ioerror Jacob Appelbaum

State Terrorism of our individual lives is the most relevant Terrorism to everyday Americans. We must resist it at every opportunity.

Edgar Varèse and the Jazzmen

Edgard Varèse conducts a workshop with jazzmen Art Farmer (trumpet), Hal McKusik (clarinet, alto sax), Teo Macero (tenor sax), Eddie Bert (trombone), Frank Rehak (trombone), Don Butterfield (tuba), Hall Overton (piano), Charlie Mingus (bass), Ed Shaughnessy (drums), probably John La Porta (alto sax)... We don't know who is on vibes... It might be the first free jazz recording (totally unissued) of History of Music. Varèse might have influenced jazzmen or was he only aware of what was happening on the jazz scene? No matter of the answer, it's a bomb, as this music is 3 years earlier than Free Jazz by Ornette Coleman! We also know Charlie Parker wanted to study with Varèse in autumn 1954 but the composer flew to Europe to conduct Déserts. When he came back to New York in May 1955, Parker had already died. We also know that Varèse used to listen to John Coltrane at the Village.
Between March and August 1957, these Sunday jam-sessions were followed by arranger George Handy, journalist Robert Reisner, composers James Tenney, Earle Brown and John Cage, choreographer Merce Cunningham. The organizers were Earle Brown and Teo Macero who will become Miles Davis' producer among others. Varèse used certain extracts of the workshop for his Poème électronique.
The original of this tape is at Fondation Paul Sacher.
Please excuse the crappy audio quality, it is the best we have.
MP3s: 01 | 02 | 03 | 04 | 05 | 06 | 07 | 08 | 09 | 10 | 11 | 12 | 13 | 14 | 15 | 16 | 17 | 18 | 19
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RIP Peter Przygodda (1941 - 2011)

Peter Przygodda, the renowned editor who worked with Wim Wenders, Hans-Jürgen Syberberg, Volker Schlöndorff, Hans W Geissendörfer, Reinhard Hauff, Klaus Lemke, Peter Handke and Romuald Karmakar, has died at the age of 70. He was, as Ekkehard Knörer writes in die taz, the most important editor — a term he preferred over another commonly used in Germany, "Cutter" — of the New German Cinema of the 70s and early 80s.
Though he'd originally intended to become an architect, Przygodda founded a small theater with Rolf Zacher and shot his first short film in 1969, Der Besuch auf dem Lande (The Visit to the Country), with Zacher taking on the lead role. Later that same year, he began working with Wenders on Summer in the City, striking up a friendship and professional partnership that would see them all the way through Palermo Shooting in 2008. Przygodda won the German Film Prize (Gold) for his work on Wenders's The Wrong Movement (1975) and The American Friend (1977). Having edited nearly 100 films over four decades, he became, as Oliver Baumgarten puts it in Schnitt, a master of the "invisible" cut.
Przygodda also worked for many years with Irmin Schmidt of the legendary Krautrock group Can and, in 1971/72, shot the concert film with the straightforward title, Can.Viewing (7'16"). The Cine-Fils interview with English subtitles. 
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