On the upside. Thorvaldsdottir’s work is exceptional. Nice to see some recognition in the US, at least written by someone outside the rather 'closed' classical orbit. On the downside. I may be old but could the Chicago blues piece, the albums, be any more OBVIOUS? Save for the Wolf. An unbelievably BAD record. I sat through most of the sessions and save for MC no one was pleased. If any record was designed to drive an audience away... That being said I must admit a long held fondness for the Rotary Connection. Perhaps because they were silly enough to let me sing with the ad hoc choir for "Silent Night" on their Xmas LP (FYI I CANNOT sing.) But more likely as they often filled in at the Kinetic Playground when someone no showed. Much like John Prine or Steve Goodman did at the Quiet Knight. The RC also backed Phil Upchurch on his Sunday brunch gigs. Some hotel on LSD, just can't recall the name. Old age creeps in, slowly. Cliff O.
I hear what you're saying and I don't disagree, but the blues piece is meant as an introduction, so the choices have to be stuff that'll get the mildly curious into the tent. Interesting about your connection to Rotary Connection and the Wolf sessions...
I was born and reared in Chicago. From 1955 to 1970 we had a full time maid who was Otis Rush's aunt. He'd pick her up from work a few times a month. Long story short he'd take me to shows when my folks spent long weekends on their farm north of town. In the same time frame I had my first 'girl friend'. Her dad was a press officer for Vee-Jay. Didn't want his daughter to hang out with a guy who didn't have 'his own money'. Didn't want me to work with him but got me a part time job at Chess. from '63 to '67 I basically hung around, swept floors, went out for booze and cigarettes. Between the two 'ins' shows and go-fers everybody got to know me. Dumb white kid at black clubs and recordings sessions. '67 I got a 'real job' but would wander into the studio and still did shows most nights. By that time my folks were paying evening less attention. They had moved to Philadelphia and figure my brother and I didn't 'want' to go.... Fun times. Wolf took me to AACM rehearsals. Little Mac to see Sun Ra (that paid big dividends later in Philly). My senior prom evening was the MJQ at Mr Kellys, a midnight showing of Jacques Brell is alive and well (with Robert Guillam sic before he became famous) and a really really late show with Koko Taylor and Willie Dixon. Talk about growing up all wrong. (My prom date never spoke to me again.)
OH, if I were to replace Wolf, Fenton Robinson's Somebody Loan Me A Dime or the three volumes of Living Chicago Blues (Alligator) or the predecessor Chicago, The Blues Today on Vanguard. But I'll campaign for a personal favorite Chicago Slickers (Nighthawk). That got a nice CD reissue a few years back adding almost all of Vol.2. Sorry, I ramble.
On the upside. Thorvaldsdottir’s work is exceptional. Nice to see some recognition in the US, at least written by someone outside the rather 'closed' classical orbit. On the downside. I may be old but could the Chicago blues piece, the albums, be any more OBVIOUS? Save for the Wolf. An unbelievably BAD record. I sat through most of the sessions and save for MC no one was pleased. If any record was designed to drive an audience away... That being said I must admit a long held fondness for the Rotary Connection. Perhaps because they were silly enough to let me sing with the ad hoc choir for "Silent Night" on their Xmas LP (FYI I CANNOT sing.) But more likely as they often filled in at the Kinetic Playground when someone no showed. Much like John Prine or Steve Goodman did at the Quiet Knight. The RC also backed Phil Upchurch on his Sunday brunch gigs. Some hotel on LSD, just can't recall the name. Old age creeps in, slowly. Cliff O.
I hear what you're saying and I don't disagree, but the blues piece is meant as an introduction, so the choices have to be stuff that'll get the mildly curious into the tent. Interesting about your connection to Rotary Connection and the Wolf sessions...
I was born and reared in Chicago. From 1955 to 1970 we had a full time maid who was Otis Rush's aunt. He'd pick her up from work a few times a month. Long story short he'd take me to shows when my folks spent long weekends on their farm north of town. In the same time frame I had my first 'girl friend'. Her dad was a press officer for Vee-Jay. Didn't want his daughter to hang out with a guy who didn't have 'his own money'. Didn't want me to work with him but got me a part time job at Chess. from '63 to '67 I basically hung around, swept floors, went out for booze and cigarettes. Between the two 'ins' shows and go-fers everybody got to know me. Dumb white kid at black clubs and recordings sessions. '67 I got a 'real job' but would wander into the studio and still did shows most nights. By that time my folks were paying evening less attention. They had moved to Philadelphia and figure my brother and I didn't 'want' to go.... Fun times. Wolf took me to AACM rehearsals. Little Mac to see Sun Ra (that paid big dividends later in Philly). My senior prom evening was the MJQ at Mr Kellys, a midnight showing of Jacques Brell is alive and well (with Robert Guillam sic before he became famous) and a really really late show with Koko Taylor and Willie Dixon. Talk about growing up all wrong. (My prom date never spoke to me again.)
OH, if I were to replace Wolf, Fenton Robinson's Somebody Loan Me A Dime or the three volumes of Living Chicago Blues (Alligator) or the predecessor Chicago, The Blues Today on Vanguard. But I'll campaign for a personal favorite Chicago Slickers (Nighthawk). That got a nice CD reissue a few years back adding almost all of Vol.2. Sorry, I ramble.
Luigi Russolo - The Art of Noises (the original Italian is L'arte dei rumori)
Astoundingly beautiful and interesting, thanks for sharing/promoting.