#One more night metrognome remix windows#

Sun Ra, alias Le Sony’r Ra, alias Sonny Blount, is one of the most extreme phenomes that the jazz music ever knew, and also a personage so mystical that we have sometimes difficulties to keep serious (himself also).

The excerpt…translated from the French reads: One of my favorite passages from the immense catalog of Ra liner notes is on a 1961 French (Goody) reissue of a 1956 session recorded in Chicago, reputedly one of the Arkestra’s earliest such get-togethers. 11-13) by Sun Ra & the Cosmos Adventure Orchestra at the Collective Theater in Little Five Points, Listening Post remarked: 11: On the occasion of a 3-night stand (Sep. The audience was transformed, transported to a realm of beauty and light, and for a short time, the world was a very wonderful, comfortable place to be.įRIJOLEROS: Bill Taft at the microphone performing with The Chowder Shouters (from left, John Thomas, Eric Kaiser). For two entrancing hours, the young Hussein and venerable Chaurasia…filled the Sisters Chapel on the Spelman College campus with the intoxicating sounds of traditional Indian classical music. On March 12, the Atlanta Chamber Players presented The Percussion Group/Cincinnati at Emory’s Cannon Chapel…the concert included works by Mauricio Kagel, John Cage and, which featured all three PG/C members on a single marimba…On March 18, the India Society of Atlanta presented a concert by internationally acclaimed table player Zakir Hussain (formerly with John McLaughlin’s Shakti) and Hari Prasad Chaurasia, one of the living masters of the Indian flute. 12: Two recent concerts deserve mention as examples of the trend toward presenting real-live world and contemporary classical music in our “international” city. I hope you enjoy the rewind as much as I did.ĬL Apr. For every musician, band, ensemble, orchestra, performance and festival noted in the following excerpts plucked from the Listening Post scrapbook, dozens upon dozens more were showcased back in the day. I feel privileged to have witnessed an especially fertile period of cultural activity in a city determined to elevate its standing within America and the international community. Deeper in the mix, Atlanta became an incubator for an array of underground, DIY endeavors, which produced improvisational, post-industrial and electronic music matching anything coming out of the traditional global art centers.

Post-classical chamber ensembles and composers advanced their cause against the empire with notable success. A new generation of progressive-minded artists introduced their take on classic country and rockabilly music. Savvy Atlanta-based club owners and concert promoters brought the greatest jazz and blues artists to town while the local community generated worthy contributors to both categories. World music was opening up provincial ears to an expanding universe of rhythms, melodies and narratives. Rap and hip hop were just beginning to alter the contours of the mainstream music landscape.

#One more night metrognome remix windows#

Concert flyers stapled to telephone poles, pinned on billboards or taped on storefront windows were the equivalent of Facebook events and Instagram posts. Contributors like yours truly submitted copy on floppy disks hand-delivered to the office. There was no internet as we know it today. When I started writing Listening Post, Creative Loafing was a primary source of news about the city’s music scene – concert previews, calendar listings, club happenings – and reviews of the latest local, national and international recordings, which were distributed on vinyl or cassette tape. Until then, my personal stash of old issues, which begins in 1986 and runs through 1992, will have to suffice for the following look back at five decades of Listening Posts. Someday, when a proper Creative Loafing archives exists, I’ll find that first column. Tony and I met for lunch and Listening Post made its debut soon after. When Mitchell left to work for the recently elected mayor of Atlanta, Andrew Young, he recommended me as his replacement to then-music editor Tony Paris. A friend of mine from college, Mitchell Feldman, had been writing “Metrognome,” a jazz column, for Creative Loafing. I’m not exactly sure when the first column appeared, but it was within a few years after graduating from the University of Georgia in 1979 and moving into my first apartment, a cozy one-bedroom joint in a two-story red brick building on Peachtree Place in Midtown, a few blocks from the Stein Club. I started writing Listening Post in the early 1980s.