When I encoun­tered the above video of Phish play­ing the entire­ty of the Talk­ing Heads’ Remain in Light as the sec­ond set of a 1996 Hal­loween show, let’s just say I was skep­ti­cal. How was the ulti­mate jam band going to approx­i­mate the tight­ly wound funk and weird angu­lar­i­ty of the Heads? Or would they turn these songs into mean­der­ing fif­teen-minute improv ses­sions with end­less digres­sions and break­downs? Then again, this all makes a cer­tain amount of sense. The 1980 Bri­an Eno-pro­duced Remain in Light saw the Talk­ing Heads sprawl out in ways they nev­er had before. They took on sev­er­al addi­tion­al musi­cians for the record­ing process, includ­ing one of the gods of prog-rock, King Crim­son gui­tarist Adri­an Belew. They exper­i­ment­ed with African polyrhythms blend­ed with New Wave sounds (decades before Vam­pire Week­end); they worked in a horn sec­tion, and let the art-funk over­pow­er the nerd-punk of their first two records. The songs stretched out in length. On tour, they took on five addi­tion­al play­ers, includ­ing Belew, to form a nine-piece band.

But at the heart of it all was still the incom­pa­ra­ble hus­band-and-wife team of drum­mer Chris Frantz and bassist Tina Wey­mouth, the most unlike­ly funk/soul rhythm sec­tion imag­in­able but one that could hang with almost any Stax or Motown crew. And then there’s David Byrne’s para­noid alto bark. So can Phish real­ly bring enough white soul and weird­ness to the table? Well, no; they aren’t the Talk­ing Heads. The per­for­mances are loose and rangy, the rhythms often indis­tinct, par­tic­u­lar­ly on the open­er, “Born Under Punch­es,” a song that needs max­i­mum punch. But they do hit the cho­rus­es of “Crosseyed and Pain­less” and “The Great Curve” nice­ly, even if the album’s big hit “Once in a Life­time” is far too clut­tered. Over­all, even reined in by the tight­ly-arranged com­po­si­tions of Remain, they’re still Phish, not a Talk­ing Heads trib­ute band, but their love for these bril­liant songs comes through in even the nood­liest, tie-dye-frac­tal moments.

For the sake of con­trast, take some time and check out the Heads them­selves below, live in Rome with Adri­an Belew on lead gui­tar. They do two Remain in Light songs: “Born Under Punch­es” and “Hous­es in Motion.” And Belew’s solos blow the roof off.

via Boing Boing

Josh Jones is a doc­tor­al can­di­date in Eng­lish at Ford­ham Uni­ver­si­ty and a co-founder and for­mer man­ag­ing edi­tor of Guer­ni­ca / A Mag­a­zine of Arts and Pol­i­tics.

“Who did not know Rach­mani­noff inti­mate­ly, did not know him at all.”  So begins this record­ed remem­brance of the great Russ­ian com­pos­er by Alexan­der “Sascha” Grein­er, who knew him well.

Gre­nier was the man­ag­er of the con­cert and artist depart­ment at Stein­way & Sons from 1928–about a decade after Sergei Rach­mani­nof­f’s emi­gra­tion to Amer­i­ca in the wake of the Russ­ian Revolution–until 1958. As the com­pa­ny’s main liai­son with the major musi­cians who played its pianos, Gre­nier became friends with many of the great pianists of the era. “His friend­ship with the great Russ­ian artists was per­son­al as well as pro­fes­sion­al,” accord­ing to Peo­ple and Pianos: A Pic­to­r­i­al His­to­ry of Stein­way & Sons. “If Rach­mani­noff had a birth­day par­ty, Grein­er would be there. If Hof­mann need­ed him, there woud be a telegram sent instant­ly to soothe him.”

The record­ing was appar­ent­ly made a few years before Gre­nier’s death in 1958. As he speaks, home movie footage reveals Rach­mani­noff, who died in 1943, as an impos­ing yet socia­ble man. “Behind an aus­tere, per­haps even severe, coun­te­nance,” says Gre­nier, “there was a most warm-heart­ed lov­able man with a won­der­ful sense of humor. Yes, a won­der­ful sense of humor. Rach­mani­noff thor­ough­ly enjoyed a good sto­ry, and no one who has­n’t seen him laugh with the tears run­ning down his cheeks would believe it pos­si­ble.”  Just before the two-minute mark, Rach­mani­nof­f’s own voice can be heard very briefly speak­ing in Russ­ian. He is play­ing the pop­u­lar Russ­ian song “Bublich­ki” on the piano as a group of friends sing along. In the end Rach­mani­noff breaks off play­ing and jokes to his com­pan­ions, “Vy ne znaete slo­va” (вы не знаете слова), which trans­lates as: “You don’t know the words!”

Relat­ed con­tent:

Tchaikovsky’s Voice Cap­tured on an Edi­son Cylin­der (1890)

Rare 1946 Film: Sergei Prokofiev Plays Piano, Dis­cuss­es His Music

In ear­ly 1964 Charles Min­gus put togeth­er one of the great com­bos in jazz his­to­ry. The sex­tet was com­posed of Min­gus on bass, Dan­nie Rich­mond on drums, Jaki Byard on piano, John­ny Coles on trum­pet, Clif­ford Jor­dan on tenor sax­o­phone and the extra­or­di­nary mul­ti-instru­men­tal­ist Eric Dol­phy on alto sax­o­phone, flute and bass clar­inet. Min­gus called his exper­i­men­tal group The Jazz Work­shop.

In April of that year Min­gus and his band embarked on a three-week tour of Europe, much of which is record­ed on film and audio­tape. The tour is remem­bered as one of the high-water marks in Min­gus’s career. As Rob Bow­man writes in the lin­er notes to the Jazz Icons DVD Charles Min­gus Live in ’64:

The tour effec­tive­ly intro­duced two new com­po­si­tions, “Med­i­ta­tions On Inte­gra­tion” and “So Long Eric”, while the band walked a fine line between Min­gus’s usu­al amal­gam of bop, swing and New Orleans jazz and the free-jazz lean­ings of the cat­a­clysmic Dol­phy. The result, of course, was some­thing that could only be called Min­gus Music–a gal­va­niz­ing, high-ener­gy son­ic stew that, while the prod­uct of the kinet­ic inter­play of six musi­cians, could only have been con­jured up with Min­gus as the mas­ter of cer­e­monies.

The per­for­mance above is from Charles Min­gus Live in ’64. It was record­ed by Bel­gian tele­vi­sion on Sun­day, April 19, 1964 at the Palais des Con­grés in Liège, Bel­gium. The band had unex­pect­ed­ly been reduced to a quin­tet two nights ear­li­er, when Coles col­lapsed onstage in Paris and was rushed to the hos­pi­tal with what was lat­er diag­nosed as an ulcer. In the Bel­gian TV broad­cast, pianist Byard makes up for the miss­ing trum­pet parts as the band plays three Min­gus com­po­si­tions:

1. So Long Eric
2. Peg­gy’s Blue Sky­light
3. Med­i­ta­tions on Inte­gra­tion

“So Long Eric” was named in hon­or of Dol­phy, who had announced before the band left Amer­i­ca that he would remain in Europe when the tour was over. Sad­ly, Dol­phy fell into a dia­bet­ic coma in Ger­many and died just two months after fin­ish­ing the tour. Min­gus would lat­er call the song “Pray­ing With Eric.”

Relat­ed con­tent:

Charles Min­gus and His Evic­tion From His New York City Loft, Cap­tured in Mov­ing 1968 Film

How to Pot­ty Train Your Cat: A Handy Man­u­al by Charles Min­gus