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Observations of Deviance is a vinyl focused, free form program that harkens back to early days of underground FM radio. Your host, David Mittleman, hunts down the most exotic, unusual and off-the-beaten-track music from around the world in a number of genres: Spiritual Jazz, Free Improvisation, Experimental Electronics, Ethnographic Oddities and World-Wide Psychedelic Funk. You are guaranteed to hear sounds you’ve never heard before.
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Artist | Track | Album | Label | Year | Comments | Approx. start time | ||||
---|---|---|---|---|---|---|---|---|---|---|
Paul Motian | Ch'i Energy | Conception Vessel | ECM | 1973 | 0:02:54 (Pop-up) | |||||
Derek Bailey | Introduction / Advertisement | Muckraker #9 | Muckraker | 2000 | 0:05:15 (Pop-up) | |||||
Derek Bailey | F/B (I) Electric | String Theory | Paratactile | 2000 | 0:08:50 (Pop-up) | |||||
Paul Motian | Tuesday Ends Saturday | Tribute | ECM | 1975 | 0:12:57 (Pop-up) | |||||
Derek Bailey | Explanation | Chats | Incus | 2001 | 0:19:31 (Pop-up) | |||||
Derek Bailey | DAT edit 9 | Domestic Jungle DAT | scatterArchive | 2022 | 0:19:44 (Pop-up) | |||||
Warne Marsh | Excerpt | Warne Marsh | Atlantic | 1958 | feat. Paul Motian | 0:26:06 (Pop-up) | ||||
Derek Bailey | Henry | Chats | Incus | 2001 | 0:33:13 (Pop-up) | |||||
The Paul Bley Quartet | Ictus | In the Beginning 1963-1964 | ESP-Disk' | 2012 | feat. Paul Motian, Pharoah Sanders, David Izenzon | 0:39:18 (Pop-up) | ||||
Derek Bailey / Tristan Honsinger | Performance | Duo | Honest Jon's | 2018 | 0:43:34 (Pop-up) | |||||
Paul Motian Trio | Prelude | Dance | ECM | 1978 | feat. David Izenzon, Charles Brackeen | 0:47:46 (Pop-up) | ||||
Derek Bailey & Company | An Announcement; DB / WG 1 | Klinker | Confront | 2018 | 0:54:36 (Pop-up) | |||||
Derek Bailey & Cyro Baptista | Improvisation 1 | Cyro | Honest Jon's | 2019 | 1:05:05 (Pop-up) | |||||
Paul Motian Trio | Dance | Live Bremen, Germany, Sept 13, 1977 | N/A | 1977 | feat. David Izenzon, Charles Brackeen | 1:07:04 (Pop-up) | ||||
Paul Motian | Interview | Jazz Capsule: Gerald Wilson at KBCA-FM 1974 | N/A | 1974 | https://youtu.be/ws1oDtK7Q5Y?si=IKdwBlZKk9e4o4-J | 1:20:19 (Pop-up) | ||||
Paul Bley / John Gilmore / Paul Motian / Gary Peacock | Turning | Turning Point | Improvising Artists Inc. | 1975 | Mono, Recorded New York City, Mirasound Studio, March 9 1964 | 1:22:40 (Pop-up) | ||||
Derek Bailey | More Explanation | Chats | Incus | 2001 | 1:29:12 (Pop-up) | |||||
Derek Bailey & Min Xiao-Fen | Bai Ha She (Viper) | Viper | Avant | 1998 | 1:29:56 (Pop-up) | |||||
Derek Bailey & Paul Motian | Duo in Concert (Groningen) | Duo in Concert | Frozen Reeds | 2023 | https://frozenreeds.bandcamp.com/album/duo-in-concert ; Recorded live on 7th December, 1990 at JazzMarathon at De Oosterpoort, Groningen, the Netherlands | 1:35:59 (Pop-up) | ||||
Charlie Haden | For A Free Portugal | Closeness | Horizon / A&M | 1976 | feat. Paul Motian | 1:55:19 (Pop-up) | ||||
Derek Bailey | A Wanderer From The British World Of Fashion | New Sights, Old Sounds / Solo Live | Morgue | 1978 | 2:06:07 (Pop-up) | |||||
Derek Bailey | Interview | Derek Bailey interviewed by Henry Kaiser KPFA 1989 | N/A | 1989 | https://youtu.be/qAYJwjAEc0o?si=yyJDyTxLTCgdmVuX | 2:09:13 (Pop-up) | ||||
Derek Bailey | 4 | Domestic Jungle | scatterArchive | 2022 | 2:12:13 (Pop-up) | |||||
Paul Motian Trio | Mushi Mushi | Creative Music Studio Archive Selections Volume 2 | Planet Arts | 2015 | feat. David Izenzon, Charles Brackeen; Live At The Creative Music Studio, December 3, 1977 | 2:16:30 (Pop-up) | ||||
Derek Bailey | Appleyard: Corporate Raider | The Appleyard File | Incus | 2001 | 2:26:22 (Pop-up) | |||||
Arcana | Broken Circle | The Last Wave | DIW | 1996 | Derek Bailey, Bill Laswell, Tony Williams | 2:29:42 (Pop-up) | ||||
Paul Motian | Rebica | Conception Vessel | ECM | 1973 | 2:35:38 (Pop-up) | |||||
Derek Bailey | The Ballad Of Big Bad Ben | Chats | Incus | 2001 | 2:46:46 (Pop-up) | |||||
MMD | Untitled | Live Sapporo, Japan Nov. 7, 1987 | N/A | 1987 | Milford Graves, Min Tanaka, Derek Bailey | 2:48:08 (Pop-up) |
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Listener comments!
WR:
doctorjazz:
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London E 5
England
Listener Gregory:
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www.theguardian.com...
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OK, never thought of them.
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doctorjazz:
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Artwork and design by Robert Beatty.
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WR:
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WR:
I do have to note that I am on team Mo-tee-an with Motian name pronunciation. Although the man himself resigned to jazz people calling him Mo-shun, he got tired of correcting people. But his family name is Mo-tee-an
jazzcloset.blogspot.com...
Perhaps a quibble and one I should have mentioned at the beginning of the program. Thought I could let it go, but whatever.
WR:
paulmotian.com...
WR:
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doctorjazz:
cooking.nytimes.com...
Adjusted it a bit, added some soy sauce and garlic, put the chicken on a bed of sliced onions and potatoes. Great meal!
(sorry for another food post-I am enjoying the music and interview)
doctorjazz:
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WR:
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David, you ought to have a recipes show some time!
doctorjazz:
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blogger.googleusercontent.com...
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Dean:
WP
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blogger.googleusercontent.com...
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David, these "chats" from Bailey are gems. Loving them.
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doctorjazz:
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A DANCER joined two musicians in the hourlong choreographic jam session presented Wednesday night at the Japan Society by a trio called MMD. Taking its name from the first initials of its members - Min Tanaka, dancer; Milford Graves, percussionist, and Derek Bailey, guitarist -MMD appears to strive for a vitality akin to that of a good jazz combo. And its three members are certainly accomplished in their fields. But what made their event puzzling rather than invigorating was Mr. Tanaka's performing manner.
Wearing a loosely fitting blue costume, he tottered stiffly about, occasionally taking a few pugnacious swats at the air, as if practicing some form of martial-arts drill. But usually his gestures were so staccato and disconnected that he could have been an automaton.
After leaving the stage for a few minutes, he returned totally nude and crouched and stood upright like a caveman learning to walk. He returned to some of the same kinds of disjointed steps that he had introduced in the opening section, then staggered with great agitation across the apron of the stage. He also did some grunting and groaning. Having previously suggested a robot and a caveman, he now could have been someone suffering from a breakdown. And when he put on the blue costume again, he continued to twitch and flail.
No matter how violently or mechanically he moved, Mr. Tanaka's facial expression remained almost totally blank. This stoniness, combined with the lack of flow in the kinds of steps he favored, gave his dancing an odd emotional range for, where as his robotized and Neanderthal movements were those of beings who were not fully human, his agitation was that of someone human on the verge of falling apart.
Thus his performance, though it held the attention, was also rather dismaying and, because there was no apparent dramatic motivation for any of the sequences, one could only wonder why MMD chose to have the choreographic aspect of its presentation look this way.
Jack Anderson - NYT April 26, 1982
www.nytimes.com...
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I'll be back next week