#oren bloedow

[jgthirlwell]

playlist 08.27.24

Louis Cole Nothing (Brainfeeder) Lee Gamble Koch (Pan) Oren 0'Blivion Anceint Melodies (Bandcamp) Tom Holkenberg Furiosa OST (Water Tower) Arne Nordheim Epitaffio (Simax) Uniform American Standard (Sacred Bones) Rhythm Method Pastorale (New Focus) Polymorph Tenuous Phenomena (Bandcamp) Yannis Kyriakides Hypnokaseta (Unsounds) Fire-Toolz Breeze (Angel Marcloid Music) Patrick Higgins Versus (Other People) Oneida Expensive Air (Joyful Noise) Sextile Push (Sacred Bones) Leonard Bernstein On The Waterfront OST (BMG)

[lovesickorchid]

elysian fields

[nonenglishsongs]

Oren Bloedow, Jennifer Charles - La Rosa (Ladino)

[rainingmusic]

Elysian Fields - "Red Riding Hood" 

[jukbox]

Elysian Fields,  Lucid Dreaming, Once Beautiful, Twice Removed, 2022

[elsol-sale-paratodos]

Todo tiene sentido ✨🥴

Bien lo dijo una vez el señor Ernesto, a mí no me gusta el graffiti, pero a mí hija le encantan esas cosas. Total aceptación, sumisión, apoyo, ¡qué se yo!. El lo sabe y yo comienzo a entender.

[collectedinspirations]

Elysian Fields

[jacobwren]

Jennifer Charles and Oren Bloedow of Elysian Fields - La Mar Enfortuna / A La Una Yo Naci

[abelkia]

La playlist de l'émission de ce jeudi matin sur Radio Campus Bruxelles entre 6h30 et 9h: Richard Youngs & Sophie Cooper "Tokyo Photograph" (CXXI/Black Truffle Records/2021) Roxane Métayer "Quand l’abeille survient" (Éclipse des ocelles/Morctapes/2021) Cynthia Dall & Bill Callahan "Holland" (Untitled/Drag City Records/1996) Satomimagae "Numa" (Hanazono/RVNG Intl./2021) Oren Bloedow & Jennifer Charles "Salomé" (La Mar Enfortuna/Tzadik Label/2001) Bed "The Lucky Hand" (The Newton Plum/Ici d'ailleurs/2001) Swell Maps "Monologues" (7"/Rough Trade Records/1979) Katerine "Moi-même" (L'homme à trois mains/Barclay/1999) Momus "Nicky" (12"/Él Records/Cherry Red Records/1986) The Raincoats "Shouting Out Loud" (Extended Play/Blast First/1994) Sarah Terral "La volonté" (Le Ménisque Original/three:four records/2021) John Martyn "Solid Air" (Solid Air/Island Records/1973) Baby Bird "Too Handsome to be Homeless" (Bad Shave/Baby Bird Recordings/1995) Jalouxdemonsuccès (Feat. Christophe Enclin) "Élevé en batterie" (Bonnes EP/Lébo Disques/2002) Kreuzberg Merkezi (Clémence Freschard & André Herman Dune) "Seagull" (Ten American Classics/2006) Karen Dalton "Katie Cruel" (In My Own Time/Light In The Attic Records/1971-2006) Interview Festival Voix De Femmes 2021 avec Elise Dutrieux et Flo Vandenberghe Hysterrae "Avoccata" Greta Lindholm "Breathing in Seven" (Rhythm Voice/Black Sweat Records/2021) Brigitte Fontaine "Il se passe des choses" (Brigitte Fontaine est...folle/Saravah/1968) https://www.instagram.com/p/CUuYElctp9v/?utm_medium=tumblr

[csadag]

ANOHNI: I WILL SURVIVE

Legyen akkor ez 2020 hivatalos dala?

In June, Facebook offered me 200,000$ to license an old live version of me singing “I Will Survive” for an advertisement that represented Facebook as an advocate for small businesses. Although I really could have used the money, I said no because I didn't want to be complicit in Facebook’s hosting of fake news which might enable the re-election of Donald Trump. They wrote back saying that they were placating other participants' concerns by making donations to their charities of choice, in addition to paying them.  I woke up the next morning and realized this isn't even advertising; this is politics, and i don't even know how deep this water is. This company Droga5 worked with Obama and Google and others. I had to walk away. 

 A month later I saw the ad. Facebook had hired another singer to emulate my version of the song. 

It was a nauseating feeling. 

We all know that Facebook, Google, Twitter, Amazon and others now seem to be destroying our lives, our minds, our jobs, our cultures, and our societies' ability to govern themselves. 

We as artists were the first ones to be led to the stall to begin feeding, and being drained by,  companies including Apple and Facebook. 

And now as artists, we must be the first to leave.  We must show that it is possible to live without Instagram, without Facebook, without Google and Amazon. We must endeavor to rebuild our lives and our communities, our private conversations, in ways that don't rely on manipulative infrastructures and interfaces provided by the world’s richest and most malevolent corporations. 

After the Facebook debacle, i felt compelled to complete my studio version of “I Will Survive”. It was the first song I ever sang in nightclubs in NYC when I was 20 years old. I sang it hundreds of times. In those days I sang it thinking of Marsha P. Johnson and the underground queer community struggling to survive in the face of AIDS. Now it seems to me like an anthem for the future of life on earth. 

Obviously, Youtube is owned by Google. I haven't closed all my accounts. But I want to talk to you about this; I want to be a part of this conversation. 

ANOHNI 

October 30th 2020 

I Will Survive (Perren, Frederick J.; Fekaris, Dino) p.Universal Music Publishing Group 

voice and piano ANOHNI guitars by Oren Bloedow strings by Max Moston mixed by Alex Silva 

video featuring Anohni and Chloe Dzubilo, 1992/94 Performance and Video c. Rebis Music 2020

[jgthirlwell]

11.9.17  La Mar Enfortuna is a project by Jennifer Charles and Oren Bloedow of Elysian Fields where they explore and interpret Sephardic music. They played a gorgeous show at the Jewish Museum in Upper Manhattan, joined on bass by Simon Hanes of Tredici Bacci.

[thesearenotphotographs]

The The and Elysian Fields at Brooklyn Steel

Performing in North America for the first time in 18 years, Matt Johnson and The The performed two New York area shows on Sunday, September 16 and Monday, September 17, 2018.

I was lucky to cover their first show in Brooklyn at Brooklyn Steel on Sunday with Elysian Fields. Many more images are now available on Music Existence here.

[eyeronmaus]

Jennifer Charles and Oren Bloedow of Elysian Fields

[musicallyrich]

Crate Digger’s Corner: [Concert Review] Medeski, Clouser & Schutte- Live At The Icehouse

Crate Digger’s Corner…by DJ Musically Rich

Minneapolis, MN 5/27/19… While a cool spring evening falls over the Twin Cities, the Icehouse in Minneapolis is just beginning to heat up shortly after 9 p.m. tonight. The reason for that hot spot is the energized playing of jazz trio Medeski, Clouser & Schutte. Largely playing material that has not been performed before; they held the attention of the full Icehouse crowd for the entire, nearly 2 hour, show.

The show opened with ‘Miss Tulsa’ a funky tune that had the crowd grooving along. It allowed all three players to quickly show their ability to dig into a song right away. That was followed by a bit more spacious and abstract tune called ‘Bored Folks’, which led me straight into a zone that did not let up until the music did at 11 p.m. Within that time frame, the music continued to shift from groove based into more atmospheric sections or free playing as songs changed, but even more so within the songs themselves. Despite that constant sway of musical information coming at the crowd the transitions were always smooth enough that it did not break the energy and flow of the musicians, but you could just watch them dig in and listen closer and closer to each other as the night progressed.  

Along with the instrumental cuts they were playing, which I would say was about 70% of the show, they did have a few vocal songs as well. Those were sung by guitarist, Todd Clouser, whose style on those (although not vocal quality) reminded me of Asylum/Elektra-era Tom Waits if he had been backed by a three piece band. That is they were generally very spacious and languid musical beds he was singing over, which fit the vibe just right. They also had local legend Molly Maher step out and perform on vocals and guitar on ‘On The 18’.

It would be remiss of me not to mention that after the final song of their excellent regular set, they came back on for an encore, and it was great! The song called ‘Unbreak The Morning’ was a perfect ending to a show that pushed and pulled through musical tension and spaciousness. The song is very relaxing and has a drone vibe to it. It allowed the crowd to sink into the music and provided a calming release to send the crowd home.

All three were amazing in their abilities to play, listen and musically communicate together even though they had been together for a fairly brief amount of rehearsal time (I’d imagine since they are not regularly playing together and based in different areas of the country). John Medeski’s ability to swing from B-3 to Rhodes, as well as holding down the bass lines with the pedals was in full effect. There’s a reason he is regularly listed in the Downbeat polls amongst the top organists. Todd Clouser had his guitar doing anything he wanted and right on time. Whether he’s accompanying himself as he’s singing, finding interesting single note lines to counterpoint the organ or coming up with interesting chordings to keep the interplay fresh he was holding it down all night. Greg Schutte was on the drums (full disclosure: I have known Greg for about 20 years and have probably heard him as many times as any musician I’ve seen). Schutte, who is fantastic at playing just the right things to enhance the music without being intrusive in the music, was once again on point tonight. He is also a very melodic drummer when soloing or when in musical conversation which, I always feel as if it gives a group a little extra juice that your average listener is going to notice but not necessarily hear. This is a show that if you were lucky enough to be there, you have a tale for the watercooler the next day.

I also would like to thank Greg Schutte for getting me the playlist…

Playlist: Miss Tulsa/ Bored Folks/ Blues ‘n’ Peyote/ Where’s Her Money From/ On The 18 (w/ Molly Maher)/ The Kids Are Gonna Win/ I Want To Be The One To Change The World/ No Name Daniel/ Forecast In Rome/ Fuck You Guys   Encore: Unbreak The Morning

(I also wanted to point out that I did have seen Medeski, Clouser & Bates twice before at the Icehouse. One of those, I believe the 2016 show, is available for download through Ropeadope Records.)

Also, being that this is Crate Digger’s Corner, let me give you some albums to find for further listening to these artists...

John Medeski- First off, make sure you’re familiar with both Medeski, Martin & Wood as well as The Word (Medeski, Robert Randolph & The North Mississippi All-Stars). I am going to go with some albums that you may not realize he’s playing on.

Spectrum Road- self-titled/ Melvin Gibbs- Ancients Speak/ The Campbell Brothers- Can You Feel It?/  Oren Bloedow- self-titled (his follow-up album has MMW backing him)/ James Carter- Heaven On Earth/ John Scofield- A Go Go/ Ken Schaphorst Big Band- Purple/ The Mandala Octet- The Last Elephant/ Club D’Elf- Now I Understand/ G. Love & Special Sauce- Electric Mile, finally  Either/Orchestra- Half-Life Of Desire (There’s a great King Crimson cover to end the album)

I’ve only heard one album from Todd Clouser, but it’s a keeper!

Todd Clouser’s A Love Electric- 20th Century Folk Selections

I have a few albums that should be checked out with Greg Schutte on the drums.

Impossible Party- self-titled/ Park Evans Quartet- Surviving Desire/ Test Site 67- 4 Tone Sunburst Hoopdy/ Test Site 67- Firin’ Up The Virgins Tour: Live From The Virgin Islands

 To see photos of albums in my collection follow my IG: djmusicallyrich

#djmusicallyrich #cratediggerscorner #musicreview #musicreviews #albumreviews #recordcollection #albumcollection #vinylcollection

[qmartwall]

John was kind enough to do the wall back in 2014.

We’ve stolen some bio history from Wikipedia

Lurie has been painting since the 1970s. Most of his early works are in watercolor and pencil, but in the 2000s he began working in oil. He has said of his art, "My paintings are a logical development from the ones that were taped to the refrigerator 50 years ago."

His work has been exhibited since July 2003, when two pieces were shown at the Nolan/Eckman Gallery in New York City.[15] He had his first solo gallery exhibition at Anton Kern Gallery in May and June 2004 and has subsequently been exhibited at Galerie Daniel Blau in Munich, Galerie Lelong in Zürich, the Galerie Gabriel Rolt in Amsterdam, the Basel International Art Fair at Roebling Hall and the P.S.1 Contemporary Art Center in New York, the Montreal Museum of Fine Arts, the NEXT Art Fair in Chicago, the Mudam Luxembourg, the Watari Museum of Contemporary Art in Tokyo, Gallery Brown in Los Angeles, and the University of the Arts in Philadelphia.The Museum of Modern Art has acquired some of his work for their permanent collection.

Lurie has released two art books. Learn To Draw, a compilation of black and white drawings, was published by Walther Konig in June 2006. A Fine Example of Art includes over 80 reproductions of his work and was published by powerHouse Books in 2008.

Lurie's watercolor painting Bear Surprise was enormously popular on numerous Russian websites in an Internet meme known as Preved.

The Lounge Lizards

Main article: The Lounge Lizards

In 1978 John formed The Lounge Lizards with his brother Evan Lurie; they were the only constant members in the band through numerous lineup changes.

Robert Palmer of The New York Times described the band as "staking out new territory west of Mingus, east of Bernard Herrman." While originally a somewhat satirical "fake jazz" combo spawned by the noisy No Wave music scene, the Lounge Lizards gradually became a showcase for Lurie's increasingly sophisticated compositions. The band's personnel included guitarists Arto Lindsay, Oren Bloedow, David Tronzo, and Marc Ribot; drummers Grant Calvin Weston, Dougie Bowne, and Billy Martin; bassists Erik Sanko and Tony Garnier; trumpeter Steven Bernstein; and saxophonists Roy Nathanson and Michael Blake. The band made music for 20 years.

Marvin Pontiac

In 1999 Lurie released the album The Legendary Marvin Pontiac: Greatest Hits, a posthumous collection of the work of an African-Jewish musician named Marvin Pontiac, a fictional character Lurie created. It includes a biographical profile describing the troubled genius's hard life, and the cover shows a photograph purported to be one of the few ever taken of him.[5] Lurie wrote the music and performed with John Medeski, Billy Martin, G. Calvin Weston, Marc Ribot, and Tony Scherr. The album received praise from David Bowie, Angelique Kidjo, Iggy Pop, Leonard Cohen and others.

“For a long time, I was threatening to do a vocal record. But the idea of me putting out a record where I sang seemed ostentatious or pretentious. Like the music of Telly Savalas . . . I don't sing very well, I was shy about it. As a character, it made it easier."

John Lurie National Orchestra

Lurie in 1992Parallel to the final version of the Lounge Lizards in the early 1990s, Lurie formed a smaller group, the John Lurie National Orchestra, with Lurie on alto and soprano saxes, Grant Calvin Weston on drums, and Billy Martin on congas, timbales, kalimba, and other small percussion. Unlike the tightly-arranged music of the Lounge Lizards, the Orchestra's music was heavily improvised and compositions were credited to all three musicians. They released an album (Men With Sticks, Crammed Discs 1993) and recorded music for the Fishing With John TV series. In February 2014 the Orchestra released The Invention of Animals, a collection of out-of-print studio tracks and unreleased live recordings from the '90s. Columnist Mel Minter wrote:

This new release may require a reassessment of Lurie the saxophonist because the playing is engagingly fluid, inventive, and visceral—and well worth revisiting. . . . The emotional immediacy of Lurie's playing – and that of his partners – makes for riveting stuff. Think of his sax not so much as a musical instrument, but instead, as a window with a clear view of his soul.