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November 29, 2018

Help Musicians UK announces three emerging artists to receive £10,000 as part of the Peter Whittingham Jazz Award

from Help Musicians UK | Latest news


Hear Bone Head’s Soft Power

via The Wire: Home

Hear Bone Head’s Soft Power

via The Wire: Home

jfl #morninglistening to the incomparable GerhaherHuber™ (one word)…

#morninglistening to the incomparable GerhaherHuber™ (one word) in #Schumann on @sony_classical
The first recording – “FRAGE” – of a projected integral cycle of all of #RobertSchumann’s #liedmelodieartsong output on @sony.classical
If GerhaherHuber™ were ever attracted to any integral (which isn’t their MO), of course it would be dark ol’ Bobby Schumann.

from Ionarts

“The true art of being young is knowing how to defy gravity and upset as many people as…

via The Real Mick Rock

seancannon How Bob Dylan Made ‘You’re Gonna Make Me Lonesome…’ Sound Just Lonesome Enough

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Since Sony’s official Bob Dylan Bootleg Series began in the early ’90s, fans have hoped and prayed for one set in particular: the fabled “New York sessions.” Dylan intended them to become Blood On The Tracks, before shelving half the record at the last minute and replacing it with songs recorded three months later in Minneapolis.

Many well-traveled bootlegs surfaced over the years. Some alternate takes were also released officially, but You’re A Big Girl Now from 1985’s Biograph is the only version originally slated for Blood On the Tracks to get a proper release. The rest were outtakes from New York.

Dreams came true when More Blood, More Tracks was released this month as a six-disc set. Aficionados got more than they bargained for, though. This isn’t simply the original album as intended or a handful of alternates. Sony unearthed every extant note from the four-day New York stint, along with the Minnesota remakes. With the collection laid out chronologically, it feels more like a documentary than an album.

Blood On The Tracks is his only flawless album and his best produced,” former NPR and Salon editor Bill Wyman wrote back in 2001, continuing, “the songs, each of them, are constructed in disciplined fashion, written and rewritten, formed in a way his songs almost never are.” Volume 14 in the Bootleg Series illustrates this more perfectly than Wyman — or likely any of us — could’ve imagined.

Throughout 87 tracks, you witness Dylan build the airplane as it flies. You feel him tamp every tiny rivet and grind each unruly weld. He fully inhabits takes as he searches for the song, with vulnerability and restraint held in equal tension. At times, it’s clear he doesn’t know what comes next, until the exact moment he’s found it. That’s when certitude sets in; not a moment before.

This is clearest throughout the 12-take journey to arrive at You’re Gonna Make Me Lonesome When You Go, which has an outsize presence in the sessions. Dylan begins wrestling with it two-thirds through day one at A&R Recording, after putting the ultimately-replaced version of Idiot Wind to bed. It plays out roughly in five stages.

Rehearsal And Take 1; Take 2; Take 3

Through the rehearsal and first three quickly-abandoned takes (which run around three and a half minutes total), Dylan and country rockers Deliverance settle into a rolicking groove replete with tidy organ and guitar flourishes. The band kicks in almost immediately each time. His vocals weave around the landscape, inspecting a narrow bandwidth of rhythmic and percussive modes.

Take 4

In Take 4, he explores a different sound. The band steps back a bit, as if Dylan is saying, “OK gang, let me get this right first.” He lays down a guitar-and-bass arrangement that seems to be about vocal refinement as much as anything. At points, you can hear him thinking through the delivery while simultaneously committing to it completely. The way he embodies confidence within uncertainty here exemplifies Dylan’s inscrutable vulnerability.

Take 5

However, it’s Take 5 that pushes his mercurial tendencies to another level. Everyone comes back for a sprawling jam that enjoins vitality with languidity to great effect. As the band pulses, the vocals seesaw between balmy and piercing. It’s as though Deliverance is the clouds, and Dylan is the sun occasionally penetrating them — while always shining above and around the billows. When Gram Parsons talked about “cosmic American music,” this must’ve been what he meant. Take 5 might fit on Planet Waves or Desire, but the overall vibe presages hazy, relaxed tunes from Dylan’s late-career resurgence like Most Of The Time and Not Dark Yet.

Take 6; Take 6, Remake; Take 7; Take 8

Things are quickly reined back in, synthesizing the sparse intro of Take 4 with the country rock that got the song started. After a few aborted takes, Dylan and the band make it through the boisterous and tight rendition for what seemed like the last time. During the these sessions, the final take ended up being the official “New York” album version for each song but one. After Take 8, they did a single runthrough of Tangled Up In Blue before calling it a day. It appeared as though Lonesome was finished.

Take 1, Remake; Take 1, Remake 2; Take 2, Remake 2

Take 8 had a lot going for it: The track was taut, interesting, and fun. That said, there’s one thing this variation of You’re Gonna Make Me Lonesome When You Go was not: lonesome. The instrumentation wages war with Dylan’s voice and words. His punctuation dukes it out with the percussion. And while that exuberance doesn’t obliterate the lyrics’ meaning, it greatly dilutes their potency. Whether this was Dylan’s rationale or not, he does return to Lonesome early on day two.

After running through four other songs in six takes, he gravitates back to the stripped-down style of Take 4. Over three takes and two days, Dylan hones the tempo. Take 1, Remake is still too spritely, belying the anticipated betrayal of the narrator’s lover. If the first pass is disconnected from the subject matter, the slower Take 1, Remake 2 may be too spot-on.

Its creeping pace imbues so much emotion that we’re reminded Dylan is the narrator waiting to be devastated. There’s a reason he says “lonesome” instead of “devastated,” after all. A slight remove seems necessary in all of his songs, whether that’s in performance or songwriting.

On the final go-round, Dylan achieves the perfect balance. The tempo doesn’t blow past the poignancy of the song, but it’s also brisk enough that he escapes the prison cell he’s fashioned for himself. In this final version, you can hear him winking — always winking — as he prepares for his heart to be ripped from its chest. However, you might not recognize the wink without those 11 other takes. As always with Bob Dylan, it’s what you don’t hear that makes all the difference.

The post How Bob Dylan Made ‘You’re Gonna Make Me Lonesome…’ Sound Just Lonesome Enough appeared first on Discogs Blog.

from Discogs Blog
via IFTTT (Mike Flynn)

Legendary jazz-rock guitarist John McLaughlin has just announced a return to the live arena for a show at London’s Barbican Hall on 23 April 2019. This will come as very welcome news to fans of the guitar icon following his last two UK concerts at Ronnie Scott’s Jazz Club in March 2017 as part of the Jazzwise 20th Anniversary Festival, and his farewell tour of the US late last year.

He’ll be joined by his powerful virtuoso group The 4th Dimension, featuring electric bassist Étienne M’Bappé, pianist/drummer Gary Husband and drummer Ranjit Barot all of whom are featured on McLaughlin’s most recent album Live in San Francisco, alongside Jimmy Herring & The Invisible Whip, as both groups revisited the music of Mahavishnu Orchestra on that final US tour.

Mike Flynn

For more info and tickets visit

from News

Freya Parr Download the score of our exclusive Christmas carol by composer Dobrinka Tabakova


Every Christmas, we invite a leading composer to write a carol for our readers.

This year's is written by composer Dobrinka Tabakova and you can download the score for the carol here

We hope you'll include this carol in your service or concert. We'd love to hear your performances, so send any audio or video files or links to and we'll share them with our followers and readers on our website and social feeds. 


A few words from composer Dobrinka Tabakova…

When I was invited to write a carol for BBC Music Magazine, I had just completed one for the Truro Cathedral Nine Lessons and Carols service and had a previous advent work close to mind – my Alma Redemptoris Mater for the choir of Merton College, Oxford.

Both of these works were conceived to be performed in a sacred context. In this new carol, I still wanted to retain some liturgical mystery, but add another, more playful element.

While researching texts for the Truro carol, I came across Ralph Dunstan’s collection The Cornish Songbook and was drawn to one of the carols there: Heavenly sound.

As well as the upbeat good wishes, it was probably the ‘Hark, hark’ which adds a percussive punctuation and lifts the words, and gave me the idea of a (gentle) clapping counterpoint.

The image I had for the performance of my carol was more social – a Christmas sing-along at home or, perhaps, a slightly eccentric group of enthusiastic amateurs singing from smart-phones in a pub (I know a few of those).

The general mood is that of a contemporary round. The words dictated the rhythm of the carol, which I initially wrote in a stream of changing time signatures.

The ‘look’ of the carol didn’t quite sit with the more laid-back image I had of people singing it, so I thought either to dispense with bar lines or simply not have time signatures and leave the bar lines to give some structure to the melodies.


Performance Notes

One of the things I’ve noticed when people are faced with a page of different time signatures is that they make the music quite spiky and bouncy. That is not my intention here, and I hope that the lack of time signatures will put emphasis on phrasing rather than rhythm.

In some places the melodies are quite long, so there will need to be stagger breathing – where each singer from the same line takes a breath at different times, creating the illusion that they are all singing one continuous melody with no break. Those places are marked with a broken slur where a natural breath would be taken.

The clapping is also not compulsory – in fact it would be better to just have some singers clap – and it’s always the same pattern, which would ideally be learned by heart.

The section from bar 77 (‘Let mortals catch…’) has a very low alto line, which may be welcomed by some, but it’s fine to have those who find it too low to sing the soprano line and add tenors to the alto line.

I do hope my carol brings you joy. As much as the title ‘Good-will to men and peace on Earth’ may be a nod to past seasonal tunes, I couldn’t think of a better wish now and for the future.


On this Day November 29, 2009

Susan Boyle’s album became the best-selling debut in UK chart history when it went to No.1 on the UK chart. The 48 year-old runner-up in ITV’s Britain’s Got Talent, sold 410,000 copies of I Dreamed a Dream. Boyle also topped the US charts, setting a first-week sales record for a female debut album with 701,000 copies sold in its first week.

from This day in music

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