Re: [microsound] Re: electro-acoustic blues

["Mark R." <gnmark@xxxxxxxxx>]

Hi All,

I posted this earlier, so apologies if this same message is coming through
again, but I recieved the message below. Does anyone ever get these? Do I
need to reexamine my subscrption to microsound to post? Just wondering if
others are getting this message when posting. I had never heard of
postgate@blogger

Best,

Mark
  postgateway@xxxxxxxxxxx

 More options   5:36 am (2½ hours ago)  Blogger could not process your
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Original message:
From: gnmark@xxxxxxxxx
Date: Tue, 27 Jun 2006 19:32:53 +0900
Subject: Re: [microsound


On 6/27/06, Mark R. <gnmark@xxxxxxxxx> wrote:
>
>  Hi Jeff,
>
> Very interesting topic here and one that goes deep into many facets of
> capitalism mixed with the political and racist forces that were shaping the
> United States at this time. I for one am a believer that the blues was a
> call to a lost voice of emotion within a cold materialistic society. It
> wasn't only blacks that felt the blues, but all people who wanted to feel.
> The severe conditions forced upon our darker skinned brethren intensified
> these emotions to the point it became an absolute necessity that it come
> out.
>
> You have to keep in mind that even black Americans at the time sometimes
> had prejudices against this rooted music...due in part to the churches claim
> it was Satanic. B B King once claimed that to play the blues in those times
> was like being black twice. There are still roving musicians that recall the
> histories and ancestries of the villages through their songs in many parts
> of Africa, and are not so much a victim of prejudices, but of knowledge of
> the supernatural and therefore not part of any village, but more like a
> force of nature passing through and raining down ancestral knowledge.
>
> I look at the blues in it's present form as the voice of what is basic,
> and a call to common sense in a world that is increasingly becoming more and
> more complicated and out of balance. I am not sure how one comes to a
> connection with past bluesmen through the electronic recording process
> except to have a feeling of it and express it honestly with raw emotion in
> the moment.
>
> Best,
>
> Mark Ragsdale
>
>
>
> On 6/27/06, jeff gburek <tsazmaniac@xxxxxxxxx > wrote:
> >
> >
> > microsounders and steven,
> >
> > the material for bruce russell's recent release "21st
> > Century Field Hollers and Prison Songs" (available at
> > www.mattin.org) uses the material originally released
> > on the "a bruit secret" cd for further manipulation in
> > the "dub" experimental domain. the booklet given to me
> > by mattin states it is published in coo-operation with
> > ekskubalauron press, 2006. the text is debatable but
> > interesting:
> >
> > "...the blues were literally made by the recording
> > process...For the Bluesman the long road from
> > plantation to obscurity to international fame was
> > first marked out with 78 sides and later singles and
> > albums. I know plnety of rock musicians who have
> > meausured their days on earth in exactly this way,
> > between records." --Bruce Russell
> >
> > the stance might be appealing to post-capitalists,
> > post-modernists and archaeologists. on this list we
> > have heard that "folk music is a discourse". i dont
> > neccessarily disagree. but to take bruce one step
> > backward, as his title suggests, i.e. one step
> > backward in the history of blues (while his recording
> > of his "recording" takes one step forward into
> > dub--which sounds more scaheffer than tubby to me)
> > begs the question: if the blues was entertainment
> > industry music then what of prison songs? what of
> > remoteness, incarceration, loneliness, slavery? is
> > there no feeling that preceded the blues? is the
> > feeling we associate with blues an affect of recording
> > only? were there no fields for the field
> > hollers---just scratchy grooves of a smithsonian lp?
> >
> > in this respect take Tetuzi Akiyama's "don't forget to
> > boogie" --where he uses tape delayed guitar (also a
> > comment on the use of history). he has a choice when
> > to turn on or turn off the proceedings of "history"
> > (i.e. the recording process) and when he recorded the
> > original takes he had a friend turn the machine on and
> > off. is it the comment on the recording process that
> > itself makes it "microsound"? it is a big question
> > that takes on the "identifiction" of microsound
> > itself. is history (a recording) made with erasures or
> > with memories? sampling itself is always a record of a
> > data transaction. is all granular "ideology" available
> > to you in the turntable or tape-machine?
> >
> > i'd like to hear some comments on this.
> >
> >
> >
> >
> > j.ff gbk
> >
> > http://www.futurevessel.com/orphansound/
> >
> > http://www.mattin.org/desetxea.html
> >
> > http://www.djalma.com
> >
> > __________________________________________________
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> >
> >
>
>
> --
> Mark Ragsdale
>
> www.moonbridges.com
>



-- 
Mark Ragsdale

www.moonbridges.com