I Did the Number (documentary trailer)
Percussionist and instrument-maker Cleve Pozar is one of the most curious of New York’s under-sung improvisers. He may not perform frequently and his recordings are few in number and entirely scarce, but his position is something like an elder griot of musical possibility living in Brooklyn. Born in Eveleth, Minnesota in 1941 as Robert F. Pozar, he relocated to Ann Arbor to study at the University of Michigan and fell in with avant-garde composers and instrumentalists involved with the ONCE festival. His early collaborators included Robert Ashley, Gordon Mumma, and a young, experimental Bob James. Pozar relocated to New York in the mid-1960s, studying, performing, and recording with trumpeter-composer Bill Dixon and making his own record date for Savoy. Relocating to Boston at the end of the decade, he studied with famed percussionist Alan Dawson (Tony Williams’ teacher) and committed to wax the gorgeous solo percussion audio collage Cleve Solo Percussion, a tour-de-force of uncategorizable, pure, and unified instrumentalism from a variety of traditions and approaches. It was in the 1970s when he changed his name from Robert to Cleve, based on certain numerological principles. Pozar has been studying Afro-Cuban bata for the last decade-plus and building his own electronic bata arsenal, heard and seen to advantage on a number of YouTube videos.
With such a rich history, it’s no wonder that Cleve Pozar has enchanted such archivists of the arcane as 50 Miles of Elbow Room’s Adam Lore and drummer/writer/filmmaker Hank Shteamer, who is currently working on a documentary about Pozar tentatively titled “I Did the Number.” Watch the trailer above and keep Cleve on your radar.
• Cleve Pozar: http://www.myspace.com/clevepozar
MV & EE
And you’re in a soy field — no, wait, you’re on a canoe on the Little Miami River. -Err, let’s take you to that tee-pee in the backyard of your parent’s hippy friend’s house. Somewhere in Indian or Nevada. Along the way from point 1 to z, you’re in an old painter van. Or, no. You’re on horseback riding along the soy field side for miles. No, acres. Upon these acres, you stumble into a hole; not the horse. You come out a bonfire in that tee-pee, it smells like peyote, and your parent’s friends are staring at you. Leaving the tee-pee cannonballs you into the Little Miami. Emerging from the water you hear, “Reno tonight; drinks $3!” Only to awake in that old painter van. But in the back seat you found the new MV & EE Space Homestead LP on Woodsist. Which is bonus, cause it wont be released until May 15.
Oh, right. So, who’s on top of their game in 2012 so far in music? From what I’ve gathered, it’s been James Ferraro, Lil B, Giant Claw, Dean Blunt, Hobo Cubes, and ol’ Alex Gray (a.k.a. Deep Magic/Tapes, Heat W/Rave, RASH) all vomiting goodies each month. PURPLEIMAGE being a little more of Gray’s Magic than Wave sound, but you got that beat, the drone-pop melody, and a whole smear of colorful imaginings into your ears and out your psyche. You’ll feel an uplifting motion that all your spinal fluid is seeping into your brain, and you can’t stop it; you don’t want to. The mind-burning effects are more like a sneezing sensation. Your nostrils flair uninhaled smoke that you try and suck back in through your mouth/lips; lick your teeph. But are all these releases due the hilarity of the apocalypse, or is it a “$$$ make me come” sort of thing? You can axe Alex April 3 during the Heat Rave Dance Nite at Naya if you in Californiiiiii. Oh, and this RASH release is free or you can get it on cassette!! NOW>NOW>NOW
“Edge” (Fybe Remix)
Despite the ubiquity of genre splicing and the ease of sampling in today’s vast, virtually unchartable musical landscape, I will always have a weakness for a well-sung standard. Which is not what “Edge” is, exactly. The original track, by Royce Wood Junior & Stac, from their Second Lens EP on Shades of Gray, is a little more generic than the remix by Fybe:one we’ve posted here. Fybe:one’s version magnificently burgles the vocals and reduces the rave-floor vibe, inserting instead restrained chord comps and a ethereal take on the lyrics.
It’s actually surprising to learn that the original track isn’t just a singer in front of a rhythm section, because Fybe:one’s remix has achieved what some very good remixes can: to invent, through suggestion, a third track, which seems to exist in the listener’s mind in addition to the original and the remix. In other words, Fybe:one’s version is so good, you’ll be hearing ghosts. [Via Soulection]
• Fybe:one: http://soundcloud.com/fybeone
“Ghosts and Lovers” (Marissa Nadler cover)
Holy shit, I love Marissa Nadler. Hmm, I forgot “covers” are adaptations. Well, let’s check it. Am I feeling the same haunt as the original? I suppose. Oh, shit, now I’m getting ex-lover flashbacks. Wait, that’s right, this off her poppy’er album, so, okay — I get it; I’m not into it. This is fun too, if you like tidal electronics. The pop of “Ghosts and Lovers” emerges only in subtle waves in this cover track. And then it gets all “Wiiiiii-Fiiiiiii” repetitive at the end, because I’m not exactly sure about the vocals. Maybe this track would work best if you re-up’d with Oxycontin. Or just leaving the dentist’s office. But, you know * shakes hand sideways* this track is like that. I’d be tied in at first, if played on the radio, but turn it soon after its persistent snooze-effect sets in.
• Nihiti: http://soundcloud.com/nihiti
Jewelry [album download]
Sparking his month-long tour with M Geddes Gengras and Diva, Matthewdavid decided to plug a free $crill album for all y’all fanatics. Enticing? Well, if you in the West or South of America, you can get wet with desi— Er, music, cause they’s tour will sink into your neck; I’m sure. Right, and Sun Araw is tagging along. But, as the cover art suggests, Jewelry is some third eye doppelganger aspetto hairy mix sludge, and it don’t stop. Put it on repeat. Exercise some limb demons. Go to the pet shop, and dance some more. It’ll be cute. Or a nursery. MD, you ever put ya tunes up to an infant’s ear?
Download the album here.
• Leaving Records: http://leavingrecords.com