VOTD 05/13/2025

 宮内庁楽部* = Music Department, Imperial Household* – Gagaku (Court Music) (Columbia) 10" LP

Purchased used at Jerry's Records

I was for quite a few years associated with WRCT. First as student, then summer fill in, hanging when I still had friends working there. There were two great things about WRCT, apart from the hang: access to the best record/music library in Pittsburgh (to the best of my knowledge), and being able to hear new releases as they came in. Sometimes, such as my recent post about Tom Waits' Swordfishtrombones, being able to score a duplicate promo copy. 

I was at the station (I'm finding it was 1990) during an unboxing of promo CDs. One package came from a new label of traditional Japanese music. One of the discs absolutely transfixed me: it was an album entirely of Gagaku. (This was it: https://www.discogs.com/release/1427070-Kunaich%C5%8D-Gakubu-Gagaku-Etenraku-Azumaasobi-Kishunraku-Seigaiha) 

I'd never heard it, or anything like it before. It felt like a dreamscape. Gagaku is imperial court music, and considered to be the oldest extant orchestral music in the world. The Gagaku "orchestra" comprises of several percussion, some plectrum instruments (biwa being one), a strident double reed, transverse flutes, and most significantly, the mouth organ (sho). It is the latter, playing cluster voicings, that gives Gagaku music its otherworldly quality to these Western ears. It's "dissonant" (by Western standards) but I also find it pleasant, and yes, dreamy. 

Just goes to show you, consider whatever supposed avant-garde techniques European and American composers might devise, there's a chance so-called "ethnic" musicians have topped it. 

(Sidebar: I'm thinking of an LP of Indian music that had a track of someone playing two conch shells simultaneously, tuned about a half step apart. He could control the beating patterns by way of lip pressure, and I think he was circular breathing. Take that, Alvin Lucier!)

I'd bought a couple of Gagaku CDs over the years. I love them all, but it's all pretty similar. I even learned to recognize one particular piece, "Etenraku", which I've dubbed the "Stairway to Heaven" of Gagaku. As in, everyone plays it. (Maybe "Free Bird" would be a better comparison.) It's not that I permanently called off buying any more Gagaku recordings, but I wasn't going to seek them out. 

And then, as Jerry's Records sometimes does (especially under Jerry himself), a surprise came along. 

It was hard to believe: four beautifully packaged Gagaku 10" LPs, the earliest (this) dating to 1957. The vinyl looked clean, and sounds good. I think I paid no more than $8 apiece, which I knew was a bargain. This also around the time I found two 10" LPs of Maoist-era Chinese opera records in the same section of the store.

It's Gagaku. It's beautiful. I have three other 10"ers to go with it, two of which have renditions of "Etenraku".

I have a special section in my record shelves for valuable records. Things I know are worth money, like original Sun Ra on Saturn, the first Picchio Dal Pozzo record, some of my United Dairies vinyl, among other things. This isn't in that section. 

But I'd like to think, once I'm gone, someone looks through my collection and says, "Wow, check out these Gagaku 10"s!"

Which reminds me of a Jerry Weber story. Indulge me if I've written this before. 

Jerry told me about a young couple buying an old album in his store. He looked at it and said, "You know, this is a fifty year old record. You're young, you'll live another fifty years. If you keep this, you'll have a hundred year old record, and it'll sound as good then as it does now." I cynically replied, "Yeah, it'll sound as scratched up then as it does now."

But now more than ever I appreciate Jerry's optimism. We are transient, but (hopefully) some of the things we leave endure. 

VOTD 05/12/2025

 Brown Angel: Promisemaker (Sleeping Giant Glossolalia)

Purchased new, mail order direct from label

Some disclosures: I've played with this band. I'm even thanked in the liner notes. And now that I'm reading more closely, it seems that I appear on this album. How about that. Explanation to come. 

I will also point out that on a few occasions, the person or band I'm writing about reads my comments. Thankfully I don't think I've written anything especially dumb or trite on those occasions. 

It came as a surprise when my Facebook feed informed me there was a new Brown Angel album. Bandleader Adam MacGregor has been in and out of the US for some years now; his wife is in the State Department. I think he's back in Mumbai now. During his most US stay, Brown Angel played a few gigs with a new bassist. 

Well, it seems as though most of the recording dates to 2018-2019. My contribution came a later, but I can't recall exactly how long ago. I'm credited as playing contrabass clarinet, but actually it was bass clarinet. Honestly, I had to relisten to the track ("Who Wants a Dreamer?", the opener) to even detect my contribution. I think I'm heard briefly towards the end of the cut, but I would have never known it without being told. Adam had gotten in touch with me about recording some noisy bass clarinet, which I was happy to do. He never told me for what purpose, so now I guess I know.

Mark this down as another single contribution to an album project, something I seem to be doing recently. Greg Hoy, Spotlights, Microwaves (on a previous record, and the upcoming one as well), and Brown Angel previously. I could get used to that. Several of those were recorded at home using my own equipment. 

Brown Angel got some mileage out of being dubbed "Pittsburgh's Most Depressing Band" (well earned, I would add). There's no speed metal to be sure, but not everything on this is a slow grinder. What I guess is the second half of "It Was Hard (Piteous Trench)" is more driving, but not necessarily any less bleak. 

You have to have real dedication to maintain such a dark vision. (Though as I wrote that I thought, you need to have dedication to be a musician period.) And it might not come as a surprise that Adam and drummer John Roman are perfectly lovely, (as far as I can tell) well-adjusted people. (I don't know original bassist Mike Rensland as well, though I did say hello to him at John's recent wedding.) Adam is a great hang, funny, smart, enjoys spinning a good story. I look forward to those times he's stateside. 

I recalled, when writing about an earlier MacGregor band Creation Is Crucifixion, that Adam had said their intention was to be completely unlistenable. Well, how do you critically react to a band has that intention? Brown Angel is a dark, menacing band, and they succeed in that respect. Production sounds good here, though as you might expect, the guitars are pretty much up front. James Plotkin (Khanate0 mastered the sessions, which I'm sure added to the clarity. 

One complaint: guys, if I'm on this, maybe tell me it was coming out?

VOTD 05/06/2025

Tom Waits: Swordfishtrombones (Island)

This was a duplicate promo copy I scored from WRCT at the time of its release

One of the many reasons I started writing to this blog was to give purpose to my listening. Listen, and write my thoughts. I've amassed a substantial collection of CDs and vinyl LPs; nowhere nearly as large some I know, but large nonetheless. So given this field of possible choices, what do I choose?

To help myself in this respect, I created a Max (Max/MSP/Jitter) file to limit my choices. Max is the closest I've come to programming. I mean, it's programming of a sort. As my friend and world-renowned computer scientist Roger Dannenberg once said, "Max is audio programming for people who don't want to learn how to program." Sold! What might have been intended as a put-down is a selling point. In addition to to creating practical effects and instruments for use in Ableton Live, I created a patch (the word for the file) to calculate my grading for one of my classes. 

I set up a system to randomize a letter choice and format. Single letters didn't fair; T shouldn't have as much of chance as V. Letters are grouped together. For format, I chose CD (X2), vinyl (X2) and "other". I'd also give myself leniency with respect to first and last names, and new purchases take precedence. 

It's not a total Cage indeterminate action, just limiting my choices. 

First roll: W X Y Z, vinyl. I had meant to put on this Tom Waits record recently, so easy choice.

I remember when this LP rolled into WRCT in 1983. It was surprising. I've liked Tom Waits for as long as I've been aware of him, but it was clear this album was a shift in direction for him. Immediately on track one ("Underground") it sounded like he was shifting away from his more cabaret-ish roots towards something more Captain Beefheart-like. The bass marimba, the spiky guitar, the space, suggested Ed Marimba and Zoot Horn Rollo from the Magic Band.

Listening to it now, maybe I don't think it's as radical a departure as I once did. But the Beefheart influence is definitely present, and I think Tom has said so himself. In subsequent albums, he'd increase the emphasis on atmosphere. If he wanted the drums to sound like cardboard boxes, well, play cardboard boxes. The closing track briefly uses glass harmonica(!). More, I say!

The songs are compact, seven on side one, eight on side two. Some are particularly memorable: the aforementioned opening cut, the lovely "Johnsburg, Illinois" followed by the hard hitting "16 Shells From a Thirty-Ought Six". I'm not generally one to react to lyrics, but I laughed out loud at a lyric in "Frank's Wild Years": "...he hung his wild years on a nail that he drove through his wife's forehead." 

A couple of my friends have recorded with Tom, some years after this record. One of them told me that the strange thing meeting Tom was how normal everything was. His home is (or was, I don't know) in Sausalito. Kids were playing in the yard. Everything was very matter-of-fact. 

I recently bought Tom's Orphans: Brawlers, Bawlers, and Bastards. His album of leftovers is great, better than most people's first run material. 

VOTD 05/05/2025

 Sorcery: Stunt Rock OST (Moving Image Entertainment)

Purchased used at Rosie's Records

I know I've written about my use of this forum before: music commentary, a small amount of analysis and musicology, and autobiography. Well, I'm going the latter for a few paragraphs, so indulge me. 

I turned in my notice at Carnegie Mellon last Friday. I'd been working there for twenty years. A few people, most notably my wife, knew in advance, but mostly I've stayed quiet about it. It's not a secret now, but I haven't been oversharing on something like Facebook. (Yet.)

The fundamental truth has been: I've been unhappy in the job. Some of is the nature of the position. The majority of my job was teaching a 101-level music technology to anyone: majors, non-majors, even staff. A graduate music major could be sitting next to a sophomore engineering student with no musical experience at all. And it was a mini-course, half a semester in length, fourteen sections in an academic year. I was simply weary of it. 

There are other factors, but little else I care to write publicly. I did start to feel frustrated that I wasn't teaching to my particular skills and experience, at least directly. Being part time adjunct faculty, there wasn't the opportunity to create new courses as I wished. Early after I was hired I had an idea for a course/ensemble/seminar in which we'd study and rehearse various existing repertoire involving improvisation, aleatoric and indeterminate techniques; discuss the similarities and differences; develop new works based on those experiences; ultimately perform publicly. An expansion of some of the things I did with my high school avant-garde ensemble, CAPA Antithesis. It didn't take long for me to figure out there wasn't much of a lane for me to create new ensembles and courses as I wished. Just adding a second section of an in-demand course was a laborious task that took nearly a month of convincing the right people.

None of this is intended as a criticism of the institution. It's just the nature of the job. I feel like I was a workhorse for the school, that they got value for the buck from me. I would be shocked if the next person lasts twenty years. They'll probably hire a recent graduate with a shiny new PHD who will last five years.

Okay, that's starting to sound cynical. I don't really know that.

My wife has been calling it my retirement; I've called it quitting my job. I'm not retired, the real work continues. With luck and determination, maybe more than before. But whatever you call it, yes, I'm now retired from CMU. And looking for musical opportunities.

Thank for indulging me that.

This record...

I'd never heard of the movie Stunt Rock before seeing a trailer collection on Tubi assembled by Alamo Drafthouse. I haven't seen the complete film yet, but the trash film fan in me definitely wants to view it. From what I'm reading online, it's part fiction/mockumentary (1978, years before Spinal Tap), part stunt demonstration, part concert film. I guess Sorcery was a real LA band, kind of a predecessor to the Van Halen and later hair metal scene. You can hear their influences pretty directly: some Deep Purple, a bit of Blue Öyster Cult and Judas Priest, and definitely some Black Sabbath. The latter is pretty obvious with songs like "Wizard's Council", "Mark of the Beast" and "Talking to the Devil". 

They're not bad. A little silly maybe, they're not that far from Spinal Tap. But you can hear some pre-Van Halen in here too. The vocals seem to be mixed a bit high, though maybe the convention of burying the voice under the guitar sound became more conventional later. I find the singer to be just okay, but then most singers irritate me. 

I think I need to see the film!

The reissue from 2000 comes weirdly as a two LP set: standard black vinyl edition, and a second version of the same as a picture disc. Considering the cover is pretty bad looking (and the same on front and back), this seems like a silly move. I listened to the black edition, which was clear and well pressed. I've found picture discs to often be very noisy in the past. 

I don't know that I'm going to keep at this blog as regularly as when I started, but I do intend to keep at it more regularly than I have been.