Tag Archives: 1957

4 interviews with Uwe Schmidt

Hurray! Flanger is back! To celebrate, here’s four interviews with Uwe Schmidt, as published in [uzine] 1999-2002 (pdf, 28 kB)! Some excerpts:

Interestingly, I am very often confronted with the word ‘irony’ or ‘kitsch’ when it comes to certain works of mine (Señor Coconut is another example). I can assure you that I am not an ironic or sarcastic person at all and that I even highly dislike sarcasm or irony since it usually dequalifies cultural elements, perspectives and after all ‘truth’. Geeez ‘n’ Gosh therefore is not ironic, and the inspiration and intention is absolutely sincere and real. To me ‘irony’ and ‘kitsch’ are brought into discussion usually when the listener is unable to see the entire picture of a certain work, as proved quite clearly to me with the Sr. Coconut project. For those who can’t understand ‘belief’, ‘religion’ in a contemporary context always has to appear as irony. Perhaps my work should be seen as a tool to expand perspectives, rather than to laugh about contents one may not know.

The distance to the subject of interest is still the only way to see things clearly … I am trying hard to move myself into orbit to earth, of course in a non-literal way. My friend Burnt Friedman tends to call it ‘the alien perspective’ and I think this describes it very well. Remove yourself out of any existing set of values, as much as possible (of course). This will give you absolute freedom. Whenever I am coming back to Europe I see everybody working on the same project, which in my eyes is a camouflaged capitalist project. Musical and design minimalism for example are direct extensions of the capitalist streamline idea of human existence, though nobody seems to see it – much rather they believe that their project is a real alternative or ‘progress’. That’s why I am denying music and design rules … and rather try to create confusing moments that seem to fit, but then don’t …

Spiritual ideas in general have always been much more important to me, no matter where they came from. One thing I have learnt, though, here in Chile, is what practically a ‘religious’ life means. I find that extremely interesting, not only for the music I make, yet for life in general. Central Europe, all the so-called ‘first world’ countries, perhaps Germany especially, have established an aseptic, anti-spiritual society, which is something I feel very strongly these days. Also, I very much believe that whatever social / global solutions we may look for, we won’t find them without to some degree coming back to spiritual or religious topics. (…) Santiago offers a lot of interesting cultural moments which are totally unknown outside of Latin America and which are truly inspirational since they refer to a unique set of parameters. I have just been to Argentina for example and there you also have huge musical movements, totally ‘mainstream’ which are not existing outside of Argentina at all. They are proofs to me that ‘globalisation’ is a totalitarian concept without future.

Some weeks ago, for example, I was invited to Cordoba, Argentina’s second biggest city. On my last day, I visited the concert of a ‘local hero’ from Cordoba called “la Mona”. I did not at all know what to expect, and believe me, it was a totally astonishing experience. The music is some sort of electronic, yet extremely cheesy 150 bmp ‘tarantella’ (Italian folk) mutation, which sounds a bit like the Central American ‘merengue’. You see thirteen musicians on stage, some behind huge towers of synthesizers, others playing e-drums, congas, etc. The crowd: six thousand kids between 16 and 25 years old, mainly lower class people. Best of all: everybody dancing ‘cheek to cheek’, in a very oldfashioned dancing style! A total massive cultural movement that denies all first world ‘globalization’ ideas. I am sure those ‘micro worlds’ exist all around the globe, yet to a much lesser degree in so-called ‘first world’ societies. Latin America is very rich of those moments which are very unpolished and non-standard.

I find it a bit difficult to talk about musical ideas, I mean those musical ideas which do not refer to ‘content’. When I was conceiving the Geeez ‘n’ Gosh concept, I had a certain sound going on in my head, something which I find almost impossble to put into words… a certain groove and a certain surface perhaps… and I knew how to achieve that idea on a technical level (technique). ‘Bass’ was a parameter to a degree, that is true, though not a main one … rather a parameter I allowed to appear I would say.

baby please don’t jam

Isn’t that Beacon Street Union version too much? And isn’t that AC/DC version just wonderful? For other versions of Baby please don’t go(originally recorded by Big Joe Williams in 1935, popularised by Them in 1964), see http://uzine.posterous.com/tag/babypleasedontgo … and also:
http://www.originals.be/en/originals.php?id=344
http://www.secondhandsongs.com/work/18398
http://en.wikipedia.org/wiki/Baby,_Please_Don’t_Go
http://www.cherryred.co.uk/shopexd.asp?id=2474
http://www.sundazed.com/shop/product_info.php?products_id=333

johnny gangster of love watson

Gangster of love“, some twenty years after the original version. Do listen to the delicious intro, with nods to the CoastersThe Shadow knowsand Riot in cell block no. 9 … (and did I recognise a Limehouse bluestoo?) – a sublime performance by Johnny ‘Guitar’ Watson & his band from 1977, recorded in Bremen (Germany). A well documented best of JGW’s early work has just been reissued on HooDoo (who still have no functioning website) as “Space Guitar Master (The 1952-1960 Recordings)” (2011, cat. no. 263397). Freaks note: the man was an important influence on Frank Zappa, and Jimi Hendrix dug “Love bandit” aka “Gangster of love” too; like the Cadets, he recorded a version …

iannis “johnny otis” veliotes

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Johnny Otis (of Greek descent, born Ioannis Alexandres Veliotes) is one of those rhythm ‘n’ blues heroes that played an important role, was an esteemed player in his own time … but who has remained an R’n’B pioneer that never made it to megastardom, nor was he to have a second career hit like Johnny “Guitar” Watson or others had … Still, just read those first couple of lines of this wiki, and you’ll see he’s worth your listening attention … e.g. via this Ace cd. Image source: “the Dreamers visit Johnny Otis in 1954 via the Doo-Wop Society of Southern California.

ken lovecraft & hp nordine

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When in Chicago … Indeed, Ken Nordine has contributed to the second HP Lovecraft lp (1968, limited 2011-06 reprint via Subway, most recently on cd via Rev-Ola, in 2000 via a now deleted Collector’s Choice cd)! As for the source of the other tracks here (1957-1960) … I’ve added extra sleeves & an addendum to a previous Nordine post which you can access via http://uzine.posterous.com/kool-ken-nordine

dave bartholomew’s saga of new orleans rhythm & blues

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After yesterday’s stupendous Toussaint / Ribot concert, here’s some more New Orleans … Three Dave Bartholomew produced tracks off The Big Beat – The Dave Bartholomew Songbook(Ace CDCHD 1303, 2011) and one Dave Bartholomew original off New Orleans Rhythm and Blues – Good Rockin’ Tonight(2004, Saga Blues #18). The picture above is by the fine New York music photographer Jacob Blickenstaff. Source: http://www.3313photo.com/2011/07/dave-bartholomew-cosimo-matassa-portrait/

kool ken nordine

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Yeah! Old Ken Nordine stuff reissued at half-a-midprice via the Real Gone Jazz budget reissue label (sublabel of Music Melon). Remastered from vinyl, at times, but both 2cd’s come with an okay booklet featuring discographical information … and don’t fully overlap with You’re Getting Better: The Word Jazz Dot Masters(released 2005-11-18 and spanning about the same 1957-1960 period). Also, Hip-o-Select‘s (sold out) 2cd doesn’t feature the Love Wordslp (1958) from which these four (out of twelve) jazz standard covers were taken … It does feature “Secretary”, though, which is orignally off the “Son Of Word Jazz” lp (Dot 1958). “The wanderer” is from the “Incredible But True” radio show hosted & narrated by Ken Nordine; some recordings released on lp by Columbia in 1951. Do note that there were 15 minute and 3 minute versions of the show syndicated, and both used the same host the most holy-o Ken Nordine! Addendum: apparently, Chrome Dreams have reissued the four Word Jazz albums on a 2010 budget 2cd entitled Word Jazz The Complete 1950s Recordings“; booklet and packaging aren’t half as cool as Hip-o-Select’s, though.
http://www.chicagoreader.com/chicago/will-ken-nordine-ever-grow-up/Content?oid=875997
http://www.wbez.org/episode-segments/ken-nordine-50-years-word-jazz
http://www.npr.org/search/index.php?searchinput=ken+nordine
http://www.jazzspot.com/jazzspot/reviews/ken_nordine_1.htm
http://www.jazzmusicarchives.com/ken-nordine.aspx
http://www.radiohorrorhosts.com/incredible.html
http://snaporaz.posterous.com/tag/nordineken
http://uzine.posterous.com/tag/nordineken
http://asphodel.com/artists/view.php?Id=55
http://en.wikipedia.org/wiki/Ken_Nordine
http://myspace.com/kennordine
http://www.digitaldeliftp.com/
http://wn.com/Ken_Nordine
http://www.wordjazz.com/