Kimbra. I’m just digging everything about her: her voice, her style, her unfettered assuredness that could come unhinged but doesn’t, the way she moves. There’s a lot of soul not stuck in another performer’s era.
My colleague Chris Heagle turned me on to this powerful voice. Kimbra: what a singer, what a lady. Yowza. Time to buy her album.
Zoe Keating talks about her visual life. A profoundly interesting perspective on this cellist’s musical world and how she has to escape the forest where she lives because it gets too tight sometimes. I can relate and really need to return to North Dakota every so often to regain that sense of expanse and openness, to be vulnerable and relevant in only a way a prairie frame can provide.
Tuesday Evening Melody: “One Day You’ll Dance for Me, New York City”
by Trent Gilliss, senior editor
Oh my… (sigh)
Thomas Dybdahl’s mellifluous voice and silk-ridden lyrics are so crashinglybeautiful. This week’s unexpected Tuesday evening melody.
Can’t get enough of this song.
Source: crashinglybeautiful
Gimme some wood…
Good people, unfortunately due to circumstances beyond our control, the “clean” version of our new album, The Hot Sauce Committee pt 2 has leaked. So as a hostile and retaliatory measure with great hubris we are making the full explicit aka filthy dirty nasty version available for streaming on our site. We hope this brings much happiness, hugs, and harmony. Enjoy Kikoos for life!
Thank you,
The Management
Source: officialbeastieboys
A short piece I wrote for the Being Blog:
Mavis Staples and the Grandness of Musical History (video)
by Trent Gilliss, senior editor
Who doesn’t love the remarkable and enduring Mavis Staples? And teaming up with Jeff Tweedy? Well, the Grammy voters couldn’t resist her charm either, awarding her Best Americana Album for her latest work, You Are Not Alone. Which is a perfect opportunity to share these two videos of her and Wilco front man Tweedy performing acoustic versions of both songs he composed for the album: the title track “You Are Not Alone” (above) and “Only the Lord Knows” (below).
Her win also gives us a chance to remember her family’s legacy in the American civil rights movement. As Dr. Vincent Harding reminds us in an upcoming show, artists like The Staples Singers (“Respect Yourself” and “I’ll Take You There”) and Curtis Mayfield created a soundtrack of hope for the movement. In the liner notes of Mavis Staples 2007 album We’ll Never Turn Back, she wrote this personal letter reminding us of this history and the need for positive change going forward:
“When we started our family group, The Staple Singers, we started out mostly singing in churches in the south. Pops saw Dr. Martin Luther King speak in 1963 and from there we started to broaden our musical vision beyond just gospel songs. Pops told us, “I like this man. I like his message. And if he can preach it, we can sing it.” So we started to write “freedom songs,” like “Why Am I Treated So Bad,” “When Will We Be Paid for the Work We’ve Done,” “Long Walk to DC,” and many others. Like many in the civil rights movement, we drew on the spirituality and the strength from the church to help gain social justice and to try to achieve equal rights.
We became a major voice for the civil rights movement and hopefully helped to make a difference in this country. It was a difficult and dangerous time (in 1965 we spent a night in jail in West Memphis, Arkansas and I wondered if we’d ever make it out alive) but we felt we needed to stand up and be heard.
So for us, and for many in the civil rights movement, we looked to the church for inner strength and to help make positive changes. And that seems to be missing today. Here it is, 2007, and there are still so many problems and social injustices in the world. Well, I tell you ¬ we need a change now more than ever, and I’m turning to the church again for strength.
With this record, I hope to get across the same feeling, the same spirit and the same message as we did with the Staple Singers — and to hopefully continue to make positive changes. We’ve got to keep pushing to make the world a better place. Things are better but we’re not where we need to be and we’ll never turn back. 99 and 1/2 just won’t do!”A good way to kick off your Friday.
Source: beingblog
Symbiotaxiplasm has delivered one hell of a fun experiment. I have to wonder how this might’ve sounded if it were more fully produced for the film, and how it would’ve changed the mindset of the viewer. The two opening sequences below help that part of your imagination:
Johnny Cash - Thunderball Download MP3
In 1965, Johnny Cash wrote a theme for the fourth James Bond film, Thunderball, in which he basically describes what happens in the film. It’s classic Cash, with a tight rhythm section and June vocals during the chorus. Unfortunately, the studio went with Tom Jones’ theme instead. Listen to both versions down below.
I defy you to tell me that this isn’t complete awesomeness. Bella and I played this entire album on our way back to NoDak this summer and it was damned-near a spiritual experience. The eight-track would have released me from the cycles.
[thisisnthappiness via nevver]
Source: nevver
Did John Tesh actually compose the theme for the NBA on NBC? I know I could verify online but I just don’t want to have to admit it to myself.
Esperanza Spalding Dazzles the Tiny Desk
A Friday morning post for our readers at the Being blog. She’s divine.
by Trent Gilliss, senior editor
I’ve been holding on to this performance for a few days now, keeping it in reserve specifically for a Friday morning or afternoon. And what better way to kick off the back stretch to the weekend than with the delightful intensity of jazz musician …
Source: NPR
The surprise of the studio even today. A bit for SOF Observed:
Music You Can’t Hear But Know Exists
Trent Gilliss, online editorBeing part of such a large outfit at Minnesota Public Radio, we encounter an awfully eclectic group of talented musicians, writers, artists, actors, performers, politicians… And, oftentimes, these brief introductions with greatness occur in the most mundane ways.
One day you’re accidentally brushing shoulders with former vice president Walter Mondale in the hallway, and another day you’re reading a mass e-mail instructing star-struck employees not to linger while Harry Connick Jr. is being interviewed.
Yesterday, while sitting in the control room of Studio P listening to the final edit of next week’s show with two Vatican astronomers, I look up and peer through the slanted glass only to witness part of the Johannes String Quartet warming up for “a couple of movements from Beethoven’s Quartet Op. 59 No. 1.”
Not a whisper from that cello can I hear. But, right then, I pinch myself knowing great aural waves exist in that vacuum across the glass. Sometimes knowing and imagining is enough. But, those mystical, mulled upon wanderings can be made real. The unheard serendipitously takes root in YouTube reality. And, if you look up, you might just realize that Moby and Leela James performed “Walk with Me” in that very same space across the way.
I’ll be “looking up” — and hopefully seeing — the Performance Today recording of the quartet in action, much like this video from artists-in-residence The Parker Quartet (whom I first incorrectly attributed to being in the photo above).
Source: beingblog
Um, yes. After watching this short from Go Do, I’ll be buying the special edition of Jónsi’s new set.
I forgot how much I absolutely love Fiona Apple’s voice and her style. Her singing makes me smile thinking about that time in my life — especially with all the uncertainty and a new city and a commitment. Hell, I was supposed to be in South Korea!
Here she’s singing “River Stay Away from My Door.”
(thanks, marveloustimes)
Source: marveloustimes
The song itself isn’t too bad, but the story is even better! From my SOF Observed post:
“A Minor American Miracle”: Orrin Hatch’s Rockin’ Hanukkah Song
Trent Gilliss, online editorA quick scan of this morning’s edition of the Tablet Daily Digest e-mail prompted me to read the lead article, “Hanukkah: A Guide for the Perplexed,” which was fun and quite helpful. And then I moved on.
It wasn’t until I was checking my inbox this afternoon that I saw what should have been at the top of the page: a video by songwriter and senior senator from Utah, Orrin Hatch. How the song came into being is actually a rather heart-warming story, as Jeffrey Goldberg tells it. I had no idea the Sen. Hatch liked to write spirituals.
But, it is a wonderful testament to the spirit of the season that such things can happen so freely and spread a little joy during an afternoon at work. Also, the idea that an Arab singer backed by the vocals of a the Jewish magazine staff sings a song written by a Mormon politician who “possesses a heartfelt desire to reach out to Jews” gives one hope that year-end holidays can bring out the best in people — and a will to understand one’s own traditions and the rituals of others:
“I know a lot of Jewish people that don’t know what Hanukkah means,” he [Hatch] said. Jewish people, he said, should “take a look at it and realize the miracle that’s being commemorated here. It’s more than a miracle; it’s the solidification of the Jewish people.”
And, yes, I do consider this another one of my Friday “video snacks.” *grin*
Source: beingblog
Approaching Improv
Chose this photo for Nancy’s post because a) she needed a playful subject to ground her points and b) it’s Anoushka. Isn’t she absolutely delightful?! I’d love to see her perform sometime.
Anoushka Shankar performs at the Wychwood Music Festival in 2007.
(photo: Damian Rafferty/Fly)While listening to a classic SOF program, “Approaching Prayer” last week, I was struck by musician Anoushka Shankar’s wise words about improvisation:
“…when you’re improvising, it completely forces you to be in the moment, and every bit of your mind and your heart has to be involved with nothing but the melody that you’re playing, the time cycle you’re playing, and what’s happening with your musicians. And that being in the moment is, I think, one of the most important things you can possibly do, whether it’s through meditation or music or studying religion. And that’s always the goal of any meditator is to be in the moment always and not to have your head stuck in the future or stuck in the past. And when you’re able to do that, that’s the whole idea of Zen, I think, as well. And so that’s really beautiful.”
I’m taking an an introductory Everyday Improv class right now, and it’s been a delightful challenge to step out of my thinking brain and trust that I don’t need to script or plan into the future — that what I blurt out in the creative rush of the moment will be better and truer than whatever I might concoct in anticipation. I relish the central tenets of performance improv, like accepting every idea as a gift, saying “yes and” to whatever manifests in a scene, trusting my gut, and staying authentic in the moment. It’s not always easy to live up to these principles, but I’m having fun trying.
We’ve heard recently from some listeners about improv is enriching their daily lives. Jim Martinez, a former Wall Street IT professional and teacher in the South Bronx, responded to our recent program with Adele Diamond about how he’s helping schools to meld performance improv and technology in ways that are playful and collaborative.
I hope that we can devote a full program to the theme of improvisation in the future. I see this building on past shows like “Play, Spirit, and Character” and our Repossessing Virtue series on the economic downturn where some of you shared how you’re learning to live improvisationally in the face of greater financial uncertainty.
(via speakingoffaith)
Source: beingblog



