The Laughing Clock with DJ Peter:
Playlist
from May 5, 2024
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View DJ Peter's profile
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Obscure musical gems, avant experimentation, and classics worth rehearing. A conurbation of Leslie speakers, timbales, plungers, arch-tops, tablas, and squeaky reeds. Black ties, pork pies, Cuban boots, Nudie suits, bobbysocks, turtlenecks, and high-heeled sneakers. Jazz is the north star but it’s a wide universe, so says The Laughing Clock.
Sunday
6 - 9pm
(EST)
|
On
WFMU's
Give the Drummer Radio
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| Artist | Track | Album | Label | Year | Comments | Images | New | Approx. start time | ||
|---|---|---|---|---|---|---|---|---|---|---|
| Count Basie |
M Squad Theme (excerpt)
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Basic Basie | MPS | 1969 | Eric Dixon (fl) Freddie Green (g) Norman Keenan (b) Harold Jones (d) Chico O'Farrill (arr), et al. |
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0:00:00 (Pop-up) | |||
Music behind DJ: Red Garland |
M Squad Theme
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Red In Bluesville |
Prestige |
1969 |
4/17/1959: Red Garland (p) Sam Jones (b) Art Taylor (d) |
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0:00:31 (Pop-up) |
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| Isang Yun |
Symphony no. 1 (1982/1983)
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Symphonies 1 & 3 (Filharmonia Pomorska Bydgoszcz, conducted by Takao Ukigaya) | CPO | 1991 | Since the mid-1970s Yun has turned more and more to reflection on the problems of our world in his music. His Symphony I is to be understood as an appeal and a warning in view of our hardly responsible use of atomic energy, the threat of war, and the continuing destruction of nature. This four-movement work was composed over eight months during 1982-83 for the hundredth-anniversary year of the Berlin Philharmonic Orchestra and premiered in the Berlin Philharmonic Hall under Reinhard Peters on 15 May 1984. (Walter-Wolfgang Sparrer, translation Susan Marie Praeder) |
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0:03:29 (Pop-up) | |||
| Isang Yun |
Symphony No. 1: First movement
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Symphonies 1 & 3 (Filharmonia Pomorska Bydgoszcz, conducted by Takao Ukigaya) | The dominant brass sound is enough to lend apocalyptic traces to the turbulent contrasts of the first movement. The purposeful forward motion of this structure of elemental force also leaves its mark on the traditional sequence of exposition, development, and recapitulation. The distressed startledness in the tonal gestures of the strings is placed in contrasting juxtaposition to the decisive unisono of the six horns. The second musical thought is a theme reminiscent of the brokenness of Mahler or Shostakovich. The deep strings imitate the movement of surprised turning away, and in contrast the high strings offer a declamation in the form of an appellative-affirmative theme of major third and fifth intervals. Other elements of brightening include the tone bridges of the woodwinds at the beginning of the second section and in the recapitulation the iridescent texture of glissando and trilled string strands with woodwind figurations and their harp accompaniment. (Walter-Wolfgang Sparrer, translation Susan Marie Praeder) | 0:03:30 (Pop-up) | ||||||
| Isang Yun |
Symphony No. 1: Second movement
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Symphonies 1 & 3 (Filharmonia Pomorska Bydgoszcz, conducted by Takao Ukigaya) | Yun develops the second movement from a quiet peacefulness. While we survey a ravaged earth, mourning changes into a vision of beauty. The fully expressive, gliding ascent of the violins is typical. (Walter-Wolfgang Sparrer, translation Susan Marie Praeder) | 0:14:14 (Pop-up) | ||||||
| Isang Yun |
Symphony No. 1: Third movement
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Symphonies 1 & 3 (Filharmonia Pomorska Bydgoszcz, conducted by Takao Ukigaya) | The third movement is a grotesque scherzo, and the trio with English horn and violin solos is a source of tranquillity in the brass finale. (Walter-Wolfgang Sparrer, translation Susan Marie Praeder) | 0:29:33 (Pop-up) | ||||||
| Isang Yun |
Symphony No. 1: Fourth movement
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Symphonies 1 & 3 (Filharmonia Pomorska Bydgoszcz, conducted by Takao Ukigaya) | In the fourth movement Yun sums up the previously expounded material. The ascent of fourth, tritone, and fifth intervals encountered in the first movement and— as a negating descent—in the scherzo has an integrating effect. Yun begins by establishing links to the initial horn introduction. The polar opposites of the high strings and the horns are each propelled upward twice in succession but founder because they alone cannot maintain the equilibrium. After a nocturnal interlude verging on complete standstill the woodwinds come to the rescue. Borrowing from the second movement, Yun summons up all the resources of his instrumental rhetoric in order to attain to the A of the absolute. The orchestra, however, only makes it as far as G sharp. The fourth and final phase is characterized by the bearing of the ascending fifth: woodwinds and high strings, along with the grimacing counterpoint of the trombones, share in the perfect fifth (e-b). Then the horns close up with the diminished fifth (e-b flat). The trumpets, for Yun representing the voice of heavenly admonition, continue the tonal flow. (Walter-Wolfgang Sparrer, translation Susan Marie Praeder) | 0:37:13 (Pop-up) | ||||||
Music behind DJ: Mary Lou Williams |
Medi I
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Zoning |
Smithsonian Folkways |
1/17/1974, with Bob Cranshaw (bass guitar). DJP edit. |
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0:45:23 (Pop-up) |
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| Borderlands Trio |
Tree Shrimp
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Rewilder | Intakt Records | 2024 | 5/24/2023: Kris Davis (p) Stephan Crump (b) Eric McPherson (d) |
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* | 0:49:27 (Pop-up) | ||
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Radio Rerun: The Dutch Jazz Scene (c. 1969) |
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| Michiel de Ruyter & Radio Nederland/Dutch World Broadcasting System |
Programme 5: Loevendie, Courbois, Elstak, Schulze
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The Dutch Jazz Scene | Radio Nederland |
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1:00:32 (Pop-up) | |||||
| Theo Lovendie Trio |
Wet Feet
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The Dutch Jazz Scene | Theo Loevendie (p) Maarten Altena (b) Martin van Duynhoven (d) | 1:01:09 (Pop-up) | ||||||
| Free Music Quartet |
Improvisation
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The Dutch Jazz Scene | Boy Raaymakers (tp) Peter van de Locht (cl,pic) Henk Haverhoek (b) Pierre Courbois (d) | 1:04:53 (Pop-up) | ||||||
| Sophie van Lier with the Nedly Elstak Trio |
Machine Song no. 2
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The Dutch Jazz Scene | Nedly Elstak (tp) Maarten Altena (b) Martin van Duynhoven (d) Sophie van Lier (vcl) | 1:09:55 (Pop-up) | ||||||
| Carl Schulze Trio |
Tripolis
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The Dutch Jazz Scene | Carl Schulze (vib) Maarten Altena (b) Martin van Duynhoven (d) | 1:11:13 (Pop-up) | ||||||
Music behind DJ: Susie Ibarra Trio |
Dreams (Alternate Take)
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Radiance |
Hopscotch |
1999 |
7/18/1999: Cooper-Moore (p,harp,diddley-bo) Charles Burnham (vln) Susie Ibarra (d,perc) |
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1:15:11 (Pop-up) |
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| Nick Dunston |
Anglo-Adjacent Phonetic Approximations
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COLLA VOCE | Out of Your Head Records | 2024 | December 2022. Nick Dunston - compositions, post-processing, double bass. JACK Quartet (Christopher Otto, Austin Wulliman - violins, John Richards - viola, Jay Campbell - cello). Cansu Tanrıkulu - voice, live processing. Sofia Jernberg - voice. Isabel Crespo Pardo - voice. Friede Merz - voice. Maria Reich - violin, viola. Anil Eraslan - cello. Tal Yahalom - guitar. Moritz Baumgärtner - drums, percussion, megaphone. |
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* | 1:19:34 (Pop-up) | ||
| Glod/Ramond/Kugel |
Unconscious Second Turn
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No ToXiC | NEMU Records | 2024 | June 2022: Roby Glod (alto & soprano sax), Christian Ramond (bass), Klaus Kugel (drums, gongs, percussion) |
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* | 1:24:53 (Pop-up) | ||
| Obed Calvaire |
Gaya Ko W
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150 Million Gold Francs | Ropeadope | 2024 | Calvaire (drums) w/ alto saxophonist Godwin Louis, keyboardists Harold St. Louis and Sullivan Fortner, guitarist Dener Ceide, and bassists Addi Lafosse and Jonathan Michel |
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* | 1:30:43 (Pop-up) | ||
| Luke Stewart Silt Trio |
Seek Whence
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Unknown Rivers | Pi Recordings | 2024 | 6/27/2023: Brian Settles (ts) Luke Stewart (b,comp) Trae Crudup (d). |
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* | 1:39:30 (Pop-up) | ||
| David Murray Quartet |
Cycles and Seasons
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Francesca | Intakt Records | 2024 | November 2023: Murray (tenor sax, bass clarinet), Marta Sánchez (piano), Luke Stewart (bass), Russell Carter (drums) |
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* | 1:45:10 (Pop-up) | ||
Music behind DJ: Joe Chambers Moving Picture Orchestra |
M Squad Theme
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Live at Dizzy's Club Coca-Cola |
Savant |
2012 |
September 2011. Craig Handy (tenor sax), David Weiss (trumpet), Xavier Davis (piano), Dwayne Burno (bass), Joe Chambers (drums, vibes, arranger), Steve Berrios (percussion), et al. |
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1:53:59 (Pop-up) |
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Listener comments!
Ivan from Woodbridge:
adamdoesit:
tom tom the pipers son:
doctorjazz:
DJ Peter:
doctorjazz:
tom tom the pipers son:
doctorjazz:
youtu.be...
DJ Peter:
tom tom the pipers son:
Asheville Jon:
tom tom the pipers son:
doctorjazz:
DJ Peter:
adamdoesit:
DJ Peter:
doctorjazz:
adamdoesit:
tom tom the pipers son:
trying to convey a sort of "wishful thinking" narrative
doctorjazz:
DJ Peter:
tom tom the pipers son:
tom tom the pipers son:
Doug Schulkind:
adamdoesit:
DJ Peter:
WR:
doctorjazz:
DJ Peter:
doctorjazz:
DJ Peter:
adamdoesit:
doctorjazz:
doctorjazz:
coelacanth∅:
adamdoesit:
DJ Peter:
chresti:
DJ Peter:
adamdoesit:
coelacanth∅:
originally a b/w print; some kind of dormant hazelnut tree...
DJ Peter:
chresti:
chresti:
chresti:
adamdoesit:
tom tom the pipers son:
doctorjazz:
DJ Peter:
DJ Peter:
wfmu.org...
doctorjazz:
Charlie:
adamdoesit:
coelacanth∅:
...and i was nearly killed going to take that picture!
doctorjazz:
doctorjazz:
DJ Peter:
tom tom the pipers son:
Listening Out There:
Charlie:
DJ Peter:
doctorjazz:
DJ Peter:
tom tom the pipers son:
tom tom the pipers son:
doctorjazz:
DJ Peter:
doctorjazz:
bigplanetnoise:
adamdoesit:
WR:
DJ Peter:
coelacanth∅:
Doug Schulkind:
tom tom the pipers son:
Listener Gregory:
I was out of town and couldn’t listen in real time. I enjoyed the Ysang Sun work; I’m glad you played it as one piece. Separating the movements would have weakened it, IMHO.
Those Dutch folks are always great too!