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<h2 class='date-header'><span>Tuesday, April 01, 2008</span></h2>

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<p class=MsoNormal style='margin-bottom:12.0pt'><img height="381" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh5.googleusercontent.com/proxy/PsptvzwSYexw7i-e7FSgK6bwk3lYKiBuwBZbypfUy4bQnReXyioIuqtdO_DByCdbG4wRBLUQ2ROzi86Q5bD-GAa9ltyh1AcMdSM37Pl0iA_6%3Ds0-d" width="326"></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>If you look at the sax reeds in this picture closely, you will note that each is cut or notched, altered in some fashion so as to render them difficult to play. Play them &#8211; or at least some of them &#8211; the <a href="http://www.jamesfei.com/"><span style='color:black'>James <span class=SpellE>Fei</span> Alto Saxophone Quartet</span></a> did last Tuesday at <a href="http://www.therotunda.org/"><span style='color:black'>the Rotunda</span></a> in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Philadelphia</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. This is roughly two &amp; one-half blocks from Writers House &amp; across the street (more or less) from the <a href="http://slought.org/"><span style='color:black'>Slought Foundation</span></a> art gallery. I say more or less because the Rotunda is set back from the street &amp; you have to walk down a bit of an alley &amp; enter through a most <span class=SpellE>unpresupposing</span> door. Once there, tho, you&#8217;re in one of the best spaces for music in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Philadelphia</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. With Last Words Bookstore, one of the city&#8217;s best used book dealers, just around the corner on 40<sup>th</sup>, the Institute for Contemporary Arts &amp; International House all in the immediate vicinity, you&#8217;re in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Philadelphia</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s <i style='mso-bidi-font-style:normal'>real </i>avenue of the arts here, far more so than  the institutional fare on </span><st1:Street><st1:address><span style='font-size:10.0pt;font-family:Arial;color:black'>Broad Street</span></st1:address></st1:Street><span style='font-size:10.0pt;font-family:Arial;color:black'>. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The Taiwanese-born <span class=SpellE>Fei</span>, who looks at least a decade younger than his 34 years, brought his quartet to town to recreate the extraordinary works gathered together on <i style='mso-bidi-font-style:normal'><a href="http://music.columbia.edu/~jamesfei/organizedsound/os4-AltoQuartets.html"><span style='color:black'>James <span class=SpellE>Fei</span> Alto Quartets</span></a>, </i>the most recent CD from <span class=SpellE>Fei&#8217;s</span> <a href="http://www.organizedsound.com/"><span style='color:black'>Organized  Sound</span></a> label. Altered quartets is the way my mind wants to rework that title. <span class=SpellE>Fei</span>, who spends as much time working with live electronics as he does on his various saxophones, approaches the sax much the same way that <span class=SpellE>Jimi</span> Hendrix once approached the electric guitar or Cecil Taylor approaches the piano, which is to say that <i style='mso-bidi-font-style:normal'>any </i>aspect of the instrument might be employed to make sound, from &#8220;crippled&#8221; reeds (<span class=SpellE>Fei&#8217;s</span> word choice) to moisture in the horn&#8217;s bell, to playing so very shrill that the audience doesn&#8217;t so much hear the music as it does feel it, literally standing those microscopic hairs of the inner ear on end &#8211; simply cup a hand over your ear &amp; the sound disappears entirely. You can hear &#8220;Work <i style='mso-bidi-font-style:normal'>for crippled reeds</i>&#8221; as an MP3 <a href="http://music.columbia.edu/~jamesfei/work.mp3"><span style='color:black'>here</span></a>. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Fei</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> may still be better known as a side man to Anthony Braxton than on his own (Braxton shows up as a side man to <span class=SpellE>Fei</span> on one track of the <i style='mso-bidi-font-style:normal'>Quartets</i>) and <span class=SpellE>Fei&#8217;s</span> work shares Braxton&#8217;s intensely cerebral approach to jazz tradition, albeit with more of the rigor of the minimalist. The quartet&#8217;s current lineup &#8211; <span class=SpellE>Fei</span>, <a href="http://www.allaboutjazz.com/php/musician.php?id=16442"><span style='color:black'>Jeff Hudgins</span></a>, <a href="http://profile.imeem.com/7td_PB/photo/iKMe2DdIUy/"><span style='color:black'>Jackson</span></a> <a href="http://www.leorecords.com/?m=select&amp;id=CD_LR_367/368&amp;ln=1"><span style='color:black'>Moore</span></a> &amp; <a href="http://www.onefinalnote.com/reviews/s/shaikh-aaron-ali/under-careful-watch.asp"><span style='color:black'>Aaron Ali <span class=SpellE>Shaikh</span></span></a><span style='mso-spacerun:yes'>  </span>-- have all worked with Braxton or John Zorn, making it perhaps the most post-avant sax quartet since <a href="http://www.rova.org/"><span style='color:black'>ROVA</span></a>.&#185; Minimalist not in the sense of Steve Reich&#8217;s (or Phil Glass&#8217; or Terry Riley&#8217;s) phased reiterations, but rather each piece broken into the exploration of a single aspect of what&#8217;s possible, what I think of as the Command Idea. In a work like &#8220;Study III (Saliva)&#8221; (<a href="http://music.columbia.edu/~jamesfei/saliva.mp3"><span style='color:black'>MP3</span></a>), the quartet sits &#8211; <i style='mso-bidi-font-style:normal'>they&#8217;re always sitting </i>&#8211; with each musician leaning back, the bell of their horns resting on the knee of a crossed leg&#178;, so that the bell captures all of the musician&#8217;s supplemental moisture. It sounds half as if they are playing under water (&amp; in a way they are), then as if they were playing while drowning. Similarly, what you hear in the piece for &#8220;crippled&#8221; reeds are the reeds. As is true with any form of minimalism &#8211; think of Bob Grenier&#8217;s micropoetics &#8211; what occurs is the magnification of one element of the work, which at times appears to have been blown up to the proportions of a public sculpture in an urban plaza.<o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Talking with <span class=SpellE>Fei</span> after the performance, he talks about bringing forward the &#8220;inaudible&#8221; aspects of music, the elements a musician is trained to minimize and which the audience pretends it can&#8217;t hear, exactly like moisture in the bell. This is so similar to what a lot of the best contemporary poetry is doing that one hardly needs to translate media in order to discuss the aspects of it from one field to the next. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span class=SpellE><span style='font-size:10.0pt;font-family:Arial;color:black'>Fei</span></span><span style='font-size:10.0pt;font-family:Arial;color:black'> will be performing solo at the <a href="http://www.cueartfoundation.org/"><span style='color:black'>Cue Foundation Gallery</span></a> in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>New York</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> next month, as part of a reading that <a href="http://en.wikipedia.org/wiki/Charles_Alexander_(poet_and_book_artist)"><span style='color:black'>Charles Alexander</span></a> &amp; I will be giving in celebration of <a href="http://www.cueartfoundation.org/future-exhibitons.html"><span style='color:black'>Cynthia Miller&#8217;s show</span></a> that I curated. The event will be on Friday, April 25<sup>th</sup>, the day <i style='mso-bidi-font-style:normal'>after </i>the show&#8217;s opening, and you would be advised to bring both eyes <i style='mso-bidi-font-style:normal'>and </i>ears to this  event. I&#8217;ll give out more details a little closer to the date. <o:p></o:p></span></p> 

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; I say <i style='mso-bidi-font-style:normal'>post-avant </i>because I think it&#8217;s more or less impossible to be avant-garde with a straight face in the 21<sup>st</sup> century, but it should be noted that jazz or post-jazz still carries with it some of the trappings of the <span class=SpellE>Olde</span> Avant world, musicians mimicking mad scientists &#8211; Moore&#8217;s own group calls itself the <i style='mso-bidi-font-style:normal'>Laboratory Band </i>and Braxton&#8217;s scores look like something Lt. Whorf would use to command the bridge of the Enterprise. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#178; See the image of <span class=SpellE>Fei</span> on the lower left <a href="http://music.columbia.edu/~jamesfei/organizedsound/dvd-text.jpg"><span style='color:black'>here</span></a> playing this piece. <o:p></o:p></span></p>
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<a href="http://www.dailycal.org/article/100234/music_professor_had_extraordinary_talent_"><span style='color:black'>1957</span></a> <a href="http://sfcmp.blogspot.com/2008/02/in-memoriam-jorge-liderman.html"><span style='color:black'>&#8211;</span></a> <a href="http://www.sfgate.com/cgi-bin/article.cgi?f=/c/a/2008/02/06/DDI2USFF9.DTL"><span style='color:black'>2008</span></a><br style='mso-special-character:line-break'> <!--[if !supportLineBreakNewLine]--><br style='mso-special-character:line-break'> <!--[endif]--><o:p></o:p></span></p>

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</span></b><span style='font-size:8.0pt;font-family:Arial'>Stockhausen is fifth from the left, back row, just to the left of W.C. Fields<br>
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<b style='mso-bidi-font-weight:normal'><span style='font-size:20.0pt;font-family:Arial;color:black'><a href="http://en.wikipedia.org/wiki/Karlheinz_Stockhausen"><span class=SpellE><span style='color:black'>Karlheinz</span></span></a> <a href="http://www.stockhausen.org/"><span style='color:black'>Stockhausen</span></a><br>
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<p class=MsoNormal align=right style='margin-bottom:12.0pt;text-align:right'><span style='color:black'><img height="261" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh6.googleusercontent.com/proxy/4ypZyG6Jm0dfB1M7vF5shKgTqdRScrT1oNHHP2x3St9P9AhiOJEGTJh-FC76f4-iKlR56rBfWopKtncHXNicyGn6Ly7YOUI8Y2ZBHf01z3Mbiw%3Ds0-d" width="300"><br> 
</span><i style='mso-bidi-font-style:normal'><span style='font-size:8.0pt;font-family:Arial;color:black'>Tracy <span class=SpellE>Grammer</span> &amp; Dave <span class=GramE>Carter</span><br>
(Photo by Jeff <span class=SpellE>Bizzell</span>)<o:p></o:p></span></i></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I was talking with <a href="http://www.craigbickhardt.com/"><span style='color:black'>Craig <span class=SpellE>Bickhardt</span></span></a> during a break at our reading / event with Eileen Tabios last Tuesday night. Craig is a singer-songwriter who works the folk/country border of music &#8211; what alternative radio jocks these days call Americana &#8211; and has written number one hits for the <span class=SpellE>Judds</span>, Pam <span class=SpellE>Tillis</span> &amp; Ty Herndon, had platinum hits sung by Martina McBride &amp; Trish <span class=SpellE>Yearwood</span>, as well as having songs recorded by B.B. King, Ray Charles, Kathy <span class=SpellE>Mattea</span> &amp; Alison Krauss &#8211; he did some of the music for Robert Duvall&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://www.imdb.com/title/tt0086423/fullcredits"><span style='color:black'>Tender Mercies</span></a> </i>awhile back. It&#8217;s a genre that I&#8217;ve been following, at least vaguely, for decades now since it evolved out of the folk festivals I attended in the 1960s. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>My own instincts for that music tend more toward what I think of as the </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Austin</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> sound, that aspect of country-folk that emerged from the work of Willie Nelson &amp; especially <span class=SpellE>Townes</span> Van Zandt, whom I&#8217;ve written about here <a href="http://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/2006/04/margaret-browns-be-here-to-love-me.html"><span style='color:black'>before</span></a>. The person who really introduced me to that sound was <a href="http://www.nancigriffith.com/"><span style='color:black'>Nanci Griffith</span></a>, whom Krishna &amp; I first heard at a memorial concert for <a href="http://www.katewolf.com/"><span style='color:black'>Kate Wolf</span></a> in </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>San Francisco</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> nearly 20 years ago. We had wanted to have Kate sing at our wedding, but she was already too sick with the leukemia that would eventually cut her life short. We ended up going with <a href="http://www.sugarhillrecords.com/catalog/artist.cgi?Good+Ol'+Persons"><span style='color:black'>the Good <span class=SpellE>Ol</span>&#8217; Persons</span></a>, Kathy <span class=SpellE>Kallick&#8217;s</span> bluegrass group that is still playing &amp; recording two decades later, sounding as crisp as ever. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Where Van Zandt &amp; Nelson were songwriters who&#8217;d attempted to break into the tight-knit scene in Nashville, only to find their hippy ways didn&#8217;t fit well with the neo-George Wallace types at the Grand Ole <span class=SpellE>Opry</span>, &amp; thus returned to Austin to create a scene there more to their liking, Griffith grew up in Austin listening to their likes along with other local bands like Buddy Holly&#8217;s old outfit, the Crickets. Tho she&#8217;s a great singer &amp; has long been a touring &amp; recording success both here &amp; in </span><st1:country-region><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Ireland</span></st1:place></st1:country-region><span style='font-size:10.0pt;font-family:Arial;color:black'> (where she spends several months each year these days), </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Griffith</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> like <span class=SpellE>Bickhardt</span> often describes herself as a songwriter first &amp; as a singer only of necessity. Like Wolf, <span class=SpellE>Bickhardt</span> &amp; Van Zandt, the very first thing you note about her music is that it has a level of literacy about it that is a steep step above normal country or folk fare. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Another songwriter with </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Texas</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> roots whose work I always point to as an example of what country-folk can be at its very best, and very most literate, is the late <a href="http://en.wikipedia.org/wiki/Dave_Carter"><span style='color:black'>Dave Carter</span></a>. Next to <span class=SpellE>Townes</span> Van Zandt &amp; Bob Dylan &#8211; his two greatest influences &#8211; Carter was easily the best songwriter I&#8217;ve heard over the past half century. Carter, who grew up primarily in </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Oklahoma</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; </span><st1:State><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Texas</span></st1:place></st1:State><span style='font-size:10.0pt;font-family:Arial;color:black'> &amp; whose partner, <a href="http://tracygrammer.com/"><span style='color:black'>Tracy <span class=SpellE>Grammer</span></span></a>, still refers to him as ODC for Oklahoma Dave Carter, a nickname he still used when they first met in </span><st1:City><st1:place><span   style='font-size:10.0pt;font-family:Arial;color:black'>Portland</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Dave Carter released only five albums &#8211; four while he was alive, the fifth (this year&#8217;s <i style='mso-bidi-font-style:normal'><a href="http://daveandtracy.globalhosting.com/index.php"><span style='color:black'>Seven is the Number</span></a>, </i>presently the number one folk album in America) is largely a reworking of his rejected first effort, which had been released before Carter learned the nuances of record arrangement &amp; production. The song &#8220;Crocodile Man&#8221; was a huge hit circa 1999 on the Americana charts &#8211; with Tracy singing the lyrics even tho they&#8217;re figured as a man&#8217;s words &#8211; and Carter found himself suddenly an &#8220;overnight success&#8221; after must have been decades of effort. He was 46 at the time &amp; only would live to be 49 before a massive heart attack killed the rail-thin vegetarian after a morning run on the road in 2002. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Carter was raised in an evangelical family but whose own spiritual commitments broadened considerably &amp; are best captured by the title of one of his albums, <i style='mso-bidi-font-style:normal'>Drum Hat Buddha </i>&#8211; the title&#8217;s juxtapositions, which sound exactly like NY School poetry, <span class=SpellE>gen</span> 17 (think of Drew Gardner&#8217;s <i style='mso-bidi-font-style:normal'>Petroleum Hat, </i>which came out four years <i style='mso-bidi-font-style:normal'>after </i>the Carter-<span class=SpellE>Grammer</span> album) &#8211; gives you some sense of what makes Carter so special as a writer. Here are the lyrics to &#8220;</span><st1:place><st1:PlaceName><span style='font-size:10.0pt;font-family:Arial;color:black'>Ordinary</span></st1:PlaceName><span  style='font-size:10.0pt;font-family:Arial;color:black'> </span><st1:PlaceType><span   style='font-size:10.0pt;font-family:Arial;color:black'>Town</span></st1:PlaceType></st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8221; from that CD:<o:p></o:p></span></p>

<p style='margin-left:.5in'><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Common cool he was a proud young fool<br>
In a kick-ass Wal-Mart tie<br>
<span class=SpellE>Rippin</span>&#8217; down the main drag<br>
<span class=SpellE>Trippin</span>&#8217; on the headlights <span class=SpellE>rollin</span>' by<br>
In the early dawn when the cars were gone<br>
Did he hear the master's call<br>
In the five and dime did he wake and find<br>
He was only <span class=SpellE>dreamin</span>&#8217; after all, cause . . . </span><span style='font-family:Verdana;color:black'><br>
<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>This is an ordinary town<br>
And the prophet stands apart<br>
This is an ordinary town<br>
And we brook no wayward heart<br>
And every highway leads you prodigal back home<span style='mso-spacerun:yes'> 
</span><br>
To the ordinary sidewalks you were born to roam</span><span style='font-family:Verdana;color:black'><br>
<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Rock of ages, love contagious<br>
Shine the serpent fire<br>
So sang the sage of sixteen summers <br>
In the upstairs choir<br>
So sang the old dog down the street <br>
Beside his wailing wall<br>
&quot;Go home, go home,&quot; the mayor cried <br>
When Jesus came to city hall, cause . . . </span><span style='font-family:Verdana;color:black'><br>
<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>This is an ordinary town<br>
And the prophet stands alone<br>
This is an ordinary town<br>
And we crucify our own<br>
And every highway leads you prodigal again<span style='mso-spacerun:yes'> 
</span><br>
To the ordinary houses you were brought up in</span><span style='font-family:Verdana;color:black'><br>
<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>Raised on hunches and junk food lunches<br>
And punch-drunk ballroom steps<br>
You get to <span class=SpellE>believin</span>&#8217; you're even-steven<br>
With the kids at Fast-Track Prep<br>
So you dump your bucks on a velvet tux<br>
And you run and join the dance<br>
But your holy shows and the Romans know<br>
You're just a child of circumstance, cause . . . </span><span style='font-family:Verdana;color:black'><br>
<br>
</span><span style='font-size:10.0pt;font-family:Verdana;mso-bidi-font-family:Arial;color:black'>This is an ordinary town<br>
And the prophet has no face<br>
This is an ordinary town<br>
And the seasons run in place<br>
And every highway leads you prodigal and true<span style='mso-spacerun:yes'> 
</span><br>
To the ordinary angels <span class=SpellE>watchin</span>&#8217; over you</span><span style='font-family:Verdana;color:black'><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>There is a lot of rhyme in these lines &amp; some extraordinary word choices &#8211; <i style='mso-bidi-font-style:normal'>ages / contagious / sage of </i>is my favorite &#8211; here, as well as a remarkably pictorial eye. I can&#8217;t read these words without hearing Carter &amp; <span class=SpellE>Grammer&#8217;s</span> arrangement &#8211; it feels completely inevitable to me, which is one test of the success of joining words to music. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>At one point Carter attended the <a href="http://www.ciis.edu/"><span style='color:black'>California Institute of Integral Studies</span></a> where I was the director of development &amp; outreach, although we didn&#8217;t meet until later &amp; I&#8217;m not 100 percent certain that our time at the &#8216;<span class=SpellE>Tute</span> overlapped.&#185; Krishna &amp; I once heard him &amp; Tracy perform at an outdoor concert that was driven indoors by a thunderous downpour to the King of Prussia township council chambers &#8211; as inauspicious a venue for sound as you can imagine &#8211; where they played sans benefit of any amplification. They made it sound as intimate &amp; welcoming as a house concert. And if it wasn&#8217;t the biggest venue we ever saw them in &#8211; that would have been the Philadelphia Folk Festival &#8211; nor the space with the best sound (that would have been The Point, the late lamented folk club in Bryn Mawr, the last place we saw Dave before his death) &#8211; it&#8217;s probably the place I&#8217;ll remember longest &amp; best, simply because their strengths as people as well as singers shined so brightly that evening. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>I&#8217;ve been listening this past week a lot to <i style='mso-bidi-font-style:normal'>Seven is the Number</i>. When Carter died, he and <span class=SpellE>Grammer</span> had planned at some point to rework his early <i style='mso-bidi-font-style:normal'>Snake <span class=SpellE>Handlin</span>&#8217; Man </i>album into what Carter &#8211; who obviously was a perfectionist &#8211; would have considered an acceptable arrangement. <span class=SpellE>Grammer</span>, who started out as his accompanist on violin &amp; voice &amp; has emerged herself as one of the best folksingers alive, has done a terrific job with this. Every one of Carter&#8217;s albums is well worth owning &#8211; indeed, they make great presents too &#8211; and both of </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Tracy</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'>&#8217;s post-Carter solo albums have lots of his songs on them as well. Lucy <span class=SpellE>Kaplansky</span>, Chris <span class=SpellE>Smither</span> &amp; the <span class=SpellE>Kennedys</span> have all recorded some of his songs &amp; Joan Baez has included &#8220;The Mountain&#8221; in a number of her concerts (she once sang it for the Dali Lama). If you have even a remote interest in folk or in the singer-songwriter genre, you owe it to yourself to own all of Dave Carter&#8217;s music. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'><o:p>&nbsp;</o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:8.0pt;font-family:Arial;color:black'>&#185; Carter&#8217;s Wikipedia article refers to the influence of Joseph Campbell on the singer after a visit to his school. That was, in fact, one of my projects at CIIS. </span><st1:City><st1:place><span   style='font-size:8.0pt;font-family:Arial;color:black'>Campbell</span></st1:place></st1:City><span style='font-size:8.0pt;font-family:Arial;color:black'> died in 1987, a year after I&#8217;d left to edit the <i style='mso-bidi-font-style:normal'>Socialist Review. </i><o:p></o:p></span></p>
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<h2 class='date-header'><span>Friday, September 08, 2006</span></h2>

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<p class=MsoNormal align=right style='text-align:right'><span style='color:black'><img height="276" id="_x0000_i1025" src="https://writing.upenn.edu/epc/mirrors/ronsilliman.blogspot.com/images/lh4.googleusercontent.com/proxy/S-txPePytnu-vH5nQPxqJS48dqvWNdFb5B1UQP67DsYDvnWpCVJW2WLJAb6bup3dYidKzwNye9b8NtI72qI8MlnuMdUOK4RhjNfu7rWNlD7v0g%3Ds0-d" width="271"><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Listening to <i style='mso-bidi-font-style:normal'><a href="http://www.sonymusicstore.com/store/catalog/MerchandiseDetails.jsp?merchId=111172&amp;skuId=111188"><span style='color:black'>Modern Times</span></a></i>, the new album by Bob Dylan, two different &amp; competing thoughts pop into my mind. The first is that the <i>sound </i>is very much of a piece with his last two studio albums, 1997&#8217;s <i style='mso-bidi-font-style:normal'>Time Out of Mind </i>&amp; <i style='mso-bidi-font-style:normal'>Love and Theft,</i> released on, of all dates, </span><st1:date Month="9" Day="11" Year="2001"><span  style='font-size:10.0pt;font-family:Arial;color:black'>September 11,  2001</span></st1:date><span style='font-size:10.0pt;font-family:Arial;color:black'>. At ten years, this is the longest that the 65-year-old folk/rock chameleon has retained anything like the same aural presence. When one thinks of the multiple personalities Dylan inhabited during the 1960s &#8211; folk troubadour (<i style='mso-bidi-font-style:normal'>Bob Dylan</i>, most of <span class=SpellE><i style='mso-bidi-font-style:normal'>Freewheelin&#8217;</i>), protest singer (<i style='mso-bidi-font-style:normal'>The Times They Are A-<span class=SpellE>Changin</span>&#8217;</i>), surreal balladeer (<i style='mso-bidi-font-style:normal'>Another Side of Bob Dylan</i>), inventor of folk-rock (<i style='mso-bidi-font-style:normal'>Highway 61 Revisited</i>), reclusive collaborator (<i style='mso-bidi-font-style:normal'>John Wesley Harding, The Basement Tapes</i>), &amp; country crooner (<i style='mso-bidi-font-style:normal'>Nashville Skyline</i>), the sheer continuity of Dylan&#8217;s current renaissance is worth noting. You can hear (and see) a snatch of the music on, of all things, this <a href="http://www.apple.com/ipod/ads/dylan/"><span class=SpellE><span style='color:black'>iPod</span></span><span style='color:black'> commercial</span></a>.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>The second is that this album contains Dylan&#8217;s very best band since &#8230; not The Band, but in fact the <a href="http://en.wikipedia.org/wiki/The_Paul_Butterfield_Blues_Band"><span style='color:black'>Paul Butterfield&#8217;s Blues Band</span></a>, which accompanied Dylan first on the infamous electric betrayal at the 1965 Newport Folk Festival, playing &#8220;Maggie&#8217;s Farm.&#8221; You can hear them on the soundtrack for the Martin Scorsese documentary, <i style='mso-bidi-font-style:normal'>No Direction Home, </i>where they sound tremendous. The late Michael Bloomfield, the great rich white kid blues guitarist of the &#8216;60s, lead guitarist for the Butterfield group, proved essential to the sound of <i style='mso-bidi-font-style:normal'>Highway 61 Revisited, </i>the one album more than any other that sealed Dylan&#8217;s reputation as the most creative rock musician in the genre&#8217;s most creative period. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><i style='mso-bidi-font-style:normal'><span style='font-size:10.0pt;font-family:Arial;color:black'>Modern Times </span></i><span style='font-size:10.0pt;font-family:Arial;color:black'>uses only one musician, bassist Tony <span class=SpellE>Garnier</span>, who shows up on either of the two previous studio albums &amp; it&#8217;s true that <span class=SpellE>Garnier&#8217;s</span> work is as central to defining Dylan&#8217;s current sound as </span><st1:City><st1:place><span style='font-size:10.0pt;font-family:Arial;color:black'>Bloomfield</span></st1:place></st1:City><span style='font-size:10.0pt;font-family:Arial;color:black'> was then. The Butterfield band, the loudest group I&#8217;ve ever heard in person (a concert at UC Berkeley in 1965 or '66), wasn&#8217;t the first of the successful white blues acts of the 1960s &#8211; <a href="http://www.mnblues.com/review/krg2.html"><span style='color:black'>Koerner, Glover &amp; Ray</span></a> were the big musical act in the Twin Cities back with Robert Zimmerman first dropped out of the U. of Minnesota, &#8220;borrowed&#8221; a bunch of Glover&#8217;s LPs and began to refashion himself into Bob Dylan. And, in point of fact, the Butterfield band wasn&#8217;t all white either, including during its best years two veterans of Howlin&#8217; Wolf&#8217;s band, Jerome Arnold &amp; Sam Lay, as well as harmonica master &amp; singer Butterfield, organist Mark <span class=SpellE>Naftalin</span> &amp; bassist Elvin Bishop. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Where Koerner, Glover &amp; Ray were masters of miming the sound of acoustic delta blues, the Butterfield band hued much closer to their own Chicago roots &amp; the electrified urban blues pioneered there by Muddy Waters (whose earlier Alan <span class=SpellE>Lomax</span> recording back in the delta is well worth listening to, just to get a sense of where <i style='mso-bidi-font-style:normal'>he </i>was coming from), Wolf, Otis Spann &amp; Buddy Miles. If the very first rock-n-roll tune ever recorded was <a href="http://en.wikipedia.org/wiki/Robert_Johnson"><span style='color:black'>Robert Johnson&#8217;s</span></a> 1936 &#8220;Cross Road Blues,&#8221; the Butterfield band 30 years later represents the first clear moment when rock &amp; blues clearly are no longer two separate genres. From Eric Clapton to the North Mississippi All-Stars, the influence of the Butterfield band has continued much further than the band itself. After two hit albums, the first simply entitled <i style='mso-bidi-font-style:normal'>The Paul Butterfield Blues Band, </i>the second <i style='mso-bidi-font-style:normal'>East-West, </i>the band&#8217;s make-up changed &amp;, with it, the sound that had proven so effective both for Dylan &amp; the band itself.<span style='mso-spacerun:yes'>  </span><o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>It&#8217;s interesting, sad even, that Dylan never made a record with the Butterfield band during its short-lived heyday in the mid-1960s. The Band, originally the Hawks, Ronnie Hawkins&#8217; backup band, didn&#8217;t really gel on their own until <i style='mso-bidi-font-style:normal'>Big Pink, </i>their debut album. While they were the touring band behind Dylan during the <i style='mso-bidi-font-style:normal'>Blonde on Blonde </i>period, they aren&#8217;t the band he recorded with until 1974&#8217;s <i style='mso-bidi-font-style:normal'>Before the Flood, </i>not Dylan&#8217;s finest work. <i style='mso-bidi-font-style:normal'>The Basement Tapes </i>of course emerged a year later, after nearly a decade as one of the most widely distributed bootlegs ever made, but <span class=GramE>it&#8217;s</span> clear there that these are musicians jamming. The unfinished sound of so many songs on that collection, tho, is an essential part of its charm.<o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>Dylan&#8217;s approach to his bands often feels as tenuous as that of Chuck Berry, who is notorious for playing gigs around the country &amp; simply presuming that whatever band the promoter hires will know his work &amp; be able to follow along. Dylan at least has had a tendency to hold onto his bassists &amp; keyboard players for longer periods (Charlie McCoy &amp; Al <span class=SpellE>Kooper</span> being two examples from the early years), as tho these were the keys to his sound. <o:p></o:p></span></p>

<p class=MsoNormal style='margin-bottom:12.0pt'><span style='font-size:10.0pt;font-family:Arial;color:black'>But it feels strange to think of Dylan&#8217;s 44<sup>th</sup> album as finally being the one in which he gets the backup band right. It lends his current sound, which is at once both cynical &amp; nostalgic, retro &amp;, for a balladeer, still restlessly innovative, all at once, a depth his work hasn&#8217;t held before. How very curious. <o:p></o:p></span></p>
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<h2 class='date-header'><span>Wednesday, September 18, 2002</span></h2>

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<i style="mso-bidi-font-style: normal;"><span style="font-family: Arial;">The Envelope, Please </span></i><span style="font-family: Arial;">by <span class="SpellE">Swifty</span> Lazarus, <span class="GramE">a collaboration</span> between Canadian expatriate poet </span><st1:personname><span style="font-family: Arial;">Todd Swift</span></st1:personname><span style="font-family: Arial;"> and composer Tom Walsh, is the latest attempt to wed
the impulses of poetry to sound recording in some format beyond the traditional
reading. The major influences &#8211; &amp; they&#8217;re right out front &amp; center &#8211;
include Laurie Anderson; the Bill Burroughs of <i style="mso-bidi-font-style: normal;">Towers Open Fire</i>; the Brian <span class="SpellE">Eno</span>-David
Byrne project, <i style="mso-bidi-font-style: normal;">My Life in the Bush of
Ghosts</i>; touches of <span class="SpellE">Brecht</span> &amp; <span class="SpellE">Weill</span>; <span class="SpellE">Godard&#8217;s</span> sound tracks; and
just maybe the backwards-talking dwarf from David Lynch&#8217;s <i style="mso-bidi-font-style: normal;">Twin Peaks.</i> <o:p></o:p></span></div>
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<span style="font-family: Arial;">There is some good writing
here, but mostly you have to read the liner notes to get to it. The problem is,
I think, inherent in the medium. To carry over as anything other than pure <i style="mso-bidi-font-style: normal;">reading,</i> the text as literary signifier
must choose to do one of three things:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">focus solely on
itself as signifier, becoming sound poetry<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">enter into a
collaboration with other media and genre expectations, or<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: 1.0in; mso-list: l0 level1 lfo2; tab-stops: list 1.0in; text-indent: -.25in;">
&lt;![if !supportLists]&gt;<span style="font-family: Symbol; mso-bidi-font-family: Symbol; mso-fareast-font-family: Symbol;"><span style="mso-list: Ignore;">&#183;<span style="font: 7.0pt &quot;Times New Roman&quot;;">&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;&nbsp;
</span></span></span>&lt;![endif]&gt;<span style="font-family: Arial;">subordinate
itself to another form altogether<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Ultimately, those aren&#8217;t
such attractive alternatives. <o:p></o:p></span></div>
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<span style="font-family: Arial;">Collaborations between media
are less common than those within one. The major challenge for any
collaboration, regardless of the genre involved, is the surrender of control
between players and between the conjoined forms. But whereas, within any single
medium, two participants or players must arrive at a position that enables each
to function, often enough something no one individual involved could have
conceived of on his or her part alone, between media the gap can yawn so large
that ultimately their interaction may not matter all that much.* It does matter
in <i style="mso-bidi-font-style: normal;">The Envelope, Please</i> as a
gathering of diverse poems (all by Swift, save for one by <span class="SpellE">Adeena</span>
<span class="SpellE">Karasick</span> that is buried deep in the found-language
layers of a 12 minute track) are transformed into the sonic shadows of
recordings we already know, avant-garde as nostalgia. Several of the texts
appear to have been written for Lazarus: there are generalizations so bald that
they could not have been intended for consumption by a reader &#8211; &#8220;<i style="mso-bidi-font-style: normal;">If History is dead, why do things still
happen? / <span class="GramE">If</span> there is no Truth, why do I bother lying?</i>&#8221;
But the title piece is a quiet surreal lyric that gets lost as a sort of
preface in its 30-second format. <o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Texts that are subordinated
within another form often work best when they immerse themselves without
looking back. The poets who have had the most success with careers in popular
music &#8211; Anderson, Jim Carroll, Patti Smith, Leonard Cohen &#8211; produce words for
music that share relatively little with their best known writing. Similarly,
the finest musical texts in recent years &#8211; the work, say, of Dave Carter or <span class="SpellE">Townes</span> Van Zandt &#8211; don&#8217;t stand up well on the printed page,
precisely because they were never conceived as doing so.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial;">Containing sound, reference,
syntax, and context, language is <i style="mso-bidi-font-style: normal;">déjà
toujours</i> intermedia. The instant it combines with any form of instrumentation,
the entire history of song is invoked and the result, regardless of how well
intended, can never be innocent. Consider from the perspective of poetry the
comic inappropriateness of Steve Reich&#8217;s filigreed setting for the work of
William Carlos Williams as art song in <i style="mso-bidi-font-style: normal;">The
Desert Music </i>compared with the far more powerful use of found language a
much younger Reich demonstrated in tape loops such as <i style="mso-bidi-font-style: normal;">Come Out<span class="GramE">.*</span>*</i><span style="mso-spacerun: yes;">&nbsp; </span>In projects that recruit poetry into other
media, the ultimate question of context cannot be begged: <i style="mso-bidi-font-style: normal;">where is the language most itself?</i> Collaborators who forget or
ignore that question do so at their own risk.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">*The most
successful intermedia collaborations in recent years &#8211; between poets &amp;
painters and between poets &amp; dancers &#8211; have been in forms where the text
functions <i style="mso-bidi-font-style: normal;">alongside</i> the other medium,
rather than <i style="mso-bidi-font-style: normal;">within</i> it.<o:p></o:p></span></div>
<div class="MsoNormal">
<br /></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">** A
participant in a riot explains on tape what he needed to do to convince the
police to get him medical attention:<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; font-size: 10.0pt;">I had to, like,<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial; font-size: 10.0pt;">open</span></span><span style="font-family: Arial; font-size: 10.0pt;"> the bruise up<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span style="font-family: Arial; font-size: 10.0pt;">and let some of the bruise blood<o:p></o:p></span></div>
<div class="MsoNormal" style="margin-left: .5in;">
<span class="GramE"><span style="font-family: Arial; font-size: 10.0pt;">come</span></span><span style="font-family: Arial; font-size: 10.0pt;"> out to show them.<o:p></o:p></span></div>
<div class="MsoNormal">
<span style="font-family: Arial; font-size: 10.0pt;">The tape
adds, then phases out of synch, multiple tracks of this last line until it
gradually evolves into a roar. <o:p></o:p></span></div>
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<span style="font-weight: bold;">MEMOIRS &amp; COLLABORATIONS</span><br /><a href="https://www.amazon.com/Leningrad-American-Writers-Soviet-Union/dp/1562790056">Leningrad</a><br /><a href="http://www.thegrandpiano.org/">The Grand Piano</a><br /><a href="https://www.saltpublishing.com/products/under-albany-9781844710515">Under Albany</a><br /><br /><span style="font-weight: bold;">CRITICISM</span><br /><a href="http://www.spdbooks.org/Producte/0937804207/the-new-sentence.aspx">The New Sentence</a><br /><br /><span style="font-weight: bold;">ANTHOLOGY</span><br /><a href="https://secure.touchnet.com/C22921_ustores/web/classic/product_detail.jsp?PRODUCTID=327&SINGLESTORE=true">In The American Tree</a><br /><br /><br /><br />
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<br /><img alt="" src="file%3A///Users/Lynn/Desktop/silliman2a.jpg" / /><img alt="" src="file%3A///Users/Lynn/Library/Caches/TemporaryItems/moz-screenshot.png" / /><span style="color: #990000; font-weight: bold;">RON SILLIMAN</span> has written and edited 40 books, and had his poetry and criticism translated into 16 languages. Silliman was a 2012 Kelly Writers House Fellow, the 2010 recipient of the Levinson Prize from the Poetry Foundation, a 2003 Literary Fellow of the National Endowment for the Arts, a 2002 Fellow of the Pennsylvania Arts Council, and a 1998 Pew Fellow in the Arts. Silliman has a plaque in the walk dedicated to poetry in his home town of Berkeley and a sculpture in the Transit Center of Bury, Lancaster, a part of the Irwell Sculpture Trail. He lives in Chester County, Pennsylvania and teaches at the University of Pennsylvania.<br /><br /><br /><br /><br /><br /><br />(c) 2002-2019 by Ron Silliman.
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