Charles Gayle & Han Bennink duo
Hallwalls,
Buffalo, NY
Jan 22, 2009
dpa4061's > battery box > M1 > soundblaster > cdwav > flac
set 1 (28:16)
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1. (04:24)
2. (06:52)
3. (04:37)
4. (07:46)
5. (04:37)
set 2 (31:36)
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1. (08:13)
2. (03:19)
3. (05:40)
4. (10:03)
5. (04:21)
Charles Gayle - piano, alto saxophone
Han Bennink - drums, walls, poles, floor, acrobatics
http://www19.zippyshare.com/v/5NixOE4o/file.html
ReplyDeletehttp://www19.zippyshare.com/v/aqfaYIt7/file.html
Han Bennink is VERY anti-audience taping.
ReplyDeleteI just thought anybody who respects the musicians and their work might find that relevant?
And Charles Gayle encourages it -the better to evangelize that Holy, Holy!
ReplyDeleteThe above anonymous internet troll (rare free jazz subspecies) was last spotted at 9greychairs. Seems to be targeting upstart shareblogs with soft bellies. Real beef, if it is real, seems to be that bootlegs ruin record sales so we all suck. FYI. :)
Can you please address the circumstance that Bennink doesn't approve of having his performances taped? That's the topic I brought up. Maybe I can get a substancial no-nonsense reply addressing that?
ReplyDeleteI for one cannot confirm your claim. He has never said as much to me over the years and I've bumped into him on more than a few occasions. Of all the posts featuring him on the net over the years this is, to my knowledge, the first time anyone has brought the subject up.
ReplyDeleteHe said to me personally and in a firm tone "no taping" when he thought I had a tape machine in my hands. So I conclude he doesn't like audience taping.
ReplyDeleteI don't think the guys start to talk about audience taping when not specifically asked about it. While asking never hurts. Many will say "yes, sure", others won't like it. I sometimes have the impression some tapers are tiptoeing around this issue, as if a "no" would break their heart, restrict their personal freedom or whatever.
Ha! Han probably didn't like your necktie. Perhaps, that one concert was special. Maybe he's deadly allergic to adhesives. I don't know, my friend. But it's really rather narcissistic to go around speaking on other people's behalf's because you had three seconds with them at a show.
ReplyDeleteWithout audience taping, there would be no ICP 015, the famous Eric Dolphy record with Misha's parrot on the sideB. That was given to Han by a generous taper back in the day. Do we stamp out all the tapers? No. Do we let it run amok? No! We find a happy medium we all can live with, and the intronette helps us socialize to do just that. There's no absolutes, I'm afraid.
What do you do when Han, say, doesn't want it and Charles, say, does want it? Who do you side with?
Narcissistic is an interesting term here. Did it ever occur to you that appointing oneself to "Han Bennink's music publisher" can be viewed as a narcissistic act? Same for releasing music on the musicians' behalf, based on "we don't know if they are against it"?
ReplyDelete> There's no absolutes, I'm afraid.
That's exactly what I mean too. :)
In terms of copyright, music publishing etc. (and this is actually the playing field we're moving on), one "no" means: No for all.
Yes.
ReplyDeleteYes.
Cool beans.
We're back where we started. (That is, with glorious music that is NOT gone forever in the air! Praise be!)
As a cantankerous wise man once said, "l'm out. I suddenly feel I really don't want to spend more time on this."
Well, I once shared one of my recordings based on the fact that the band was also recording probably for future release. So why the hell have I done that for? Mainly because I would wish for that particular date in time to be built into something where a few people got the opportunity to familiarize themselves with the music so that if ever it's released on the market, they will grab themselves a copy to have a better result. My purpose with this is that the way that music is being consummed nowadays, very few people get to the bottom of how this music happened, and that when you listen to it, there is so much to be gained other than entertainment. I'll say it more clearly. During that show, Ken Vandermark introduced a new commission he had just composed following a grant he received from a big foundation. Nothing particular there, lots of composers receive grants. But it was presented to use in an avant-premier performance, and it is probably why they chose to record that evening's performance. And like he mentioned, that big foundation was the one entity which allowed the band's tour to happen. Seldomly a musician will be this vocal about the ways that music is being made. So when sharing my recording, it was my duty to give the proper presentation, and make something unique out of this document. Unique in the prospect it raises some consciousness towards our way of consumming.
ReplyDeleteSo until civilisation stops using money, we as humans have to keep reacting with respects towards each other, especially when some of use come and favorise a space for communion, as the musicians did, and as I made it a bit more inclusive by sharing the recording. So in the future, if anyone happening to buy a CD from the band Made to Break that happen to be recorded in Montreal in 2014, and who read those lines I'm writing, will hopefully behave in a new light towards the music they are listening from that CD. And that is the purpose of recording, listening back to it, and passing it onto others. A recording of a musical event becomes a document, and represents a value amongst those who try to BE.
Thanks for documenting this and leaving it here for us to hear.
ReplyDeleteRE: The rest sometimes it's how you ask or if you ask. Seems someone has their knickers in a twist though perhaps they didn't get the same answer others might have if they always act like their drawers are a few sizes too tight.