Tír Na HiFi

cybot wrote:

mcq wrote:This is very, very good.  Laurel Halo performing at St. John-at-Hackney in London earlier this year.  Ms.  Halo was originally the subject of a very interesting cover story in The Wire last November and I've been listening to her Chance of Rain album and absorbing everything available online but this is the finest expression of her work yet.  There are some other sets on Youtube but they are presented in club environments with their concomitant distractions but the church ambience of St. John's coupled with an attentive and appreciative audience enable her to produce something that I feel is the truest indication of her original talent to date.  The single-minded focus and concentration on her face is worth noting - she is utterly locked into her music and, as the piece ends, we see the briefest of nods as she shuts down and puts away her gear.  The music and nothing but the music.  It will be very interesting to see where she goes from here.

Glad somebody's paying attention! +1

Don't have any of her stuff just yet simply because my interest lies with other artists doing the same type of music so I haven't got round to Laurel yet. Give me a minute I'll see if I can dig out some of the other people referred to above. This kind of 'improv' especially in the electronic domain never ceases to give me untold pleasure. I'll NEVER tire of this.....

It always surprises me just how ill-mannered and inattentive people can be at concerts.  I believe that the artist is always the most important person in the room and the least we can give them is our undivided attention and to listen with a sympathetic ear.  It is far easier to listen to music (regardless of genre or perceived level of difficulty) than it is to create it.  But it seems that the first lesson that professional musicians have to learn is just how to block out that background chatter and plug in your inner ear.  Here's a clip of St. Vincent doing just that with an impromptu version of Brian Eno's Some Of Them Are Old.  Performed backstage at a fashion event in New York, she is obviously the least important person in the room and the other party attendees do their best to remind her of that.  And yet, she is lost in her music as if she is performing for nobody but herself.

cybot wrote:Paul,

Here's two for starters. One is fairly well known (his Old News archive series is astonishing!) the other less so.....Enjoy!







http://www.youtube.com/watch?v=joDTBhYm ... ata_player






http://www.youtube.com/watch?v=JKiTY2mu ... ata_player

Thanks for that, Dermot.  It's always interesting to hear a questing spirit like Jim O'Rourke.  The sheer breadth of his influences is admirable.  He also did a wonderful job of mixing Judee Sill's unreleased third album for commercial release in 2005.  Most recently, he's done some fine work with Keiji Heino and Oren Ambarchi.  Here they are in a very impressive performance from a concert in Japan in 2012.




I haven't previously heard of Hildur Gudnadottir, but she's clearly an exceptional talent, evidently content to work on the margins where she can preserve her creative independence.

mcq wrote:

cybot wrote:Paul,

Here's two for starters. One is fairly well known (his Old News archive series is astonishing!) the other less so.....Enjoy!







http://www.youtube.com/watch?v=joDTBhYm ... ata_player






http://www.youtube.com/watch?v=JKiTY2mu ... ata_player

Thanks for that, Dermot.  It's always interesting to hear a questing spirit like Jim O'Rourke.  The sheer breadth of his influences is admirable.  He also did a wonderful job of mixing Judee Sill's unreleased third album for commercial release in 2005.  Most recently, he's done some fine work with Keiji Heino and Oren Ambarchi.  Here they are in a very impressive performance from a concert in Japan in 2012.




I haven't previously heard of Hildur Gudnadottir, but she's clearly an exceptional talent, evidently content to work on the margins where she can preserve her creative independence.

Thanks Paul and delighted to be of sevice. I do laugh at people who simply cannot abide with KH's 'method' of singing. Although I do sympathise with them. I remember bringing my long suffering wife to a KH concert and she was absolutely horrified :) At the time he was a mythical figure and I was only aware of his music through the Wire magazine. We always have a great laugh over that though :)

mcq wrote: Great clips, Tony.  On the subject of the Talking Heads Rockpalast footage from Dortmund in 1980, it is better recorded than the Rome concert, but I think there's just that bit more wild energy at the Rome concert.  I don't believe that this ever received an official release and I would love to see it remastered and issued.

Agree completely That was RAI tv broadcast and camera work was atrocious. Adrian Belew rips it up on guitar and the focus is on Tina Weymouth plucking a bit of bass?? As a fan, Rome is incredible but for a casual viewer SQ is dreadful hence the rockpalast link to maybe entice skeptics!

mcq wrote: Finally, that's a great clip from French TV in 2009.  I love the Ride, Rise, Roar concert film and found the choreography wonderfully inspired.  Not at all as slick as you would find in a big-budget production, the modern dance adds a human dimension to the performance in the way it seems to respond entirely naturally to the music.

The film annoys me I wanted a SMS version looking head on with tracks played as per the concert performance.There was enough going on,no need for all the chopping around. Very much wished he had released 2 cuts on the disc.Straight on and his own fancy. If memory serves me right he left off I Zimbra also.This show played at the National Concert Hall and after 15mins everybody ended up standing for the rest of the show. Applause before he even started playing went on for nearly 10mins.


On btw Agartha and Pangaea are indeed incredible thanks for the suggestions. Early seventies Miles is like a guy who beamed in from another planet. I can see how the Kind Of Blue fans would be abhorred at these performances but his legacy benefits hugely from his move to this style.

I've always regretted missing that David Byrne show at the NCH.  If I recall correctly, it sold out very quickly with quite a number of overseas fans attending.  It really was one of those shows where you had to be very quick booking your tickets.  (I was very lucky to get a ticket for the Keith Jarrett concert at the NCH a few years ago.  It sold out a few days after the the show was announced and there were quite a number of European fans in attendance.)  It's wonderful to hear about the reception that Byrne received.  Hopefully he'll return in the not too distant future.

I'm so glad you enjoyed Agharta and Pangaea.  I also recommend you investigate Dark Magus and Get Up With It.  I assume you've heard Jack Johnson and On The Corner?  It really is quite extraordinary just how single-minded Miles was in the Seventies.  Villified by the jazz critics as well as many of his musical contemporaries from the Forties and Fifties, he just carried on following his own creative vision even as his own health was failing.  The best book I've read on this period of Miles' career is Miles Beyond by Paul Tingen.

It sincerely was an incredible show. RIL almost in full, Bush of Ghosts and Evrything Happens= over 2hours of magical performance. 'I feel my stuff' especially got an incredible audience response. when you view it on Ride Rise Roar the camera angles do not capture how well it actually appeared and worked.
There is plenty of footage on youtube some of it great considering mostly it is from mobile phones.

Don't worry I have On the Corner(CD),Live Evil(CD) and also Dark Magus and Jack Johnson but on DSD. Will have to wait until I upgrade my Dac to DSD before I can play them. Might have a read of that book I have checked out some of his interviews on youtube and some of them are strange.His voice was gone from some condition and some of the interviewers are car crash tv merchants. One with Sigourney Weaver sitting beside him is quiet entertaining.

Remarkable, simply remarkable footage from the free-jazz supergroup Last Exit recorded at the Frankfurt Jazz Festival in 1986.  What I love about this performance is the sheer commitment to the music, the telepathic understanding between the musicians, the expression of perpetual bliss on the face of Ronald Shannon Jackson and, most of all, the sight of Sonny Sharrock and Peter Brotzmann making this extraordinary, intensely visceral, music together spontaneously in this moment of moments.  A very, very special performance that leaves me emotionally drained each and every time I watch it.

https://www.youtube.com/watch?v=LE8TvsYMPkg

Whatever they got for that.... it wasn't enough!

I don't really know what to say about that. I certainly laughed!