#peter anderson interview | Explore Tumblr Posts and Blogs

vintage1981 · 20 days

Text

The Life and Deaths of Christopher Lee Kickstarts Deluxe Blu-ray Edition

The Life and Deaths of Christopher Lee mixes traditional documentary with a dash of fantasy. It is narrated by Christopher Lee himself... in the form of an elaborate marionette, voiced by Peter Serafinowicz. The marionette was custom designed and built by Arch Model Studios, who made all of the puppets for Wes Anderson's Fantastic Mr. Fox, Isle of Dogs and Asteroid City and Tim Burton's Frankenweenie.

The film combines new, exclusive interviews with filmmakers, including Peter Jackson, John Landis and Joe Dante, friends and family members with animated flights of fantasy from a wide variety of artists including 2000AD's Simon Coleby, award winning stop-motion animator Astrid Goldsmith and the legendary illustrator Dave McKean who directed, scored and animated a whole chapter of the film himself.

Spanning eight decades and almost three hundred films, Christopher Lee became famous for his iconic performance as Dracula. But he was so much more than just the Hammer Horror roles he is so fondly remembered for. His career took him from uncredited parts in 1950s swashbucklers with Errol Flynn, through famous performances in 007 and Star Wars films, cult hits like The Wicker Man and The Return of Captain Invincible, right up to a lead role in cinema's biggest event - The Lord of the Rings trilogy. Along the way, he worked with everyone from Orson Welles to Mario Bava, Jess Franco, Tim Burton, Martin Scorsese and Steven Spielberg.

Yet his story is so much richer than just his career. Lee was born into Italian aristocracy, with a military career shrouded in secrecy and kept his private life closely guarded. Some of his ventures and adventures seem highly improbable yet, as the film reveals, he often found himself in unexpected situations - he witnessed the last ever death by guillotine, was cousins with 007 creator Ian Fleming, he met Tolkien, performed with the classic Saturday Night Live line-up, was a friend and neighbour of Boris Karloff, he was the oldest person to ever get on the Billboard music charts (with his own Heavy Metal album), was an expert knife thrower, professional opera singer and a Nazi hunter. And somehow, he also managed to appear in almost 300 films of both the highest and lowest quality imaginable.

The film is finished and producers Jon Spira and Hank Starrs want to share it with you by producing a top quality Blu-Ray with great extra features and a really amazing LIMITED/NUMBERED EDITION COFFIN-SHAPED BOX SET, full of goodies, which will look killer on the shelf of any discerning cineaste. The jewel in the crown of this box-set will be a 3D 'death mask' of Christopher Lee designed and produced by Arch Model Studio exclusively for this set. They also want to host some screenings - both online and in real cinemas - so we can all experience it together and you can get to meet some of the people behind it.

Making this film has been a fascinating journey - producers excavated the British Film Institute archives where they hold Lee's personal collection of scrapbooks detailing his career in his own hand, been given access to personal photos from the family archive, they met and interviewed his closest friends and family from all over the world and we've worked with some incredible artists, puppeteers, animators, musicians and filmmakers to bring his story to the screen in the most cinematic way. Whether you're a fan of Horror, Star Wars, Lord of the Rings or just cinema history in general, we think you'll be delighted by this revealing and eclectic documentary.

Risks and challenges

The film is fully edited and ready to go. This Kickstarter is to fund the final bits of post-production and the production of a fantastic Blu-ray and deluxe collectors edition box set as we're all still committed to physical media. Please note that all illustrations of rewards are designs/prototype images. The final items might differ - we hope they'll actually be better.

#Christopher Lee #Documentary #Hammer Films #Amicus Productions #Amicus Horror #John Landis #Joe Dante #Caroline Munro #Harriet Walter #Nazi Hunter #secret agent #Dracula #Jess Franco #Mario Bava #Steven Spielberg #George Lucas #Star Wars #007

124 notes · View notes

violet-harmon2011 · 10 days

Text

the evans ideal date

a/n: i know some of these are not totally canon - just let me live out my fantasies in peace lol

p.s. i love you all, thank you for reading!! pls lmk if any of these seem incorrect, i haven't revisted some seasons in a while. also please send me requests or just any evan peters related thoughts lol 🤗😚

all photos are from pinterest <3

evan peters

i have a feeling he would love going to the movies

or building a pillow fort and watching one in your living room

he has mentioned in an interview that he would watch anything just to eat buttered popcorn and candy and drink soda lol

if you went to the theater, he would definitely wanna sit in the back and make out

if you're at home, he would wanna cuddle and would let you lay your head on his chest until you eventually fall asleep together

tate langdon

i feel like he would wanna take a walk around the neighborhood after dark, you know, escape the house for a bit

he'd def wanna hold your hand

shares an earbud with you

listening to your shared playlist on your ipod

would give you his sweater if you got cold

would walk on the side closest to the road to protect you

kit walker

most days the he's too tired after work & you just wanna stay in

would wanna bake with you!!!

and would it turn into a steamy makeout sesh on the countertop? ...and potentially something more? 100%

but seriously, he just loves spending time with you after a long day at work

cooking with you, holding you, kissing you, cuddling you

when he's able to save up to take you somewhere special, he'll ask you out to the movies or a nice restaurant or even the county fair

overall just a lovesick puppy who is head over heels for you

kyle spencer

would want you with him at any parties he has to attend

but would much rather prefer spending time alone with you

would wanna take the bus out of town to escape for a little while

loooves picnic dates with you

would get the maid's help to make a bunch of food to bring

could relax under a tree with you for hours

jimmy darling

would take you to a diner in town

would wear gloves and try to pretend he was normal for you

but you would take none of that, holding his hands with nothing but a proud smile on your face

he would definitely feel 100x more confident after that

your reward would be waiting for you in his trailer that night ;)

james patrick march

would settle for having a nice dinner with you in his room and taking you to bed afterward

but would also be open to doing wtv you want

would ask you if you wanna get a drink at the hotel bar or have dinner at a nice restaurant if you’re tired of the hotel

kai anderson

going out with kai is a rare occasion

most of the time, you’re lucky if he lets you sit in his lap while he’s doing cult work late at night

but every once in a while (especially on nights he wants to try for his messiah baby) he’ll ask you out

god forbid you make a big deal about it or even tell anyone other than winter

“get changed, i’m taking you out in five”

is really the kai equivalent of “do you wanna go out tonight, my gorgeous princess?”

peter maximoff

shows up to your house, hiding behind flowers a bouquet he picked for you

would wanna go to an arcade

beats you at every game

then he feels bad so he wins you a teddy from the claw machine that is absolutely impossible to win at

would take you out to eat after

nothin fancy probably just a diner or somewhere cozy

he cannot afford it but you don’t need to know that

would split a milkshake with you <3

afterwards, he has the zoomies so he gives you superfast piggyback rides

made you matching goggles in your fav color for protection :)

would wanna run around target at 1am pushing each other in shopping carts until you’re both kicked out lol

makes you playlists and loves sharing his music with you

warren lipka

would wanna drive around, get drunk, do it over again

no but seriously, he'd just be content driving nowhere, windows down, screaming some song that makes him feel "alive"

would take you to the gas station or some cheap diner

would love taking random road trips together & finding adventure

alex (adult world)

would love to take you to a museum if you're down

if you're a writer, he would come to poetry readings & book signings with you

loves going to the art store/bookstore

would also be down to just rent a film from adult world & chill at home if yk what i mean 😉

63 notes · View notes

afro-hispwriter · 11 months

Text

It was real!?

Evan Peters x Black!reader(not really descriptive but I only write for POC)

Kai Anderson x Your Character

Summary- your sex scene in Ahs cult(the shower scene) was a little too real

Warnings- past smut descriptions, masturbation, exhibitionism, just the tip, kais breeding kink

A/n- set during the Conan interview where Evan talks about masturbating but not copied word for word.

Italics= the scene

Evan and you walked on the stage of the Conan show, with people cheering loudly. You greeted Andy and then Conan before taking a seat next to the desk, Evan sitting beside you.

"Y/n, Evan how are you guys?" Conan asks.

"Good." "Good."

"So season 7 of American Horror Story[people cheer] and the theme is Cult."

"Yeah, this was a very interesting season to do." You look at Evan for his answer and he pursues his lips together and nods.

"Y-Yeah." The audience laughed and you chuckled at his awkwardness.

"Evan you got to play basically 6 different leaders this season, how is that."

"Y-Yeah I do, it was very interesting and exciting in a way but um it's mentally challenging doing it all but having Y/n on set, working beside me always helps a lot." He says and grabs your hand, you scrunch your nose at him and the audience awws'.

"You guys sicken me," Conan says and the audience laughs, along with you. "You guys have equally done crazy stuff in the past seasons, how is this season different and I should say crazier?"

"Om my god." Evan starts. "The list is endless."

"Yeah everything you do, that you think you've done it they just."

"Yeah, they just one up all the time." You say. "But I'm assuming you're talking about our scene." You point between you and Evan.

"Billy Eichner." Out of the corner of your eye, you saw Evan have his hand curled up near his crotch. Like when he holds his- "You didn't need to do that with your hand."

"Im sorry im sorry."

You walked through the men's bathroom, the camera following you closely. You could hear Evans moaning from outside. He insisted on getting himself worked out, he wanted the camera to catch his real climax.

You rounded the corner and were met with Evan or Kai really, hand clenched around his cock. He gasped and moaned loudly. His thrusting in his fist and face twisted in pleasure.

You stopped where you needed to stop and froze there.

"K-Kai?"

"You didn't have to, you got to," Conan says.

"Yeah, I got to. It was very pleasant to look my girlfriend in the face as I did it."

"I didn't mind, it was kind of hot." Conan laughed. "But he got to do it, so I did."

"What do you mean?"

"Yeah, our characters having sex in the shower was pretty real except there was no actual penetration involved really."

Evan gasped and he shook and you looked down to see his cum splattering on the tiles. It made your thighs squeeze, and the camera caught that.

"Hey, hun." He says with a shuddering breath.

"Are you serious Kai Anderson? This is what I catch you doing IN PUBLIC! I and our children have not seen you in almost 2 days. How is it fair that you can track my every move but I can't-."

You squealed as Evan reached forward and grabbed your wrist and pulled you into the shower, soaking you.

"That scene took a few tries to get because id either fall or there would be a wardrobe malfunction."

He twisted you around and flattened your face against the tiles.

"Bend down." He says and you lean down, his bare cock pushing against your leggings. The camera panned to your face, which was smushed against cum/lotion(that they squeezed very quickly to make it more prominent) "Clean it you whore."

You slowly stuck your tongue out and swiped it along the tile. There was no taste overall, but there was a familiar saltiness to it.

"We did that scene so much that you- she actually." Evan shook his hands around, trying to come up with a word and your face burnt hot.

"I was worked up so by the last shot I... climaxed for real." The audience cheered and there were some very excited men and women in the crowd.

The camera panned across your body to see Evans hands pulling down your leggings along with your panties. A harsh blow hit your ass and you gasped.

"When he spanks me, he didn't actually want to."

"I didn't want to hurt her." Evan shrugs with a knowing smile on his face and you squeezed his hand tightly.

"Kai." You moaned out and reached behind you and pushed a hand on Evans stomach. He leaned forward and wrapped his hand around your neck and pushed your back flush against his chest.

"You liked seeing your divine ruler touch himself, Hmm?" You sucked in a breath.

"Not when others can see what is mine."

The camera changed to Evan and he rolled his head around before cracking a smile. He then dipped down and bit your neck harshly before licking up it.

"Yours huh? I'm nobody." He growled in your ear and your exposed cunt clenched together.

Get a grip Y/n it's supposed to be acting, even if it is your boyfriend saying it.

"For that, I should fill you up, so you give me another messiah. Maybe you'll give me twins again." He let go of your neck and started ripping your thin soaked shirt off. Followed by him skillfully unclipping your bra.

"I didn't mind my actual boobs being out, it's not the first time as a lot of us know." You laughed awkwardly and the people laughed. "So I just told Ryan, '[Beep] it, no fake boobs or going the extra length to cover them. And it worked out."

He grabbed your neck again, smushing your left breast down. With his available hand, he reached down to grab his cock.

"Ready?" But before anything could be said Evan pushed his hips against your ass as if he was pushing inside you.

"There was no actual penetration involved, we didn't go that far," Evan says just to clear things up.

Skin slapping against skin and moaning(mostly fake on Evans) was picked up by the microphone. Evans cock was wedged between your thighs, and he'd angle his hips just enough for it to rub against your clit.

You wrapped an arm around his neck and pushed yourself up to kiss the outside of his mouth. He turned his head and captured your lips, followed by him pushing his tongue into your mouth.

You ended up losing yourself in the pleasure that you didn't notice Billy had walked in.

"We have an audience." He whispered and your eyes widened and looked at Billy before screaming and trying to get away. "No, you're not leaving, and get your hands away from your tits, let's give my trainer a show."

"No no Kai please."

"If I want to have sex with you in front of someone I will." He bit your ear making you wince but nod. He looked directly into Billy's eyes and continues his “assault” that had you gasping. You started to lose balanced and your knees buckled but Evan wrapped an arm around your neck and held your hips tight to him. He flexed his arm as he gave slight pressure on your windpipe. He then moaned loudly in your ear and your eyes rolled into the back of your head.

“K-Kai gonna cum.” You say as you felt your stomach tighten and your hips started thrusting back and forth.

“Cum for me my pretty whore.” You were shocked that the derogatory word made you cum, hard. Evan was always a tender and loving boyfriend. It made your body jerk and your thighs clench tightly right on his cock.

“Shit.” His balls tightened and he came for the second time in the small time this scene was supposed to go. You fell slack in his arms, tiredness going through you and maybe some embarrassment. You did just have sex and cum in front of cameras as if you were doing a porno.

Evans hands circled around to rest on your belly and he kissed your shoulder.

“May my messiah grow strong in the fruitful womb of my most devoted member, my wife.” He whispers so that only the microphone picks it up. He grabbed your wet curls roughly and pulled you up. “Go ahead and clean up what my wife failed to clean, and any other mess we left.” He tells Billy or Harrison really before pulling you off, you covering your breasts while walking past him. The last shot of the scene was Billy looking back and smirking as he stared at Kai before Ryan called cut.

“Yeah, we talked about it when we found out about the scene.” You say.

“We decided to just think about it as if it was just us two in the room, and when Billy came in it was us plus Billy.” Laughter filled the room and you smack your hand down on Evans thigh.

“Conan I think today we’ve gotten pretty off track so next question.” You say, starting to feel slight regret and embarrassment for talking about the scene(and thinking about it as you talked about it)

You and Evan were instantly given towels, robes, and privacy. Once everyone was out you released a breath and leaned against the wall.

“You okay, didn’t go too hard did I?” Evan says, already having dropped the Kai mindset.

“No babe you didn’t its just.” You start before laughing. “Im never doing that again, with anybody.” You grab his face with both hands and pecked his lips.

“Aww.” He says and placed his hands on your hips. “I liked feeling you practically throb-.” You shushed him.

“Like you don’t feel it all the time. Next time let's just shoot a porno and post it on pornhub, see how many views we get.” You say sarcastically but there was a glint and a smirk of mischievous adorned on Evans face.

“Next time?”

He got the biggest ‘Are you serious?’ face.

A/n- I don't know if I like this

#evan peters x reader #evan peters #kai anderson #kai anderson x reader #evan peters x black!reader #kai anderson x black!reader

171 notes · View notes

fand0mh03 · 1 year

Text

Random headcannons I have about the Evans

Tate Langdon:

watching/listening to true crime shows and podcasts with him

listening to music with him- nirvana is a majority of what you listen to

Him groaning when you play Taylor swift

Tate sneaks up on you all the time, scaring the ever living shit out of you

him helping you hang posters up in your room

weird conversations all the time

“Do fish feel wet”

Kit Walker:

comforting him about briarcliff

Him being a huge family man

Dancing together in the living room while music plays

Cooking together

Reading to the kids every night before bed

Watching tv after the kids are in bed

Having kids in your bed because of nightmares that they had

Kit consoling them and getting them a glass of warm milk

Did anyone else’s mother do that? You can’t sleep? Hot milk. Had a nightmare? Hot milk.

Like wtf was that

Kyle Spencer:

borrowing his jackets and hoodies

Basically living at the frat house

Making it better and smell like a thousand wishes from bath and body works

All of the guys complaining but Kyle loves it

Baking together

Going on drives with each other at night

Playing music and just talking

Watching Disney movies together

Specifically beauty and the beast for some reason

Going to parties together

Jimmy Darling:

going to the diner together

That’s probably where you met, at a diner that you worked out

You’re in the front row of the freak show watching him perform

Him randomly sending winks to you throughout the day

Having to tell him to stop whispering dirty things to you because his mother is across the table

He doesn’t stop

You smacking him in the arm when he says something inappropriate and his chuckling

The freaks love you

You sticking up for not only Jimmy, but also for the others

James Patrick march:

I’m a hoe for this man

Anyways

Him buying you pretty dresses

Dinner dates at least three times a week

Going on walks with him, James holding out an arm for you to hold on to

Him trying to keep you out of the murders since he knows you don’t like them

Unless you do…

Then I mean good for you?

Him watching you sleep in his bed while you’re cuddled up against him

Edward???

Sorry I had too much fun with this one

Kai Anderson:

him loving you unconditionally but you not really knowing it

Winter being your best friend

Being a part of his cult

Him wanting you to be the mother to his messiah baby

He gives you a hot clown mask

Being concerned with how much adderal he fucking takes

Helping him dye his hair blue

Helping tie his ties

Helping him wash his fucking hair because he doesn’t know how to do it

Evan Peters:

going on set with him and watching him act

Him smiling at you randomly

Him always talking about you in interviews

Watching whatever he does

You know almost all of his lines in AHS and him groaning when you reenact the iconic Tate and Violet scene. You know the one

“You’re all I want! You’re all I have!”

Couples costumes for Halloween ofc

He doesn’t shit on his exes because he is a good man

Encouraging him to take breaks

Being frustrated when he takes the role of dahmer

251 notes · View notes

otmaaromanovas · 6 months

Text

There is a popular quote attributed to Princess Xenia Georgievna about Grand Duchess Anastasia Nikolaevna, claiming that she was “‘frightfully temperamental,” “wild and rough”, and "cheated at games, kicked, scratched, pulled hair, and generally knew how to make herself obnoxious" - yet the letters between Xenia and Anastasia suggest they had a good, familial relationship - so, where did it come from?

Turn to Peter Kurth's book 'Anastasia: the life of Anna Anderson' - the title alone should give a hint at the context behind this quote! Page 202 states that:

"Although Xenia and [sister] Nina had left Russia in 1914, passing the war years with their mother in England, they both retained vivid memories of their “‘frightfully temperamental,” “wild and rough” cousin Anastasia, who cheated at games, kicked, scratched, pulled hair, and generally knew how to make herself obnoxious. “‘Anastasia was madly jealous of me because I was taller than she was,” Princess Nina recalled. “As the daughter of the Emperor she thought she ought by rights to tower over everyone.”"

So, one riddle is already solved: the much quoted note about Anastasia cheating "at games, kicked, scratched, pulled hair..." etc was not said directly by Xenia Georgievna, but rather was Kurth's interpretation and paraphrasing.

Kurth cites two sources here: the first, for Xenia, as being one of the two trials surrounding Anna Anderson in Hamburg. Hence, the quotes came from Xenia Georgievna's testimony to the court. The second, for Nina claiming that Anastasia was "madly jealous" because of her height is noted as coming from an "Interview with Princess Paul Chavchavadze (Princess Nina)" - Peter Kurth's own interview with Nina Georgievna.

Let's look closely at these two quotes.

Xenia's, saying that Anastasia was "wild and rough", came directly from a court setting, a legal testimony. As someone who knew Anastasia growing up, her opinion over the Anna Anderson affair would have been one of great interest. It's therefore quite likely that, in illustrating their apparent closeness as children to the extent that Xenia knew Anastasia's "wild" side, she was more reliable as a witness. This, of course, neglects to mention that Xenia and her sister departed Russia with their mother in 1914. They never got to see Anastasia mature into a teenager, whilst her tutors, close family, and entourage did - and they unanimously agreed that Anna Anderson could not have been Anastasia.

Similarly, Nina's quote about Anastasia's jealousy over her height appears to be somewhat accurate - Anastasia was indeed self-conscious about her height, writing in a letter to her father that she was very pleased to discover that she was taller than an officer that the sisters met. However, it also appears to be somewhat exaggerative.

For a more balanced perspective of Xenia and Nina, when they left Russia in 1914, they never saw their father again. He was shot by the Bolsheviks in 1919. No amount of money, status, or lavish upbringing can bring back a loved one: I don't think that it would be too drastic to say that, having lost her father to the Revolution, she was hopeful that there could be some hope that someone in their family might have escaped. Xenia, the younger child, just eleven years old when she saw her father for the last time, was unable to convince her elder sister that Anna Anderson was Anastasia.

Photo, left to right: Nina Georgievna, Anastasia Nikolaevna, Alexei Nikolaevich, Olga Nikolaevna, Tatiana Nikolaevna, Xenia Georgievna, Maria Nikolaevna

#Anastasia Nikolaevna #Anastasia Romanov #Anna Anderson #Nina Georgievna #Xenia Georgievna #Nina Romanov #Xenia Romanov #quotes #sources #Peter Kurth #cousins

31 notes · View notes

fuckyeahgoodomens · 1 month

Text

https://thinkingplace.co.uk/2024/04/08/episode-17-of-right-place-right-time-is-live/

An interview with Peter Anderson from Peter Anderson Studio that did the Opening Titles and some other graphics for Good Omens ❤

Peter Anderson: "At the moment I'm working on Anansi Boys, right this second with Neil Gaiman who is one of my favourite people in the world, brilliant author and showrunner."

#peter anderson #peter anderson studio #anansi boys #anansi boys opening title #neil gaiman #peter and neil

141 notes · View notes

kaiscumsock · 2 years

Text

evan peters owns my heart

150 notes · View notes

dbstaches · 2 years

Photo

During Soft Cell interview for NME magazine in Leicester Grove, Leeds, April 1981, photos by Peter Anderson

#Soft Cell #Dave Ball #David Ball #Peter Anderson #1980s #1981 #synthpop #new wave #NME #NME magazine #magazine #interview #photo #image #nostache #leather

9 notes · View notes

youryurigoddess · 1 month

Text

The biggest Easter egg yet

I’ve been meaning to address this for a while now, but @camdenleisurepirates gave me the final push after reading my piece on Gabriel’s cross. Huge thanks for that morsel of motivation, my ADHD brain loves you.

This is going to be yet another long read, although not as extensive as my bookshop statues meta. Still, better get yourself some hot chocolate or another drink of your choice and make sure you’re comfortable!

Now, remember the X-Ray interview with Peter Anderson on Easter Eggs in the opening animation he created for the second season? Forget red herrings, apparently our fandom has a literal red phone box! I’m convinced that this whole scene is a one big — the biggest, actually — Easter Egg, and I’ll explain why step-by-step.

The red phone box Crowley used to warn Aziraphale about the Antichrist and the following Armageddon in S1, the exact one where he left change for an emergency call, seems important enough in terms of the future S3 plot, but there’s so much more going on in this frame. Not only the lift.

The angels

At the very start of this sequence we can see a fragment of an elaborate bridge guarded by cherubs sitting on two columns, maybe globes, leading to a distant structure built over a literal mountain of trash — all elements of the S1 and S2 openings which were consciously picked out by the animators and put together in a very ominous pile.

Ready for some scavenging?

In the Gabriel’s cross meta, I already mentioned the importance of Ponte Sant’Angelo in relation to the ex-Archangel’s statue. Now it’s time to widen our perspective and focus on the full picture — quite literally. Apparently the bridge from the opening sequence has ten statues of angels, exactly as the Italian historical monument.

First things first though: the two big cherubs guarding the entry to the bridge might seem familiar to some of you. While they’re obviously not copies of the same statue, a very similar pair of brass cherubs is placed in Aziraphale’s bookshop to symbolize Aziraphale and Crowley. And looking at the screenshot above and the way they sleep or sulk with their backs turned on each other, they are most certainly not talking. The addition of more than one set of eyes is a lovely reference to biblically accurate angel memes though.

If we assume the traditional left-right positioning of the characters, Aziraphale is on the left and Crowley is on the right. Directly behind Aziraphale we can see a ship named “Good Traits”, but in reverse — kinda sorta confirmed by the animator Peter Anderson to be connected to the concept of the seven deadly sins on Twitter. Same that was mentioned recently by Neil in one of his asks.

The presence of Gabriel — a renegade Archangel wielding a broken cross — on the right, Crowley’s side, seems to match this theory. It could also support one of the possible interpretations of the very last bookshop shot in the S2 finale.

Out of all ten statues, Angel Carrying the Cross by Ercole Ferrata is considered inferior to the others on the bridge in that it appears to be a two-dimensional relief sculpture rather than an unbounded three-dimensional artwork, which seems to match Gabriel’s first impression as a character.

The inscription on the statue reads, “Dominion rests on his shoulders" — that is the weight of the cross that Christ was forced to carry through Jerusalem before being crucified. Even though Gabriel’s burden partially disappeared, the whole bridge and its environment is covered with crosses. It’s clear that we’re looking at a direct parallel of Via Crucis, the Way of Sorrows.

Towering over the Italian bridge, at the very top of Castel Sant’Angelo, is a statue of Archangel Michael, seen as the golden angel on the top left part of the trash pile. Aziraphale’s side, perhaps as his assistant, perhaps a rival? Legends of the Jews mention Michael as the chief of a band of angels who questioned God's decision to create man on Earth. The entire band of angels, except for Michael, was condemned to Fall — which could explain why they have such a good access to the Grapevine That Obviously Doesn’t Exist. And whatever’s going on between Michael and Dagon, perhaps.

In Roman Catholic teachings, Michael has four main roles or offices. Their first role is the leader of the Army of God and the leader of Heaven's forces in the final triumph over the powers of Hell. Viewed as the angelic model for the virtues of the spiritual warrior, their conflict with evil taken as the battle within. The second and third roles of Michael deal with death. Their second role is that of an angel of death, carrying the souls of Christians to Heaven. Michael descends at the hour of death and gives each soul the chance to redeem itself before passing; thus throwing the devil and his minions into consternation. In their third role, Michael weights souls on perfectly balanced scales they are often depicted with as their attribute. In their fourth role, Michael appears as the guardian of the Church. Might be the reason why they’re the closest to the building on top of the mountain.

It looks like Michael lost their sword though, just like Gabriel lost a part of the cross he was supposed to carry. The sword in question was supposed to be used to slay the dragon — Satan, the Adversary — according to John of Patmos and his Book of Revelations.

Speak of the devil: interestingly, there are two copies of an anonymous variation of the Angel of Light statue appearing twice on both sides of the bridge. Both the title as well as the statue itself seem like obvious references to one (former) angel literally called the Lightbringer, Lucifer. Perhaps one of them is representing his son, the Antichrist, instead, with the both of them helping out the Ineffables on two opposing — or perhaps only parallel — sides of the bridge?

The light carried by Lucifer appears to be green, a color used in the series as a visual representation of Hell, but on the intertextual level might also serve as a reference to F. Scott Fitzgerald’s classic novel The Great Gatsby and the green light at the end of the Daisy’s dock symbolizing the undying love, desperation, and longing for an unattainable dream. In the story, the color represents the limitations of power and money. Not surprisingly, the novel appears on Jim’s bookshelf and is part of the Good Omens book club — a list of personal recommendations from Neil Gaiman and Douglas Mackinnon for the fans to catch up on before the next series.

Last but not least, the possible connection to Libertas as the inspiration for the Statue of Liberty, shown multiple times in S2 as a foreshadowing of our character’s trip to America in S3. The related quote of Patrick Henry “Give me liberty or give me death” becomes even more relevant if we consider how the motto of the French Revolution was sometimes written as Liberté, égalité, fraternité ou la mort (“Liberty, equality, fraternity or death”). A lesson surely learnt by a certain angel back in 1793, when he was held prisoner for the last time before being forcefully taken Upstairs in the Final Fifteen.

The bridge and the castle

Okay, these are the basic observations. Now a brief historical overview and we will reach the fun bit in a jiffy.

Have you ever wondered about the meaning of this whole complex? It wasn’t always angelic, but named after a Roman noble dynasty. The Aelian bridge was built by the Emperor Hadrian in 134 AD to span River Tiber from the city center to his mausoleum. With time, the remains of more emperors were put to rest in there, until it was plundered and destroyed in a war. Then the remaining structure was transformed into a military fortress and a castle serving as the papal residence in times of war.

The Papal State also used Sant'Angelo as a prison; the Renaissance philosopher Giordano Bruno was imprisoned there for six years. Executions of the inmates were performed in the small inner courtyard, but they weren’t the only deaths in the area. On the other side of the bridge, in the adjoining Piazza del Ponte, under the watchful eyes of the stone likenesses of two saints, the public executions were held, and the heads of the criminals were brought onto the bridge and exposed to public view there.

As a prison, the former mausoleum is also the setting for the third act of Giacomo Puccini's 1900 opera Tosca. Long story short, the eponymous heroine convinces her lover to feign death so that they can flee together. Unfortunately, they are betrayed and the firing squad shoots at him with real bullets instead of blanks. Tosca believes in the quality of his acting performance rather than the truth, and when the realization hits her, she leaps to her death from the Castel’s ramparts.

After Nero’s bridge was destroyed, the travelers were forced to cross this bridge as the only direct route to the Vatican and St Peter’s Basilica, earning it the nickname “the bridge of Saint Peter”. That’s why in the 16th century Pope Clement VII erected statues of Saints Peter and Paul at the ends of the bridge, guarding it as they are supposed to protect the entry to Heaven.

In 1688 the bridge was embellished with ten angel statues, five on each side of the bridge, carrying Arma Christi, the Instruments of the Passion. The Good Omens characters represented by those statues in the opening sequence might be other instruments of Christ’s suffering as parts of the system that needs to be overthrown or replaced.

One angel appears particularly important in the context of both the bridge and the Second Coming — Saint Michael the Archangel.

Legend holds that the Archangel Michael appeared atop Hadrian’s mausoleum, sheathing their sword as a sign of the end of the plague of 590, thus lending the castle its present name. A less charitable yet more apt elaboration of the legend, given the militant disposition of this particular Archangel, was heard by the 15th-century traveler who saw an angel statue on the castle roof. He recounts that during a prolonged season of the plague, Pope Gregory I heard that the populace, even Christians, had begun revering a pagan idol at the church of Santa Agata in Suburra. A vision urged the Pope to lead a procession to the church. Upon arriving, the idol miraculously fell apart with a clap of thunder. Returning to St Peter's by the Aelian Bridge, the Pope had another vision of an angel atop the castle, wiping the blood from his sword on his mantle, and then sheathing it. While the Pope interpreted this as a sign that God was appeased, this did not prevent Gregory from destroying more sites of pagan worship in Rome. In honor of the vision and Michael, the bridge was renamed in their name.

What if the procession from the opening sequence was meant to imitate the procession led by the Pope from the legend? What if Aziraphale, now officially a Supreme Archangel, Commander of the Heavenly Host, is the one actually leading it, with Crowley finally at his side as his partner and second in command, just like it was proposed by him in the Final Fifteen?*

What if by some reason, maybe personal ambition, maybe just a tragic coincidence or situational necessity, there really was an impostor in Heaven, and Metatron — the so called Voice of God who seemingly doesn’t speak up for Herself since Job’s test — has been playing a winged version of the Wizard of Oz all along?

It would make just the perfect sense if not for one tiny detail. The procession we see on the bridge is actually led by Crowley, which doesn’t fit the parallel at all — unless it’s actually a proof of an ongoing body swap, as the mismatched names of the actors could also suggest?

The mountain of trash and the bookshop

The symbolic mountain of trash we can see Aziraphale and Crowley climb is a reference in itself. To an actual mount called Zion, believed to be the place where Yahweh, the God of Israel, dwells (Isaiah 8:18; Psalm 74:2), the place where God is king (Isaiah 24:23) and where God has installed king David on his throne (Psalm 2:6).

In a literal sense, it’s a hill in Jerusalem, although the sources refer to three different locations in different contexts — although for the purpose of this meta the Upper Eastern Hill (Temple Mount) makes the most sense. Its highest part became the site of Solomon's Temple. The same King Solomon the rituals in Freemasonry refer to. Masonic buildings, where lodges and their members meet, are sometimes called "temples" specifically as an allegoric reference to King Solomon's Temple, not actual places of worship. And Aziraphale’s bookshop is built around Solomon’s Magic Circle.

In a metaphysical sense, and especially in the context of the Christian New Testament, it is also believed to be a part of Heaven — the heavenly Jerusalem, God's Holy, eternal city. Christians are said to have “(…) come to Mount Zion and to the city of the living God, the heavenly Jerusalem, to an innumerable company of angels, to the general assembly and church of the firstborn who are registered in heaven” (Hebrews 12:22-23 cf. Revelation 14:1). Just like the procession were following in the opening sequence.

There’s been some speculation whether the lift on top of the mountain could symbolize Aziraphale’s bookshop, or, more specifically, the oculus in its centre. If you look closely at the enhanced screenshot, you can see that the dome isn’t made of glass and that it looks like a tower (a church’s bell tower, perhaps) more than a whole building.

And there is an actual doorway in there — not like the modern lift doors — opening up towards the source of that white, heavenly light. And what kind of enlightenment can you usually find up in the skies or heavens?

We’re welcomed to crack open the doors to the Heavenly Sanctuary — the Most Holy place, Sanctum Sanctorum, the Holy of Holies — to undraw the final curtain and finally stand eye to eye with God. Who knows, maybe even ask some questions or listen to some answers.

Or, at the very least, to meet one of Her forms known as Jesus Christ. Because that’s precisely where he serves as our (humanity’s) Mediator and the Holy Priest after his Ascension to Heaven. The structure at the top reminds of some temple architecture seen in Antiquity and Christianity.

The Catholic Church considers the Church tabernacle or its location (traditionally at the rear of the sanctuary) as the symbolic equivalent of the Holy of Holies, due to the storage of consecrated hosts in that vessel and their meaning as the Body of Christ. Tabernacle is commonly marked with a red light turned on and off depending on His presence or lack if it.

Looks like He’s already in the area, one way or another, keeping eye on some things.

Are we following a procession of believers happy to embrace their one and true Savior? Or are they actually protesters on their way to dethrone the authority and the system?

Guess we will have to wait and see.

#the good omens crew is unhinged #everything has a meaning #title sequence #angels everywhere #archangel fucking gabriel #gabriel’s statue #bookshop statues #statues update #ponte sant’angelo #let there be light #good omens analysis #good omens meta #bible fanfiction #yuri is doing her thing

148 notes · View notes

dustedmagazine · 5 months

Text

Music is an Essential Verb: Derek Taylor 2023

Music remains, along with family, friends, and a select few venial vices, my primary daily defense against the mental erosions of spiritual malaise and existential dread. Being a humanist also means being a realist, and little looks to be different on that score in the year ahead as we continue to careen toward a bleak and self-defeating dénouement. The veil of uncertainty around what ultimately feels like inevitability redoubles the need to remain thankful for and supportive of those who devote themselves to art. Summary capsules below describe some of the sounds that kept me going in 2023.

Peter Brötzmann, Wayne Shorter, Kidd Jordan, & Charles Gayle

“The trauma of my generation was what our fathers had done to the rest of the world, and so we said, ‘never again,’ and that was the whole impetus through all my life, and it still is.” ~ Brötzmann (2018)

Musician attrition and demise are dispiriting aspects of every annum, but the departure of four disparate octogenarian reedists exacted an especially steep emotional and cultural toll this year. Shorter and Jordan passed away in March, each of them leaving a rich legacy as indefatigable improviser and altruistic educator that continue influence and inspire. Brötzmann exited in June after the return of a protracted respiratory illness. Few if any can match the magnitude of his mileage and six-decade itinerary as an irrepressible, obstinately adventurous world traveler. Gayle ascended in September, an ardent, uncompromising eremite to the end. All four men left behind discographies and concert/interview footage that will leave the faithful and curious listening and marveling in perpetuity, but their collective absence still aches.

Kirk Knuffke & Joe McPhee Quartet + 1 – Keep the Dream Up (Fundacja Sluchaj)

One of the manifold joys of following the output of Kirk Knuffke is anticipating who he’ll collaborate with next. The cornetist’s ears and imagination are as huge as his heart, a trait he has in common with the equally equanimous Joe McPhee. They’ve known each other for years but Keep the Dream Up is their first released collaboration and it’s an affirming alloy of their complementary creative temperaments. Longtime McPhee comrades Michael Bisio and Jay Rosen complete the quartet with bass clarinetist Christof Knoche comprising the additive on a Brooklyn studio session that captures collective creative lightning in a digital bottle. My album of the year for these reasons and more, although hopefully Joe will bring his brass to a follow-up conclave soon.

Don Byas – Classic Sessions 1944-1946 (Mosaic)

Saxophonist Don Byas recorded prolifically during the 1940s. His porous sound and popular style bridged the schools of swing and bop through prowess and panache aligned with the most esteemed of post-WII tone scientists. That sustained industriousness hasn’t reflected in reliable access to his works, primarily because they’re spread across a plethora of independent labels and competing copyrights. Leave it to Mosaic Records to rectify the longstanding reissue lacuna. This long gestating collection corrals and sequences the bulk of them across ten discs, scrubbing their sound, and adding an expansive cache of rarified verité concert recordings made in a Swedish jazz fan’s residence. Indulging in one’s Byas bias has never been easier or as edifying.

Fred Anderson – The Milwaukee Tapes Vol. 2 (Corbett vs Dempsey)

Patience and long-game aptitude are among music producer/archivist/advocate John Corbett’s virtues. This unexpected, but abundantly welcome sequel to an archival Anderson collection on Corbett’s long defunct Unheard Music Series took 23 years to secure commercial circulation and offers an additional hour-plus from the same gig in improved sound. Fellow AACMers Billy Brimfield and Hamid (nee Hank) Drake join bassist Larry Hayrod in bringing vibrant, detailed life to the Lone Prophet of the Prairie’s (as Anderson was affectionately known) serpentine, cerulean melodies. Corbett’s current label released a plenitude of music in 2023 (see also below) but the uncommon opportunity to hear more Anderson of any vintage makes this release worthy of independent mention.

Jason Adasiewicz

Corbett vs. Dempsey also had a welcome role in Jason Adasiewicz’s return to record with two different projects. On vinyl, Roy’s World documents a 2017 Chicago studio session by the vibraphonist’s quintet originally intended as the soundtrack to a film based on neo-noir novelist Barry Gifford’s short stories. Chicago stalwarts Josh Berman, Joshua Abrams, Hamid Drake, join saxophonist Jonathan Doyle in the ensemble for a program that sounds at once fresh and nostalgic while always vital. On CD, Roscoe’s Village dispenses with band for a solo selective foray through the songbook of Roscoe Mitchell including evocative renderings of “Congliptious” and “A Jackson in Your House” that retain the composer’s essence while striking out in bold new directions.

Natural Information Society

Grounded as it is in core voices of guembri, frame drum and harmonium, codification of Josh Abrams’ NIS as a jazz ensemble immediately feels reductively incomplete. All participating instruments can be active architects in the undulating, melody-laced drones that frequently form the basis of the band’s gradual, granulated improvisations. Performances are more akin to collective expeditions where a galvanizing gestalt effect is afoot; one where earned communal peaks preserve the individual power and agency of the interlocking parts. Since Time is Gravity augments this already catalytic template by incorporating a larger contingent of Chicago colleagues including tenorist Ari Brown to the equation.

Abdul Wadud

A jazz-based improviser on the cello who didn’t double on other stringed instruments, Wadud was also a consummate collaborator and sideman. Magnanimity in lending his substantial talents to the projects of others resulted in a paucity of albums under his own name. By Myself from 1977 on the Bisharra label is a revelatory anomaly on that self-effacing resume. Wadud approaches the instrument as a multifaceted sound factory, plucking, strumming, and bowing, often simultaneously, to create solo tone poems steeped in personal poignancy. Gotta Groove’s vinyl reissue is a beautiful facsimile of the original album object in faithfully reconstructed fidelity.

Marion Brown

Georgia-born altoist Marion Brown had a lengthy, storied career but the body of recorded work that he left behind can present difficulties in terms of ingress to its totality. Scattered across labels, years, and circumstances, much of it is either out of print or commercially unreleased. That collective relative obscurity makes a trio of releases, two on the German Moosicus label, and a third Record Store Day viny reissue of Brown’s 1970 studio duets with Wadada Leo Smith under the shared sobriquet Creative Improvisation Ensemble even more valuable. Of the former two, Mary Ann presents concert material by Brown’s quartet from a 1969 Bremen club gig in soundboard fidelity. Gesprächsfetzen & In Sommerhausen combines two more German concert snapshots, quintet, and sextet, from 1968 & 1969 with Gunter Hampel originally released on the Calig imprint. Steve McCall is a boon on drums in all three contexts.

Art Pepper – Complete Maiden Voyage Recordings (Omnivore)

Art Pepper was an inveterate rake for most of his life, magnifying destructive interpersonal tendencies with drugs and frustratingly frequent acts of self-sabotage. That star-crossed propensity makes the fact that he left so much magnificent music even more miraculous. This lavish box is a fascinating compendium of the constantly competing artistic contradictions at his center, collecting a quartet gig across three nights and seven club sets in Pepper’s native Los Angeles, ten months prior to his premature passing at 56. Over half of the music is previously unreleased and the rhythm section, led by the impeccable and implacable pianistics of George Cables, gives Pepper a cumulative confidence boost that keeps him on the rails. None of it has ever sounded better.

Pan Afrikan People’s Arkestra

Los Angeles of the late-1970s was an unforgiving environment for the economic necessities of orchestral jazz. The Pan Afrikan People’s Arkestra, under the nominal leadership of pianist/composer/community organizer Horace Tapscott, was a tenaciously subversive force in the face of that ruinous rule. Adopting the Immanuel United Church of Christ as an informal base of operations, the large ensemble resourcefully engaged in an ambitious series of concerts in 1979. The Nimbus label, long a Tapscott exponent and repository, released the first three entries this year in an archival subscription series collecting the voluminous results. Titles are also available individually and present the pivotal band at a performative peak with star soloists Sabir Mateen, Billy Harris, Jesse Sharps, and Robert Miranda shining just as bright as their fearless foreman.

Alan Skidmore – A Supreme Love

Unexpectedly issued on Mark Wastell’s Confront label, an imprint better known for its fealty to free improvisation, this six-disc archival tribute to Alan Skidmore’s 70+ year career in music launches with the saxophonist’s 1961 radio debut and lands some seven-hours later with his intimate 2019 rendering of John Coltrane’s “Psalm.” The aural expanse between is brimming with bright moments and luminary collaborators the likes of which include Tony Oxley, Kenny Wheeler, Wayne Shorter, Dave Holland, Mike Osborne, Elvin Jones, and another dozen name drops from the top tier of improvised music. It’s a wild, illuminating ride and a sterling example of a musical memorial done right.

The Jazz Doctors – Intensive Care/Prescriptions Filled: The Billy Bang Quartet Sessions 1983/1984 (Cadillac)

Billy Bang and Frank Lowe shared a bottomless fraternal bond forged through parallel traumas internalized in Vietnam and expressed by the subsequent embrace of the restorative power of improvised music. The pair of sessions (one reissued, one archival) collected on this disc epitomize their deep attachment arguably as well as any of their other numerous collaborations. Outside the cardinal duo, the Jazz Doctors never really had a stable lineup, but the quartets here embody two of their best. Both programs are loosely adherent to freebop conventions with violin and tenor saxophone combining over contrabass and drums for a potent front line. Bang and Lowe are long gone now, their shared absence making the availability of this music even more precious.

Attila Zoller & Jimmy Raney

Hungarian guitarist Attila Zoller had selective affinity for other artists on the instrument, so much so that his mid-career period is seeded by fateful encounters with plectrist peers. Most prolific among these partnerships was his prudent pairing with Jimmy Raney. A popular proponent of bop-based jazz, Raney was in a similar exploratory headspace when the two joined forces on a trio of recordings for the German L + R label over a seven-year span. Concert dates from Frankfurt (’80) and Berlin (’86) find the duo spooling out lengthy dialogues that dabble in free improvisation while keeping codified melodies within reach. An earlier New York encounter (’79) explores their rapport in a studio. All three reissues on the Japanese Ultra-Vybe imprint are aces.

Steve Swell’s Fire Into Music

Simultaneously emblematic of NYC free jazz in the early aughts and fiercely dedicated to resisting pitfalls of provincialism by touring generously and rigorously, trombonist Steve Swell’s Fire into Music was one of the finest quartets of its kind. Posthumously dedicated to the late altoist Moondoc, this three CD set collects a trio of small venue concerts by the band from gigs in Texas and Ontario. As with the horns, William Parker and Hamid Drake are ideally suited to the extended, expository freebop safaris that formed the ensemble’s flexible repertoire. Swell’s the leader on paper but sagely embraces musical communalism without fail.

Intakt

Running a physical media imprint in the 21st century is an inherently parlous enterprise, but this steadfast Swiss label continues to evidence how it’s done. This year’s standout catalog entries include Andrew Cyrille’s Music Delivery/Percussion, the octogenarian drummer’s third solo album and first in 45-years; bassist Jöelle Leandré’s solo Zurich Concert; pianist Aruán Ortiz’s Serranías Sketchbook for Piano Trio; Beyond Dragons by the trio of saxophonist Angelika Niescier, cellist Tomeka Reid, and drummer Savannah Harris, and Ohad Talmor’s Back to the Land, a quartet-plus-guests survey that takes its compositional focus an archival workshop date by Ornette Coleman and Lee Konitz.

Ezz-thetics

The appearance of the Swiss Ezz-thetics imprint four years ago raised both eyebrows and ire. Lacking access to master tapes, veteran free jazz and new music producer Werner Uehlinger sourced commercially released editions instead, employing ace audio engineer Peter Pfister succeeded by Michael Brandli to rejuvenate and refurbish the recordings, stateside copyright considerations be damned. Reaction was expeditious and polemical, but proof is in the hearing as most of the label’s dozens of releases sound better than their original incarnations. Catalog highlights this year include another round of Albert Ayler airshots including his pivotal meeting with the Cecil Tayor Trio in 1962 on More Lost Performances, Charles Mingus’ At Antibes 1960, and Ornette Coleman’s At the Golden Circle.

Fresh Sound

Jordi Pujol is akin to Uehlinger in that he refuses to let his vision and ambitions as a producer be abbreviated by external opinion. In Pujol’s case it’s yielded a bountiful inventory of antiquarian titles that rights holders have shown little to zero interest in restoring to begin with. Cases in point for this year include a definitive collection of obscurando saxophonist Boots Mussulli’s works; concert and studio collections by the Count Basie alumni tandem of Al Grey and Billy Mitchell; hens’ teeth rare leader sessions by Arthur Lyman vibraphonist Julius Wechter; and a two-fer of Julliard-trained Ellingtonian Cass Harrison piano trio albums. Exciting guilty pleasures all around.

Playing for the Man at the Door

As complex as he was controversial, Robert “Mack” McCormick deserves consideration in the esteemed company of other maverick cultural archivists like Alan Lomax, George Mitchell, and Harry Smith. With a preservationist purview mostly comprising Texas and bordering states, McCormick spent much of his adult life obsessively documenting and disentangling the cultural capital of the region through recordings, photography, interviews, essays, and research. Smithsonian Folkways became repository for the massive reservoir after his passing and this box is the first in what will hopefully be multiple dispatches from the same. Unreleased field recordings of Mance Lipscomb and Lightnin’ Hopkins represent the big names, but works by the likes of Hop Wilson, Cedell Davis, Robert Shaw, and a handful of others are just as persuasive. Bongo Joe Coleman’s impassioned presidential pitch closing the set will have listeners pining for a time when third party Executive Branch candidacy didn’t seem so fraught.

Joni Mitchell Archives - Vol. 3, The Asylum Years 1972 to 1975

Mitchell’s continuing project corollary to her old friend Neil Young’s analogously exhaustive retrospective enterprise, this third entry in the series finds her 30-something-self further broadening the lens of her art beyond the solo concert music that dominated the first two boxes. There are stirring solitary shows here, too, but it’s the band offerings that prove most revealing, particularly in the company of reedist Tom Scott’s fusion group L.A. Express. James Taylor, Graham Nash, and David Crosby lend contributory hands, and there’s a brief but intriguing collaboration with Young alongside a trove of demos and workshop versions of songs from her first three albums for Asylum.

Martin Davidson

In closing, another memorial. Martin Davidson wasn’t a musician, but European free improvisation as an art and archive would be a fraction of what it is without his copious and enduring work. As steadfast proprietor of the Emanem label he put his resources into musicians whose efforts frequently fell outside the probability of consistent commercial remuneration. Under his aegis, influential improvisers like Steve Lacy, Derek Bailey, Evan Parker, and Paul Rutherford gained robust catalogs alongside other aspiring artists who never garnered even niche cachet. Davidson was a curmudgeon and an anachronism, trusting his ears implicitly, suffering the indignities of inquiries from strangers seeking audience with the hip hop icon who shared the phonetics of his imprint’s name, and advancing the pleasures of physical media well past their purported expiration date. He was also a talented writer, adding invaluable context to his releases through first-person testimony and critique. Martin will be missed.

And as is tradition in this 20th iteration of this year-end exercise, 25 more titles in stochastic order. Thanks to all for reading, and gratitude to Jennifer Kelly for providing the forum and formatting.

Rodrigo Amado’s The Bridge – Beyond the Margins (Trost)

James Brandon Lewis – For Mahalia with Love (Tao Forms)

Henry Threadgill – The Other One (Pi)

Guillermo Gregorio – Two Trios (ESP)

Rob Brown – Oceanic (RogueArt)

Rich Halley Quintet – Fire Within (Pine Eagle)

Milford Graves w/ Arthur Doyle & Hugh Glover – Children of the Forest (Black Editions)

Mike Osborne – Starting Fires: Live at the 100 Club 1970 (British Progressive Jazz)

Jim Hall – Uniquities Vol 1 + 2 (ArtistShare)

Madhuvanti Pal – The Holy Mother (Sublime Frequencies)

V/A – On the Honky Tonk Highway with Augie Meyers & the Texas Re-Cord Company (Bear Family)

Mal Waldron & Terumasa Hino – Reminiscent Suite (Victor/BBE)

Oum Kalsoum – L’Astre D’Orient 1926-1937 (Fremeaux & Associates)

Sonny Rollins w/ the Heikki Sarmanto Trio – Live at Finlandia Hall Helsinki 1972 (Svart)

V/A – Equatoriana: El Universo Paralelo de Polibio Mayorga (Analog Africa)

Evan Parker – NYC 1978 (Relative Pitch)

V/A – If There’s a Hell Below (Numero Group)

John Coltrane – Evenings at the Village Gate (Impulse)

Derek Bailey & Paul Motian – Duo in Concert (Frozen Reeds)

Peter Brötzmann/Fred Van Hove/Han Bennink/Albert Mangelsdorff – Outspan 1 & 2 (FMP/Cien Fuegos)

Hasaan Ibn Ali – Reaching for the Stars: Trios/Duos/Solos (Omnivore)

Mark Dresser – Tines of Change (Pyroclastic)

Steve Millhouse – The Unwinding (Steeplechase)

Myra Melford’s Fire and Water Quintet – Hear the Light Singing (RogueArt)

V/A – Destination Desert: 33 Oriental Rock & Roll Treasures (Bear Family)

15 notes · View notes