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Friday
9am - Noon
(EDT)
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On
WFMU's
Give the Drummer Radio
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June 7, 2013
Jackhammer dulcimer | ||
Add or read comments |
Artist | Selection | Album (Label / Recording date) |
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Theme Music: Sarah Webster Fabio |
Jujus: Alchemy of the Blues |
Jujus: Alchemy of the Blues
(Folkways 1976) |
ECD | In Tempo |
Major Force: The Original Art-Form
(Mo' Wax 1990) |
Talkover Music: Roy Brooks |
The Free Slave |
The Free Slave
(Muse 1970) |
Talkover Music: Marc Ribot |
Esclavo Triste |
Marc Ribot y Los Cubanos Postizos
(Warner Bros. 1998) |
Talkover Music: Miles Davis |
Helen Butte |
On the Corner
(Columbia 1972) |
Talkover Music: The Ex |
Buildance |
Instant
(Ex ) |
Talkover Music: Guitar Red |
Disco from a Space Show |
Hard Times
(Mod-Art 1976) |
Closing Theme: John Lee Hooker |
Stand By |
I Feel Good
(Jewel 1971) |
Listener comments! | |
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looking forward to hearing dinner music for a pack of hungry jackhammers! | |
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Helllloooooo Holly! | |
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He doesn't look like Woody Guthrie of Jackhammer Blues fame. Pre-op DJ bend over and smile. | |
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@Uncle Michael That just sounds...wrong. @AndrewC It's all connected to your biorhythms. That implant in your back molar is working perfectly. @Brian in UK No, he is more like the Sonny Bono of Jackhammer Blues fame. @ausmanx I have at least one Aussie selection scheduled (pronounced SHED-yuled) for tonight's show. Howdy ndbob and hyde! | |
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@SeanG Gimme five minutes with your ears and they'll be completely zonked. | |
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Morning Doug and everyone! Wet 'n wild today over here! | |
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I myself would like to hear the extra frequencies our doggie friends enjoy. That will be the next innovation in online streaming. | |
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Try like I do, I just can't do the Motherlode weekly right now. The WFMU blog is soon to be relaunched. I will endeavor to get back to weekly then. Oh, and good morning! | |
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I'd love to come for a visit. Just tell me Australia has no spiders or snakes and I'm SO there. | |
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That's something positive! @AndrewC Yeah, all the animals in NZ just want to have tea and speak in soft tones. | |
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Didn't Nina Simone sing about you? | |
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@ausmanx I am all too aware of your garage door and the like. My wife came back from Australia last December and taunted my fear of the eight-legged by giving me a key chain with one of those red-backed fuckers in lucite. Just STOP it right there, trish. | |
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I hope they didn't have to rename it STILL LIFE. | |
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Bet james wishes they were so. | |
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9:54am
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And its end has even't ended yet! | |
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9:56am
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I prefer a lolly to a conet. Just saying. | |
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10:11am
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Glad you liked. Here is your Gene Armstrong: hillbilly-researcher.blogspot.com... | |
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International reader of mystery | |
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Hi and welcome, davex! | |
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Was I snoring on mic again? | |
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Tried to watch a clip that goes with " Let's Dance for..." but it won't play. Clenching my fists of fury. | |
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You will always be welcome here. | |
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"Ruby dust of your own snot" | |
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@UM - nonsensical and unnecessary faux German conjugation of snatch. | |
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A disciple of the Kosmische Muzik of the likes of Kraftwerk, Can and Neu! that was drifting across the Wall from the West, Martin's idea of using the motorik, hypnotic beat of krautrock in the training of athletes was taken and exploited by the DDRs Olympic Committee." | |
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I heard Oprah stew, too. | |
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When it's raining cats and dogs, don't step in a poodle. (I couldn't resist.) | |
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Freeform means never having to say you're sorry. | |
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@doug volume seems fine to me, haven't noticed any issues today | |
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Formed in Amsterdam in 1979 when four friends were inspired by the burgeoning punk movement to draw lots determining which instrument they would each learn to play, The Ex have become one of the most intriguing and consistently thrilling bands in living memory. From early beginnings playing scrappy three chord punk rock in anarchist squats around the Netherlands to becoming bona fide alternative icons in Ethiopia and critical darlings on the indie festival circuit in the UK, the group have evolved and adapted like no other band. By seizing opportunities to tour off the beaten track and pursuing a dizzying array of collaborations, The Ex continues to thrive where so many of their peers have long since thrown in the towel. Even the mighty Fugazi, with whom the band played innumerable shows, eventually found themselves painted into a corner by an understandable reluctance to change personnel. Characteristically, when founding vocalist/lyricist Jos Kley announced his retirement in 2009 after nineteen years of service, the remaining trio of guitarists Terrie Hessels and Andy Moor and drummer Katherina Bornefeld saw it as an opportunity rather than an obstacle – immediately recruiting Arnold de Boer from regular support act Zea. “Change your interior, reset your furniture,” advised de Boer on one of the first songs he wrote with the band. This ability to adjust to changes and absorb outside influences is a key factor in what makes The Ex such a unique and compelling band and also what makes their first studio album with horn quartet Brass Unbound so exhilarating. In truth Enormous Door has been years in the making, with many songs existing in one form or another since The Ex first toured with Brass Unbound. Similarly to their inspirational records and tours with the late jazz cellist Tom Cora in the early nineties, it’s clear that The Ex have found a musical kinship with Swedish baritone saxophonist Mats Gustafsson, Chicagoan tenor saxophonist Ken Vandermark , Italian trumpeter Roy Paci and Dutch trombonist Wolter Wierbos. Although in theory punk and jazz are diametrically opposed musical styles, in practice both are born of a disregard for convention and a fundamental desire to be free of restriction and limitation. Whilst Brass Unbound are certainly musical virtuosos, like The Ex they are also mavericks who play with a distinctly physical intensity, throwing themselves headlong into every performance. Both quartets have a propensity for radical improvisation and it’s apparent that the songs which make up Enormous Door were worked up through hours of onstage exploration. However, it’s also clear that during the course of recording at Paci’s Posada Negro Studio in Lecce, Italy the eight musicians coalesced to capture and distil the essence of their visceral and frenetic live performances. The compositions are watertight but still suggest infinite realms of possibility, from the open chords favoured by Hessels and Moor to the unique spectacle of four soloists weaving in and out of each song, alternately merging to form a powerful horn section or darting away on their own individual flights of fancy. The sound is unmistakably that of The Ex but supercharged by the potency of such a riveting musical alliance. As noted food blogger and occasional Ex recordist Steve Albini once remarked, “nothing lasts forever except The Ex”. Even with the considerable boost of Brass Unbound, The Ex retain all of the traits that make them such an exciting and singular prospect. Hessel’s battered five string guitar meshes with Moor’s baritone fuzz, creating an irresistible fusillade of choppy open chord clamour. The incomparable Bornefeld is a one woman marching band, summoning the intricate polyrhythms around which most Ex songs are formed. Without dismissing the remarkable contribution of the departed Kley, de Boer has helped to modernise The Ex somewhat by introducing odd little electronic interludes and playful guitar arpeggios. Whilst the singer/guitarist participated in the recording of 2010’s excellent Catch My Shoe, the bulk of the songs had already been written when he replaced Kley. However, the Zea-like opening riff of ‘Last Famous Word’ suggests de Boer is now more integrated into the writing process and the band is better for it. Although the singer’s lyrics and delivery lacks the caustic bite of Kley, his plainspoken voice and comparatively restrained approach works well in the context of the current line-up. The combination of a retooled Ex with Brass Unbound in tow grants the album a newfound sense of levity, even if the lyrical themes are as serious as ever. The music is still a touch abrasive at times but Enormous Door might also prove to be the most danceable album of their considerable discography. The band’s continuing fascination with the music of Ethiopia is an obvious influence on several of the songs, in particular their cover of the Addis Ababan songwriter Mahmoud Ahmed staple ‘Belomi Benna’, with Bornefeld contributing another strong vocal performance. It’s simultaneously the closest The Ex have ever come to recording out and out pop music and the song which most benefits from the presence of Brass Unbound’s blaring horns. The bizarro jazz odyssey ‘Red Cow’ is perhaps more familiar territory to long-time fans in the sense that it’s a bubbling mess, though the angular post-punk of the global warming fixated ‘Our Leaky Homes’ could easily be a hit in a fairer world. Elsewhere we see a return of the long form songs which largely characterised Catch My Shoe. Perhaps the finest is the organised chaos of the appropriately named ‘Bicycle Illusion’, which sees the octet racing one another to the finish line before collapsing in a fit of exhaustion and laughter. The oddball social media diatribe ‘We Are Made of Places’ is the most deconstructed number, giving each member of Brass Unbound a chance to gleefully deviate from the programme and flex their improvisational muscles. The decision to revisit Turn centrepiece ‘Theme From Konono’ with blistering horns pays dividends and closes out the album in an appropriately boisterous manner. It certainly seemed as though the band’s tours with Brass Unbound were their most fruitful to date and with Enormous Door The Ex have managed to isolate and harness the peculiar energy generated by this particularly harmonious union. Long may it continue. | |
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Hello Brother Paul Sherratt and Mighty Hugo! | |
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Mats Gustafsson - Baritone saxophone Ken Vandermark, Tenor saxophone Roy Paci - Trumpet Wolter Wierbos - Trombone | |
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www.timesofsicily.com... | |
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Funny, that's what all the ladies ask me, too. | |
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Maybe I should have played Hedzoleh Soundz! | |
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Climb every mountain, Brother! @Uncle Michael Quit fooling around and tie up that gown in the back. | |
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12:00pm
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many thanks for the fine show, doug! fine weekend, all!! | |
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Gaze lovingly at my other playlists | Take a gander at the WFMU Homepage | |
See other artists I've played | ||