Muusika - Uno Naissoo
Sõnad - Heldur Karmo
Seade ja esitus - Vaiko ja Priit
Salvestas ja miksis - Peeter Salmela
Mortimer Snerd Records 2021

Joyguns - Kui käes on jaanipäev

Klaveripala Subbi filmile

This mix is admittedly a bit outside of the kind of music we usually feature in our mixes, but we have always prided ourselves on our range. The influence of Brazilian music is far reaching, and can be heard in musicians as different as the Sea and Cake, Jon Hassell, Madlib, and Chick Corea's Return To Forever. As a flutist in my youth, I had encountered some of the standard Bossa Nova and Samba tunes through the jazz world, most notably via Stan Getz's classic collaboration with João Gilberto. But in 2007 Matthew Hayes Jacobs passed me two CDRs he'd burned of an excellent playlist he'd compiled of Brazilian music, introducing me to Caetano Veloso, Gilberto Gil, Quarteto Em Cy, Djavan, and many others. I found Veloso's "Lost in Paradise" to be so disorienting—with its psychedelic lead guitar,  surreal lyrics in broken English, and smooth string accents punctured by discordant brass arrangements—that I quickly found myself down the rabbit hole of Tropicalia, Oswald de Andrade's "Cannibalist Manifesto," the fiction of Clarice Lispector, and the history of Brazil's military dictatorship. I owe a lot to those two CDRs. So when my old friend Matthew recently released a couple songs under the moniker Sage of New England, I thought I would invite him to produce a new mix to share his love of Brazilian music with our readers. 

I'd always heard rumors from mutual friends of Matthew's skills as a musician and songwriter, but he had never released any recordings. Luckily that's finally changed, and in 2021 he's begun to release singles on Bandcamp and other platforms. Sage of New England is Matthew's new project with producer Justin Tracy, taking its name from a one of Matthew's songs about a woman who becomes disillusioned by her search for inner peace, but who learns from a farmer that wisdom can be found anywhere. There is an undercurrent of Buddhist imagery and narrative in Matthew's work, which reminds me that I am also indebted to him for introducing me to the writings of Shunryu Suzuki. I think you'll find some of that spirit in his songs "Fire Tales" and "Encounter with a Guide," which their rhythmic propulsion, beautiful chord voicings, and plaintive singing style. The influence of his beloved Brazilian music should be apparent, but he also brings this mindful attention to the careful pacing of this mix. Enjoy.

Read more at www.acloserlisten.com

Find Matthew's music at https://sageofnewengland.bandcamp.com/




TRACKLIST

0:00 Milton Nascimento - Ponta De Areia

5:10 Joyce - Aldeia de Ogum

9:34 Vinicius de Moraes - Voce Abusou

12:07 Milton Nascimento - Os Escravos de Jo

15:05 Herbie Mann - Consolocao

19:25 Baden Powell feat Quarteto Em Cy - Canto de Xango

24:01 Sergio Ricardo - Conversacao de paz

27:09 Milton Nascimento - Dancing

29:32 Milton Nascimento and Lo Borges - Um Girassol da Cor de Seu Cabelo (1997)

31:01 Milton Nascimento and Lo Borges - Clube Da Esquina N°2 (1997)

33:45 Gal Costa - Lagrimas Negras

37:17 Joyce and Elza Soares - Samba De Silva

40:38 Antonio Carlos Jobim and Paulinho Jobim - Eu E O Meu Amor

42:12 Milton Nascimento - Os Povos

MHJ's Brazilian Classics Mix (with plenty of Nascimento)

Jälgi mind:
https://found.ee/haldi

Albumilt "Taevalaed"
Originaallugu ning autor: Luisa Sobral “So um beijo”
Eestikeelne tekst: Haldi Välimäe
Esitaja - Haldi
Mix - Vaiko Eplik
Master - Peeter Salmela
Kujundus - Anna-Liisa Sääsk ja Inessa Saarits

Sõnad:
Armasta mind
kuuvalgel
ja kui uttu upub maa
Vaatan sind
pisar palgel
aina rohkem sind ihkan ma
Kui öö su peale langeb
üks suudlus kingi mul veel
ja enne kui
uni sind viib
ja rändab eemale su meel

Su huultel on kevad
ja kätel on suvi
ja silmad on selged kui hommiku-lumi
nüüd poe
mu kaissu poe
mu arm

Mul oma lugu laulda
osa sellest kallis oled sina
Seal jooksed paljajalu randa
korjad laintelt vahtu
tulen mina
Nii käsikäes saab suvest talv
aeg mööda läeb
kuid mis jääb ka siis kui langeb lund või lehti
on me arm
see on jääv

Sest su huultel on kevad
ja kätel on suvi
ja silmad on selged kui hommiku-lumi
nüüd poe
mu kaissu poe 

HALDI - Taevalaed 2021

Haldi - Suudlus

Main theme for SAAL Biennaal festival 2021 podcast "eˉlektron signal. SAAL Biennaal radio".

Performed this tune on a jazzmaster guitar I recently acquired - I've always wanted one.
Recorded in August '21

Learn more:
elektron.art/signal
elektron.art/
saal.ee/festival/saal-biennaal-2021-2280/program/

elektron signal. SAAL Biennaal radio - Main Theme

Salga poliitpodcastide teises väljaandes on Tarmo Jüristol külas Eesti poliitikasse ja sotsiaalteadustesse hiiglasliku panuse andnud Marju Lauristin. Jutuks tuleb Eesti väärtusruumi ja poliitika areng 30 aasta jooksul ja meie sotsiaalteaduste roll nende muutuste mõistmisel. Ühtlasi tuleb välja, et Eesti ühiskond on kerakujuline!

Muusika ja toimetamise eest kandis hoolt Janek Murd.

SALGA PODCAST 02: Marju Lauristin

02 Pallas

Broadcast on WNYU 89.1FM in New York City on August 11th, 2020.
https://soundcloud.com/khotin
https://beatsinspace.net/playlists/1055/ 
Support BIS: https://www.patreon.com/beatsinspace 
https://beatsinspace.bandcamp.com
Leave a message on the BIS Hotline: 646-481-8189

beatsinspace.net

BIS Playlist

BIS Radio Show #1055 with Khotin

"CLAMS"

Estonian violinist & singer Maarja Nuut & LA’s psyche-experimentator Sun Araw hand in gentle, unpolished improvisations on their collaborative album “Fantasias for Violin & Guitar” recorded live on location by Jackson Bailey.

12" vinyl LP out 10.10.2020
www.mida.bandcamp.com
Distributed by Rubadub.

Fantasias for Violin & Guitar

Maarja Nuut & Sun Araw – Clams

Psühhodisko @ IDA raadio 220920: 
Eesti filmi ja OST muusika vinüülil

Uno Laht ‎– Meremehe kiri. Laule Uno Lahe sõnadele (Мелодия 1979)
B1 - Ülle Ulla - Linn udus 

Rain - Misha Panfilov (Funk Night Records 2020)
A1 - An unexpected meeting 

Olav Ehala ‎– Muusika filmist "Don Juan Tallinnas" (Raadio Kohila Records 2020)
B1 - Vaid see on armastus

Sven Grünberg ‎– Anima 1977-2001 (Frotee 2016)
A2 - Naksitrallid

Ülo Vinter ‎– Väiksed nipid  (Мелодия 1986)
A1 - Pipi laul

Soviet Hippies (Cece Music 2018)
B1 - Suuk - Statistiline 

Sven Grünberg - Mess - Hukkunud alpinisti hotell (Мелодия 1980)
B2 - Nimetu

Janek Murd - Üks päev Mati Alaveri elus (Levila 2020)
B - Lunastus

Viimased - Veiko Õunpuu (not on label / promo 2020)
B3 - Spungin - Working Class Hero 

Olav Ehala - Laulud (Forte Studio 1992)
A2 - Vokilaul - Karoliine hõbelõng 

Eesti Pop 12 - B5 Sven Grünberg (Forte Studio 1992)
B5 - Sven Grünberg - Tulen kord jälle 

Песни Из Телефильма "31 Июня" (Мелодия 1979)
B1 – Jaak Joala - Любовь Нас Выбирает 

Buratino Lood  (Мелодия 1976) 
B2 - Naerulaul

Rain - Misha Panfilov (Funk Night Records 2020)
B4 - Expectation

Psühhodisko saade IDA raadios = idaidaida.net/shows/psuhhodisko

Muusika ja vinüüplaadid on pärit Psühhoteek plaadipoest
Music and records from Psühhoteek record shop
www.facebook.com/psuhhoteek/
www.instagram.com/psuhhoteek/
www.discogs.com/seller/Psuhhoteek/profile

Psühhodisko @ IDA raadio 220920: Eesti filmi ja OST muusika vinüülil

It's with great pleasure to welcome long time dear friend Jonny Nash (@jonnynash) who in 2019 released 'Make A Wilderness' with us (MFM037). Interview (excerpt) down below.

www.musicfrommemory.com

MFM: Hey Jonny, welcome to the series. So, it's already been over a year ago since Make A Wilderness came out. How do you look back on that now? 

JN: In many ways Make A Wilderness marked the start of a new chapter for me, the first steps into new territory - a wilderness you could say! That record was really about exploring a simple question - what kind of sounds resonate with me, and why. I think the record was primarily an exercise in sound, and not necessarily in arrangements or songwriting. I felt it was necessary to open the doors to new sounds in this record, and I feel like I got pretty close to creating the album that I wanted to make. 

MFM: You went to different places to record specific instruments and in certain environments. Why? 

JN: It took me a long time to make the record, not in terms of actually writing the music, but determining what the instrumentation should be. I wanted a finely balanced mix of alien, unfamiliar sounds and organic human sounds, to somehow express a feeling of “ancient future”, the sense of floating in some timeless space that could be millions of years in the past or in the future. I found that the Cristal Baschet, was perfect for expressing this feeling of “deep time”. Capable of beautiful harmonics and also wonderful atonal textures, it was a central part of the album. I contrasted these sounds with familiar instruments such as piano, vibraphone and voice. It was very important to have some sparse elements of voice in the record to somehow keep it grounded on earth. 

MFM: Have you always been that interested in sound and sound sculpturing?

JN: Well, I’m a naturally curious person and I think my brain and also my ears are always developing and learning new things. I think that I am able to hear sound in a different way than I did a few years ago. A big switch from focussing on melody as the dominant element that catches my attention. Of course, melody is still a central element for me but I now spend alot of time thinking about timbre, the colour of the sound and how the distinctive character of a sound sits in context with other sounds in a given composition. New ways of hearing influenced the record and took me to a place where “sound sculpting” was of equal importance as deciding what chords and melodies to choose. 

MFM: You mentioned earlier that the past couple of months your label Melody As Truth got a lot support through digital sales. Does that have effect on your label vision and strategy?

JN: The switch towards digital and especially streaming does undoubtedly have an effect on how I think as a label owner. It is pretty clear that this is an important area of growth and although there are lots of issues with certain platforms and revenue models, I find it important to keep on top of what is going on and try to adapt. In the future I can see the label experimenting more with digital only releases, I think there are interesting areas to explore here. Quiet dynamic music cut on vinyl in 2020 often sounds worse than a WAV file to my ears. I also buy hardly any vinyl myself these days, it is expensive, taxing on the environment and often a form of object fetishism. The other side is that a physical object looks amazing, can sound great, gives full importance to the artwork and design, can be treasured and won’t be lost. So a physical object is almost like an insurance policy for not losing the music too. I guess I’m sitting somewhere in the middle.

MFM: Thanks for contributing your mix. Can you tell us a bit about it?
 
JN: The mix is pretty much a selection of music I have been enjoying or discovered this year. A few older favourites too. I had no idea except to make something that I would enjoy listening to whilst having a walk or reading in the morning.

MFM Mix 020: Jonny Nash

A single word that would describe Janek Murd as a composer would surely be ’cinematic’.
His creations are thrilling, dramatic and powerful as well as warm, gentle and dreamy.
Janek started out in an indie supergroup Borax, now he is part of a hippie pop rock band 3Pead (3Heads), yet his main line of activity is the creation of music and sounds for movies, TV-shows, exhibitions and public spaces. Great music is also born simply out of love for the wonderful world of sounds. janek.murd@gmail.com

02 Pallas

Janek Murd

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