#darcy james argue's secret society

[nonesuchrecords]

Slate's Best Jazz Albums of 2023 include Cécile McLorin Salvant’s Mélusine ("The greatest jazz singer (one of the greatest singers, period) of our time, so it would top the list of any musical genre (or come close) … It's adventurous, witty, alternately joyful, tragic, and melancholy … and in all cases gorgeous."), Darcy James Argue's Secret Society's Dynamic Maximum Tension ("One of the era's top big-band composers … best to date: a work of stunning eclecticism and complexity, but thoroughly accessible, elastic with swing."), and Brad Mehldau's Your Mother Should Know ("This may be the only jazz album of Beatles songs that works … Mehldau—a pianist of pristine touch, dexterous rhythm, and a peerlessly colorful harmonic sense … a delight and a triumph."). You can find the complete list here.

[burlveneer-music]

Darcy James Argue's Secret Society - Dynamic Maximum Tension

The album pays homage to some of Argue’s key influences with original songs dedicated to R. Buckminster Fuller, Alan Turing, and Mae West. Fellow Nonesuch artist Cécile McLorin Salvant, with whom Argue collaborated on her long-form musical fable Ogresse, joins the ensemble for “Mae West: Advice.” Dynamic Maximum Tension’s eleven tracks, on two CDs, also include a response to Duke Ellington’s “Diminuendo and Crescendo in Blue,” titled “Tensile Curves,” among other original songs.

[reubenhernandez]

Grammy Award Nomination for Dynamic Maximum Tension

Congrats to Darcy James Argue’s Secret Society for their fourth Grammy Award nomination for Dynamic Maximum Tension in the Best Large Jazz Ensemble Album category! Reuben directed both the behind the scenes video for Dynamic Maximum Tension and the music video for “Dymaxion”, the opening track on the album. We’re so honored to have worked on this project and you can watch both videos below. The Grammy Awards will take place Sunday, February 4, 2024.

[donospl]

Europe Jazz Media Chart - Październik 2023

Wybór nowości muzycznych, które pojawiły się w bieżącym miesiącu, dokonany przez grupę czołowych europejskich magazynów i witryn jazzowych. A selection of the hot new music surfacing across the continent this month by the top European jazz magazines and websites. Gard Nilssen’s Supersonic Orchestra «Family» (WeJazz) Krzysztof Komorek, Donos kulturalny, Polska Gard Nilssen’s Supersonic…

[jmuscara-blog-blog]

I knew I’d forget some albums in my post about My Favorite Jazz Albums of 2023. There was also Dynamic Maximum Tension by Darcy James Argue’s Secret Society and Phoenix by Lakecia Benjamin. I was reminded of both by Downbeat’s article about the Grammy nominations. I have since updated the post.

[aporias]

Darcy James Argue's Secret Society - Dymaxion (Official Video)

[mosaicrecords]

The Big Band Rises Again

Since the end of the Swing era, musicians have been organizing rehearsal big bands to write and play the music they aspired to. Some like Gerald Wilson’s and the Thad Jones/Mel Lewis Orchestra evolved into bands that toured and recorded. Others, like those of Gene Roland, Dan Terry and Kenny Dorham and Joe Henderson, remained the stuff of legends. In this New York Times piece, Giovani Russonello explores all the new young big bands in Brooklyn and Manhattan playing for the sheer joy and artistry of the music.

-Michael Cuscuna

Read and listen… Follow: Mosaic Records Facebook Tumblr Twitter

[musicwithoutborders]

Darcy James Argue's Secret Society,  Interlude No. 4. Bewail · Brooklyn Babylon, 2013

[gordsellar]

Man, I cannot believe it took until now for me hear about Darcy James Argue’s Secret Society. (I know, I haven’t been paying, but it’s not THAT secret, is it?) Great stuff! 

[onett199x]

Darcy James Argue’s Secret Society | Brooklyn Babylon

My second big band odyssey continues with the second album by Darcy James Argue’s Secret Society, Brooklyn Babylon.  Despite featuring the same composer and most of the same musicians, this album is TOTALLY different from their most recent album, Real Enemies.  Where Real Enemies uses music reminiscent of 60s spy movies and different forms of world music like Afro-Cuban, as well as some elements of funk, Brooklyn Babylon relies more heavily on Balkan/Eastern European music than any other major influence outside of big band jazz/progressive big band.  Of course, this album has another unique facet to it, which is that it is a score that is actually set to a multimedia performance, with a plot and everything.  Listening to this album is like listening to the instrumental part of the score to a musical - between the music and the tune names, you can kind of grasp the overall plot, but without knowing the lyrics or seeing the actual performance, you do kind of miss out.  Unfortunately, the visual performance that goes with this is something I haven’t seen, so I had to go by the very brief plot summary on the album’s liner notes.  Despite the lack of context, this is still a solid album, although I do think I like Real Enemies better.  This album reminds me more of Maria Schneider at certain points (especially on some of the louder, busier tracks) than Real Enemies, and there’s nothing wrong with sounding like Maria Schneider.

Anyway, Darcy James Argue has one other album that I don’t know too much about, so I’ll probably check that one out at some point as well.

[nonesuchrecords]

Darcy James Argue’s Secret Society performs the Dynamic Maximum Tension album track “Dymaxion”—a portmanteau of the album title—from the song’s recording session. You can pre-order the album, due September 8, here.

[burlveneer-music]

My WVUD playlist and stream, 9/25/2023

Steven Wilson - Impossible Tightrope Paraskeva - Alekseevskaya Darcy James Argue's Secret Society - Ferromagnetic Date Course Pentagon Royal Garden - Circle / Line ~Hard Core Peace The Mars Volta - Day of the Baphomets Polytheistic Ensemble - Bait+ Light - Blue Sun Rhûn - Sédalg Rhëvé TROKER - Pueblo de Brujos

[jgthirlwell]

playlist 4.27.17

Emptyset Borders (Thrill Jockey) Phew Light Sleep (Mesh Key) Mivos Quartet Garden Of Diverging Paths (New Focus) Siri Karlsson Gran Fuego (Flora Fauna) Matthew Welch Luminosity (Porter) Geir Lysne Listening Ensemble Boahjenastii - The North Star (The Act Company) Darcy James Argue Secret Society Real Enemies (New Amsterdam) James Johnston The Starless Room (Clouds Hill) Panzerballett Tank Goodness (UDIO) Actress AZD (Ninja Tune) Bruno Sanfillippo  InTRO (Bandcamp) Celer Another Blue Day  (Bandcamp) Ellen Arkbro For Organ And Brass (Subtext) Elvis Costello Armed Forces (Rykodisc) Nathan Fake Providence (NInja Tune)

[reubenhernandez]

Darcy James Argue's Secret Society - Dynamic Maximum Tension - Behind the Scenes

Take a look behind the scenes of the making of 'Dynamic Maximum Tension,' the new album by three-time Grammy Award nominated Darcy James Argue’s Secret Society, due September 8 on Nonesuch Records. Directed by Reuben Hernandez Music composed by Darcy James Argue Filmed on location at Power Station at BerkleeNYC

[astraea802]

I don’t know if either interpretation is always true. But in terms of media that more accurately reflects what OP is saying, I would argue Jane Austen depicted the most realistic sibling dynamics, with a mix of elder sibling portrayals shaped by their levels of responsibility.

(Oh boy, this is gonna turn into an essay, so thoughts below)

In a society where eldest sons in rich families automatically inherited the father’s estate and didn’t have to make a living, the eldest sons in Austen’s stories often became haughty, or at least made poor decisions.   Edward Ferrars in S&S got into a secret engagement with the frivolous Lucy Steele (he full out admits that if he’d had to make a living he might not have made that mistake). John Dashwood, Tom Bertram, and Captain Frederick Tilney were varying degrees of jerks. The only exception for rich older brothers is Mr. Darcy, but I suspect since his parents died so young that greatly affected his character and sense of responsibility for his little sister. EDIT: Even at that, Darcy still comes across as arrogant at first, until Lizzie sets him straight. For poorer older brothers, who tended to be siblings of the main characters, Austen is much kinder, but doesn’t show as much of them: James Morland, while he fell in with a morally ambiguous crowd, is a sweet brother from what little we see of him, and William Price is beloved by Fanny, with a steady role in the Navy. But both had to make something of themselves in a way the richer brothers didn’t, which I think is where the protective older brother archetype is more likely to come from.

Eldest daughter duties would depend on the class in Austen times. In poorer families, eldest daughters likely did take on some childrearing because the parents had to work, and they tended to have larger families in general. But in richer families, there were often fewer children to care for, and they could hire governesses and such. In any case, all were expected to wed in order to make anything of themselves, and in some cases younger daughters would not be allowed into society until the oldest daughters were wed. Perhaps because Austen herself was closest with her older sister Cassandra, we get a mix of different eldest daughters, whose personalities are perhaps shaped by their level of responsibility. Some, like Fanny Price, Jane Bennet, Elinor Dashwood, and Catherine Morland are portrayed as perfectly sweet and responsible. Elinor and Fanny in particular really suffer from their responsibilities, but are seen as better people for it and earn their happy endings. Charlotte Lucas, while initially portrayed as wrong for marrying Mr. Collins for money, is in the end portrayed sympathetically for making a less ideal choice that will save her and her family from poverty. These were all lower-to-middle class daughters, whose had to help out their parents and siblings more.  But other older sisters, particularly from rich families, do not turn out as well in Austenland. Maria Bertram constantly competes with her younger sister for Henry Crawford before commiting adultery and ruining herself. Elizabeth Elliot very much falls into the haughty archetype, constantly overlooking her younger sister Anne. Louisa Musgrove is headstrong and nearly gets herself killed. Isabella Thorpe, while not rich, has clearly been impressed upon to social climb through marriage, particularly with her father gone, and manipulates Catherine and James before running to Frederick Tilney, only to realize he would never propose to her.  Like rich elder brothers, they seem more likely to ruin themselves, if only because they haven’t had the same obligations within their families. (The only exception here is Isabella Knightley, who while rich is shown as a caring mother, if a bit of a hypochondriac like her father. But since she was married before the start of the story, her responsibilities to take care of her father essentially transferred to Emma)

So, through Austen’s lens at least, elder siblings are shaped by circumstance as much as by birth order. While some elder sons are coddled, it often ended up hurting them and those around them, while more responsibilities made them more likely to thrive. For elder daughters, class and upbringing seem to play a major factor in whether they turn out haughty or responsible. 

why are eldest sons hailed in media as, like, the ultimate protectors of the family and the responsible minders of their younger siblings? have these people ever met any actual eldest sons? utterly coddled and useless, could not be more insensitive and rather annoying tbh. meanwhile eldest daughters are portrayed as bratty and self-absorbed.........much to think about 🤔