World premiere of “Revenant” (June 9, 2011), a piece for Virginal by Tashi Wada, commissioned and performed by Stephan Mathieu.
The concert was held as part of the “Alterminimalismes” concert series at the Collège des Bernardins (Paris).
Tobías Wong falleció en extrañas circunstancias a la edad de 35 años (más concretamente cuando contaba 13.138 días, he aquí la respuesta). Padecía de graves episodios de parasomnia (sonambulismo) y era capaz de hacer múltiples actividades bastante complejas completamente dormido. Nadie entendió que Wong, aparentemente feliz y en su etapa más álgida de éxito (era uno de los artistas más solicitados de New York) pudiera pensar en suicidarse; así cuando su pareja le encontró colgado en su apartamento muchos lo achacaron a uno de esos “ataques”.
La obra realizada por McSwain requiere de mucha paciencia y horas de trabajo, y fue exhibida como parte del colectivo “Brokenoff Brokenoff” en la galería Gallery R’Pure de la ciudad de New York en memoria a su amigo, el diseñador canadiense Tobías Wong, famoso por un estilo que él mismo denominó comoparaconceptual, muy crítico con el consumismo comercial y el estilo de vida de las clases más acomodadas. ─ [LikeCool]
From Digital Kitchen Seattle creative Chris Abbas comes this sweet mashup video featuring music from Nine Inch Nails and pictures from NASA’s Cassini mission.
The Cassini Solstice/Equinox Mission is a joint NASA/ESA/ASI robotic spacecraft mission studying Saturn and its natural satellites. The Cassini space probe was launched in the fall of 1997 and will continue to explore Saturn and its environs until 2017.
Happy 85th birthday, Miles Davis.
I don’t usually post the better part of concerts on the blog, but given the occasion, I’ll make an exception. Here’s a 2006 concert in New York in which saxophonist Bob Belden, trumpeter Tim Hagans, keyboardist Scott Kinsey, bassist Matt Garrison and drummer Guy Licata and tuntablist DJ Logic performed the music of Bitches Brew.
If you’d like to play the music independent of the videos, it can be found on the recently released disc Asiento, on RareNoise Records. (FYI, Belden’s group goes by the name Animation.)
Last August, Columbia released two deluxe Bitches Brew sets, to mark the 40th anniversary of the Davis double-LP’s release. Included with both sets was a DVD of a previously unissued Davis quintet performance in Copenhagen in November 1969. Here’s the promo clip for the anniversary set.
Mientras busco datos para alimentar artículos e historias diversas, sobre todo cuando me encuentro en proceso de documentar textos para Historia de Iberia Vieja y otras revistas, buceando en webs y en bibliotecas (sí, de esas que guardan libros de papel, todavía existen ) a veces aparecen verdaderos bichos raros dignos de ser mencionados. He aquí dos máquinas asombrosas y extrañas. En primer lugar, el “barco bisagra” (vía Tingilinde), un navío diseñado para recoger contaminación en aguas superficiales. Operados por la marina alemana, los dos barcos de esta clase, llamada Bottsand, pueden cambiar de configuración (en ángulo de 65º) para “barrer” aguas contaminadas e ir así retirando petróleo y combustibles de las aguas.
Otro caso sorprendente de máquina extraña es el avión portaaviones. La idea de construir un vehículo aéreo capaz de transportar en su interior aviones, como si de un portaaviones volante se tratara, es muy antigua. Los primeros intentos fueron llevados a cabo con dirigibles. Pero, de entre todas experiencias, cuya más conocida variante es el sistema de transporte aéreo del transbordador espacial estadounidense, destaca algo muy especial. Se trata del proyecto MX-1016, conocido también como Tip Tow. La idea era sencilla, ya que los primeros reactores de combate tenían una autonomía bastante limitada, ¿por qué no cargar con ellos a bordo de un avión nodriza? La propuesta no llegó muy lejos, pero esta imagen de la USAF de un EB-29A volando con dos cazas EF-84B en el extremo de las alas deja constancia de uno de los aparatos más extraños jamás ideados.
Este vídeo demuestra que la propuesta era de lo más peligroso…
Expectations for the iconic saxophonist’s shows should be high, given the calibre of the music that he and his quartet presented at Cafe Paradiso in 2008. Since then, the group has recorded Turnaround, an tribute to Ornette Coleman, which was named best CD of the year by German jazz critics, and which I reviewed here.In further kudos news, Liebman earlier this year was named a U.S. National Endowment for the Arts Jazz master.
Not one to rest on such laurels, Liebman, who turns 65 this year, has been prodigiously gigging and recording. The Pennsylvania-based saxophonist recently paid tribute to his great inspiration, John Coltrane, at a New York show that saw him sharing the stage with Coltrane’s son and fellow saxophonist, Ravi. And not long ago, Liebman performed in Poland at an concert that marked the beatification of Pope John Paul II, as you’ll read below in the kick-off question of this little Q & A:
1. I just watched the YT video from Poland featuring your performance at a concert connected to the beatification of Pope John Paul II.
How did that concert come about, how many people saw it (live and on TV) and what did it mean for you to be involved?
I was a substitute for Lee Konitz and only got the call a few weeks before. I think it was only broadcast in Poland but it was quite a great event. The arranger really did a wonderful job. It was also the coldest gig I ever did — freezing!!
2. Speaking of ceremonies, please tell me what it meant for you to be named an NEA Jazz Master earlier this year.
Of course another great honour, most of all to be in the company of so many masters and teachers; also quite proud to be the first of my generation to be given such an award.
3. I recently received your trio CD with Steve Swallow and Adam Nussbaum, and last year I received your two big band CDs and the Ornette Coleman CD. Am I right to think that you’re one of the most prolific jazz recording artists these days? What motivates you to document so much music?
I have a lot of ideas, a lot of energy and am pretty organized in my pursuit of finding the right places for my projects. It is purely documentation at this point since the financial aspect has for the most part disappeared, meaning advances, etc.
4. Speaking of the group with Vic Juris, Tony Marino and Marko Marcinko, how long has it been together, how often do you get to play, and what would you say are the special fulfillments of making music with these peers compared to the myriad other projects and concerts that you are engaged in?
Tony and Vic have been with me for 20 years, Marko for nearly 10. We work a few times a year for a series of gigs, enough to keep things going. It is precisely because I have so many projects that it is important to have one which is completely my responsibility and not shared with others. We have a very large book of music which I am constantly juggling with to keep interest. There’ s nothing as deep as playing with the same musicians over time, and it is something that I know the audience feels, though they may not even be aware of it on a conscious level.
[Here's the quartet playing a Brazilian festival in 2002, choosing a tune that was guaranteed to knock them out in the land of Jobim: ]
5. At this point in your career, do you ever find yourself nostalgic for the jazz scene/community as it existed when you were coming up, before the rise of jazz schools, digital music, changes in jazz’s audience share, passion for jazz abroad vs. in the United States, and other game-changers? Are things better, worse, or just different for leading jazz artists these days?
Of course I miss the camaraderie that existed when there were places to jam and hang out late, which is the time when people really open up. The informality of jazz is still there, though much less than it used to be. On the other hand, more people know about the music than ever before, so like everything in life, it is a trade-off.
The Dave Liebman Group’s swing through Canada this week includes gigs at:
* L’Astral in Montreal, Wednesday, May 18 at 8 p.m. Tickets are available here.
* Largo Resto-Club in Quebec City, Thursday, May 19 at 8 p.m. For more information, visit Largo’s website or call 418-529-3111.
* Cafe Paradiso in Ottawa, Friday and Saturday May 20 and 21, with shows at 7 and 9:30 p.m. each night. For more information, visit Cafe Paradiso’s website or call 613-565-0657.
In Ottawa, Liebman will also give a masterclass in Carleton University’s Kailash Mital Theatre on Saturday afternoon from 1 to 3 p.m. Admission is $20 at the door ($10 for students). For information: 613-520-5700.
Not sure who Booker T. Jones is? If I took away “Jones,” would that help? Yep, he’s that Booker T. In today’sWall Street Journal (go here), I interview Booker T. of Booker T. & the M.G.’s about his new solo album,The Road From Memphis, as well as a range of other topics. [Photo by Jason Thrasher]
Booker T. & the M.G.s was an integrated Memphis quartet that performed double-duty for the Stax andVolt record labels in the ’60s. The band recorded under its own name—its biggest hit being Green Onions, a deep-groove instrumental from 1962. The M.G.s also recorded on hundreds of singles behind Stax artists such as Otis Redding, Wilson Pickett and the Staple Singers.
So why is Booker T. so important? In the early ’60s, he transformed the Hammond B-3 organ from a gospel instrument featured primarily behind jazz and blues saxophonists to a rock-soul keyboard that influenced several generations of rock and soul musicians. The harder organ attack and riff-driven sound that Booker T. created is still heard today on after-hours TV shows likeSaturday Night Live and a slew of comedian-hosted talk shows.
When I spoke to the 66-year-old Booker T. by phone on Friday andSaturday, our conversation ranged from the origin of the M.G.’s (the British sports car played a role), his earliest organ influences (Jack McDuff and Blind Oscar) and the album that inspired him to create a harder sound on the organ (Ray Charles’ Genius + Soul = Jazz).
Here are the outtakesfrom my Wall Street Journal conversation with Booker T.:
MM: What stopped you from becoming a jazz organist?
BTJ: You choose an instrument and you become as good as you can on it. I never spent the time needed to get the proficiency to become a jazz or classical player. This, of course, worked to my advantage with the M.G.s at Stax. We created a new sound.
MM: What’s the difference between the jazz organ and your sound?
BTJ: The feel and attitude of the jazz organ is a little more serious. Like Jimmy Smith, for example. My sound came out of trying to meld my style to Ray Charles on Genius + Soul = Jazz. That’s when I started to make my sound thinner, like you hear onGreen Onions. Ray did things to the stops that made it sound like a synthesizer does now, like special effects.
MM: The organ is really quite a different instrument from all the others, isn’t it?
BTJ: Absolutely. Playing an organ is like cooking. You can mix the sound a thousand different ways by sliding the many stops in and out. In general, my organ will sound the same on each song but with subtle differences depending on the feel.
MM: The M.G.’s were way ahead of the integration curve in Memphis, since two of the band’s members were black and two were white.
BTJ: The secret of our harmony was simple. All of us found ourselves in a neighborhood that was changing. White people were moving away and black people wanted to move to better homes. All of this was going on around the Stax studios. We all shared that urban uncertainty. Even though segregation was ingrained in the culture in Memphis then, we were just playing music.
MM: The album covers must have confused people.
BTJ: For years people thought I was white. They just assumed that the leader, Booker T., must be one of the white guys . It wasn’t until we were on TV later in the ’60s that people realized who was who.
MM: Did you all enjoy the same music?
BTJ: Oh, yes. All of us in the M.G.’s loved the blues and felt privileged we could play music all day. The race thing never existed. It never does for musicians.
MM: What does that tell you?
BJT: That nothing levels the field like music. When the music is right, race disappears, and people who enjoy it realize they have more in common than they thought.
MM: The M.G.s made the music sound easy but there had to have been arrangements. Did you write them?
BTJ: A lot of the arrangements we came up with together.Writing is an illusive concept. Many of the melodies came from me. So did the rhythms. But the M.G.’s also had highly creative players. We had chemistry. So someone would add something, and someone else would add another thing, and it built.
MM: What’s the theme of your new album, The Road From Memphis?
BTJ: It’s about the emotional high points of my life, from Memphis to Los Angeles to London to Detroit to Philadelphia and to New York.
MM: The Roots, the house band on Late Night With Jimmy Fallon back you on your new album.
BTJ: Yes, I’ve wanted to get together with The Roots for some time. I was on Jimmy Fallon’s show and felt there was a chemistry between us. Jimmy is a great guy. He let The Roots do the album with me. [Pictured: Jimmy Fallon, center, and The Roots]
MM: On the album, what is the story behind Walking Papers?
BTJ: It’s about my leaving Stax in 1971. My lawyer had to work out all kinds of details with the label so I could do my thing. Finally, he had papers for me to sign, freeing me to move on. It felt great.
MM: I hear a touch of Johnnie Taylor’s Who’s Making Love in there.
BTJ: Interesting you say that. I love Johnnie Taylor. I loved his feel.
MM: Crazy opens with a sound similar to Chuck Jackson’s Any Day Now. Was he an influence?
BTJ: You heard that? Wow. I listened a great deal to ChuckJackson when I was younger. I was so influenced by his sound. The lyrics to Crazy [by Thomas Callaway and Gian Piero Reverberi] says something similar to what I believe. I meditate every day and I’m grounded in the fact that we all have so much actual power here on earth and come from a spiritual being. So-called sanity on earth can be very crazy and insane. So Crazy relates to the music and to me. I’m a crazy guy. But I think I’m very sane, too.
MM: A touch of Talking Heads on The Hive?
BTJ: I like the Talking Heads, but no, I wasn’t thinking of them here. But I know what you mean. This song is about the never-ending process of work.
MM: Down in Memphis reminded me a little of Disco Lady.
BTJ: [Laughs] Johnnie Taylor again. I know. He had a certain feel and knew how to work it throughout a song. Memphis gave me so much, and my life is so rich as a result. In fact, Memphis has given the world a wealth of music. Its contribution needs to be recognized.
MM: Music is more important to us than most people realize, don’t you think?
BTJ: So much so. It’s the musician’s job to reflect society. People continue to listen to music because they need reassurance that there’s sanity in our world. On Progress, Jim James, who wrote the words and sings, is saying everything today is so messed up, but we have to move forward. Enough people get what has to be done today and know that we’re going to be OK. Ultimately, musicians and all creative people hold our society together.
MM: What about Rent Party?
BTJ: I came up with the concept for the song in the middle of the recent recession. So many good people don’t have money. It’s terrible. Rent parties were big in the ‘40s and ‘50s in Philadelphia and New York, when people charged admission to a party so they could pay the rent. I wanted to write a song that would sound like something someone would put on at a modern-day rent party. [Pictured: Harlem Rent Party,1929, by Mabel Dwight]
MM: What do you think about all the late-night shows that have adapted your hip, party-time organ sound?
BTJ: I think it’s great. I think a great deal of [keyboardist and bandleader] Paul Shaffer. He has been a great friend to me. He started playing my music while leading the Saturday Night Live house band in the ’70s and ’80s, and others picked up on it.
MM: If you have an idea for a song right now, how would you capture it?
BTJ: In every room of my house and in my car I have a notebook of blank music paper. If I have an idea, I jot it down and then scan it into my computer. Then I return to the idea and build off of it. I keep these core ideas and develop them when needed. I call my system one of flexible efficiency.
MM: What happened to them?
BTJ: I donated them after Hurricane Katrina to the Dirty Dozen Brass Band in New Orleans. Now I’m forced to practice only the guitar and organ [laughs].
JazzWax tracks: Booker T. Jones’ The Road From Memphis (Anti Records) can be found at iTunes andhere.
JazzWax note: For a recent video interview with Booker T. at the organ, conducted by Bob Boilen of NPR (complete with a demonstration of Green Onions!), go here.
JazzWax clips: Here’s Booker T. with the M.G.’s, circa 1967, performing Green Onions, their 1962 hit…
Here’s Harry James performing Booker T.’s Green Onions…
Here’s Representing Memphis from Booker T.’s new album, The Road From Memphis, featuring Matt Berninger and Sharon Jones with lyrics by Liv Jones, Booker T.’s daughter. Only one person plays organ like that…
And here’s Booker T. on Lauryn Hill’s Everything Is Everything.
Me topé con este vídeo el fin de semana pero olvidé compartirlo. Aprovecho que Antonio me lo recuerda por email para ponerlo por aquí. El vídeo está grabado en Sisimiut, Groenlandia, el tipo se llama Kris Kenni y parece que era la primera vez que intentaba subir esta cumbre con su moto. Es importante verlo hasta el final, de lo más alucinante que he visto últimamente. Gracias, Antonio! :-)
Extra bonus. Una toma de la caída desde otra perspectiva (Vía Reddit). Observad cómo se lanzan los rescatadores:
Doble extra bonus: La escena desde abajo, con la mejor perspectiva para entender qué sucede:
Los siguientes vídeos, grabados el pasado 29 de abril, corresponden a un viaje realmente corto pero problemático. Fueron tomados en el aeropuerto de Moscú-Chkalovsky teniendo como protagonista a un aviónTupolev Tu-154 (RA-85563). Después de despegar, ya fuere por algún problema eléctrico o hidráulico, la nave comienza a perder el control y debe realizar una rápida maniobra para regresar. Me imagino que a la gente que viajara en su interior no le hizo mucha gracia la aventura. [ Vía: DefenseTech --> FlightGlobal ]
Gracias a la ayuda del anillamiento, podemos estudiar el comportamiento de las aves salvajes.
Añadiéndoles un pequeño anillo numerado de metal o plástico a sus patas o alas, conocemos distintos aspectos de la vida del ave con la posibilidad de reencontrar al mismo individuo. Estos aspectos incluyen desde la migración, longevidad, mortalidad, estudios de población, comportamiento en la alimentación, etc.
Toda esta información se recoge en una base de datos dónde, en ocasiones, se recogen historias sorprendentes. Como la de una pardela (Puffinus puffinus), anillada con 5 años de edad y actualmente es el ave salvaje conocida más vieja del mundo, fue anillada en julio de 1953 y atrapada de nuevo en julio de 2003, por lo que tiene al menos 55 años.
Via | EFE
Precioso vídeo time-lapse realizado por Terje Sorgjerd entre el 4 y el 11 de abril de 2011, con espectaculares tomas del cielo nocturno, atardeceres y mantos de nubes. Como siempre en estos casos, lo mejor es contemplarlo en HD y a pantalla completa.
We’ve been covering the Volvo C30 Electric pretty closely because, well, let’s face it: it’s one of the few genuinely good looking electric cars in the pipeline. Sure, the Focus Electric looks fine, despite the excessive dental gear, and Tesla‘s products are certainly saucy, but for every Roadster in the world there are a couple-dozen Leafs and Prii putting their owners to sleep.
The C30 Electric, however, looks almost exactly like the C30 non-electric, which is a good thing, and it drives more or less like one too. About four months after we first saw the thing Volvo finally tossed us the keys, in the process taking us on a tour of Indianapolis-based Ener1, source of the battery packs that make the thing move. Yes, it’s a funky little Swedish car with a big ‘ol American battery pack. Read on for our impressions.
Gallery: Volvo C30 Electric
Japan is experiencing a tragedy after a magnitude 9 earthquake, a tsunami and a nuclear emergency . This last topic is not easy to explain because it requires some technical terms, so that the Japanese, always practical, they created a story to tell children what is happening.
The story involves the “nuclear baby”, after the earthquake was with stomach pain and need to “nuclear” poop “which is really smelly … Then explain that” nuclear baby “so far not been done, but has thrown only gases that are causing concern that people in Japan. Doctors are treating it with water and boron to ease your stomach pain, explaining that the child Fukushima nuclear power has a “diaper” that protects others that happen what happened with the “Chernobyl children” (who had diarrhea) .
Ok, maybe it is a rather crude explanation, but I guess it’s a good sign for the Japanese to keep a sense of humor in tragic times.
Link : Nuclear Boy (YouTube)
HDTV-Rip | AVI | English | 00:58:41 | 624×352 | XviD – 1310 Kbps | MP3 – 112 Kbps | 550 MB
|“||The Arctic is the harshest environment on Earth: little food grows, it’s dark for months on end, and temperatures stay well below freezing for much of the year. Yet four million people manage to survive here. Human Planet tells remarkable stories of extraordinary people who make their homes in nature’s deep freeze.||”|
Nice video from the Stone Crab 160 ride last November. The 160 mile charity ride from Miami to Marco Island and back benefited foster care children. Participants rode across scenic Tamiami Trail, bordering the Everglades and Big Cypress National Preserve. Based on the footage it looked like a pleasant ride for a great cause . Photos available here.
La pequeña de la casa quería un regalo especial para estas Navidad y su padre no lo dudó: destornillador en mano, un poquito de Arduino por aquí y mucho talento por allá, y llegó al mundo ArduSpider, un robot casero que divierte a todos en la familia. Bueno, a casi todos, porque el gatito no parece estar muy contento con el nuevo habitante del hogar.
Como puedes ver en el vídeo que te dejamos tras el salto, el robot tiene varias formas de funcionamiento, ya sea de forma autónoma, o bien accionado a distancia. Y no creas que no tiene vida ni sentimientos: cuenta con un montón de sorpresas e incluso con los modos “aburrido” y “cansado”. Un regalazo, vamos. Lo tienes un poco más abajo en acción.