DANCE OF THE COSMO ALIENS

From the album DISCO 3000. Recorded in Rome in 1978

Sun Ra uses a prototype made by Crumar called the ‘Crumar Mainman’ which he described as ‘like a piano, organ, clavichord, cello, violin and brass instruments’.

“Dance of the cosmo aliens” thinly disguises the traditional “Sometimes I feel like a motherless child”

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Ionian JazzNow!

The sound and the colours of the new greek Jazz scene emerging from the Ionian school of Jazz.

Published by the Jazz&Τζαζ magazine Nov 2011

 

1. If I Should Lose You (Rainger, Robin) © EPA
2. Navarac (Leonidas Sarantopoulos)
3. Say something (Thodoris Kotsifas)
4. Always Be With Me (Terry Vakirtzoglou, Georgia Aitaki)
5. Entropia (Zoe Efstathiou)
6. The Thing (Costis Christodoulou)
7. Zambikos (traditional, arranged by Michalis Katachanas)
8. Good Friday’s Tango (Stefanos Andreadis)
9. After the Storm (Konstantinos Manos, Terry Vakirtzoglou)
10. Tempest (Yiannis Papadopoulos)
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Matana Roberts – i stand, i suffer, we soar.

i stand. i suffer. we soar.

where i end, they begin.

can you hear me?

i speak memory i shout her-his-story, i envision our dreams. come with me.

this work. a culmination of spooks, spirits, memory. can not literalize it really. it’s my twisted memory, my twisted spooks, my twisted spirits, in some ways my lore, not yours.

lets’s make a list

memphis, mississippi, new orleans, africa, ireland, france, england, scotland, etc etc etc choctaw, cherokee chicksaw. acadian/canadian. amerikkkan. so many other things most likely smashed/crashed in between. can you hear me?mystery of collective memories, some heard but never seen. ashland, mitchum, halsted, 95th street. some seen, but never heard. some whispered, some screamed. hop hip. can you hear me? chicago? jacqueline faye jones. a migration of a gypsy people. searching. can you hear me? 55th Garfield. 97th. low-e. beale street. long ways to go. east st luis, south side, 125, west side,  eyes open wide. a barbeque. a long syllabic refrain. acceptance of a difference not chosen. red, tada, the black and green, jones, the laying down of arms. on our backs, bat israel.davis. stepping on/over/onwards. trails of tears, a light, long run. a long light sob. cold blood. warm blood. the kindness. wondering. hughes. lorde, emma. ntozake. bell. shabazz, scott, kings. queens.

Sun Ra – A Joyful Noise (1980)

This video represents a good range of Sun Ra’s many musical moods. Ra was among the first person of any musical genre to use electronic keyboards. Here, the venerable titan of the jazz avantgarde performs tunes including “Astro Black,” “Calling Planet Earth,” “Organ Solo,” “We Travel the Spaceways,” “Ankh,” and other seriocomic chants and jingles.
1980 – director: Robert Mugge

            

Some call me Mr. Ra… others call me Mr. Ry… you can call me MYSTERY

Scenius, or Communal Genius

((Pay close attention, creativity fans.))

Scenius is like genius, only embedded in a scene rather than in genes.

Brian Eno suggested the word to convey the extreme creativity that groups, places or “scenes”  can occasionally generate. His actual definition is:  “Scenius stands for the intelligence and the intuition of a whole cultural scene. It is the communal form of the concept of the genius.

Individuals immersed in a productive scenius will blossom and produce their best work. When buoyed by scenius, you act like genius. Your like-minded peers, and the entire environment inspire you.

The geography of scenius is nurtured by several factors:

•  Mutual appreciation — Risky moves are applauded by the group, subtlety is appreciated, and friendly competition goads the shy. Scenius can be thought of as the best of peer pressure.
•  Rapid exchange of tools and techniques — As soon as something is invented, it is flaunted and then shared. Ideas flow quickly because they are flowing inside a common language and sensibility.
• Network effects of success — When a record is broken, a hit happens, or breakthrough erupts, the success is claimed by the entire scene. This empowers the scene to further success.
•  Local tolerance for the novelties — The local “outside” does not push back too hard against the transgressions of the scene. The renegades and mavericks are protected by this buffer zone.

Scenius can erupt almost anywhere, and at different scales: in a corner of a company, in a neighborhood, or in an entire region.

Link: kk.org

Scenius in Art and Science.

The history of art and science is crammed with episodes of scenius. In modern literature there was the Algonquin Round Table, the Bloomsbury Group, the Inklings in Oxford, UK. In art there was Paris in the 20s, the lofts in Soho, NYC, and Burning Man recently. In science there was the Lunar Society in England, Building 20 at MIT, or the ever-spreading Silicon Valley.

(…)

Camp 4 is a nondescript, bland, dusty campground. Building 20 at MIT, the home of fantastic engineering exploits like the improvement of radar, was likewise architecturally boring, almost dilapidated. Soho was blocks of unwanted industrial space. Like these other places, Camp 4 was a generic space with flexibility. However Camp 4 is also a walk-in camp. You need to haul everything on your back. That immediately filters out a lot of wannabes. The absence of cars also keeps everyone around. From the outside you would never guess there was anything special about the place.  I think that is true of most scenius.

(…)

Although many have tried many times, it is not easy to command scenius into being. Every start up company, or university would like their offices to be an example of scenius. The number of cities in the world hoping to recreate the scenius of Silicon Valley is endless, but very few have achieved anything close. Innumerable art scenes begin and vanish quickly. The serendipitous ingredients for scenius are hard to control. They depend on the presence of the right early pioneers. A place that is open, but not too open. A buffer that is tolerant of outlaws.  And some flash of excitement to kick off the virtuous circle.  You can’t just order this.

What Camp 4 illustrated is that the best you can do is NOT KILL IT. When it pops up, don’t crush it. When it starts rolling, don’t formalize it. When it sparks, fan it. But don’t move the scenius to better quarters. Try to keep accountants and architects and police and do-gooders away from it. Let it remain inefficient, wasteful, edgy, marginal, in the basement, downtown, in the ‘burbs, in the hotel ballroom, on the fringes, out back, in Camp 4….

Link: wired.com

Scenius everywhere.

Here is a good example of what Scenius can be like in music, by Brian Eno himself, in his studio at Notting Hill, London. Which is no more than a usual jam between music artists-friends on a casual day.

Scenius is not impossible, you just need the right ingredients. You need the right people at the right place. And as was mentioned above, if it happens DON’T KILL IT. It can happen anywhere: In a coffee shop, in someone’s flat or just sitting on a bench with your mind open. In musical terms this is the definition of jamming. We can gather in a scene and take our genius out there. Just like Mr Eno did with the superb Australian band The Necks. And he called it “This is Pure Scenius“.

~ soundsofnone ~

Lloyd Miller & The Heliocentrics

With the Jazzman label’s release of A Lifetime In Oriental Jazz last year ethnomusicologist Dr Lloyd Miller finally received something approaching his due, his seamless combination of ancient Middle-Eastern instruments and post-Giuffre chamber jazz, striking a chord with modern hipsters searching out lost ‘new’ sounds. Now, following their hook-up with Mulatu Astatke, Malcolm Catto’s London-based jazz travellers have lent their rhythmic talents to the 72-year old multi-instrumentalist. With Miller displaying a rare mastery of Middle-Eastern time signatures and instruments, the Heliocentrics follow his lead, a loose caravan creating an hypnotic, spiritual jazz amble through the forests, mountains and clearings of a magical Middle-East. Given Miller’s on-record disgust at modern music, the real triumph here is how well this trip grooves, managing to sound simultaneously modern, ancient, and blissfully timeless.

source: Mojo

Lloyd Miller & The Heliocentrics