Notes for "Orff Mix"

[Update: "Tom Moody - poMo Classical & Jazz Fission" aka "The Orff Mix" streams Thurs, Aug 19, at 9 pm Eastern on ffog's Myocyte show on tilderadio and anonradio.]

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I am working on a mix for (open source) internet radio streaming. Below are notes explaining my choices. The mix is tentatively scheduled for this Thursday. I'll post again when know more. My thinking here is closely tied in with music I am making in the studio at the moment.

This mix explores the power of the simple, primitive, incantatory riff in postmodern classical and "jazz fission" music (Kodwo Eshun's term for the brief period of poMo experimentation in the late '60s/early '70s, which eventually jelled into more codified -- and bankable -- "fusion" jazz). My touchstone composers here are Carl Orff and Eric Satie, and their music is interwoven in the mix with experimenters on the "rock" side (John Cale, Frank Zappa, Penguin Cafe Orchestra) and the "jazz" side (John McLaughlin, Ralph Towner, Eberhard Weber). My aim is a musical conversation where common themes, differences and "sidebars" are all considered.

The mix begins and ends with a version of "Something Spiritual," a piece attributed to Dave Herman, who may or may not have played with Glenn Miller (Discogs sometimes mixes up artists with similar names) and appears to have written only this one tune. It's a bifurcated composition, with a wistful, soulful beginning that breaks into a repeated 7 note riff (da da, da da, da da, da) that is very "rock and roll." The piece keeps switching back and forth between the soulful part and The Riff, trying to make up its mind. At the beginning of the mix, John McLaughlin plays it on acoustic guitar(s), showing off his speed and technical skill. At the end of the mix it's played by The Tony Williams Lifetime, a towering group of the fission era, with McLaughlin on electric guitar, Larry Young on Hammond organ, and Williams intricately flailing away on drums. Here The Riff takes over the song, and is played by McLaughlin and Young ad infinitum, with subtle variations in timbre and syncopation, allowing Williams to go off into outer space with metric variations and polyrhythms on a standard drum kit. The loud guitar and pulsating organ are rock, not jazz -- were it not for the drums, this could be Steppenwolf.

Going back to the beginning of the mix: McLaughlin's acoustic version is followed by Penguin Cafe Orchestra's "In the Back of a Taxi," which has a upbeat folk-like Riff played on bass, piano, and ukulele that you could listen to all day. But then a zany quasi-mariachi band comes in with trumpets and breaks the hypnotic groove. This happens twice in the song but the Riff remains constant throughout.

Next comes the first of several pieces by Carl Orff and Gunild Keetman from their "Schulwerk" series, a decades-long compilation of pedagogical music for children (or students of all ages). In "Diminution Schrei," an infectious stew of bubbling xylophone and wood block percussion suddenly erupts into shouts and Native American "hey-ya"s -- from a German boys choir, no less. It's fun and pretty wack. This short piece takes us to Eric Satie's score for Rene Clair's film Entr'acte, which ran during the intermission of the ballet Relâche in 1924. This is my favorite Satie piece, an example of his modular "furniture music" -- a concatenation of simple Riffs ranging from circus music to melancholy strings -- which could be repeated or shortened as needed, to keep the score in sync with the film cuts. This was way ahead of its time.

Next up is Moondog's wistful piano tune "Sea Horse," which could be a continuation of the Entr'acte score, followed by Ralph Towner's solo guitar piece "3x12 (2)." Towner riffs, too but his mind is so musically inventive the motifs never settle into grooves but, instead, serve as links in chains of free association. Then it's back to Moondog, with his most famous work, "Bird's Lament," for reed instruments, including a honking baritone to die for. For this mix I used a version without percussion, from The German Years 77-99, sped up to the same tempo as the better-known version from Moondog (1969) on Columbia. This seques pretty nicely to Carl Orff's "Dance (arr. Wilfried Hiller) for Violin and Cello" from the Schulwerk series, with short sections that could be a sequence of stately folk dances.

This is followed by a threesome of piano works from my blog playlist hatin' on Haigh -- -- which presumed to find some better examples of solo piano (more fun, more tuneful, more diverse, more emotional) than those offered by Simon Reynolds favorite Robert Haigh in The Wire a few years ago. Ravel's "Le Tombeau de Couperin (I. Prelude)" receives a lightning fast treatment from David Korevaar. I owned the orchestral version of this for years and only on hearing the piano version realized what Ravel is doing with a Baroque composition by Francis Couperin -- unstiffening it and making it more romantic, more obviously French. You can still hear the Baroque trills and mathematics but with syncopating pauses and lush sweeps of cabaret expressiveness: a truly amazing reinvention. Then Gertrude Orff's haunting kids' music piece "Kleiner Klavierstücke, Heft I, No. 2," suggesting another quiet court dance. Then Philip Glass' Spanish-flavored "Modern Love Waltz" (performed by Amy Briggs), a machine-like arpeggio workout. You can almost see punched rectangles on a player piano going by, even though it has a human player.

Back to Orff: "Tun Ma Gehn, Rösserl Bschlagn," a children's piece featuring claps and a spirited mezzosoprano voice, precedes Sandy Bull's version of Carmina Burana -- played on a banjo! I owned this years ago, on a vinyl compilation of Bull's music, and can't imagine why I forgot this was on there -- it's completely memorable. Carmina is so familiar from horror movie scores it almost sounds like hackwork today. The banjo strumming puts us back in touch with its roots in the Jungian meme pool that Orff was tapping into: elemental strummed notes that are part folk, part medieval, part "world," touching something deep and primordial. This is followed by another Orff-penned children's piece, "Dance 1 (Piano Exercise, No. 29) for Violin and Cello" (1933), which seduces with its counterpoint between bowed and plucked strings.

Another short, frenetic Ralph Towner solo, "3x12 (3)," leads into John Cale's "Days of Steam," from his mostly classical third LP, The Academy in Peril (1972). This rhythmic piece for piano, viola, and tambourine (with trumpet scales and recorder at the end) presciently resembles Simon Jeffes and his Penguin Cafe Orchestra, which appeared a few years later. It's followed in the mix by Penguin Cafe Orchestra's "Yodel 1" (1981), a strummed acoustic guitar riff with piano and bongo accents. The simplicity and transparency of the instrumentation puts it very much in the Orff "Musik Für Kinder" ballpark, even though it's a 4 minute jam rather than a short structured chamber work.

Next is "Aybe Sea," one of the Mothers of Invention's prettiest pieces, from the Burnt Weeny Sandwich LP. A trio for piano, harpsichord, and Zappa's pedal-inflected guitar, the piece conjures a kind of deranged Renaissance dance number, before settling into a long piano coda. Eberhard Weber's "Silent Feet" is notable for Rainer Brüninghaus' liquid, exploratory piano intro, reminiscent of Ralph Towner's music in its improvisational complexity, rippling through a series of twists, turns, and key changes in a completely Western tonal framework (there are a couple of flubbed notes about 2/3 of the way through, which he recovers from brilliantly). This type of playing would resurface as the Windham Hill "new age" sound a few years later, without Brüninghaus' edgy melodic poetry.

The Ralph Towner acoustic guitar solo that opens Weather Report's "The Moors" is the stuff of legend, another freewheeling journey that resembles pure thought, turned into sprays of 12-string notes. The story goes that Joe Zawinul gave guest-instrumentalist Towner a chair to sit on in the recording studio and let Towner warm up before playing with the band. Unbeknownst to Towner, Zawinul had the tape recorder running and the warm-up session became the finished intro. "The Moors" then continues in Weather Report's early controlled free jazz style (coming off their years with Miles Davis) which had largely disappeared after their next LP, Sweetnighter. The mix then ends with the Tony Williams Lifetime version of "Something Spiritual," discussed above.

Myocyte - Live Mix 90

Recommended: Joel Cook's mix for his show last week on tilderadio (streaming internet radio). (His dj name is ffog.)
A downloadable version of the entire mix is here: [.mp3]
He has also posted an annotated version with links to the individual tracks and some background info from discogs and other sources.

Ffog's mixes typically mine the internet for obscurities, heavily but not exclusively in the electronic vein. He does much of his digging on Bandcamp, a motherlode of new music that unfortunately tends to blur and flatten out for the ordinary consumer, with its thousands of uniform squares begging for attention, ranked in quality by more uniform squares ("followers"), mindless robo-filtering, and staff-assisted self-hype. Listening to ffog's mixes is a snapshot of the zeitgeist otherwise unavailable using the site's own tools.

"Live Mix 90" centers around a lesser-known composer of academic computer music, William Schottstaedt (not on Bandcamp but available on YouTube), whose digital musique concrète ranges from eerie, faraway drones to sublime banging and screeching worthy of a Julliard-trained automobile compactor. Several Schottstaedt pieces from the 1980s are interspersed in ffog's mix, which also includes more current avant garde fare, "sound test reels" for timestretched vocals and speaker distortion, 1970s Echoplexed guitar, and the occasional stray pop song.

guest DJ set list (May 27, 2021) - Soundtracks 2: '60s-'80s

Thanks to ffog for inviting me to guest-DJ again on his weekly internet radio show, Myocyte.
The mix was "simulcast" on anonradio and tilderadio, and has been archived by anonradio (scroll down to "Ffog - Pleasure & Discomfort Myocyte"). An mp3 version of the mix is here: [1 hr mp3] (The show was broadcast at 1 am on May 28 UTC, which is 8 pm Central, May 27, in the US.)

This was my second soundtracks mix. Part 1 is here. The mix compiles some favorite movie and TV soundtrack excerpts. Most were first heard while watching the film or video and hunted down because they were so ear-grabbing. Some are from soundtrack albums of clips from the films or TV shows.

While the tracks were playing I "announced" via text chat on the #sally and #tilderadio channels on IRC (Internet Relay Chat). Listeners could comment or ask questions. This is an interesting way to DJ, very different from my old FM radio days and a few steps up aesthetically from having everyone's data and souls leeched out on spotify, etc.

Set list and notes for the show:

0:00 Jerry Goldsmith, Where the Bad Guys Are Gals (1967) - In Like Flint

2:38 Vince Guaraldi, You're in Love, Charlie Brown (1968)

5:38 Nelson Riddle, Holy Hole in a Doughnut (1966) - Batman

7:31 Vic Mizzy, Morticia's Theme (1965) - The Addams Family

10:07 Dudley Moore, Bedazzled (1967) - Peter Cook as Satan

12:29 Goblin, The Hunt (1979) - Dawn of the Dead

15:12 Stewart Copeland, West Tulsa Story (1983) - Rumblefish

19:06 Wang Chung, City of the Angels (1985) - To Live and Die in L.A.

24:56 Wendy Carlos, The Light Sailer (1982) - Tron

27:16 Claudio Simonetti, Phemonena, (1985) - Dario Argento film

31:39 Vladimir Cosma, Sentimental Walk (1981) - Diva

35:07 Ryuichi Sakamoto, Father Christmas (1983) - Merry Christmas, Mr. Lawrence

37:10 Frank Zappa, Lucy's Seduction of a Bored Violinist & Postlude (1971) - 200 Motels

41:06 Massimo Morante, Fabio Pignatelli, Claudio Simonetti, Tenebrae (1982) - main title - Dario Argento film

45:20 Gato Barbieri, Return (La Vuelta) (1972) - Last Tango in Paris

48:02 John Barry, Capsule in Space (1967) - You Only Live Twice

50:30 Ennio Morricone, The Shower (Deep Down 2) (1968) - Danger: Diabolik

51:52 John Barry, Fight at Kobe Dock/Helga (1967) - You Only Live Twice

55:48 John Williams, TV Reveals (1978) - Close Encounters of the Third Kind

57:32 John Williams, Roy and Gillian on the Road (1978) - Close Encounters of the Third Kind

58:38 Keith Emerson, Mark's Discovery (1980) - Inferno - Dario Argento film

guest DJ set list (May 13, 2021) - prog, postpunk, breaks

Thanks to ffog for inviting me to guest-DJ again on his weekly internet radio show, Myocyte.
The mix was "simulcast" on anonradio and tilderadio, and has been archived by anonradio (scroll down to "Ffog - Pleasure & Discomfort Myocyte"). An mp3 version of the mix is here: [1 hr mp3] (The show was broadcast at 1 am on May 14 UTC, which is May 13 in the US.)

While the tracks were playing I "announced" via text chat on the #sally and #tilderadio channels on IRC (Internet Relay Chat). Listeners could comment or ask questions. This is an interesting way to DJ, very different from my old FM radio days and a few steps up aesthetically from having everyone's data and souls leeched out on spotify, etc.

Set list and notes for the show:

The Castaways - Liar, Liar (1965)

Paul Kalkbrenner - Selber (2001) - from Zeit (CD)

Tone Set - The Devil Makes the Loudest Noise (1982) - from Cal's Ranch (tape)

Adrien75 - Dryads (2004) - from Chickadoo Chronicles (Volume One) CD [YouTube]

Kid E - guest mix from Edge Club radio show, Dallas (excerpt, 1993-ish)

Moondog - Voices of Spring (1971) - from Moondog 2

CiM - Lactate (2000) - from Reference (CD)

Silver Apples - Lovefingers (1968) - first LP

Barry Beats - C is for Charlie ( 2018) - Bandcamp

Happy the Man - I Forgot to Push It (1978) - from Crafty Hands

Skream - Midnight Request Line (2005) - mix from Grimetime radio show 2006

Adrien75 - Wherever Tang Lung (1997-8) from Alphabet City Sessions - Bandcamp - Boss dr-660 drum machine and an Akai S1100 sampler plus Studio Vision software on a (probably) Mac Classic II, according to the artist

Tuxedomoon - Crash (1980) - Ralph Records single B-Side (Michael Belfer on guitar)

Blaine L. Reininger - Birthday Song (1984) - from Night Air

Sandii - Sakura (Cherry Blossoms) (1990) from Mercy CD

Theorem - Graviti (1996) excerpt - from Nano CD