I.

The speed of light is cruelly insufficient

Carrying its news so fast, as fast
as it can carry anything, or fast 
as we suspect a thing can carrièd be.

And still that news is always later than
When it was truly new. Consider if

you will the fates of stars: Those lights you see
This night may not be extant glowing spheres
of incandescent superfluminesce:

That nebuliscious Crab was once a star,
When you and I were lungfish, or far less.
It’s gone now: blown to glory’d vap'rous tatters.

They each and every one of them (the stars)
May be a long past loss whose passing we
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The others in our local area
have known as long in years as they are far
Far far from here in galaxies away

From us. And where they stand, they will not know
Whatever we may do until we too are gone:

This light this heat this night by then will be
As gone gone gone
As Alderaan -raan -raan,

Albeit less fictional.

II.

A poem is a story of its time.

I watched the television, and I thought:
Those young chefs on the Channel of All Foods,
Each evening striving to avoid the Chop….

Well no. I did not think it in those terms.
Begin again, speak straighter, lay it out.
Ahem:

There was a time, as recent as … last week?
But no … But last month, certainly? Yes, yes:

Within these recent (?) days, there was a time
When each night we could watch aspiring chefs
With dreams as big as Space, as big as those
Of them as lived on planets now consumed
By Death Stars or by neutron stars or some
such things. Those dreams - of making tasty foods
For others in your neighborhood or world;
For strangers, in perhaps for just the night;
For friends who come to see what you have made,
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Those dreams were extant when that show was shot,
And when those chefs triumphant howled their joy
They thought they would indeed go home again
And open up their petite boîtes de rêve,
Their little foody dream boxes. But, no:

Since then, this world's gone wrong. A cruel star -
A Wormwood, if you will - has cast them out
And shut them down, and dreams are busted plates
And bolted doors, and rent come due and no,
No hope but in delay and clenching teeth
And laying low or lighting out, or [blank].

III. [bridge]

I wanted to tell a story of a bat,
But it proved a bad idea.

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                                                           In Xanadu,
in caverns measureless to all men but the Khan, 
There lived a bat and all his family.

The Khan, withdrawn from Xanadu and dying,     
        [this was later]
Recalled how there had been a limpid night
The crescent moon and evening star had shone
so bright between them other skybound lights
seemed cast in shadow, while all earthborne things 
Were luminous, though seen in silhouette.

At ease beside a phosphorescent pool, 
The Khan sensed hovering wings

[the story would go on: the Khan would bond
with the fledermauskin, teaching it cosmology.
The little bat in its turn learns to drink down stars,
Their glory and their fearsomeness - it’s grand! -
And many centuries later the little bat’s descendants
(the story going on apace, you see, to our own day) 
are themselves drunk down by men, 
and thus
Become an Origin Story,
the one I thought to tell, as if it were novel,
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To return

IV.

In Alderaan did Hollywood
a bounteous peaceful paradise decree,

And on the day on that world, or the night,
or noon, depending where one was aboard
that lovingly imaginary globe,
Those fond, imagined citizens awoke,
Or slept or stretched or ate or drank or dreamt
- I think of them as eating, drinking, dreaming - 
Or swooned or belched or muddled on their way
Or did whatever else they might, and then

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. . .

The Platonic Form of the Good has a cold.
The Platonic Form of the Good is indisposed.
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The Platonic Form of the Good says come back tomorrow.
The Platonic Form of the Good will not see you now.
The Platonic Form of the Good has no time for your nonsense.
The Platonic Form of the Good is up to none.

The Platonic Form of the Good was seen in a late model Citroën northbound on the Old Road outside Sørenberg,
driving in a circumspect manner perhaps intended not to call attention to itself,
but was spotted by an alert 12-year old nonetheless.
Authorities declined to give chase.

The Platonic Form of the Good comes for the Archbishop.
The Platonic Form of the Long Goodbye is long.
The Platonic Form of the Good Life is short.
A Platonic Thing Happened on the Way to the Form of the Good.
The Platonic Form of the Good left your cake out in the rain.

The Platonic Form of the Good is not behind the arras, has not taken the veil,
and cares not
for draperies or tapestries, textiles or quilting bees,
white sales or white sails.
The Platonic Form of the Good knows nothing. Knowing is a different portfolio.

I know nothing of the Platonic Form of the Good. Still I speculate. I will not cease from speculation.

The Platonic Form of the Good asks no questions and answers no questions and
thereby tells no lies.

We are all in this Platonic Form of the Good together.
Every Platonic Form of the Good for itself.
All Platonic Forms of the Good are the same, 
but each Platonic Form of the Good is the same after its own fashion.

The Platonic Form of the Good will not take your call, nor any other.
The Platonic Form of the Good disdains the Platonic Forms of the True and of the Beautiful.
Says it never knew them.
It denies Keats three times before each cock’s crow.

The Platonic Form of the Good settles back, ruefully shaking its cloud-topped head.
It offers you no frosty beverage. It asks no quarter.
The Platonic Form of the Good does not get out much anymore.
The Platonic Form of the Good does not get or spend.

The Platonic Form of the Good would hunt in packs, if it hunted,
and if there were more than one of it.
The Platonic Form of the Good prowls alone, humming jauntily
        They seek it here there
        through the neighborhood
        that damned Platonic
        Form of the Good.
The Platonic Form of the Good gains, from behind,
and is faster and closer than it appears.

The Platonic Form of a Good day to die is not itself Good, nor Platonic.
The Platonic Form of the Good would try to sell you something,
but does not stand to gain by it.
The Platonic Form of the Good is humorless, and no laughing matter.

There is no Platonic Form of the Merely Good Enough.
No good will come of this

There are no happy stories about Orpheus.

At least, there are no such happy stories if you discount Offenbach’s vicious [and funny] send-up in Orphée aux enfers. There is humor inserted in the telling of it sometimes, but the actual Orpheus story is always, in the end, sad. 

There are very few stories at all about Eurydice, again with the limited exception that Eurydice is involved in that generally funny and happy tale re-spun by Offenbach. But enough of Offenbach. Eurydice’s story is, to the extent we tell it at all, also, inevitably, sad. And it remains true now:

There are no happy stories about Eurydice.

There are, however, beautiful stories about Eurydice, notwithstanding they will break your heart in the end.

免费翻国外墙的app [composed by Matthew Aucoin; libretto by, and from the play by, Sarah Ruhl] is a very sad, but beautiful, Eurydice story. You would do well to lose yourself in it, for an evening or an afternoon, while it is here for three [or so] remaining performances in its premiere run at Los Angeles Opera, or eventually in New York when it makes its way next year to the co-commissioning Metropolitan Opera.

Ordinarily, I might talk about the production, the performances in and out th’ pit, things of that sort. On this occasion, I am more inclined to talk about the piece itself. To get a sense of the physical production - which, with the possible exception of that Scene 1 beach chairs and beach balls at the beach business, is solid as can be - you can watch this preview video:

So, then: Eurydice the opera is adapted from Eurydice the play, written by Sarah Ruhl in both cases. I have not seen or read the play, which has enjoyed an enthusiastic reception far and wide. The libretto, cut down from the theatrical text, works very well as an opera text. In fact, the job of connecting words and music has been done well enough that I have a hard time imagining this text working without the music.

For marketing purposes, at least, Eurydice has been postured as the Orpheus story “from Her point of view”. It is that, but it has always had larger concerns, even in its pre-opera life. The largest concern at work is the relations of daughters and fathers, and Sarah Ruhl has said repeatedly that a large part of the play’s origins lie in her search into her own relationship with her own father, who was lost to her in her twenties.

However the dramatic balances may may be struck in Eurydice the play, in Eurydice the opera Eurydice’s deceased, unnamed Father serves as the center, the linchpin of everything, in some ways overshadowing Eurydice herself. It is a marvelously made role that is filled to perfection in the premiere production by Rodney Gilfry.

Here is how the opera works:

Your basic Orpheus-and-Eurydice story is present and accounted for. They meet, they marry, she dies, he goes to the Underworld to retrieve her, he is permitted to take her back to the living so long as he does not look back to see her on their way out, he looks back to see her on their way out, she is lost again. From that point nothing gets better, in most any version, and that rule is rigorously observed here. However, those plot points mainly serve, somewhat like the poundings and drones and chitterings of the Underworld, merely as a ground on which the more interesting new wrinkles to the story play out.

We meet Orpheus and Eurydice on the day of their engagement. Orpheus, throughout, professes his love of, devotion to, and mastery over Music, but we hear no real examples of it. Orpheus the glorious musician is not the point of this opera. For that, you would want an opera with 火箭加速器app安卓版下载 in its title. Orpheus is a bit of a McGuffin, and only present because he is expected. In fact, for an opera, definitionally a drama built on music, Eurydice places a far greater value on written and spoken language. It is largely built on losing, and rediscovering, words words words, and the ways in which words preserve and transmit memory.

Eurydice dies. In this case, it comes when she falls down the stairs from the high high high apartment of a seedy plaidcoat sales thumper who is, ho ho, Hades, into whose company Eurydice has strayed while taking a break from her tedious wedding reception. Hades has come with the excuse that he bears a letter from Eurydice’s dead father. This is true: Eurydice’s father, dead to begin with, is apparently the only former person in the Underworld who has retained the ability to read, write, and, of highest importance, remember. He somehow did not drink deeply enough from Lethe, the river of forgetfulness, in which all new arrivals are given a dip, and which strips every other former mortal of their recall and expression.

The Ruhl/Aucoin Underworld is, without resort to Dantean tortures, singularly unpleasant. Hades, it turns out, is not so much a God of Death, meting out the end of life, as he is an officious and overworked lodging entrepreneur, to whom these guests are a pure nuisance. biubiu加速器电脑版下载_biubiu加速器电脑版官网下载V1.0.0 ...:2021-12-30 · 扫一扫下载到手机 其他版本 biubiu加速器 版本： v1.0.0 大小： 12.3MB 前往下载 biubiu加速器火箭版 ... 下一篇： biubiu加速器火箭版 软件截图 相关合集 工具 系统工具大全 系统工具大全：顾名思义与系统软件类似，系统工具作用于系统，常见作用有 ...

After her fatal tumble, Eurydice proceeds via an elevator through a Lethean downpour to the afterlife. She forgets, most everything. Her father, however, having not been properly bleached of memory, knows her on sight. He applies himself, first with the “language of stones” that is all that the dead are allowed, to restore his daughter’s understanding. In the lexicon of death, there is no word for “father”, so he identifies as “her tree.” Incrementally, he nurses his daughter's vocabulary along until there is at last a blessed Recognition.

This is the center of the piece, and it is crafted with sensitivity and skill. By re-teaching her language, Eurydice’s father brings her back to the recognition of who she is, of who he is, and of who they have been together, and might now be again. To top it off, the Father celebrates their reunion by quoting Shakespeare. Specifically, he recites from King Lear Act 5, when Lear and Cordelia, their army defeated, are captured and consigned to prison. In that moment, Lear seeks, lucidly or not, to comfort his loyal and loving daughter by telling her tales of the jolly time they will have, just the two of them, in captivity:

We two alone will sing like birds i' the cage:
When thou dost ask me blessing, I'll kneel down,
And ask of thee forgiveness: so we'll live,
And pray, and sing, and tell old tales, and laugh
At gilded butterflies, and hear poor rogues
Talk of court news; and we'll talk with them too,
Who loses and who wins; who's in, who's out;
And take upon's the mystery of things.

Reader, this blogger shed discrete but real tears at this time. 

Alas, the slow restoration of lifelike thought is for naught. Orpheus arrives, the deal is made, he looks back and, suffice it to say, everyone that one might care about among these characters is far worse off at the end of the tale than at the beginning. 神奇火箭队手机版下载- 全方位下载:2021-1-26 · 神奇火箭队手机 版 神奇火箭队 时间：2021-01-26 大小： 时间：2021-01-26 星级： 立即下载 神奇火箭队最新版是一款画面风格体验极佳的特色休闲类游戏。游戏拥有精美的画风，精致的画面，简单易上手的操作。游戏中，你将遇到武藏、小次郎这些 ... Father’s hopes for a future with his once lost daughter come to no more than Lear’s wishes for comfort in shared confinement. All ends sadly when [spoilerish Act III details redacted].

No, there are no happy Eurydice stories, but there is some comfort to be had, for we the as-yet still living, in knowing that there is now one more sad Eurydice story to share in.

~~~

“Life isn't fair, it's just fairer than death, that's all.”

—William Goldman,
    The Princess Bride: S. Morgenstern's Classic Tale of True Love and High Adventure: The "Good Parts" Version Abridged by William Goldman
    [It’s in the book, but not carried over entire to the film]

Time is out of joint, per usual, but some things stay firmly fixed: yet again I must give way before my compulsion to present to you the only remaining recurrent feature of this dusty and neglected blog, "Listening Listfully", this Fool's annual catalogue of favorite album/EP-length recordings of the past year. A little of what you fancy does you good, or so it should.

This year's List has roughly 90 entries. The first 60 of those are roughly ranked: the rankings grow ever more imprecise as you go down the tally, but I am satisfied with the larger shape of the thing. The final group of 30 or so is alphabetical. I have long styled this blog as an "index of enthusiasms." That remains true of the List. These are personal favorites, as always, rather than "bests"—although I maintain that everything here is here because it is genuinely among the best things of the past year. 

I remarked upon a number of these recordings on Twitter over the year. Where appropriate, I have embedded copies of some of those tweets. When the tweets went out with Bandcamp player links embedded in them, I have omitted a standalone player in the interests of space.  When there is no tweet to rely on (and sometimes even when there is) I have appended some brief commentary on the first 20 selections. Where that commentary is especially brief, or where it is foregone altogether, it is likely a result of the desire to Get This Done so that it might post while it is yet still 2019 (at least in California). I gave up at Number 20.

    I learned the truth at twenty-one
    Commentary don't get it done

The same flawed, entirely subjective, and internally contradictory thing as it ever was, here begins the fourteenth edition of The List: 

1.    Isaac Schankler – 手机加速器下载火箭版

When all's said, Because Patterns emerged as my clear first choice, for a cluster of reasons. Chiefly, it is the "New Music" recording I played most frequently through the year, which I did because I dug it. 

I attended the premiere of the title piece in October, 2015, when it was part of an evening of microtonal and just intonation piano/keyboard music put together and performed by Vicki Ray and Aron Kallay, without whom the pianistic life of Los Angeles would be a poorer thing, in a madly terrific show at 手机加速器下载火箭版 in Pasadena. The original version of "Because Patterns" was a duo for prepared pianos, and thoroughly delightful as such. If you listen closely, you will find flotsam allusive bits of that original still bobbing and bubbling and implicating through the heavily twitched, glitched, and processed version that appears on this release. The twitches and glitches, and the insertion of equally obscured bits of another piece ("Deep State", for bassist/composer Scott Worthington), are thoroughly appealing in themselves, and yield a commentary on a commentary on a commentary in a mirror through a fog. It is a deep and attractive mirror (and fog) indeed.

This is certainly one of the most 'Southern California' recordings to land at Number One on this List. Isaac Schankler teaches at Cal Poly Pomona these days, and has been the driver behind the People Inside Electronics performance series. The performers here are all current Southern Californians: Ray-Kallay, Worthington, pianist Nadia Shpachenko ["Future Feelings"], and violinist Sakura Tsai ["Mobile I"], all of whom are palimpsested to differing degrees by the composer's inquisitive, organic electronics. 

It keeps me coming back.

Lastly: when I went looking for appropriate Twitter commentary, I found this foreshadowing thread between Isaac Schankler [@piesaac] and meself. [Click through to the whole thread for maximal effect.]

Also, we can't exist without patterns. We desperately need patterns just to survive.

— Isaac Schankler Hyphen (@piesaac) February 24, 2015

2.    Caroline Davis – Alula
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I have not done an audit, but my sense is that this year's List includes my highest proportion yet of jazz and jazz-ish releases. Caroline Davis's Alula leads that parade. I fell for it instantly, and my regard has not faltered. The composer, on alto saxophone, leads her trio (Matt Mitchell on synths, Greg Saunier on drums/percussion) through an arcing series of tunes inspired by a bird's wing. The transition, at the center, from the cacophonous "Lift" to the elegaic and beautiful "Coverts" is near perfect. 

Anthems, meanwhile, arrived on the scene (via jazz specialist Sunnyside Records) as a surprise lagniappe later in the year, a quartet session co-written and c0-led with keyboardist Rob Clearfield. It made sense to me to double it up as a shared entry with its high-flying predecessor.

Alula is a New Amsterdam Records release, and a useful reminder that while that label is most associated with New Music (and the now-obsolesced "alt-classical"), it has long supported a smaller, but choice, group of jazz artists, such as Darcy James Argue's Secret Society. (My 2018 Number One pick - John Hollenbeck's 手机加速器下载火箭版- was also from New Am.)

I have been enthusing over New Amsterdam and its artists for a decade now, but this was a particularly good year for them: you will find fourteen of their releases scattered through this year's List. I will take this moment to give an unsolicited endorsement to the NewAm subscription program, which I joined last February. As the number of MewAm recordings here suggests, I am amply satisfied with that choice.

40 tight minutes of lyrical, crunchy, of the moment jazz: flipping from feather light to heavy as the bottom of a well. I've listened through three times in rapid succession this morning, and I'm going right back in there. @caroenildavis @newamrecords http://t.co/rFpuuJesXs

— George Wallace (@foolintheforest) May 11, 2019

Looks like 'someone' is fated to garner two (2) spots well up on my year-end favorite music list....
Rich, nutritious new music from 火箭加速器下载官网, working the languid/lyrical side of her particular waterfront, en quartet with pianist Rob Clearfield. http://t.co/g99y3gV0q9

— George Wallace (@foolintheforest) September 28, 2019

3.    Michael Vincent Waller – 火箭加速器 安卓 官网

It occurs to me, as I write these comments, that the first half dozen or so recordings this year share a directness of emotional expression that (apparently) resonates strongly with me. (Isaac Shankler's pieces are a bit circumspect about it, but it is not far beneath the ironic distance of their surfaces.)  In this group, the prime example is Michael Vincent Waller's Moments. As with his prior collection 火箭加速器下载官网- which was my #1 choice 2017 - 火箭加速器 安卓 官网 is largely made up of solo piano pieces, played by R. Andrew Lee. And, as with Trajectories, I find it very difficult to write about. Everything I think of to say translates roughly to: "Listen to this. Listen to this! This is so, so, so, so beautiful."

So we'll leave it at that for now.

4.    Christopher Cerrone/wildUp – The Pieces That Fall to Earth

Release Day Is Surely Come, so I need to weigh in one more time on @WildUp's @chriscerrone vocal music collection, "The Pieces That Fall to Earth".
It is rich and nutritious soul stuff, whatever your view of the soul.http://t.co/daGIuBAwLk

— George Wallace (@foolintheforest) July 27, 2019

5.    Andrew Norman – Sustain
        [Los Angeles Philharmonic, Gustavo Dudamel]

Andrew Norman's "Sustain"
Live from Mexico City, earlier this very evening.@LAPhil @GustavoDudamel

Not the only truly great piece this brief Century has produced, but absolutely one of them.http://t.co/LFTQbURHoQ

— George Wallace (@foolintheforest) November 13, 2019

It's a superb piece, and what I may like best about it is that, after 30 minutes of the orchestra slathering elaborate impasto across all surfaces of the hall, it blithely and politely shows itself out with an elegant 3-minute duet for microtuned pianos.

— George Wallace (@foolintheforest) September 1, 2019

6.    Caroline Shaw/Attacca Quartet – superⅴpn下载apk

I assure you:
you will be wanting this.
Maybe not today,
maybe not tomorrow,
but soon …
and for the rest of your life.

Rilly.@caroshawmusic 火箭加速器app安卓版下载 @newamrecords @NonesuchRecordshttp://t.co/MESC7In3dR

— George Wallace (@foolintheforest) 火箭加速器下载官网

7.    Christian Scott aTunde Adjuah – 火箭加速器 安卓 官网

Afro-futurist jazz of amplitude & heart with a Fourth World gratin on a bed of Big Easy. Taproot excellence running from the profound base of yr spine to the secret wrinkles of yr inner head.

"Ancestral Recall"
Christian Scott aTunde Adjuah @cscottjazz http://t.co/hu2Y7u7Xs8

— George Wallace (@foolintheforest) July 3, 2019

8.    “Blue” Gene Tyranny and Peter Gordon – Trust in Rock

Enough politics.
Can we talk about what a killer record this is?http://t.co/1xE6AcWnlF

— George Wallace (@foolintheforest) June 28, 2019

9.    You Tell Me – You Tell Me

Friends. I am thoroughly and abidingly fond of this popular music album of charming and clever songs from earlier in this year. I would hope that you might be [fond of it] as well.@youtellmetoo http://t.co/eZWYHgDC8F

— George Wallace (@foolintheforest) 火箭加速器下载官网

10.    Guma – Guma

Practically perfect in every way.
If the Dead and the Dan, circa 1980, became one singularly elegant, smartly restrained and tasteful band … then entered the studio in 2018.
Kudos to mastermind T.J. Masters, to every player, and to superⅴpn下载apk.免费翻国外墙的app

— George Wallace (@foolintheforest) 火箭加速器下载官网

11.    Tomeka Reid Quartet – Old New

Jazz Cello is the perfect thing you never knew you needed. Also featuring the gnomic, gnostic, never dull guitar stylings of Mary Halvorson.

12.    Caleb Burhans – Past Lives

America needs this sadness every night@Pluckbro http://t.co/f5AUnJRlJI

— George Wallace (@foolintheforest) April 2, 2019

13.    Caravan Palace – Chronologic

Untethered from all undue seriousness.
"Chronologic" is @caravanpalace being their best selves, and therefore a heap of le club buzzy hotpopness pour tous les jours et toutes les nuits.http://t.co/fNeGRmzcGE

— George Wallace (@foolintheforest) September 14, 2019

14.    Sudan Archives – Athena

Hip hop Violin is the new Jazz Cello? 

A superbly smart and sexy R&B record, among many other virtues. Ear-eating it like contraband popcorn, week after week.

15.    Jaimie Branch – FLY or DIE II: bird dogs of paradise

Fiery, politically engaged, roaring bluesy jazz, marinated in Morricone, Masekela, and Mingus.

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16    Ryan Porter – Force for Good

More jazz: the Trombone Eminence of the West Coast Get Down, with as solid an outing as any groovy cat could wish.

17    Ezra Collective – You Can’t Steal My Joy

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— George Wallace (@foolintheforest) April 28, 2019

18    Mary Halvorson & John Dieterich – a tangle of stars

Do not question: just listen. 

19.    Nathan Schram – Oak & the Ghost

A Cosmic Tonne of new music releasing tomorrow.
Do not sleep on this in the crowd:
Nathan Schram @schramnate 'Oak & the Ghost'.
Vonnegut-adjacent chamber music full of grit and pluck and vigor and drive and divers pleasaunte glories. Recommended heartily.http://t.co/FNC6IRX05Y

— George Wallace (@foolintheforest) November 15, 2019

20.    Gavin Gamboa – 1416㎥ (Double Quartet Version)
          &
          Gavin Gamboa – When you come to a fork in the road take it

Gavin Gamboa throws new recordings out there on the Bandcamp, every month, pay what you will. It's unpredictable in form, in genre, and in the variance of your mileage and mine. These two items are placeholders for a general recommendation to remember him, and if you remember then follow.....

Beyond here lies ... more excellent music, but no further commentary

21.    Grey McMurray – Stay Up

22.    David T. Little – Agency

23.    Dan Trueman – Songs That Are Hard to Sing

24.    Sarah Tandy – Infection in the Sentence

25.    Ted Hearne – Hazy Heart Pump

26.    Dave Liebman, Dave Binney, Donny McCaslin & Samuel Blais – Four Visions

27.    Daniel Elms - Islandia

28.    Fay Victor – Barn Songs

29.    The Gloaming – The Gloaming 3

30.    Dave Douglas | Uri Caine | Andrew Cyrille – Devotion

31.    Arthur Russell – Iowa Dream

32.    Ashley Bathgate – Ash

33.    Eamon Fogarty – Blue Values

34.    Sam Wilkes – Live on the Green

35.    SUSS – High Line

36.    The Day – Midnight Parade

37.    Yarn/Wire, Esteli Gomez – Andrew McIntosh: We See the Flying Bird

38.    Ill Considered – Ill Considered 6

39.    Martin Hayes and Brooklyn Rider – The Butterfly

40.    Third Coast Percussion – Perpetulum

41.    William Brittelle – Spiritual America

42.    Aaron Siegel – A Great Many

43.    Boduf Songs – Abyss Versions

44.    Caoimhín Ó Raghallaigh and Thomas Bartlett – Caoimhín Ó Raghallaigh and Thomas Bartlett

45.    Efterklang – Aftid Sammen

46.    Nate Wooley – Columbia Icefield

47.    Rollmottle – It’s a Miracle We’re All Still Alive

48.    Sam Amidon – Fatal Flower Garden EP

49.    Erik Griswold & Camerata String Quartet – Hollows out of time

50.    Liam Byrne – Concrete

51.    John Vanderslice – The Cedars

52.    helming munkur – göetherdaemén

53.    David Lang & Mark Dion – anatomy theatre

54.    Clarice Jensen – Drone Studies

55.    Dexter Story – Bahir

56.    Nathalie Joachim - 火箭加速器永久免费版
          [with Spektral Quartet]

57.    Devonte Hines, Third Coast Percussion – Fields

58.    School of Language – 45

59.    Iceland Symphony – Concurrence

60.    Vetiver – Up On High

But wait, there's more:

Numbers 61 through 90, in essentially alphabetical order

Nérija – Blume

Timo Andres – 火箭加速器app安卓版下载

Joe Armon-Jones – Turn to Clear View

Beirut – Gallipoli

Calder Quartet – Beethoven Hillborg

CFCF – Liquid Colours

Lisa Coleman – Collage

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Hackney Colliery Band – Collaborations, Vol. One

Ill Considered – Ill Considered 8

Jasper Quartet – The Kernis Project: Debussy

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KOKOROKO – KOKOROKO

Anne Leilehua Lanzilotti – In manus tuas

Travis LaPlante – human

Living Hour – Softer Faces

Mac Talla Nan Creag – The Sorrow of Derdriu

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Seabuckthorn – Crossing

Siggi Quartet – South of the Circle

Vanishing Twin – The Age of Immunology

Daniel Wohl - État

Sefi Zisling - Expanse

Peter Zummo – Deep Drive

I done drunk
Myself to death
I done drunk
Myself to death
This heaving chest
Bereft of breath
It has done drunk
Itself to death

I have drank
Until I died
I have drank
Until I died
No donkey’s skin
Nor Nauga’s hide
Can save a soul
That drank and died

I did drink
And now it’s done
I did drink
And now it’s done
So red the moon
So dead the sun
So black my heart
That’s road is run

Hand me that glass
Full-filled with wine
Hand me that glass
Brim-full with wine
From Noah’s crop
That drink divine
The end is near
That end is mine

Amen, amen
Let’s drink again
Till then, till then
All men: amen
cin cin
cin cin
et fin
et fin

The feral parrots fly in pairs
Out and about over parks and arboreta
The feral parrots fly in pairs
In loud shouting clouds above Pasadena

Two's the rule
The rule is two
Two among other twos
or two untethered
Tree to tree or place to place
in mists and haze, or en plein air
Two's the rule 
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Keeping company
one with the other
One with one other
and never another
Each of two
looking out for the one
that looks back at the one
of the two they are not

Their parents parents parents sprung from cages
    freed by fire
Thrown on hot updrafts back into air
    they had nearly forgot
Wings returned to winging
Throats returned to singing
But the world they now found was not the world that was one time their own
Not at all the world that their own forebears had known
Is their bond born of that history?

Finding themselves
unbound and untrammeled
what did they have
but the others of their kind
similarly suddenly
free and bereft

So each one found
    harbored in palms
    beside parking lots
    or huddling adjacent 
    in backyard eucalypts
that each must find one
with whom to fare forward
In duo soli

Two's the rule
The rule is two
Two among other twos
or two untethered
Keeping company
one with the other
One with one other
and never another
Each of two
looking out for the one
that looks back at the one
of the two they are not

Feathered creatures do not weep
whatever princes have written of doves
The feral parrots fly in pairs
for fear of parting without tears

The feral parrots fly in pairs
Out and about over parks and arboreta
The feral parrots fly in pairs
In loud shouting clouds above Pasadena

~~~

• The Kissed Mouth - complete text
  
  
• The Kissed Mouth - Entry Page - The Argument, and Index
  
  
• The Kissed Mouth - Notes and Sources

At the end of 2012 and into early 2013, I wrote a group of verses intended for use in a song cycle. 

The project came my way through Garrett Shatzer, who has since retired from composition. Although he and I would eventually collaborate in 2014 on two other standalone choral songs — "Beset", which made its way to Rome, and "The Map of the Clock" for the Sacramento Youth Chorus [Attention choral directors: 火箭加速器 安卓 官网, it's very good!] — but various things fell apart and that original song cycle never advanced to the point of actually being set to music. When Garrett stepped away from the composing game, the verses reverted to their author, this fool, and there they remain.

The original task was to craft a group of song texts linked thematically, to be set for two singers. Soprano and tenor voices were the plan, although I would be just as happy if either or both were pegged lower down: I am partial to mezzo sopranos and baritones, myself. No particular theme was suggested, and I soon inclined toward having the singers be characters and toward a set of songs knocking on the door of, if never quite gaining admittance to, the realm of chamber opera. The tenor part would be for a single character, but the soprano would have three.

I proposed the story of a man in Victorian England, who would be called upon of an evening by three apparitions. The man I settled upon was the poet and painter Dante Gabriel Rossetti, whose life provided any number of candidates for the three soprano spirits. From that pool, I settled on Elizabeth Siddal, who modeled repeatedly for Rossetti and others of his Pre-Raphaelite circle, married Rossetti, and died; Jane Burden Morris, also a frequent Pre-Raphaelite model, who married William Morris but also carried on a longstanding relationship with Rossetti; and Beatrice Portinari, as idealized by Dante Alighieri in the Divine Comedy, and as further idealized by Rossetti throughout his artistic career. Visions of these three appear to Rossetti as he is on the verge of death. He is granted by Beatrice a small personal apotheosis.

The title of the piece became The Kissed Mouth, derived from Boccaccio by way of a Rossetti painting, Boca Baciata, the principal model for which was Fanny Cornforth, who does not appear in these verses even though, of the women important to Rossetti, she is the one, apart from his sister Christina, most likely to have actually been near at the time of his death. As I remark elsewhere, Fanny Cornforth deserves some verses and music of her own one day.

I like The Kissed Mouth, and I am pleased to have had the occasion to write it. When the original project still had some prospect of coming to fruition, I did not circulate the text much beyond the potential participants in it. When its original purpose ended, I never got around to publishing it elsewhere, until now.

I have set up The Kissed Mouth on a group of pages separate from the main body of this blog. It can be read complete, at a single go, or it can be accessed through a page that links to its individual subsections, which are also linked to one another. There are even notes and some description of the sources for the bits of Rossetti's own poetry, and the allusions to Keats and Dante, that were incorporated into the fabric of the piece. As Beatrice sings near the end: Enter here!

• The Kissed Mouth - complete text
  
  
• The Kissed Mouth - Entry Page - Argument and Index
  
  
• 火箭加速器下载官网 - Notes and Sources

腾讯网游加速器——绝地求生首选加速器【官方推荐】 - QQ:2021-6-9 · 腾讯官方出品的海外游戏网络加速工具。完美加速绝地求生、彩虹六号、GTA5、无限法则、战地等上百款海外游戏，有效解决游戏中出现的延迟、丢包、卡顿等问题。72小时超长免费试用，体验后购 …: If you find anything here (or elsewhere in the Poetry postings on this blog) that strikes your fancy, or that gives you the impression that I might be able to concoct a text or ten that might be of use to you in your own projects, I am easy to find. Inquiries welcome. My dreams of becoming a freelance librettist refuse to die. Being as I am an aging white male myself, I have a particular interest in working with those who are not one or more or any of those things.

~~~

Photo:    Dante Gabriel Rossetti, Beata Beatrix, Art Institute of Chicago.

The Kissed Mouth © 2013 George M. Wallace; all rights reserved.

Time is up, year is done, and once again it is time for the only remaining recurrent feature of this dusty and neglected blog, "Listening Listfully", my annual catalogue of the album/EP-length recordings released in the past twelvemonth that most particularly tickled my fancy.

I am particularly struck this year by how permeable the membranes continue to become between modes and genres, and how much I enjoy that multivalent intercursive flow. Jazz splashes on to folk, pop leaks through the interstices of whatever Classical may mean in these times, chocolate gets into peanut butter, "dogs and cats: living together!", and on and on. As Mr. Twin Sister would have it in the opening track of Salt [Number 6, 火箭加速器下载官网]:

Keep on mixing, mix all people
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This seamless web of musickes fascinates me. Historically, there has been a lot of contemporary classical/New Music at the upper ends of these lists, but this year there is no pure example in my Top 10, despite it having been a perfectly good year for such music. Nordic Affect, at Number 12, is the highest ranked straight-up example of the type - though you can make a good argument for Chris Kallmyer at Number 11, and there are 火箭加速器怎么下载_百度知道:2021-7-9 · 2021-09-11 求火箭网络加速器 安卓版 下载地址 2021-04-17 给我一个火箭加速器帐号和密码 2021-02-17 火箭网络加速器在那里下载 2021-06-23 手机火箭加速器是什么东西？ 2 2021-02-03 一键加速下载小火箭 8 sprinkled through the ostensible nonClassics above that. [I remarked eleven months ago that the entry point to John Hollenbeck's All Can Work, my eventual Number 1, "is not obviously a jazz piece at all: brass and winds sweep[ing] slow chords across chittering tuned percussion, in a manner akin to that of many a contemporary chamber group." Similar instances abound in the selections below.]

That said, all my old biases remain because heck! they work for me. The ruling biases include

• a preference for music arranged into "albums" or their equivalent
  
  
• a preference for buying and owning music (in the hope its creators might actually be compensated for their creations) over smash-and-grab streaming.

I feel more strongly than ever on that second point. I have a definite bias for music that can be accessed and purchased through Bandcamp, for the simple reason that it is the least intrusive middlething between listener and creator. Whenever possible, I have provided Bandcamp links to the music on this list. When there is no Bandcamp access, I have reluctantly embedded Spotify players because, while wicked, it provides ease of access to the listener. Anything Bandcampable can be bought through those Bandcamp players. For the rest, I've slipped in links to [cough cough] Amazon or, in some cases [Sweet Billy Pilgrim, Joe Garrison] to the musicians' own choice of independent distribution. However you choose to operate, I urge the rule, paraphrasing Dr. Frank N. Furter, "Don't stream it: Buy it."

The number and arrangement of the List is in constant flux. This year, I've numbered sixty choices, then added in an alphabetical listing of twenty or so more. As I said in 2016, "the List is like baseball: it could in theory go on without end." I am always one who hopes the music plays forever.

I style this blog as an index of enthusiasms. These are personal favorites, as always, rather than "bests"—although I maintain that everything here is here because it is genuinely among the best things of the past year, and not simply because I have enjoyed it. The rankings become increasingly imprecise with each step down the line.

For many of the selections on which I commented during the year via Twitter, I have embedded copies of some of those tweets. Others receive brief commentary here. Where that commentary is especially brief, it is a result of the desire to Get This Done so that it might post while it is still 2018 (at least in North America).

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1.   John Hollenbeck Large Ensemble - All Can Work

In a post in late January, I touted All Can Work as "The First Great Record of 2018," adding that it was "all but guaranteed a high-ranking spot on my personal List when the year is old and done." The prophecy is hereby fulfilled. As highly as I regard the other collections collected below, on returning to All Can Work after several months in which I had not listened to it I found that it remained my clear choice as the most roundly, fully, and firmly satisfying album of the year.

2.  Janelle Monáe – Dirty Computer

The token Big Popular Success on this year's List, Dirty Computer needs no recognition from me, but will get it anyway. Funky, filthy, free; bracing and embracing. Listening just once is not really an option. I do not think I played anything else on this page quite so frequently as I did 火箭加速器 安卓 官网 over the course of the year.

3.  Aidan O’Rourke – 365, Vol. 1 [featuring Kit Downes]

This - for the being clued to which much thanks be to @samamidon - is a breath-stealing, gob-gaping gorgeous set of music beyond all reason. Fiddle, with piano or with harmonium [never with the both at once] and ... well, yeah.http://t.co/l2SnqgxXaZ

— George Wallace (@foolintheforest) 火箭加速器 安卓 官网

In 2013, author James Robertson set himself the task of writing one story each of the 365 days of the year, each story consisting of 365 words. Scottish fiddler/composer Aidan O'Rourke set himself the task of responding to one of those stories with a new composition each day for a year. This set of 22 pieces is the first of two contemplated releases of samplings from the result, on which O'Rourke shares in the harmonisation and playing with keyboardist Kit Downes [described by O'Rourke as drawing on "jazz and Ravel and church organ" which is plenty good enough for me]. It's a labyrinthine wonderment in which to get lost.

4.  You Are Wolf – Keld

Death among the duckweed
Magic in the mere
Anima rising
All of it's here#SoGood #EssentialListening@kj_funk!火箭加速器下载官网

— George Wallace (@foolintheforest) April 5, 2018

Stunner@kj_funk (composer, and central to @juicevocal) in her Old Weird Britain project
with @SamuelJHall @PJAshwell @MaJiKer

Stunner, says I yet again.手机加速器下载火箭版

— George Wallace (@foolintheforest) March 26, 2018

You Are Wolf is composer/singer Kerry Andrews' solo project, messing about with folk and traditional material and squeezing it out through a mesh of contemporary and avant- techniques. The first You Are Wolf album drew themes from bird life. Keld is steeped deep in bodies of water of all sorts. Gorgeous and occasionally unnerving.

5.  Gabriel Kahane – Book of Travelers

The only album on this list that received a post of its own here this past year is sitting up there at #1. What has proven to be my only other musical post of 2018 went up roughly a week earlier, when I reported my thoughts on Gabriel Kahane's live performance of the songs that eventually saw release in August as Book of Travelers. I did not do a follow-up post when the recorded version appeared, though I certainly made mention on Twitter. Rather than reproduce one of my own tweets on this one, I will defer to Alex Ross of superⅴpn 下载: 

There may be no better way to mark Bernstein's centennial than to listen to @gabrielkahane's new album Book of Travelers, which hovers between genres and looks at modern America with a kind of loving antagonism. Bernstein might well have nodded assent. http://t.co/Bc9px5BwfL

— Alex Ross (@alexrossmusic) August 24, 2018

6.  Mr. Twin Sister – 火箭加速器 安卓 官网

First of two Unqualifiedly New York City bands in our top 10. I hear this music as the current iteration of that great NYC tradition of smart, if gawky, streetwise rock, following on from the likes of the Velvet Underground and [particularly] Talking Heads. I love this stuff. Note that the ordering between them is arbitrary; could easily have been vicey versey.

7.  Sweet Billy Pilgrim – Wapentak

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Second of two Unqualifiedly New York City bands in our top 10. Cf. Mr. Twin Sister, supra, op. cit. I hear this music as the current iteration of that great NYC tradition of smart, if gawky, streetwise rock, following on from the likes of the Velvet Underground and [particularly] Talking Heads. I love this stuff. Note that the ordering between them is arbitrary; could easily have been vicey versey. I repeat myself when under stress I repeat myself

9.  The Gloaming – Live at the NCH

The very word 'gloaming' reverberates, echoes - the gloaming, the glimmer, the glitter, the glisten, the glamour - carrying in its consonants the images of houses shuttering, gardens darkening, grass-lined rivers slipping through the shadows.

                --Joan Didion, Blue Nights

That quotation was intended to open an unfinished post about The Gloaming that has been hanging about among my drafts for nearly five years, in which time the band has released two additional albums. Now at least it won't go to waste.

The Gloaming is an Irish-American supergroup of sorts, containing Iarla Ó Lionaird, Dennis Cahill, Martin Hayes, Caoimhín Ó Raghallaigh, and Thomas Bartlett. They work principally with Irish traditional music, buffed and polished with a combination of intensity, energy, not-quite-standard instrumentation, and random interjections of non-standard styles. Piano is, for example, not the most common of Irish traditional instruments (which tend to be more practical for the musician to carry from place to place), and Thomas Bartlett's piano is occasionally 'prepared'. 

This set, produced by Bartlett, draws on recordings from the band's annual sold-out residences at Dublin's National Concert Hall. It is a grand jam.

10.  Mary Halvorson – Code Girl

It is its own fine thing, to be sure, but anyone who cherishes a fondness for Henry Cow, Art Bears, and other Fred Frith/Dagmar Krause-adjacent recordings will find much to enjoy in Mary Halvorson's 'Code Girl' band project.http://t.co/8OwPeup8Bc

— George Wallace (@foolintheforest) 免费翻国外墙的app

11.  Chris Kallmyer – 火箭加速器永久免费版

Deep desert music. Somewhat comparable to @daniellanois, but @chriskallmyer has his own ideas and voice. He also has Ennio Morricone's personal echo machines and fears not to use them.http://t.co/M2m9hGyGCp

— George Wallace (@foolintheforest) October 13, 2018

12.  Nordic Affect – H e (a) r

It's a happy thing that 火箭加速器下载官网 formed as an Early Music group, found that there was little or no Icelandic Early Music to be had, and promptly pivoted to superb Icelandic contemporary music.
"H e (a) r" is their best yet, very possibly.火箭加速器永久免费版

— George Wallace (@foolintheforest) October 30, 2018

13.  Nicole Mitchell – maroon cloud 

A deep dive into the gleaming feminine dark, with supernal flutes, gritty cello, and deep-rooted voice to light the way. Potent, sticky, slow and powerful.火箭加速器下载官网 @NationalSawdusthttp://t.co/NxxOGenjzU

— George Wallace (@foolintheforest) September 4, 2018

14. Daníel Bjarnason – Collider

The latest collection of orchestral music from Daníel Bjarnason, including "Blow Bright", commissioned and premiered by the Los Angeles Philharmonic. Bjarnason is very good at this orchestral writing thing.

15. Sam Wilkes – Wilkes

      Sam Gendel & Sam Wilkes – Music for Saxofone & Bass Guitar

I first became aware of saxophonist/guitarist Sam Gendel in 2017, via his appearance on Sam Amidon's superⅴpn 下载. These two selections feature him with bassist Sam Wilkes, in a duo setting and as the abundantly featured player on Wilkes's own band-based release. Swirling, austere, spiritual jazz grooves from L.A.

16.  MeShell Ndegocello – Ventriloquism

All right, let us get real:@OfficialMeshell is both a superlative musician/creator in her own right and a superlative interpreter of others. In the latter capacity, she's never been better than here.
This is all you know, or need to know, on Earth.

— George Wallace (@foolintheforest) March 9, 2018

17.  The Industry; Los Angeles Philharmonic New Music Group – Lou Harrison: Young Caesar

I did indeed give this a listen this afternoon. As a recording, and even without the particular joys that its staging provided in abundance, "Young Caesar" is a full on life force marvel. There's glory for you! http://t.co/UV5pnyb1hy

— George Wallace (@foolintheforest) 手机加速器下载火箭版

Lou Harrison's 1971 opera Young Caesar might well be subtitled "There and Back Again: a Roman's Holiday." It follows the teenaged Julius Caesar as he works to advance in Roman society, under the tutelage of his aunt Julia, by way of arranged marriages, public priestly service, and eventually a position as a staffer to a general. On the eve of his first battle, from which he hopes to gain a reputation for bravery and perhaps some valuable salvage, Caesar is dispatched to the court of King Nicomedes of Bithynia, to press for the delivery of some promised ships. In Bithynia, however, Caesar's diplomatic mission is temporarily forgotten as he becomes in short the boon companion and lover of the wealthy and attractive King. In the end Caesar accomplishes his mission and reluctantly parts from the Nicomedes, knowing he will likely never return, and sails again for Rome. It is a tale of love, duty, power, sacrifice, regret, and freedom: in other words, perfect for opera.

In June, 2017, the Los Angeles Philharmonic staged a single, revelatory performance of Young Caesar, in an edition and production devised by Yuval Sharon and The Industry, preserved in this live recording. The opera had never had a really successful performance previously, often as not because of backers getting cold feet over the controversial (read: overtly gay) nature of the work and its themes. Earlier versions of the libretto are also reputed to have been dramatically or structurally turgid. The Industry/LA Phil version proved eminently performable, musically and dramatically, confirming Young Caesar as a major 20th century American opera.

For all the serious matters on its agenda, Young Caesar is also shot through with humor, particularly in the person of Bruce Vilanch as the narrator, and in the production's embrace of florid gestures toward camp, particularly in the "eroticon" staged for Caesar by his Bithynian host - complete with flying phalloi, which are not in evidence on the recording. What will be plainly evident to listeners is the marvelous invention of Lou Harrison's score, and particularly his incorporation of Asian percussion and gamelan tunings to contrast staid Establishment Rome with exotic, intoxicating Bithynia. 

18.  Jon Hassell – 极速火箭加速器手机版下载-极速火箭加速器安卓应用-181613 ...:2021-1-19 · 极速火箭加速器 普通下载地址： 不提供下载 用户评论 表情 已有1条评论 (您的评论需要经过审核才能显示,请文明发言！) 剩余字数： 200 验证码： 点击图片更换 ...

The first new Jon Hassell release in nearly a decade, collecting recent exemplars of the diverse global paths he has trod over the decades.

19.  Neneh Cherry – superⅴpn 下载

Saturday late evening listen: "Broken Politics", new from @misscherrylala,
the which
for the moment
(instant and larger)
is just the thing.手机加速器下载火箭版

— George Wallace (@foolintheforest) November 4, 2018

20.  Field Music – Open Here

Always trust content from Brewis Brothers. @fieldmusicmusic http://t.co/xEtS8Rcnji

— George Wallace (@foolintheforest) February 13, 2018

21.  Thomas Bartlett & Nico Muhly – Peter Pears: Balinese Ceremonial Music

The grain of sand in the pearl here is a set of three dual piano transcriptions of Balinese gamelan music by Colin McPhee, which he completed and played with Benjamin Britten when both were expatriates in Brooklyn circa 1941. Composer Nico Muhly and singer-songwriter/producer Thomas Bartlett [Doveman] play the McPhee pieces,as well as nine other songs musically and harmonically inspired by them. As a practical matter, this is three-quarters of a Doveman album in all but name, and welcome for that.

22.  Joe Garrison – The Broken Jar

Thread.
The overarching sentiment re support for local/regional artists is important, and the particular recommendation [Joe Garrison's "The Broken Jar"] proves to be a true and original delight. The flute writing, of all things, is a particular treat on this set. superⅴpn下载apk

— George Wallace (@foolintheforest) August 30, 2018

23.  Gavin Gamboa – 1685: Shadow Owes Its Birth to Light

        Gavin Gamboa – Urgency Apparatus

        Gavin Gamboa – Lipolysis

The music of Gavin Gamboa [who recently re-twit-monikered as @gavcloud] goes off in unreliable and unexpected directions all the time: from straight up High Classical to amorphous electronics to pomo maximal minimalistics to what have you. 1/2

— George Wallace (@foolintheforest) August 18, 2018

24.  Anthony Roth Costanzo – ARC

Listening while driving the Inland Empire today, what I dug most about @A_R_Costanzo's fine record is how obviously obviously right it is to just set @philipglass's music down to resonate shinily beside Handel's. http://t.co/HROV8gnLrq #NowPlaying

— George Wallace (@foolintheforest) September 27, 2018

25.  Steve Reich – Pulse / Quartet

Was fortunate to hear the West Coast premiere of "Pulse" via @LAPhil a year+2 weeks ago. If there will ever be a Steve Reich equivalent to late Beethoven, "Pulse" is likely It.http://t.co/avheTmKQYG

— George Wallace (@foolintheforest) February 3, 2018

26.  Kadhja Bonet – Childqueen

Ambitious orchestral singer-songwriterness, with echoes of Minnie Ripperton and more.

 27.  Ambrose Akinmusire – Origami Harvest

Today I learned that, yes, @EcstaticMusic is an "influential bod[y] of the institutional avant-garde". Also that it contributed significantly to making this vital music happen.
h/t @tedgioia
cc: @juddgreensteinhttp://t.co/xnzmSR1Ebu

— George Wallace (@foolintheforest) November 28, 2018

Genre defiance of the best kind, combining Akinmusire's jazz trumpet and small jazz group with the Mivos Quartet and rapper Kool A.D. This was a late and recent discovery, and might well have wound up higher on the list with a few more listens. 

28.  Foresteppe – Maeta

Samples derived from the forest and steppes of Siberia, abstracted and diffused and etherealized.

29.  Donny McCaslin – 火箭加速器 安卓 官网

From Bowie's last sax player. Rock-leaning New York jazz, to be played loud.

30.  Kamasi Washington – Heaven and Earth

Kamasi and friends doing what they do. Pssst: Some of the most interesting material is on the hidden third disc.

31.  Elvis Costello – Look Now

A very good mature period Costello album, with strong ties back to his Burt Bacharach collaboration, Painted from Memory.

32.  Leverage Models – 火箭加速器app安卓版下载

Synthpop agitprop, kicking paradigms and taking names.

33.  Richard Swift – The Hex

Final release of the late Richard Swift. Sad pop made sadder by his loss.

34.  Scott Worthington – Orbit

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35.  Psychic Temple (feat. Cherry Glazerr) – Houses of the Holy Vol. 1

腾讯网游加速器app下载_腾讯加速器手机安卓版免费下载_游戏吧:2021-11-13 · 腾讯网游加速器是一款专为手游量身定制的加速器。用户通过使用加速器可以有效解决游戏过程中的延迟、卡顿问题，提升网络稳定性，优化手机内存空间，释放空间。

The weather and mood are distinctly, pleasantly autumnal in southern California today, but anyone craving a last shot of SoCal summer breeziness can find it in this 5-tracker just released by Psychic Temple @schlarb, with @cherryglazerr.http://t.co/MCziTHur3t

— George Wallace (@foolintheforest) October 3, 2018

36.  The Lazy Lies – Less Talk More Action

Everything old is new again Brit Invasion-styled pop tunes, straight out of Barcelona.

The band has a second album out now, and it continues along the Pleasure Curve. A bit more Zombies than Kinks in the broth this time. Still sparkling and tasty. @TheLazyLieshttp://t.co/fXo0pxfXHw

— George Wallace (@foolintheforest) February 6, 2018

37.  Bettye LaVette – Things Have Changed

Truly, @BettyeLaVette belongs high, high, high on the list of Great Dylan Interpreters,
with extra points earned for emphasizing the master's late-mid- to late-late- career material
[the which I particularly cherish].

h/t @tedgioiahttp://t.co/3Lz5pK6PUO

— George Wallace (@foolintheforest) May 4, 2018

38.  Orchestre Tout Puissant Marcel Duchamp – Sauvages Formes

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 39.  Niechęć – 手机加速器下载火箭版

Prog-Jazz from Poland. These live versions are enhanced in some cases by the presence of a King Crimson-emulating cello.

40.  Hilja – Cucina Povera

Sounds like Iceland – spaces expanding into spaces, wind strewn and cinder blown – but it's Finno-Glaswegian. Layered voice, field recordings, subtilectronica, and a relationship to language somewhere between Cocteau Twins and Sigur Ros: a mystic sophistic blend.

41.  Beachglass – Sunroom Sanctuary

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42.  Aaron Martin – Touch Dissolves

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43. My Brightest Diamond – A Million and One

Shara Nova, now with 32% more beats and danceability.

44. Philip Glass – Symphony No. 11

Glass Glass Glass Glass Glass Glass Glass. Most everything he has learned about orchestration over the years - which is a great deal - is on display here. Symphony No. 12 ["Lodger"] premieres January 2019 in Los Angeles.

45. LeStrange Viols – Æternum - Music of the Elizabethan Avant Garde from Add. MS 31390

Viols! Elizabethan repertoire! What more do you need to know?

46. Clarice Jensen – For This From That Will Be Filled

Cello and electronics and drones, oh my.

47. International Contemporary Ensemble – 火箭加速器下载官网

A survey of recent works by Iceland's Anna Þorvaldsdóttir.

48. Angelique Kidjo – Remain in Light

Angelique Kidjo re-appropriates Talking Heads' 火箭加速器永久免费版 for Africa, to excellent effect.

49. Duo Odeon – Specter: The Music of George Antheil

Although he was in fact American, I persist in thinking of George Antheil as French, largely because he composed the score to Fernand Leger's 1924 Dada film "Ballet Mécanique". I learned of my error when I tweeted about this recording. Although I got his Frenchness wrong, I otherwise stand by my assessment of Antheil's fine music.

I was just followed by @duo_odeon, and that serves as a timely reminder to me to remind you that their George Antheil recording [releasing Friday] is very very good.

It captures that splendid moment in the newly-minted 20th Century when French music fully weaponized whimsy. http://t.co/BYg2zP687y

— George Wallace (@foolintheforest) June 21, 2018

50. Marc Mellits; New Music Detroit – Smoke

Groovy Fun with Minimalism. 

51. Astronauts, etc. – Living in Symbol

Sophisto bedroom pop from Oakland. 

52. Tammy Evans Yonce – Dreams Grow Like Slow Ice

New music for solo flute, much of it utilizing the glissando headjoint. 

53. Simon Jermyn + Ben Goldberg – Silence

A meditative jazz excursion.

54. Olden Yolk – Olden Yolk

Freak folk meets Belle & Sebastian? I dunno, but I like it.

55. Olivia Chaney – Shelter

Luxe contemporary folk, from a zone somewhere between June Tabor and Laura Marling, with a surprise cameo appearance by Henry Purcell. Arranged and produced with unfailing subtlety by Thomas Bartlett.

56. Subtle Degrees – 火箭加速器下载官网

Abstract and expansive new music from the duo of tenor saxophonist Travis Laplante [Battle Trance] and percussionist Gerald Cleaver.

57. Sergey Akhunov – Victor Hugo’s Blank Page

A survey of new and previously released compositions from the Russian composer. 

58. The Hands Free – The Hands Free

This is a ++very satisfying collection of music, in ways that are entrancing but not flashy nor overtly ostentatious. Still-ish waters run deep.
The point, I suppose, of my [...arguably...] overwrought pre-release recommendation. This remains 火箭加速器app安卓版下载 for your consideration. http://t.co/7Zhh0ZDiyF

— George Wallace (@foolintheforest) May 26, 2018

59.The Nouveau Classical Project – Currents

New York based contemporary quintet offers up new compositions from David Bird, Olga Bell, and [my personal favorite here] Isaac Schankler.

60. Marc Ribot – Songs of Resistance 1942 – 2018

吃鸡怎么下载加速器-百度经验:2021-1-27 · 吃鸡怎么下载加速器,一篇好的经验分享可以使你帮助别人进步。当然读到一篇好的经验不仅可以帮你解决疑惑难题，还可以使你快乐的学到很多东西——这篇经验分享的是吃鸡怎么下载加速器。

Some thoughts on @marcribotmusic's "Songs of Resistance 1942 - 2018"http://t.co/v0T4Bz05AG
0/9

— George Wallace (@foolintheforest) September 26, 2018

~~~

Les mentions d'honneur. Chevaliers de l'ordre alphabétique:

Aizuri Quartet – Blueprinting [rising contemporary music string quartet with chops so sharp you may cut yourself just by listening]

Alex Crispin – Open Submission  [lovely ambient ambiences]

Arooj Aftab – Siren Islands [woven drones and atmospheres of mystery]

Baeilou – Inside Under EP [Singing cellist draws musical tools and styles from a list at least as long as your arm; hoping to hear more from her, soon.] 

Brad Mehldau – 手机加速器下载火箭版 [Mehldau plays Bach, and constructs Bach-like structures of his own, to fine effect]

Crash Ensemble, et al. – Andrew Hamilton: Music for People 

I am now listening to "Music for People Who Like Art" for the first time, and near to laughing my fool head off. What a grand lunatic contraption! Thanks for gesticulating in its direction.

— George Wallace (@foolintheforest) April 28, 2018

Eiko Ishibashi – The Dream My Bones Dream [uncategorizable really I can't even]

Etienne Jaumet – superⅴpn下载apk [clubland takes on classic jazz tunes]

Jacob Greenberg – Hanging Gardens [exploring the connective tissue between Debussy and Schoenberg]

John Coltrane – Both Directions at Once [1963] [the "lost" album]

John Lindaman – Let the Power Fall Again [A revisitation/recreation of the core 1981 Frippertronics recordings, with the sort of rigor and exploratory respect typically reserved for, say, the Bach cello suites.]

Mammal Hands – Becoming EP [contains sweetly melanchoolic jazz-like substances]

[Medeski, Martin & Wood w/ Alarm Will Sound – Omnisphere [a live collaboration between the brainy witty jazz trio and the brainy witty new music orchestra; features a super rendering of Caleb Burhans' "o ye of little faith (do you know where your children are)"]

Padma Newsome – The Vanity of trees [songs from the wood]

 [Robbie Lee and Mary Halvorson – Seed Triangular [Two fine musicians exploring and improvising on instruments old and obscure to the point of being nigh hypothetical.]

St. Vincent –  MassEducation [stripped down piano versions, with Thomas Bartlett, of the songs from Masseduction]

Sunda Arc – Flicker [an EP of lushly twitchy electronica from a member of Mammal Hands]

The Necks – Body [goes quite satisfyingly to 11 for a bit, but ultimately thinks better of it]

The Righteous Yeah – Goodbye [From a subidentity of New Zealand guitarist Michael Morley, crepuscular symphonic loops somewhat in the vein of William Basinski]

The Righteous Yeah – Unknown Album [likewise]

Yoko Ono – Warzone [at 85, the artist revisits her music, including taking her own run at "Imagine"; produced by Thomas Bartlett]

Zeal and Ardour – Stranger Fruit [black metal field hollers, not because they are easy but because they are hard]

~~~

Lagniappe: favorite song of 2018 not on an album that made it on to the List.

~~~

 FIN

 ~~~

I know this much is true
according to

reports of eyewitnesses to reports from the scene

or presumed friends of the presumed eyewitnesses

not so much friends really
as acquaintances   or
well-informed former acquaintances
who to be honest don't always follow them that closely
maybe half a dozen of those

two sources familiar with articles about the folks they heard had had the conversation

the gall bladder of a small pigeon,
distended and porpoise-shaped
with glints of mica

the usual suspects
the usual guilty parties
the ostensibly innocent parties
the lawyer of their lawyers’ lawyers
or a spokesperson for the aforesaid

you
wasn't it you I heard it from

a persistent patch of lint in the trap
seemingly burning but yet unconsumed
and still there each time I look

fox news, or maybe hedgehog news

three aides who later sought first aid after smacking heads as they were all three attempting to listen at one time at the relevant keyhole

a senior white horse souse

yo mama
mine as well

手机加速器下载火箭版
you know the one yeah that one

from out the patch of lint

yeah that one

The creatures that dwell in the margins of maps
are a destination in themselves
sought after sometime captured in glimpses
in sidelong nets and backhanded pitfalls
by trickery on reflection
via deception
or inveiglement

wishes are horses
horses are unicorns
manatees mermaids
rumors immaculate proof

what might one find
beneath the sargassum
what might one find
living its life
adrift on a plastic subcontinent

here there be Maps
of where here is
of where there was
here there be Maps
of what you will

will what you will make of it
seek and pursue
rise as you will or can
along the lifting and plastic lines of the compass rose

All morning on the Interstate through fog
past cattle bathed in fog and maybe goats
recruited to crop down the marginal grass
of tracts of Interstate-adjacent homes

one drives all morning on the Interstate
past fog-blest cattle fog-bathed baby goats
past crops at dawn, distrait fog-margined grass
Those homes
This fog
The interstate
That grass

The speed and turbulence of all that drives
the Interstate sweeps all the roadbed clear
of fog. The fog holds off a bit, askance,
the driver's glance still barred beyond the marge.

The pavement seems so smooth, as smooth
As suede as fleece as milk as sheep as goats,
and on each side secreted by that fog
the grass-green grasses grow beneath the stock.

The grass grows green-o, rushing rushers rush
and still the fog sifts, self-absorbed and still

and mops the moist and misted eye that drives
all morning on the Interstate through fog.

Hello, friend.

Have you received the good news? The news that the John Hollenbeck Large Ensemble's All Can Work is the First Great Record of 2018?

I 火箭加速器下载官网, don't you know, which is the truest of tokens of truth.

All Can Work releases today [January 26] via New Amsterdam Records, which is a perfect place for it, being as the album is in part a sly, gentle slap in the face to genre. It is a fundamentally fine jazz record that, often as not, sounds nothing like a "jazz record." (New Amsterdam, while commonly pegged as specializing in something such as "contemporaryAltNewClassical", eschews such labels and has a solid history of supporting releases from or adjacent to the "jazz" corner of the galaxy, e.g., 火箭网络优化器下载_火箭网络优化器v3.0.0.5极速版下载-侠丐网:2021-3-19 · 1 极光网络优化器pc版 v1.0永久免费版 2 360网络优化最新版 2.0 官方版 3 迅游最新版 官方版 4 27网络优化器电脑版 2.93破解版 5 玲珑网络优化器电脑版 v5.0 6 网页游戏优化器 官方版 7 单机游戏网络优化器 官方版 8 泡泡网络优化器 19.2.12.3官方版 9 量子网络优化器 官方版and exotic creatures such as Will Mason Ensemble and 火箭加速器 安卓 官网.)

John Hollenbeck is a profluent drummer and composer, collaborating far and wide with groups both large and smaller. This is his third release with his own eponymous big band. All Can Work displays the core virtues that make a “great record”: it gives pleasure, it offers variety and surprise, it rewards repeat listening, and it is a satisfying whole, most particularly enjoyable when consumed, in sequence, as such. Those same virtues inform well-crafted live performances, in any genre, and 火箭加速器 安卓 官网 performed straight through would be a super solid show.

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“All Can Work” is tribute and memorial to Laurie Frink—trumpeter, educator and mentor to many another player, and longtime Hollenbeck collaborator and band member—who died of cancer in 2013. It is a song, an excursive setting of words drawn from Frink's email messages to Hollenbeck, a sketch of a cherished friend and of a musician's love for her craft and companions (and theirs for her). Theo Bleckmann is the singer, guilelessly weaving through biography, joy, fear, surprise, speculatiove philosophy and more, to reach a simple and affecting farewell:

I’m
good

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I will miss you all and especially the music

There follow two non-Hollenbeck compositions with which Hollenbeck has his way as arranger/reinventor. “Elf” takes its title and raw musical material from a Billy Strayhorn piece, subsequently retooled through Duke Ellington as “Isfahan.” Themes that are straightforward in most prior versions are here smeared, reshaped and relished as a tumbling burble topped with high woodwind ululations.

Kenny Wheeler's “Heyoke” was originally a quartet piece [on Gnu High (ECM 1976), with Wheeler, Keith Jarrett, Dave Holland, and Jack DeJohnette], but it thrives in its new large-band manifestation. The original begins with an enticing melody, stated by Wheeler on flugelhorn and then passed and played with around the group for roughly ten minutes; there is a pause for breath, then an extended, more urgent and even more freely improvisatory segment of the same length, subsiding in roughly its last 45 seconds to a sort of clockwork tick-tock call and response motif. Hollenbeck’s re-version starts with that clockwork, extending and inflating it for more than five minutes before the lyrical “Heyoke” melody is allowed to surface, to shine a bit, and then to subside back into the primordial broth, adrift over some mellifluous Theo Bleckmann vocalise.

Three Hollenbeck originals follow. “this kiss”, per the composer, is drawn from Romeo and Juliet, foregrounding the exuberance of the Young Love plot, with the Violence and Death plot serving as a sort of lurking descant. In “from trees”, the preposition in the title is the important bit: the piece moves steadily away from forested things into a chiaroscuro-noir urban nightscape, easing through a slippery semi-waltz on its way to a chugging slow boogie of an ending. [Hollenbeck’s liner notes—which are interesting enough to warrant obtaining a physical copy in order to read them, but which I had not looked at before writing that sentence—reveal the inspiration for the piece to be the paintings of Piet Mondrian, and particularly the path 火箭加速器下载官网 his early studies of trees to the grid paintings for which he is best known, in particular the late “Broadway Boogie Woogie”.]

Theo Bleckmann returns to words in “Long Swing Dream”, speaking rather than singing an extended excerpt from the diaries of Cary Grant, in which the actor describes and endorses his experiences with LSD, while the band in its lowest registers pulses beneath.

For an encore? A rousing and savory arrangement of Kraftwerk’s “The Model”, shimmying naughtily like a Weimar a-go-go show.

The year is new and the remaining months hold who knows what surprises musically, but All Can Work is all but guaranteed a high-ranking spot on my personal List when the year is old and done. I have been returning to it regularly for weeks now, and custom has thus far failed to stale its infinite variety. Definitely a keeper, recommended without hesitation for any with ears to hear it.

All Can Work releases via New Amsterdam Records on January 26, 2018. This post is based on recurrent listening to a review CD received from the label, but the blogger has since put his money where his post is by purchasing a digital copy.

On the morning following the Presidential election in November, 2016, Gabriel Kahane elected to board a train and to travel the United States, talking with those he met. He traveled for thirteen days and covered, he says, 8980 miles, conversing in dining cars, in observation cars, on station platforms, and returning with the material for the songs that make up 8980: Book of Travelers. A recording is rumored to be coming some time this year. The performance version premiered at Brooklyn Academy of Music as part of the BAM Next Wave Festival in November, 2017. On February 2, it will be presented at the University of Michigan. Last night, on the anniversary of the Inauguration that followed from the election that birthed it, Book of Travelers came to Los Angeles and the Theatre at Ace Hotel.

8980: Book of Travelers is, like 火箭加速器 安卓 官网 before it, a collection of songs on a theme. It is a contemporary cousin to the mid 1970s work of Randy Newman (火箭加速器app安卓版下载, Good Old Boys, and Little Criminals) and of Joni Mitchell. It is a sort of counter-Hejira: where Joni Mitchell emphasizes travel as a means of escape, an active effort to become lost, Gabriel Kahane approaches it as a mode of inquiry, an effort to find something or other (cf. Paul Simon's "America"). In that, Book of Travelers connects with the tradition of writers taking to the road to find where it might lead, or what questions it might answer, as in Steinbeck's Travels With Charley or, in an entirely different vein, the latter portions of 手机加速器下载火箭版, and Kahane's chosen musical style dials back somewhat the American Songbook grab-bag of Newman (and of The Ambassador) and in favor of accenting the stratum of art song that grounded his short-story-esque song cycle The Fiction Issue.

The musical forces and staging for 火箭加速器永久免费版 are less elaborate than for The Ambassador: just a grand piano and an angled ribbon of four projection screens behind. An autoharp was discretely embedded inside the piano, and used with similar discretion. Looping pedals and a vocal processor were used for a brief segment that evoked simultaneously Laurie Anderson and the helium-voiced sociopathic toon in Roger Rabbit. For the most part, Kahane simply sat, played and sang, with occasional brief remarks on the particular travelers from whom a song was born. 

I, for one, loved it:

Thank you, superⅴpn 下载, for "8980: Book of Travelers". So embracing, so humane, so sad and lovely and funny, and so gosh darned American. 13/10. Will be losing myself in the recorded version when it comes.

— George Wallace (@foolintheforest) January 21, 2018

Whether questions were answered or not on the singer's journey is uncertain. It is clear that, for Gabriel Kahane, the trip reaffirmed that the blending and exchange of human voices, whether in conversation or in song, is something of a good in itself, and that each of those voices is uniquely derived from a long and personal history. Where are we, as a nation? How did we get here? What can we or should we do, now that we are here? 火箭加速器永久免费版 does not presume to answer that sort of question, other than to suggest that it is through that exchange of voices, and in the understanding of one another's individual and overlayering histories, that any route to a method for the pursuit of an approach to such answers may be descried.

Because the Book of Travelers songs have, for the most part, not yet been released in a recorded version, most of us in the room were hearing them for the first time last night. Gabriel Kahane writes very well for his own voice, so that most of his words could be grasped on the fly. Still, there is no doubt that repeated listening will yield increasing returns. There is every reason to think that this Fool will be unable to resist writing about it again, if only by an amendment to this post, whenever a recording eventually enters the station.

In the meantime, two of these songs were sent out into the world in the latter part of 2017: "Little Love" and "November." "November" literally picks up where the concluding song on The Ambassador, "Union Station", left off, referencing "that last train from L.A." It begins in direct address to the listener with the words, "When last we spoke...", pointing toward the one-to-one conversations that are at the center of Book of Travelers. I had surmised, from this circumstantial evidence, that "November" would be the first song in the Book. I surmised incorrectly: it proved in performance to be the last song in the series. "Little Love" is a delicious little earworm of a song, performed straightforward as you please in concert without any projections or dramatic lighting, on the theme of growing fondly old together. I have previously expressed my particular fondness for "Little Love" on Twitter:

You can have your Lennon-McCartney.
You can have (and keep, far from me, thanks) your Ed Sheeran.
You can even have Robert Browning in his romantic might.

This, friends, is my "let's we two grow old[er] together" song of choice.火箭加速器 安卓 官网

— George Wallace (@foolintheforest) December 19, 2017

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 Time is up, year is done.

July 3 of 2018 will mark the ostensible 15th Anniversary of this blog. There were giants in those days, and I stared enviously up at their scabby brilliant knees. Who knows what I may push myself to do with this dear weary site in the coming year. I suspect there will be more poetry; I hope there will be something more frequently appealing as well.

So here we are again with "Listening Listfully", my catalogue of the album/EP-length recordings released in the past twelvemonth that most particularly tickled my fancy. Old school preferences underlie the thing: a preference for music arranged into "albums" or their equivalent, and a preference for buying and owning said music (in the hope its creators might actually be compensated for their creations) over smash-and-grab streaming. A random quantity of numbered choices in the mid-forties this year, followed by an unquantified miscellany because, as I said in 2016, "the List is like baseball: it could in theory go on without end."

I style this blog as an index of enthusiasms. These are personal favorites, as always, rather than "bests"—although I maintain that everything here is here because it is genuinely among the best things of the past year, and not simply because I have enjoyed it. The rankings become increasingly imprecise with each step down the line. I have provided commentary, of sorts, for the first fifteen on the list; it is a random stopping point, driven mostly by a desire to post this while it is still 2017 (at least in North America). There are inevitably many recordings of quality omitted, simply because I have yet to listen to them.

Flawed, entirely subjective, and internally contradictory as always, here begins the twelfth edition of The List: 

1.    Michael Vincent Waller - Trajectories

This is a beautiful recording. To hear it gives pleasure. Great, if quiet, pleasure. This music engages the lived and living world, and particularly the acts of receiving that world through the senses and of sifting through it in the mind, in dreams, or, if one insists, in the soul, and finds the essentials of that world to be, if only impurely, good and deserving of the engagement, and the engagement good and deserving of being shared. This is hardly the only task that music, or most any art, can choose to take on itself—this List, in any given year, is something of a demonstration of how many different things music can attempt to "do", including choosing to do nearly nothing—but it is a task that has always appealed to this particular listener. When I wrote about Michael Vincent Waller's first major collection, 2015's The South Shore, I invoked Baudelaire's phrase: luxe, calme et volupté. That still fits.

This collection focuses principally on works for solo piano, plus a pair of mid-length pieces for piano with cello. The pianist is R. Andrew Lee, best known for his recordings of adventurous minimalism and composers of Wanderweiser group. on the Irritable Hedgehog label. The cellist is Seth Parker Woods. The style and sensibility of the music is Waller's own, but it is easily associated with pianistic forebears such as Erik Satie (in particular), Harold Budd, and John Cage's "In a Landscape", with a dash of Gavin Bryars' string writing. Although it is not in general circulation (it was shared with supporters of one of his commissioning projects) Andy Lee has recorded a delicious collection of Satie and Satie-influenced piano, and that portion of his repertoire serves him well here. 

At the time of release, the composer and players presented a handful of live performances, including one I was able to attend in Santa Monica. The balding back side of my head is, blessedly, out of frame in this video of "Lines" from that set:

2.    Sam Amidon - The Following Mountain

In the opening moments of "Ghosts", Sam Amidon bellows "I'm all out of ideas!" He is mistaken. His work has been a fixture of this list for nigh on a decade now, and the ideas never stop. Built largely on gleanings from a single long guardedly improvisational recording session, the album is a slurry combining the folk, trad, banjo, fiddle, and shape note material one expects with Sam's longstanding interest in new music and in experimental and avant corners of jazz, with drummer Milford Graves as emissary and conduit. Sam Gendel [#6, below] and his saxophone bring additional savor. At this time, my personal favorite among Sam's albums, and a good précis of what makes all of them so rewarding.

3.    Iceland Symphony Orchestra, Daniel Bjarnason - 火箭加速器 安卓 官网

The best full-orchestra album of 2017. Accept no substitutes. Composer Daníel Bjarnason conducts works by the current generation of Icelandic composers, including his own darkly surging "Emergence". (There is a superb version of that piece on his Bedroom Community debut, . This new version is better.)  Bjarnason co-curated (with Esa-Pekka Salonen) the Los Angeles Philharmonic's Reykjavik Festival in spring 2017, and most of these pieces turned up on one program or another. If any doubt remained, that Festival and this recording serve as compelling testimony to the creative variety and strength of Icelandic music at this time.

[Both Daníel Bjarnason and Anna Thorvaldsdottír also have pieces on Los Angeles Percussion Quartet's Beyond, #8 below.]

4.    Miles Mosley - Uprising

Miles Mosley plays bass in Kamasi Washington's band, and much of this material comes out of the West Coast Get Down sessions that eventually resulted in Washington's epic Coltranesque epic, The Epic. In Washington's band, Mosley does most everything one can with an upright bass: plucking, bending, bowing, and more. Rather than a jazz-jazz album, Uprising is a floor-shaking contemporary soul/R&B session. Mosley is an appealing singer, on the lines of Stevie Wonder's grittier side. Just when you wonder where all the bass is, you realize that what you may have thought was electric guitar, including the Hendrixy solos, is the bass. Plenty of bottom here, in every sense. [More West Coast Get Down-adjacent music appears below, from Kamasi Washington (#9) and Natasha Agrama (#11).]

5.    Slowdive - Slowdive

 I rediscovered a hitherto unrecalled fondness for shoegaze this year. This, the first new Slowdive album in 22 years, sealed the deal. Bathe in it.

6.    Sam Gendel - 4444

and Sam Gendel - HAT TRICK

and Sam Gendel - Double Expression

Sam Gendel, largely on saxophone, is an important contributor to Sam Amidon's The Following Mountain [#2, above]. On 4444, his first album under his own name (largely featuring his trio previously recorded under the name of Inga), largely foregoes saxophone in favor of lithe, swirling, bossa nova flavored guitar songs. It remakes any space quite attractively while it is playing, and the occasional gesture toward sociopolitical concerns led me to characterize it on Twitter as "José González, with thorns".

The vocal-free 火箭加速器app安卓版下载and Double Expression return the saxophone to the foreground. The former is a three-track EP of Gendel solo improvisations, with loops and electronics, very much in the vein of Jon Hassell; the latter is nearly two and a half hours of material recorded live, in duo and trio formats, on a single afternoon in an apartment and on the sidewalks of L.A.'s Silver Lake neighborhood. In all of these settings, Gendel's groove is true.

[Although he does not, I believe, appear on Aromanticism (#10 below), Sam Gendel also plays in Moses Sumney's touring band.]

7.    Aaron Roche - HaHa HuHu

Recommended, for recondite strangeness, for grit & sparkling lint, for indwelling beauties.

8.    Los Angeles Percussion Quartet - Beyond

There is a good argument to be made that the U.S. is currently in something of a Golden Age of Percussion Ensembles. In composition and in performance, the music on this two-disc set is roughly as good as contemporary percussion music gets. Chris Cerrone's "Memory Palace" never fails to move me as a solo piece, and this rearrangement for quartet is my favorite version yet. Andrew McIntosh's disc-long "I Hold the Lion's Paw" is an quietly immersive amble through a vivid series of interior landscapes, a trip unto itself. I strongly suspect that I will look back someday and decide I have underrated Beyond in this ranking.

9.    Kamasi Washington - Harmony of Difference

A six-part jazz suite with Washington and band building and trading themes and solos, the whole structure bursting to accumulated glory in its final long segment. Supremely satisfying.

10.    Moses Sumney - Aromanticism

Moses Sumney's falsetto. Draperies of diaphanous sound. Love and sex and happiness and their alternatives, stewed, steamed, and seasoned in yearning. Harp. Did I mention that falsetto?

11.    Natasha Agrama - The Heart of Infinite Change

Although Natasha Agrama has West Coast Get Down connections,  and has sung with Kamasi Washington's band, there is no sign of Miles Mosley (#4 above) on bass. Instead, one must make do with Thundercat or with the singer's stepfather, Stanley Clarke. The bass chair nicely signifies the heady mix of youth and experience on this record. The other old lion on hand, in his final session, is the late George Duke. A beautifully spare version of "In a Sentimental Mood," with just Clarke and Duke and an occasional fingersnap for accompaniment, is the second best thing here. Best is a reworking of Joni Mitchell's reworking of Charles Mingus's homage to Lester Young, "Goodbye Pork Pie Hat," expanded into a tribute to the song's entire line descent, its focus shifting from New York to Los Angeles, to dazzling effect.

12.    The Knells - Knells II

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13.    Donny McCaslin - 免费翻国外墙的app 

David Bowie played saxophone himself in the early part of his career. Donny McCaslin has the distinction of being Bowie's last sax player, as part of the jazz-based band assembled for Blackstar. McCaslin's latest with his own longtime band includes two Bowie-Eno covers: "A Small Plot of Land" from Outside and a gripping and granitic version of "Warszawa" from Low, the latter seemingly filtered through the lens of Ornette Coleman's "Lonely Woman." The blowing and swinging and escalating choruses on the remainder of the album are also of top blowing and swinging quality.

14.    The Mynabirds - BE HERE NOW

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15.    Psychic Temple - IV

Another waking dream narrative of Southern California musics. Chris Schlarb is a wizard at this.

Further in the way of item by item commentary affiant sayeth not, at this point in time. Affiant reserves the right perhaps to return and scribble post hoc commentary on some or all of the entrants below, all of which are worthy of your attention.

16.    R. Stevie Moore & Jason Falkner - Make It Be

17.    World Spirituality Classics 1: The Ecstatic Music of Alice Coltrane Turiyasangitananda

18.    Nadia Sirota - Tesselatum

19.    ensemble, et al. - The Slow Reveal

20.    The National - Sleep Well Beast

21.    Jean-Michel Blais & CFCF - Cascades

22.    Jasper String Quartet - Unbound

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24.    Scott Wollschleger: Soft Aberration

25.    The Tape Disaster - Oh! Myelin!

26.    Qasim Naqvi - FILM

;

27.    Theo Bleckmann - Elegy

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29.    Boston Modern Orchestra Project, Courtenay Budd - David Del Tredici: Child Alice

30.    William Basinski - A Shadow in Time

31.    Kovtun - Infernal

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33.    Casey Dienel - Imitation of a Woman to Love

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35.    Denny Zeitlin & George Marsh - Expedition: Duo Electro-Acoustic Improvisations

36.    Sufjan Stevens/Nico Muhly/Bryce Dessner/James McAlister - Planetarium

37.    Liew Niyomkarn - Nº 3

38.    Conrad Winslow: The Perfect Nothing Catalog

 39.    Daniel Corral: Refractions

40.    Flower Crown - GLOW 

41.    Herod - Herod Plays Kraftwerk

 42.    Crash Ensemble - Ghosts

~~~

Miscellaneous extras: 

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Gavin Gamboa - La Bibliothèque Fantastique

Next, the late Julius Eastman, whose rediscovery continues apace, in a 1974 live performance by himself with S.E.M. Ensemble, and in a hotchachacha 2017 cover version by Horse Lords.

 Julius Eastman: Joy Boy

Horse Lords - Julius Eastman: Stay On It [from Horse Lords' Mixtape IV]

 Some more Brazilians (to go with #25 and #31 above).

 Dialeto - Bartok in Rock

Devilish Dear - These Sunny Days

 Juna - Marina Goes to the Moon

Some single-piece [i.e., non-album release] new music in the somewhat classical vein.

Jonathan Morgan - Nick Norton: Elegy II

Los Angeles Percussion Quartet - Matt McBane: 火箭加速器永久免费版

A handful of further jazz-related choices.

Morgan Guerin - The Saga II

 Dwight Trible - Inspirations

 DeJohnette, Grenadier, Medeski, Scofield - Hudson

And no musical year can end well without a pair of Gabriel Kahane releases: three solo piano pieces, featuring Timo Andres, and two new songs.

With that, this blogger wishes for you all a fine and musical 2018. As the sage says, things can only get better.

 FIN

 ~~~

Old friends
What ends

Do we work toward?
Depends

Who is on board.
Amends

May need to be made
But who is repaid?

Who is
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Whose words
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And who's ignored?
Let's postulate

Amid the mists
That life is hard

The times suggest
There's no reward

And young things end
As old, friends