#Moondog (Louis Hardin)

[nofatclips]

Elf Dance, originally composed by Moondog, performed by Vanessa Wagner on Inland, and reinterpreted by Suzanne Ciani on the remix EP Inland Versions

[jt1674]

[hpmoon]

performed by Calefax Reed Quintet arranged for reed quintet by Raaf Hekkema filmed & edited by H. Paul Moon produced by Alban Wesly

in order of appearance: Bart de Kater, clarinet Oliver Boekhoorn, oboe Jelte Althuis, bass clarinet Raaf Hekkema, alto saxophone Alban Wesly, bassoon Kyabell Glass, poet and photographer Nikhil Bartolomeo, NYC Woodwinds Robert Scotto, Moondog biographer

from the Calefax album "An American Rhapsody" (Pentatone, 2023), used with permission from The Estate of Louis Hardin

special thanks to: Alexander Duve NYC Woodwinds Bosqe Flowers & Coffee Louis Masai Michel Terry O'Reilly

the lyrics:

New Amsterdam was her name Before she was New York New Amsterdam is a dame The heart and soul of big apple city No matter what name she goes under I dig her deeply and no wonder For she's been lovely to me And I'm the better for having met her

[billboard-hotties-tourney]

The Billboard Consolation Prizes

It's that time again, folks! We're about to hand out some more prizes, mostly to those who didn't make the finals. Some were predetermined, some were voted upon by you, the viewers! Cue the theme music.

Let's start off with our first award, The Powerful Mane Award. Sadly, we couldn't do the Powerful Mustache Award for this tournament, considering there wasn't a single powerful mustache in the bunch, but we had some wicked heads of hair this time. But the lady who took the prize this time was...

Chaka Khan! Tell me that you like her, you really like her.

Next up, the "Stop, She's Already Dead!" Award. This one goes to the hardest ass-kicking of the whole tourney. I almost considered calling this The Elvis Costello Memorial Award in honor of last tournament's hardest ass-kicking, but as it turns out...this girl was defeated even harder:

June Richmond! June lost in round two to Billie Holiday, receiving just 5.5 percent of the votes. So...you may not have won the battle, but you won this little graphic.

Up next: The "She's Still Got It" Award. As we said before, there were a lot more nominees this time around that were born...a long time ago, meaning there are a lot of nominees who are no longer with us. But let's hand out an award to the absolute queen who's the oldest-living woman out of 100+ living nominees...

Leontyne Price! Miss Price was born in February of 1927, narrowly beating out Cleo Laine for this spot, and she's still here today. She's been around so long that you could say that sliced bread is the greatest thing since Leontyne Price. Keep it up, girl!

Next is a voter's choice award: The Strong and Silent Girl Award. Named after Mike Nesmith, the original strong and silent girl, this award goes out to a contestant who made it to round five without any written propaganda. Since there was a four-way tie for who made it farthest without any written words, I had you lovely people vote on which was the hottest of the four. You said it was...

Marlene Dietrich! There's a non-zero chance she starred in a silent film or two, so I suppose that's fitting.

As has become tradition, we at Billboard Hotties Tourney present The Who? What?? Award. This one goes to the most obscure nominee in the bunch, the one whose presence confuses (not because of their looks, but because...who??) Last time it was awarded to Louis "Moondog" Hardin, but this time it goes to...

Ethel Smyth! Not the kind of nominee I'd ever expect to see here, and we probably never will again.

Next is the Failure to Launch Award, granted to the nominee with the most submissions...who then lost in round one. The starting pistol went off, they took a few steps, and tripped and fell. This time, the winner of this esteemed prize is...

Debbie Harry! Deborah had eleven nominations, and initially had a lead in her poll, but lost to Joan Jett by a small margin.

Here's a new one! Thanks to our more diverse cast of characters this tournament, we had enough nominees to introduce the Eurovision Queen Award. This one was voted upon by you, and went to the hottest nominee who participated in Eurovision. This one goes to...

Françoise Hardy! Miss Hardy represented Monaco in Eurovision 1963, competing the same year as fellow round one casualty Nana Mouskouri. She ultimately tied for fifth.

Up next: The Band Assassin Award. This one goes to the nominee who defeated multiple members of one band. When I realized that most of the nominees this tournament could qualify as "solo," I knew this one was going to be a little tough. However, there was one lady who was able to do it...

Grace Slick! Grace's first two wins were against Anna Mae Winburn and Carline Ray of the International Sweethearts of Rhythm.

So let's move on t

God, every time. So let's move on to the Spanish Inquisition Award, for the nominee that nobody expected to make it as far as she did. Be it a pleasant surprise or a "Pearl beating Trixie Mattel in that lip sync" gag, it's for the person who exceeded expectations. The winner of this prize goes to...

The Godmother of Rock 'n' Roll, Sister Rosetta Tharpe! Rosetta soared all the way to the quarterfinals before she was bested by now-finalist Nina Simone. Love you, Sister, nothing but respect for my president.

Our next award was a voters' choice, The Crossover Artist Award! The Crossover Artist Award goes to the hottest contestant who was also featured in this tourney's inspiration, @hotvintagepoll. This one comes from the original tourney, too, but this one was...very different. Last time, we had, hmm, five or six nominees, but this time we had a whopping twenty-four that participated in both tourneys. Some ladies, like Eartha Kitt and Diahann Carroll, were also competitors in the @vintagetvstars tournament! Is it a commentary on how women have to be able to do more in entertainment to be seen as a success? Who knows? What I do know is that the winner of this award is...

Eartha Kitt! Beating Marlene Dietrich by about five percent, you guys picked Catwoman this time...and since she won both the movie and television brackets, it only felt right that she at least get a consolation prize, right?

Here's another OG tourney award: The Robbed Icon Award. Here's where you guys get to gripe, and I love it. This one goes to the lady with the most controversial loss in the game, and the winner this time was...

Debbie Harry! Considering that she overwhelmingly won the Queen of the Shadow Realm election, this win came as no surprise to me; you guys were pissed.

Next is the Renaissance Woman Award, voted on by you! This one is meant as a companion to the Multi-Instrumentalist Award for the men, but since there were so many ladies that do more than music here, I decided to expand the title. Does she sing? Play an instrument or two? Write or produce? Act? Dance? Volunteer at the nursing home on the weekends? Probably not the last one, but you, the voters, decided that the most accomplished or well-rounded woman here was:

Dolly Parton! Singer. Songwriter. Actress. Businesswoman. Activist. What can't she do?

Here comes the Popular Kid Award! This one goes out to the nominee with the most nominations, and this time, we have a tie. Our winners are...

Cher and Linda Ronstadt! Each of these singers received sixteen nominations, a record for this blog.

Our penultimate award is the Miss Congeniality Award. I award this one to the nominee with the best/funniest fanbase. This one was a little bit hard, since the engagement was admittedly not as strong as the men's tournament (I get it, though) but when I looked back at all the propaganda, I couldn't help but pick...

Dolly Parton! Those who submitted her had such an outpouring of love for her that really couldn't compare. Wear your title with pride, Dolly, and do good alongside Mr. Congeniality Clarence Clemons.

It's time for our final award...The Not Just a Pretty Face Award, where we celebrate the thing we love these ladies for in the first place--their music. This one has a little bit of a long story. It was a write-in, just like last time, but unlike last time, the voters could not come to a consensus. We had a five-way tie for first place between Kate Bush, Aretha Franklin, Joan Jett, Stevie Nicks, and Nina Simone. A two-way tie? Sure, I can let that slide. But five? No. I had to consult the council...and by "council" I mean "my parents, my two sisters, and my half-brother." I had them vote from the final five to see who would take home this coveted prize. In a 2 to 1 to 1 to 1 vote, our winner is...

Aretha Franklin! Show her some RESPECT.

And that's it for this tournament, folks! I hope you've enjoyed participating thus far, and I can't wait to see how the finals go. Finals begin on October 1st around midnight PST.

[diceriadelluntore]

Storia Di Musica #348 - Jimmy Raney, A, 1957

La Storia della Prestige Records è anche la storia di una intera generazione di musicisti che ebbe la possibilità di incidere, sebbene in modo anticonvenzionale, con la creatura di Bob Weinstock. Weinstock è famoso per altri motivi, su cui ritornerò nelle prossime storie, prima fra tutte la sua estrema "parsimonia" economica, eppure fu un grandissimo talent scout, con un fiuto davvero notevole, tanto che fu fenomenale nel far registrare più cose possibili ad artisti che sapeva sarebbero poi andati verso concorrenti più grandi ed economicamente attrezzati. Oltre a ciò, viveva un eclettismo di produzione che pochissime case editrici avevano: registrò dischi di arpa jazz, duo e trio con strumenti inusuali, persino di musica d' avanguardia (i tre album che Louis Thomas Hardin, conosciuto come Moondog, incise per la Prestige tra il 1956 e il 1957). Il disco di oggi segue un'altra delle passioni di Weinstock, la chitarra jazz. E mise sotto contratto uno dei più fenomenali chitarristi del bop jazz, Jimmy Raney.

Originario del Kentucky, Raney giovanissimo sostituì alla chitarra Tal Farlow, altra leggenda dello strumento e soprannominato Octopus per le sue grandi mani, nel Trio di Red Norvio, altro gigante, vibrafonista, soprannominato Mr. Swing. Parallelamente all'impegno con il trio, è scelto da Stan Getz per una collaborazione che fece scuola, e che regalò a Raney una fortissima fama: nel 1956 vinse il prestigioso concorso della rivista Downbeat come miglior chitarrista del jazz. Eclettico, capace di spaziare tra i vari generi, Raney fu prolifico nonostante due limiti: le sue dipendenze, soprattutto dall'alcool, che lo terranno spesso lontano dalle scene nella seconda parte della sua carriera, e un impedimento fisico, cioè la Sindrome di Menière, una patologia dell'orecchio che gli provocava vertigini, nausee e drammatici momenti dove muoveva in maniera incontrollata gli occhi verticalmente.

Per la Prestige, oltre che come sessionista, incise due dischi, uno in coppia con Kenny Burrell, altro grandissimo chitarrista, (2 Guitars, del 1957), e il disco di oggi, dove come poche volte la chitarra è protagonista in un quartetto jazz. A è composto da diverse sessioni di registrazione, tenute nel mitico Van Gelder Studio di Hackensack, New Jersey, tra il Maggio del 1954 e due giorni, a Febbraio e Marzo del 1955. Insieme a Raney ci sono John Wilson alla tromba, Hall Overton al pianoforte, Teddy Kotick al contrabbasso e due batteristi Art Mardigan (nella registrazione del 1954) e Nick Stabulas (in quelle del 1955). Nei brani si sviluppa tutto l'ecclettismo e la maestria del chitarrista e il suo valore come band leader. Si sperimenta persino l'overdubbing nella spettacolare Minor, brano autografo di Raney, (che si basa sui cambi di accordi di Bernie's Tune); bellissima è anche Double Image (ispirata a There Will Never Be Another You), più un contrappunto selvaggio improvvisato tra Raney e il pianista Hall Overton in On the Square e un'intricata interpretazione della ballata Some Other Spring. John Wilson viene aggiunto alla tromba per la seconda e la terza data in studio, che consistono principalmente di standard. La vivacemente swingante Spring Is Here, una dolce What's New? di Bob Haggart e una delicatissima You Don't Know What Love Is, che dopo il successo come canzone di film anni '40 era diventata in breve tempo uno standard dopo la registrazione che Miles Davis ne fece nel 1954. Gli originali di Raney includono One More For The Mode, una piacevole rielaborazione di un'invenzione in due parti di Johan Sebastian Bach, e Tomorrow, Fairly Cloudy, un bop fiammeggiante. Completano la scaletta due riletture sentite a due classici: A Foggy Day e Someone To Watch Over Me dei superbi George Gershwin e Ira Gershwin.

Raney ebbe una seconda, ma minore, fama all'inizio degli anni '70, quando firmò un contratto per un'altra casa discografica del jazz indipendente, la Xanadu, con cui incise un bellissimo album, Influence, del 1975. Con lui in quegli anni suonava suo figlio Doug, chitarrista anch'egli, e un altro figlio musicista, Jon, cura un sito memoriale, The Raney Legacy, che raccoglie materiale sul padre e figlio chitarristi. Quando morirà, nel maggio del 1995 a soli 67 anni, il New York Times gli dedicherà un lungo articolo omaggio, descrivendolo come "one of the most gifted and influential postwar jazz guitarists in the world".

[heycrabman]

trick or treat!!

You get Moondog Symphonique #3 (Ode to Venus) - Instrumental

[burlveneer-music]

Ghost Train Orchestra & Kronos Quartet - Songs and Symphoniques: The Music of Moondog

On "Songs and Symphoniques: The Music of Moondog," Ghost Train Orchestra teams up with the trailblazing Kronos Quartet to celebrate and reimagine the music of Louis Hardin, aka Moondog, the ground-breaking composer and poet who lived on the streets of New York City in the 50s and 60s, and influenced the minimalists Philip Glass, Steve Reich and Terry Riley. A blind composer who moved from Kansas to New York City and built his own instruments and mythology, Moondog's story and music continue to be an inspiration to many. Along with guests Sam Amidon, Jarvis Cocker, Petra Haden, Karen Mantler, Marissa Nadler, Aoife O'Donovan, Rufus Wainwright and Joan Wasser, the two groups explore Moondog's sense of whimsy, wonder and adventure through a cross-section of songs and instrumentals for large ensemble, string ensemble, percussion and voice. The vinyl and CD packages include an essay by biographer Robert Scotto, Moondog's song lyrics, extensive in-studio photographs by Dan Efram, and an interview with Kronos Quartet founder David Harrington and Ghost Train Orchestra founder Brian Carpenter, mediated by music historian Irwin Chusid. Kronos Quartet David Harrington - violin John Sherba - violin Hank Dutt - viola Sunny Yang - cello Ghost Train Orchestra Brian Carpenter, trumpet, harmonica, vocals Andy Laster, alto saxophone, flute Dennis Lichtman, clarinet Matt Bauder, bass clarinet, tenor, baritone saxophones Sara Schoenbeck, bassoon Curtis Hasselbring, trombone, guitar Ron Caswell, tuba Brandon Seabrook, guitar Chris Lightcap, bass Rob Garcia, drums David Cossin, marimba, percussion Maxim Moston, violin Colin Stetson, bass saxophone Guests: Sam Amidon, Jarvis Cocker, Petra Haden, Karen Mantler, Marissa Nadler, Aoife O'Donovan, Rufus Wainwright, and Joan Wasser All new arrangements by Ghost Train Orchestra Dedicated to the memory of Hal Willner

[ourmindonmusicpodcast]

Moondog: An Unlikely Hero of Music

Moondog, born Louis Thomas Hardin in 1916, was an American musician, poet, and composer. He became blind at the age of 16 and later became a street musician in New York City, where he gained popularity in the 1940s and 1950s. Moondog’s music style was unique, combining elements of classical music, jazz, and Native American music. Moondog’s influence on minimalist composers like Philip Glass can…

[uncleweed]

Certainly, no one who passed by that busy stretch of the city during that era could have missed him. Outfitted like a fantasy Viking, complete with a double-horned headdress, a doomy black tunic, an eight-foot spear and a long white beard, Moondog had an imposing presence to say the least. It only magnified the intensity of his appearance that he was blind, a fact he refused to hide behind dark glasses. From his reliable perch, Moondog would pull from his pockets reams of poetry, sheet music, 78rpm recordings and broadsides he had written to sell to curious passersby. Some people thought he was a freak or a vagrant. (He was, in fact, homeless during several short stretches of time.) Others saw him as the ultimate counter-cultural figure, while some major musicians viewed him as a visionary, including the jazz greats Benny Goodman and Charlie Parker and classical artists from Arturo Toscanini to Leonard Bernstein. Janis Joplin covered his existential composition All Is Loneliness, on her first album with Big Brother and the Holding Company, and pop acts from T-Rex to Prefab Sprout referenced him in their lyrics. Moondog was written up in many local and national papers and, in 1969 and 1971, he had two albums on Columbia Records which, at the time, was headquartered on the same block he haunted.

The man who would become Moondog was born Louis Hardin in 1916 in Marysville, Kansas, to a religious family. His father, an Episcopalian minister, moved the family to Wyoming when the boy was young, and it was there that he discovered his first major musical influence, which came from Indigenous American culture. His eureka moment occurred after his father took him to an Arapaho Sun Dance where he met Chief Yellow Calf who showed him how to play a tom-tom made of buffalo skin. A lifelong fascination with rhythm was born. At 16, however, his life changed radically after he came across an object while playing that he didn’t realize was a dynamite cap. The device exploded in his face, blinding him. “Moondog later told me that for almost a year after that he felt as if he couldn’t breathe,” Scotto said. “The life had drained out of him.”

##

Today, it’s mainly musicians and fans of the arcane who have any awareness of Moondog at all – an oversight which inspired the creation of a new tribute album to amplify his legacy, titled Songs and Symphoniques: The Music of Moondog. The project was initiated by the Brooklyn-based jazz-chamber ensemble Ghost Train Orchestra in collaboration with the Kronos Quartet, and also features vocal performances from stars such as Rufus Wainwright, Jarvis Cocker and Joan as Policewoman. “Over the years, I’ve become a kind of evangelist for Moondog,” said Ghost Train Orchestra’s leader, Brian Carpenter. “I want more people to know about the joy and wonder of his music. And, luckily, there’s so much of it.”

[mogkiompmovieguide]

The Beach Bum

Harmony Korine, U.S, (2019)

Harmony Korine a passé une grande partie de sa carrière cinématographique à guider son public dans les profondeurs de l’enfer dans des films comme le pathétique Gummo, le cauchemar schizophrène Julien Donkey-Boy, et son opus millénaire surréaliste, drame décalé de 2007, Mister Lonely, sur une communauté de sosies sociopathes.

Dans son dernier film, The Beach Bum, l’artiste, écrivain, poète, réalisateur Korine a peut-être enfin trouvé ce qu’il cherchait depuis le début : un peu de paradis.

Le récit et l’intrigue ne se suivent pas, comme dans aucune des œuvres de Korine, encore moins dans The Beach Bum ; son récit du poète hédoniste bizarre Moondog (Matthew McConaughey) sa quête pour finir son grand roman américain pour l’amour de son épouse, Minnie (Isla Fisher), se déploie doucement comme des nuées de fumée d'herbe qui s'évaporent de la bouche grisonnante d’un écrivain cramé / vagabond céleste. Korine est heureux de laisser son film naviguer, se prélasser dans des moments particuliers, se remémorer elliptiquement le passé, ou éclater brièvement dans le futur. Si Trash Humpers s'adressait à un public adepte de cringe et found footages absurdes, il pouvait être comparé structurellement à morceau délétère de Brainbombs mélangé au Rock lo-fi et maladif de Daniel Johnston, The Beach Bum est plutôt un disque de Jimmy Buffett repris par les Butthole Surfers. Le paysage change en cours de conversation, et le film supplie un écrivain de sortir le mot "hallucinogène" pour décrire sa relation au temps et à l’espace. C’est une approximation agréable, dynamique, joyeuse, avec un Moondog bouillonnant d’une histoire à l’autre, sans jamais ruminer.

Vêtu de robes à fleurs ou d'une chemise jaune canari surdimensionnée mal boutonnée, McConaughey puise facilement dans l’attitude hippie-dippy de Moondog. Rien à voir avec le réel surréaliste, clochard, Louis Hardin, le célèbre viking de la 42eme rue et compositeur de génie aveugle errant à travers les rues glacées de New-York.

Ici Moondog est un pitre Gonzo, défini par un goût pour l’excès enraciné dans la bienveillance et un véritable désir de trouver le peu de bonne vie qui lui reste à offrir. Il navigue autour de Key West et Miami, flottant presque dans les airs, il ne trébuche pas comme un crabe sur terre. Il jette des bières et brûle les fumes comme un pro, se frotte à Snoop Dog et Martin Lawrence, Whack le fana des dauphins (propriétaire d’un perroquet bourré de coke), émettant un rire de hyène infusée d’euphorie et de bonté naïve. Le personnage se dandine, prêt pour la suite, même lorsqu’il décide d’aller en cure de désintoxication.

La marque inhabituelle de Korine de film abrasif et provocateur (il a été le premier réalisateur américain à prendre le "Vœu de chasteté" et faire un film Dogme 95 - le manifeste danois appelant à une approche de retour à la base à la forme), il emploie de véritables armes à feu, et sème les détritus pour signifier un rêve américain atrophiant. Pour ceux qui connaissent son travail, la première dizaine de minutes de The Beach Bum va déstabiliser, une comédie, le film est imprégné d’une tendresse et d’une sentimentalité réfléchie. Mais bientôt, une extase gorgée de soleil se répand dans la cinématographie saturée de Benoît Debie, tout comme une manière détournée d’explorer le processus créatif de Moondog.

Peu importe si la poésie du Moondog est bonne, selon les normes conventionnelles. La façon dont il négocie son art (il est souvent, à juste titre ou autrement, appelé un génie) se fait en évitant les tropes d’artiste-film et autre subvertit ; la qualité sinueuse du film ne cède jamais à la trajectoire typique de montées-et-chutes pour Moondog et son œuvre. Au contraire, il lui permet de se délecter de sa méthode, de se livrer à "l’excès total" pour débloquer ses jus créatifs. Le meilleur ami de Moondog Lingerie (Snoop Dogg) lui offre une souche d’herbe très forte qu’il appelle "le serein blanc-bec ." Moondog fume, il baise, se saoule, écrit ; rincer, répéter. Mais contrairement à d’autres portraits d'artiste dépeints comme 'jeunes' génies, Moondog sait que l’horloge tourne, à la recherche de son héritage. Aussi déterminé qu’il soit à compléter son livre, il est moins obsédé par sa propre pertinence ; il valorise les plaisirs sensuels de base plutôt que la richesse.

Korine offre des moments à Moondog pour réfléchir aux conséquences de ses actions. Ce n’est pas vaniteux, il y a une insolence dans la brève détermination du personnage à se repentir; il ne se débarrasse pas de l’excès, la transformation émotionnelle qu’il est invité à subi le libère, et devient une ode touchante à l’amour et l’art. Le film de Korine est un baume inhabituel mais nécessaire, un guide sauvage et merveilleux pour trouver la compassion et la beauté dans les endroits les plus étranges : la Floride.

Moondog et Minnie jouent la ballade pop existentielle de Peggy Lee "Is That Only There Is?" en dansant, en fumant en buvant le corps et les émotions de l'autre, leur passion, offrant une sorte d'euphorie que les drogues ne peuvent que substituer. Cette combinaison vertigineuse, drôle et émouvante ; leur amour l’un pour l’autre offrant une sorte de high que les drogues ne peuvent qu'accompagner, sans en restituer la vraie nature. Cette combinaison vertigineuse, drôle et émouvante d’un amour pour le processus créatif, et l’amour pour les corps autour d’eux, suggèrent que Korine a finalement trouvé dans ses films le Ciel que ses personnages ont toujours poursuivi. Un rêve américain présenté comme perverti, et en décomposition, mais éclaboussé par un rayonnement néon, trempé dans le soleil, l’étreinte brillante de corps, de plaisir et d’art de The Beach Bum se ressent comme un paradis.

Le film > ICI

[songidentifier]

Lament 1, "Bird's Lament" - Moondog

Anyone know what song this is? I heard it on the radio a couple years ago. If the radio announcer says it in her speech I’m too slow to catch it.

[professeur-stump]

Mange ton chemin

2170.  Pigmy Pig, Moondog (Moondog, H'art Songs) (Roof Music, Kopf Records, 1978, 1989)

⌘

⌘  Discogs ⌘  Wiki

[nofatclips]

Inland by Vanessa Wagner

Für Fritz (Chaconne in A Minor) - Moondog

Louella - Emilie Levienaise-Farrouch

Ornament 2 - Bryce Dessner

Ornament 3 - Bryce Dessner

Etude n°9 - Philip Glass

Quiet Rhythms: Prologue and Action n°9 - William Susman

Railroad (Travel Song) - Meredith Monk

The Heart Asks Pleasure First - Michael Nyman

Das Buch der Klänge, part 2 - Hans Otte

A Hudson Cycle - Nico Muhly

Ramble On Cortona - Gavin Bryars

Elf Dance - Moondog

Struggle for Pleasure - Wim Mertens

Baltā ainava - Pēteris Vasks

[billboard-hotties-tourney]

Louis "Moondog" Hardin (1916-1999) composer Works: "Snaketime Rhythms," "Surf Session" Propaganda: "The vibes, my friend. It’s not about what he looks like, it’s about the vibes."

Sammy Davis, Jr. (1925-1990) solo Songs: "I've Gotta Be Me," "The Candy Man" Propaganda: none

[ozkar-krapo]

MOONDOG

"Moondog and his Friends"

(LP. Primitive Sounds. 2018 / rec. 1953) [US]

[made-by-lulu]

Thank you, Tedium. “A New Sound on an Old Instrument” never fails to delight and is the OST to memories of Paris, when the album was a constant ear worm.

https://youtu.be/Lks51ELeUB4