Tag Archives: music

“Toaster Tribute by Heywood Banks” Sponsored by the Toast marketing board (yeah Toast!)

“Toaster Tribute by Heywood Banks”

Via @jadeparfitt.

Perfection.

We Close Our Eyes – a lesson in rhythm

Psychemagik + Ludovico Einaudi = ace driving-at-night music

Tom says: “This is our trippy take on a beautiful Classical Piano piece by the Legendary Ludovico Einaudi….

“Turin born Ludovico Einaudi’s unique style of composition has garnered him global recognition for his music’s use in films and advertisements. He is arguably the most prolific contemporary composer. Crossing musical boundaries in 2011 Einaudi became the fourth most published artist behind Adele, Mumford & Sons and Glee. Championed by Radio 1′s Greg James and sampled on Professor Green’s ‘Astronaut’, in 2013 Einaudi became the first classical artist to smash through the digital/physical sales barrier, selling 72% of his album ‘In A Time Lapse’ as digital downloads. He is headlining iTunes festival on Sept 17.”

Here’s the original:

+ + + b o n u s t r a c k + + +

Vocals only — Abbey Road

Saw this on Kottke, it’s amazing. Follow the links for more a capella:
 

 

Many more isolated vocal tracks are available on this subreddit. Here are the instructions for making your own isolated vocal tracks with Audacity, the same open source audio processing app that Tim used to make his slow jams. (thx, tim)

 

 

Everyone

Jean Michel Jarre – The China Concerts, 1981 (full)

The first proper outdoor concert I went to was Jean Michel Jarre, when he played the Docklands in the early/mid Eighties. Mad crazy space music and lasers all over the shop. I didn’t know about the China concerts. Must have been an amazing experience. Synth-pop pioneer!

VientDeMe says: “The Concerts in China was a concert tour by Jean Michel Jarre, notable for marking the opening of post-Mao China to live Western music, in 1981. Five concerts were held in the two biggest cities, for an estimated audience of 120,000 spectators, on October 21 and 22 in Beijing, and on October 26 through 28 in Shanghai.

“The concerts were filmed and recorded for commercial releases. Due to the low quality of the recorded sound, the tracks were enhanced (overdubbed) for the release of the double album The Concerts in China.

“An 80-minute documentary entitled ‘Jean-Michel Jarre – China Concerts 1981′ was made by producer/director Andrew Piddington for Central Television in the UK. It was shown once in 1982 on the ITV network in the UK, and did not receive a video release until 1989, when a VHS-video was released. The film was partially released by Shock DVD in Australia in 2008, but they were prevented from selling it by Jarre and record label Disques Dreyfus. The release was not from the master tapes, but from an ‘off-air’ Australian TV showing, so the quality was imperfect. The film has yet to receive an authorised, high-quality DVD release.”

James Rhodes: ‘Find what you love and let it kill you’ (The Guardian)

My life as a concert pianist can be frustrating, lonely, demoralising and exhausting. But is it worth it? Yes, without a shadow of a doubt

'Isn't it worth fighting back in some small way?' Pianist James Rhodes. Photograph: Dave Brown 2012

After the inevitable “How many hours a day do you practice?” and “Show me your hands”, the most common thing people say to me when they hear I’m a pianist is “I used to play the piano as a kid. I really regret giving it up”. I imagine authors have lost count of the number of people who have told them they “always had a book inside them”. We seem to have evolved into a society of mourned and misplaced creativity. A world where people have simply surrendered to (or been beaten into submission by) the sleepwalk of work, domesticity, mortgage repayments, junk food, junk TV, junk everything, angry ex-wives, ADHD kids and the lure of eating chicken from a bucket while emailing clients at 8pm on a weekend.

Do the maths. We can function – sometimes quite brilliantly – on six hours’ sleep a night. Eight hours of work was more than good enough for centuries (oh the desperate irony that we actually work longer hours since the invention of the internet and smartphones). Four hours will amply cover picking the kids up, cleaning the flat, eating, washing and the various etceteras. We are left with six hours. 360 minutes to do whatever we want. Is what we want simply to numb out and give Simon Cowell even more money? To scroll through Twitter and Facebook looking for romance, bromance, cats, weather reports, obituaries and gossip? To get nostalgically, painfully drunk in a pub where you can’t even smoke?

What if you could know everything there is to know about playing the piano in under an hour (something the late, great Glenn Gould claimed, correctly I believe, was true)? The basics of how to practise and how to read music, the physical mechanics of finger movement and posture, all the tools necessary to actually play a piece – these can be written down and imparted like a flat-pack furniture how-to-build-it manual; it then is down to you to scream and howl and hammer nails through fingers in the hope of deciphering something unutterably alien until, if you’re very lucky, you end up with something halfway resembling the end product.

What if for a couple of hundred quid you could get an old upright on eBay delivered? And then you were told that with the right teacher and 40 minutes proper practice a day you could learn a piece you’ve always wanted to play within a few short weeks. Is that not worth exploring?

What if rather than a book club you joined a writer’s club? Where every week you had to (really had to) bring three pages of your novel, novella, screenplay and read them aloud?

What if, rather than paying £70 a month for a gym membership that delights in making you feel fat, guilty and a world away from the man your wife married you bought a few blank canvases and some paints and spent time each day painting your version of “I love you” until you realised that any woman worth keeping would jump you then and there just for that, despite your lack of a six-pack?

I didn’t play the piano for 10 years. A decade of slow death by greed working in the City, chasing something that never existed in the first place (security, self-worth, Don Draper albeit a few inches shorter and a few women fewer). And only when the pain of not doing it got greater than the imagined pain of doing it did I somehow find the balls to pursue what I really wanted and had been obsessed by since the age of seven – to be a concert pianist.

Admittedly I went a little extreme – no income for five years, six hours a day of intense practice, monthly four-day long lessons with a brilliant and psychopathic teacher in Verona, a hunger for something that was so necessary it cost me my marriage, nine months in a mental hospital, most of my dignity and about 35lbs in weight. And the pot of gold at the end of the rainbow is not perhaps the Disney ending I’d envisaged as I lay in bed aged 10 listening to Horowitz devouring Rachmaninov at Carnegie Hall.

My life involves endless hours of repetitive and frustrating practising, lonely hotel rooms, dodgy pianos, aggressively bitchy reviews, isolation, confusing airline reward programmes, physiotherapy, stretches of nervous boredom (counting ceiling tiles backstage as the house slowly fills up) punctuated by short moments of extreme pressure (playing 120,000 notes from memory in the right order with the right fingers, the right sound, the right pedalling while chatting about the composers and pieces and knowing there are critics, recording devices, my mum, the ghosts of the past, all there watching), and perhaps most crushingly, the realisation that I will never, ever give the perfect recital. It can only ever, with luck, hard work and a hefty dose of self-forgiveness, be “good enough”.

And yet. The indescribable reward of taking a bunch of ink on paper from the shelf at Chappell of Bond Street. Tubing it home, setting the score, pencil, coffee and ashtray on the piano and emerging a few days, weeks or months later able to perform something that some mad, genius, lunatic of a composer 300 years ago heard in his head while out of his mind with grief or love or syphilis. A piece of music that will always baffle the greatest minds in the world, that simply cannot be made sense of, that is still living and floating in the ether and will do so for yet more centuries to come. That is extraordinary. And I did that. I do it, to my continual astonishment, all the time.

The government is cutting music programmes in schools and slashing Arts grants as gleefully as a morbidly American kid in Baskin Robbins. So if only to stick it to the man, isn’t it worth fighting back in some small way? So write your damn book. Learn a Chopin prelude, get all Jackson Pollock with the kids, spend a few hours writing a Haiku. Do it because it counts even without the fanfare, the money, the fame and Heat photo-shoots that all our children now think they’re now entitled to becauseHarry Styles has done it.

Charles Bukowski, hero of angsty teenagers the world over, instructs us to “find what you love and let it kill you“. Suicide by creativity is something perhaps to aspire to in an age where more people know Katie Price better than the Emperor concerto.

* James Rhodes performs at the Soho Theatre, London 25-27 July and 1-3 August.

As seen in The Guardian, spotted by Charlie W.