John Giorno was in the vanguard of what later became the herd: Ginsberg, Kerouac, Warhol, Buddhism, Burroughs, enlightenment, spiritual quests to India, unfettered sex, wild poetry, new technology, experimental forms of expression, queer politics, pot, speed, LSD — all the household bric-a-brac of the counterculture.
When in doubt, lean towards letting the world in, advises Fontaines D.C.. It’s scary. In fact, you will probably be terrified most of the time. But do it anyway. With eyes open.
This is demanding contemporary music that succeeds at the trick of pulling you in — and makes you glad to be there.
The final, ineluctable quality that Ornette Coleman brought to the table was that he had an individual “voice,” which is the sine qua non and preeminent ethos in jazz.
Five more feature films of great interest and their links, carefully chosen to get you through the continuing travails of the coronavirus.
This San Francisco Symphony release proves to be a fitting send-off for music director Michael Tilson Thomas; there’s much to admire in the Seattle Symphony’s playing of Carl Nielsen’s first two symphonies; fiery energy from both violinist Arabella Steinbacher and the excellent Münchener Kammerorchester make their new disk a gem.
Though it’s inconsistent, Oliver Tree ‘s debut album offers an ample display of songwriting acumen along with his determined eccentricities.
It’s hard to critique a novel that flies under such a resplendent banner, a wholesale rejection of the dead and decaying world of trends and war and meaninglessness.
“Ornette was looking for those notes, the ones that feel no pain.”
The album’s set of pieces not only revels in the spirited formal experimentation of the great musician’s music, but its expressive urgency as well.