#Our Mann Flute

[odk-2]

Herbie Mann - Philly Dog (1966) Rufus Thomas from: "Philly Dog" / "Frere Jacques" (Single) "Our Mann Flute" (LP)

Jazz | Instrumental | Soul Jazz Mar-Keys Cover

JukeHostUK (left click = play) (320kbps)

Personnel: Herbie Mann: Flute

King Curtis: Saxophone, Tenor and Baritone Pepper Adams: Baritone Saxophone Quentin Jackson: Trombone and Bass Trombone

Trumpet: Marky Markowitz Joe Newman

Jimmy Wisner: Piano

Guitar: Al Gorgoni Charles Macey

Warren Smith: Percussion Joe Mack: Electric Bass Bernard Purdie: Drums

Arranged by Conducted by: Jimmy Wisner Produced by Nesuhi Ertegun

Recorded: @ The Atlantic Records Studios in New York City, New York USA on May 26, 1966

Released: 1966

Atlantic Records

[sheetmusiclibrarypdf]

Bill Evans Trio - A Musical analysis (sheet music)

Bill Evans Trio - What Is This Thing Called Love? A Musical analysis (with sheet music)Bill EvansBest Sheet Music download from our Library.Please, subscribe to our Library. Thank you!What Is This Thing Called Love? Melody analysisChromatic scale.Best Sheet Music download from our Library.Chromatic Approximations.Arpeggios.Half-Whole/Whole-Half scale.Quartal chords.Browse in the Library:Black and Eighth note triplets.Please, subscribe to our Library. Thank you!

Bill Evans Trio - What Is This Thing Called Love? A Musical analysis (with sheet music)

https://www.youtube.com/watch?v=mSr52pyHBDQ https://www.youtube.com/watch?v=S22RsHA4K7I

Bill Evans

Bill Evans was born on August 16, 1929 in New Jersey and died on September 15, 1980. According to Piano Red in his blog (2012) at the age of 6 he began his studies of classical piano musicals at College Southeastern Louisiana and in 1950 obtained his bachelor's degree of piano performer and teacher, with a completely classical repertoire, with works by great composers such as Bach, Brahms, Chopin, Kavalevsky and Beethoven. Piano Red on his blog (http://www.pianored.com/bill-evans.html) mentions: Evans does not he was only a pianist, he also studied flute and violin. He also studied composition at the Mannes College of Music in New York. In 1956, the first Evans album was released and was titled 'New Conceptions of Jazz' and that is how his most beloved and recognized saw the light composition “Waltz for Debby”. Because of his improvisational way, ideas and unique sound, he gradually became recognized within the jazz scene in the great city of New York. It is reported that it was not until 1958 that Miles Davis proposed to join his group, where the renowned musicians were also Cannonball Adderley and John Coltrane; together with this great staff they recorded in 1959 the album “Kind Of Blue” and remains with them for almost a year traveling and recording. The job performed together with Miles and everything learned helped this great pianist to strengthen his reputation of his and in 1959 Bill founded his innovative trio with an incredible staff in which he is Scott LaFaro on bass and with Paul Motian on drums. With this trio they make two albums of studio, in addition to the highly regarded live sessions at the Village Vanguard in New York, in the year 1961. In the year 1963, his album 'Conversations With Myself' was released, thus earning him his first Grammy. A year later, he toured abroad, playing in cities like Paris and Tokio. With the passage of time, Evans' reputation grew, and he began to play in the most acclaimed clubs. In the 1970s he did hard work and recorded extensively various projects such as trios, solo piano, some quintets under his own name. In 1978, he forms what will be his last joint trio of him with Marc Johnson on bass and Joe LaBarbera on the drums. However, not everything was rosy in the personal life of Bill Evans since his childhood he lived in a chaotic home reigned by excessive alcohol on the part of his father, which led him to lack stability in his personal life. Bill Evans in his adulthood he had family problems and disorders in his life, mostly the main cause was addiction to narcotics. However, this was not an impediment to continuing with the music, and he continued working even though his health was gradually deteriorating. In the 1970s, Evans turned away from heroin, which was not an efficient outlet since he became addicted to cocaine. It was not long after that, on September 15, 1980, he was taken to the Mount Sinai Hospital and there he would pass away due to a bleeding ulcer, cirrhosis of the liver, pneumonia and chronic hepatitis. Outside the musical aspect, Bill Evans was a lover of reading, philosophy, having a library full of great philosophers of that area. He was very attracted to painting and drawing. A music critic qualified it and pointed out as follows: “Over time, Bill Evans has become a whole school for pianists” (Richard S. Ginell, s.f.). There is no doubt that knowing the history of this great pianist makes us appreciate and understand in a better way how it is that Bill Evans, with a training early in classical music, made jazz an innovative world. What Is This Thing Called Love? Melody analysis Chromatic scale. A chromatic scale is the succession of twelve different notes within a single eighth. Ascending and descending by semitones. However, when ascending they use sharps and when descending they use flats, as in the following example.

Ascending Descending

Mesure 25 In general, this is a very used melodic and harmonic resource in jazz. However, the sound of Bill Evans in most of his solos is present in the chromatic scale. This may or may not be in complete order.

Mesure 50

What Is This Thing Called Love? Mesures 67-68, Unordered chromatic scale Chromatic Approximations. A chromatic approximation is usually not diatonic to the key being played, exerting on the musical theme and moves by semitones towards a target note (Pease & Freeman, 1989). Bill Evans usually always made these kinds of approximations, but the target note always rests on a figure of long value, in this case on a quarter note, which gives a total feeling of stability.

Mesure 98. In the previous figure, it should be noted that sometimes the approximation can also solve a tension, in this case the 13th.

Mesures 102-103.

Mesure 121.

What Is This Thing Called Love? Mesure 123 Arpeggios. First, we must define it. According to Latham (2008): 'An arpeggio is when the notes of a chord are played successively either ascending or descending, instead of being executed simultaneously'. (p.113)

Example of arpeggio in Cmaj7 Within Bill Evans' improvisation, we find arpeggios, but sometimes he makes them from his root and other times from one of his possible inversions. Most of the time, the rhythm that these arpeggios are played are in eighth note triplets or black triplets or in turn triplets where these two figures are mixed.

Mesure 13

Mesure 14

Mesre 17

Mesure 69 Half-Whole/Whole-Half scale. This type of scales, also called symmetric scales or “combination diminished”, are scales that move by “semitone – tone” or “tone – semitone”. Bill Evans makes use of these scales when he has dominant chords with tensions like T9 (please, watch the below images).

Mesure 47

Mesure 76

Mesure 108 Harmony Quartal chords. A quartal chord is one that in its structure is formed by intervals of a fourth, sometimes there is an interval of a third. These kinds of chords do clearly denote Bill Evans' classical initial musical training on the piano. Can we take as an example Erik Satie, a French composer belonging to the period of the Vanguardism and the genre of 'Classical Music', who in his work 'Les Files Des Étoiles' makes use of quartal chords and a tritone which provokes a feeling like that of an announcement or revelation?

First bars of the work of “Les Files Des Étoiles”, by Erik satie It is very relevant to take this example into account, since this type of composers, Evans studied at the time of his classical training and, however, some time later this guy of harmonies was reflected in his improvisation, being very clear that he had an interest very great for joining classical musical practices with contemporary jazz. This type of chords are very characteristic within the improvisation of Bill Evans, which provokes a totally new, innovative, tense and modal sound. Another improvisational characteristic of Bill Evans is that when playing the quartal chords does it with a rhythm only in eighth notes, this topic will be treated in a better way in the last analysis.

Clusters. Before dealing with this scope, we will proceed to define it. Clusters are voices in which the predominant interval between the adjacent notes is of a second. This widely spaced voice creates an effect thick and dissonant. The voices that contain all the seconds create the level of maximum density. As other intervals are included, the voice opens and the density decreases. Because a smaller second interval is more dissonant than one of the major second, voices that contain at least one minor second will have more “bite” than those containing only second greater. (Pease & Pulling, 2001, p. 93) Bill Evans uses the clusters in the left hand always as comping6 in block while the right hand is improvising. Again this type of voicing Evans using them, he creates a totally enriching, modal and innovative atmosphere in a sound and theoretical context within the jazz.

Rhythmic In this last section of the analysis of the solo, What Is This Thing Called Love?, presents that Bill Evans' comping was not rhythmic enough, unlike other greats contemporary pianists of his time, such as Wynton Kelly, who had a high sense of the groove. In this solo the comping is quite limited, mostly eighth notes, which per bar he will play them at least twice. Evans notes that he emphasized giving more “Color” to the notes with the different tensions, of which he used the most b9, # 9, b13, which gives a modal character.

Mesures 95-96 Black and Eighth note triplets. First we proceed to the definition of these figures. The division of a figure without a dot into three equal parts receives the triplet name. The notation of this is made with a number three aligned with the central figure. If the triplet is applied to three crotchet figures that group them (Ottman & Mainous, 1979, p.122-123). These figures are very typical of Bill Evans within his improvisation, he is one of the characteristic features of him when differentiating his improvisational interpretation from other pianists. Usually these triplets in the melodic aspect are being played with arpeggios; They do not have a specific direction since it varies, that is, they go ascending or descending, what makes the difference is the color with which they are played, sometimes with arpeggios as already mentioned before or with chromatic approximations.

Mesures 13-16 In the above figure, it can be clearly seen how Evans not only uses one type of triplet, but it mixes them as in measure 14 which plays them in a semi-strong beat of the compass. In general, this type of triplets (mixed quarter note and eighth note) is interpreted in semi-strong or weak beats of the measure.

Now, in the following examples that are detailed, use the eighth note triplets and to their time also moves chromatically towards target notes of the chord.

Mesures 61-63

Bill Evans' improvisation is marked by originality, sonority and, above all, all the intention that in a certain way with it wants to reach or transmit a message of a search for something constant and innovative. The theme that has been analyzed was recorded at the time that Bill Evans was at the height of his musical career and where his knowledge acquired along with Miles and many other outstanding Jazz musicians were 'fresh', for what is the songs of the album 'Portrait in Jazz' of 1960, makes them look clearly like maintains throughout the record material, all these characteristic features. So, it is evident how it is that in its entirety the sound and features characteristics of Bill Evans were greatly influenced by classical music, the which was the gateway for him in the musical field. It is very clear to realize only with listen to him and as his improvisational development is very academic, however, his taste for knowing how to combine this genre and jazz make his interpretation something new, worthy of being named a new way of improvising. Read the full article

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Our Mann Flute (1966)

[herrlindemann]

Oliver Riedel for PACE - October 2005

Once again, the security is maximum around listening to the fifth effort of the Germans. It is in a double-decker, English double-decker bus, that journalists from all over Europe have an appointment before making a short visit in Paris, their eardrums watered by Rosenrot. Everyone is given a sealed CD player. Listening to nine of the ten (or even eleven) new titles that will appear on Rosenrot can begin. In order, we listen to: 'Benzin', 'Spring', 'Rosenrot', 'Zerstören', 'Mann Gegen Mann', 'Feuer & Wasser', 'Wo Bist Du', 'Te Quiero Puta', and finally 'Ein Lied’.

An explanatory note concerning this new album, which arrives a little to everyone's surprise, is also given to each person present. We learn, among other things, that most of the team in charge is made up of regulars: Jacob Hellner (producer of all Rammstein's albums to date), Stefan Glaumann and Howie Weinberg in the mix. And especially, that a large part of the titles come from the recording sessions of Reise, Reise, made in Malaga in Spain, as Oliver confirms to us: "Among the titles you have listened to, five come from the previous recording. These are 'Ein Lied', 'Wo Bist Du', 'Feuer & Wasser', 'Zerstören' and 'Rosenrot'.”

The colder and less organic side of some of these new tracks could suggest that this is a more thematic choice, Reise, Reise having been portrayed as more positive than its predecessors.

"Not really. I think some titles are much more melancholic and dark because Till has had a hard time in his personal life. ‘Wo Bist Du’ is a very good example of this. His personal life was not looking good and that inspired the text of this song. But we didn't try to separate the two albums thematically, the proof: 'Rosenrot' was even the song we had chosen for Reise, Reise's first single.“

Some elements are nevertheless recurring, like the lyrics of 'Rosenrot', which, like 'Dalai Lama' on Reise, Reise (adaptation of the Alder King), echoes classic German literature. Once again, Till Lindemann knows how to mix Goethe (here inspired by the poem 'Heidenröslein') with the tale of Snow White. “We particularly like the old texts, the sound of the expressions found there. It is an integral part of our heritage, even if Till has a very particular, poetic way of approaching texts.”

Polemic and controversy are likely to surround certain titles of Rosenrot, like the reactions aroused by the subject of 'Mein Teil'. 'Mann Gegen Mann' is, obviously, the one who should loosen the tongues. The text addresses the inner conflicts of a homosexual prey to the judgments of society. “Our goal is not to create controversy, we are simply addressing the problem as the rest of society does. The idea is not to shock, but to show another facet of the society in which we live, even if we are not directly concerned.”

As for the musical trend: 'Te Quiero Puta' mixes a western atmosphere with the heavy touch of the Teutons, 'Zerstorën' (in the vein of a 'Feuer Frei') begins with an Arabic female voice and reconnects with the sonorities of the accordion, this time grinded by the machines, a transverse flute interferes on the intriguing 'Wo Bist Du'.

The large orchestral parts are less present, even if the melancholy finds a privileged place on half of the titles. An impression that seems to stick to the cover of this new disc.

“The cover depicts a beached ship, the Rosenrot. 'Rosenrot' means 'red rose', it can be interpreted, among other things, as a symbol of love. That of a shipwrecked love.” For the rest, we will have to wait until October 31.

[kaiserkeller]

MANFRED MANN and KLAUS VOORMANN, 1967.

“He paints heavenly and draws superbly. He makes his furniture — he even made his flute himself, from a bamboo tube! Klaus is very sexy and, together with Mike d’Abo, our figurehead. And he has the most beautiful legs in show business. We often only amuse ourselves with his long nose. It doesn’t bother him. You can only tell he’s German when you ask him how tall he is. Then he says 176cm. You don’t measure by that here.” — Manfred Mann on Klaus Voormann, taken from German magazine ‘Bravo’.

[burlveneer-music]

Andy Hay - Many Rivers - spiritual jazz from the UK, featuring Nat Birchall

It took me 38 years to get to this album, and 2 days to record. 'Many Rivers' explores the immediate place of creation for those who exist between the spectrums of lights and colors of sound and the inner voice that dictates the artists conversations and ideas, his or her own truth. The Soul and it's never-ending roots, or the connections with the infinite space of our unimaginable and imaginable universes. It features some of the finest Jazz women & men the world has to offer. A fine male-female balance is achieved and this speaks through the music. Some spoken words of the here now vibration. Our world will always change ,but i hope communication wont be decided by the machine. All of my love to you. Im a UK Jazz musician in service of improvisation dedicated for 38 years and this is my debut offering into the library of life,of time. that i would hope brings some balance in mind and soul . Also a practicing Fine artist learned on the streets then did an MA at age 45. The musicians were chosen for their divine abilities to give and support the moment their life of experience talent and most of all Love.               Andy Hay - Drums, percussion, Voice. John Ellis - piano, bass clarinet, Nat Birchall - Tenor, soprano sax, Helen Pillinger - tenor sax, Helena Summerfield= Flute, Nicki Dupuy - Double bass, Busha Mann - Electric Bass, drum machine, John Haycock = Kora. Mixed Mastered- Will Falkiner @ Limfield studios Manchester. 2019. There is no beginning there will never be an end. x

[dustedmagazine]

Dust Volume 6, Number 12

The Flat Five

It’s November, and the culture is telling us to be thankful again, at least from a distance. We’re a prickly, argumentative bunch here at Dusted, but I think we can all agree on gratitude for our health, each other and the music, good and bad, that comes flooding in from all sides. So while we may not agree on whether the best genre is free jazz or acid folk or vintage punk or the most virulent form of death metal, we do concur that the world would be very dull without any of it. And thus, seasonably overstuffed, but with music, we opine on a number of the best of them once again. Contributors this time include Bill Meyer, Andrew Forell, Tim Clarke, Ray Garraty, Jennifer Kelly, Mason Jones, Patrick Masterson, Jonathan Shaw and Justin Cober-Lake. Happy thanksgiving. 

Cristián Alvear / Burkhard Stangl — Pequeños Fragmentos De Una Música Discreta (Insub)

Pequeños fragmentos de una música discreta by CRISTIÁN ALVEAR & BURKHARD STANGL

The acoustic guitar creates instant common ground. Put together two people with guitars in their hands together, and they can potentially communicate without knowing a word of each other’s language. They might trade blues licks, verses of “Redemption Song,” or differently dire remembrances of “Hotel California,” but they’re bound to find some sort of common language. This album documents another chapter in the eternal search. Cristián Alvear is a Chilean classical guitarist who has found a niche interpreting modern, and often experimental repertoire. Burkhard Stangl is an Austrian who has spent time playing jazz with Franz Koglmann, covering Prince with Christoph Kurzmann and realizing compositions that use the language of free improvisation with Polwechsel. This CD collects eight “Small Fragments Of Discreet Music” which they improvised in the course of figuring out what they could play together. Given their backgrounds, dissonance is part of the shared language, but thanks to the instrumentation, nothing gets too loud. Sometimes they explore shared material, such as the gentle drizzle of harmonics on “No5.” Other times, they find productive contrasts, such as the blurry slide vs. palindromic melody on “No6.” And just once, they flip on the radio and wax melancholic while the static sputters. Sometimes small, shared moments are all you need.

Bill Meyer

 Badge Époque Ensemble — Self Help (Telephone Explosion Records)

Self Help by Badge Époque Ensemble

 Toronto collective Badge Époque Ensemble display the tastefully virtuosic skill of a particular strain of soul-inflected jazz-fusion that politely nudged its way into the charts during the 1970s. Led by Max Turnbull (the erstwhile Slim Twig) on Fender Rhodes, clavinet and synthesizers with members of US Girls, Andy Shauf’s live band and a roster of guest vocalists, Badge Époque Ensemble faithfully resurrect the sophisticated sounds of Blue Nun fuelled fondue parties and stoned summer afternoons by the pool. Meg Remy and Dorothea Paas share vocals on “Sing A Silent Gospel” which is garlanded with Karen Ng’s alto saxophone and an airy solo from guitarist Chris Bezant; it’s a track that threatens to take off but never quite does. The strength of James Baley’s voice lifts the light as air psych-funk of “Unity (It’s Up To You)” and Jennifer Castle does the same for “Just Space For Light” during which Alia O’Brien makes the case for jazz flute — Mann rather than Dolphy — with an impressive solo. The most interesting track here is the 11 minute “Birds Fly Through Ancient Ruins” a broodingly introspective piece which allows Bezant, Ng and bassist Giosuè Rosati to shine. Self-Help is immaculately played and has some very good moments but can’t quite get loose enough to convince.

Andrew Forell  

 Better Person — Something to Lose (Arbutus)

Something to Lose by Better Person

Like any musical genre, synth-pop can go desperately awry in the wrong hands. The resurgence of all things 1980s has been such a prevalent musical trend in recent years that it takes a deft touch to create something that taps into the retro vibe without coming across as smug. Under his Better Person moniker, Berlin-based Polish artist Adam Byczyowski manages to summon the melancholy vibe of 1980s classics such as “Last Christmas” by Wham!, “Take My Breath Away” by Berlin, and “Drive” by The Cars, reimagined for the 21st century and set in a run-down karaoke bar. This succinct and elegant half-hour set pivots around atmospheric instrumental “Glendale Evening” and features three Polish-language tracks — “Na Zawsze” (“Forever”), “Dotknij Mnie” (“Touch Me”), and “Ostatni Raz” (“Last Time”) — that emphasize the feel of cruising solo through another country and tuning into a unfamiliar radio station. There’s roto-toms, glassy synth tones, suitably melodramatic song titles (including “Hearts on Fire,” “True Love,” and “Bring Me To Tears”), plus Byczyowski’s disaffected croon. It all creates something unexpectedly moving.

Tim Clarke

 Big Eyes Family — The Disappointed Chair (Sonido Polifonico)

The Disappointed Chair by Big Eyes Family

Sheffield’s Big Eyes Family (formerly The Big Eyes Family Players) released the rather fine Oh! on Home Assembly Music in 2016. Its eerie blend of folk and psych-pop brought to mind early Broadcast, circa Work and Non Work, before Trish Keenan and James Cargill started to explore more experimental timbres and themes of the occult. Bar perhaps the haunted music box instrumental “Witch Pricker’s Dream,” Oh!’s songs cleaved along a similar grain: minor keys, chiming arpeggiated guitar, spooky organ, in-the-pocket rhythm section, plus Heather Ditch’s vocal weaving around the music like smoke. The Disappointed Chair is much the same, enlivened with a touch more light and shade, from succinct waltz “(Sing Me Your) Saddest Song,” to the elegant Mellotron and tom-toms of “For Grace.” “From the Corner of My Eye” is stripped right back, with an especially affecting guitar line, plus Ditch’s vocals doubled, with the same words spoken and sung, like a voice of conscience nagging at the edge of the frame. It’s a strong set of songs, only let down by the boxy snare sound on “Blue Light,” and on “The Conjurer,” Ditch’s lower register isn’t nearly as strident as her upper range.

Tim Clarke

 Bounaly — Music For WhatsApp 10 (Sahel Sounds)

Music from Saharan WhatsApp 10 by Bounaly

The tenth installment in Sahel Sounds’ Music For WhatsApp series introduces another name worth remembering. In case your attention hasn’t been solely faced on the ephemeral charms of contemporary Northwest African music in 2020, here’s the scoop: Each month, Sahel sounds uploads a brief recording that a musician from that corner of the world recorded on their cell phone and delivered via the titular app, which is the current mode of music transmission in that neck of the woods. At the end of the month they take it down, and that’s that. This edition was posted on November 11, so set your watch accordingly. Bounaly is originally from Niafounké, which was the home of the late, great Ali Farka Touré. Since civil war and outside intervention have rendered the city unsafe for musicians of any speed, he now works in Mali’s capital city, Bamako, but his music is rooted in the bluesy guitar style that Touré championed. Accompanied solely by a calabash player and surrounded by street sounds, Bounaly’s singing closely shadows his picking, which is expressive without resorting to the amped-up shredding of contemporary guitarists like Mdou Moctar.

Bill Meyer  

 Cash Click Boog — Voice of the Struggle (CMC-CMC)

Last year, Cash Click Boog made a few very noticeable appearances on other people albums (especially on Lonnie Bands’ “Shred 1.5” and Rockin Rolla’s First Quarter) but his own Extras was a minor effort. This Californian rapper was always a dilettante at music, but that was his main appeal and ineradicable feature: you always knew that he’s always caught up in some very dark street business, and he appears in a booth once every blue moon, almost by accident. He is that sort of a player who always on the bleachers, yet when they let him on the field he always does a triple double or a hat trick (depending on a kind of sport).

Voice of the Struggle was supposed to be his big break, the album in which he would expend his gift for rapping while remaining in strictly amateurish frame. Sadly, Boog has chosen another route, namely going pop. He discards his amateur garbs almost completely and auto-tunes every track. If earlier he was too dark even by street standards, now almost all the tracks could be safely played on a radio. The first eight songs are more or less pop-ish ballads about homies in prison, tough life and the ghetto. By the time we reach the last three tracks where Boog recovers his old persona, it’s already too late. The struggle remains but the voice is gone.

Ray Garraty 

 The Flat Five — Another World (Pravda)

The Flat Five musters a great deal of Chicago musical fire power. Alt.country chanteuse Kelly Hogan, Andrew Bird collaborator Nora O’Connor and Casey McDonough sing in Andrews Sisters harmonies, while NRBQ mainstay Scott Ligon minds the store and Green Mill regular Alex Hall keeps the rhythm steady. The sound is retro —1930s radio retro — but the songs, written by Ligon’s older brother Chris, upend mid-century American pieties with sharp, insurgent wit. A variety of old-time-y styles are referenced — big band jazz, country, doo wop and pre-modern pop — in clean, winking style. Countrified, “The Great State of Texas” seems, at first, to be a fairly sentimental goodbye-to-all-that song, until it ends with the revelation that the narrator is on death row. “Girl of Virginia,” unspools a series of intricate, Cole Porter-ish rhymes, while waltzing carelessly across the floor. The writing is sharp, the playing uniformly excellent and the vocals extra special, layered in buzzing harmonies and counterpoints. No matter how complicated the vocal arrangements, no one is ever flat in Flat Five.

Jennifer Kelly

 Sam Gendel — DRM (Nonesuch)

Normally, Sam Gendel plays saxophone in a classic jazz style. You might have caught him blowing dreamy, airy accompaniments on Sam Amidon’s last record, for instance, or putting his own spin on jazz standards in the solo Satin Doll. But for this album, Gendel experimented with ancient high tech — an Electro Harmonix DRM32 drum machine, some synthesizers, a 60-year-old nylon-string guitar —t o create hallucinatory fragments of beat-box-y, jazz-y sound, pitched somewhere between arty hip hop and KOMPAKT-style experimental electronics. “Dollars,” for instance, laces melancholy, Latin-flavored guitar and crooning with vintage video-game blips and bleeps, like a bossa nova heard dimly in a gaming arcade. “SOTD” dances uneasily in a syncopated way, staccato guitar runs paced by hand-claps, stuttered a-verbal mouth sounds and bright melodic bursts of synthesizer. “Times Like This” poses the difficult question of exactly what time we’re in—it has the moody smoulder of old soul, the antic ping and pop of lush early 00s electronics, the disembodied alien suavity of pitch-shifted R&B right now. The ringer in the collection is a cover of L’il Nas’ “Old Town Road,” interpreted in soft Teutonic electro tones, like Cluster at the rodeo. It’s odd and lovely and hard to get a bead on, which is pretty much the verdict for DRM as a whole.

Jennifer Kelly

 Kraig Grady — Monument of Diamonds (Another Timbre)

MONUMENT OF DIAMONDS by Kraig Grady

The painting adorning the sleeve of Monument of Diamonds is entitled Doppler Effect in Blue, and rarely has the cover art’s name so accurately described the sound of the music paired with it. The album-length composition, which is scored for brass, saxophones and organs, consists almost entirely of long tones that Doppler in slow motion, with one starting up just before another peters out. The composer, Kraig Grady, is an Australian-based American who used to release albums that purported to be the folk music of a mythical land called Anaphoria. Nowadays he has no need for such subterfuge, since this lovely album holds up quite well on its own merits. Inspired by Harry Partch and non-Western classical music systems, Grady uses invented instruments and strategically selected pitch intervals to create microtonal music that sounds subtly alien, but never harsh on the ears. As the sounds glide by, they instigate a state of relaxed alertness that’ll do your blood pressure some good without exposing you to unnecessary sweetener.

Bill Meyer  

 MJ Guider — Sour Cherry Bell (Kranky)

Sour Cherry Bell by MJ Guider

MJ Guider’s second full length is diaphanous and monolithic, its monster beats sheathed in transparent washes of hiss and roar. “The Steelyard” shakes the floor with its pummelling industrial rhythms, yet shrouds Guider’s spoken word chants with surprising delicacy. “Body Optics” growls and simmers in woozy synth-driven discontent, while the singer lofts dreamy melodic phrases over the roar. There’s heft in the low-end of these roiling songs, in the churn of bass-like synthetics, the stomp of computer driven percussion, yet a disembodied lightness in the vocals, which float in pristine purity over the roar. Late in the disc, Guider ventures a surprisingly unconfrontational bit of dream pop in “Perfect Interference,” sounding poised and controlled and rather lovely at the center of chiming, enveloping synthetic riffs. Yet the murk and roar makes her work even more captivating, a glimpse of the spiritual in the midst of very physical wreck and tumult.

Jennifer Kelly

 Hisato Higuchi — キ、Que、消えん？ - Ki, Que, Kien? (Ghost Disc) 

キ、Que、消えん？ - Ki, Que, Kien? by Hisato Higuchi

Since 2003, Tokyo-based guitarist Hisato Higuchi has quietly released a series of equally-quiet albums, many on his own Ghost Disc label, which is appropriately named. Higuchi's work on this and the previous two albums of his "Disappearing Trilogy" is a sort of shimmering, melancholy guitar-and-vocal atmosphere — downer psych-folk in a drifting haze. His lyrics are more imagery than story, touching on overflowing light, winter cities, the quiet world, and the transience of memories. As the guitar floats slowly into the distance, Higuchi's voice, imbued with reverb, is calmly narcotic, like someone quietly sympathizing with a friend's troubles. These songs, while melancholy, convey a peacefulness that's a welcome counterbalance to the chaotic year in which we've been living. Like a cool wind on a warm summer evening, you can close your eyes and let Higuchi's music improve your mood.  

Mason Jones

 Internazionale — Wide Sea Prancer (At the Blue Parade) (Janushoved)

Wide Sea Prancer (At The Blue Parade) by Internazionale

It’s been nearly half a decade since Copenhagen’s Janushoved first appeared in these annals, and in that time, a little more information — and a lot more material — has cropped up to lend some context to the mystery. The focus, however, steadfastly remains with the music — perhaps my favorite of which among the regular projects featured is label head Mikkel Valentin’s own swirling solo synth vehicle Internazionale. In addition to a reissue of 2017’s The Pale and the Colourful (originally out on Posh Isolation), November saw the release of all-new songs with Wide Sea Prancer (At the Blue Parade), 14 tracks of gently abrasive headphone ambient that carry out this type of sound very well. Occasionally there is a piano (“Callista”) or what sounds like vocals (“El Topo”), but as it’s been from the start, this is primarily about tones and moods. Notes for the release say it’s a “continuation and completion of the narrative set by the release Sillage of the Blue Summer,” but it’s less the narrative you should be worried about missing out on than the warmth of your insides after an uninterrupted listen.

Patrick Masterson    

 Iress — Flaw (Iress)

Flaw by Iress

Sweeping, epic post-metal from this LA four piece makes a place for melodic beauty amid the heaviness. Like Pelican and Red Sparrows, Iress blares a wall of overwhelming guitar sound. Together Michelle Malley and Alex Moreno roust up waves and walls of pummeling tone as in opener “Shame.” But Iress is also pretty good at pulling back and revealing the acoustic basis for these songs. “Hand Tremor” is downright tranquil, with wreathes of languid guitar strumming and Malley’s strong, gutsy soprano navigating the full dynamic range from whisper to scream. “Wolves” lumbers like a violent beast, even in its muscular surge, there’s a slow, anthemic chorus. Likewise, “Underneath” pounds and hammers (that’s Glenn Chu on drums), but leaves space for introspection and doubt. It’s rare that the vocals on music this heavy are so good or so female, but if you’ve liked Chelsea Wolfe’s recent forays into ritual metal, you should check out Iress as well.

Jennifer Kelly

Junta Cadre — Vietnam Forever (No Rent Records)

"Vietnam Forever" (NRR141) by Junta Cadre

Junta Cadre is one of several noise and power electronics projects created by Jackson Abdul-Salaam, musician and curator of the long-running Svn Okklt blog. As the project’s name implies, Junta Cadre has an agenda: the production of sound that seeks to thematize the ambiguities of 20th-century radical, revolutionary politics. The project’s initial releases investigated the Maoist revolution in China, and the subsequent Cultural Revolution of the late 1960s and 1970s. Vietnam Forever shifts topics, to the American War in Vietnam, and tactics, including contributions from other prominent harsh noise acts and artists: the Rita, Samuel Torres of Terror Cell Unit, Leo Brucho of Controlled Opposition and others. Given those names, Vietnam Forever is as challenging and rigorous as you might expect. Waves of dissonant, electronic hum and fuzz accumulate and oscillate, crunching and chopping into textured aural assaults; wince-inducing warbles and needling feedback occasionally assert themselves. Abdul-Salaam’s harsh shout cuts in and out of the mix. The tape (also available as a name-yo’-price DL on Bandcamp) presents as two side-long slabs of sound, both over seventeen minutes long, both completely exhausting. At one point, on Side A, Abdul-Salaam repeatedly shouts, “Beautiful Vietnam forever!” It’s hard to say what he means. An affirmation that Vietnam survived the war? That its people and culture endure? Or that the U.S. can’t seem to shake the war’s haunting presence? Or even a more worryingly nihilistic delight in the war’s carnage, so frequently aestheticized in films like Apocalypse Now (1979), Full Metal Jacket (1987) and Da Five Bloods (2020)? The noise provides no closure. Maybe necessarily so.  

Jonathan Shaw  

 Bastien Keb — The Killing of Eugene Peeps (Gearbox)

The Killing of Eugene Peeps is a soundtrack to a movie that never was, a noir-ish flick which winds restlessly through urban landscapes and musical styles, from the orchestra tremors of its opening through the folky group-sing of “Lucky the Oldest Grave.” “Rabbit Hole” wafts by like an Elephant Six outtake, its woozy chorus lit by glockenspiel notes, while “God Bless Your Gutters” conjures jazzy desolation in piano and mordant spoken word. “All the Love in Your Heart” shimmers like a movie flashback, a mirage of blowsy back-up singing, guitar and muttered memories. “Street Clams” bristles with funk and swagger, an Ethio-jazz sortee through rain slicked streets. What’s it about? Musically or narratively? No idea. But it’s worth visiting these evocative soundscapes just for the atmosphere. It’s a film I’d like to see.

Jennifer Kelly

 Jesse Kivel — Infinite Jess (New Feelings)

Nostalgia haunts the new solo album from Kisses guitarist/singer Jesse Kivel. Infinite Jess is full of that knowing melancholy of The Blue Nile, Prefab Sprout and The Pale Fountains that was so magnetic to a certain brand of sensitive young thing seeking to articulate their inchoate visions of a future steeped in romance and adventure. Think wistful mid-tempo songs wrapped in cocoons of strummed guitars, shuffling percussion and wurlitzer piano fashioned into a catalogue of adolescent radio memories. These tunes are topped by the understated sincerity of Kivel’s voice and lyrics which effectively evoke the place, time and emotion of his vignettes. The production suffers occasionally from a distracting reliance on too perfectly rendered tropes — overly polite drum programming, thumbed bass, blandly smooth electric piano — but the overall effect is oddly beguiling. Infinite Jess closes with a charmingly wobbly instrumental cover of Don McLean’s “Vincent” played on the wurlitzer that captures the poignancy of the melody and serves as a fitting epilog to the record.

Andrew Forell

 Kyrios — Saturnal Chambers (Caligari Records)

Saturnal Chambers by KYRIOS

The corpsepaint-and-spiked-codpiece crowd are still making tons of records, but fewer and fewer of them are interesting or compelling. The retrograde theatrics and cheap pessimism can be irritating enough (I’d rather be reading Schopenhauer, thanks); it’s even more problematic when the songs can muster only the vividness and savor of stiff leftovers from the deep-freezer’s darkest and dankest corners. Still, every now and then a kvlty band that follows the frigid dictates of black metal’s orthodoxy creates a set of songs worth listening to. This new EP from Kyrios is super short, comprising three tracks in just under 10 minutes that pull off that neat trick: when it’s over, you want to hear more. Sure, the dudes in the band call themselves silly things like Satan’s Sword and Vornag, but the tunes are really good. Check out the churning strangeness of “The Utterance of Foul Truths.” Kyrios claims Immortal, Enslaved and Dissection as primary influences, and the band recognizes the stylistic debt they owe to Deathspell Omega (let’s hope Kyrios digs the twisted guitars and weird-ass time signatures, but passes on the National Socialism declaimed by that French band’s vocalist). Stuff gets even more engaging when bleeping and blooping keyboards vibrate at the edges of the mix, giving the songs a spaced-out vibe. “Saturnal Chambers”? Maybe Kyrios has met the astral spirit of Sun Ra somewhere along their galactic journeys into the heavenly void. He liked bleeping, blooping noises and gaudy costumes, too.

Jonathan Shaw

 Matt Lajoie — Light Emerging (Trouble In Mind)

Light Emerging by Matt Lajoie

The second volume of Trouble In Mind Records’ Explorers series is, like its predecessor a cassette that comes concealed within a brown slipcase. Like many other discretely wrapped products, the fun is on the inside. This time, it’s a tape by guitarist who understands that toes aren’t just for tapping. At any rate, I think he’s managing his pedals with his feet. Most likely Lajoie has spent some quality time listening to mid-1990s Roy Montgomery. But since a quarter century has passed, he doesn’t just stack up the echoes. Sped-up tones streak across the surface of this music like swallows zooming close to that sheet you hung on the side of your barn the last time you had everyone over for a socially distanced gathering to watch Aguirre, The Wrath of God. Wait, did that really happen? Maybe not, but if someone were to make a fake documentary about the hanging of the projective surface, this music is suitably epic to provide the soundtrack.

Bill Meyer

 Lisa/Liza — Shelter of a Song (Orindal)

Shelter of a Song by Lisa/Liza

Lisa/Liza makes a quietly harrowing sort of guitar folk, singing in a high, ghostly clear soprano against delicate traceries of picking. The artist, real name Liza Victoria, inhabits songs that are unadorned but still chilling. She sings with childlike sincerity in an ominous landscape of dark alleys and chilly autumnal vistas. She wrote this album while chronically ill, according to the notes, and you can hear the struggle against the body in the way her voice sometimes wavers, her breath comes in sudden intakes. But, as sometimes happens after long sickness, she sometimes strikes clear of the physical, achieving an unearthly purity as in “From this Shelter.” A touch of plain spoken magic lurks in this one, in the whispery vocals, the translucent curtains of guitar notes, though not much warmth. “Red Leaves” is earthier and more fluid, guitar flickers striking out from a resonant center, and the artist murmuring dreamily about the beauty of the world and its transience.

Jennifer Kelly

Keith Morris & The Crooked Numbers — American Reckoning (Mista Boo)

It's easy to imagine Keith Morris as perpetually frustrated. His last album, after all, took on psychopaths and sycophants, and the title of his new release American Reckoning doesn't suggest happy thoughts. There's plenty of bile on these five tracks, of course, but Morris approaches the album like a scholar. The opening verse describes the US as “Machiavellian: the mean just never ends” before referencing Othello and Yo-Yo Ma (the latter for a “yo mama” joke). If Morris and the Crooked Numbers just raged, they might be justified, but they'd be less interesting. Instead, they use a wide swath of American musical styles to thoughtfully consider racial (and racist) issues in our contemporary society. “Half Crow Jim” turns a Southern piano tune into a surprising tale about the fallout from slavery. It's a sharp moment, and it highlights that the only disappointing part of this release lies in its brevity. Morris has said he has more music on the way, and if he continues to mix styles, wordplay, and cultural analysis, it'll be worth a study.

Justin Cober-Lake

 Tatsuya Nakatani and Rob McGill — Valley Movements (Weird Cry)

Valley Movements by Tatsuya Nakatani / Rob Magill

In most percussion ensembles, the gong-ist is a utility player, charged with banging out a note once or twice per composition for drama and ideally not screwing it up. Tatsuya Nakatani works on a wholly different level, transcending the possibilities of this ancient, archetypical instrument with vision and an unholy technique. More specifically, his set-up includes at least two standing gongs, each about as tall as he is himself. He plays them with mallets, standing between, in blur speed rolls that range all over the surface of the instrument. The sound he evokes is distinctly unpercussive, more resembling string instrument glissandos than any form of drums, a full-on high-register wail of sound that he sculpts and roils and coaxes into compositions of incredible force and complexity. He also plays a bunch of other percussion instruments, little drums and cymbals which he layers on top of each other so that when he strikes one, the others resonate. It is quite an experience to see him at it, and if you ever get a chance, you should go. Here, he works with the saxophonist Rob McGill unfurling a single 40-minute improvisation at a studio in the appealingly named Truth or Consequences, New Mexico. McGill is an agile player, laying alternately lyrical and agitated counterpoints onto Nakatani’s rhythms, carrying the tune and threading a logical through line through this extended set. He finds frequencies that complement Nakatani’s antic, nearly demonic drum sounds and knows when to let loose and when to let his partner through the mix. The result is a very high energy, engaging adventure in sound that evokes a rare response: you wish you could hear the drums better.

Jennifer Kelly

 Overmono — The Cover Mix (Mixmag)

Mixmag · The Cover Mix: Overmono

It’s a really weird time to be advocating for club music of any kind, but Overmono’s Everything U Need EP out recently on XL again showcases what the fraternal duo known better as Tessela and Truss do best: melding thoughtful percussion patterns with these airy, gliding synth melodies that work at home just as well as in the club (theoretically, anyway). It’s not just original material they do well, though; whether it was the Dekmantel podcast a few years back or their live cassette from Japan or this mix for Mixmag, Ed and Tom Russell also have a knack for pacing in their sets. This one features stuff from the new EP as well as three unreleased tracks (not counting the Rosalía remix, which remains one of the year’s most addicting) and names both old and new — listen for DJ Crystl’s 1993 jungle jam “Deep Space” sidled up next to Smerz’s new skyscraper “I Don’t Talk About That Much.” If that sounds like everything you need, lock in and let Overmono do the hard work. Truly, they do not miss.

Patrick Masterson

 Pole — Fading (Mute)

As Pole, Stefan Betke’s work has always been both comforting and disconcerting. The amiotic swells and heartbeat bass frequencies generate a warm human feel in his music despite their origins in serendipitously damaged equipment. Fading, his first album in five years explores Betke’s reactions to his mother’s dementia and reflects on the nature of personality, memory and soul. Building on his trademark glitchy beats and oceanic bass tones, the eight tracks echo a consciousness unmoored by the fog of unfamiliarity that smothers and distorts but never completely submerges awareness. “Tölpel” (slang for klutz) evokes impatient fingers tapping out the guilty resentment of the forgotten and the frustration of the forgetful. The title track closes with a woozy waltz punctuated by recurrent sparks. Fading is a deeply felt work; somber, reflective, stumbling towards understanding and acceptance, alive to the nuances and petty nettles of grief and above all beautiful in its ambivalence.

Andrew Forell

Quakers — II: The Next Wave (Stones Throw)

II - The Next Wave by Quakers

After eight years of silence following 2012’s self-titled debut, Stones Throw production trio Quakers (Portishead’s Geoff Barrow as Fuzzface, 7-Stu-7 and Katalyst) dropped the 50-track beat tape Supa K: Heavy Tremors out of nowhere in September and now, just two months later, are back with another 33-track behemoth that allows a litany of emcees to shine. Calling this The Next Wave is a bit of a stretch when you consider many of the voices on here are from guys who’ve been in the game for years or even decades (Jeru the Damaja, Detroit’s Phat Kat and Guilty Simpson, Chicagoan Jeremiah Jae, etc.), but even so, the dusty grooves and Dilla loops prove perfect foils for many of those who hit the mic. My favorite might be Sageinfinite slotting in with the organ grinder “A Myth,” but even if you don’t like it, everyone’s in and out quick. If you’re burned out on Griselda, give this a go for 1990s vibes of a different kind.

Patrick Masterson   

 Rival Consoles — Articulation (Erased Tapes)

There are deep pockets of silence in “Articulation,” ink black stops between the thump and clack of dance beat, sudden intervals of nothingness amidst limber synthetic melodies. London-based producer Ryan West, who records as Rival Consoles, layers sound on sound in some tracks, letting the foundations slip like tectonic plates on top of one another, but he is also very much aware of the power of quiet, whether dark or luminously light. Consider, for instance, his closer, “Sudden Awareness of Now,” whose buoyant melody skitters across factory-sized fan blasts of whooshing sound. The rhythm is light footed and agile, pieced together from staccato elements that hold the air and light. Like Jon Hopkins, West uses the glitch and twitch to insinuate the infinite, chiming overtones and hovering backdrops to represent a gnostic, communal state of existence. “Vibrations on a String” may jump to the steady thump, thump, thump of dance, but as its gleaming plasticine tones blow out into horn blast dissonance, the cut is more about becoming than being.

Jennifer Kelly

  Sweeping Promises — Hunger for a Way Out (Feel It)

Hunger for a Way Out by Sweeping Promises

The title track bounds headlong on a rubbery bassline, picking up a Messthetick-y blare of junk shop keyboards. All the sudden, there’s Lira Mondal unleashing a giddy screed of angular pop punk tunefulness, her partner in Sweeping Promises, Caulfield, stabbing and stuttering on guitar. In some ways, this band is straight out of late 1980s London, jitter-flirting with offkilter hooks a la Delta Five or Girls at Our Best. In others, they are utterly modern, lacing austere pogo beats with lush, elaborate vocal counterpoints. “Falling Forward” is a continuous rush of clamped in guitar scramble and agile, bouncing bass, anthemic trills breaking for robotic chants; it’s a mesh of sounds that always seems ready to collapse in a heap, but instead finds its antic balance just in time.

Jennifer Kelly

Martin Taxt — First Room (SOFA)

First Room by Martin Taxt

Sometimes a room is more than a room. In the matter at hand, it is a space that proposes a state of mind and a consequent set of experiences. It is also the score for a piece of music that extrapolate that state into the realm of sound. The cover of First Room depicts a pattern of tatami mats that you might find in a Japanese tea room. Martin Taxt is a microtonal tubaist and also the holder of an advanced degree in music and architecture (next time someone tells you that some good thing can’t happen, remember that in Norway you can not only get such a degree; you can then go ahead and present a CD that shows your work. The fault, dear Brutus, is not in the stars, but in our society.). This music takes inspiration from the integrated aesthetic of the tea ceremony, using carefully placed and deliberately sustained sounds to create an environment in which subtle changes count for a lot. The album’s contents were created by mixing together two performances, one with and another without an audience. Taxt and accompanist Vilde Marghrete Aas layer long tones from a tuba, double bass, viola da gamba and sine waves. Their precise juxtapositions create a sense of focus, somewhat like a concentrated version of Ellen Fullman’s long string music, and if that statement means something to you, so will this music.

Bill Meyer

 Ulaan Janthina — Ulaan Janthina II (Worstward)

Ulaan Janthina (Part II) by Ulaan Janthina

Part two of Steven R. Smith’s latest recording project echoes the first volume in several key aspects. It is a tape made in small numbers and packaged like a present from your favorite cottage industry; in this case, the custom-printed box comes with an old playing card, a hand-printed image of jellyfish, an old skeleton key and a nut. And Smith, who most often plays guitars and home-made stringed instruments, once more plays keyboards, which enable him to etch finer lines of melody. The chief difference between this tape and its predecessor is the melodies themselves, which have begun to attain the evocative simplicity of mid-1970s Cluster.

Bill Meyer

 Various Artists — Joyous Sounds! (Chicago Research)

Joyous Sounds! by Various Artists

It’s been less than two years, but Blake Karlson’s Chicago Research imprint has already made its presence known both in the Windy City and beyond as fine purveyors of all things industrial, EBM, post-punk and experimental electronics. There were two compilations released within days of one another toward the beginning of October, and while Preliminaries of Silence veers more toward soothing ambient textures, Joyous Sounds! is more upbeat and rhythmic (Bravias Lattice’s “Liquid Vistas” is a beautiful exception). My favorite track is Club Music’s “Musclebound” (not a Spandau Ballet cover, as it turns out), but the underlying menace of Civic Center’s “Filigree” and Rottweiler’s pummeling “Ancient Baths” sit alongside merely unsettling fare like Lily the Fields’ “Porcelain” well. If you’re not already aboard or just have a Wax Trax-sized hole in your heart, you have a lot of work ahead of you with this label’s consistently superlative output.

Patrick Masterson

  Kurt Vile — Speed, Sound, Lonely KV (Matador)

Given John Prine's passing from COVID-19 this year, the new Kurt Vile EP might be received as a tribute to the late artist, with extra significance coming from Prine's appearance here. Four years in the works, Speed, Sound, Lonely KV offers more than just tribute, though. Prine's guest spot (if you could call it that) on his own “How Lucky” certainly makes for a moving highlight, the two singers fitting together nicely as Prine's gruff tone balance's his partner's smoother voice. Vile also covers Prine on “Speed of the Sound of Loneliness,” and he adds “Gone Girl” by Cowboy Jack Clement as he takes further cosmic steps.  

His two originals here complete the record, and, mixed in with the covers, draw out the lesson. Vile's entire EP blends the country influences with his more typical dreamy sound, the guitar work bridging the gap between a songwriter's backing and something more ethereal. Nashville, it seems, has always suited Vile just fine, and hearing him embrace that tradition more immediately adds an extra layer to his work. Putting a cowboy hat on his previous aesthetic puts him opens up new but related paths for him, and the five tracks here could play on either a Kris Kristofferson mix or a laid-back indie-rocker playlist. Either way, they'd be highlights on an endless loop.

Justin Cober-Lake

 WhoMadeWho — Synchronicity (Kompakt)

Danish trio WhoMadeWho — drummer Tomas Barfod, guitarist Jeppe Kjellberg and bassist/singer Tomas Høffding — make enjoyable indie dance music that suffers somewhat from lack of personality and a tendency toward a middle ground. That may be due to an effort to accommodate a roster of Kompakt-related collaborators including Michael Mayer, Echonomist and Robag Wruhme. While there’s nothing bad and some pretty good here, the individual songs flit by, pausing briefly to set one’s head nodding and feet tapping, before evaporating from the mind. “Shadow of Doubt” featuring Hamburg’s Adana Twins has the kind of driving bass that anchored New Order hits but also, unfortunately, the unconvincing vocals only Bernard Sumner could get away with. More successful moments like the eerie piano riff and jazz inflections of “Dream Hoarding” with Frank Wiedemann, the arpeggiated house of “Der Abend birgt keine Ruh” featuring Perel and miserablist Pet Shop Boys inflected closer “If You Leave” do stick. Synchronicity might work well on the dance floor, but it doesn’t quite sustain at home.

Andrew Forell

[the-deeds-to-shibden]

Tuesday, 20 August 1839

[This leg of the journey sees Anne and Ann reach the city of Västerås, where they enjoy the best view since Norway. There are again many agricultural observations, Ӧrebrö is a very good town “for Sweden”, Anne is for some reason yearning for turnips which are tragically not available, and a lengthy joint toilet break is had. Anne’s deathless summation of Sweden is that it’s the country of chaos, and pancakes. And berries and trees.]

[up at] 4 1/4

[to bed at] 10 35/”

Fine morning Fahrenheit 58º, at 5 a.m. good beds and slept well –  everywhere good beds however small – mine large last night – pulled out 1/3 of its length – they generally pull out breadthwise – Ӧrebrö a nice neat, and, for Sweden, very good town – 2 little gateways (2 square posts) at each end of the town – the church large and neat and good – the pillars inside gilded in imitation of fluting – a large plain bounded in extremis in the great distance by wooded hill – the plain as seen from too of the church clear (i.e. of large and small boulder stones) except 2 or 3 patches – corn and grass – oats and rye and barley the greater part cut and in stook or hung round poles to dry as near Drammen –  Off from Ӧrebrö at 5 1/4 putting my watch 1/4 hour forward not much wood till Glanshammar at 6 52/” single house neat and good, with several outbuildings – might have slept here very well – nice foresty drive from Glanshammar sun now at 8 and very fine morning no very large fir timber – the trees to be cut down everywhere where we have yet been before they can attain any great size – I should suppose cut down every 40 or 50 years at most – the timber was nowhere large that we saw growing in Norway but about Bolkesoe larger than here – forest almost all the way – at 8 3/4 nice peeps thro’ the forest on a good looking town? at 8 50/” cross wooden bridge over good river – at 9 3/60 at the Station good house Fellingsbro one might sleep very well – merely the house and many farm-buildings – it must have been the town that we passed peeped at (left) thro’ the vistas in the narrow strip of forest at 8 3/4 –  off in 10 minutes at 9 13/” – breakfast at 9 ¼ Ann on biscuit and gingerbread I on bread and candied lemon – Little bit of chaos (big pieces large pieces of rock piled on each other) and afterwards plots of big boulder (always granite?) encumbered ground – in the Aldste (oldest time) the country must have been almost one sweep of chaos with few clear spots till the hand of man had cleared them and many large masses of rock hereabouts still lying amid the corn – this the case more or less (and with greater or less sized stones) almost everywhere here – several people ploughing this stage with 2 oxen and harrowing with 2 oxen to each pair of harrows – both ploughs and harrows very small and oxen too –  

Enter the gateway (2 square posts – no gate – as usual) of Arboga at 10 23/” and at 10 26/” at the station nice neat clean looking house where one might sleep very well – one long not over wide neat, picturesque street, just after entering, corn in stook left side the street. Arboga nice little town – some lateral streets – neat good church with tall spire – stone body of church and tower, except the top part which is brick just under the setting on of the shingle covered spire – this church smaller and more village like than that at Ӧrebrö the bookseller at Göteborg advised our going by water from here to Stockholm – steamers every day – cannot see the river or lake yet – but here just out of Arboga one valley maybe perhaps 2 English miles wide formed by a range of lowish round fir covered hill on each side but soon widens out largely on the left – sandy soil – but good road –  the road 2 or 3 stages was heavy in consequence of the great deal of rain but otherwise very fairly good all along – here very good – as good as the best in England – but narrow as all the roads are –  our 4 horses abreast take up nearly the whole breadth about 12 English feet wide – a Dutch barn just out of Arboga  and I have seen another or 2 this morning manure lying here and in several places this morning on the new ploughed land about the quantity we should put on for potatoes – William knows not what they are going to sow or plant – have only one little plot of turnips (yesterday morning) in Sweden – none to be had to eat for us, at the Inns    page 51.  one observes the little beds – the convenient many seated –                the fences [Anne drew a fence here] the splittings (slivings as Robert Mann would call them) laid here and elsewhere horizontally but in many places at an angle of 45º the corn hung on tall stakes to dry – and the peas and beans hung on roof-like racks to dry everywhere the people gathering their line – have seen very little if any hemp in Sweden – the pigsties opening into a sort of hut as at page 54, Cållängen on Sunday morning and elsewhere (vide p. 54 at the bottom) observe the red wood-houses and picturesque small cottages many sorts of bread the little fresh fish that is to be had considering the quantity of water 

Tis the country of chaos and big boulders fir birch and juniper     pancakes      and cranberry, bilberry, cloudberry i.e. blau berry – and the berry we got at Bolkesoe      vide      I have only seen apple trees (with apples on them) only 2 or 3 times – more cherry trees – plenty of gooseberry trees and gooseberries in the market at Göthenburg, had them one day but not very good –  forest again at 11 35/” (clear from Arboga that is for an hour) – now a very little of forest at 11 40/” 2 horses at a large wooden roller and 4 oxen at a cogging machine yoked to the broad side of this sort of narrow heavy sledge to break the clods of sand – chaos-y ground again and little hamlets Köping at 12 10/” largeish town we had to go in and out to the station in the square – large newly white washed good church – little river – at the end of the town 2 men thrashing long flail with weight at the end – rocks –  

–  from Köping to Kölback not much forest, and much big boulder and rock encumbered ground amid the cultivation – cross wood and stone bridge over the canal, does not they say, go far, and immediately the Kölback station at 2 p.m. nice red wood house 2 story high and room above in the roof with 2 windows at the end and a cottage or perhaps 2 near – might sleep here I should think very well – several farm buildings – very fine day – I reading Handbook and Ann Encyclopaedia of geography – vide these the account of Westerås, the sea of the most important bishoprick in Sweden – 1 long street above 2 English miles long a few church steeples seen now – there during today – among the observations (vide end of last book today, 20 August) note the wartiness (green grass covered boulder stones) of the moors and pastures – very little forest from Kölback – wide open country    Valet de Place vide page 126 Handbook Andrew Bergland.    at 3 53/” 1st view of Malar Lake from the sandy chaosy rock and boulder covered plain and ploughed land corn and pasture – two men riding  on  a seat over each one’s big wood roller – each drawn by 2 little oxen – the tall spire of Westerås church peeping up in front of us – the opposite side the lake beautifully pine-wooded apparently to the water’s edge – Ann and I alighted at 4 5/” and walked 10 minutes till got in again close to the town gate (2 square gate posts) – the  lake islands and beautiful the prettiest scene we have seen since Christiania – enter the town gate at 4 16/” alight at the Westerås hotel at 4 21/” out at 5 to the church 20 minutes there – nothing particular went up for the view at 5 – could not get higher than the bells and could not there see well out of the windows – but the view over the islands wooded lake very beautiful – 20 minutes there – then walked about the town twenty five minutes at necessary with Ann at the little port came in at 7 40/”    5 largish vessels there and a steamer large casks of tallow etc. and pig iron and iron ore – the carriage driving foot board must be readjusted tomorrow morning – dinner at 8 in 3/4 hour – then had Grotza – then till 10 wrote out the last 22 lines

Anne’s marginal notes

Beds

timber not large

Chaos.

Arboga

Roads good but narrow

no turnips

Observations vide.

chaosy just out of Köping        

Westerås

very fine day Fahrenheit 64º at 10 p.m.

WYAS Catalogue:  SH:7/ML/TR/12/0032      SH:7/ML/TR/12/0033      SH:7/ML/TR/13/0002

Anne’s drawing of a Swedish fence made out of splittings:

Västerås Cathedral and a view of the wooded islands Anne and Ann saw from the level of its bells (photo Oscar Bladh):

[bowlingillusion01]

Blog Post #1

I'm Camryn Feehan and I am a bowler and a musician. I play 3 instruments (flute, clarinet, and bassoon). I have been bowling for 6 years now and I plan on becoming a PWBA player. In other words, going pro. I'm currently studying for dermatology but it is considered pre med here. I specifically don't have any pronouns to be called by besides the general terms. my birthday is Jan. 10th and I am currently 19 years old. 1. I have played a musical instrument 2. 8 3. favorite are pop, country and rock. my least are rap and heavy metal. 4. I like pop, country, and rock because I just grew up with them. I don't like rap (very little I like of rap) and heavy metal because its just screaming and most of the time you cant understand.

1 “She points out that even when music that can penetrate the womb is absent, the fetus is surrounded by those natural rhythms of the body-heartbeat and pulse and breath.” (Mannes 13) I would say we recognize the different frequencies as such, considering they found that we heard music in the womb etc, from our mom listening or playing music as well as out parents voices. since women have a higher voice giving a higher frequency and men have lower voices connected with lower frequencies. 

2. yes it makes a sound because it is still singing creating frequency patterns. just because no one hears it doesn't mean its not making a sound.

3. true 

4. even if  you made the intervals louder it doesn't change the interval itself just the volume. if you use pure frequencies and arranged them to the overtone series it would still be higher than the original note. Its basically an octave of one note because their are multiple frequencies in one note when its played.

[markrichardson]

Two Things I Remember Writing in 2018

A friend on FB recently quoted Dorothy Parker’s great line that “Writers don't like writing—they like having written” (possible paraphrase, pasted from first Google result). And I get that. Writing can be a grinding, unpleasant activity, especially when you’re not sure what you’re doing is any good. But there are times when writing is fun. I like to remember those times to motivate me to experience more of them in the future.

1) In late January of this year, Julie and I were staying in a cabin in a tiny town in the rolling hills of Connecticut. A friend of Julie’s, whom she met an an artist’s residency, owns the cabin along with his husband. The friend is a writer, and his husband is an interior decorator, and the writer friend also happened to be a big music fan. So it was this beautifully decorated cabin with a room full of great records—and oh yeah, they were also great cooks so they had an amazing kitchen. And on top of all that, there was an upstairs study where the writer friend worked. It was a simple room lined with books on one of its walls and along the wall furthest from the door was a small desk facing a window, which looked over the trees and into the open spaces that ran up to the mountains. I set up there one of the days during our stay while Julie went into town. I had my iPad and an external keyboard and some coffee. 

At first, I worked on a piece I’ve been tinkering with for a few years, I’m not even sure what it is, it might have been a draft a column at some point. But it’s about my wife’s late uncle and my father and their respective relationships with music, some of which I know from speaking to them and some of which I have to imagine based on other things I know about their lives. Julie’s uncle died 8 or 9 years ago, so with him I have been going of my memories of conversations with him. When I was writing it, my father was still alive, but it was often hard to communicate with him. So in each case it was in part about the loss, about not knowing and having to piece things together. Somewhere in there are thoughts about the music of the Caretaker. I feel like I might have something good in this piece but I’m still not sure what it is, so I drag it out once in a while and poke at it, see what’s there and if I can shape it into something. It’s kind of nice to have a piece like this, that no one is expecting but that I enjoy working on whenever I have time and I’m thinking of it. I started it 3 or so years ago when I took a day off work and wandered around Manhattan just for fun, and on that day I spent a few hours in the Reading Room at the main branch of the public library. I’ll always associate it first with typing in that vast quiet room whose windows look up to the skyscrapers.

The second thing I was working on was something I had been assigned: an essay on Neutral Milk Hotel’s In the Aeroplane Over the Sea upon its 20th anniversary. I’ve written about this record a few times already, but I always enjoy doing so. In part because I know there are a great many people, including people whose music taste I respect tremendously, who don’t like the record at all. So I feel like I have something to prove. It’s also the kind of record that fans tend to have an exceedingly personal relationship with, so there’s not a lot of good critical writing about it out there. So I feel like engaging with it is a way to voice some feelings that haven’t been articulated especially well, but that are sitting out there somewhere, being felt. And then finally its an album with no political resonance to it, which makes even contemplating it feel indulgent. Add all that up and mix in with it my own strong emotional reaction to the record and you have a recipe for a fun and challenging writing experience. And in this particular case, I even got to re-work some writing I’d done 10 years ago or more, when I was thinking of writing a column about the record but never did. Gotta keep those spare parts around. These two pieces kept me happily typing while looking out at the landscape for the better part of a few hours, until I could hear the car with Julie in it crunching its way up the drive. And then later I finished this. 

2) In July we had a stay in another remote place in Connecticut, not a cabin but a nice house tucked into the woods. This one had a dance studio in a building next door, and one day Julie worked in there while I worked at this huge desk in an upstairs study. There were piles of books and papers on the desk but just enough room for my laptop and a cup of coffee. I was working on the final installment of my Pitchfork column Resonant Frequency, about listening and silence (in one way or another many of the columns were about these things). And what I remember most is writing the opening section, which summarizes the story of a guy named Andreas Pavel inventing the walkman, as told in Rebecca Tuhus-Dubrow’s 2017 book Personal Stereo. When I first read this book in late 2017 it completely blew my mind, especially the section where she interviews Pavel and he describes the evening where he first tested his design for a portable listening device. It gives me chills just thinking of it now, because I connected so deeply with the mystical power of portable sound to shift consciousness. While writing my piece I listened over and over to Herbie Mann’s album Push Push and especially the track “What’s Going On,” which is mentioned in the book as the first track Pavel played on his new invention. I was trying to put myself in that headspace, to see the snow and the forest as he describes it while listening to this easy listening/lightly funky jazz flute number (this version of “What’s Going On” made my list of most-listened to tracks on Spotify in 2018). It was heavenly, I was just so happy to be writing. In the original draft of my column, this section on the first-listen on the Walkman was something like 1700 words long, it was crazy, I just didn’t want to leave it so I kept writing, and in extending that moment I found myself reminded of how writing can slow down and expand time, just by how many words you give over to a given event. That section was wisely condensed by my editor when I finished the column a week or two later, and then it was published after I no longer worked at Pitchfork.  

[sheetmusiclibrarypdf]

Chick Corea's style (an analysis, sheet music, Noten)

The genius of Chick Corea (an analysis - sheet music)Chick Corea's short biography Best Sheet Music download from our Library. Browse in the Library:Chick Corea's piano styleA. Technique B. Rhythm C. Melodic Characteristics D. Harmonic Characteristics It Could Happen To You (Live / Show 1 / January 3, 1998) Chick Corea's Arrangement and Solo on “It Could Happen to You” Please, subscribe to our Library. Thank you! Browse in the Library:

The genius of Chick Corea (an analysis - sheet music)

Chick Corea's short biography Armando Anthony Corea was born June 12, 1941 in Chelsea/ Massachusetts. His father, a jazz trumpet player, was his first musical inspiration. After several years of exploring the piano and the drum set, Chick started piano lessons with concert pianist Salvatore Sulo. During short stints at Columbia University and Juilliard, he decided to pursue a professional career as jazz musician and took residence on Seventy First Street in New York. Soon he was busy playing with Mongo Santamaria, Willie Bobo, Herbie Mann, Elvin Jones, Stan Getz, and many others. With trumpeter Blue Mitchell Chick recorded his first original composition, called Chick's Tune on Blue Mitchell's LP “A Thing To Do”. The first LP under Corea's own name, “Tones for Joan's Bones”, recorded in 1966, features Joe Farrell (saxes), Woody Shaw (trumpet), Steve Swallow (bass), and Joe Chambers (drums) playing a mixture of Latin, Bop, and Free Styles. More Bebop oriented tunes are recorded on the 1968 follow-up “Now He Sings, Now He Sobs” with Miroslav Vitous on bass and Roy Haynes on drums. Shortly thereafter, Corea rose to international fame during a three-year stint with the Miles Davis group. With bandmates Dave Holland (bass), and Jack DeJohnette (drums), Corea started exploring the world of Free Improvisation on the recording “Is”. Several recordings with his group “Circle” document further experimentation with free forms. After a return to more melodic lines and harmonic progressions with his solo piano recordings “Improvisations I & II” for the ECM label, Corea decided to leave Circle and focus back on structure, melody, and harmony. In his Forward to the Warner Bros. publication “The Jazz Styles of Chick Corea”, he explains his change in direction: “In 1971, an incredible change occurred in my life, directly stemming from some initial studying I did of the works of L. Ron Hubbard, the founder of Scientology, “says Chick. “The result was a seemingly new-found but actually old and hidden goal I had for a long time: to create and communicate the music I love.” The realization of this goal became his group “Return to Forever”, one of the most influential groups of the Jazz Rock Fusion era. The original members include Stanley Clarke (bass), Joe Farrell (saxes, flute), Flora Purim (vocals, percussion), Airto Moreira (drums, percussion), and Chick Corea (keyboards). Their self-titled debut and the follow-up record “Light as a Feather” emphasize the fusion of jazz traditions with Latin-American music. The result are some of the most melodic compositions of jazz, such as Corea's probably most famous piece “Spain” or the playful “Sometime Ago.” After replacing Florim and Moreira with Bill Connors (guitar) and Lenny White (drums) in 1974, the group became one of the forerunners of electronic jazz. RTF's progressive mixtures of jazz concepts, rock and latin-american rhythms, and classical forms are documented on “The Hymn of the Seventh Galaxy” and with guitar virtuoso Al DiMeola on “Where Have I Known You Before”, “No Mystery”, and “Romantic Warrior”. The group went through several personnel changes until it's final break-up in 1980, including a 13-piece ensemble with strings and Gayle Moran, Corea's wife, on vocals. The various incarnations and Corea's extended compositions and arrangements are documented on “The Leprechaun”, “My Spanish Heart”, “Mad Hatter”, “Friends”, and “Secret Agent”. The years until 1985 were filled with a wide variety of activities, ranging from several duo projects with Herbie Hancock, Gary Burton, John McLaughlin, and Paco di Lucia among others, over acoustic collaborations with Michael Brecker, Eddie Gomez, and Steve Gadd on “Three Quartets”, to performing Mozart's Double Concerto with Friedrich Gulda and the Concertgebouw Orchestra. Inspired by his classical performances, Corea composed his own concerto for piano and orchestra and released his Children's Songs, a collection of 20 short piano pieces reminiscent of Darius Milhaud's ragtime and tango influenced piano music. By 1985, Corea joined forces with young virtuosos John Patitucci (bass), Dave Weckl (drums), and Scott Henderson (guitar) to form The Chick Corea Electric Band. In an interview for Keyboard Magazine, July 1986, Corea explained that the use of electronic instruments opens up new possibilities of expression and allows him to communicate with sounds currently familiar to a broader audience.

A recording contract with the GRP label resulted in a series of tours and recordings, such as the self-titled debut, the grammy winning “Light Years” with Eric Marienthal (saxes), and Frank Gambale (guitar), “Eye of the Beholder”, “Inside Out”, and “Beneath the Mask”. The Electric Band era concluded in 1993 with the release of “Paint the World”, featuring the Electric Band II with Gary Novak (drums), Jimmy Earl (bass), Mike Miller (guitar), and Eric Marienthal (saxes). During the 90ies, many jazz musicians discarded the world of electronics and focused on using acoustic instruments and interpreting the traditional standard repertoire. Already during the late 80ies, Corea, Patitucci, and Weckl, had toured and recorded as an acoustic trio. Recording now for his own label, Stretch Records, Corea returned to his acoustic roots with “Time Warp”, a tribute to Bud Powell, and duo recordings with Bobby McFerrin and Gary Burton, recorded between 1994 - 1997. In addition, he further explored the world of classical music with “The Mozart Sessions”, conducted by Bobby McFerrin. Most recently Corea formed the sextet “Origin”, a new outlet for his compositions and arrangements. Corea never seems to sit still, always looking for new, unexpected adventures. But even in the most diverse projects, such as his free-style recordings with “Circle” compared to the jazz fusion of the “The Chick Corea Electric Band,” Corea's piano style is easily recognizable and well-defined. While incorporating the traditions of jazz, the ultimate goal of any jazz musician is to develop a personal, recognizable approach to playing by defining some basic conceptual principles. Those principles provide the unifying threads throughout Corea's eclectic projects. Following is a discussion of some of those characteristic of a great artist. Chick Corea's piano style A. Technique - In one of his poems from his music poetry, Chick writes: “Discipline your body, discipline your instrument…”. His clean and clear attack and mastery of his instrument demonstrates such principles. - His articulation is always precise and clean no matter if he plays a Steinway grand piano, a Fender keyboard, or his Yamaha strap-on keyboard. Corea's keyboard solo on “Got A Match” on The Chick Corea Electric Band is exemplary for his clear articulation even at extreme speeds. - Corea's touch can be very powerful, using the piano foremost as a percussion instrument. One example is on An Evening With Herbie Hancock, where he plays the vamp figure of “La Fiesta” at the beginning so forceful and with minimal key contact, that it sounds more like a drum groove than a piano vamp. - On the other hand, he can be very sensitive and tasteful. Some examples are his romantic soloing on “Where Have I Known You Before” on the similarly titled album and his interpretations of his own “Children's Songs.” - He doesn't limit his palette of sounds to conventional means of playing the piano keys. Especially during duo or trio performances, one can frequently observe Corea plucking the strings inside the piano and experimenting with different ways of preparing the strings. Such experimentation were personally witnessed during his concerts at the 1996 IAJE convention, and can also be heard on “Fragments” and “Duet for Bass and Piano No. 2” on the record Circling In. - Chick Corea's use of baroque-like embellishments are heard rather frequently in his playing. Sometimes he'll just fill out melodic intervals chromatically, as in the following example.

His complete independence of right and left hand is also a strong component of Chick Corea's technique. Such independence enables him to provide bass ostinatos and rhythmic accents complimentary to right-hand melodies. A short excerpt from his solo on “La Fiesta” exemplifies this ability.

B. Rhythm - Chick Corea's preference for Latin-American rhythms has become a trademark of his style. The choice of song titles, such as “La Fiesta,” “Spain,”” My Spanish Heart,” “Samba Song, “or “Señor Mouse” already indicate such preferences. His piano accompaniments often combine Latin-American rhythms with jazz harmonies.

2. Sophisticated rhythmic interplay and precise timing are very prominent in Chick Corea's comping and soloing. Being an accomplished drummer, he has a wide repertoire of rhythms and the ability to execute them with confidence and perfect timing. Such rhythmic variety adds interest and excitement to his music. 3. Often, his syncopation and his ability to play different rhythms with each hand create polyrhythmic effects. The rhythmic organization of his melodic lines, often referred to as phrasing, also displays his rhythmic mastery and versatility. Although the typical strings of eighth notes dominate Chick Corea's soloing, he knows how to place rests and other rhythmic values effectively to create logical, congruent lines. C. Melodic Characteristics One main aspect of jazz improvisation is to create interesting melodic lines in relation to a repeating harmonic structure. Therefore, the pitch content of melodic lines needs to be discussed in reference to the underlying harmonies. As a result, some aspects in the analysis of melodic and harmonic elements will overlap. The melodies of Corea's compositions are very lyrical and memorable, many of his songs have become part of the standard repertoire of jazz musicians. Some examples are “Spain,” “Windows,” or “Humpty Dumpty”. During his improvisations, he combines such lyricism with complex rhythmic and harmonic twists. Some of his most lyrical improvisations are captured in his “Piano Improvisations I & II” and his solo rendition of “Where Have I Known You Before.” Rooted very much in the Bebop tradition, Corea's improvised lines are dominated by long strings of eighth notes shaped in the sinoid waveforms. Especially at faster tempos, such dominance of eighth note values is apparent. Corea often prefers lydian and altered scales to add tension and color to his improvised lines. Especially, diminished scales (half step/ whole step alternating) used in relation to dominant chords can be frequently detected in his solos. Jazz musicians often develop favorite melodic patterns and runs that make their style recognizable. Corea often uses a chromatic ascending pattern and short embellishments at the beginning of lines. D. Harmonic Characteristics Studying the classical literature and composition has influenced Corea's harmonic vocabulary. Similarities to the harmonic innovations of the French romantics such as Claude Debussy and Maurice Ravel can be detected. Corea displays preferences for wide, open sounds with frequent uses of Ma7#11 chords. During his years with John Coltrane, pianist McCoy Tyner developed a new harmonic approach by using voicings based mainly on the interval of a fourth. This technique became the essence of the modern piano sound. Similar voicing techniques can be detected in Corea's playing. Corea's harmonic progressions often depart from the traditional functional harmony, which depends mainly on the II-V-I relationship. One technique for harmonic expansion is the use of poly chords, which consist of harmonies with foreign bass notes or two harmonies layered on top of each other. Other techniques for harmonic expansion are the use of ostinati and pedal points. Both techniques are apparent in Corea's compositions and performances. Pedal points provide a suspended feel to the harmonic movement and create tension to be released with the departure from the pedal point. Especially in his cycle of “Children's Songs”, Corea frequently uses ostinati to create accompaniments.

Children's Songs No. 1 Finally, Corea often employs parallel movement of harmonies of the same quality. This is another technique to avoid functional harmony while still creating logical harmonic movement. It Could Happen To You (Live / Show 1 / January 3, 1998) https://www.youtube.com/watch?v=gyJrmaoHN7A

Chick Corea's Arrangement and Solo on “It Could Happen to You”

Please, download a transcription of Chick Corea's arrangement and two solo choruses on the standard “It Could Happen to You” by Jimmy Van Heusen and Johnny Burke (from the songbook "Chick Corea Plays Standards") Chick-Corea-Plays-Standards-1 “It Could Happen to You”Download This performance with Corea's most recent group “Origin” was captured in February 1998 during an engagement at New York's jazz club “Blue Note”. Many of Corea's style characteristics discussed earlier are apparent in this transcription. The following analysis will focus on these special characteristics. “It Could Happen to You” is a 32-bar song, composed in two similar 16-bar sections. After a rubato solo piano introduction, Corea states the head, supported by Avishai Cohen on drums and Adam Cruz on drums. Steve Davis on trombone, Bob Sheppard on tenor sax, and Steve Wilson on alto sax join for the last four measures. In order to reinforce his liberal treatment of the melody, Corea adds, deletes, and substitutes some of the original harmonies. In measure 3, Corea adds an Am passing chord, then proceeds chromatically up to C. Furthermore, a string of chromatically descending, parallel dominant chords substitutes for the original tonic - subdominant progression in measure 5 and 6. Instead of the regular ii-V Turnaround in measures 15 and 16, Corea harmonizes the melody in triads to a step-wise descending bass line, a technique discussed earlier under harmonic characteristics. Finally, he suspends the resolution to the tonic in measure 31 by laying a C-pedal point for the final 6 measures of the head. Corea begins his solo with a melodic sequence, emphasizing the #11 of F-Major in measure 37. The sequence continues with embellishments until measure 41. For the turnaround in measure 46 and 47, Corea chooses to use a D-Major Scale, brightening up the sound of the F-Major harmonic basis from one flat to two sharps. In order to lead back to the F-Major tonic, Corea moves up chromatically, implying E-Major during measure 48. Similar to the tonic-subdominant substitution with a string of dominant chords during the head in measure 21-24, Corea plays a descending, chromatic sequence from Bb13 to G13 in measure 54. He completes his first chorus with a C-pedal point. During m. 61-64, Corea melodically implies a progression of Dm7, Ebm7, Ab, G7b9 over the C-pedal point as a turnaround to the F-Major tonic in m.65. During the second chorus, Corea concentrates more on rhythmic aspects for his improvised lines. In m. 67/ 68, he crosses the bar lines with a hemiola, leading to a syncopated repetition of C's doubled at the octave over the course of the following three measures. Echoing the thought, Corea states a series of B's in measure 75 and 76. In relation to the F Major harmony in measure 75 , B is the #11, one of Corea's favorite harmonic option to brighten up major chords. Again, he implies a series of triads over an ascending bass line to close the first half of the second chorus. Block harmonies characterize the improvisational approach for the second half of the chorus. Instead of the C-pedal point, Corea increases tension and intensity by leading into the third solo chorus with an ascending B-Major scale, accented by syncopated, ascending fourths in the left hand. In closing this discussion of Corea's piano style, the following basic principles can be extracted from the analysis. With a clear touch, a clean technique, and a very strong sense of rhythm, Corea is well-equipped to realize his quest for communication through his music. Some of his most prevalent melodic techniques are the frequent use of embellishments, lydian and altered scales, and some typical chromatic patterns. Harmonically, Corea frequently uses voicings based on the interval of a fourths, poly chords, non-functional progressions, pedal points, and ostinati. In summary, Corea's artistry is based on a strong command of his instrument and contemporary harmonic techniques. Naturally there is a deeper level to artistry than just the surface of technique, rhythm, melody, and harmony. Read the full article

[bamboomusiclist]

10/23 Cheryl Lynn / Preppie fc38961 等更新しました。

Coleman Hawkins Charlie Shavers Tiny Grimes / Hawk Eyes prst7156 Herbie Mann And Bobby Jaspar / Flute Flight Prlp7124 Triger Alpert Zoot Sims / Trigger Happy Rlp12-225 Oscar Peterson / in a Romantic Mood mgv2002 Red Norvo / Move mg12088 Stan Getz Dizzy Gillespie Sonny Stitt / For Musicians Only v8198 Harry Edison / Sweetings R52023 Norman Simmons / Midnight Creeper mjp1001 Nina Simone / Golden Hour Of Nina Simone ghs535 Charlie Byrd / The Touch Of Gold CL2504 Whitren + Cartwright / Rhythm Hymn 60194 Stuff / Live In New York bsk3417 Lani Hall / Albany Park SP-4898 The Carnival / st wps20894 Kenny Rankin / Silver Morning ld3000 Lounge Lizards / Big Heart　IMA20 Booker T & The MG's / Doin' Our Thing s724 Pointer Sisters / The Pointer Sisters BTS 48 Luther / Luther SD9907 Cheryl Lynn / Preppie fc38961

~bamboo music~ https://bamboo-music.net  info@bamboo-music.net   530-0028 大阪市北区万歳町3-41 シロノビル104号 06-6363-2700

[isthisjazz]

Bebop On The Breeze

Now that we’ve hopefully seen the last of these late summer heat waves we can start turning our attention towards the upcoming cool, Fall jazz festivities. There is always plenty of jazz happening around the state and while this list may not cover everything, or potentially miss out on the gigs that crop after this article’s posting, this rundown should give you a good head start.

Starting off in Newport, we have a good slate of music coming up. Norey’s continues its weekly Thursday night jazz series featuring a rotating cast of ensembles including the Alan Bernstein Jazz Quartet, the John Monllos Quartet, and the Dino Govoni Q’tet. Every week from 10am-1pm the Chris Vaillancourt Trio presents a Sunday Jazz Brunch at the Hotel Viking. Also, The Parlor in Newport is hosting the Swinglane Orchestra every third Wednesday of the month, a great chance to see live a big band in town.

Moving over to Wakefield, The Pumphouse is bringing back its 1st Sunday Jazz Series. The series kicks off on September 9th with Sonic Surfers featuring Dan Moretti on sax, Steve DeConti on guitar, David Zinno on bass, and Marty Richards on drums. Head up further north to Woonsocket and you’ll find plenty of great music at Chan’s. First up on Saturday, September 22 will be the homecoming concert of jazz guitar master, and recent RI Music Hall Of Fame inductee, Frank Potenza with a quartet featuring Paul Bouley on keys, brother Joe Potenza on bass and John Anter on drums. Later in the season on Friday, November 16th will be the Debra Mann Quintet with Dino Govoni on sax/flute, Jay Azzolina on guitar, Dave Zinno on bass and Marty Richards on drums. They’ll be celebrating the release of their latest CD, ”Full Circle”, which features the music of Joni Mitchell.

Finally we go back down to Providence to catch even more killer music. Askew Restaurant is continuing it’s jazz offerings with Michelle Cruz on September 1st and the Dave Murphy Quartet on September 15th. The Joe Potenza Quartet returns to Backstage Kitchen + Bar at Hotel Providence featuring world class musician, and Cumberland native, Cory Pesaturo. Also, the “Is This Jazz?” series continues its run at AS220 with a couple of fall shows including October 5th with Baba Yaga and the Luna Collective, as well as November 2nd with Pocket Aces, which features local favorite guitarist Eric Hofbauer, and the ITJ Collective. Lastly, The Veterans Memorial Auditorium will be hosting trumpet player and international superstar Chris Botti on October 3rd. According to The Vets’ website, Botti has become the largest-selling American instrumental artist with four #1 jazz albums, as well as multiple Gold, Platinum, and Grammy Awards, including the Grammy for Best Pop Instrumental Album for his recent album Impressions. Visit http://www.thevetsri.com for tickets and details.

Keep a look out for more jazz coming to a venue near you and be sure to support as much local music as you can this Fall concert season!

Happening Around Town:

The John Allmark Jazz Orchestra; first Monday monthly @ The Met (Pawtucket)

Is This Jazz?; first Friday bimonthly @ AS220 (Providence) isthisjazz.tumblr.com 

Groove Merchants; Mondays @ Fifth Element (Newport)

Jazz Jam; Tuesdays @ Ten Rocks (Pawtucket)

Groove E Tuesday; Tuesdays @ Murphy’s Law (Pawtucket)

Jazz At The Parlour; Sundays (jam held every third Sunday) @ The Parlour (Providence)

Modern Sound Series; last Sunday monthly @ Tea In Sahara (Providence)

Leland Baker Quartet; Wednesdays @ Acacia Club (Providence)

To add your listing email isthisjazzri@gmail.com.

Ben Shaw is a local composer and performer. Find him at ahueofshaw.tumblr.com.

[namoagainnarendramodi]

भारत का युवा कुछ नया और बड़े पैमाने पर करना चाहता है : मन की बात में पीएम मोदी.

मेरे प्यारे देशवासियो, नमस्कार | हम सबको पता है आज मेजर ध्यानचंद जी की जन्म जयंती है | और हमारा देश उनकी स्मृति में इसे राष्ट्रीय खेल दिवस के रूप में मनाता भी है | मैं सोच रहा था कि शायद, इस समय मेजर ध्यानचंद जी की आत्मा जहां भी होगी, बहुत ही प्रसन्नता का अनुभव करती होगी | क्योंकि दुनिया में भारत की हॉकी का डंका बजाने का काम ध्यानचंद जी की हॉकी ने किया था | और चार दशक बाद, क़रीब-क़रीब 41 साल के बाद, भारत के नौजवानों ने, बेटे और बेटियों ने हॉकी के अन्दर फिर से एक बार जान भर दी | और कितने ही पदक क्यों न मिल जाएं, लेकिन जब तक हॉकी में पदक नहीं मिलता भारत का कोई भी नागरिक विजय का आनंद नहीं ले सकता है और इस बार ओलंपिक में हॉकी का पदक मिला, चार दशक के बाद मिला | आप कल्पना कर सकते हैं मेजर ध्यानचंद जी के दिल पर, उनकी आत्मा पर, वो जहां होंगे, वहां, कितनी प्रसन्नता होती होगी और ध्यानचंद जी का पूरा जीवन खेल को समर्पित था और इसलिए आज, जब हमें देश के नौजवानों में हमारे बेटे-बेटियों में, खेल के प्रति जो आकर्षण नजर आ रहा है | माता-पिता को भी बच्चे अगर खेल में आगे जा रहे हैं तो खुशी हो रही है, ये जो ललक दिख रही है न मैं समझता हूँ, यही मेजर ध्यानचंद जी को बहुत बड़ी श्रद्धांजलि है |

साथियो, जब खेल-कूद की बात होती है न, तो स्वाभाविक है हमारे सामने पूरी युवा पीढ़ी नजर आती है | और जब युवा पीढ़ी की तरफ गौर से देखते हैं कितना बड़ा बदलाव नजर आ रहा है | युवा का मन बदल चुका है | और आज का युवा मन घिसे-पिटे पुराने तौर तरीकों से कुछ नया करना चाहता है, हटकर के करना चाहता है | आज का युवा मन बने बनाए रास्तों पर चलना नहीं चाहता है | वो नए रास्ते बनाना चाहता है | unknown जगह पर कदम रखना चाहता है | मंजिल भी नयी, लक्ष्य भी नए, राह भी नयी और चाह भी नयी, अरे एक बार मन में ठान लेता हैं न युवा, जी-जान से जुट जाता है | दिन-रात मेहनत कर रहा है | हम देखते हैं, अभी कुछ समय पहले ही, भारत ने, अपने Space Sector को open किया और देखते ही देखते युवा पीढ़ी ने उस मौके को पकड़ लिया और इसका लाभ उठाने के लिए कॉलेजों के students, university, private sector में काम करने वाले नौजवान बढ़-चढ़ करके आगे आए हैं और मुझे पक्का भरोसा है आने वाले दिनों में बहुत बड़ी संख्या ऐसे satellites की होगी, जो हमारे युवाओं ने, हमारे छात्रों ने, हमारे college ने, हमारी universities ने, lab में काम करने वाले students ने काम किया होगा |

इसी तरह आज जहां भी देखो, किसी भी परिवार में जाओ, कितना ही संपन्न परिवार हो, पढ़े-लिखे परिवार हो, लेकिन अगर परिवार में नौजवान से बात करो तो वो क्या कहता है वो अपने पारिवारिक जो परम्पराओं से हटकर के कहता है मैं तो start-up करूंगा, start-ups में चला जाऊँगा | यानी risk लेने के लिए उसका मन उछल रहा है | आज छोटे-छोटे शहरों में भी start-up culture का विस्तार हो रहा है और मैं उसमें उज्जवल भविष्य के संकेत देख रहा हूँ | अभी कुछ दिन पहले ही हमारे देश में खिलौनों की चर्चा हो रही थी | देखते ही देखते जब हमारे युवाओं के ध्यान में ये विषय आया उन्होंने भी मन में ठान लिया कि दुनिया में भारत के खिलौनों की पहचान कैसे बने | और नए-नए प्रयोग कर रहे हैं और दुनिया में खिलौनों का बहुत बड़ा market है, 6-7 लाख करोड़ का market है | आज भारत का हिस्सा बहुत कम है | लेकिन खिलौने कैसे बनाना, खिलौने की विविधता क्या हो, खिलौनों में technology क्या हो, child psychology के अनुरूप खिलौने कैसे हो | आज हमारे देश का युवा उसकी ओर ध्यान केन्द्रित कर रहा है, कुछ contribute करना चाहता है | साथियो एक और बात, जो मन को खुशियों से भर भी देती है और विश्वास को और मजबूत भी करती है | और वो क्या है, कभी आपने mark किया है | आमतौर पर हमारे यहाँ स्वभाव बन चुका था – होती है, चलो यार चलता है, लेकिन मैं देख रहा हूँ, मेरे देश का युवा मन अब सर्वश्रेष्ठ की तरफ अपने आपको केन्द्रित कर रहा है | सर्वोत्तम करना चाहता है, सर्वोत्तम तरीके से करना चाहता है | ये भी राष्ट्र की बहुत बड़ी शक्ति बनकर उभरेगा |

साथियो, इस बार Olympic ने बहुत बड़ा प्रभाव पैदा किया है | Olympic के खेल पूरे हुए अभी paralympics चल रहा है | देश को हमारे इस खेल जगत में जो कुछ भी हुआ, विश्व की तुलना में भले कम होगा, लेकिन विश्वास भरने के लिए तो बहुत कुछ हुआ | आज युवा सिर्फ sports की तरफ देख ही रहा ऐसा नहीं है, लेकिन वह उससे जुड़ी संभावनाओं की भी ओर देख रहा है | उसके पूरे eco system को बहुत बारीकी से देख रहा है, उसके सामर्थ्य को समझ रहा है और किसी न किसी रूप में खुद को जोड़ना भी चाहता है | अब वो conventional चीज़ों से आगे जाकर new disciplines को अपना रहा है | और मेरे देशवासियो, जब इतना momentum आया है, हर परिवार में खेल की चर्चा शुरू हुई है | आप ही बताइये मुझे, क्या ये momentum को अब, थमने देना चाहिये, रुकने देना चाहिये | जी नहीं | आप भी मेरी तरह ही सोचते होंगे | अब देश में खेल, खेल-कूद, sports, sportsman spirit अब रुकना नहीं है | इस momentum को पारिवारिक जीवन में, सामाजिक जीवन में, राष्ट्र जीवन में स्थायी बनाना है - ऊर्जा से भर देना है, निरन्तर नयी ऊर्जा से भरना है | घर हो, बाहर हो, गाँव हो, शहर हो, हमारे खेल के मैदान भरे हुए होने चाहिये सब खेलें-सब खिलें और आपको याद है न मैंने लाल किले से कहा था – “सबका प्रयास” – जी हाँ, सबका प्रयास | सबके प्रयास से ही भारत खेलों में वो ऊंचाई प्राप्त कर सकेगा जिसका वो हकदार है | मेजर ध्यानचन्द जी जैसे लोगों ने जो राह बतायी है, उसमें आगे बढ़ना हमारी जिम्मेवारी है | वर्षों बाद देश में ऐसा कालखंड आया है कि खेलों के प्रति परिवार हो, समाज हो, राज्य हो, राष्ट्र हो – एक मन से सब लोग जुड़ रहे हैं |

मेरे प्यारे नौजवानों, हमें, इस अवसर का फायदा उठाते हुए अलग-अलग प्रकार के sports में महारत भी हासिल करनी चाहिए | गाँव-गाँव खेलों की स्पर्धाएँ निरंतर चलती रहनी चाहिये | स्पर्धा में से ही खेल विस्तार होता है, खेल विकास होता है, खिलाड़ी भी उसी में से निकलते हैं | आईये, हम सभी देशवासी इस momentum को जितना आगे बढ़ा सकते हैं, जितना योगदान हम दे सकते हैं, ‘सबका प्रयास’ इस मंत्र से साकार करके दिखाएँ |

मेरे प्यारे देशवासियो, कल जन्माष्टमी का महापर्व भी है | जन्माष्टमी का ये पर्व यानी, भगवान श्री कृष्ण के जन्म का पर्व | हम भगवान के सब स्वरूपों से परिचित हैं, नटखट कन्हैया से ले करके विराट रूप धारण करने वाले कृष्ण तक, शास्त्र सामर्थ्य से ले करके शस्त्र सामर्थ्य वाले कृष्ण तक | कला हो, सौन्दर्य हो, माधुर्य हो, कहाँ-कहाँ कृष्ण है | लेकिन ये बातें मैं इसलिए कर रहा हूँ कि जन्माष्टमी से कुछ दिन पूर्व, मैं एक ऐसे दिलचस्प अनुभव से गुजरा हूँ तो मेरा मन करता है ये बातें मैं आपसे करूँ | आपको याद होगा, इस महीने की 20 तारीख को भगवान सोमनाथ मंदिर से जुड़े निर्माण कार्यों का लोकार्पण किया गया है | सोमनाथ मंदिर से 3-4 किलोमीटर दूरी पर ही भालका तीर्थ है, ये भालका तीर्थ वो है जहाँ भगवान श्री कृष्ण ने धरती पर अपने अंतिम पल बिताये थे | एक प्रकार से इस लोक की उनकी लीलाओं का वहाँ समापन हुआ था | सोमनाथ ट्रस्ट द्वारा उस सारे क्षेत्र में विकास के बहुत सारे काम चल रहे हैं | मैं भालका तीर्थ और वहाँ हो रहे कार्यों के बारे में सोच ही रहा था कि मेरी नज़र, एक सुन्दर सी Art-book पर पड़ी | यह किताब मेरे आवास के बाहर कोई मेरे लिए छोड़कर गया था | इसमें भगवान श्री कृष्ण के अनेकों रूप, अनेकों भव्य तस्वीरें थी | बड़ी मोहक तस्वीरें थी और बड़ी meaningful तस्वीरें थी | मैंने किताब के पन्ने पलटना शुरू किया, तो मेरी जिज्ञासा जरा और बढ़ गई | जब मैंने इस किताब और उन सारे चित्रों को देखा और उस पर मेरे लिए एक सन्देश लिखा और तो जो वो पढ़ा तो मेरा मन कर गया कि उनसे मैं मिलूँ | जो ये किताब मेरे घर के बाहर छोड़ के चले गए है मुझे उनको मिलना चाहिए | तो मेरी ऑफिस ने उनके साथ संपर्क किया | दूसरे ही दिन उनको मिलने के लिए बुलाया और मेरी जिज्ञासा इतनी थी art-book को देख कर के, श्री कृष्ण के अलग-अलग रूपों को देख करके | इसी जिज्ञासा में मेरी मुलाकात हुई जदुरानी दासी जी से | वे American है, जन्म America में हुआ, लालन-पालन America में हुआ, जदुरानी दासी जी ISKCON से जुड़ी हैं, हरे कृष्णा movement से जुड़ी हुई हैं और उनकी एक बहुत बड़ी विशेषता है भक्ति arts में वो निपुण है | आप जानते हैं अभी दो दिन बाद ही एक सितम्बर को ISKCON के संस्थापक श्रील प्रभुपाद स्वामी जी की 125वीं जयंती है | जदुरानी दासी जी इसी सिलसिले में भारत आई थीं | मेरे सामने बड़ा सवाल ये था कि जिनका जन्म अमेरिका में हुआ, जो भारतीय भावों से इतना दूर रहीं, वो आखिर कैसे भगवान श्रीकृष्ण के इतने मोहक चित्र बना लेती हैं | मेरी उनसे लंबी बात हुई थी लेकिन मैं आपको उसका कुछ हिस्सा सुनाना चाहता हूँ |

PM sir : Jadurani Ji, Hare Krishna!

I have read a little about Bhakti Art but tell our listeners more about it. Your passion and interest towards it is great.

Jadurani Ji : So, bhakti art we have one article in the bhakti art illuminations which explains how this art is not coming from the mind or imagination but it is from the ancient Vedic scriptures like Bhram Sanhita. वें ओंकाराय पतितं स्क्लितं सिकंद, from The Goswami’s of Vrindavan, from the Lord Brahma himself. ईश्वर: परम: कृष्ण: सच्चिदानन्द विग्रह: how He carries the flute, how all of his senses can act for any other sense and Srimad bhagwatam (TCR 9.09) बर्हापींड नटवरवपुः कर्णयो: कर्णिकारं everything, He wears a karnika flower on his ear, He makes the impression of His Lotus feet all over the land of Vrindavan, the cow herds voicing of his Glories, His flute attracts the hearts and minds of all fortunate beings. So everything is from ancient Vedic scriptures and the power of these scriptures which are coming from transcendental personalities and the pure devotees who are bringing it the art has their power and that’s why its transformational, it is not my power at all.

PM Sir: Jadurani ji, I have different type of question for you. Since 1966 in a way and from 1976 physically you have been associated with India for long, will you please tell me what does India mean to you?

Jadurani Ji: Prime minister ji, India means everything to me. I was mentioning I think to the honourable president a few days ago that India has come up so much in technical advancement and following the west very well with Twitter and Instagram and iPhones and Big buildings and so much facility but I know that, that’s not the real glory of India. What makes India glorious is the fact that Krishna himself the avatari appeared here and all the avatars appeared here, Lord Shiva appeared here, Lord Ram appeared here, all the holy rivers are here, all the holy places of Vaishnav culture are here and so India especially Vrindavan is the most important place in the universe, Vrindavan is the source of all the Vaikunth planets, the source of Dwarika, the source of the whole material creation, so I love India. PM Sir: Thank You Jadurani Ji. Hare Krishna!

साथियो, दुनिया के लोग जब आज भारतीय अध्यात्म और दर्शन के बारे में इतना कुछ सोचते हैं, तो हमारी भी ज़िम्मेदारी है कि हम अपनी इन महान परम्पराओं को आगे लेकर जाएँ | जो कालबाह्यी है उसे छोड़ना ही है लेकिन जो कालातीत है उसे आगे भी ले जाना है | हम अपने पर्व मनाएँ, उसकी वैज्ञानिकता को समझे, उसके पीछे के अर्थ को समझे | इतना ही नहीं हर पर्व में कोई न कोई सन्देश है, कोई-न-कोई संस्कार है | हमें इसे जानना भी है, जीना भी है और आने वाली पीढ़ियों के लिए विरासत के रूप में उसे आगे बढ़ाना भी है | मैं एक बार फिर सभी देशवासियों को जन्माष्टमी की बहुत-बहुत शुभकामनाएँ देता हूँ |

मेरे प्यारे देशवासियो, इस कोरोना कालखंड में स्वच्छता के विषय में मुझे जितनी बातें करनी चाहिए थी लगता है शायद उसमें कुछ कमी आ गई थी | मुझे भी लगता है कि स्वच्छता के अभियान को हमें रत्ती भर भी ओझल नहीं होने देना है | राष्ट्र निर्माण के लिए सबका प्रयास कैसे सबका विकास करता है इसके उदाहरण हमें प्रेरणा भी देते हैं और कुछ करने के लिए एक नई ऊर्जा भर देते हैं, नया विश्वास भर देते हैं, हमारे संकल्प में जान फूँक देते हैं | हम ये भलीभांति जानते हैं कि जब भी स्वच्छ भारत अभियान की बात आती है तो इंदौर का नाम आता ही आता है क्योंकि इंदौर ने स्वच्छता के संबंध में अपनी एक विशेष पहचान बनाई है और इंदौर के नागरिक इसके अभिनन्दन के अधिकारी भी है | हमारा ये इंदौर कई वर्षों से ‘स्वच्छ भारत रैंकिंग’ में पहले नम्बर पर बना हुआ है | अब इंदौर के लोग स्वच्छ भारत के इस रैंकिंग से संतोष पा कर के बैठना नहीं चाहते हैं वे आगे बढ़ना चाहते हैं, कुछ नया करना चाहते हैं | और उन्होंने क्या मन में ठान ली है, उन्होंने ‘Water Plus City’, बनाए रखने के लिए जी जान से जुटे हुए है | ‘Water Plus City’ यानी ऐसा शहर जहाँ बिना treatment के कोई भी सीवेज किसी सार्वजनिक जल स्त्रोत में नहीं ड���ला जाता | यहाँ के नागरिकों ने खुद आगे आकर अपनी नालियों को सीवर लाइन से जोड़ा है | स्वच्छता अभियान भी चलाया है और इस वजह से सरस्वती और कान्ह नदियों में गिरने वाला गन्दा पानी भी काफी कम हुआ है और सुधार नज़र आ रहा है | आज जब हमारा देश आजादी का अमृत महोत्सव मना रहा है तो हमें ये याद रखना है कि स्वच्छ भारत अभियान के संकल्प को हमें कभी भी मंद नहीं पड़ने देना है | हमारे देश में जितने ज्यादा शहर ‘Water Plus City’ होंगे उतना ही स्वच्छता भी बढ़ेगी, हमारी नदियाँ भी साफ होंगी और पानी बचाने की एक मानवीय जिम्मेवारी निभाने के संस्कार भी होंगे |

साथियो, मेरे सामने एक उदाहरण बिहार के मधुबनी से आया है | मधुबनी में डॉक्टर राजेन्द्र प्रसाद कृषि विश्वविद्यालय और वहाँ के स्थानीय कृषि विज्ञान केंद्र ने मिलकर के एक अच्छा प्रयास किया है | इसका लाभ किसानों को तो हो ही रहा है, इससे स्वच्छ भारत अभियान को भी नई ताकत मिल रही है | विश्वविद्यालय की इस पहल का नाम है – “सुखेत मॉडल” सुखेत मॉडल का मकसद है गाँवों में प्रदूषण को कम करना | इस मॉडल के तहत गाँव के किसानों से गोबर और खेतों–घरों से निकलने वाला अन्य कचरा इकट्ठा किया जाता है और बदले में गाँव वालों को रसोई गैस सिलेंडर के लिए पैसे दिये जाते हैं | जो कचरा गाँव से एकत्रित होता है उसके निपटारे के लिए vermi compost बनाने का भी काम किया जा रहा है | यानी सुखेत मॉडल के चार लाभ तो सीधे-सीधे नजर आते हैं | एक तो गाँव को प्रदूषण से मुक्ति, दूसरा गाँव को गन्दगी से मुक्ति, तीसरा गाँव वालों को रसोई गैस सिलेंडर के लिए पैसे और चौथा गाँव के किसानों को जैविक खाद | आप सोचिए, इस तरह के प्रयास हमारे गाँवों की शक्ति कितनी ज्यादा बढ़ा सकते हैं | यही तो आत्मनिर्भरता का विषय है | मैं देश की प्रत्येक पंचायत से कहूंगा कि ऐसा कुछ करने का वो भी अपने यहाँ जरुर सोचें | और साथियो, जब हम एक लक्ष्य लेकर निकल पड़ते हैं न तो नतीजों का मिलना निश्चित होता है | अब देखिये न हमारे तमिलनाडु में शिवगंगा जिले की कान्जीरंगाल पंचायत | देखिये इस छोटी सी पंचायत ने क्या किया, यहाँ पर आपको वेस्ट से वेल्थ का एक और मॉडल देखने को मिलेगा | यहाँ ग्राम पंचायत ने स्थानीय लोगों के साथ मिलकर कचरे से बिजली बनाने का एक लोकल प्रोजेक्ट अपने गाँव में लगा दिया है | पूरे गाँव से कचरा इकट्ठा होता है, उससे बिजली बनती है और बचे हुए products को कीटनाशक के रूप में बेच भी दिया जाता है | गाँव के इस पॉवर प्लांट की क्षमता प्रतिदिन दो टन कचरे के निस्तारण की है | इससे बनने वाली बिजली गाँव की streetlights और दूसरी जरूरतों में उपयोग हो रही है | इससे पंचायत का पैसा तो बच ही रहा है वो पैसा विकास के दूसरे कामों में इस्तेमाल किया जा रहा है | अब मुझे बताइये, तमिलनाडु के शिवगंगा जिले की एक छोटी सी पंचायत हम सभी देशवासियों को कुछ करने की प्रेरणा देती है कि नहीं देती है | कमाल ही किया है न इन्होंने |

मेरे प्यारे देशवासियो, ‘मन की बात’ अब भारत की सीमाओं तक सीमित नहीं रही है | दुनिया के अलग-अलग कोने में भी ‘मन की बात’ की चर्चा होती है | और विदेशों में रहने वाले हमारे भारतीय समुदाय के लोग हैं वे भी मुझे बहुत सी नई-नई जानकारियाँ देते रहते हैं | और मुझे भी कभी-कभी ‘मन की बात’ में विदेशों में जो अनोखे कार्यक्रम चलते है उसकी बातें आपके साथ शेयर करना अच्छा लगता है | आज भी मैं आपका कुछ ऐसे लोगों से परिचय कराउंगा लेकिन उससे पहले मैं आपको एक audio सुनाना चाहता हूँ | थोड़ा गौर से सुनिएगा | नमोनमः सर्वेभ्यः | मम नाम गङ्गा | भवन्तः शृण्वन्तु रेडियो-युनिटी-नवति-एफ्.एम् –‘एकभारतं श्रेष्ठ-भारतम्’ | अहम् एकतामूर्तेः मार्गदर्शिका एवं रेडियो-युनिटी-माध्यमे आर्.जे. अस्मि | अद्य संस्कृतदिनम् अस्ति | सर्वेभ्यः बहव्यः शुभकामनाः सन्ति| सरदार-वल्लभभाई-पटेलमहोदयः ‘लौहपुरुषः’ इत्युच्यते | २०१३-तमे वर्षे लौहसंग्रहस्य अभियानम् प्रारब्धम् | १३४-टन-परिमितस्य लौहस्य गलनं कृतम् | झारखण्डस्य एकः कृषकः मुद्गरस्य दानं कृतवान् | भवन्तः शृण्वन्तु रेडियो-युनिटी-नवति-एफ्.एम् –‘एकभारतं श्रेष्ठ-भारतम्’ |

साथियो, भाषा तो आप समझ गए होंगे | ये radio पर संस्कृत में बात की जा रही है और जो बात कर रही हैं, वो हैं RJ गंगा | RJ गंगा, गुजरात के Radio Jockeys के group की एक सदस्य हैं | उनके और भी साथी हैं, जैसे RJ नीलम, RJ गुरु और RJ हेतल | ये सभी लोग मिलकर गुजरात में, केवड़िया में इस समय संस्कृत भाषा का मान बढ़ाने में जुटे हुए हैं | और आपको मालूम है न ये केवड़िया वही है जहाँ दुनिया का सबसे ऊँचा statue, हमारे देश का गौरव, Statue of Unity जहाँ पर है, उस केवड़िया की मैं बात कर रहा हूँ | और ये सब ऐसे Radio Jockeys हैं, जो एक साथ कई भूमिकाएं निभाते हैं | ये guide के रूप में भी अपनी सेवा देते हैं, और साथ-साथ Community Radio Initiative, Radio Unity 90 FM, उसका संचालन भी करते हैं | ये RJs अपने श्रोताओं से संस्कृत भाषा में बात करते हैं, उन्हें संस्कृत में जानकारी उपलब्ध कराते हैं |

साथियो, हमारे यहाँ संस्कृत के बारे में कहा गया है –

अमृतम् संस्कृतम् मित्र, सरसम् स��लम् वचः | एकता मूलकम् राष्ट्रे, ज्ञान विज्ञान पोषकम् |

अर्थात, हमारी संस्कृत भाषा सरस भी है, सरल भी है |

संस्कृत अपने विचारों, अपने साहित्य के माध्यम से ये ज्ञान विज्ञान और राष्ट्र की एकता का भी पोषण करती है, उसे मजबूत करती है | संस्कृत साहित्य में मानवता और ज्ञान का ऐसा ही दिव्य दर्शन है जो किसी को भी आकर्षित कर सकता है | हाल ही में, मुझे कई ऐसे लोगों के बारे में जानने को मिला, जो विदेशों में संस्कृत पढ़ाने का प्रेरक कार्य कर रहे हैं | ऐसे ही एक व्यक्ति हैं श्रीमान् रटगर कोर्टेनहॉर्स्ट, जो Ireland में संस्कृत के जाने-माने विद्वान और शिक्षक हैं और वहाँ के बच्चों को संस्कृत पढ़ाते हैं | इधर हमारे यहाँ पूरब में भारत और Thailand के बीच सांस्कृतिक संबंधों की मजबूती में संस्कृत भाषा की भी एक अहम भूमिका है | डॉ. चिरापत प्रपंडविद्या और डॉ. कुसुमा रक्षामणि, ये दोनों Thailand में संस्कृत भाषा के प्रचार-प्रसार में बहुत महत्वपूर्ण भूमिका निभा रहे हैं | उन्होंने थाई और संस्कृत भाषा में तुलनात्मक साहित्य की रचना भी की है | ऐसे ही एक प्रोफेसर है, श्रीमान बोरिस जाखरिन, Russia में Moscow State University में ये संस्कृत पढ़ाते हैं | उन्होंने कई शोध पत्र और पुस्तकें प्रकाशित की हैं | उन्होंने कई पुस्तकों का संस्कृत से रुसी भाषा में अनुवाद भी किया है | इसी तरह Sydney Sanskrit School, Australia के उन प्रमुख संस्थानों में से एक है, जहाँ विद्यार्थियों को संस्कृत भाषा पढ़ाई जाती है | ये school बच्चों के लिए Sanskrit Grammar Camp, संस्कृत नाटक और संस्कृत दिवस जैसे कार्यक्रमों का भी आयोजन भी करते हैं |

साथियो, हाल के दिनों में जो प्रयास हुए हैं, उनसे संस्कृत को लेकर एक नई जागरूकता आई है | अब समय है कि इस दिशा में हम अपने प्रयास और बढाएं | हमारी विरासत को संजोना, उसको संभालना, नई पीढ़ी को देना ये हम सब का कर्तव्य है और भावी पीढ़ियों का उस पर हक भी है | अब समय है इन कामों के लिए भी सबका प्रयास ज्यादा बढ़े | साथियो, अगर आप इस तरह के प्रयास में जुटे ऐसे किसी भी व्यक्ति को जान���े हैं, ऐसी किसी जानकारी आपके पास है तो कृपया #CelebratingSanskrit के साथ social media पर उनसे संबंधित जानकारी जरुर साझा करें |

मेरे प्यारे देशवासियो, अगले कुछ दिनों में ही ‘विश्वकर्मा जयंती’ भी आने वाली है | भगवान विश्वकर्मा को हमारे यहाँ विश्व की सृजन शक्ति का प्रतीक माना गया है | जो भी अपने कौशल्य से किसी वस्तु का निर्माण करता हैं, सृजन करता है, चाहे वो सिलाई-कढ़ाई हो, software हो या फिर satellite, ये सब भगवान विश्वकर्मा का प्रगटीकरण है | दुनिया में भले skill की पहचान आज नए तरीके से हो रही है, लेकिन हमारे ऋषियों ने तो हजारों सालों से skill और scale पर बल दिया है | उन्होंने skill को, हुनर को, कौशल को, आस्था से जोड़कर हमारे जीवन दर्शन का हिस्सा बना दिया है | हमारे वेदों ने भी कई सूक्त भगवान विश्वकर्मा को समर्पित किए हैं | सृष्टि की जितनी भी बड़ी रचनाएँ हैं, जो भी नए और बड़े काम हुए हैं, हमारे शास्त्रों में उनका श्रेय भगवान विश्वकर्मा को ही दिया गया है | ये एक तरह से इस बात का प्रतीक है कि संसार में जो कुछ भी development और innovation होता है, वो skills के जरिए ही होता है | भगवान विश्वकर्मा की जयंती और उनकी पूजा के पीछे यही भाव है | और हमारे शास्त्रों में ये भी कहा गया है – विश्वस्य कृते यस्य कर्मव्यापारः सः विश्वकर्मा |

अर्थात, जो सृष्टि और निर्माण से जुड़े सभी कर्म करता है वह विश्वकर्मा है | हमारे शास्त्रों की नजर में हमारे आस-पास निर्माण और सृजन में जुटे जितने भी skilled, हुनरमंद लोग हैं, वो भगवान विश्वकर्मा की विरासत हैं | इनके बिना हम अपने जीवन की कल्पना भी नहीं कर सकते | आप सोचकर देखिए, आपके घर में बिजली की कुछ दिक्कत आ जाए और आपका कोई electrician ना मिले तो क्या होगा? आपके सामने कितनी बड़ी परेशानी आ जाएगी | हमारा जीवन ऐसे ही अनेकों skilled लोगों की वजह से चलता है | आप अपने आस-पास देखिए, लोहे का काम करने वाले हों, मिट्टी के बर्तन बनाने वाले हों, लकड़ी का सामान बनाने वाले हो, बिजली का काम करने वाले हों, घरों में पेंट करने वाले हों, सफाईकर्मी हों, या फिर mobile-laptop का repair करने वाले ये सभी साथी अपनी skill की वजह से ही जाने जाते हैं | आधुनिक स्वरूप में ये भी विश्वकर्मा ही हैं | लेकिन साथियों इसका एक और पहलू भी है और वो कभी-कभी चिंता भी कराता है, जिस देश में, जहाँ की संस्कृति में, परंपरा में, सोच में, हुनर को, skill manpower को भगवान विश्वकर्मा के साथ जोड़ दिया गया हो, वहाँ स्थितियाँ कैसे बदल गई, एक समय, हमारे पारिवारिक जीवन, सामाजिक जीवन, राष्ट्र जीवन पर कौशल्य का बहुत बड़ा प्रभाव रहता था | लेकिन गुलामी के लंबे कालखंड में हुनर को इस तरह का सम्मान देने वाली भावना धीरे-धीरे विस्मृत हो गई | सोच कुछ ऐसी बन गई कि हुनर आधारित कार्यों को छोटा समझा जाने लगा | और अब आज देखिए, पूरी दुनिया सबसे ज्यादा हुनर यानि skill पर ही बल दे रही है | भगवान विश्वकर्मा की पूजा भी सिर्फ औपचारिकताओं से ही पूरी नहीं हुई | हमें हुनर को सम्मान देना होगा, हुनरमंद होने के लिए मेहनत करनी होगी | हुनरमंद होने का गर्व होना चाहिए | जब हम कुछ ना कुछ नया करें, कुछ Innovate करें, कुछ ऐसा सृजित करें जिससे समाज का हित हो, लोगों का जीवन आसान बने, तब हमारी विश्वकर्मा पूजा सार्थक होगी | आज दुनिया में skilled लोगों के लिए अवसरों की कमी नहीं है | प्रगति के कितने सारे रास्ते आज skills से तैयार हो रहे हैं | तो आइये, इस बार हम भगवान विश्वकर्मा की पूजा पर आस्था के साथ-साथ उनके संदेश को भी अपनाने का संकल्प करें | हमारी पूजा का भाव यही होना चाहिए कि हम skill के महत्व को समझेंगे, और skilled लोगों को, चाहे वो कोई भी काम करता हो, उन्हें पूरा सम्मान भी देंगे |

मेरे प्यारे देशवासियो, ये समय आजादी के 75वें साल का है | इस साल तो हमें हर दिन नए संकल्प लेने हैं, नया सोचना है, और कुछ नया करने का अपना जज्बा बढ़ाना है | हमारा भारत जब आजादी के सौ साल पूरे करेगा, तब हमारे ये संकल्प ही उसकी सफलता की बुनियाद में नज़र आएंगे | इसलिए, हमें ये मौका जाने नहीं देना है | हमें इसमें अपना ज्यादा से ज्यादा योगदान देना है | और इन प्रयासों के बीच, हमें एक बात और याद रखनी है | दवाई भी, कड़ाई भी | देश में 62 करोड़ से ज्यादा vaccine की dose दी जा चुकी है लेकिन फिर भी हमें सावधानी रखनी है, सतर्कता रखनी है | और हाँ, हमेशा की तरह, जब भी आप कुछ नया करें, नया सोचें, तो उसमें मुझे भी जरूर शामिल करिएगा | मुझे आपके पत्र और messages का इंतज़ार रहेगा | इसी कामना के साथ, आप सभी को आने वाले पर्वों की एक बार फिर ढेरों बधाइयाँ | बहुत-बहुत धन्यवाद |

नमस्कार !

[heyitsemilykeiner-blog]

Blog Post #3

We have been exploring a variety of topics in our course “The Power of Music” that have hopefully asked you to WONDER about our diverse and changing world. Now it is time for you work to construct an argument paper by first developing a working thesis. 

Write your potential thesis statement down. (or topic idea if it is not a thesis yet.) I am very intrigued by the idea of studying the effects of music on the human brain. Performing versus listening to different genres and how that might have different effects on the brain. 

Google search key terms from this and see what pops up. Describe some of these initial findings. Does it seem like you might be onto something? Do any of these have works cited or bibliographies or seem to be referencing more scholarly work? Post a video or article you found that interests you the most and you want me to know about.     https://itssaraglows.wordpress.com/2016/05/16/how-music-genres-affect-the-brain/  This article discusses different genres of music and how they affect the brain and thus create different moods and/or behaviors. It also shows how the brain processes music. 

Has your thesis evolved at all from this initial search?  Yes, I am very interested in how the brain processes music as well now. I believe the brain processes different genres of music in different ways, thus creating a certain mood when listening to a certain type of music.

Chapters 7 and 8

Do you think music is part of being human? (cite evidence from the reading). I believe that music is part of being human. Since the beginning of time, humans have used different forms of expression to make music. They used instruments, voices, and dancing to make music before they even knew they were making “music”. Also, music is so universal that a variety of people can listen to the same piece and enter into the artists’ world. As Stephen Mithen said when listening to music made by Amazonians: “I can enter into their musical world. And yet, if I listen to them speak, I have no idea what they’re speaking about.”

How did Mannes transition from Chapter 7 to 8? Was it effective? Why or why not? She ends chapter 7 discussing how physics and math and biology are all included when discussing the origins of music, specifically one scientist who questions: “How can we respond so emotionally and so intuitively to music if it isn’t something that’s really deeply embedded in our biology?” Then opening chapter 8 by talking about discoveries in Germany of ancient instruments. Some experts say that the instruments that were found were more technologically advanced than modern instruments. 

Given that we have no recordings or written evidence of ancient music or language, what evidence are experts using to hypothesize about how music and language functioned in society. (at least 3 examples). The ancient flute they discovered is a good example of an instrument that was used ages ago. Also, Mithen’s theory that before language there were different musical phrases for certain phrases like “we’ll go hunting” expressed with different pitches and/or rhythms. And building off of that, Parsons and Brown hypothesize that “body percussion” is what began the evolution of dance, that humans first dance moves were thigh slaps and beating the chest. 

[wolfy58]

1839 August Tuesday 20

Got up 4 ¼   Went to bed 10 35/..

Fine morning F 58º, at 5 a.m. good beds and slept well –  everywhere good beds however small – mine large last night – pulled out 1/3 of its length – they generally pull out breadthwise – Ӧrebrö a nice neat and, for Sweden, very good town – 2 little gateways (2 square posts) at each end of the town – the church large and neat and good – the pillars inside gilded in imitation of fluting – a large plain bounded in extremis in the great distance by wooded hill – the plain as seen from top of the church clear (i.e. of large and small boulder stones) except 2 or 3 patches – corn and grass – oats and rye and barley the greater part cut and in stook or hung round poles to dry as near Drammen –  

Off from Ӧrebrö at 5 ¼ putting my watch ¼ hour forward not much wood till Glanshammar at 6 52/.. single house neat and good, with several outbuildings – might have slept here very well – nice foresty drive from Glanshammar sun now at 8 and very fine morning no very large fir timber – the trees to be cut down everywhere where we have yet been before they can attain any great size – I should suppose cut down every 40 or 50 years at most – the timber was nowhere large that we saw growing in Norway but about Bolkesoe larger than here – forest almost all the way – at 8 ¾ nice peeps thro’ the forest on a good looking town? at 8 50/.. cross wooden bridge over good river –

At 9 3/60 at the Station good house Fellingsbro one might sleep very well – merely the house and many farm-buildings – it must have been the town that we passed peeped at (left) thro’ the vistas in the narrow strip of forest at 8 ¾ –  off in 10 minutes at 9 13/.. – breakfast at 9 ¼ Adney on biscuit and gingerbread I on bread and candied lemon – Little bit of chaos (big pieces large pieces of rock piled on each other) and afterwards plots of big boulder (always granite?) encumbered ground – in the ældsta (oldest time) the country must have been almost one sweep of chaos with few clear spots till the the hand of man had cleared them and many large masses of rock hereabouts still lying amid the corn – this the case more or less (and with greater or less sized stones) almost everywhere here – several people ploughing this stage with 2 oxen and harrowing with 2 oxen to each pair of harrows –

Enter the gateway (2 square posts – no gate – as usual) of Arboga at 10 23/.. and at 10 26/.. at the station nice neat clean looking house where one might sleep very well – one long not over wide neat, picturesque street, just after entering, corn in stook left side the street.

                     both ploughs and harrows very small and oxen too –  

Arboga nice little town – some lateral streets – neat good church with tall spire – stone body of church and tower, except the top part which is brick just under the setting on of the shingle covered spire – this church smaller and more village like than that at Ӧrebrö

The bookseller at Göteborg advised our going by water from here to Stockholm – steamers every day – cannot see the river or lake yet – but here just out of Arboga one valley maybe perhaps 2 English miles wide formed by a range of lowish round fir covered hill on each side but soon widens out largely on the left – sandy soil – but good road –  the road 2 or 3 stages was heavy in consequence of the great deal of rain but otherwise very fairly good all along – here very good – as good as the best in England – but narrow as all the roads are –  our 4 horses abreast take up nearly the whole breadth about 12 English feet wide – a Dutch barn just out of Arboga and I have seen another or 2 this morning – manure lying here and in several places this morning on the new ploughed land about the quantity we should put on for potatoes – William knows not what they are going to sow or plant – have only one little plot of turnips (yesterday morning) in Sweden – none to be had to eat for us, at the Inns   

one observes the little beds – the convenient many seated –               

the fences   the splittings (slivings as Robert Mann would call them) laid here and elsewhere horizontally but in many places at an angle of 45º

the corn hung on tall stakes to dry –

and the peas and beans hung on roof-like racks to dry

Everywhere the people gathering their line – have seen very little if any hemp in Sweden –

the pigsties opening into a sort of hut as at Cållängen on Sunday morning and elsewhere (vide p. 54 at the bottom)

observe the red wood-houses and picturesque small cottages

many sorts of bread

the little fresh fish that is to be had considering the quantity of water 

Tis the country of chaos and big boulders fir birch and juniper

pancakes and cranberry, bilberry, cloudberry i.e. blau berry – and the berry we got at Bolkesoe vide     

I have only seen apple trees (with apples on them) only 2 or 3 times – more cherry trees – plenty of gooseberry trees and gooseberries in the market at Göthenburg (had them one day but not very good –  

Forest again at 11 35/.. (clear from Arboga that is for an hour) – now a very little of forest at 11 40/.. 2 horses at a large wooden roller and 4 oxen at a cogging machine yoked to the broad side of this sort of narrow heavy sledge to break the clods of sand – chaos-y ground again and little hamlets

Köping at 12 10/.. largeish town we had to go in and out to the station in the square – large newly white washed good church – little river – at the end of the town 2 men thrashing long flail with weight at the end – rocks –  from Köping to Kölback not much forest and much big boulder and rock encumbered ground amid the cultivation – cross wood and stone bridge over the canal, does not they say, go far, and immediately the Kölback station at 2 p.m. nice red wood house 1 story high and room above in the roof with 2 windows at the end and a cottage or perhaps 2 near – might sleep here I should think very well – several farm buildings – very fine day –

I reading Handbook and Adney Encyclopaedia of geography – vide these the account of Westerås, the sea[t] of the most important bishoprick in Sweden – 1 long street above 2 English miles long a few church steeples seen now – there during today –

                     among the observations (vide end of last book today, 20 August) note the            wartiness (green grass covered boulder stones) of the moors and pastures – very                   little forest from Kölback – wide open countrys

Valet de Place vide page 126 Handbook Andrew Bergland.    

At 3 53/.. 1st view of Malar Lake from the sandy chaosy rock and boulder covered plain and ploughed land corn and pasture – two men riding on a seat over each one’s big wood roller – each drawn by 2 little oxen – the tall spire of Westerås church peeping up in front of us – the opposite side the lake beautifully pine-wooded apparently to the water’s edge – Adney and I alighted at 4 5/.. and walked 10 minutes till got in again close to the town gate (2 square gate posts) – the  lake islands and beautiful the prettiest scene we have seen since Christiania – enter the town gate at 4 16/.. alight at the Westerås hotel at 4 21/.. out at 5 to the church 20 minutes there – nothing particular went up for the view at 5 – could not get higher than the bells and could not there see well out of the windows – but the view over the islands wooded lake very beautiful – 20 minutes there – then walked about the town

twenty five minutes at necessary with Adney

came in at 7 40/.. at the little port 5 largish vessels there and a steamer large casks of tallow etc. and pig iron and iron ore – the carriage driving foot board must be readjusted tomorrow morning –dinner at 8 in ¾ hour – then had Grotza – then till 10 wrote out the last 22 lines

 In margin:    Beds

timber not large

Chaos.

Arboga

Roads good but narrow

no turnips

page 51.  

Observations vide.

page 54,

chaosy just out of Köping        

Westerås

very fine day F 64º at 10 p.m.