But change is usually brought about by inquisitiveness and
energy, usually the youngest generations. What worries me most is the
general lack of this inquisitiveness in today's youth, despite a world of
opportunity that has never been so vast... No, my own fears are precisely
the opposite of those of Magnus! Progress means differet things to
different people....
Brian
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Date: Thu, 29 Mar 2001 11:04:38 +0100
From: Charles Moseley <charlesm@contentrepublic.com>
Subject: RE: (exotica) re: shanghainese pops
jose padilla. anyone know who he is?
This has probably been answered, but just in case......
He is a leading figure in Ibiza. I think he owns Cafe Del Mar and has been
partly responsible for the musical direction on the island for 20 years or
so.
And he is a general Cool Balearic dude.
Charles Moseley
Editor - C3 Magazine
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Date: Thu, 29 Mar 2001 11:17:06 +0100
From: Charles Moseley <charlesm@contentrepublic.com>
Subject: RE: (exotica) electronic sounds
One of my friends observed to me a while ago that we would soon have a
generation of kids grown up listening to CD's rather than records as their
primary musical medium, and they would have different ways of hearing
things due to the quality of the sound available (the super basses and
crispy trebles), and I think we have been seeing that for a while
particularly with Drum and Bass and the UK garage 2/step thing around at the
moment.
Which is interesting because drum&bass and two step are both musical genres
created primarily for vinyl. I'd say that the 'sound' of modern music is
down to recording techniques. If you want to make a 2001 R&B record you have
to use new technology. If you want to make a 1971 funk record, you're going
to have to source original microphones, mixing desk, tape, compressors, etc
etc.
Vinyl in 12" form is considered to be the best 'sound' for dance music but
an opinion like that is so subjective.
Charles Moseley
Editor - C3 Magazine
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Date: Thu, 29 Mar 2001 09:42:23 -0500
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: Re: (exotica) Classical music and Alan's dilemma.....
Alan:
Let me just recommend ONE piece of classical music that is VERY VERY good:
Holst - The Planets.
This is the only thing that Holst ever did that was really *GREAT* - and =
it is GREAT. =20
I'm not a classical music listener - I find it stodgy, boring and achingly =
formulaic (which it HAD to be - because back then, if you waivered outside =
of the "formula" you were out of a job buddie!!!). And I HATE the sound =
of a harpsichord (Even if 'ol Enoch Light is using it - like that "Far =
Away Places" album - yeach!!).
BUT the Planets is different - the Planets is great.
Please listen and report back!!
- - Nate
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Date: Thu, 29 Mar 2001 15:55:38 +0100
From: Charles Moseley <charlesm@contentrepublic.com>
Subject: RE: (exotica) Classical music and Alan's dilemma.....
I'm with Alan on this one.
I met a guy in a charity shop who is a collector of classical vinyl and
finds lots of valuable items in charity shops. I asked him about classical
music and explained that I knew nothing (although I'm not completely
ignorant). Anyway, after discussion with this guy and a recommended
purchase, I have decided thus:
First you have to find the piece of music - so I'd have to start listening
to records in shops, listening to Classic FM, etc. Then you have to get a
good recording - Because I wouldn't want to spend a lot on records I'd try
to buy it all second hand rather than on new CDs - so you need to know what
orchestra, hall and conductor you should be looking for and then you have to
go find that vinyl in A1 condition.
My purchase was a Vivaldi Four Seasons LP recorded in Watford Town Hall
(apparently using a central mic and outboard stereo mics in a hall with
excellent acoustics) in the late sixties conducted by a top conductor. It
does sound great and you can clearly pick out each instrument, particularly
the harpsichord.
There's just too much to learn to get into all that.
Charles Moseley
Editor - C3 Magazine
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Direct: +44 (0) 20 7704 3313
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Date: Thu, 29 Mar 2001 09:59:35 -0500
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: (exotica) Tipsy again!
Okay, I haven't gotten the new CD yet - it's on the way.........this am I =
was listening to one of my home-made comps. and on comes Earl Grant doing =
"My Foolish Heart" from his Ebb Tide LP.
Instantly I recognized the opening bars as being included in a Tipsy song. =
Now, I can't tell you *which* song it's from because that album has the =
amazing ability to be almost brand-spanking new every time I listen to it =
(that is, the "tune" doesn't stick in my head 'cause there's so much going =
on!!) - but it's there, and it sounds amazingly "modern," like it was =
created on a keyboard in the rec. studio.
- - Nate
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------------------------------
Date: Thu, 29 Mar 2001 08:03:20 -0700
From: kendoll <kendoll@freenet.edmonton.ab.ca>
Subject: Re: (exotica) electronic sounds
Magnus Sandberg wrote:
> I had a cat last year, I named him "tiki", we had so much fun together,
> he was a lighthearted fellow. He enjoyed to sleep on my laptop, and
> left weird messages on the screen. He liked to rename files. I remember
> that I thought, that if I had been on the exotica list I would have
> posted these messages from tiki.
i named my cat "tabu". he's less than a year old & is also computer
literate. he deletes files occasionally & loves to play with the mouse,
of course. anyone else call their pets exotica related names?
mike
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Date: Thu, 29 Mar 2001 10:11:42 -0500
From: Clayton Black <clayton.black@washcoll.edu>
Subject: Re: (exotica) Classical music and Alan's dilemma.....
> From: "Nathan Miner" <nminer@jhmi.edu>
> Subject: Re: (exotica) Classical music and Alan's dilemma.....
>
> And I HATE the sound of a harpsichord (Even if 'ol Enoch Light is using it -
> like that "Far Away Places" album - yeach!!).
>
Wow, "Let a hundred flowers bloom, let a hundred schools of thought
contend."
I don't like NRBQ, someone else (sorry, I forget who) doesn't; I love the
trombone front-men, Alan doesn't; Nate can't stand harpsichord, and it's one
of my favorite elements of some of Enoch Light's albums (and I love Dick
Hyman's "Happening!" album). My favorite use of it is in Mancini's version
of the Playboy theme, and if I'm not mistaken there are some particularly
sweet moments in the Breakfast at Tiffany's soundtrack with harpsichord
solos (aggh, now I can't remember which one it was, maybe it's not B at
T's).
It's always difficult (and maybe futile) to say why one likes or
dislikes a particular sound, but this gets to Alan's recent comment about
whether our fascination with exotica, etc., is really about the music or
about the panoply of sensations it gives us--reminiscences, associations,
and the like (sorry if that's not what you meant, Alan). For me, the use of
harpsichord in pop tunes revives memories of the Dean Martin roasts and the
awkward transition from the rebelliousness of the 60s to the tacky
conformity of the 70s, metal monster station wagons and outlandish color
combinations--you might ask why anyone would want to revive the feeling of
that time, but I was only about 7 or 8, and I expect that the sounds of the
time stir something in me that it's pleasant to recapture, if only for the
length of a song.
Clayton
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Date: Thu, 29 Mar 2001 16:16:57 +0100
From: Charles Moseley <charlesm@contentrepublic.com>
Subject: RE: (exotica) electronic sounds
i named my cat "tabu". he's less than a year old & is also computer
literate. he deletes files occasionally & loves to play with the mouse,
of course. anyone else call their pets exotica related names?
Um, Does Kevin qualify?
Of course, we're separated now. He lives with my parents.
Charles Moseley
Editor - C3 Magazine
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Direct: +44 (0) 20 7704 3313
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Date: Thu, 29 Mar 2001 10:19:38 -0500
From: "Nathan Miner" <nminer@jhmi.edu>
Subject: RE: (exotica) Classical music and Alan's dilemma.....
<<Then you have to get a good recording>>
Ugh! This is another part of classical music that can be a royal =
pain-in-the-ass.
It is VERY true that variants on the same piece of music can sound so =
different. I've heard different versions of The Planets and it CAN make =
or break the piece. This is probably more true of classical music than of =
pop music - which of course can have HUNDREDS of variations - but if the =
tunes a catchy tune then it's hard to really f**ck it up (unless you're a =
mongoloid of course - ooops sorry!!!) ;-).
Luckily, the best version of The Planets is available on a budget release. =
The cover is like the "Extra Extra" headline of a major newspaper. =
There's a whole series out. I don't know the conductor or orch. but =
there's one part for one of the planets where you have to bang hell out of =
those hanging bells to get the full effect of the end of the movement - =
and it's *amazing* how other interpretations pussy around and totally RUIN =
this part of the movement with lame lame "bell banging!!" (Okay, laugh - =
it's funny - but dammit it's true! true!).
- - Nate
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Date: Thu, 29 Mar 2001 10:21:56 -0500
From: wlt4@mindspring.com
Subject: Re: RE: (exotica) Classical music and Alan's dilemma.....
>There's just too much to learn to get into all that.
Sounds to me like you got a classical snob or at best a fan who can't communicate with non-fans. You don't have to know all that stuff, though like anything more knowledge always helps. Don't worry too much about whether you're getting the "right" recordings because there aren't any: classical buffs will argue about these for ever (opera fans are the worst) and too much of that is just trivial. There's been some mention of Stokowski's orchestrations of Bach on the list recently; classical types nowadays generally think these are tacky but I think they're a hoot and there's always plenty of "authentic" Bach around if that's what you prefer.
There's probably some radio station in your area that broadcasts classical and most public libraries have albums that can be checked out for free. The Naxos label has an almost endless list of inexpensive ($US 5 to 6) discs covering the gamut from medieval to avant-garde and they generally get positive reviews. One guide book that I've found amusing and helpful is Jim Sveda's Record Shelf Guide though I think it's out of print now (his radio show is still on). The best general history I've found is Jan Swafford's Vintage Guide to Classical Music.
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------------------------------
Date: Thu, 29 Mar 2001 07:28:15 -0800 (PST)
From: Ben Waugh <sophisticatedsavage@yahoo.com>
Subject: Re: (exotica) Up with People
Don't know much about up with people, other than the
gig I was lucky to have been forced to attend as a 6th
grader at Our Lady of Evening Joy. If you like your
"us" affirming in a more exclusive vein, I
unreservedly recommend "Mormon Children Sing." Talk
about pep (and passion)! What could be peppier and
more heartwarming than a seven year old girl singing
"I Want to be a Mother." Or a beaming son's "Dad,
Aren't You Glad I'm a Mormon."
I am not on a Mission,
BW
- --- Bruce Lenkei <lenkei@echonyc.com> wrote:
> I recently pruchased my first "Up with People" album
> and am enjoying it
> quite a bit. The title song is a damn catchy tune.
> My question is:
> Is there more than one UWP album out there, or is
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Date: Thu, 29 Mar 2001 12:21:40 EST
From: DJJimmyBee@aol.com
Subject: Re: (exotica) Up with People
In a message dated Thu, 29 Mar 2001 12:04:20 AM Eastern Standard Time, alan zweig <azed@pathcom.com> writes:
At 11:21 PM 3/28/01 -0500, Bruce Lenkei wrote:
>
>
>I recently pruchased my first "Up with People" album and am enjoying it
>quite a bit. The title song is a damn catchy tune. My question is:
>Is there more than one UWP album out there, or is this it?
I bet there's a hundred more. But I have three.
I kind of like a couple of the songs too but I'm not sure you need more
than one.
On the other hand, there's a slow and a more rockin version of their theme
song and you probably should have both.
Being that you're an Up With People completist.
I actually found one i liked that has a lot of now sound type tunes on it...it was in the wrong "Up With People" cover, but an Up With People cover anyway. so I don't remember the title...If you look closely at the one with the white cover and red print you will see U.W.P. member Glenn Close (spelled Gleen Close) a-singin' with the crew..JB
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>>
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------------------------------
Date: Thu, 29 Mar 2001 13:18:31 -0500
From: alan zweig <azed@pathcom.com>
Subject: (exotica) musical nostalgia
At 10:11 AM 3/29/01 -0500, Clayton Black wrote:
.--you might ask why anyone would want to revive the feeling of
>that time, but I was only about 7 or 8, and I expect that the sounds of the
>time stir something in me that it's pleasant to recapture, if only for the
>length of a song.
.
Most record collectors I've met are focussed on music they first heard as a
young person. I don't think that applies particularly to people on this
list. And it doesn't particularly apply to me either. OR so it seems.
Most of these collectors actually had theories about this phenomenon.
They'd say things as specific as "The music you hear in Grade 5 is the
music you'll love your whole life". In general though, they believed that
the time between 11 years old and 14 years old was the most significant in
determining your taste.
I'm certain that almost everything I like is somehow traceable to things I
heard as a young person. That almost goes without saying, doesn't it?
But most of the people I met actually liked the exact same thing they loved
at 12 whereas in my case - and in most of YOUR cases too - that's not true.
They liked the Beatles at 12; they collected the Beatles at 45. And
that's pretty well all they're interested in.
I know my present tastes are influenced by TV soundtracks and talk show
crooners and lots of things I tried to ignore as well as by the rock n roll
I was activiely interested in.
But I always feel like I'm looking for something new. The new thing may be
related to the old thing; I'm sure it is. It's just that I never go
looking for something because "I loved this when I was 12!"
My soft pop obsession is the only thing I can think of which is directly
related to stuff I actually liked as teenager. Maybe I experience some
kind of nostalgia there, I don't know.
I know I've said this before but the poignant aspect to this issue occurs
when people tell me "This is the music I liked the last time I was really
happy".
As soon as I find some kind of job, I'll be out of your hair.
AZ
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Date: Thu, 29 Mar 2001 13:24:32 -0500
From: alan zweig <azed@pathcom.com>
Subject: Re: (exotica) A Brighter View of Our Dark Age of Music
At 11:02 AM 3/29/01 -0500, Eric Taub wrote:
>
>I haven't heard of them, but I'd love to hear a report.
>Speaking of bridges, I don't remember but has anyone mentioned Bacharach
Baroque? Whats that like?
It's been mentioned lots of times. But there are (at least) two Bacharach
Baroque records. One is German (or Dutch) and it really does try for a
baroque harpsichordy sound. It's okay. I wouldn't go out of my way to
find it but it's okay. A couple of above average cuts.
The OTHER Bacharach Baroque by the Renaissance is American and if you like
peppy arrangements, wordless vocals and Bacharach tunes - as I do - it's
one of the greatest records ever recorded.
AZ
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Date: 29 Mar 2001 13:47:05 -0500
From: Eric Taub <eric_taub@wgbh.org>
Subject: Re: (exotica) A Brighter View of Our Dark Age of Music
Thanks Alan. I didn't realize there were 2. The one I had heard about =
was by Renaissance. This sounds like something I'd like. I've done a =
bit of searching on the net for it, but haven't seen it available on a CD. =
I'm betting that my fiancee would appreciate the other recording more.=20
Does anyone know if either are available on CD?
Thanks-
Eric
>
>It's been mentioned lots of times. But there are (at least) two Bacharach
>Baroque records. One is German (or Dutch) and it really does try for a
>baroque harpsichordy sound. It's okay. I wouldn't go out of my way to
>find it but it's okay. A couple of above average cuts.
>The OTHER Bacharach Baroque by the Renaissance is American and if you =
like
>peppy arrangements, wordless vocals and Bacharach tunes - as I do - it's
>one of the greatest records ever recorded.
>
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Date: Thu, 29 Mar 2001 13:52:03 -0500
From: Clayton Black <clayton.black@washcoll.edu>
Subject: Re: (exotica) musical nostalgia
> But I always feel like I'm looking for something new. The new thing may be
> related to the old thing; I'm sure it is. It's just that I never go
> looking for something because "I loved this when I was 12!"
> My soft pop obsession is the only thing I can think of which is directly
> related to stuff I actually liked as teenager. Maybe I experience some
> kind of nostalgia there, I don't know.
> I know I've said this before but the poignant aspect to this issue occurs
> when people tell me "This is the music I liked the last time I was really
> happy".
In some cases I DO look for albums I listened to when I was a kid, like the
Mason Williams Phonograph Record, which I still love. But it's usually not
that specific. What I was referring to with regard to Harpsichord was that
it evokes the feel of the time, although I don't remember that time for its
happiness (and Lord knows, certainly not for its good taste). It's just
that I think I liked it then, it disappeared from my life and from radio
waves, and now I have the chance to have it back. But, like you, I am even
more interested in finding what is new to me, even if it's older than me. I
had a happy childhood, but I don't really think I'd want to go back
(certainly not to the 70s, which, I agree with bigshot, was a time of
wretched, albeit humorous in retrospect, aesthetics).
Clayton
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Date: Thu, 29 Mar 2001 10:20:57 -0500
From: "Usselman, Lawrence J" <ljusselm@tycoelectronics.com>
Subject: RE: (exotica) Classical music and Alan's dilemma.....
Two U.S. classical labels that issued particularly noteworthy vinyl are the
RCA Victor "Living Stereo" series, with the "shaded dog" label (a darker
shaded area behind the picture of Nipper), and the Mercury "Living Presence"
series. Both were issued in the late 50s/early 60s and are superior examples
of the recording art. Mint copies of these recordings are highly sought
after by collectors and certain albums in these series can easily sell for
in excess of $100.
Larry
- -----Original Message-----
From: Charles Moseley [mailto:charlesm@contentrepublic.com]
First you have to find the piece of music - so I'd have to start listening
to records in shops, listening to Classic FM, etc. Then you have to get a
good recording - Because I wouldn't want to spend a lot on records I'd try
to buy it all second hand rather than on new CDs - so you need to know what
orchestra, hall and conductor you should be looking for and then you have to
go find that vinyl in A1 condition.
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Date: Thu, 29 Mar 2001 14:23:51 -0500
From: nytab@pipeline.com
Subject: (exotica) Tipsy live at The Stork Club/wfmu
http://archive.wfmu.org/archive/SC/sc010318.ram
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Date: Thu, 29 Mar 2001 22:17:57 +0300
From: "Antanas Gustys" <gustys@post.omnitel.net>
Subject: (exotica) "Baltic BeBop"(CD review)
"Baltic BeBop"
by Mel Huang
One of the most creative and experimental jazz formations in Lithuania is
the Dainius Pulauskas Sextet, which is composed of six incredibly talented
jazzmen. On one autumn night in 1998, Dainius Pulauskas staged a fabulous
performance in Vilnius, which was later released as an album titled Autumn
Suite. The four-part mini-epic goes beyond demonstrating the skills of the
musicians, but it is also a mixture of various sub-genres of jazz and
sub-links into other genres, such as fusion, freeform, retro, progressive
and classical, among others. In other words, the album is highly
experimental, full of improvisations and demonstrates what Lithuanian jazz
is all about.
Led by pianist and keyboardist Dainius Pulauskas, the Sextet descends into
hedonistic passages of free expression at one moment only to segue into a
structured passage moments later. Pulauskas's use of some retro synthesizer
sounds recalls the wild fusion of Joe Zawinul and Chick Corea from the
1970s, but that is only a small fragment of the mosaic of styles and sounds
in this piece. At times, Pulauskas's restraint allows the other musicians to
really shine, and it also shows a dedication to the composition.
The Dainius Pulauskas Sextet is one of the most famous jazz bands in
Lithuania. Since forming the sextet, Pulauskas has become famous as an
original improviser, composer and arranger in the fusion and rock-jazz
realm.
One of the most fascinating aspects of this four-part piece is the work of
the two percussionists. Drummer Linas Buda, a fabulous technician in his own
right, is complemented perfectly by percussionist Arkadi Gotesman, himself a
leading drummer. The drums and percussion play more than a backing role
here; like in some of the radical fusion acts of earlier years, such as
Brand X, the drums at times become the second lead, playing almost impishly
in the background above the horns.
A good segment of the lead is played by saxophonist-extraordinaire Vytautas
Labutis. His remarkable skills enable him to go from Charlie Parker-like
anarchy to a lonely alto sax soliloquy, and they show why he has become
famous beyond his native Lithuania. Trumpet player Valerijus Ramoska plays a
sweet horn, leading the charge often with brassy outbursts to detailed and
emotional lines that bring out that autumn feel perfectly.
As a bass player myself, I tend to be more critical of bassists than other
musicians. However, bassist Vladislav Borkovski is extremely talented and is
one of the smoothest walkers I have heard in a long time. In some of the
double-time passages his work alongside the percussion is just tantalising.
He even employs some choice bass chords during the opening of part three.
In a way, this piece is a juxtaposition of contrasting elements. Set in
somewhat of a classical structure, a fusion feel soon creates the space for
unrestrained improv and silence alike, and, at times, the band even crosses
over into the structures of progressive rock. At times, you can almost hear
Miles Davis playing with 1970s symphonic Genesis in the latter bits of part
three.
The horn-sax attack, backed by a dazzling piano and walking bass, conjures
up visions of more straightforward jazz; however, that is shattered and
reaffirmed almost by the juxtaposition of contrasting bits, whether it comes
from the sound effects, the synthesisers, the percussion or from the
dazzlingly inspired playing.
This four-part piece really does have an autumn feel to it, with the piano
so crisp at times that it sounds like rain hitting fallen leaves on the
soil.
The flugelhorn recreates the melancholy that is in the slowly cooling
weather and shortening days of autumn, while the sax conjures up the
turbulence of such a season. The percussions take over for calamitous
weather, giving the feel of thunder at the precise moments. It is always an
amazing feat when musicians can create instrumental works that speak louder
than words in describing scenery and environment, but this talented sextet
has achieved. The fourth part sees a return to more traditional sound, a
fusion sound that has everyone at their strongest. A fascinating ending to a
fascinating piece.
The Dainius Pulauskas Sextet is one of the most fascinating and talented
jazz ensembles in the world right now. Not locked into specific styles and
free to float as their
imaginations allow them, they are actually pioneers in the free, but
sometimes overly restrictive, genre of jazz. The Sextet has won many awards
recently, and let us hope that this pushes the musicians to further success
on the international jazz scene. Look out New York.
Mel Huang, 10 July 2000
Baltics Editor
Central Europe Review
The Dainius Pulauskas Sextet is:
Dainius Pulauskas: piano, synthesisers
Valerijus Ramoska: trumpet, flugelhorn
Vytautas Labutis: saxes, bass clarinet
Vladislav Borkovski: bass
Linas Buda: drums
Arkady Gotesman: percussions
Autumn Suite was recorded live at Vilnius Jazz 98, on 10 October 1998
Comments,requests,booking:
e-mail: office@vilniusjazz.lt
web: www.vilniusjazz.lt
Buy online D. Pulauskas sextet "Autumn suite" CD -
