition to the articles, they also make available a hefty number of taped interviews with all manner of rock music notables. I listened to a lot of the interviews, which I found of some interest, and remember one in particular that was conducted with Sir Mick Jagger, (long before he became a Sir). This took place in the early or mid 70s, before Prog Music fell into disfavour with establishment critics, and the interviewer was probing Jagger on his knowledge of the day’s current crop of music heavyweights. The tone of the questioning suggested that perhaps the interviewer thought that the Stones had become yesterday’s news placed against the new Prog rock caped crusaders. In particular, the interviewer asked Jagger if he knew of the band Yes. This was followed by asking him if he knew who the keyboardist in Yes was. To which Jagger responded, rather incredulously, that of course he knew who the keyboardist of Yes was. Jagger displayed his indignation quite nicely by not actually naming the musician in question, which would have thereby condoned the line of questioning. (It was Rick Wakeman at the time, if anyone cares).

 I remember this exchange vividly because it’s an illuminating example of something that drives me crazy. Namely, there is a widespread assumption that because a musician or band releases records which occupy a particular place on the musical spectrum, they are probably not interested in, or may know nothing about, any music that goes on elsewhere in the musical spectrum. Jagger admitted that he was not very interested in Yes, and that his interests were elsewhere, but the suggestion that he would be unaware of them is, frankly, ridiculous. I don’t know if Keith Richards enjoys the guitar work of Fred Frith or Derek Bailey, but I’m quite certain that he’s at least familiar with their playing. I would wager that he at least finds it of interest. Richards is well known as a vast repository of knowledge of the Blues tradition, in all it’s variations, but I’m sure he has sought out anyone who approaches the guitar in a new way.

 Why should we think otherwise?  Large swaths of the general listening public may seek out cozy cubby holes to listen in, hardly straying from the familiar and known, but musicians are generally speaking cut from a different cloth. I recently came across a brief note in a popular music magazine, possibly Uncut or Mojo, reporting that Alicia Keys (of all people!) had come across some old Emerson, Lake & Palmer material (of all people!) and thought that Keith Emerson was positively wild and that she thought she might like to implement something of that into her own work. The fact that it showed up in the magazine in the way that it did suggests that the very notion that these two worlds would cross paths is newsworthy enough to report. The fact, however, that Alicia Keys would find something interesting enough in Emerson to draw from just shows that the borderlines dividing those worlds are less of a concern for musicians.

 I’ve been a frequent concert-goer at the Victo festival (Festival International de Musique Actuelle de Victoriaville) since 1989. One of my fondest memories from Victo dates to the Univers Zero performance back in 1997. The group had left the stage after an encore and the chant went up for another. After a few moments, the band returned to the stage, and with them came the Rova Saxophone Quartet. “It’s a surprise, even for us,” said bass player Guy Segers. It was indelibly etched into my mind not because the music they ended up performing together was particularly brilliant, but rather because of the juxtaposition with abandon of these two seemingly disparate musical animals. Brilliant!

 Remember the classic era Residents performing with Conway Twitty on David Sanborn’s Night Music TV show? Those were the days, or could be one day.


Posted in Charivari Press, cultural commentary, Music Is Rapid Transportation, Uncategorized with tags , , on January 10, 2011 by candymachine

Hot off the press! This book covers a lot of musical ground. If you’ve made a life of listening to music, worked your way through countless recordings, and consider yourself enriched for it, you’ll probably find this entertaining and resonant. I make a contribution to the book as well, so…some shameless self-promotion here.  More than anything else, perhaps this will work as a great source book for those wanting to venture further afield musically.

A truly alternative look at music lists, not one that merely includes the obvious but shows the connections of popular music to the avant garde, the obscure, the experimental, the quirky, and the adventurous. Herein you will find a list of 500 artists from the familiar to the unknown. A list and a guide to musical pleasure sometimes close at hand and sometimes far afield. The book includes biographical essays of the eight contributors describing their musical journeys of discovery and the joy they derived from that exploration. They discuss the merits and dilemmas of collecting, recording versus live performance, the change of media and the future of music. In addition 100 plus artists receive short but detailed personal evaluation.

The Who  — Bob Dylan — Ornette Coleman — Cassiber — Rolling Stones  — Miles Davis — Nico — Chuck Berry — Peter Bortzmann — Dave Brubeck — King Crimson — Randy Weston — Julius Hemphill — Pere Ubu — Craig Taborn — Aksak Maboul — Carla Bley — This Heat — Dave Burrelll — John Cage — Captain Beefheart — John Zorn — David Tudor — Hans Eisler — Art Bears — Derek Bailey — Paul DeMarinis — Robert Wyatt — Charlie Christian — Pascal Comelade — David S. Ware — Susie Ibarra  — George E. Lewis — Anthony Braxton — Phil Minton — Harry Partch — Mat Maneri — Cecil Taylor — Alice Coltrane — Cornelius Cardew — Ray Anderson — Richard Thompson — Artur Blythe — Swell Maps — Gavin Bryars — Jaki Byard — Jon Rose

Music Is Rapid Transportation …from the Beatles to Xenakis

978-1895166040 $21.95

by Lawrence Joseph, Dan Lander, Donal McGraith Bill Smith, Alan Stanbridge, Scott Thomson & Vern Weber.

Photos by Gordon Bowbrick, Herb Greenslade & Bill Smith.

Daniel Kernohan (Editor)



Posted in Albert Marcoeur, Art Bears, Chris Cutler, Eskaton, Henry Cow, L. Voag, Ray Gun Commemorative, Recommended Records, Red Balune, ReR Megacorp, Rock in Opposition, The Work, The World As it is Today with tags , , , , , on January 5, 2011 by candymachine

In my previous post, I wrote about the Rock in Opposition collective as it emerged in the late 1970s.  I wished to emphasize that it was rather short-lived and by the end of 1979 the R.I.O collective had already dissolved as a formal body. Perhaps some members of the original Rock in Opposition circle would say that it never actually reached a formalized form. The term, however, has lived on and is liberally used in various circles as a descriptive for bands working in the more avant or radical ends of the progressive rock music spectrum.

 If the spirit and raison d’etre of the Rock in Opposition movement was properly bequeathed anywhere, though, it was to Recommended Records (UK). This was an ‘unbusiness’ founded by Chris Cutler (Henry Cow & Art Bears drummer, and participant in Rock in Opposition), dedicated to working outside the established parameters of the corporate music business, making independent releases available, and to cultivating a catalog of excellence selected on the basis of musical merit alone.

 I became aware of Recommended Records (ReR) in the last months of the 70s, probably at the same time I had become aware of Rock in Opposition. The first ReR catalog I received was the March 1981 Ray Gun Commemorative catalog.  (That’s the cover printed above). It was a goldmine of superb recordings, some by artists I had already come across and many others by bands I had never heard of. I started with a small order, followed by another, then another, then another. Each successive order was riding the wave of enthusiasm which rolled in with the previous order.  Soon, I had picked up every title in the catalog and kept up with most new releases in successive catalogs. Some of the releases from that particular catalog which became early instant favorites for me were the eps by The Work and Red Balune, Albert Marcoeur’s first two albums, L. Voag’s The Way Out, Eskaton’s Ardeur, and the subscription item for that issue, The Art Bears’ The World as it is Today.

 If it’s not clear from the catalog title or image above, Ray Gun is a reference to then US president Ronald Reagan. The UK’s Margaret Thatcher appears on the back cover sporting Nazi regalia. A timely political rant in the form of an editorial introduced the catalog and preceded the music selections. As you can see from the catalog excerpt below, the whole thing was done ‘homemade’ style, hand written and accompanied by hand drawn illustrations. I read the small catalog cover-to-cover a zillion times. At 30 years old this year, the Ray Gun Commemorative has also become one of my longest held possessions. I still keep all of the pre-internet catalogs as cherished keepsakes.

 Recommended Records, now known as ReR Megacorp,  is alive and well today, continuing along its own unique path, still offering a treasure trove of music that is cutting, innovative and independent.  Do yourself a favor and check them out.