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mosaicrecords:

When Bechet Met Bird
Scott Wenzel writes: I think the first time I saw this picture was on a Columbia Jazz Masterpiece LP from the 1980s and it’s as intriguing now as it was when I first saw it. Ricky Riccardi relates a story on this historic meeting. He writes:I’ve been seeing this photo popping up on Facebook of Sidney Bechet’s band (with Hot Lips Page and Big Chief Moore) and Charlie Parker’s (with Kenny Dorham, Al Haig, Tommy Potter and Max Roach), plus Miles Davis (then playing with Tadd Dameron) outside of an airplane in France in 1949 and thought I’d share Louis Armstrong’s story of what happened onstage during that tour. This little hot jazz parable was related by Pops on one of his private tapes, recorded in August of 1970:"And I met [Hugues] Panassie, [Charles] Delauney—in fact all the cats, musically, that loved music. You know, I think they did, like I do. Someone like Delaunay and Panassie, they grew up together in school and everything. And they got to be young men and they come to having feuds over different organizations and this one and that one. Panassie stayed with the jazz and Delaunay went on to that other new-fangled music or ju-jitsu music or some shit. Bop or slop or I don’t know. Then he commenced to giving the jazz players hell, calling them ‘old timey’—but still in all, the incident where Delauney had a concert one time and he featured Charlie Parker so much, you know. So this night Bechet was on the same bill. I think it was in Salle Pleyel. He just played Bechet cheap and said [to Bechet], “You’re going out there first. We’ll save Charlie Parker for last.“ And man, when Bechet and Hot Lips Page got through with ‘Muskrat Ramble,’ God DAMN!! Delauney was standing so surprised in the wings there man, with eyes as big as saucers The audience just standing up and applauding for them cats to play that ‘Muskrat Ramble’ and they broke it up so much til Bechet had to go on to the wings and lead Charlie Parker out on the stage and ask the folks to listen to him (laughs). Don’t play that JAZZ music and that Dixieland music cheap, boy. There’s always something coming up to make all that new fangled shit realize that’s where it comes from, what they’re trying to do, you know?"
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mosaicrecords:

When Bechet Met Bird

Scott Wenzel writes: I think the first time I saw this picture was on a Columbia Jazz Masterpiece LP from the 1980s and it’s as intriguing now as it was when I first saw it. Ricky Riccardi relates a story on this historic meeting. He writes:

I’ve been seeing this photo popping up on Facebook of Sidney Bechet’s band (with Hot Lips Page and Big Chief Moore) and Charlie Parker’s (with Kenny Dorham, Al Haig, Tommy Potter and Max Roach), plus Miles Davis (then playing with Tadd Dameron) outside of an airplane in France in 1949 and thought I’d share Louis Armstrong’s story of what happened onstage during that tour. This little hot jazz parable was related by Pops on one of his private tapes, recorded in August of 1970:

"And I met [Hugues] Panassie, [Charles] Delauney—in fact all the cats, musically, that loved music. You know, I think they did, like I do. Someone like Delaunay and Panassie, they grew up together in school and everything. And they got to be young men and they come to having feuds over different organizations and this one and that one. Panassie stayed with the jazz and Delaunay went on to that other new-fangled music or ju-jitsu music or some shit. Bop or slop or I don’t know. Then he commenced to giving the jazz players hell, calling them ‘old timey’—but still in all, the incident where Delauney had a concert one time and he featured Charlie Parker so much, you know. So this night Bechet was on the same bill. I think it was in Salle Pleyel. He just played Bechet cheap and said [to Bechet], “You’re going out there first. We’ll save Charlie Parker for last.“ And man, when Bechet and Hot Lips Page got through with ‘Muskrat Ramble,’ God DAMN!! Delauney was standing so surprised in the wings there man, with eyes as big as saucers The audience just standing up and applauding for them cats to play that ‘Muskrat Ramble’ and they broke it up so much til Bechet had to go on to the wings and lead Charlie Parker out on the stage and ask the folks to listen to him (laughs). Don’t play that JAZZ music and that Dixieland music cheap, boy. There’s always something coming up to make all that new fangled shit realize that’s where it comes from, what they’re trying to do, you know?"



Free School Friday. An announcement: WE’RE DJING IN NEW YORK CITY.Bossa Nova Civic Club. September. That is all.

(WAHOOOOOOO!!!!!!! *starts singing “New York, new energy finds me / I light up the night and live like a star”*)


upnorthtrips:

Kanye West - Fat Beats NYC (August 1996)

(via pitchfork)


muterecords:

Daniel Miller’s (Mute) Studio in SohoHouse’s Summer Issue.
http://www.sohohouse.com/system/house_magazines/29/index.htm

muterecords:

Daniel Miller’s (Mute) Studio in SohoHouse’s Summer Issue.

http://www.sohohouse.com/system/house_magazines/29/index.htm

(Source: syn-fi)


The exuberance of youth. Our guest vocalist Sigmund Frued sporting one of the great t-shirts of our time.

The exuberance of youth. Our guest vocalist Sigmund Frued sporting one of the great t-shirts of our time.


G Bird mekkin love to the mic


auspices:

I was reading an excellent NY Times interview with Nick Cave yesterday and found the portrait incredible. The unnerving position, the swimming focus and the intensity in those eyes! To quote the article…

"You can look around when the Bad Seeds are playing and see precisely which version of Nick — the junkie, the outlaw, the lover — each person in the crowd wants to be"

…which is exactly what this portrait captures - an undefinable man, somehow projecting both intimacy and loneliness.

The picture was made by British artist Richard Learoyd using a camera obscura. Literally translated from Latin as “dark room” Learoyd has created a room-sized camera in which the photographic paper is exposed. The subject—often a person, sometimes a still life—is in the adjacent room, separated by a lens. Light falling on the subject is directly focused onto the photographic paper without an interposing film negative. The result is an entirely grainless image. These photographs, up to 80 inches wide, are among the largest contact prints ever made.

With no negative, editing is done as each picture is made: “I decide if something is good or bad, then I live with it.” He destroys the discarded images by slashing them, spray painting them and rolling them up wet. “You have to be brutal with yourself. It’s only you who can make those decisions and I make them instantaneously.” (Time LightBox)


Here’s the remix we did with Roots Manuva and Hiem. Check the lyric: “Everybody wanna know your name / Everybody wanna be your friend…”. I 100% agree Rodney. 


M O O D Y (at Lickey Hills)

M O O D Y (at Lickey Hills)


mosaicrecords:

From NPR All Things Considered
Keith Jarrett: Perfection is Not the Point
Keith Jarrett gives a fascinating back story of his recent “Somewhere” album, which was originally recorded in 2009. He gives insights into experiential memories coloring the perception.
-Michael Cuscuna Listen Here…  Follow: Mosaic Records Facebook Tumblr Twitter

mosaicrecords:

From NPR All Things Considered


Keith Jarrett: Perfection is Not the Point

Keith Jarrett gives a fascinating back story of his recent “Somewhere” album, which was originally recorded in 2009. He gives insights into experiential memories coloring the perception.

-Michael Cuscuna
Listen Here…

Follow: Mosaic Records Facebook Tumblr Twitter


pitchfork:

Drone metal godheads Sun O))) and the legendary Scott Walker are working on a collaborative album.

pitchfork:

Drone metal godheads Sun O))) and the legendary Scott Walker are working on a collaborative album.


Joined by Sigmund Frued & Greg Bird for our latest rehearsal. L E G E N D S


The Bugle mug Side B

The Bugle mug Side B


The Bugle mug Side A

The Bugle mug Side A