Era il numero 5 in catalogo per la frithiana Rift Records, e dietro al nome Cargo Cult Revival segnalava al mondo, oltre a cento altre gioiose invenzioni, l'esistenza dei cello-resonated objects. Registrato senza artifici dal vivo in studio a Brooklyn nel marzo 1982 l'album documentava l'incontro di due autentici esploratori del possibile - e dell'impossibile - in musica, Tom Cora e David Moss. Nessuno aveva mai pensato di ristamparlo, ora è un bel cd per Klanggalerie.
Altro appassionato canterburyano che per devozione e personale felicità ama indagare il lascito storico dei Grandi è Larry Benigno, che ai National Health ha benignamente - nomen omen - rivolto ogni sua attenzione lo scorso Natale: The Healthy National (Christmas Day).
Nuova trovata del recidivo Shlomo 'Shin Pey' Polonsky, sempre intento a proprie rivisitazioni creative all'interno dell'iconografia canterburyana, con spiccata propensione per Wyatt, Matching Mole e Soft Machine: l'alfabeto inglese completo modellato sul celebre lettering di Third, da scaricare (incluso lo sfondo in simil-cartone), leggere o cantare comodamente anche all'inverso, secondo tradizione.
A domanda, risposta: L’homme idéal? C’est moi...
Presque aussi pointu qu’une question existentielle ou métaphysique: Qui est l’homme idéal? Et si la réponse était juste sous nos yeux. Et si c’était Bertrand Burgalat! Car d’après nos recherches, le musicien déclame en toute franchise : “L’homme idéal, C’est moi.” Alors, inutile de chercher plus loin. S’il l’on regarde bien derrière ses cheveux plaqués, ses lunettes aux verres fumés, il y a un homme au cœur d’or digne d’une publicité. A la manière de ceux que l’on aperçoit au travers du clip. De la poupée Ken au sourire irréel, en passant par le surfeur, l’icône de mode influenceur, ou encore, l’artiste et le doux romantique faisant la une de Libé. Mais bon, comme l’affirme Bertrand Burgalat avec L’homme idéal: “Encore faut-il trouver quelqu’un qui me mérite”. Une femme ou un homme, on ne saura pas qui sera l’élu. A moins qu’il ne s’agisse du musicien Yuksek qui nous offre un remix de ce titre. Le rythme s’électrise, devenant tout à coup plus rapide, dansant, comme pour accueillir le printemps venant. Où qui sait, on trouvera peut-être notre homme idéal?
Dopo breve circolazione presso festival e convegni avrebbe dovuto prendere il via in questi giorni la proiezione pubblica in cinema e teatri di Thanks to Hank, film documentario di Bob Ostertag sulla vita di Henry 'Hank' Wilson (1947-2008), uno dei massimi eroi delle lotte per i diritti e la sopravvivenza della comunità LGBT di San Francisco, in particolare nei primi durissimi anni della lotta contro l'Aids. A causa dell'attuale pandemia la proiezione avverrà invece online - forse ottenendo maggior diffusione, tutto sommato - per iniziativa di Frameline e del Roxie Theater: "I poured heart and soul into this movie - dice Ostertag - I hope you enjoy it. And hope that you all have come through the apocalypse in one piece. If you think an inspiring story about kindness and generosity might be just the thing for you right about now, I have just the movie for you!"
https://youtu.be/MEJpry1IvFo
https://www.frameline.org/thanks-to-hank
https://www.imdb.com/title/tt10417932
https://www.hibou-anemone-bear.com/thanks+to+hank
Chiude invece le attività dopo oltre quarant'anni di regolari e importanti pubblicazioni nell'area del jazz europeo e dell'improvvisazione l'etichetta Slam, fondata nel 1989 poco fuori Oxford dal sassofonista George Haslam. E lo fa in gloria, con un inedito dell'amico e collega Lol Coxhill: Coxhill '85, tratto da un paio di concerti in solo tenuti al club Gibbs di Cardiff nel giugno 1985.
Scrive nelle note Nick Lea, responsabile della registrazione e della sua conservazione: "Lol Coxhill was a unique entertainer, and this is a unique performance from a musician whose music truly knew no stylistic boundaries. There was no such thing as a typical Coxhill gig. Anything could happen at any time, and frequently did. Although primarily regarded as a free improvisor, Lol never really fitted in with the improvised music scene. If indeed he drew from this particular musical well, he also drew from many other sources and would introduce these into an improvisation at any point that he felt was appropriate, moving in an instant from fierce abstraction to a remembered melody or song. The music here was recorded informally, in June 1985, at Gibbs Jazz Club, Cardiff where Lol was booked for two nights. Throughout the concert Lol was perched upon a stool, looking relaxed and ready to play. If some of the audience were not quite sure what to expect, Lol won them over at first with his ability as natural raconteur and then with his music. In the programme Lol also plays some delightful solos on sopranino saxophone, something he did far too infrequently."
E Haslam aggiunge quale commiato: "It’s a real privilege for Slam to release this recording of a classic Lol Coxhill solo gig. Lol has been a regular artist on Slam dating back to the second Slam CD issued in 1990. We are indebted to Nick Lea for recording the concert, preserving it for 36 years and offering it to Slam, also to Ulrike Coxhill-Scholz for her help and cooperation. Gibbs was a very active Cardiff jazz club back in the 1980’s – I remember playing there myself once – must have been around the same time as Lol’s concert. A good atmosphere and keen audience, Lol was clearly feeling very comfortable there. This CD has preserved his informal dialogue during the concert – I always felt this was an important element of any Lol performance."
Pedro Costa di Clean Feed invita tutti a unirsi per festeggiarne i primi vent'anni. Con uno sguardo fiducioso al futuro per almeno altri venti: "Clean Feed started out in 2001, I was 32 now I’m 20 years older. Might have happened the same to you. We’ve seen rainy days and we’ve seen sunny days, more sun than rain as we live in a country called Portugal where we started twenty years ago. Our country doesn’t support culture as it should and brands don’t support this crazy music. Twenty years passed and that didn’t change. In twenty years the music we released reached some amount of people over nearly 600 records. We started with the goal of releasing 2/3 records a year thinking ‘who’d want to release a record on a Portuguese label except for a Portuguese?’ Then we realized many did and still do and the Portuguese scene had grown so much over twenty years to the point where we have to run in order to keep up with them. We are a crew of four working on a daily basis, me, Travassos, Ricardo and Madalena with Ilidio very close whenever necessary. I want to thank every musician we worked with in these 20 years, they made us. Cheers to all of you, 20 more please."
https://cleanfeed-records.com
https://www.facebook.com/cleanfeedrecords
https://cleanfeedrecords.bandcamp.com
Con l'auspicio di poter riportare il Rova a far concerti l'anno prossimo, Larry Ochs invita ad ammirare nuovamente la splendida versione dell'Electric Ascension filmata da John Rogers nel 2012 al Guelph Jazz Festival: sarà disponibile su YT per quattro giorni consecutivi a partire da oggi, accompagnata stasera da una sessione di domande e risposte con il pubblico. Al concerto, oltre ai magnifici quattro Raskin, Ochs, Adams e Ackley, presero parte Chris Brown, Nels Cline, Hamid Drake, Fred Frith, Carla Kihlstedt, Rob Mazurek, Ikue Mori e Jenny Scheinman, con Marc Urselli alla regia del suono. Dell'edizione completa in cd, dvd e BluRay si incaricò cinque anni fa Rogue Art.
Scrive Ochs: "For probably the last time, we have decided to re-broadcast the beautifully-filmed Electric Ascension video from the Guelph Jazz Festival in 2012. We do this to initiate our Rova On the Air series of broadcasts that will occur approximately once a month. Re-broadcasts of past performances, and also the streaming of new shows, will be presented. And maybe sometimes music-only broadcasts of great unheard tracks we want to make available. We’ll improvise what’s next as we go along... And hopefully Rova is back on tour in 2022."
Naturalmente anche i Residents hanno pronta una proposta per il Record Store Day del prossimo 12 giugno, una collezione di sedici stranezze, versioni alternative e rarità storiche finora scartate, trascurate o sfuggite persino alla sistematica operazione antologica pREServed: Leftovers Again!?!
Following the enthusiastic critical and commercial response to their pREServed reissue series, which has produced hundreds of previously unheard recordings from the band’s master tape archive, The Residents now explore the original multitrack tapes for their seminal 1970s output. Produced under lockdown conditions, the group present sixteen never before heard alternate versions, unreleased curios and long-forgotten oddities. Includes an eight minute concentrate of the legendary ‘Rusty Coathangers For The Doctor’ tape, plus a demo and alternate rendering of the classic ‘Satisfaction’ single. Part of the ongoing pREServed reissue series, Leftovers Again?!? is, we are told, a small taste of further album-by-album multitrack explorations the group intend to present at some as-yet undisclosed point in the future.
https://residents.com
https://recordstoreday.com/SpecialRelease/13406
https://www.cherryred.co.uk/record-store-day-2021
A suo tempo Thomas motivò la scelta e la qualità sonora delle registrazioni, tratte da concerti in vari luoghi e situazioni tra il 1976 e il 1979, dipingendo con efficacia l'esperienza sonora mediamente vissuta dal gruppo sul palco ed esprimendosi anche circa il valore degli album dal vivo in genere: "If you look at the back of 390 Degrees Of Simulated Stereo you'll see the recording device for each song is listed: 'portable cassette machine,' 'one channel of a Braun reel-to-reel,' etc. We listened to all the tapes we had - cassettes, 24-track mobile recordings, professional and amateur. The lo-fi recordings almost always sounded better to us that the hi-fi recordings. The ambiance and distortion and accidental nature of lo-fi more accurately portrayed the material as played live and the band as experienced live. A band on stage is an entirely different experience for the musician as well as the listener. Recording a band live is not simply a matter of transforming the concert venue into a studio. It doesn't work. At least it doesn't work for us. On stage, for example, I can't hear the synthesizer. The frequencies and waveforms are too subtle to survive the chaotic acoustic of the stage and anyway the monitor guy blew out the high end in my right ear when he sent a spike thru the side fill. I know what the synth is supposed to be doing. I trust that it is but I can't hear it. Over to the left, the bass cabinet is too loud and the bottom end a mess because the bass player wants his pants legs to flap in the air pushed by the four 15-inch speakers so everything I sing is drifting in and out of a soup of overtone and noise. Meanwhile, you as the audience are getting a mix of what we think we're playing as interpreted by our sound man who is usually located in the worst acoustical location in the venue compensating for what he thinks the overhang of the balcony might be doing to the lower mids and how the lousy cross-over in the left bank of speakers might be affecting the upper end on the other side of the room. And there you are standing in the part of the venue that pushes the high end to ear numbing levels and your girlfriend is getting tired and cranky and you don't want to look at her because you'll see it in her eyes but you can hear her fidget and she wants to go home and the guy behind you is talking and you're thinking about why the guitar player is laughing. That's what live sound is. We decided that live albums should sound like 390 Degrees because that's what the live experience is. It's my favorite musical experience and it's my favorite sound. And, of all the tapes, we liked those the best."
https://recordstoreday.co.uk/releases/rsd-2021-drop-1/pere-ubu
http://www.ubuprojex.com/pere-ubu-outofprint.html#390
http://www.ubuprojex.com/faqs/ubufaq.html#noise
Vanno naturalmente - e lodevolmente - ascritti al desiderio e alla necessità di mantenere disponibili informazioni rilevanti sulla lunga e non sempre lineare storia dei Pere Ubu - e di altri progetti con protagonista David Thomas - le recenti iniziative di revisione del sito web dedicato (Ubuprojex), la riorganizzazione dei materiali ufficiali (Ubutique) e quelli d'archivio (Hearpen), la pubblicazione periodica di materiali audio del tutto inediti o finora circolati in modo improprio (via Bandcamp), il contatto periodico con appassionati e studiosi per rispondere a loro domande e curiosità e fornire ulteriori spunti (in Ubu Dub e Datapanik TV). Ai materiali di stampa già pubblicati si è aggiunto in tempi recenti un'antologia di documenti riguardanti una delle epoche più interessanti nelle alterne vicende del gruppo, quella iniziale: Pere Ubu-The Scrapbook (1975-1982).
Il rimanente lavoro di documentazione è ancora molto e Thomas - pur sostenuto egregiamente da Kiersty Boon (cioè Communex) - ne soffre un po' il peso, specie dopo la perdita quattro anni fa del fido Paul Hamann, erede del 'mitico' Ken: "I have in my possession every note, every buzz that Pere Ubu committed to tape or to digital media since 1975. It has fallen to me to be the janitor, the custodian of a magnificent edifice of many chambers whose walls are etched and embellshed with hopes, dreams and visions. I can only hope that I am up to the task. The end of my life is in sight. Not imminent, I hope, but coming on like a dark train spreading sparks and smoke across the geography of vision. Every day I work in the edifice, patching leaks, repairing and preserving. My shortcomings are legion. My will is singular and focused. Recently I died twice. It is said that only the will to live kept me alive. I am here and I am working. I do the coding. I do the engineering. I do the html. I do the conservation and preservation, the collection and organization. I troubleshoot the software problems of our customers. The indomitable Communex works with me all the hours, guarding my health and clearing the road ahead. Her work with associated visual media is grounded, vital and complemented by the sporadic reappearance of John 'Johnny Dromette' Thompson. The edifice stands. Stunning picture postcards of that edifice and its chambers, printed carefully with attention to detail and integrity, can be purchased at this site. That is my ambition. It is humble but achievable. A magnificent, scholarly coffee table book might be preferable but is beyond our means and vision. I yearn for an award, serious recognition, a plaque to put on the wall. Something that says, 'Well done - you have stayed the course.' Won't happen. That's not Pere Ubu anyway. Pere Ubu is a unique road side stop to be stumbled on by chance and accident, explored with enthusiasm, and then left behind to be recalled forevermore with joy. That is my will."
Appuntamento dal vivo in streaming questa sera anche per David Thomas con una versione a tre dei Pere Ubu - ci saranno Keith Moliné e Gagarin - in una rilettura integrale dell'ultimo album, The Long Goodbye. Sarà visibile tramite Patreon, dove già da un anno sono ospitate e archiviate le trasmissioni del Nostro.
Quattro appuntamenti con Bob Drake dal vivo in streaming attraverso il suo canale Twitch.TV: oggi, domani e poi ancora tra due settimane, sempre con inizio alle ore 20.00. Chi ha perso la puntata precedente, quella del 13 marzo, ne ritrova qualche bell'estratto in YT.
http://www.bdrak.com
https://www.twitch.tv/bob_drake
https://www.youtube.com/bobdrake
Dagli archivi Ictus esce invece un concerto di Lol Coxhill con il percussionista Andrea Centazzo, registrato alla Krinzinger Galerie di Innsbruck (Austria) nella primavera 1979: 79 Hot Landscapes.
Dagli archivi Scatter esce una registrazione di vent'anni fa a Glasgow di Lol Coxhill in duo con il contrabbassista - qui anche alla tuba - Lindsay L. Cooper, a volte in dialogo con le ambientazioni sonore suggerite da Bill Wells. Due musicisti con le stesse iniziali dei loro nomi e cognomi: to Elsie.
Un box di cinque cd per riportare all'attenzione le passate attività dal vivo del trio di improvvisazione IST, ovvero Mark Wastell, Rhodri Davies e il compianto Simon H. Fell. Fin dal primissimo concerto, tenuto venticinque anni fa al Club Orange londinese: A More Attractive Way, prodotto in 500 copie in un'edizione da anniversario da Confront Recordings.
A More Attractive Way is a comprehensive study of live performances made by IST between 1996 and 2000. This 5 CD set begins at the very outset of the group's career and features their debut concert at Club Orange in London and charts its way through further gigs in London, Billericay, Norwich and Cambridge. The 20 page booklet contains written contributions from Mark and Rhodri, Jo Fell, Simon Rose, Nick Smith, John Butcher, Phil Durrant, Graham Halliwell and Chris Goode together with previously unpublished photographs.
Esce in questi giorni per Cadillac Records un nuovo eccellente album di Evan Parker, ad arricchire ulteriormente un periodo già fitto di uscite a suo nome: All Knavery & Collusion, registrato ancora in epoca pre-Covid - ma la sua influenza si fa ugualmente sentire - il primo giorno d'estate di due anni fa, in quartetto con Alexander Hawkins, John Edwards e Paul Lytton. L'edizione in vinile è limitata a 500 copie, e nelle prime cinquanta è incluso un regalino in tema...
Recorded pre-Covid in the summer of 2019, All Knavery and Collusion still exhibits the existential weight of the global pandemic that would follow six-months later. Titles for four of the program’s seven pieces borrow from Daniel Defoe’s novel Journal of the Plague Year and there’s an air of portentousness to the music given the slightly bitter aftertaste attendant with Evan Parker’s professed skepticism on the public import of scientifically-based precautionary measures. Pause certainly seems warranted regarding that misguided perspective, but the merits of the music remain uncompromised and every bit as bracing as one would expect from the caliber of the participants.
Martin Newell dedica uno dei suoi più recenti podcast a Miniatures 2000, l'omaggio al celebre lavoro di Morgan Fisher curato da Barry Lamb per festeggiarne i quarant'anni. E' su Mixcloud.
L'album è in distribuzione anche presso ReR in una speciale edizione a tiratura limitata: "Third in a noble series: first was Morgan Fisher’s classic 1980 release, then an expanded second volume at the millennium - and now we have this third, even more expanded homage. The idea is simplicity itself: invite a selected body of artists to make a piece one minute long and then group them together in through-listening blocks. There are 124 contributors here, some well-thumbed (The Residents, Fred Frith, Stewart Lee, Billy Bragg, David Thomas, John Otway, R. Stevie Moore, Peter Blegvad, Henry Kaiser, Attila the Stockbroker, Terry Riley, Half Japanese, Tom Robinson, Bob Drake, Alternative TV, The Ukulele Orchestra of Great Britain) and many others lesser known or as well known but in other musical circles - including members of Van der Graaf Generator, Curved Air, Zoviet France, Stomu Yamashta’s Red Buddha Theatre, Soft Machine, Fairport Convention, The Blockheads,The Stranglers, John’s Children, Alternative TV, Caravan, The Damned, Global Village Trucking Company, King Crimson, Adam and the Ants and The Monochrome Set. It’s a snapshot, a sampler, a box of variety and delights - and a window on the state of play: in all, a useful and worthwhile undertaking. 2 CDs in a slipcase with a thick book."
"The first sign that this would be no ordinary trip was that people were waiting for us at the airport. Not record company execs, not chauffeurs, but actual people. Fans, mostly teenage girls who started screaming when they saw us emerge from customs. Not thousands of them, of course, not even hundreds, but a good few dozen all the same, which, for us, was the equivalent of a stadium rock audience. We were whisked away in a couple of very swish vans (with the obligatory dark-tinted windows) for the long journey from Narita to Shibuya, where rooms had been booked for us at the Nobu Hotel, only a few steps away from the venue where we would perform, bang in the middle of Tokyo’s hippest quarter. The date was 29 September 1987. By 6 October, all of this would be over. But ‘this’ covered a lot..."
Per festeggiare il primo compleanno del WestbrookJazz Moving Picture Show Mike e Kate Westbrook offrono agli invitati una canzone di Harry Copeland arrangiata da Mike per la band di Off Abbey Road e registrata nel 1989 al Temple Music di Jon Hiseman - iniziando con lui proprio in quell'occasione una lunga serie di produzioni in studio - rimasta finora inedita: ora è disponibile in una versione video curata da Chris Topley e magnificamente illustrata da Kate. Si intitola The School of Jolly Dogs, e con i Westbrook ci sono Pete Whyman, Alan Wakeman, Brian Godding, Andy Grappy e Pete Fairclough.
https://www.westbrookjazz.co.uk/pictureshow/Slap!Bang!
https://katewestbrook.bandcamp.com/track/the-school-of-jolly-dogs
https://jscholarship.library.jhu.edu/handle/1774.2/26779
Magic Roots dal vivo in streaming dagli spazi dell'Abbey Rocchi Studio a Roma pochi giorni fa, con una conversazione con Luigi Onori: Alberto Popolla, Errico De Fabritiis, Gianfranco Tedeschi e Fabrizio Spera.
E in concerto in diretta streaming dal newyorkese Roulette ci sarà questa sera Zeena Parkins, con due diverse proposte: il primo episodio (Ekstasis I) di una nuova serie dedicata alla poliedrica artista Jay DeFeo, scomparsa nel 1989, e un nuovo capitolo (Lace_Mvt IV) della lunga sperimentazione con partiture create a partire dalle trame di pizzi e merletti. Con Zeena saranno prima Megan Schubert e poi Ryan Sawyer e Ryan Ross Smith.
Shelley Hirsch dal vivo in streaming con The Body Remembers, suo ennesimo tour de force vocale, linguistico ed espressivo in quattro atti, prima da sola e poi con l'aiuto di Michael J. Schumacher e Joanna Mattrey: Paper Piece, Letting The Electronics Lead Me, Visceral Interaction e He Brings The Beauty. Lo ha proposto il mese scorso Roulette a New York - ora è sul web in Vimeo - nel corso di un'incredibile stagione di produzioni originali che continua inarrestata nel furore della pandemia.
https://roulette.org/event/shelley-hirsch-3
https://vimeo.com/521530072
Fruga fruga nei cassetti, salta fuori una bella registrazione inedita di Ian Carr effettuata dal vivo in studio nell'ottobre 1970 con Harry Beckett, Brian Smith, Tony Roberts, Karl Jenkins, Chris Spedding, Ron Matthewson, Jeff Clyne, John Marshall, Chris Karan e Keith Winter. Un doppio quintetto, in pratica una prova generale dei Nucleus in vista delle sedute ufficiali di Solar Plexus di lì a poche settimane: Solar Session, un altro bel colpo messo a segno dall'infallibile Jazz in Britain.
E risorge anche Onosante, una registrazione del 2000 frutto della collaborazione di Paul Dunmall con Keith Tippett, Philip Gibbs e Pete Fairclough. La ripubblica la newyorkese 577records, inaugurando una promettente serie dedicata al sassofonista.
Originally recorded in 2000 for a small 100-copy release, Onosante has become a 4-track improvisational project suspended in time. Performed by Paul Dunmall (saxophones, fife, bagpipes), Keith Tippett (piano), Philip Gibbs (guitar) and Pete Fairclough (drums), the album is a deeply creative testament to collaboration, with particularly interesting instrumentation and a characteristic warmth. The compositions are complex but never crowded, conveying a poetic ease between the performers, in what Dunmall calls “a revelation” and “a mini-masterpiece of improvised music”. This release marks the 20-year anniversary of its first publication, the memory of Keith Tippett’s recent passing and the first of many releases from legendary UK musician Paul Dunmall later this year on 577 Records.
A quattordici anni dal ritrovamento risorge la più antica registrazione nota del celebre Howl di Allen Ginsberg, tratta da una sua lettura in pubblico tenuta al Reed College di Portland, in Oregon, il giorno di San Valentino del 1956. Ora è su Omnivore Recordings.
Allen Ginsberg’s first public reading of his epic poem Howl took place at San Francisco’s famous Six Gallery in October of 1955. Along with Ginsberg, the evening included readings by Gary Snyder, Philip Whalen, Philip Lamantia, and Michael McClure. Poet and anthologist Kenneth Rexroth was the emcee, and Jack Kerouac, Lawrence Ferlinghetti, and Neal Cassady were in attendance. Unfortunately for literary history, no one recorded the Six Gallery reading, and it was long-thought that the first recording of Howl was from a reading at Berkeley in March 1956. Before visiting Berkeley, however, Ginsberg had traveled to Reed College in Portland, Oregon, with Gary Snyder to give a series of readings. On February 13 and 14, 1956, Snyder and Ginsberg read at Reed, with the Valentine’s Day performance recorded then forgotten about until author John Suiter, researching Snyder at Reed’s Hauser Memorial Library, found the tape in a box in 2007.
Tutt'altro che uno scherzo è invece il destino che attende il Mills College di Oakland, in California, da oltre un secolo e mezzo una delle istituzioni educative statunitensi più stimate e anticonformiste, caratterizzata da una didattica innovatrice e dall'approccio laboratoriale e multidisciplinare ai saperi, molto impegnata anche sul fronte dell'emancipazione e della promozione dei diritti dello studente e della persona, ora in procinto di affrontare una radicale trasformazione - accelerata anche dalle vicende della pandemia - che vedrà presto la chiusura di tutti i suoi nuovi corsi ed entro un paio d'anni l'esaurimento di quelli vigenti. Tra i suoi molti Dipartimenti disciplinari, quello di Musica ha sempre goduto di un particolare prestigio, e di notorietà internazionale: ad esso hanno contribuito in vario modo le migliori menti del Novecento musicale americano (ma non solo), tra cui Darius Milhaud, Luciano Berio, Lou Harrison, Pauline Oliveros, Robert Ashley, Terry Riley, Steve Reich, Anthony Braxton, Roscoe Mitchell e Fred Frith. Amaro il commento di Zeena Parkins, che come William Winant al Mills tuttora insegna ("I long feared this might be the worst-case scenario, but I am still devastated by the news"), allarmato il tono della presidente, Elizabeth L. Hillman, che pure cerca di guardare con fiducia all'incerto futuro ("Today’s news signals the end of an era in Mills College’s history. It may provoke a variety of reactions and emotions in you, as it has in me. I also expect you will have many questions, some of which I will not yet be able to answer"). La notizia è riportata in dettaglio da Geeta Dayal sul New York Times.
https://www.mills.edu
https://www.youtube.com/ELH
https://www.nytimes.com//mills-college-music.html
Forse un po' per scherzo - già che gli era venuto benino The Dark Side of The Moon qualche mese fa - il primo dell'anno si son messi in testa di rifare anche Red. Per intero. Una dozzina di giovani allievi di Alan Williams, ribattezzati per l'occasione The UMass Lowell King Crimson Ensemble. Bravi!
A quelle stesse riprese dei Caravan qualcuno - che evidentemente se ne intende, e perciò lo scherzo vale - ha sostituito l'audio, mettendo invece una loro versione di un brano di Keith Jarrett, di chiara eredità Delivery. E non lo nasconde: "Caravan play Keith Jarrett? Well, yes, this is Caravan performing Keith's Is It Really The Same live sometime in 1971 or 1972, but the (unrelated and re-edited) visuals are of course from the recently unearthed Montreux footage. I had already posted the audio (or at least some of it) but I think it's more entertaining with video, albeit artificially created."