Send Me Your Money, Chris Burden (1979)
Send Me Your Money, Chris Burden (1979)
The artist asks the listeners to imagine sending him money. Broadcast on KPFK, Close Radio, (recorded live) March 21, 1979, 55 min. 45 sec.
I Will Begin a Journey – Jim Goodin (2011)
I Will Begin a Journey – Jim Goodin (2011)
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Jim Goodin is a Brooklyn-based musician who frequently contributes to ImprovFriday. “I Will Begin a Journey” is a simple folk tune that begins with a series of pizzicato arpeggios that are looped, creating an infectious texture that is complimented by the tune that emerges towards the middle. This is excellent traveling music!
Ground Machine, (After Purcell) Lloyd Rodgers (1984)
Ground Machine (After Purcell), Lloyd Rodgers (1984)
performed by the Cartesian Reunion Memorial Orchestra
this groundbreaking group featured compositions by Michael Bayer, Chuck Estes, Douglas Hein, William Houston, Steve Moshier, Frank Riddick, and Lloyd Rodgers. at various times, the orchestra featured musicians Jannine Livingston, harpsichord; John Glenn, bass; Lloyd Rodgers, clarinet and keyboard; Douglas Hein, acoustic guitar; Diana Halpern, violin; Joeseph Goodman, violin; and Michael Baer, violincello
http://www.lloydrodgers.com/
The Fulcrum; Elliot Cole and Brad Balliett (2011)
The Fulcrum, Elliot Cole and Brad Balliett (2011)
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Lyrics:Elliot Cole
Music: Brad Balliett and Elliot Cole
from the album The Oracle Hysterical 2011
via the Elliot Cole Website
The religious imagination – with its long memory, appetite for layering metaphors on metaphors, and genial ‘suspension of disbelief’ – often strikes me as more dazzling and profligate than the secular, ‘artistic’ imagination. Whereas the market-pressed artist today chases difference, the religious imagination pursues resonance, drawing on deep cultural memories and freely (re)mixing words, images, symbols and references to that end. This EP – my first experiment writing rhymes and rapping them – was a project of this kind of imagination. As I wrote this ‘history of the world (to c.2000BCE)’ I worked hard to layer each image on a resonant one from a distant source: the Biblical Wheels of Gagallin are imagined as the spinning circles that draw sine waves, sine waves as the regular crest-and-trough of farmland and irrigation channel, irrigation channels as formants in a tone. The result: my own personal mythic syncretism of folk cosmogonies, Lucretian materialism, fake Deleuze, Mesopotamian history, acoustics and, well, a hundred other things.
