ILX Gonna Shine in My Backdoor Someday (new post-Fahey folk for ppl posting in Takoma/Tompkins Square threads Pt II)

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Lots of new releases lately but other thread getting big and unwieldy and a resource hog. So! New thread for weird Fahey-esque instrumental folk guitar.

What did we have so far this year? Highlights for me:

William Tyler- Lost Colony (the kraut-country thing gets me going)
Steve Gunn- Way Out Weather
Nathan Bowles- Nansemond
Chris Forsyth- Intensity Ghost (think overall I liked Solar Motel better but I'm glad this one seems to be taking off)
Tashi Dorji- S/T

Seems like a lot of these folks made it into the limelight this year! And new Six Organs looks to be a monster.

Can we keep the Youtube embedding to a minimum in this incarnation? You can prevent them from embedding by having "https:" as opposed to just "http:" in the URL

global tetrahedron, Saturday, 13 December 2014 20:34 (two years ago) Permalink

thank you! I'll post a link on the old one unless someone does it first

am I correct that the Tashi Dorji S/T is older stuff compiled? really liked the new EP on Bandcamp page.

re: Richard Dawson, was gonna say that I hear a lot of Bill Orcutt's influence/style in his playing, anybody else? (sorry if this was noted previously)

― some kind of terrible IDM with guitars (sleeve), Saturday, December 13, 2014 11:41 AM

some kind of terrible IDM with guitars (sleeve), Saturday, 13 December 2014 20:36 (two years ago) Permalink

also ppl were talking about richard dawson, don't want to derail!

global tetrahedron, Saturday, 13 December 2014 20:36 (two years ago) Permalink

lol no worries there

some kind of terrible IDM with guitars (sleeve), Saturday, 13 December 2014 20:37 (two years ago) Permalink

doing some EOY catchup and I am not feeling this Steve Gunn at all, threadban me if you must

liked the Solar Motel (2 tracks on Spotify), really liked the new Tashi Dorji EP.

some kind of terrible IDM with guitars (sleeve), Saturday, 13 December 2014 21:02 (two years ago) Permalink

am I correct that the Tashi Dorji S/T is older stuff compiled?
yeah, pulled from several years' worth of cassette iirc. kind of a "greatest hits," i guess. he really is great, seems to get better every time i play his stuff.

tylerw, Saturday, 13 December 2014 21:37 (two years ago) Permalink

sleeve - yeah a ton of orcutt & not to be super cynical but he seems to be getting a lot of praise from ppl I don't get the sense really know Orcutt

you say tomato/i say imago (upper mississippi sh@kedown), Sunday, 14 December 2014 03:32 (two years ago) Permalink

But i do like him

I just think it's a little like how when I finally heard gang of four reissues after growing up a fugazi fan

you say tomato/i say imago (upper mississippi sh@kedown), Sunday, 14 December 2014 03:33 (two years ago) Permalink

Oh hey folks.

Sleeve, that Gunn record definitely is a very specific kind of cool to me, I get why it wouldn't appeal to you. It is mostly very low-key and its charms can be extremely subtle, but I have personally found it to be deep and varied enough that I return to it pretty frequently. Maybe it'll grow on you, but it is definitely a song-based record that doesn't try to push the musicality as far as a lot of records touched on in this thread (and many of Gunn's other records do).

grandavis, Monday, 15 December 2014 14:57 (two years ago) Permalink

yeah i was actually wondering recently what I would think of gunn's latest if it was the first record of his I had heard. the context of his gradual development into a more straight-ahead singer-songwriter adds some flavor I think (if that makes sense). love the latest but at the same time, i hope he hasn't left behind his more avant leanings -- those gunn-truscinski records are still my faves out of everything he's done.

tylerw, Monday, 15 December 2014 15:16 (two years ago) Permalink

hey i have a question -- how do you pronounce cian of the name cian nugent?

vigetable (La Lechera), Monday, 15 December 2014 15:20 (two years ago) Permalink

rather how does one pronounce cian accurately

i thought it was like cyan but then realized it could be sean or shee-an or idk what and i would like to know

vigetable (La Lechera), Monday, 15 December 2014 15:21 (two years ago) Permalink

Kee An

tylerw, Monday, 15 December 2014 15:26 (two years ago) Permalink

i thought it was just pronounced "sean" for years though.

tylerw, Monday, 15 December 2014 15:27 (two years ago) Permalink

Like Ian preceded with a /k/ ?
Good to know! I have been meaning to ask this question for months.

vigetable (La Lechera), Monday, 15 December 2014 15:31 (two years ago) Permalink

yes, exactly!

tylerw, Monday, 15 December 2014 15:34 (two years ago) Permalink

haha apparently lots of blog posters and show hosters feel the need to lay this to rest too:

Neal Cassady, Monday, 15 December 2014 15:39 (two years ago) Permalink

The Gunn/Mike Cooper and Gunn/Gangloff records both came out this year I think, and both contain a good range of playing outside of his "Way Out Weather" mode. It will be interesting to see what side of the divide the upcoming Gunn/Black Twig Pickers record will ride, but my guess is I will dig it. Hope some of it revisits this territory though:

http://freemusicarchive.org/music/Black_Twig_Pickers_and_Steve_Gunn/NATCH_1/Salted_Caramel

grandavis, Monday, 15 December 2014 17:06 (two years ago) Permalink

Global mentioned notable records from this year, and I wanna bring up Bachman's "Orange Co. Serenade". Really enjoyed it & definitely revisit it pretty frequently. Feel like he is growing and really may be just hitting his stride now, though who knows. New record on Three Lobed apparently out in April or May. Saw him Saturday night and the new songs were great, no reason not to believe that this next record will be anything other than really good.

grandavis, Monday, 15 December 2014 17:14 (two years ago) Permalink

dammit I forgot about that in my EOY listening binge this weekend, will check it out!

fwiw my introduction to Gunn was his side of the "Not The Spaces You Know..." comp, which I loved

some kind of terrible IDM with guitars (sleeve), Monday, 15 December 2014 17:16 (two years ago) Permalink

oh yeah, shouldn't have forgotten the Daniel Bachman one! I think I've come around on that one, seems like the most cohesive release he's done so far.

Also Charlie Parr doesn't usually fit in this thread but he did a release this year that definitely does. It's called Hollandale- some really nicely recorded exploratory fingerpicked instrumentals. All on a National resonator, which sounds awesome/immense at times. Some cool sounds and textures added... anyway, may have been overlooked in this thread... It's on Spotify

global tetrahedron, Monday, 15 December 2014 18:59 (two years ago) Permalink

Has this been shared yet? HD video of Tashi playing on WFMU, last September.

vimeo.com/wfmu/review/106853495/6f23ec5808

Neal Cassady, Monday, 15 December 2014 22:28 (two years ago) Permalink

gamelan for guitar

Neal Cassady, Monday, 15 December 2014 22:31 (two years ago) Permalink

awesome

global tetrahedron, Monday, 15 December 2014 22:33 (two years ago) Permalink

Whatever he's got there on the neck is partially under certain strings and on top of others. He accidentally bumps into it at one point and it seems very loose. I thought it was a capo at first. Such crazy sounds coming out of that guitar.

Neal Cassady, Monday, 15 December 2014 22:50 (two years ago) Permalink

Watching the video as I'm commenting, probably not the best idea. Still don't know what that is, even with the close ups.

Neal Cassady, Monday, 15 December 2014 22:52 (two years ago) Permalink

I thought it was a hairclip, it loops round the top string.

ogmor, Tuesday, 16 December 2014 15:19 (two years ago) Permalink

Think Ogmor is right, looks like a large barrette, the cheap kind you can get at CVS etc.

grandavis, Tuesday, 16 December 2014 15:38 (two years ago) Permalink

coupla good tashi things over on the FMA: http://freemusicarchive.org/music/Tashi_Dorji/

tylerw, Tuesday, 16 December 2014 16:02 (two years ago) Permalink

for the record here are my fave ilx-brigade kinda things of 2014. the usuals!

Chris Forsyth & The Solar Motel Band - Intensity Ghost
Nathan Bowles - Nansemond
Steve Gunn - Way Out Weather
Daniel Bachman - Orange Co. Serenade
William Tyler - Lost Colony
Tashi Dorji - s/t
Don Bikoff - Hallowed Ground
Mike & Cara Gangloff - Black Ribbon of Death, Silver Thread of Life
Alvarius B. / Sir Richard Bishop - If You Don’t Like It … Don’t!
Bill Orcutt - VDSQ
Sir Richard Bishop - VDSQ
Anthony Pasquarosa - VDSQ
Robbie Basho - Art of the Acoustic Steel String Guitar 12 & 6
Smoke Dawson - Fiddle

more singer-songwriter-y things, but joan shelley (feat. nathan salsburg on some tracks) and ryley walker LPs are recommended too!

tylerw, Tuesday, 16 December 2014 16:05 (two years ago) Permalink

shit i forgot about bikoff

you say tomato/i say imago (upper mississippi sh@kedown), Tuesday, 16 December 2014 16:13 (two years ago) Permalink

also you might say me and global are slightly excited about playing this show

http://first-avenue.com/event/2015/01/americanprimitive

you say tomato/i say imago (upper mississippi sh@kedown), Tuesday, 16 December 2014 16:14 (two years ago) Permalink

nice!
yeah, if you ignore the bikoff cover art, it's a really nice record.

tylerw, Tuesday, 16 December 2014 16:20 (two years ago) Permalink

that amy in quebec track is so close to wine&roses/red pony/approaching of the disco void its almost a cover

ogmor, Tuesday, 16 December 2014 17:07 (two years ago) Permalink

was watching some fahey live on youtube last night...here's an 81 gig, with apparently Michael Hedges opening (sorry folks no records available didn't get pressed in time)...Fahey is being really smarmy in his banter, the set itself verges from awkward to hypnotic, found his flopping down combover hair kind of distracting

this is a 2000 set, he does a lot of dicking around/joking around at the beginning, but about the 7:40 mark on he gets going and it's actually pretty cool

you say tomato/i say imago (upper mississippi sh@kedown), Tuesday, 16 December 2014 17:11 (two years ago) Permalink

We going the "https:..." route to skip embeds? Not that I don't love opening this thread to shots of Fahey at his weirdest ....

grandavis, Tuesday, 16 December 2014 17:22 (two years ago) Permalink

oops sorry

you say tomato/i say imago (upper mississippi sh@kedown), Tuesday, 16 December 2014 17:23 (two years ago) Permalink

A leaner/meaner thread for 2015 I guess. I'll miss the Fahey gut though.

grandavis, Tuesday, 16 December 2014 17:26 (two years ago) Permalink

Transmissions Fest footage is new to me, awesome. I wish more people openly talked about his later work without full on the talk of "well, I don't know about this, but look at what he used to do." The only thing that I can't fully grasp is the Hitomi material, some of it is played in that Transmissions Fest video. Kinda feel like it goes down easier when you get to watch him play like that, on record is another thing. There is another noodley electric gig on youtube that actually does have a lot of syncopation; and getting to hear old styles on an electric is pretty nice. There aren't many artists that went so far in the other direction, let alone an instance where you get to watch past material with a new technique. Defiantly would rather have had Fahey do all that then not. I dig The Mill Pond lots. It's not too different than some of the stuff that is out there today. Womblife gets so zonked in parts you can't help but grin.

Neal Cassady, Tuesday, 16 December 2014 22:03 (two years ago) Permalink

Loving this Glenn Jones tune, "The Teething Necklace (For John Fahey)"
xxx.youtube.com/watch?v=6qd7pWITPQQ

Neal Cassady, Tuesday, 16 December 2014 22:05 (two years ago) Permalink

Couple things I put together,

John Fahey's Adelphi Sessions, the Dance of Death outtakes. Uploaded as MP3's, posted on my blog:
http://broadcastsfrompoorfarm.tumblr.com/post/105403178308/john-fahey-adelphi-sessions-the-dance-of-death

Scanned my copy of the mail order catalog from Fonotone Records, interesting curio. Includes the numerous early Fahey comps Joe Bussard curated for Fonotone.
http://broadcastsfrompoorfarm.tumblr.com/post/105401770173/fonotone-records-mail-order-catalog-pdf-booklet

I finally put together some new lapstyle material and wanted to share it here. "Blue For al-Watawit of Yashkur" sits as is, in a sorta demo state. I didn't want to forget all the new ideas I've been having, yet also told myself I wouldn't record again until I bought a nice microphone. Of course, I got impatient, so here we are. Before they find a home somewhere, I do want to properly record them.
http://raglore.com/album/blue-for-al-watawit-of-yashkur

Link for the MP3's are posted here,
http://broadcastsfrompoorfarm.tumblr.com/post/105403934713/rag-lore-blue-for-al-watawit-of

Neal Cassady, Wednesday, 17 December 2014 02:51 (two years ago) Permalink

Look forward to checking this stuff out

you say tomato/i say imago (upper mississippi sh@kedown), Wednesday, 17 December 2014 03:28 (two years ago) Permalink

Cool, thanks Neal! Actually already listened to your "Blue For al-Watawit of Yashkur" tracks (Mr. Avant Ghetto threw them up on twitter yesterday), really enjoyed them. First track sucked me right in, so yeah make a recording you are happy with and I am on board!

grandavis, Wednesday, 17 December 2014 17:57 (two years ago) Permalink

neal - or others - what microphones/mic pres do you guys use? this coming year i need to get serious about recording an album

you say tomato/i say imago (upper mississippi sh@kedown), Wednesday, 17 December 2014 19:11 (two years ago) Permalink

like your new stuff neal

the only Tashi Dorji song on Spotify is a cool little curio, electronic remix featuring his guitar of a song by some psychey dude name Al Lover

http://open.spotify.com/track/2HxzI5VuTvgdbTGolZ7x7G

you say tomato/i say imago (upper mississippi sh@kedown), Wednesday, 17 December 2014 21:00 (two years ago) Permalink

Thanks dudes, I have always just been using a portable digital Tascam recorder from B&H Photo that I bought a while back. It fits in your pocket so I've used it while out and walking around, but it's not a good choice for recording guitar at this point, I loved it at first bc of how much of an improvement it was over using the internal MacBook mic. I sold my two amps (+all other musical electronics) years ago during collage, which I regret now. As I would like to record traditionally with a mic and amp set up. Either using the sound hole or install a pick up. How about USB mics? Been talked about here before I think. Decent clarity from the models available now?

Neal Cassady, Wednesday, 17 December 2014 21:34 (two years ago) Permalink

I think the solution is to just meet someone in town with a set up :) - that way I can avoid all of this.

Neal Cassady, Wednesday, 17 December 2014 21:36 (two years ago) Permalink

I've posted things upthread recorded with the Blue Yeti (120 new but you can def find a ton of these used on ebay, got mine for 80 on craigslist)
http://www.bhphotovideo.com/bnh/controller/home?O=&sku=857749&gclid=Cj0KEQiA8MSkBRCP5LaRlcOAusMBEiQAiqldkgFeoLzZuCr_Hg1GQ03TBk1qSggFdqEqo5fQpNn1jLgaAgF98P8HAQ&is=REG&Q=&A=details

you can hear the stuff i've done, which is minimally processed, a bit EQd and maybe compressed slighty with some audicity plugin reverb on it, but overall I'd say USB mics have come a long way

of course, I'm just plotting about how I want to get a USB DAC/Mic pre unit and a better XLR mic so I suppose one is always unsatisfied.

you say tomato/i say imago (upper mississippi sh@kedown), Wednesday, 17 December 2014 21:38 (two years ago) Permalink

gonna check out yr new thing neal! i've dug the rag lore things i've heard so far.
just got hipped to this thing via soft abuse's twitter -- maybe it was mentioned on the old thread? https://moonbros.bandcamp.com/album/frijolillo - kind of low-key/dreamy/fieldrecording-y/acoustic action. i like it!

tylerw, Wednesday, 17 December 2014 21:45 (two years ago) Permalink

Neal there is also a USB model of the Blue Spark which is supposed to be great on acoustics

you say tomato/i say imago (upper mississippi sh@kedown), Thursday, 18 December 2014 00:48 (two years ago) Permalink

Video doesn't play for me.

My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 16:35 (one month ago) Permalink

this isn't american primitive but been listening to a shitload of Triumph lately and this is a really nice little acoustic piece by Rik Emmmet, not too far off of mersh era Kottke or Hedges

blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 16:52 (one month ago) Permalink

Huh? I tried to just post the URL too, but youtube always spoils that effort. I will try again in a bit. Search for "Rag Lore" on youtube and you may find it!

grandavis, Thursday, 27 April 2017 16:53 (one month ago) Permalink

this it?

blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 16:56 (one month ago) Permalink

(with youtube links i've found you have to remove the "s" from https:// so it's just http:/)

blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 16:56 (one month ago) Permalink

Yep, that is it! Thanks

grandavis, Thursday, 27 April 2017 17:26 (one month ago) Permalink

nice, will check out ...
just saw that nyc taper has a dylan golden aycock set up for listening -- haven't listened yet, but his album from last year is fantastic (as is that bruce langhorne comp he helped put together)
http://www.nyctaper.com/2017/04/dylan-golden-aycock-october-21-2016-the-schoolhouse/

tylerw, Thursday, 27 April 2017 17:30 (one month ago) Permalink

oh and hey if anyone hasn't seen it yet:
VDSQ, the LA-based label specializing in music by innovative guitarists, has announced three new releases out June 2nd: Ideas of Beginnings by Mark McGuire, Balsams by Chuck Johnson, and Abbandonato Da Dio Nazione by Anthony Pasquarosa. While all share a common influence of American Primitivism, they approach the style from drastically different angles, each moving away from any sort of traditional notion of the genre towards expansive horizons. From the cosmic melodicism of McGuire’s acoustic meditations to the deep ambience of Johnson’s pedal steel and Pasquarosa’s imagined spaghetti Western soundtrack, these albums brilliantly build engrossing sound-worlds within the seemingly endless palate of 21st Century Guitar.

All albums are available for pre-order: http://www.vdsqrecords.com/

tylerw, Thursday, 27 April 2017 18:01 (one month ago) Permalink

Ha, I always kind of liked "Midsummer's Daydream", even if as a somewhat guilty pleasure. At least in Canada, guitar teachers were very fond of it in the pre-grunge/alt era.

My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 18:51 (one month ago) Permalink

It's no "Mood for a Day", obv.

My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 18:52 (one month ago) Permalink

xps Ha, yeah, I'm listening to the VDSQ Soundcloud today and the new Johnson and McGuire tracks they have up are nice. Both surprised me.

My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 18:53 (one month ago) Permalink

The Johnson track "Balm of Gilead" made me think more of Daniel Lanois or maybe some of Frisell's more cinematic Americana stuff than of Blood Moon Boulder.

My Body's Made of Crushed Little Evening Stars (Sund4r), Thursday, 27 April 2017 19:00 (one month ago) Permalink

yeah, definitely similar to Lanois' pedal steel stuff (including his contributions to the Eno Apollo record). think i generally like everything this guy does ...

tylerw, Thursday, 27 April 2017 19:01 (one month ago) Permalink

Chuck is consistently underrated. Would definitely take him over Glenn Jones, as well as a lot of the other current crop

Wimmels, Thursday, 27 April 2017 19:54 (one month ago) Permalink

Chuck posts a lot of stuff that seems like it's little snippets of music for tv shows or film or something? i can't quite tell

yeah when me and global played a show w/him and paul metzger i was in heaven, so good

blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 20:16 (one month ago) Permalink

he did soundtrack work for A Chef's Life on PBS - https://chuckjohnson.bandcamp.com/album/miniatures-a-chefs-life-seasons-1-and-2 and I think he does a bunch of documentary work ...

tylerw, Thursday, 27 April 2017 20:18 (one month ago) Permalink

cool that's probably a good way to make actual money as a musician

blonde redheads have more fun (upper mississippi sh@kedown), Thursday, 27 April 2017 20:48 (one month ago) Permalink

haha yeah, i'm sure that is the "day job"

tylerw, Thursday, 27 April 2017 20:53 (one month ago) Permalink

i think this belongs in here: a 33-minute version of jim o'rourke playing a version of tracy chapman's fast car recorded live in japan in 2002 and put on youtube recently

in twelve parts (lamonti), Monday, 1 May 2017 11:09 (four weeks ago) Permalink

Have listened to that "Fast Car" a few times already (it got posted to the O'Rourke thread at some point I think, but also made the rounds amongst a bunch of folks I follow and share stuff with). It definitely fits here along the lines of Jim's stuff generally crossing this territory. Hits some of those long "Bad Timing" sweet sports for me. I really like how he cuts out the chorus completely, it totally changes the overall feel of the song (and makes it feel like the song will go on forever/never resolve).

Sure wish I had seen some of these shows around this time.

grandavis, Monday, 1 May 2017 14:41 (four weeks ago) Permalink

This is magnificent. Damn, I wish I'd seen him around then. Well, anytime from around 95 onwards, really.

The shard-borne beetle with his drowsy hums (Chinaski), Monday, 1 May 2017 15:35 (four weeks ago) Permalink

yeah, the "fast car" thing is surprisingly great -- can only imagine someone dared him to do it, but it ends up being beautiful. i saw Jim do a similarly endless "women of the world" live in 98, but I'm not sure I really knew who he was at the time.

tylerw, Monday, 1 May 2017 15:36 (four weeks ago) Permalink

It's making me wonder how many decent quality boots there are out there. I've got the Peel Sessions one, and a Japanese show from Aug 2015. Tyler, you strike me as the man to ask...

The shard-borne beetle with his drowsy hums (Chinaski), Monday, 1 May 2017 15:41 (four weeks ago) Permalink

i haven't come across too much - here's a full band show from 2000 - think the link still works: http://sweetblahg.tumblr.com/post/23622291526/jim-orourke-full-band-london-2000

tylerw, Monday, 1 May 2017 15:43 (four weeks ago) Permalink

Wow @ "Fast Car"

My Body's Made of Crushed Little Evening Stars (Sund4r), Monday, 1 May 2017 16:29 (four weeks ago) Permalink

The Jim O'Rourke thread that is getting bumped on ILM has a bunch of youtube's for live Jim sets from 2000 as well. Lots of good songs, though I haven't listened yet. Not sure if it is the same set from London linked above or not, but plan on listening as the "Fast Car" is definitely up my alley.

grandavis, Monday, 1 May 2017 16:32 (four weeks ago) Permalink

Enjoying this new Hayden Pedigo track. Nice rich 12-string sound with a good mix of moves. Kind or arch/harpsichord-y in parts, which gives it a cool feel (imo):

https://soundcloud.com/driftlessrecordings/greetings-from-amarillo-mastered

grandavis, Monday, 1 May 2017 17:06 (four weeks ago) Permalink

this is on spotify and very cool, like a live glenn jones album with these eerie noises and echoes of children barging their way into the track

Thrill Jockey
thrill 438 - 2017
On new live album Waterworks, digital and acoustic experimentation bring sparkling new depths to Glenn Jones’ emotive guitar virtuoso. Waterworks was recorded binaurally at the Waterworks Museum in Boston, MA on June 24, 2015 through 20 speakers. Glenn Jones plays guitar and banjo and is joined by Matthew Azevedo on synthesizer, harmonium, soundscapes, and signal processing.

The LP includes an insert with an essay about the performance and free download card.

A former pumping station in Boston’s Chestnut Hill is not the first place you’d expect to encounter one of American Primitive Guitar’s finest exponents. But with shared reputations for meticulous execution, innovative engineering, and stories on tap, Glenn Jones’ attraction to the Metropolitan Waterworks Museum stands as an unassumingly natural fit.

“I discovered the place when I attended a performance there in 2013,” Jones reminisces. “Even though the hall didn’t appear to be particularly friendly to acoustic instruments, one of my first thoughts was, “How can I get in on this?!””

Recorded a month after the sessions for his 2016 album Fleeting, Waterworks captures Glenn Jones at the forefront of modern solo guitar playing. Combining a highly skilled fingerpicked style with mesmeric tunings and custom-crafted partial capos, Jones delivers an array of lyrical compositions that quietly regale past adventures and personal reflections with masterful proficiency.

The Waterworks’ Great Engine Hall – depicted in the album artwork - is a unique setting for Glenn Jones’ intimate vignettes. Its lofty redbrick columns and vaulted ceiling makes for an intensely resonant space, whilst further acoustic considerations had to be made for the large amount of reflective machinery stationed in the room. Sumptuous glissandi seem to drip from every cavernous corner, whilst rhythmic bass lines gainfully slip across brass, steel and stone. Put on record, it makes for a consuming stereo experience.

To best navigate this space Jones turned to Matthew Azevedo – his mastering guru of fifteen years – for guidance. “What had been conceived as a solo show quickly turned into a collaboration,” Jones laughs. Whilst Jones’ untreated guitar and banjo take the forefront throughout Waterworks, Azevedo’s addition brings thrilling new depth to Jones’ ruminative compositions. Toying with the room’s unique acoustic, Azevedo unleashes an arsenal of field recordings, sonic manipulations and harmonium drones, through strategically placed speakers hidden in gangways high above the audience.

Whether it’s cacophonous crow caws bleeding into “Close to the Ground”, or the echoed schoolyard cries underpinning “Across the Tappan Zee,” Azevedo’s sonic additions frame both Glenn Jones and Modern Primitive Guitar music in a whole new light. When Azevedo’s synth onslaught swarms Jones’ sumptuous cover of John Fahey’s 1964 song “The Portland Cement Factory at Monolith, California,” it transports the genre to pummeling industrial territories as yet undiscovered.

Brilliantly captured through Ernst Karel’s immersive binaural recording, Glenn Jones & Matthew Azevedo’s Waterworks closely approximates the experience of hearing Jones’ works performed on this most unique of stages.

blonde redheads have more fun (upper mississippi sh@kedown), Monday, 1 May 2017 18:56 (four weeks ago) Permalink

ooooh binaural

global tetrahedron, Monday, 1 May 2017 19:37 (four weeks ago) Permalink

Oh man, now that I read this it sounds super cool. I like that idea of spatially placing/situating the sounds to accompany Glenn.

grandavis, Monday, 1 May 2017 20:46 (four weeks ago) Permalink

Oh it's great! Bought it from him a few months ago.

grandavis you would totally love it.

Evan, Monday, 1 May 2017 20:54 (four weeks ago) Permalink

Excellent, thanks for the endorsement Evan. Having another version of "Across the Tappan Zee" cannot be a bad thing.

grandavis, Monday, 1 May 2017 20:56 (four weeks ago) Permalink

Listened to this---circle of friends on the living room carpet, late night but not too laid back---agreeable vocals, lyrics add roadmarks, guitars keep it moving through my attention (same label that put out those aforementioned posthumous Renbourns, the most recent a live set w Wizz):

JONES, BERRYMAN & JONES
Come What May
Artist: Wizz Jones, Pete Berryman &
Simeon Jones
Title: Come What May
Catalogue No: TUGCD1102
Barcode: 605633010220
Label: Riverboat Records
Release date: 26 May 2017
RIVERBOAT RECORDS PRESS RELEASE
Fellow acoustic guitar innovators and long-time friends Wizz Jones and Pete Berryman have
unmistakable styles that beautifully complement each other. With textured accompaniment
by Simeon Jones on saxophone, harmonica and flute this is an album of great song writing and
seamless musicianship.
Inspired by hearing Big Bill Broonzy and Ramblin’ Jack Elliot, Wizz Jones learnt his guitar licks from
the likes of Davy Graham and Long John Baldry whilst playing in the coffee bars of London’s Soho
in the late 1950s. He then followed the time-honoured buskers trail from the streets of Paris to the
markets of Marrakech during the early 1960s and returned to Britain with a unique acoustic guitar
style, an eclectic repertoire and a right hand worthy of Broonzy! Eric Clapton, Keith Richards and John
Renbourn have all named him as an important early influence and in May 2012 Bruce Springsteen
opened his Berlin show with Wizz’s song ‘When I Leave Berlin’.
Back in 1960 a be-suited reporter Alan Whicker had filmed a piece for the BBC’s ‘Tonight’ programme
reporting on the ‘beatnik menace’ in Newquay, Cornwall. It included two musical offerings from Wizz,
one of them a song in the style of Woody Guthrie called ‘Hard Times In Newquay’ (if you’ve got long
hair!). The youthful Wizz explained to Alan ‘All I’m interested in is playing the guitar and travelling.’
Unfortunately for the local councillors who spoke about how they were trying to expel the beatniks,
the latter had already had a profound effect on the local youth in the shape of Pete Berryman; Pete’s
first experience of live acoustic guitar was seeing the very same Wizz Jones, barefoot and busking on
the beach in Newquay.
Pete Berryman arrived on the music scene in the 1960s with the Famous Jug Band which also
featured Clive Palmer of the Incredible String Band. At this time, he also recorded with Ralph McTell,
Al Stewart and in 1971 his influential LP with John James,
Sky In My Pie, was released.
Simeon Jones often travelled with father Wizz during the 1960s and 1970s to Cornwall in a variety of
jalopy VW buses and Citroens as well as to numerous festivals in the UK and Europe. Avoiding the
guitar (perhaps sensibly!) he developed into a superb sax, harmonica and flute player and has been
playing since the 1980s a wide variety of music in sessions and on tours with countless blues bands.
The music on this album results from three musicians who have nothing to prove, getting together
for a few days and playing assuredly on a few songs and tunes they all love. There are original songs
from both Pete and Wizz along with Bert Jansch’s ‘Moonshine’ and Fran Landesman’s wonderful
‘Ballad Of The Sad Young Men’.
Wizz’s song ‘Alone In My Car’ perhaps sums up the overall mood; driving through the night, heading
for Cornwall, looking forward to playing some music with Pete and other friends. ‘Playing the guitar
and travelling’ – still doing it after all these years. Long may it continue - come what may!
For more information, visit www.worldmusic.net

dow, Monday, 1 May 2017 22:08 (four weeks ago) Permalink

booklet:

01 YOU’RE BLASÉ
(Hamilton/Sievier) pub Chappell Music Ltd
A song composed in 1933 and featured in a
stage musical called ‘Bow Bells’. Hearing this
on a cassette transcription from an old 78
rpm disc played and sung at the piano by that
old rascal Leslie ‘Hutch’ Hutchinson reminded
me of musical evenings when as a child at
home in Croydon, listening to the BBC, the
wind-up gramophone and my mother jauntily
playing the piano during the dark winters of
the 1940s.
02 SEE HOW THE TIME IS FLYING
(Tunbridge) Copyright Control
I make no excuses for revisiting this beautiful
Alan Tunbridge song yet again. There must be
so many generations who’ve yet to hear it!
03 POACHER’S MOON
(Jones) pub Year Zero Music
One cold night in November somewhere in
Germany back in the 1970s I was carousing
with the double bass master Danny Thompson.
‘That’s called a “Poacher’s Moon”, Wizz,’ he
said looking up at the Harvest Moon which
was briefly visible between the clouds. I
misunderstood and thought that a ‘Poacher’s
Moon’ meant a dark night with no moon,
hence the lyrics in my song. He then went
on to wax lyrical on his wild times on tour
with the guitarist John Martyn - up to their
waist in freezing water at midnight, fishing
in the Scottish Highlands. I just had to write
something to keep that vision in my mind!
04 A RED PAPER ROSE
(Berryman) Copyright Control
Pete’s imagining the story from another side.
05 BEWARE OF CHARMING FRIENDS
(Jones) pub Year Zero Music
I guess sometimes my songs get too personal!
06 THE BALLAD OF THE SAD YOUNG MEN
(Landesman/Wolf) Copyright Control
Davy Graham, a great inspiration to all
acoustic guitarists in the 1960s, recorded this
Fran Landesman poem on his second album
and I’ve always wanted to sing it.
07 ANOTHER CHRISTMAS WITH YOU
(Jones) pub Year Zero Music
Not to be taken too seriously. A blues riff that
came out of one of my favourite guitar tunings
– EADEBE.
08 COME WHAT MAY
(Berryman) Copyright Control
Pete’s letter to his daughter
09 MOONSHINE
(Jansch) pub Leola Music Ltd
It was the great Bert Jansch who presented
a nine-year-old Simeon with an old wooden
flute, thus starting him off on a never ending
musical journey. When I heard Simeon’s son
Alfie playing Bert’s song, naturally I persuaded
him to come into the studio to play on this
track.
10 SEA SONG
(Berryman) Copyright Control
Some maritime musings from Pete.
11 ALONE IN MY CAR
(Jones) pub Year Zero Music
Heading for my beloved Cornwall for the
thousandth time.
BONUS TRACKS:
12 THE KING OF ROME (BONUS TRACK)
(Sudbury) pub Cloud Valley Music
13 THE NEW MOON’S ARMS (BONUS TRACK)
(Lowe/Sanders) pub Lowe Life Music
14 ALBATROSS (BONUS TRACK)
(Green) pub BMG Rights Management (UK) Ltd
MUSICIANS:
Wizz Jones: acoustic guitar, vocals
Pete Berryman: acoustic guitar, vocals
Simeon Jones: tenor saxaphone, flute, harmonica and
vocals
Guest Musicians:
Alfie Jones: acoustic guitar on track 9
Anne Sumner: vocals on tracks 8 and 11
Produced by Wizz Jones and Andy Levien
Recorded, mixed and mastered by Andy Levien at RMS
Studios, London, 2016
Track notes by Wizz Jones
Sleeve notes by Maggie Holland

Visit www.worldmusic.net to hear sound samples of all
albums on Riverboat Records.

dow, Monday, 1 May 2017 22:11 (four weeks ago) Permalink

Hi, I haven't really posted much on this thread but I'm guessing this is probably the best place to talk about how good this Elkhorn record is?

https://debaclerecords.bandcamp.com/album/the-black-river

Saw someone on FB mention Fichelscher/Fahey duo vibes which is a pretty easy way to get my attention, and if you're looking for that sort of thing then you'll probably dig this.

cwkiii, Friday, 5 May 2017 04:18 (three weeks ago) Permalink

some of the electric guitar tones remind me of that electric phin band from thailand. the whole thing is extremely good

global tetrahedron, Friday, 5 May 2017 16:01 (three weeks ago) Permalink

yeah, been meaning to check this one out, sounding cool so far

tylerw, Friday, 5 May 2017 16:39 (three weeks ago) Permalink

Another one recorded at Black Dirt by Jason Meagher. Pretty good track record and a general endorsement right there.

grandavis, Friday, 5 May 2017 19:28 (three weeks ago) Permalink

Elkhorn record is terrific, where did these guys come from??

Wimmels, Friday, 5 May 2017 21:13 (three weeks ago) Permalink

two weeks pass...

pretty cool -- Pelt has added a fair amount of stuff on bandcamp (including some hard to find CDR action): https://peltusa.bandcamp.com/

tylerw, Monday, 22 May 2017 22:17 (one week ago) Permalink

this Elkhorn is the business! great stuff...like the mix of acoustic and electric textures

Universal LULU Nation (upper mississippi sh@kedown), Tuesday, 23 May 2017 19:10 (six days ago) Permalink

jesse from elkhorn is responsible for cataloging a lot of crucial jack rose/glenn jones/marisa anderson/etc/etc stuff on youtube, i'm sure folks here have seen his work but if not- youtube channel 'orthophonix'

global tetrahedron, Tuesday, 23 May 2017 19:11 (six days ago) Permalink

Thanks for the Joost Dijkema - Sacred Revelations recommendation from way back in the thread by the way... that album is just really incredible!
Was blasting it this past weekend with my wife up in Kingston NY.

Evan, Tuesday, 23 May 2017 19:55 (six days ago) Permalink

new Richard Bishop live recording over yonder (including a Beatles cover!): http://www.nyctaper.com/2017/05/sir-richard-bishop-may-17-2017-park-church-co-op/

tylerw, Wednesday, 24 May 2017 17:06 (five days ago) Permalink

really shoulda gone to that show...

Chocolate-covered gummy bears? Not ruling those lil' guys out. (ulysses), Wednesday, 24 May 2017 17:07 (five days ago) Permalink

new orcutt on the way -- can't wait to hear him tackle "white christmas"
With its deep-space beauty, harmonic complexity, and dark dissonance, Bill Orcutt is a stunning landmark in the guitarist's form-destroying trajectory. His pachinko-parlor pacing, marked by unraveling clockspring accelerandos crashing into unexpectedly suspended tones, is still in evidence -- but here, his developing melodicism maps a near-contemplative mental realm, orbiting St. Joan-era Loren Connors more than the cascading treble clatter of his duo LPs with Chris Corsano and others.

http://forcedexposure.com/Catalog/orcutt-bill-bill-orcutt-lp/PAL.048LP.html

tylerw, Thursday, 25 May 2017 22:06 (four days ago) Permalink

new mark fosson too! i like this guy
https://markfosson.bandcamp.com/

tylerw, Thursday, 25 May 2017 22:12 (four days ago) Permalink

"Noodlin' On The East Fork"!

tylerw, Thursday, 25 May 2017 22:12 (four days ago) Permalink

nice cover art on that fosson

always loved this one

global tetrahedron, Thursday, 25 May 2017 23:37 (four days ago) Permalink

Listened to Fosson's kY while packing for a trip tonight. Helped make things go smoothly.

Tomorrow Begat Tomorrow (Sund4r), Thursday, 25 May 2017 23:59 (four days ago) Permalink


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