rebel crew absolutely went to coachella and kellin walked around calling it " kelchella " the whole weekend. colby threatened to shove kellin into a sand dune and luke and braxton were just happy to be there
Tyondai Braxton Telekinesis (Nonesuch / New Amsterdam)
Horse Lords Comradely Objects (RVNG Intl.)
Netherlands Kali Corvette (Three One G)
Burial Antidawn EP / Streetlands EP (Hyperdub)
Tess Tyler Fractals 1 and 2 (Bandcamp)
Gilla Band Most Normal (Rough Trade Records Ltd)
Blanck Mass Ted K OST (Sacred Bones)
Colin Stetson Chimaera I (Room 40)
Ben Frost Broken Spectre / 1899 OST (Vinyl Factory / Invada)
Young Gods Data Mirage Tangram (TYG)
Leya Eyeline (NNA tapes)
Hatis Noit Aura (Erased Tapes)
Party Dozen The Real Work (Temporary Residence Limited)
Fuck Money Self Titled (Three One G)
Yonatan Gat American Quartet (Stone Tapes)
Loraine James Building Something Beautiful For Me (Phantom Limb)
Cinematic Orchestra In Motion #1(Ninja Tune)
King Gizzard and the Lizard Wizard Changes (KGLW)
Persher Man With The Magic Soap (Thrill Jockey)
Volker Bertelmann All Quiet On The Western Front OST (Netflix Music)
Kid Congo Powers Some New Kind Of Kick (Book)
Duet (Other Minds) 2021 by Anthony Braxton and James Fei
Lurching starts and sudden halts — 2021 was the kind of year that could strip your transmission. The advent of a vaccine for COVID-19 made it look like things might go back to some sort of normal. The virus’s adroit pivot to a weaker, but more infectious variant, and humanity’s disinclination to let a moderately effective intervention do what it could, were enough to make anyone feel like saying, fuck it. But Anthony Braxton wears glasses that are tinted with a color that has no name, but is described by philosophers as “far brighter than seems possible, and better than we deserve.” Some guys in their mid-70s might have spent the fall of 2021 laying low. He spent it shuttling between gigs on a couple of continents in order to introduce a new musical system called “Loraine.”
I got to seen one such introductory concert at Skanu Mezs, a festival in Riga, Latvia. He, accordionist/singer Adam Matlock, and trumpeter Susana Santos Silva tore through intricate, converging figures at a daunting path, flipping madly through their respective scores while their instrumental voices forged through a flickering mist of electric sound. The next day, I got to sit in while Matlock taught a class at the local conservatory. A veteran of Braxton’s ZIM system, he described the task of navigating Braxton’s incredibly dense scores, with the composer joshingly admonishing musicians that if they play everything on the page, he’ll fine them $1000. The musician’s task, it seems, is to find a way through score, gleaning from it a passage that worked with what every other musician around them played. They improvised by navigating written material, rather than elaborating upon it.
The next week, Braxton played at another festival, Other Minds in San Francisco. His accompanist this time was James Fei, an associate since 1996. Each brought several saxophones — Braxton played sopranino, soprano and alto, and Fei played sopranino, alto and baritone saxophones — and a laptop operated by Braxton managed a program that generated long, glassy tones in response to what they played. They performed a new piece, Composition No. 429, which introduces the Loraine system to Braxton’s discography. One doesn’t need to know about all that novelty to be impressed; the experience of two masters executing precision maneuvers in close formation, then diverging, then pulling up close again, for nearly three quarters of an hours does that. Despite the pace, their progress through the piece is quite methodical, as they address passages of long tones, zig-zag melodies and prescribed attacks that range from pure tones to vocalized gargles. Phrases recur, signaling changes in approach. In one way, the music feels like it looks backward as well as forward, since the Braxton’s angular forms feel similar to music that he and Roscoe Mitchell each played during the 1960s and 1970s.
While the music’s form is rigorous, its execution is a blast to hear. It’s rather like witnessing a couple of barnstormers doing barrel rolls and buzzing pastures with their biplanes, then pulling up their noses to punch through a halo of electronic sound. Don’t say fuck it, this music seems to say. Instead, aim high, and see how far into the atmosphere a motivated human can fly.
What a Big Ears Festival weekend! Thanks to everyone in Knoxville and to all the Nonesuch artists past, present, and future there making incredible music, conversation, and more, helping to celebrate the label's 60th anniversary: Mary Halvorson, Tyondai Braxton, Yasmin Williams, Hurray for the Riff Raff, Wayne Horvitz, Darcy James Argue's Secret Society, Brad Mehldau, Sam Amidon, Ringdown, Molly Tuttle & Golden Highway, Laurie Anderson, Rhiannon Giddens, Robin Holcomb, Kronos Quartet, and Davóne Tines. And to Michael Wilson for the exhibit of Nonesuch artist photos from the past 25 years (and for commemorating this year's festival). Here's to many more in the years to come!
Tour organizer Le'Troy Davis, who organized Tamar Braxton's Love and War Tour, went on social media threatening to reality tv star Chrisean Rock over ruining the event. He claimed she physically assaulted James Chanel Wright, because she allegedly thought she was suppose to perform and didn't.
People were wondering if it was true, since the victim hadn't spoken out. But now Tamar herself and James Wright Chanel have both confirmed Chrisean did get physical. "She was mad she didn't get to perform her ringtone," Davis explained.
James Chanel Wright, who is Tamar's best friend and also the one who made Patti Labelle's Patti Pies go viral, then confirmed that Chrisean did assault him.
This is the statement Chanel made to people blaming Tamar for having even invited Chrisean in the first place.
Chrisean has a history of violent behavior, including attacking her former stylist at a red carpet event, as well as in the reality show she's on:
She's also set up her sister, Tesehki, to be jumped.
Dave Holland: Crafting Jazz Landscapes with Bass Mastery
Introduction:
Dave Holland is a modern jazz legend known for his innovative achievements as a bassist, composer, and bandleader. With a five-decade career, his work crosses conventional bounds, embracing a range of styles from avant-garde to post-bop. This blog post dives into Dave Holland’s life, artistry, and influence as an artist who has made an unforgettable impression on the world of…
Redarina pulled Liz out of the flames. The scene from 8.20 where Red flashes back to the night of the fire is a direct parallel to the scene from 8.21 when Katarina flashes back to going in after Liz.
See gif 4 and 5 for reference. The part where the person with the coat and gloves takes Liz out of the closet and walks her down down the hall grasping her little hand in theirs. We later find in Nachalo that it was Katarina carrying her out.
Look closely. In Reds gif from 8.20 they play it super fast.