Okraïna #8 : Greenberger Jones Corsano An Idea in Everything


An Idea in Everything – okraïna #8 – double 10inch

“David Greenberger meanders around America, lovingly collecting the life stories of old people like fireflies in a jar. In an America that seems increasingly dominated by amnesia, and the erosion of its history, it’s very heartening – and poignant – to hear these fragments of lives as they draw to a close. The matter-of-fact tone that David uses in these vignettes is partly what makes them so emotional.” – Robyn Hitchcock

“When newcomers hear that I have regular conversations and interviews with elderly people, they assume I collect oral history. What that assumption implies is that when one grows old we become solely a repository of our past. From the start, my mission has been to offer a range of characters who are already old, so that we can get to know them as they are in the present, without celebrating or mourning the loss of who they were before.” – David Greenberger

When David Greenberger first embarked on what has become a life-long journey, drummer Chris Corsano was not yet five years old!

In 1979, after graduating from art school in Boston, Greenberger took the job of activities director at the Duplex Nursing Home, an all-male elder care facility in Jamaica Plain, Massachusetts, and began collecting the stories, poems and music reviews of its aged patients for what became his Duplex Planet project, and undertaking that would eventually encompass nearly 200 issues of a digest-sized magazine, a series of CDs, books, comics, and performance art. Eventually the nursing home closed, but David has remained engaged in what has become the central art form of his life: the “art of conversation.”

Three decades later Chris Corsano set in motion the project you have before you. With guitarist and banjo player Glenn Jones, a longtime friend of both Greenberger and Corsano, the three began recording in Greenberger’s living room in upstate New York. In just three days, with no advance preparation, they recorded the 28 tracks that make up An Idea in Everything. Corsano improvised, Jones invented new tunings for his banjo and guitar on the fly and Greenberger selected and read stories in direct response to the music. Everything was spontaneous and live.

Despite the dark and sad feeling of some of the texts (dealing with aging, memory loss, etc.), there is also humor, joy and grit. Jones recalls the recording session as fun, playful, excitingly engaging.

The resulting album is a rollercoaster of emotions, a glittering patchwork of sonic atmospheres and an oral encyclopedia on dozens of subjects (coffee, cigarettes, planets, art . . . life . . . and death) convincing us that, indeed, there is An Idea in Everything!

David Greenberger
: voice
Glenn Jones: guitar, banjo
Chris Corsano: drums, melodica

Mastering: Matt Azevedo

Illustration: Gwénola Carrère

15 euros
+ port (/ shipping costs)

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Okraïna #8: the making-of (interview with Glenn Jones)

jones-greenberger-corsano-c-photo-by-barbara-price-640Glenn Jones (first left) w/ David Greenberger and Chris Corsano
An Idea in Everything recording sessions (Greenwich NY – February 2013) – photo by Barbara Price

– Glenn, how did you first discover The Duplex Planet ?

Glenn Jones: A mutual friend introduced me to the magazine, around 1980 or so if memory serves. You could find it in some hip stores, but it was mainly available by subscription. Along with David’s interviews, there were poems and music reviews and photos — its arrival in the mail every other month was something I so looked forward to — I loved the magazine so much I took out subscriptions for my mom and for friends!

– Did you also meet David Greenberger then? You were both living in the Boston area at the time, no?

Yes. I knew of David because of his band Men & Volts, who at the time was strictly a Captain Beefheart cover band — I’d seen them live a couple times. But I didn’t actually meet David till after I’d discovered the magazine.

– But you never really recorded together before. So how did this project with Chris Corsano come about?

It’s kind of funny. At first David was only publishing the magazine. But after the Duplex Nursing Home closed, David moved to upstate New York and began working with various musicians and bands and crafting real performances built around his interviews. These were wonderful events and I caught as many as I could.For me the series of four shows he did over the span of a month or so, each with a different theme, at St. Anne’s in New York City were the most impressive. (I took my mom to the Mother’s Day show.) David had an amazing coterie of musicians working with him, including members of NRBQ and the Sun Ra Arkestra, among others. Any musician sympathetic to what David was doing would have asked himself or herself, “What would I do in this situation? How would I support these stories musically?”

Now, at the time this record came together, David and I had been friends for some 30+ years. And while I had contributed music to several of the Lyrics of Ernest Noyes Brookings albums, those were things I did for David, not with him.

I’d first heard Chris Corsano play at the Brattleboro (Vermont) Free Folk Festival, which was such a watershed event for so many people — it was there I also met Jack Rose, Tom Carter, MV and EE and so many others.Well, in the summer of 2012, David, Chris Corsano and I all happened to meet up at our friends Bryon Coley’s and Lili Dwight’s annual July 4th barbecue in western Massachusetts. Chris had played on my album The Wanting. I‘d sent a copy to David and when we met at the barbecue the first thing he said to me was, “Thanks for the album. That drummer on Side 4 – man, oh man!” I said, “Oh, he’s here; I’ll introduce you.”

Lire la suite

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Okraïna #9 : Léonore Boulanger + Maam-Li Merati La Maison d’amour


okraïna #9 – double 25cm / double 10 inch

Léonore Boulanger et Maam-Li Merati se rencontrent à Paris en 2011 au concert du maître azéri Alim Qasimov et de sa fille Ferghana Qasimova. Maam-Li Merati musicien iranien né à Kermanshah près de la frontière irakienne, docteur en musicologie, ayant collaboré avec de nombreuses personnalités – notamment Shahram Nazéri, en Iran, et Jean-Claude Carrière (pour un projet autour de l’œuvre de Rûmi), en France – va transmettre à Léonore Boulanger – auteure de trois albums parus sur le babélien label Le Saule – l’Art de la musique classique persane.

Au printemps 2015 ils commencent à enregistrer pour La Maison d’amour de premières odes lyriques, des dastgâh-s à deux voix et instruments traditionnels (les futures faces A et C du double 25cm sur Okraïna), avant d’être rejoints par Matthieu Ferrandez, musicien d’église mais aussi chercheur en musiques électroniques, pour des Face B et D aux lisières sidérales, toutes en soupirs d’harmonium et orgues analogiques.

« Toi tu m’as échangé pour rien
Moi je décide encore que je n’échangerais
pas un seul cheveu de toi avec le monde entier

Sa’di (XIIIème siècle)

Dans les modes anciens du Radif – le répertoire classifié à la cour des rois Qâjar entre 1840 et 1920 – se rejoue la poésie amoureuse des XIIIe et XIVe siècles. Singulière extase, enlacements des voix, houle du kamântche, souffles du vieil harmonium, tintinnabulum de l’orgue sous les doigts du maitre de chapelle – explorent et implorent ça qui fait voir le cœur et tous ses grands pouvoirs.

Léonore Boulanger and Maam-Li Merati met each other in Paris in 2011 at a concert of Azerbaijani Master-Musician Alim Qasimov and his daughter Ferghana Qasimova. Maam-Li Merati is an Iranian musician that was born in Kermanshah, near the Iraqi border. In addition to having a Doctor in Musicology, he has worked with artists such as Iranian singer Shahram Nazeri and French novelist and Luis Bunuel’s screenwriter Jean-Claude Carrière (for a project devoted to 13 th century Persian poet and Sufi mystic Rumi). Shortly after their meeting, Maam-Li Merati started to teach the art of Persian classical music to Léonore Boulanger, a young French musician that released three albums on the multi-faceted label Le Saule.

During the spring of 2015 they recorded some first lyrical odes, some dastgāhs for two voices and traditional string instruments that would later become the sides A and C of the La Maison d’amour double ten inch on Okraïna. Later, Matthieu Ferrandez, church organist and researcher in electronic music, joined them for sides B and D weaving a cosmic lace, with the sighs of harmonium and acoustic organs.

« You, you traded me for nothing
Me, I still choose that I wouldn’t trade a single hair yours
for the entire world »
Saadi Shirazi (13th century)

In the ancient modes of the Radif – a repertoire classified during the Qajar dynasty between 1840 and 1920 – the love poetry of the 13th and 14th century is replayed, brought back to life.

Léonore Boulanger
: chant / voice

Maam-Li Merati : chant, kamânche, setâr / voice, kamancheh, setar
+ Matthieu Ferrandez : harmonium, orgue (faces B et D) / harmonium, organ (sides B & D)
+ Jean-Daniel Botta : bendir, n’goni / bendir, ngoni

Enregistrement / Recording
Jean-Daniel Botta, studio Abermarle (Bourgogne)

Cyril Harrison

Harris Newman, Grey Market Mastering – Montréal

Gwénola Carrère – Bruxelles


15 euros
+ port (/ shipping costs)

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Okraïna #7 : Rev Galen Rev Galen

okr7 pochette 640

okraïna #7
simple 25cm / single 10 inch
>>> date de sortie: janvier 2016 / release date: January, 2016 <<<

En compagnie de Gilles Poizat (guitare, trompette, voix), Catherine Hershey chante les poèmes de son grand-père Galen E. Hershey, pasteur-fermier à Pontiac (Michigan).

In the company of Gilles Poizat (guitar, trumpet, vocals), Catherine Hershey sings the poems of her grandfather, Galen E. Hershey, pastor / farmer in Pontiac, MI.

Face A / Side A

1- Irony – 4’58
2- Warm August Wind – 2’13
3- Heart Lyric – 3’20

Face B / Side B

1- Do You Hear ? – 3’02
2- Lulllaby – 1’11
3- Dilemna & Decision – 3’12
4- Dreams – 1’32
5- To Whisper – 1’42

Rev. Galen E. Hershey  : poèmes / poems

Catherine Hershey : chant / vocals
Gilles Poizat : chant, trompette / vocals, trumpet

Enregistrement / Recording

Enregistré en 2013 au Reykja Studio par Mathieu Ogier (A1, B4-B5), à la Maison Henry IV par Guillaume Médioni (A3), à la Banana House (A2, B1-B2) et chez Taziop (B3)

Gilles Olivesi

Harris Newman, Grey Market Mastering – Montréal

Gwénola Carrère – Bruxelles

Typographie feuillet / Leaflet
Pauline Nuñez – Paris

12 euros
+ port (/ shipping costs)

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Okraïna #6 : Éloïse Decazes & Delphine Dora Folk Songs Cycle

okr6 Decazes Dora 640

okraïna #6
simple 25cm / single 10 inch
>>> date de sortie: 20 juin 2015 / release date: June 20th, 2015 <<<

Éloïse Decazes et Delphine Dora  jouent et chantent Luciano Berio

Folk Songs (1964) est un cycle de chansons traditionnelles (ou d’inspiration traditionnelle) collectées en différents pays, rassemblées et arrangées (ou composées) par le compositeur italien Luciano Berio pour sa femme, la chanteuse Cathy Berberian. Presque cinquante ans plus tard, Éloïse Decazes et Delphine Dora ont pris la liberté de les ré-enregistrer à leur manière.

Éloïse Decazes and Delphine Dora  sing and play Luciano Berio

Folk Songs (1964) is a cycle of traditional songs (or songs of folk inspiration) from various countries collected and arranged (or composed) by the Italian composer Luciano Berio for his wife, American singer Cathy Berberian. Almost fifty years later, Éloise Decazes & Delphine Dora took the liberty to re-record them their own way.

Face A / Side A

1- Black is the Color (of my True Love’s Hair) – trad. États-Unis + arr. John Jacob Niles
2- I Wonder as I Wander – trad. États-Unis + arr. John Jacob Niles
3- Loosin Yelav – trad. Arménie
4- Rossignolet du bois – trad. France
5- A la femminisca – trad. Sicile
6- La Donna Ideale – comp. Luciano Berio d’après un poème trad. Italie

Face B / Side B

1- Ballo – comp. Luciano Berio d’après un poème trad. Italie
2- Motettu de tristura – trad. Sardaigne
3- Malourous qu’o uno fenno – trad. Auvergne + arr. Joseph Canteloube
4- La Fiolairé – trad. Auvergne + arr. Joseph Canteloube
5- Azerbaidjan Love Song – trad. Azerbaidjan

Éloïse Decazes : chant (A1-A2-A3-A4-A5 / B3-B4), harmonies vocales (A6 / B2), piano (B3) / lead vocals (A1-A2-A3-A4-A5 / B3-B4), harmony vocals (A6 / B2), piano (B3)

Delphine Dora : piano (A1-A2-A4-A5-A6 / B1-B2-B4-B5), harmonium (A3), field recordings (A4-A5 / B2), chant (A6 / B1-B2-B5), harmonies vocales (A2-A4 / B3) / piano (A1-A2-A4-A5-A6 / B1-B2-B4-B5), harmonium (A3), field recordings (A4-A5 / B2), lead vocals (A6 / B1-B2-B5), harmony vocals (A2-A4 / B3)

Mocke : guitare (A4-A5 / B1) / guitare (A4-A5 / B1)

Éloïse Decazes, Delphine Dora – Valuejols (Auvergne), juillet 2013

Éloïse Decazes, Mocke – Bruxelles, janvier 2014

Harris Newman, Grey Market Mastering – Montréal, décembre 2014

Gwénola Carrère – Bruxelles, janvier 2015

12 euros
+ port (/ + shipping costs)

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Fête de la musique (studio Ǻngström mastering + Théâtre de la vie)

flyer FdM2015 640
Arrington de Dionyso solo
+ Arrington de Dionyso’s Malaikat dan singa
Stevie Wishart
Marc Matter + Xavier Garcia

Jeudi 18 juin / 12h ~ 14h ~ 16h ~ 18h
Vendredi 19 juin / 12h ~ 14h ~ 16h ~ 18h
Studio Ǻngström : « Musisiens en studio (de mastering) »
(Rendez-vous à PointCulture Bruxelles – sur réservation: 02 737 19 60)

Réunis au Studio Ǻngström de Saint-Josse, autour du musicien et dessinateur Arrington de Dionyso (Old Time Relijun), une série de musiciens bruxellois prépareront et graveront des sons qu’ils utiliseront lors de leur concert du samedi 20 juin au Théâtre de la Vie.

Rendez-vous toutes les deux heures au PointCulture, à 10 min à pied du studio, pour aller in situ les voir jouer et travailler.

Samedi 20 juin – dès 19h (premier concert à 19h15)
Carte blanche à Okraïna – au sein de la manifestation « Re-Création III« 
Théâtre de la vie – 45 rue traversière – 1210 Saint-Josse

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Okraïna #5 : Ed Sanders Yiddish Speaking Socialists of the Lower East Side

okraina5 Ed Sanders sleeve 640pix

ED SANDERS Yiddish Speaking Socialists of the Lower East Side
okraïna #5
single 10 inch – gatefold sleeve / simple 25cm – pochette ouvrante

>>> release date: June 7th, 2015 / date de sortie: 7 juin 2015 <<<

“Yiddish-Speaking Socialists of the Lower East Side” by Ed Sanders (b. 1939, founder of the mythical Fugs in 1964; also writer, publisher, activist, etc.) is an epic piece of almost 18 minutes’ length, a vocal setting of a dense and reasoned text that runs to 8 typed pages, 1400 words, 8500 characters. First issued on cassette in 1991 by the label Hyperaction P.C.C., the piece recalls an almost fifty-year history of Jewish militancy in New York by poetic means – combining historical scholarship, emotion and clarity the echoes of the past found in the present: of the pogroms and escape from Eastern Europe in the 1880s up to the death of Meyer London, the Socialist member of Congress, in 1926 (not overlooking exile, the crossing of the Atlantic, arrival at Ellis Island, back-breaking work in the sweatshops, the creation of political parties and trade unions, the outbreak of the First World War – the rupture in the narrative caused by this is marked here by the passage from the A-side to the B-side of the record). This is a literary project that is simultaneously ambitious and highly personal and which cannot help but recall America, a History in Verse, which has occupied Ed Sanders for almost 15 years and which, over more than 3000 pages, recounts in verse the history – both poetic and political – of the United States.

For this recording (solo… and mono) of “Yiddish-Speaking Socialists of the Lower East Side”, Ed Sanders accompanies himself on the “pulse lyre”, a small, finger-operated synthesizer which he invented himself in order to accompany the declamation of his texts in the manner of the acoustic lyre used by the ancient poets (Sanders studied Greek at university).

“Yiddish-Speaking Socialists of the Lower East Side” is a text (and a recording) of dual resonance: animated by the fits and starts of history as well as the rhythm of the writing (and reading) of Ed Sanders.

« Yiddish Speaking Socialists of the Lower East Side » de Ed Sanders (né en 1939, fondateur des mythiques Fugs en 1964 mais aussi écrivain, éditeur, activiste, etc. ) est un long morceau épique de presque 18 minutes, mise-en-voix d’un texte dense et conséquent (8 pages dactylographiées, 1400 mots, 8500 caractères). Sorti une première fois en cassette en 1991 sur le label Hyperaction P.C.C., le morceau retrace par la poésie – à la croisée de l’érudition historique, de l’émotion et de la lucidité sur les échos du passé dans le présent – quasi cinquante ans d’histoire de militance juive à New York, des pogroms et de la fuite d’Europe de l’Est dans les années 1880 à la mort du membre du Congrés socialiste Meyer London en 1926 (en passant par l’exil, la traversée de l’Atlantique, l’arrivé à Ellis Island, le travail harassant dans les sweatshops, la création des partis et syndicats, l’éclatement de la première guerre mondiale – dont la coupure dans l’histoire contée se marque ici par le passage de la face A à la face B du disque). Un projet d’écriture à la fois ambitieux et très personnel qui ne peut pas ne pas faire penser à America, a History in Verse qui occupe Ed Sanders depuis presque 15 ans et qui sur plus de 3000 pages le voit re-raconter en vers son histoire – poétique et politique – des États-Unis.

Sur l’enregistrement (solo… et mono) de « Yiddish Socialists of the Lower East Side » Ed Sanders s’accompagne à la « pulse lyre » : un petit synthétiseur à doigts qu’il a lui-même inventé et mis au point afin d’accompagner – comme la lyre acoustique des poètes antiques (Sanders a étudié le Grec à l’Université) – la déclamation de ses textes.

« Yiddish Speaking Socialists of the Lower East Side » est un texte (et un enregistrement) doublement vibrant : animé des soubresauts de l’Histoire et de la pulsation de l’écriture (et de la lecture) de Ed Sanders.

Written and performed by / Écrit et interprété par
Ed Sanders

Pulse Lyre invented and built by / « Pulse lyre » inventée et construite par
Ed Sanders

Originally released as a Cassette on / Sorti à l’origine en cassette sur
Hyperaction P.C.C. (1991)

This version, re-recorded / Cette version, ré-enregistrée
in mono – in 2006 / en mono – en 2006

Mastering for the vinyl reissue by / Mastering pour l’édition vinyle par
Harris Newman Grey Market Mastering, Montréal 2014)

Gwénola Carrère – Brussels / Bruxelles 2014

12 euros
+ shipping costs (/ + port)

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