A collection of pieces reflecting my mood as we near the end of Summer 2020, the summer of Covid-19, and the eve of a potentially apocalyptic American election. The electrified mbira ensemble Konono N°1 from Congo Republic plays music that is simultaneously joyous and furious, danceable but stimulating cornersof the mind that reflect on history and colonialism, folk culture and electrified popular music. With a wave of recent lynchings of African-Americans by uniformed police in the USA, forces that often see themelves as occupying armies, I’m reminded ofthis poignant blues by the legendary Blind Lemon Jefferson. While the singer laments that he will be executed for “doing something wrong”, one can’t help imagine that we are witness to a much more primitive form of justice, that of the lynch mob. Some of my favorite guitar music of all time is vọng cổ music from Vietnam, performed on electric guitars with deeply scalloped fretboards and-built-in electronic effects. This music is deep blues, transnational and cosmic. With the Linda Music track from what was the Central African Republic, we hear amusic now vanished, played by people extinguished in the civil war between the Hutu and Tutsi tribes. Tragic, beautiful music. At this point, I humbly add my own composition Storm of the Eye performed by thefantastic virtuosi Hilary Hahn on violin and Cory Smythe on piano. Commissioned in 2009 by Hilary for her album In 27 Pieces, the piece makes great demands on the players both in use of extended techniques and in summoning a feeling for the times. This program closesout with an excerpt from Quatermass by the great Tod Dockstader, a visionary pioneer of music concrete and electro acoustic music. He worked outside of the academy and therefore never received the recognition due him. His music was visceral and powerful, perfect for this moment. Konono N°1 “Kule Kule” Blind Lemon Jefferson “Hangman’s Blues” NS Vanhai “Doc Tau Guitar” (radiorecording) Banda Polyphony “Linda Music 1” Hilary Hahn & Cory Smythe “Storm of the Eye” Tod Dockstader “Quatermass - I. Song and Lament”--- Send in a voice message: https://anchor.fm/soundwavemix/message
Part two of our interview with E#!YOU DON’T KNOW MOJACK is a podcast dedicated to exploring the entire SST catalogue, in order, from start to finish. During the podcast we will discuss all the releases that are part of our core DNA, as well as many lesser-known releases that deserve a second chance, or releases that we are discovering for the very first time (we actually don’t know Mojack!). First and foremost we are fans, and acknowledge that we are not perfect and don’t know everything – sometimes the discussion is more about a time, place, feeling, personal experience or random tangents, and less about the facts (but we will try to get to the facts too). Facebook: www.facebook.com/mojackpod/ Twitter: @mojackpod Instagram: www.instagram.com/mojackpod/ Blog: www.mojackpod.com/ Tumblr: www.tumblr.com/blog/mojackpod Theme Song: Shockflesh
128 Elliott Sharp "In the Land of the Yahoos" w/ Elliott Sharp
You Don't Know Mojack
Welcome to the Land of the Yahoos with special guest E#!YOU DON’T KNOW MOJACK is a podcast dedicated to exploring the entire SST catalogue, in order, from start to finish. During the podcast we will discuss all the releases that are part of our core DNA, as well as many lesser-known releases that deserve a second chance, or releases that we are discovering for the very first time (we actually don’t know Mojack!). First and foremost we are fans, and acknowledge that we are not perfect and don’t know everything – sometimes the discussion is more about a time, place, feeling, personal experience or random tangents, and less about the facts (but we will try to get to the facts too). Facebook: www.facebook.com/mojackpod/ Twitter: @mojackpod Instagram: www.instagram.com/mojackpod/ Blog: www.mojackpod.com/ Tumblr: www.tumblr.com/blog/mojackpod Theme Song: Shockflesh
“The people that I connect with online come from all over the musical world, from contemporary composition, from blues, from free jazz, from rock music, from noise… To me it’s just all music. I’ve never felt those barriers were hard and fast — they were imposed by someone else.” Elliott Sharp has been one of the key figures in the avant-garde and experimental scenes in New York City since the late 1970s. With close to 100 releases spanning jazz, noise, orchestral, no wave, contemporary classical, and electronic music, his career can really only be described as prolific. He studied with icons like Morton Feldman, Roswell Rudd, and Robert Moog. His compositions have been performed by renowned ensembles like the Kronos and FLUX quartets. He’s released music for the alt rock SST label alongside bands like Sonic Youth and Hüsker Dü. He’s collaborated with everyone from jazz legend Jack DeJohnette to Blondie’s Debbie Harry to Wilco’s Nels Cline to Nusrat Fateh Ali Khan, the Pakistani Qawwali singer regarded as having one of the most impressive voices ever recorded. We chatted about the halcyon ’60s when people thought of all kinds of music as simply music, when genrification didn’t really stratify how we think about what we hear. We also spoke of the evolution of community alongside the emergence of online platforms, and the importance of resonance when it comes to making music and finding others to make it with. And for budding experimental artists, Elliott offered some wisdom into how they can find their people and work toward making a living. Support Elliott Sharp: www.elliottsharp.com/ Music in this episode, used with permission from Elliott Sharp: The Boreal (excerpt) - performed by JACK Quartet Flexagons (excerpt) - performed by Elliott Sharp and Orchestra Carbon Port Bou: Words (excerpt from opera) - performed by Nicholas Isherwood with Jenny Lin, William Schimmel, and Elliott Sharp Koinoinia - performed by Elliott Sharp on Koll 8-string guitarbass --- Send in a voice message: https://anchor.fm/greymatterfm/message
(From June 2019) Elliott Sharp in conversation with David Rothenberg to celebrate the release of two new books: "Nightingales in Berlin: Searching for the Perfect Sound" by David Rothenberg, published by University of Chicago Press and "IrRational Music" by Elliott Sharp published by Terra Nova Books.David Rothenberg is the Series Editor of Terra Nova Books and is distinguished professor of philosophy and music at the New Jersey Institute of Technology. He is the author of many books investigating music in nature, including Why Birds Sing, Survival of the Beautiful, and Bug Music: How Insects Gave Us Rhythm and Noise. His writings have been translated into more than eleven languages and among his twenty one music CDs is One Dark Night I Left My Silent House, on ECM.Elliott Sharp is a composer and multi-instrumentalist. He was awarded the Berlin Prize in Music in 2015 and a Guggenheim Fellowship in 2014. His composition "Storm of the Eye" for violinist Hilary Hahn appeared on her Grammy-winning album In 27 Pieces.
Er spielt in Rockbands und in Jazzclubs, mit Beduinen und mit klassischen Orchestern: Elliott Sharp lässt sich in keine Schublade stecken. Seine Musik verbindet die Energie des Rock, die Freiheit des Jazz, die konstruktive Strenge der Klassik mit dem Mut der Avantgarde. Diese CD beim Label Mode porträtiert einen der spannendsten Komponisten der Gegenwart.
Мультиинструменталист-экспериментатор Эллиотт Шарп. Трубач и музыкальный журналист Андрей Соловьёв (группа "Вежливый отказ" и другие проекты) комментирует пьесы Шарпа "Intervallus Diabolus" с альбома ансамбля Elliott Sharp & Carbon "Truthtable" (Homestead, 1993) и "Please Dont" с альбома проекта Elliott Sharps Terraplane "Do the Dont" (Gaff Music, 2004).
Live at CKUT Nusrat Fateh Ali Khan & Elliott Sharp November 4th 1989
CKUT TIME CAPSULE
November 1989, Pakistani Sufi Musician Nusrat Fateh Ali Khan and fellow musicians were in Montreal to perform a concert for Traquen’ Art.Elliott Sharp a central figure in the New York Avant-Garde and experimental music scene, was also in Montreal for a separate performance. Bryan Zuraw, CKUT’s Music Coordinator at the time, and CKUT Programmer, Julia Loktev (host of Curiouser and Curiousear) had the brilliant idea of having them perform live from our CKUT studios. CKUT studios, at this time were located in the basement of the Shatner Building of McGill University. They had never met each other before and come from opposite musical worlds – it’s going to be great right? For those of you who don’t know the old studios were pretty tiny and the image of the rather portly Nusrat Fateh Ali Khan and his entourage of tabla players and Elliott Sharp wielding his double necked axe is one to imagine (if anyone has pictures of this event please get in touch!). Bryan also had to arrange for a translator which he managed thanks to McGill’s Middle Eastern Studies. He also managed to rope in music host John Braithwaite (Jazz Amuck) to tech the whole thing . John Braithwaite is not a tech and remembers just winging it. Here is Julia’s recollection ” I remember calling the promoters, and they were like, “Uhm ok, sure.” I don’t think they had any idea what we were proposing. We thought maybe he would come with just a couple of guys, but they showed up with like 15 people and their instruments. I remember looking at them coming in one-by-one through our narrow record library, and thinking oh my god they are not going to fit in that tiny studio! I’ve never seen the studio so packed. I think Elliott ended up wedged in a corner . But it was amazing! They were all totally so game and lovely. ” Here is what Elliott Sharp remembers,“It’s an understatement to say that playing with Nusrat was intense! I had followed his work since hearing the double-LP The Paris Concert on Ocora and had been to two incredible concerts. I would have been more than content to just sit and listen but the idea of a sonic meeting is a compelling one. In other collaborations with non-Western musicians, there’s usually some shared esthetic whether from contemporary music, avant-garde, rock, jazz…but Nusrat exclusively played qawaali music. I therefore had to accept the invitation to be a guest in this music rather then to meet halfway. My strategy was to try to reinforce the drones and perhaps add a touch of commentary. Hearing this recording, I wish the engineer had my level lower in the mix. it was all done on the fly though, so it’s fine. I still savor the experience of it!”Finally – we have dug up and digitized the audio! Take a listen. https://archive.org/download/NustratElliotSharpFinalNOV.41989/Nustrat%20%26%20Elliot%20Sharp%20final%20%20NOV.%204%201989.mp3