In discussion with L’estasi Dell’oro on “Passages” by Ravi Shankar and Philip Glass (1990).
Do you remember when you first got a hold of „Passages“?
I would have to say approximately 8 years ago. I believe that I first became aware of this album through familiarity with Ravi’s work, as opposed to the more likely channel of Philip’s. It was just the well-worn process of hearing a great musician’s work for the first time and then digging through as much of the rest of their discography as time allows.
What makes this album so important for you?
The simple answer is that this is the best collection of modern music that I’ve ever heard in my life so far. There’s other individual songs that I feel reach higher than any single piece from „Passages“, Jimi’s „1983, A Merman…“ for example, but taken as a whole, the variety and almost unwavering quality across the 55 minutes are very impressive to me.
Are you generally interested in either the Minimalism school Glass is a part of, and the heritage Ravi Shankar represents, or are there preferences?
Both traditions are of interest, for both similar and differing reasons. The Western minimalism side’s long form accuracy of performance is astounding. Of course many pieces utilize synthesizers or machines for part or all of the sound, but there are many examples of highly trained musicians playing these very fast and demanding arrangements in sizable groups with amazing accuracy. Hearing a quartet of woodwinds or vocalists arpeggiate 32nd notes for 20 minutes in synchronization is certainly impressive, especially when each player is playing in the pocket of another’s notes and one weak link could lose the all-important groove.
I feel that the general Hindustani music I’ve been able to discover, not too much beyond key names are readily available to foreigners like myself unfortunately, is an amazing marriage of musical rules and improvisations. Other cultures undoubtedly have similar structures, but the long form interplay between a sitar and tabla create a sound that appears loose and informal at first, but one where the performers are very highly trained and aware of their actions as a group. I’m certainly not deeply aware of the compositional rules of ragas & talas, etc. but familiar enough to appreciate what those musicians know themselves. Even in the related vocal styles of Nusrat Fateh Ali Khan and Pakistani performers, the communal aspect of group support for the soloist is wonderful.
In common, the two traditions place emphasis on extended songs beyond the popular format, which when done correctly, can leave a profound impact on the listener. Also, the aforementioned backing of smaller choral support often features drawn-out vocal melodies that really appeal to my ear, especially with the female voice. I’ve enjoyed working with a couple vocalists in this style, which can even sound great just floating over a groove alone without the usual emphasis on a soloist drawing the main focus. Read the rest of this entry »
Danny Tenaglia – World Of Plenty Tafuri – What Am I Gonna Do (About Your Love) (Silk On Steel Mix) Inner City – Whatcha Gonna Do With My Lovin’ (Knuckles/Morales Def Mix) Ray Simpson – Crazy Pictures (Classic Club Version) Gladys – Made Up My Mind (Classic Club Version) Detroit Spinners – Ghetto Child (7“ Boilerhouse Remix) Ryuichi Sakamoto – You Do Me (The Justin Strauss Remix) Innocence – Let’s Push It (Push It Mix) Quartz – It’s Too Late (Overnight Mix) Stereo MC’s – Two Horse Town Monie Love – It’s A Shame (My Sister) (Monie Dee Mix) Don-e – Love Makes The World Go Round (Morales Extended Club Mix) Lenny Williams – Gotta Lotta Luv (House Mix) The Pasadenas – Moving In The Right Direction (Classic Deep Mix) Jesus Loves You – Love’s Gonna Get You Down (Popcorn Mix) Paul Johnson – You’re No Good (Deep House Mix) Daryl Hall – Stop Loving Me, Stop Loving You (Heart To Heart Vocal Mix) Fine Young Cannibals – I’m Not The Man I Used To Be (Extended Version) The Todd Edwards Project – Get Carried Away (Out On The Town Mix) Eve Gallagher – Love Is A Master Of Disguise (Classic Club Mix) Alison Limerick – Make It On My Own (High Rise Mix) Clive Griffin – I’ll Be Waiting (Dance Mix) Nayobe – I Love The Way You Love Me (Nostalgic Mix) Swing Out Sister – Twilight World (Instrumental Dub) Swing Out Sister – Twilight World (12“ Remix) Jody Watley – I’m The One You Need (Extended Club Version) Motherland – Love Games (Dub) Motherland – Love Games (The Satoshi Tomiie Interpretation) Alexander O’Neal – What Is This Thing Called Love? (Dee Classic 12″ Mix) Chapter & The Verse – Stealth
In discussion with The Maghreban on “Spell Of Three by Jazz Hip Trio (1967)
How did you become aware of „Spell Of Three“? A chance encounter?
I went to a car boot sale in Bath early one Sunday morning with my Dad and my Brother. I was looking for records, there weren’t many private sellers but there was a man who had a record stall. Normally I wouldn’t buy from a record dealer at a car boot sale, but there weren’t many records around so I had a look. He had this LP out for £12 or something. It looked interesting, just looking at the sleeve. It was the English Pressing on Major Minor. I took a chance on it for £10, which is not normally something I would do on a record costing that much.
Why did you pick this song, and not the whole album „Jazz En Relief“? What makes „Spell Of Three“ so significant?
When we got back I listened to the LP and was transported by that track in particular. Other tracks were nice, but none really moved me like that one did. Just the depth of emotion it conveys, kind of hopeful and sombre at the same time, it gave me goose bumps.
Is the late 60s your favourite period of time for Jazz, and is this style a personal preference?
I guess it is, yes, although not just the late 60s. There is a particular type of Jazz tune that I like, and most of them are from that time. Or some were recorded later but are in the 60s style. Tubby Hayes “Sasa Hivi”, “Pedro’s Walk”, Cannonball Adderley Quintet Plus “New Delhi”, Alto Summit “Native Land”, Ray Bryant Trio “Cubano Chant”, those kind of tunes. Some are a little Eastern sounding.
Would you say that Jazz-hip Trio have a typically French take on playing Jazz or does origin not matter?
I think they do actually. There is something there that reminds me of some Claude Bolling, Jacques Louissier. Or maybe its because it is a small band and it was recorded at that time. Something in the sound of the ride cymbals.
Their music sure has a cinematic quality, as exemplified in a lot of Jazz-based scores for films of that era, and they even interpret the seminal French film composer Michel Legrand. Is this just a cliché or did this film and music in that aspect just work well together at that time?
There is definitely something cool there, something cinematic. I could see this tune in a French New Wave film. Anna Karina smoking a cigarette. If it’s a cliché it is one that I like. I think the combination did work very well. Read the rest of this entry »
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