The Warsaw-based club night Brutaż is helping to shape Poland's underground through thoughtfully curated parties and strong politics behind their grassroots ideals. Here's a new mix showcasing their style, to give a small taste of what to expect at the surprise room they will present at Unsound 2015.

In the words of Brutaż's founder: "There are many forms of dancing. Some of them are just a fad and a pose, others result from state-of-the-art entertainment. We're interested in neither. Rhythm results in movement. It's unavoidable, no matter how odd the tempo, context and environment. This mix is a tip of the hat to nobody, the nobody who dances. Nobody is the most outstanding dancer at Brutaż."

Unsound Podcast 24: Brutaż

Paonga Sea

Spice Village

Lyrics:

There was a place beyond the pale,
Thousands of miles that a man would sail.
Busy streets all paved in gold.
Anyone can make it here, or so I’m told.

There she stands the light and the law in her hands.
Beautiful as can be, set my spirit free.

Chorus:
She’s got a lot of love to give,
That don’t make it for free.
She’ll have you spending all your money
From sea to shining sea.
I’ll cross any bridge to her,
I’ll ride any rail.
Cant keep a promise,
But she sure can tell a tale.

I saw your face bleak in the bay,
Eyes cold as stone as you were telling us please stay.
A cinderella story, bell of the ball.
Knocking on your door I’m at your beck and call.

Lady liberty looking right down on me.
Bureaucratic as can be living under a fee.

Chorus:
She’s got a lot of love to give,
That don’t make it for free.
She’ll have you spending all your money
From sea to shining sea.
I’ll cross any bridge to her,
I’ll ride any rail.
Cant keep a promise,
But she sure can tell a tale.

Tell Tale

Excerpt from side B of 'Gog Magog' on We Are One (WAO 001)

T.D. / S.S. "On The Rocks!" (excerpt)

Recorded in Chicago, Toronto, and Manhattan, 2019
Mastered by Mikey Young
John Daniel: Turntable (Debussy's La Mer), Signal Processing, iPhone
Photograph Taken By Ed Stuparitz

forestmanagementadr.bandcamp.com/album/after-dark

Forest Management - The Blue Light Blues

Dustywave

My Life Is Music

Dustywave Part 5: My Life Is Music

slipsilver

justin

Thirst idea fire company/SahelSounds of Sahara/Gordon Hempton Solitude/Genggong II David Attenborough/Ocigam Trazom Christina Kubisch/Pierre Mariétan Rose Des Vents IIB Camp 2 Gir Jenssen/ 3 Hour Delay Packed Inside the Plane (Shenzen/Hong Kong) Grzegorz Bojanek/Joe McPhee Graham Lambkin Chance Meeting /Voices From Possessed Children (1978) Okkulte Stimmen/ EX HK. Side B Hans Kruesi+Endless Humiliation The Gerogerigegege/Halim El-Dabh Leiyla Visitations 2/Desert Lizards & Insect Solo G Hempton/Mahalid Destin Manambitamby/Aaron dilloway mudwalk, more Thirst idea fire,K&K Shots/Jeph Jarman Recording of Hail/Arno Peeters Elements/Incident at Ras Oumlil Jos Smolders/ Jag en gök Hans Appelqvist/John Tilbury, Keith Rowe, Kjell Bjørgeengen Sissel/Tom Didn’t Get the Right Gift Mechanical Sterility/Sheep Wind Fence Flute recorded on Dartmoor 1971 David Toop/Tomoyuki Aoki, Harutaka Mochizuki, & Hasegawa-Shizuo Enka Moods/Jem Finer Water and Birds/Birds Pauline Oliveros + Andrew Deutsch/World Trade Center 1999: Processing Sound through a window on the 91st floor, facing North  - Stephen Vitiello

DISSOLVE IN THE PRESENT

'Organic Music Theatre: Festival de jazz de Chateauvallon 1972' is available at https://blankforms.org/publication/don-cherrys-new-researches-featuring-nana-vasconcelos-organic-music-theatre-festival-de-jazz-de-chateauvallon-1972/

In the late 1960s, the American trumpet player and free jazz pioneer Don Cherry (1936–1995) and the Swedish visual artist and designer Moki Cherry (1943–2009) began a collaboration that imagined an alternative space for creative music, most succinctly expressed in Moki’s aphorism “the stage is home and home is a stage.” By 1972, they had given name to a concept that united Don’s music, Moki’s art, and their family life in rural Tagårp, Sweden into one holistic entity: Organic Music Theatre. Captured here is the historic first Organic Music Theatre performance from the 1972 Festival de jazz de Chateauvallon in the South of France, mastered from tapes recorded during its original live broadcast on public TV. A life-affirming, multicultural patchwork of borrowed tunes suffused with the hallowed aura of Don’s extensive global travels, the performance documents the moment he publicly jettisoned his identity as a jazz musician, and represents the start of his communal “mystical” period, later crystallized in recordings such as Organic Music Society, Relativity Suite, Brown Rice, and the soundtrack for Alejandro Jodorowsky’s The Holy Mountain (1973).

The musicians in Don Cherry’s New Researches, hailing from Brazil, Sweden, France, and the US, converged on Chateauvallon from all over Europe. The five-person band—Don and Moki Cherry, Christer Bothén, Gérard “Doudou” Gouirand, and Naná Vasconcelos— performed in an outdoor amphitheater and were joined onstage by a dozen adults and children, including Swedish friends who tagged along for the trip and Det Lilla Circus (The Little Circus), a Danish puppet troupe based in Christiania, Copenhagen. The platform was lined with Moki’s carpets and her handmade, brightly colored tapestries, depicting Indian scales and bearing the words Organic Music Theatre, dressed the stage. As the musicians played, members of Det Lilla, led by Annie Hedvard, danced, sang, and mounted an improvised puppet show on poles high up in the air.

The music in the Chateauvallon concert aspired to a universal language that purposefully sought to bring people together through song. In a fairly unprecedented move, Don abandoned his signature pocket trumpet for the piano and harmonium, thereby liberating his voice as an instrument for shamanic guidance. The show opens with him beckoning the audience to clap their hands and sing the indian theta “Dha Dhin Na, Dha Tin Na,” and the set cycles through uplifting and sacred tunes of Malian, South African, Brazilian, and Native American provenance—including pieces that would later appear on Don’s albums Organic Music Society and Home Boy (Sister Out)—all punctuated by outbursts of possessed glossolalia fromm the puppeteers. “Relativity Suite, Part 1” notably spotlights Bothén on donso ngoni, a Malian hunter’s guitar, prior to Vasconcelos taking an extended solo on berimbau. A vortex of wah-like microtonal rattling, Vasconcelos’s masterful demonstration of the single-stringed Brazilian instrument is a harbinger of his work with Don to come as the acclaimed Codona. The sounds of children playing on the ensemble’s achingly tender rendition of Jim Pepper’s oft-covered beacon of spiritual optimism, “Witchi Tai To,” lends the proceedings an especially intimate, domestic glow. Given the context of the star-studded international jazz festival, the Cherrys’ laid back, communal vibe feels like an attempt to show Don’s jazz audience that he was moving on. But at the same time, it was also a warmhearted invitation for them to come along for the ride.

Don Cherry's New Researches featuring Naná Vasconcelos - Ganesh

Non-profit curatorial platform for ⏳-based art.

Don Cherry's New Researches featuring Naná Vasconcelos - Ganesh

Blank Forms

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