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Archive for March, 2010

Day 55. Stravinsky (happy Spring everyone).

Saturday, March 20th, 2010

In honor of the first day of spring, I usually listen to Stravinsky’s ‘Rite of Spring’. A little cliche, but it also makes sure I get some Stravinsky in on a yearly basis. Well this year was a little different since I decided I would copy the 22 CD Stravinsky performs Stravinsky box set that Tamiko got me a couple years ago for Christmas. I remember my conductor at UC Berkeley (David Milnes) saying that Stravinsky conducting didn’t provide the best performances of his works. And I pretty much agree, but they aren’t bad either. Some are quite fun (Petrushka especially!). There is often this misconception that simply because a composer is performing one of their works, that it must be somehow definitive. The thing is, just because someone composes doesn’t mean they should be conducting theirs, or anyone else’s works. Conductors spend their lives shaping / creating other people’s music, and just like any creative pursuit, the creator doesn’t always see the big picture. And – like any other skill conducting is one that takes years / decades to learn. So – why would we expect a composer who may not have much conducting experience to be able to conduct there work? Much less something as a difficult as ‘Rite of Spring’?

So – couple quick Stravinsky stories. First – I had Music History with one of THE Stravinsky scholars, Richard Taruskin. He just finished his HUGE two volume book on Stravinsky’s works through the opera Mavra. He told the class that he had sent it off… and that it had been the focus of his work for 12 years. ‘I guess I just go and die now’, he says. Then after a beat: “Beethoven!”. The second actually took place around a performance of ‘Rite of Spring’. We played that, the Mass and ‘Symphony of Psalms’ for a concert program one semester (amazing concert). The first night was ok – but the second night hit and hit hard. It was amazing. We finished the ‘Rite of Spring’ to a full house, and for about 5 seconds, there wasn’t any applause. It was the most amazing sound I have ever heard. A hall full of people after one of the most intense performances I had ever heard – then silence. When the applause started, it was thunderous. What a moment.

I am 16 CDs through the 22 CD set right now, but I have also been trying out a new streaming app (and thanks to Eric Flesher for testing it with me). Looks like ‘SimplifyMedia’ is selling out. They pulled the app and sharing for the most part. Quite disappointing. So I began the search again tonight and found DOT.TUNES. So far, it seems OK. Eric got connected, and I seem to be able to connect as well. A little buggy though. Crashed once for me and once for Eric. And – it is Mac only (which won’t do for my PC friends). And when the host computer is streaming, the CPU jumps to 100%. I imagine it will get a bit warm as a result. So – this may not be the solution, but for now it will work.

Day 54. Charlie Parker.

Thursday, March 18th, 2010

I came across Charlie Parker the first time in high school jazz band my freshman year. We played ‘K.C. Blues’ and I went out and found a compilation that afternoon (“Bird: The Original Recordings of Charlie Parker on Verve”). It was also my introduction to Verve Records and Bop. As I got more and more into jazz, Charlie Parker was one of the artists I explored first. I was playing alto sax at the time and had access to a few transcriptions of solos (which I simply couldn’t play).

During my years at the Tower in Roseville I would pick up discs as they would come in (and eventually order the ones I wanted). And he became on of the artists that Tamiko and I liked to listen to together. One of the best finds came with a box of Japanese imports that were just sent to the store. We didn’t know what was in the boxes – they were just packed together by Tower’s import department and sent to us. In one of these boxes was ‘Charlie Parker with Strings, the Complete Master Takes’. $35 for the disc and I took it to Tamiko the day I got it. This isn’t Bird in Bop mode, but Bird in melodic and romantic mode… great date music. This was the only copy of the disc we got as well (and I didn’t see it again for close to 10 years until it was re-issued in the states)

Tamiko had an old Datsun B-210 that, like most cars from the 70s that survived into the 90s had quirks. The B-210’s quirk was that, when cold started, would stall on a hill. And it just happened that her house in Roseville sat on a road that rose in the middle (creating a kind of hill to the curb). Well – someone broke into the B-210 and tired to steal it. Luckily, the car died. Unluckily a box of CDs that was in the back was taken, and along with it the Charlie Parker with Strings disc. Tamiko felt horrible about it, but I was just glad everything else was ok. About a week later I get to work and sitting in the return bin at Tower is the Charlie Parker discs along with a few others that were taken! The crook had returned them for store credit!!! No one remembered anything about the guy, but I was able to buy the disc back again.

Just now I put the recording on (after ripping it) and in just a couple of notes Tamiko shot me a smile. In the first couple of notes, I was hit with the image of the two of us in her apartment on Arch Street in Berkeley, listening to the disc with the windows open and the cool sea breeze streaming in. Sure – I have a good amount of Charlie Parker to rip tonight (lots of Bop especially – and a great disc with a VERY young Miles Davis playing backup) but I wonder how many of the discs on my shelves will create such a vivid memory for me (or make Tamiko smile so quickly). Probably not many.

Day 53. Vivaldi

Wednesday, March 17th, 2010

Tonight was my own pick and it led to a wiki-pedia like branching of discovery. I wanted to hear a disc of Vivaldi concertos I have (somewhere – never found it tonight!) of cellist Anner Bylsma playing a number of cello concertos (as well as some other string concertos thrown in as well). There are two of these discs on Sony classics, and the first one (the missing one, the out of print one that I can’t even find an mp3 download for now … dammit!) has a SMOKING performance of the a minor RV 418 concerto. It was the recording that made me love Anner Bylsma as a cellist and made me seek out anything with him on it (and I don’t think I was ever really disappointed). Anyways – I dug out all the Vivaldi I could find (with about half of it stacked in the ‘second layer’ on the book shelves). But in the process of doing that I also found…

– A 4 disc set of Raphael Wallfisch playing the ‘complete’ Vivaldi cello concertos

– Idil Birit’s complete Chopin on Naxos (a great set)

– 3 complete Mahler cycles (??? – indeed!)

and a plethora (si jefe, a plethora) of historical recordings:

– A literal handful of the Toscanini double disc remasters on BMG (that are going to be on tap next I believe)

– Both volumes of historical recordings featuring Isaac Stern (one of my favorite Sibelius violin concerto recordings included

– Early Wilhelm Kempff recordings re-issued on DG in a box a few years back

So I have some fun times ahead. I haven’t really looked through that second layer in some time, so it was almost like digging through a bin at a record store. There is a LOT there I forgot I had.

Anyways, if anyone out there by any chance has my ‘Vivaldi: Concertos for Strings’ with Anner Bylsma and Tafelmusik, please let me know. It is missed.

As for what I am ripping now though, I am mostly through with the cello concertos (and I’m listening to a slightly tamer RV 418 at the moment) and enjoying them quite a bit. Stravinsky’s dismissal of Vivaldi’s work as ‘the same concerto 400 times’ is a bit harsh. As far as string writing goes, the solo parts are often stunningly virtuosic. And while the ritornello form is used to exhausting ends, there was a reason for this. It works quite well, and gives an elegant balance to the whole orchestra and the soloist(s). What is especially interesting to me as well is that, as a form, it doesn’t have the boxiness that the later classical period seemed to develop with phrasing. Sections are not evenly paced (4 measures, another 4 measures, followed by another 4 measures etc. etc.). The tutti sections often cut off early or abbreviate their appearance, or sometimes extend and modulate to unexpected places. In this respect, the form that Vivaldi explored so deeply is quite conversational. Both sides get to speak (especially in the outer movements) and while the tutti sections are louder and more forceful, it is the solo parts that have an intricate mastery. Vivaldi’s solo writing can be quite virtuosic, and at other times his operatic tendencies come through (especially in the slower movements). While Stravinsky may have scoffed at Vivaldi’s work (and part of me would be surprised if there isn’t more to that quote then what is usually said), I can say that it looks like I will be ripping a good 80 of these concertos in the next night or two… and I am pretty sure I will have a good time listening to all of them. And after that I still have the ‘Stabat Mater’ to listen to again (what a great piece).

Day 52. R.E.M.

Tuesday, March 16th, 2010

Events of the past few days have kept me from ripping CDs until this morning. The days have been filled with a mixture of things – anniversaries and adversaries, bugs external and internal, comfort, family and smoking melted combs. It is also the end of a quarter and the beginning of spring (break). My friend Christina suggested we ‘smudge’ the house with a sage burning to begin again – get rid of the evils of the past few months and start fresh. The idea is appealing, but as I was discussing with my friend Jill the other day, even the bad has its purpose and I feel like with all that has been going on with us here at the Parmura household, me, Tamiko, Celia and Mira have learned and are figuring out quite a bit. These past months have been pretty rough in different ways for all four of us. When it comes down to it I wouldn’t get rid of the crap we have had to deal with. I know we are growing because of it. But I have also found myself with music from my ‘angry young man’ days running through my head off and on. So today I ripped a good chunk of my R.E.M. CDs (‘Life’s Rich Pageant’, ‘Document’, ‘Green’, ‘Out of Time’ and ‘Monster’). If all is calm after tonight’s class listening session, I may try to work in the first couple Violent Femmes albums as well, maybe some early Cure. While I did have a good amount of Ministry and Nine Inch Nails that I played during my senior year of high school, I am glad that the mostly melodic and ‘angry’ alternative 90s staples mentioned above are what I still listen to when I feel a little agro and need to get some energy out. I’m more comfortable with my masculinity now then I was in 1992.

I have ‘Life’s Rich Pageant’ on at the moment, but earlier I had ‘Green’ on with the girls. Mira (who is recovering from a stomach bug, as well as a hard night at the urgent care to make sure she didn’t have a bladder infection) started to dance in my arms when ‘Pop Song ’89’ came on. I actually hadn’t even listened to ‘Green’ or ‘Out of Time’ for awhile. Then main exception is my yearly mix-disc ritual where I rip ‘Losing My Religion’ as part of the first round of cuts for that years disc (only to have it weeded out as the music is cut down to the 80 minutes needed for a blank CD). It’s a great song, but too obvious to just have thrown onto a mix disc without carefully leading into and out of it. Maybe this year. Probably not

For the most part now I tend to put on ‘Life’s Rich Pageant’, ‘Document’ and ‘Automatic For The People’ now when I listen to R.E.M. Yes, I know which one doesn’t belong with the others but I will unapologetically say that it is a great album, And I think you can be a good R.E.M. fan and like songs like ‘Drive’ and ‘The Sidewinder Sleeps Tonight’. Along with the first Violent Femmes album, one of the Cure greatest hits albums and the Pixies ‘Trompe Le Monde’, this album was part of the soundtrack for a getaway weekend with some high school friends to Fort Bragg.  Tamiko and I were going through our ‘He’s still in high school and a loser and being WAAAAY to immature for his college girlfriend’ break-up (complete with my purple hair) and a few good friends (Josh, Cheryl and Molly) decided we needed to head to Molly’s families beach house in Fort Bragg. And we all (just friends) spent a good chunk of time jumping off sand dune cliffs, hiking around and relaxing on the beach between figuring out what we could find at the grocery store to eat. Later in the year, some tension was created among the four of us because of someone else I dated and the other three, as well as other teenage tensions among the four of us towards each other. The four of us, by the end of the school year pretty much weren’t talking much to each other (and looking back now, I imagine uncertainty about where we would be ending up after high school was probably a big part of the problem). But for that weekend and a couple months afterwards, we had lots of fun together just hanging out.

One thing that is hard about the ‘soundtrack’ for this weekend in Fort Bragg though is the fact that, for me, lots of things sucked. Tamiko and I were breaking up and it was really hard (though we obviously get back together and I think we both see that time now as a great period of growing up for both of us – though especially me – and I also think that we were a much stronger couple afterwards). If I ever tell Celia this story, she would probably say – ‘Dad, this sounds like a horrible time for you! Would you want to remember it? No!’. (Celia has begun to rhetorically answer her own questions) But the fact of the matter is, these three friends really kept me together that weekend and, while they may not know it, I am very grateful for this. And while the break-up sucked, lots of good came from it eventually.

Like almost any real thing that happens in life, it is difficult for there to be clear-cut good times and bad times. I remember times when I was a kid and really sick (especially one very scary trip to an ER because of a severe asthma attack when I was 4 or 5, another time when I had a finger nail ripped off of my finger). And I have a feeling that Celia will remember when she is older about the time Mira seemed really sick and we needed to take her to urgent care. Celia was terribly worried about Mira last night, and very sad that she couldn’t go with us… but for now (and maybe in 20 years?) I have the image of a slightly feverish Mira in my arms dancing to R.E.M. with Celia smiling at the table while she is eating jammy toast. Celia knows her sister is feeling better. Maybe R.E.M. will subconsciously trigger this memory for her.

Day 51. Haydn. LOTS of Haydn. And Schubert.

Saturday, March 13th, 2010

It has been a tumultuous couple of days on one hand, simply busy on the other. Last night was simply hectic, and today we had my parents over for their anniversary. Ripping CDs has been a low priority as a result, so I transferred more purchases (mp3 downloads) from the past year or so from my main laptop onto the server computer. After ripping all the Mozart symphonies the other day (and already having all the Beethoven symphonies on that computer) I decided today was a good day to round out the Classical periods heavy hitting symphonists. So the 45-CD Antal Dorati complete Haydn symphonies and the Goodman / Hanover Band Schubert symphonies are on deck for tonight.

I don’t know why, but I am always so surprised how much I like Haydn when I listen to him. And the Dorati recordings are lots of fun. First of all, they are complete and this is no small task. 104 numbered symphonies, a few lettered ones and all sorts of works that basically are symphonies (just not in name). It is one thing to have 104 orchestral works under your wing (as Dorati does here) but this of course was not all Dorati did. During the 50s and 60s, his Mercury Living Presence recordings (especially the Bartok recordings) are just fabulous. He recorded an amazing amount of music well. And to take on a project the size of the Haydn symphonies is nothing short of impressive.

Papa Haydn’s most significant achievement, in my opinion, was his formalizing of the structures and forms that would occupy most of the Viennese Classical period. And the symphonies are a large part of that (though in the String Quartets you can see these ideas grow and solidify). He had what any composer today would call a pretty cool gig… writing music for a prince with a house orchestra. The prince also played Baryton (a COOL instrument) so he also wrote a huge body of work for that instrument. His music had rhetoric, from the contrasting ideas that exhibit tension then harmony in the sonata-allegro form to the ‘Farewell’ symphony that he wrote to tell the prince that the musicians needed a vacation. But what surprised me most about Haydn when I listen to him is that you really can hear how his approach to motive and development would find its greatest continuation in the music of Beethoven. Haydn wrote 104 symphonies, and as Beethoven’s career closes out the Classical period he finishes 9 that really define and develop the form into the Romantic tradition.

Schubert is the other side of this coin in my mind. He picks up where Mozart left off and does a similar kind of expansion of form with the similar kinds of melodic gifts that Mozart had. The Goodman recordings are on period instruments and use an orchestra appropriate to Schubert’s time. Like Beethoven, Schubert’s work tends to be overly romanticized as well and the Goodman recordings do a great job placing Schubert within the Classical tradition. The recordings have a lightness to them at times, and more detail comes out from the winds (having a smaller proportion to the strings then most modern orchestras). The ‘Unfinished’ benefits particularly well. The second movement is light and airy at times, dramatic at others. These contrasts are shaped even better when the period instruments are used.

With the Haydn, Mozart, Beethoven and Schubert discs all on the computer now there are over 75 discs of classical symphonies. As the rest of the discs of this repertoire are eventually ripped (multiple Beethoven recordings, another Schubert set as well as quite a few individual recordings of Haydn and Mozart symphonies) I think there will be over 100 discs represented. Until tonight, I don’t think I realized what a huge proportion of my recordings represented the Classical Symphony.

Day 50. Mozart. Lots of Mozart.

Thursday, March 11th, 2010

Tonight I continued ripping Christopher Hogwood’s and Jaap Schroder’s Academy of Ancient Music recordings of the complete Mozart Symphonies (plus 27 other symphonic works). 27 other works. Plus an alternate version of the 40th symphony and works that MAY have been written by Mozart (but listed even in the liner notes as doubtful). It is 19 discs. The research that Hogwood went into for these recordings is also very deep, trying to match the orchestral forces to the ones that would have performed these symphonies during Mozart’s life time. If he could have, I imagine Hogwood would have found a way to decipher out of the background noise of every day life echoes that still vibrate in the air from these performances to discover if there were mistakes made at first performances so they could be recreated here, for us, the modern listener.

Before I bought this set (which was released as a budget box in the 90s) I remember reading a Penguin review that gave these recordings much of the credit for the early music ‘authentic’ recording movement. The idea was to find instruments and figure out the performance practices that were happening during the time when a work was composed and try to recreate it so we could hear what the composer would have heard. Of course, this is really impossible. Even when written down, music is ephemeral. Even with digital recordings, there are so many variables in playback systems that the same disc can sound different in two different homes – when it comes down to it every device or performance will make the air vibrate in a different way. So why try to recreate the moment when something was performed?

By the 50s, it would not be unheard of to have Mahler sized orchestras performing the works of Mozart. These were modern interpretations and it is interesting to hear recordings of these performances. They do play Mozart, but they also tell us about how Mozart was expected to be heard. When I was taking my music history classes at UC Berkeley with Richard Taruskin, he has us read one of his articles that talked about the early music movement, and about how the movement, like any other performance practice is a reflection of its time. I don’t think he was rejecting the idea that performance practice shouldn’t be studied, but that we shouldn’t think of the performances as what the composer would have heard. We should think of them as what we want to think Mozart would have heard, but that these are modern performances with modern scholarship. The performances of any other time were just as informed, and reflected the ideas of their time. And from the 70s on, part of this thinking was ‘perhaps we don’t need to turn things way up to hear them better’. In fact what I hear in these performances (and in the Bach one-per-part performances I ripped a couple weeks ago) is a sense of clarity. With a different balance between winds and strings, musical lines that may be buried with larger orchestra forces may appear. With these Mozart recordings, I remember being surprised how much more contrapuntal Mozart’s writing seemed to be (and the use of continuo in later symphonies link the performance tradition more to the Baroque then I was used to). And also how much lighter. When you hear Mozart on fortepiano for instance, the bass strings are weaker and the sound thinner. But his orchestration (in his piano and orchestral writing) find ways around these limitations. Octave doublings bring a different force to the lines in these recordings then many modern, larger recordings. These moments pop out of the texture much more brilliantly. I like these ‘modern’ performances… of course, they are 30 years old now. And I haven’t purchased a disc of Mozart symphonies for probably close to ten years… maybe I should see if there is anything new-ish on eMusic just to see where things have been going lately.

(and by the way – just finished disc 13 / 19… I hope these finish up tonight!)

Day 49. Kaija Saariaho.

Wednesday, March 10th, 2010

I have started to rip the complete Mozart Symphonies by Christoper Hogwood, but that is 19 discs and I know that will continue into tomorrow. But I also pulled most of my Kaija Saariaho collection tonight as well. I’m not positive, but she might be the first living composer I have put onto the computer so far… partly because so much of my music by living composers is downloaded (since finding actual discs these days of this music is next to impossible) and partly because while I appreciate a good deal of it, liking it enough to have in the front layer of CDs of things is a different story. I know where Steve Reich is when I need his music for something (my own reference or for a class) but I don’t think I am just going to throw him on for an evening of listening. Kaija Saariaho is a different story though. Her symphonic works can be hit or miss in my opinion, but her chamber music can be beautiful and thrilling.

Dawn Upshaw’s performance of ‘Lonh’ is wonderful. The electronics part is wonderful. The vocal writing is wonderful. It is also so many things that most contemporary music with electronics is not – a dynamic piece that is composed on more then a single idea. Most of her work actually exhibits a large degree of dynamic change and structure that is more then the usual brick of noodling around a single concept that so much contemporary music often gets caught up in. If you have been to an ICMC or SEAMUS conference, I am sure you know exactly what I mean. The computer part in ‘Lonh’ is also not just a ‘background’ for the vocal part, but an equal partner in the piece. Again – this is something that she does particularly well. Her works for cello and electronics (‘Pres’ and ‘Petals’) are both dramatic works that grow better on repeated listening. In some ways, she is also very classical. Her work tends to be experimental while at the same time giving great credit to her listeners time, attention and memory. Her works don’t need to be studied from the score to be appreciated or enjoyed, yet they are challenging and dramatic.

As I began to work more and more with pieces and live electronics, she is someone that I think I have learned quite a bit from. And her finished pieces (and the precision she is able to create with her electronics processing) reminds me that I have LOTS of work to do still in my own learning. When I was looking at some of her works, I came across her catalog on the chesternovello.com site, and noticed something that I hadn’t really seen before (but have seen quite a bit of since): she also has downloadable versions of the computer parts for her pieces available for anyone to download. For example, after I heard ‘Lonh’ I was able to find the electronics here: http://www.chesternovello.com/documents/additional/lonh.htm. I couldn’t believe how valuable a resource something like this was, and on top of that what a great source of documentation for the work. The question of ‘what is the score’ is often a difficult one to answer when it comes to live electronics. The code / patch that makes the piece work is an important part of the score actually, and to see it freely available is a wonderful learning opportunity for young composers. I certainly don’t hold myself in her league at this point, but as I developed more and more pieces (as well as the software to run them), the idea of posting my code for anyone else to look at was something I came to believe in. Maybe someday someone will get something useful from one of my pieces as well, and as technology changes (and the computer as an instrument starts to make its way out of the stone age) perhaps some of the stuff I do now will influence what things will become. In many ways, computer music is currently at a stage of development like that of western classical music was when early notation was beginning to be used. As works were written down and disseminated a huge amount of musical development began (rhythm, polyphony, etc.) simply because others could study and build on it. It is exciting to be around at a similar time again.

Day 48. Yo La Tengo and The The.

Tuesday, March 9th, 2010

Tonight’s grabs were a couple of discs by ‘The The’ and a few from ‘Yo La Tengo’. ‘Dusk’ and ‘Hanky Panky’ were both released in the early / mid 90s. Matt Johnson (the only constant member of The The) puts a group together, makes a record and may do a tour. Dusk’s most notable contributor was, by far, major contributor Johnny Marr. And like just about anything Johnny Marr touches (The Smiths, The Pretenders, Modest Mouse) the album was golden. I still remember getting to work at the Tower on Sunrise early on morning to hear the ‘Dogs of Lust’ blasting on the stereo. The harmonica opening leading to a great heavy bass riff caught my attention pretty quickly, and I was listening to ‘Slow Emotion Replay’ on my car stereo on the way home that afternoon. While Johnny Marr wasn’t on the next album (Hanky Panky) his sound lingered a bit with the group. ‘Hanky Panky’ was an entire album of Hank Williams songs. What I liked most about the album was the sound it created. Like most good covers the songs don’t sound like Hank Williams, but like The The taking the poetry and lonesome feel and creating a The The record.

Along similar lines is the CD single Yo La Tengo released of multiple versions of Sun Ra’s ‘Nuclear War’. It was the groups first Top 10 single. The versions are all pretty much brilliant, starting with just the group singing with drums (though there is some bleed through from the second tracks tapes … if you play it that loudly you can hear it, and yes, I have played it that loudly), where version 2 features a chorus of kids singing the backing parts. Version 3 features an extended jazz jam that is simply phenomenal. To read about how this single (perhaps the most profane disc I own) became such a sensation, it really is best to just read it from Yo La Tengo themselves:

http://www.yolatengo.com/billboard.html

That same year also saw the release of ‘The Sounds of the Sounds of Silence’ which is an instrumental soundtrack based on performances by Yo La Tengo over film viewings of Painleve films. Painleve’s films are French documentaries about sea life, many filmed under water. The music is stunningly beautiful and it became even more so when I finally was able to pick up Criterion’s release of these films with Yo La Tengo playing over them (different versions of the songs even!!!). Tamiko, me and our friend Bryn watched the films a few months ago and were blown away by the marriage of film and sound. Between these two discs alone, I think 2002 may have been Yo La Tengo’s most creative year. These followed up ‘And Then Nothing Turned Itself Inside Out’, a moody, mostly quiet album. Except for possibly my favorite Yo La Tengo song ‘Cherry Chapstick’ which can get me going whenever nothing else will. But the last track ‘Night Falls on Hoboken’ is probably my favorite tracks on the album… a 17 minute instrumental mood piece that makes me feel floaty. It reminds me of ‘Green Arrow’ (from 1997’s ‘I Can Hear The Heart Beating As One’ – the best album of the 90s in my opinion). And it definitely looks ahead to ‘The Sounds of the Sounds of Silence’.

Yo La Tengo is one of the few bands that I eagerly await new releases from, and will buy them the day they come out. Yo La Tengo is one of my favorite bands. Ever.

Day 47. Fleet Foxes.

Monday, March 8th, 2010

Today needs to be short … it was quite a busy day. In fact, I couldn’t even go down and grab any discs, so today’s post is transferred from the digital only part of the project (stuff I have bought, but never bought on CD). Getting the Fleet Foxes onto the server is a nice step though… good to make sure this music is well backed up.

I am biased when it comes to the Fleet Foxes. Casey Wescott (keyboards and vocal) was a former student and classmate of mine. I TA’s his last theory class at the UW, and we went through the intro to computer music series together (as well as a number of the advanced classes). While he was a student at UW, Casey also was tireless trying to put together and maintain bands and tours. To see him and the Fleet Foxes have such a successful couple of years is exciting. I know how hard these guys work, and while most groups probably go through similar years of hard work, hearing about it first hand from Casey just strikes me as amazing. These guys toured like crazy the past couple years, and have worked to create a sound that comes from all their different influences. And I think it sounds great. Saturated reverbs, beautiful harmony, and some great musicianship. In general, not what you see a lot of in pop groups these days.

One of my most exciting memories though was hearing the simulcast of their performance at Newport Folk in 2009 (which I downloaded and split into tracks). Pete Seeger was performing at this festival this year as folk stars from around the world paid him tribute, and the Fleet Foxes even got to perform with him at the close of the festival. Mavis Staples was performing the same day… and they got to share the same festival with these legends! It was blowing my mind. Then as the music began, I could see how well these guys were fitting into this scene. Live, the music was just as lovely as the albums. It was a thrilling hour, and I got chills more then a few times.

I saw Casey a couple weeks later (we still get together when we can to catch up and share SuperCollider stuff). He was still excited as could be about the performance. As he put it: “Here I was watching Mavis Staples and Pete Seeger and I’m thinking, what the HELL am I doing here?”. It takes some self-esteem to get on stage and tour with a rock band night after night… but the modesty I heard in his voice at the same time amazed me. The weight of historical perspective was not lost on Casey who has had a VERY successful couple years as a musician. And really I think that is what separates a lot of professionals from amateurs. Professionals  know they are just part of a lineage. They weren’t the first and they aren’t the last. In the current music business, I had forgotten how many performers today don’t necessarily get this anymore. By the sound the Fleet Foxes bring together (really a huge variety of performers spanning probably close to a 70 years of blues, folk and rock) I can tell that this significance is not lost on them.

Day 46. The British Are Coming!

Sunday, March 7th, 2010

The 3 CD box set ‘The British Are Coming’ is a decent compilation of mid-60s British acts. Of course, The Beatles aren’t represented (and I imagine that just about anyone who would buy a 3 CD set of British Invasion acts would probably have most of the Beatles discs anyways). The Kinks, Donovan, Peter and Gordon and The Zombies all have a few tracks (since the set would have to sell a few copies on pop recognition), but the real gems on the set are some of the more obscure acts. There is a REALLY early Bowie tack (‘I Dig Everything’) and a few tracks by The Foundations that really borrow more then most from the American R&B sound. It also collects together a number of number 1s. ‘Bus Stop’ by the Hollies is followed by ‘For Your Love’ by the Yardbirds which leads into ‘A Groovy Kind Of Love’ by The Mindbenders. Overall, a really nice set of pop hits from across the pond in the 60s.

My favorite part of this set though is how quickly Celia took to it. When she was about 2 or 2 1/2, we would put it on the CD player in her room, and she would dance like crazy to it. By the time my daughter was 3, she could ask for ‘She’s Not There’ by The Zombies, and hum along. This is a rather proud parenting moment for me. ‘Love Potion No. 9’ was get repeat playings, and Celia would jump along on her bed. And for the most part, this is all pretty kid friendly music. It’s mostly at a good tempo, repetitive and fun. And it has a good back beat. Tamiko and I have pretty much always played ‘our music’ around the girls and I think this has actually turned out for the best for all of us involved. Both of the girls dance like crazy to Kylie Minogue and ABBA, and while there is no Barney the Dinosaur in our playlists, there is T. Rex. Celia used to request ‘White Swan’ even, and there is nothing more adorable then a video Tamiko shot of Celia and Mira (in a jumper chair hanging in the kitchen) both dancing to ‘Children of the Revolution’. They have a love for music that I couldn’t have forced onto them, and I think a large part of that comes from the enjoyment they see in me and Tamiko when we play music. I’m not sure I could have faked it with Barney or Raffi. But there is no faking needed when the Kinks’ ‘Sunny Afternoon’ or The Foundations ‘Build Me Up Buttercup’ comes on… we can all dance quite happily.