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Saturday, May 19, 2012

Podcast From The Yellow Room Episode 48


CLICK HERE TO LISTEN TO EPISODE 48

 
 
 
 
 
 
 

The featured album in this podcast is the extraordinary and groundbreaking jazz-rock classic, The Inner Mounting Flame by the Mahavishnu Orchestra. I’m joined in this podcast by special guest Matt Stevens, who you’ll hear is something of a fan of the band and John McLaughlin.

The Albion Band
Thieves Song
from
The Vice of the People
Read my take on the album
Find out more here

A Presença das Formigas
Terra
from
Ciclorama
Find out more here

Samuel Halkvist
Swarm Robotics
from
Variety Of Loud
Find out more here

The Fierce And The Dead
HR
from
If It Carries On Like This We Are Moving To Morecombe
Find out more here

Mahavishnu Orchestra
Meeting of the Spirits
Dawn
Awakening
Vital Transformation
Dance Of The Maya

from The Inner Mounting Flame
Read my take on this album here

Dead Rat Orchestra
Guga End Theme
from
The Guga Hunters Of Ness



Find out more here

MOLE
PB
from
What’s The Meaning?
Buy the album from  RareNoise Records




2 comments:

Navdeep Jhaj said...

That Portuguese band sounded wonderful. I think when you say they have elements of GG and "their own thing", it probably reflects that they grew up playing fado, the national folk music of Portugal. I think you would totally dig fado. Given that they do not sound like fado, strictly speaking (traditional fadistas sing behind a Portuguese guitar, Spanish guitar and double bass, and in the Coimbra tradition, all the singers are male), it makes me think if there is a "Novo Fado", like there is a "Nuevo flamenco"? E.g., the band Madredeus, (if you haven't seen Wim Wenders ode to film-making called "Lisbon Story", in which the members of Madredeus perform and act in, it's worth the effort).

The most famous names in fado are (1) the Lisboa -based singer Amalia Rodrigues (when she died, they declared 3 days of mourning, when everything shut down--hence, the "Judy Garland AND Edith Piaf" of Portugal); and (2) the guitarist and composer, Carlos Parades, who wrote much of the standard-quality repertoire--and also recored a duet record on Verve with Charlie Haden.

Anyway, it truly is a wonderful, almost achingly beautiful music. Nice to see they are expanding on it and bringing together other influences.

As for the MO discussion, I don't get the big deal about chord inversions. Practically anyone who is trained is drilled to learn all the inversions (R and 1st and 2nd inversion triads; R, 1st, 2nd, and 3rd inversion 7th chords, usually in the drop 2 and drop 3 open voicings on guitar). It's practically pro forma. John McLaughlin once told Alan Holdsworth, "I don't know what you'r doing, but if I did, I would steal all of it". Holdworth (and also Martin Taylor) said the easy and the most bland thing to do is to find inversions, a more challenging musician needs to go beyond them (in Holdworth's case, it's a very advanced type of diatonic modal planing, where any note diatonic to the key is available, depending on his physical ability to stretch and find it; in Taylor's case, he builds his finger style guitar orchestra method on, not inversions, but rather, on lines intersecting, walking baselines, moving top voices, applicable chord tones, usually 3rds and 7ths. So, not only do you hear the top voices moving, you can hear the root movement moving, and the inner voices also melodically moving.

Anyway, nice pod cast. I always bookend MO with KC, from that period. To me, KC was coming at it from a rock perspective, while MO was approaching it from a jazz viewpoint.

Steve Clark said...

Cool show as always. There's so much music I've never heard. My ear perked up when you mentioned David Gilmore (no, not that one) on the MOLE track. I saw him playing with Roland Shannon Jackson in Freiburg, Germany in about 1990.

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