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

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.

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

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.

ooooh binaural

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

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

grandavis you would totally love it.

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

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

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.

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.

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

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

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

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

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

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

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'

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.

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/

really shoulda gone to that show...

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

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

"Noodlin' On The East Fork"!

nice cover art on that fosson

always loved this one

https://www.youtube.com/watch?v=h8UugY6nozY

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

oh yeah---from Drag City newsletter:

MARK FOSSON RETURNS WITH SOLO GUITAR

Mark Fosson's been playing music for nearly 50 years now. Solo Guitar is the 5th album released under his name in all that time, which gives an insight into the nature of his music; when it is time for Mark to commit to something underneath his fingers, regardless of whether that is after two years, ten or twenty, that's what's right.

Sure, it makes for a funny career arc, but as far as the music that falls out of a guitar over the span of a lifetime is concerned, any old curve will serve. Mark's picking career was destined to be weird anyway, based on how it started: in 1976, a demo sent to "American Primitive" label Takoma Records received a personal response from founder (and its primary artist) John Fahey himself, who invited Mark out to the west coast to rerecord the material for forthcoming release. Mark showed up, they recorded, it sounded great...then Takoma went bankrupt, John Fahey sold the whole company and the release of Mark's record was abruptly cancelled. No new destination for the recordings immediately presented itself, so Mark moved on, making music with the Bum Steers and continuing to release albums sporadically in the mid aughts.

Now here's another collection to hear! Solo Guitar continues to use his chops and enthusiasm to wander musically, drawing up pieces of sparkling, nimble fingerstyle with an eclectic vision. As the title implies, this time Mark is focused on the austerity of the guitar, plain and simple, to bring out the music. This is one of Mark's favorites of all that he's written, and it is clear why: the golden, eternal promise of the guitar is ebulliently, transcendentally delivered. Mark Fosson's Solo Guitar is a masterful work, the kind it takes a lifetime to assemble! Out July 28th on LP/CD!

What happened to the Takoma album?

Drag City out it out about a decade or so ago? The Lost Takoma Sessions. Then Tompkins Sq. put out the demos a few years later.

Shoulda figured, thanks!

The demos might actually be better, iirc

Glenn gave me the scoop on an exhaustive American Primitivism write up + 2LP set he's writing and compiling. He said he's hoping it'll be out later this year!

I'll ask him if I'm allowed to share more details...

I recently got the Fosson lost Takoma Album on Bandcamp, it's wonderful!

Evan, that sounds amazing

ooh yeah, that does sound good

He told me all about it unprompted in an email, so hopefully he'll be OK with me sharing more details here.

Drag City newsletter again:

Meg Baird Heads Out With Lee Renaldo and Steve Gunn

AH, yes, it's a brand new month and another season on earth! Given today's climate, who knows how many more seasons we've got but that's all the more reason to ACT NOW and join Meg Baird for some upcoming shows! That's right, Meg's got a loaded six string on her back and is headed down the southeast corridor of these fine fifty states stopping in cities like Richmond and Atlanta before looping west towards Texas! Meg's carefully constructed ballads are brimming with vibrancy, taking you down the traditional sandstone that folk is built upon and the simultaneous empathy and entertainment it can provide with pristine musical companionship. Riding alongside Steve Gunn and Lee Ranaldo for all of the dates below, expect nights of pure, spring bliss at each and every show!

6/13/17 The Broadberry Richmond VA
6/14/17 Arts Center of Carrboro Carrboro NC
6/15/17 40 Watt Club Athens GA
6/16/17 Smith's Olde Bar Atlanta GA
6/17/17 Saturn Birmingham AL
6/18/17 Gasa Gasa New Orleans LA
6/19/17 White Oak Music Hall Houston TX
6/20/17 Sons Of Hermann Hall Dallas TX
6/23/17 Proud Larry's Oxford MS
6/24/17 The Anchor Fellowsh

All dates with Lee Ranaldo and Steve Gunn!
(dunno if they're playing back-up for her only or at all, solo sets only or as well etc)

Just saw Joan Shelley & Nathan Salsberg w Jake Xerexes Fussel opening

Great show, taped it on my portable. Tascam, will clean it up and post it but yeah wow you should see this tour if you get a chance

glenn jones/matthew azevedo LP 'waterworks' is really great... the musique concrete bits work really well

yeah it's great

Also great: new Hayden Pendigo - Greetings from Amarillo

really cool meditative guitarwork, reminds me a bit of Danny Paul Grody's rural new ageism, then more ambient tracks that recall Popul Vuh's more pastoral moments or even Tangerine Dream if they were from TX

gotta get that jones LP! yeah, I like pedigo's new one.
re-recommending the Elkhorn LP - the coltrane cover is surprisingly successful:

https://www.youtube.com/watch?v=T9F-hcrPBrA

really been enjoying that forthcoming Orcutt LP too -- his "Old Man River" is one for the ages!

i saw a facebook comment from hayden pendigo on something that roy montgomery posted about daniel fichescher where he posted a vid of himself playing vuh-style. it reminded me that some people have no reservations posting unsolicited videos of themselves playing!

oops missing an L in Fichelscher but you know what i meant

do you think it's rude or just not something you are accustomed to doing yourself? (also, did you go to horse lords this weekend?!?)

both (though not rude necessarily, just quite forward on Roy Montgomery's facebook page, and definitely not something I would do myself)

i did!!! the place was packed for the second opening act, but all those people spilled out and we went in. i was right directly in the front and it was extremely enjoyable. they didn't play the song i wanted to hear from the mixtape iV, but it was super long and probably edited together. which brings me to this point: they seem CANnier every time I see them. People were going bananas dancing too. made me want a cowbell and rototoms, haha!! looks like they aren't that expensive either...

they're so crazy good, like an ideal band for me in many ways... would love to see them

i think they came thru mpls once and i missed them :(

it was my third time!
haven't been disappointed yet

yeah horse lords rule massively live, great nyc set from the other week: http://www.nyctaper.com/2017/06/horse-lords-june-4-2017-sunnyvale/

this is a funny thread for a horse lords convo to break out on but the more the merrier i say

eh i know a lot of folk in thread enjoy em