TWOGOODEARS - トゥーグッドイアーズ

Wednesday, March 19, 2025

The Mascara Snake 🤟

I've seen this photo posted about a dozen times on Beefheart sites over the years, and it's ALWAYS reversed.

You can see my white Premier kick drum behind him on the right. Victor Hayden (Haydon) was the only child of Jack and Charlene Hayden. I don't know which spelling was the family name, but his parents were Don's Aunt and Uncle; Jack and Charlene. Charlene being his mother's sister. The "Ch" is Charlene was always a hard "Ch" sound like in "Charles." Using a photo program, I turned the photo around so that now, finally, the hands are placed on the bass clarinet properly. I recognize this as the laundry shed behind the house at the Trout House property. I spent a bit of time in here working on the parts for TMR. I'd haul my drum kit out here from the house so as to have a bit of privacy and not disturb the others. I always envied the guitarists, who could practice anywhere -- in the living room, the bathroom, the downstairs bedroom, outside on nice days. Drums are very loud acoustically, and so very brash when being practiced upon. I eventually put cardboard on the entire set, which allowed me to at least work on the coordination of the parts, even though there was absolutely no stick rebound because of the drum heads being covered. The "style" I developed to play to the unorthodox music was more of an independence issue (hands a feet), with little actual standard technique used -- like rolls, fills. In the little time I was able to cull from my daily duties of transcribing / re-transcribing the guitar and bass parts for the others, I would first write, and then attempt to play, rather complex parts. I used to jokingly refer to them as "stick twisters." The first part I worked on that I would place in that category was for "Hair Pie." It took me four hours of painstaking concentrated work to actually achieve the coordination to play this part along with the band -- and it only was played FOUR TIMES! Four measures of music on the whole album... Wow. Jeff, Bill, and Mark all played very complex parts, which they then had to synchronize with each other, and my job was to sort of provide a common pulse while staying out of their way and not causing a train wreck. Victor, who had NO knowledge of the bass clarinet, was brought in by Don to freely play whatever he wanted -- in the last six weeks or less before we went into the studio. He was never really at a rehearsal, but was just inserted into the band after all the months of work were nearly over. We all had a bit of resentment over this. Bill challenged this idea even more than the rest of us. I remember him having Victor come over one day and challenging him to play the same note as Bill played on guitar. Jeff, who had played clarinet in band as a kid, showed him the fingering ( as he also showed Don the fingering on the sax -- because all the woodwinds are loosely related in technique). Victor would struggle and then, eventually, be barely able to play the note. I think Don was under the impression that, because Vic was an artist, that he could just "paint with sound" intuitively. Well, I suppose that, with the foundation the four of us ( Jeff, Bill, Mark and I) were laying down, that the abstract sounds injected over the top would be considered "valid." To my knowledge, the only playing Victor did on the entire album was Hair Pie Bake I (the 'bush recording'). Victor's friend, Jeff Burchell, was a non-musician as well. He was chosen by Don to play drums as my replacement. Don knew almost nothing about musical technique, though he had a great intuitive / creative sense of what he wanted, creating a finished piece required the input of others. Certain pieces, such as "Ant Man Bee" had a lot of input from Don, but mostly, he was out of the room, or gone somewhere and the composition of the parts Don created was left to me. Victor's character, "The Mascara Snake," became well known, as did "Rockette Morton," because of the verbal snippets on Trout Mask Replica.

A BIG thank you to John Drumbo French for the above insight

💫💎🙏💫

Tuesday, March 18, 2025

Steve Reich “Collected Works” on Nonesuch 💫💎💫

40 years of Steve Reich compositions, compiled by Nonesuch across a 27 disc box-set.

"Nonesuch Records releases Steve Reich Collected Works, a 27-disc box set featuring music recorded during his 40 years on the label. The collection represents six decades of Reich’s compositions, ranging from It’s Gonna Rain (1965) to first recordings of his two latest works: Jacob’s Ladder (2023) and Traveler’s Prayer (2020). Two extensive booklets contain new essays by longtime Nonesuch President Robert Hurwitz, conductor Michael Tilson Thomas, Steve Reich and Musicians percussionist Russell Hartenberger, producer Judith Sherman, and composer Nico Muhly, as well as a comprehensive listener’s guide by pianist and composer Timo Andres.

Nonesuch made its first record with Steve Reich in 1985. He was signed exclusively to the label that year, and since then the company has released 22 all-Reich albums, two retrospectives, and two remix releases. Among his many honours, two of Reich’s Nonesuch records, Different Trains and Music for 18 Musicians, won Grammy Awards and his Double Sextet recording for the label won a Pulitzer Prize.

“I first heard Music for 18 Musicians when I was in my mid-twenties, at a moment when I was still in the process of figuring out my own taste in contemporary music. I wasn’t yet certain what modern classical music really meant, nor was I sure how it stacked up against work from the past.” Hurwitz says in his liner note. “Music for 18 Musicians was an event of such immense importance that it changed how I felt not only about Steve, but about minimalism, modernism and, in some respects, classical music. Music for 18 was a piece that could sweep listeners up with its non-stop kinetic activity, its opulent sound, its rhythmic invention, its stunning architecture. But only years later did I recognize what drew me in to such an intense degree: it was harmony.

“Here were the kinds of colors and voicings I loved in the earlier twentieth-century music of Stravinsky and Bartók and others, but had found missing in practically all of the new music I had been hearing for years. It was the key that unlocked the music of modern times for me,” Hurwitz continues. “It now seemed possible to love contemporary music. With Music for 18 Musicians, Steve suddenly flung open a door to the possibilities of what a modern composer could be in our time.”

Reich also has become a significant mentor of the younger generation of American composers. “This music is as part of my artistic ecosystem as air is to my respiratory system, and I can’t imagine saying anything about it which wouldn’t somehow get its importance wrong,” composer Nico Muhly says in his liner note. “Steve once told me that the trick is to ‘find your band’, the group of instruments that form the core of your musical language, and this is advice I pass on to all younger composers who cross my path.”

Composer and pianist Timo Andres adds, “It is Steve Reich, perhaps more than any other musician, who prefigured our ideas of a twenty-first-century composer... For audiences, too, Reich has proven that contemporary music can thrive outside the insular world of its own practitioners.

“On initial approach, Reich’s music appears both friendly and a little forbidding, its surfaces immaculate, polished, yet also playful and viscerally beautiful... It exudes a specific kind of energy in live performance as well,” he continues. “Watching an ensemble play Music for 18 Musicians, for example, one has the sense of observing a utopian society in miniature, a mass of people working towards a common goal with no apparent leader.”

Steve Reich has been called ‘the most original musical thinker of our time’ (New Yorker) and ‘among the great composers of the century’ (New York Times). Starting in the 1960s, his pieces It’s Gonna Rain, Drumming, Music for 18 Musicians, Tehillim, Different Trains, and many others helped shift the aesthetic center of musical composition worldwide away from extreme complexity and towards rethinking pulsation and tonal attraction in new ways. He continues to influence younger generations of composers and mainstream musicians and artists all over the world.

In addition to his Grammy Awards and Pulitzer Prize, Reich received the Praemium Imperiale in Tokyo, the Polar Music Prize in Stockholm, the Golden Lion at the Venice Biennale, the BBVA Foundation Frontiers of Knowledge award in Madrid, the Debs Composer’s Chair at Carnegie Hall, and the Gold Medal in Music from the American Academy of Arts and Letters. He has been named Commandeur de l’Ordre des Arts et des Lettres in France, and awarded honorary doctorates by the Royal College of Music in London, the Juilliard School in New York, and the Liszt Academy in Budapest, among others.

One of the most frequently choreographed composers, several noted choreographers have created dances to his music, including Anne Teresa de Keersmaeker, Jirí Kylián, Jerome Robbins, Justin Peck, Wayne McGregor, Benjamin Millepied, and Christopher Wheeldon.

Reich’s documentary video opera works – The Cave and Three Tales, done in collaboration with video artist Beryl Korot – opened new directions for music theater and have been performed on four continents. His work Quartet, for percussionist Colin Currie, sold out two consecutive concerts at Queen Elizabeth Hall in London shortly after tens of thousands at the Glastonbury Festival heard Jonny Greenwood (of Radiohead) perform Electric Counterpoint, followed by the London Sinfonietta performing his Music for 18 Musicians.

Nonesuch Records has historically had close relationships with modern composers. During the years of the label’s first president, Tracey Sterne, it made multiple recordings of Elliott Carter, George Crumb, Charles Wuorinen, and William Bolcom. Since 1985, Nonesuch has made multiple recordings of works by Philip Glass, Stephen Sondheim, Laurie Anderson, Caroline Shaw, Louis Andriessen, John Zorn, Adam Guettel, Henryk Górecki, Timo Andres, Nico Muhly, and Donnacha Dennehy. For John Adams, like Steve Reich, Nonesuch has recorded every new piece of his music since 1985; the label released a collection of his complete works in 2022.

While Nonesuch recordings comprise 24 of the 27 discs in Collected Works, the set also includes recordings licensed from other labels: Mahan Esfahani’s recording of Piano Phase (Deutsche Grammophon); Ensemble Avantgarde’s recording of Pendulum Music (Wergo); Art Murphy, Jon Gibson, Steve Chambers, Philip Glass, and Steve Reich’s recording of Four Organs and Murphy, Gibson, Chambers, and Reich’s recording of Phase Patterns (Shandar); Andreas Hartmann and Waltraut Wächter’s recording of Duet with MDR-Sinfonieorchester led by Kristjan Järvi (Sony Classical); Steve Reich and Musicians’ recordings of Music for Mallet Instruments, Voices and Organ and Six Pianos (Deutsche Grammophon); San Francisco Symphony and conductor Edo de Waart’s recording of Variations for Winds, Strings and Keyboards (Philips); Ransom Wilson’s recording of Vermont Counterpoint (Angel); and Ensemble Signal’s recording of Music for 18 Musicians (Harmonia Mundi)."