odradek

It’s the last album by Garbarek that I bought, and it’s a great album, which your page explores even in the intricate branches of the ideas that underpin it. Visible World was given to me, but I was quite disappointed. Since then, however, I’ve promised myself to revisit it, and I will (Hal, we talked about it back then, remember?). Because he is a musician who has gifted me many rich listening experiences full of suggestions, in many directions. Symbad, I imagine you know his discography better than I do, but I’ll allow myself to highlight a few albums that I really like, where he engaged with other musical traditions, always with great results. In '79 (!) he released two beautiful albums with Gismonti/Haden: "Folk Songs" and "Magico," in '86 "Making Music" with Zakir Hussain, in '90 "Ragas and Sagas" with Pakistani musicians, in '92 "Madar" with Brahem/Hussain (and he even finds time to record M. Vitous’s "Atmos," another stunning album). Even when the gaze shifted from "Nordic" traditions to distant lands, the results are memorable. Your page makes me want to dig into his vast discography for more things that have slipped away. Thanks.

Antoniodeste, here we go again. Your tendency to express judgments on your interlocutors rather than refer to their opinions is evidently chronic. I have yet another, extremely annoying, confirmation of this. Admitting that the quoted sentence has a MEANING DIAMETRICALLY OPPOSED to the one you attributed to it probably seemed useless to you. Maybe even unbearable. Better to pronounce judgment on someone else's emptiness, as per cliché. I don’t use copy and paste; I just invite you to reread your post from "the need ... to .. inability." And to reread your (empty?) roundabout words that appeal this time to spontaneity and naturalness, after having just pointed out the necessity of vocabulary and letters of the alphabet. Words have meaning. They should have it especially for a pseudo-champion of communication. But no, it’s always the interlocutor who expresses "lucid emptiness"; it’s not you who didn't even grasp the meaning of a very short sentence and spends a long post pontificating about others' gaps. Now, though, please, enough. I’m definitely tired of having to endure your literal misinterpretation of everything I write, which seems to have the sole purpose of rekindling a grudge that you express every time I happen to run into you. I still don’t understand where it comes from and who pushes you to do it; evidently, you enjoy it. But I thought the matter was closed. I avoided replying elsewhere, hoping it would serve a purpose. But no, here you are again. Well, I’m closing it again. Be kind, let it go. You are right, okay? I endorse each of your enlightened opinions about me. I continue to express emptiness/inability. You do, elsewhere, an exhibition of your concrete skills. Is that okay? Can I consider it closed? Thanks.

A quote is used because it effectively summarizes (and often with a brilliance that is lacking in us empty/unable ones) what one intends to express. Others use it to let us know that they are familiar with it. Everyone, before rebutting and issuing judgments, should, AT THE VERY LEAST, read it and understand it.

Eleven little pieces, eleven, cut by The Knife, just inserted. Enjoy listening.

Nice little surprise..

Hi, Gabbox. You've made me want to get this version too (I have the original on vinyl and CD). A curiosity: in the booklet, does someone explain where the material was sourced from, the two? In particular, how is the story told about the incident that delayed the release of the album and resulted in a lawsuit for the unauthorized use of a recorded voice? I have a firsthand anecdote that's very enlightening about certain "attitudes" of Byrne. Maybe I'll tell you later. I imagine you're in the square at the moment. Happy May Day!

Ah, yes, Symbad, I also remembered other attributions. Let's say that the one that circulated most widely was that of the young lady, who at the time probably cited the source, but I didn't recall it. The fact that it has stood the test of time and has been used by such a diverse array of musicians seems to demonstrate that it possesses an effectiveness in expressing "...a threshold of the unutterable"… - Wow, you're adventurous even outside of music: with your back on a bike in the mountains?

Well, Morning, I believe Cape Verde was a Portuguese colony, so... Cesaria, years ago, was also a guest at "Tenco," a lady no longer young, plump, barefoot. - That statement about the "notes thrown together" surprised me a bit, after your excellent pages on Zorn and O. Coleman records. - When I was the pusher of music, this Silver was one of the first I suggested to those who asked for "something jazzy, but not that messy stuff." Some of them entered the tunnel of blue notes, and I believe they are still there now. Probably also grappling with "that messy stuff" they would have once avoided like the plague...

"..dancing architecture" is a happy expression coined by Laurie Anderson to convey a threshold of unspeakability; it is not exactly about "explaining it." (A careful reading of the "vocabularies" is, indeed, recommended, should one wish to communicate.) This does not prevent someone from trying to do so: in 1999, choreographer Sasha Waltz did it in a performance of the same title, which involved spectators and dancers in the empty space of a museum's architecture. For 90 minutes. Without music. - Just to say. And to reiterate that complexity is not a vice of pseudo-intellectuals but a concrete fact that can also be found in language. Of course, it can be annoying; no one is obliged to share anything. Regards.

It seemed like a joke :) Eric, of course...