ANTHONY MOORE, PRAM interviews; RED KRAYOLA, KARL BERGER articles
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Jason Gross
Dec 1, 2023, 9:53:41 PM12/1/23
to DroneOn
Greetings,
In the latest issue of Perfect Sound Forever <http://www.furious.com/perfect/index1223.html>, you'll find (among other things):
KARL BERGER
Jazz vibes as creative collective force by Daniel Barbiero
"One of the outstanding figures involved in opening the borders for jazz and jazz-derived improvised music was Karl Berger. Berger's music was borderless in the truest sense: it embraced both straight-ahead and avant-garde jazz, European art music, non-Western musical traditions, and even contemporary pop, for which he wrote string arrangements. But his vision of music as a borderless and universal medium of human expression was most notably realized not only in his own playing and composing, but through his musical philosophy and the teaching methods he derived from it, which he put to work in the activities of his Creative Music Studio."
GRATEFUL DEAD
Book excerpt- classic hometown '76 gigs, by Ray Robertson
"In addition to wanting to shake things up a bit--both stylistically and in terms of song selection--the less-freewheeling, more-streamlined sound was probably at least in part because the majority of the group were in their early to mid-thirties by this point and understandably lacking something in the space-travel cardio department, the physical and psychological demands of taking the psychedelic sacrament (literally or figuratively) and seeing where it led them simply becoming a little too much. Fair enough and fare thee well. We all get old and Earthbound. So, tired of playing the same long songs in the same ways, as the Dead moved into their second month back on the road, the second-set highlight tended be three or four, or sometimes even five, meaty numbers linked together over the course of an hour or more of often inspired, exploratory playing."
ANTHONY MOORE
Interview- from Slapp Happy to Pink Floyd, by Jason Gross
"Here at PSF, we have an ongoing tradition now of doing an annual article with multi-instrumentalist/composer/polymath Anthony Moore, covering his multi-decade career. First, we surveyed his Slapp Happy years, then his Henry Cow years and tape experiments, then his Flying Doesn't Help album and various productions, then '80's albums/major-label-dom/initial Pink Floyd encounters. Now, moving up a decade, we cover with him more of his work with the Floyd crew, Richard Wright's final album, meeting and working with Sinead O'Connor and the Slapp Happy reunion and musical theater project. As Moore said, 'OK, here we go! For the 1990's...'"
PRAM
Interview- mysterious UK post-rock combo by Brett Abrahamsen
"Following 1994's intriguing Helium, English post-rock ensemble Pram were seemingly primed to deliver a masterpiece. Which they did. But a scathing review from the NME derailed not only the album's fortunes but perhaps the band's entire career. Sargasso Sea was one of the most fascinating albums of the modern era. The playing was masterful, and a dark and somehow menacing current of nostalgia was present throughout. "Loose Threads" set the tone - resigned lyrics, cryptic melody, haunting atmosphere. In addition to the quadruple-keyboard attack, Matt Eaton and Samantha Owen's terrific bass playing stood out. "Earthing and Protection" was perhaps even more melodic and creepy."
RED KRAYOLA
Their 2nd album as post-punk forefathers by Kelechi Wisdom
"God Bless the Red Krayola and All Who Sail With It was released in May 1968 and was recorded at Houston, Texas' Gold Star recording studios. Mayo Thompson said of the album: "And that record gets to be called a "minimal" record. It was not like a punk record, like "we're gonna get back to basics, good clean rock n' roll... It was not driven by an impulse to basicness. It was just schematic because we were used to working with the stuff we had in our hands, instrument-wise." From a 1968 Mother magazine interview, it is said that the album was intended to be a joint-double LP with Coconut Hotel, but that never came to pass. Thompson also talks about having "good tapes" that were available and considered to be distributed if one would like. This could be referring to the full 3-hour freak-out session from Parable of Arable Land or random experimental outtakes that didn't make the cut on God Bless "
ROCKETTE MORTON
Interview- Beefheart bassist and beyond, by Austin Woods
"Mark Boston -- also known by his pseudonym Rockette Morton -- was 19 years old when he joined Captain Beefheart's Magic Band. A self-described "country bumpkin" raised on a diet of country and western and early rock 'n roll, the young bassist thought he would be performing the more conventional Safe as Milk material upon joining the group in 1968. Instead, he found himself thrust into the caustic, contorted world of Trout Mask Replica. Still, Boston kept an open mind, and adjusted his approach to the bass accordingly. He quickly developed his own technique of using three metal finger picks along with a standard flat pick, in order to properly "attack" the album's chordal bass parts. In typically self-aggrandizing fashion, Don Van Vliet claimed to have taught him how to play the instrument from scratch -- but other Magic Band members insist this wasn't the case."
We also have a Spotify playlist with most of the artists above here:
<https://open.spotify.com/playlist/2siDsjQc1S6Quh58TVWfgb?si=40cfc6db13144718>
We're always looking for good writers and/or ideas so let us know if you have anything to share.
See you online,
Jason
In the latest issue of Perfect Sound Forever <http://www.furious.com/perfect/index1223.html>, you'll find (among other things):
KARL BERGER
Jazz vibes as creative collective force by Daniel Barbiero
"One of the outstanding figures involved in opening the borders for jazz and jazz-derived improvised music was Karl Berger. Berger's music was borderless in the truest sense: it embraced both straight-ahead and avant-garde jazz, European art music, non-Western musical traditions, and even contemporary pop, for which he wrote string arrangements. But his vision of music as a borderless and universal medium of human expression was most notably realized not only in his own playing and composing, but through his musical philosophy and the teaching methods he derived from it, which he put to work in the activities of his Creative Music Studio."
GRATEFUL DEAD
Book excerpt- classic hometown '76 gigs, by Ray Robertson
"In addition to wanting to shake things up a bit--both stylistically and in terms of song selection--the less-freewheeling, more-streamlined sound was probably at least in part because the majority of the group were in their early to mid-thirties by this point and understandably lacking something in the space-travel cardio department, the physical and psychological demands of taking the psychedelic sacrament (literally or figuratively) and seeing where it led them simply becoming a little too much. Fair enough and fare thee well. We all get old and Earthbound. So, tired of playing the same long songs in the same ways, as the Dead moved into their second month back on the road, the second-set highlight tended be three or four, or sometimes even five, meaty numbers linked together over the course of an hour or more of often inspired, exploratory playing."
ANTHONY MOORE
Interview- from Slapp Happy to Pink Floyd, by Jason Gross
"Here at PSF, we have an ongoing tradition now of doing an annual article with multi-instrumentalist/composer/polymath Anthony Moore, covering his multi-decade career. First, we surveyed his Slapp Happy years, then his Henry Cow years and tape experiments, then his Flying Doesn't Help album and various productions, then '80's albums/major-label-dom/initial Pink Floyd encounters. Now, moving up a decade, we cover with him more of his work with the Floyd crew, Richard Wright's final album, meeting and working with Sinead O'Connor and the Slapp Happy reunion and musical theater project. As Moore said, 'OK, here we go! For the 1990's...'"
PRAM
Interview- mysterious UK post-rock combo by Brett Abrahamsen
"Following 1994's intriguing Helium, English post-rock ensemble Pram were seemingly primed to deliver a masterpiece. Which they did. But a scathing review from the NME derailed not only the album's fortunes but perhaps the band's entire career. Sargasso Sea was one of the most fascinating albums of the modern era. The playing was masterful, and a dark and somehow menacing current of nostalgia was present throughout. "Loose Threads" set the tone - resigned lyrics, cryptic melody, haunting atmosphere. In addition to the quadruple-keyboard attack, Matt Eaton and Samantha Owen's terrific bass playing stood out. "Earthing and Protection" was perhaps even more melodic and creepy."
RED KRAYOLA
Their 2nd album as post-punk forefathers by Kelechi Wisdom
"God Bless the Red Krayola and All Who Sail With It was released in May 1968 and was recorded at Houston, Texas' Gold Star recording studios. Mayo Thompson said of the album: "And that record gets to be called a "minimal" record. It was not like a punk record, like "we're gonna get back to basics, good clean rock n' roll... It was not driven by an impulse to basicness. It was just schematic because we were used to working with the stuff we had in our hands, instrument-wise." From a 1968 Mother magazine interview, it is said that the album was intended to be a joint-double LP with Coconut Hotel, but that never came to pass. Thompson also talks about having "good tapes" that were available and considered to be distributed if one would like. This could be referring to the full 3-hour freak-out session from Parable of Arable Land or random experimental outtakes that didn't make the cut on God Bless "
ROCKETTE MORTON
Interview- Beefheart bassist and beyond, by Austin Woods
"Mark Boston -- also known by his pseudonym Rockette Morton -- was 19 years old when he joined Captain Beefheart's Magic Band. A self-described "country bumpkin" raised on a diet of country and western and early rock 'n roll, the young bassist thought he would be performing the more conventional Safe as Milk material upon joining the group in 1968. Instead, he found himself thrust into the caustic, contorted world of Trout Mask Replica. Still, Boston kept an open mind, and adjusted his approach to the bass accordingly. He quickly developed his own technique of using three metal finger picks along with a standard flat pick, in order to properly "attack" the album's chordal bass parts. In typically self-aggrandizing fashion, Don Van Vliet claimed to have taught him how to play the instrument from scratch -- but other Magic Band members insist this wasn't the case."
We also have a Spotify playlist with most of the artists above here:
<https://open.spotify.com/playlist/2siDsjQc1S6Quh58TVWfgb?si=40cfc6db13144718>
We're always looking for good writers and/or ideas so let us know if you have anything to share.
See you online,
Jason
Christian Mumford
Jan 10, 2024, 11:36:52 PM1/10/24
to DroneOn
Some nice articles Jason! I know Brent Marley who did the great Psych Trail Mix mag 2008-2017 or so... About 9 issues.... Great trade off with my old Aural Innovations daze 1998-2016.... Here! Brent and i on a Chrome DC Space 1993 re-trade & Blue Exposure discussion over new Years.... Christian
(Happy 2525 & 1910 Fruitgum company Brent... my so called mythical boy wonder pal Ruben is a boy prostitute Scorpion (harmless shrimp on heroin ballet)... My other pals Pål & Meran pimp out the Filadelfia menighet girls at Nesbru... Yeah i am gonna stream more on my stereo now, mostly for Bandcamp & YouTube also TIDAL for waves (No Humans Allowed part II). Ok. Do i owe postage i guess, can do in a week. Cheerz no beerz here... Just the Odd Lebanese/Israeli cheap hash or codeine tabs... My two white Panther White Riot hits 2019 was 1977... Phoney Beatlemania bit the dust... Whitesnake & Venom 1979-1980 now... Hope for a Ifrit & djinn tour ride the Tiger ISD & Michael Mensi... Teenage Warning, Liddle Towers (fuzz on the buss... Supergrass!). Enjoy... Christian)
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Christian Mumford
Jan 27, 2024, 5:01:00 AM1/27/24
to DroneOn
27 club Saturday... Valient Thorr... Sandoz LaVey & Pendragon Stuart Plantagenet Hesse... Jim Morrison i the Doors døde 9 måneder og 11 dager før min fødsel 14 mars 1972... 3. Juli 1971. Jeg kommer til å dø av kreft... Militær familie og standard øvelser siden jeg er en plante som ikke er pattedyr eller øgle (aldri hatt barn så jeg blir en blomst). Jeg har hjerte og prostata komplikasjoner og kan ikke jobbe med tegneserier igjen (wannabe og jøden). Jeg kan ikke gjøre fisk til brød eller vann til vin og er ikke noen Aquarius bare en Pisces i Israel i FN... LSD test... Tab in the ocean (Nektar)... Maybe next time 27 club & comic book world is Kinder to me... Its been a crappy life with poor health & no sex.
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