Dhafer Youssef again…

…because I just can’t seem to get enough of this guy.

Les Ondes Orientales‘:

Wow!

And check out this ensemble with that Norwegian guitarist, a beautifully brassy clarinet (to which there must be some sort of story), and a hammered dulcimer looking (but not played that way) zither instrument called a qanun, that I’ve not heard of before.

What a wonderful show this must have been.

Note to self:  do not pass up a chance to see this guy.

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Dhafer Youssef again: get a load of this guy!

For all its irritations and annoyances in this crazy, nascently-weaponized world of social media, YouTube remains an absolutely astonishing resource.  From Pandora I recently first heard Tunisian oud-ist (if that’s not a word, I think I should make it one) Dhafer Youssef, and was captivated by his sense of mood on his Ascetic Journey.  Today, simply on a lark, I thought I’d chase a link or two of his, on YouTube, and see where it led.

(cue sound of jaw dropping)

Holy smackers, Batman, get a load of this guy!  Let it never be said that cross-genre innovation and muttery is dead or even mildly unhealthy.  Wow!

First, check out Dhafer Youssef the vocalist, fully as impressive there as he is with the oud heroics, in “Delightfully Odd“:

Aside from that marvelous voice, the ensemble strikes me a whole lot like the small groups of Israeli bass wizard Avishai Cohen and fellow Tunisian Anouar Brahem–which is to say, for me at least, gloriously alive, engaging, and unapologetically athwart easy categorization.  A great group, captivating music, exquisite sound…and Youssef himself is infectiously engaging.

Next, I ran across “Winds and Shadows”, which…oh hell, just watch it:

Magnificent.  What a marvelous blend of traditions!

And as I hear more, I’m becoming even more impressed by his touch and dynamics, to achieve simply massive amounts of space within these pieces and groups.  Check out this trio, with the same Norwegian guitarist from the Winds and Shadows clip, along with trumpet and flugelhorn, in this medley:

Man…now I’m a huge fan of Miles’ interpretation of Aranjuez on the Gil Evans collaboration Sketches of Spain–“huge” as in, I hold up Miles’ absolutely heart-stopping “the softer you play it, the stronger it gets” solo in that piece as one of the finest musical moments I have ever heard, anywhere–and with that context for where the bar is set, I really like this arrangement and delivery.

So, I needed the bookmarks, if just for me!   🙂

 

‘Blockhead’, imagined…larger.

It’s fun when the Crafties in my TwitFace space show me new musicking things.  One great example, which deserves further posting, has been an introduction to Petra Haden’s a cappella work, among which she has done more than one King Crimson / Guitar Craft piece.  (Check out Hope, Red, and The Sheltering Sky (!);  she’s apparently keen to release an album of such that may wind up with the name “Sing Crimson”.)

This clip is of drummer Dan Moore, playing “Blockhead” on Steve Ball’s Tiny Orchestral Moments project, and it immediately made me wistful for GCCO.

Not only is it fun watching Dan, but the entire arrangement is pretty rich.  (As in:  possibly rich enough to be open to the “ensemble cast film” criticism…but hey, I’m a fanboy and I like it anyway.  🙂  )

Bookmarked!

Bobby McFerrin, just killin’ the point.

I have long felt that just about everybody “knows” basic music theory, even if they don’t have fancy names to go with the concepts.  Some things in life just tap directly into the human hindbrain.  I try to describe it, usually along these lines:  “Look, I could sit down and play a simple sequence of chords in a room full of ‘tone-deaf noobs’ , and yet everyone in that room will know–know–if I end the sequence ‘correctly’, or if I botch it.”  Seems to make sense to me, but I still get blank stares.

Well.  Perhaps my problem is that I use too many words* to try and make that point.  Behold the glorious gift of nature that is Bobby McFerrin, who needs no words at all to demonstrate what I would argue is very nearly the same idea.

Wow.  Just–wow.  It’s almost impossible for me, as an instructor and an advocate, not to get juiced when the audience responds perfectly to each successive, unannounced note.

I’m delighted to be able to point to such a great example of the “everyone understands already” idea, but hell, part of it is just the joy of watching a true master at work.  And McFerrin is at least that.  I recall vividly the first time I got to see him live;  he had a set at the Telluride Bluegrass Festival in 2005, which was awesome enough on its own (at that time I had some–some–idea of what he could do), but it was the usual TBF cross-pollinations that really took it beyond the planet.  When he came out and sat in with the trio of Béla Fleck, Jean-Luc Ponty, and Stanley Clarke (!!!), I figured it would be something spectacular, and it most certainly was!  But the actual high point, believe it or not, was when he guested on Alison Krauss’ set;  he said he wanted her to sing a particular tune of hers (don’t recall now what it was), and she agreed…and then Union Station (Krauss’ backing band, one of the most accomplished in the genre), clearly in on whatever this deal was, left the stage.  She seemed both giddy, to be singing with one of her heroes, and also a bit terrified, not to have her usual crew behind her, and not quite sure what was going to happen…but she took a deep breath and started singing…

And McFerrin “played” all the band’s parts, with his voice, at the same time, against Krauss’ vocal.  It was absolutely stunning;  I have never seen anything remotely like it.

So, by all means take the point from Bobby McFerrin, instead of from me.  Believe me, I don’t mind that a bit.  🙂

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* No snickering, now.