| | Eugene Chadbourne Worms With Strings CD Eugene Chadbourne Discography of CDs
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WORMS WITH STRINGS is improvised music using largely acoustic instruments--banjo, Dobro, violin, and guitar, as well as assorted horns. Eugene Chadbourne has always successfully utilized humor in his music, and this set is no exception; the whole album is spliced together in his customary deliriously gleeful manner.
As with other improvisers, from Anthony Braxton to John Zorn, Chadbourne creates an overriding strategy within which the players work. So completely does this blueprint guide the proceedings that the leader's stamp is all over it, even when he's not actively playing. Recorded at various locations, the set runs together in a nicely unified manner. Shifts in the instrumental palette are by turns surprising and refreshing, notably when pianist Ted Reichman makes a bluesy entrance.
yet another odd project from the "American underground's most disruptive virtuoso guitarist & arch prankster," leading more than a dozen prominent musicians in a tribute to traditional string instruments such as banjo, dobro, mandolin, violin, guitar & m Eugene Chadbourne Worms With Strings Songs | 1. | Dragonfly... |
| 2. | Loa Loa |
| 3. | Strongyloides Stercoralis |
| 4. | Wucheria Bancrofti.. |
| 5. | Song for my Ant Lion |
| 6. | Ancyclostoma Brazilense |
| 7. | Necatur Americanus.. |
| 8. | The Waterstriders |
| 9. | Encroachment |
| 10. | Gromphado |
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Worms With Strings Review
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Recorded in New York, New York on May 26, 1965. Originally released on Verve (8627).
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Recorded at Airshow Inc., Springfield, Virginia. Includes liner notes by Bonnie Rideout.
MUSICIANS are: Bonnie Rideout-Fiddle & viola with Jerry O'Sullivan-Uilleann pipes & Scottish small-pipes;Mike Green-Great Highland pipes;Al Petteway-Guitar;Robin Bullock-Guitar & cittern;Maggie Sansone Hammered dulcimer;Tina Chancey Viola da gamba;Paddy Leaguea-Bodhran, snare, udu & djembe;John Quigg-Snare & bass drums.Notes from the CD liner notes opens with Bonnie Rideout's own comments:" Stashed away in my memory over the years is an ever-increasing number of favored tunes that I have never had the opportunity to record. The music presented here ranges from J. Scott Skinner's "Dr. Gordon Stables,'" a wonderful fiery reel I once played to garner my first national fiddling title as a young teenager; to "Fear A Bhata," a heartbreaking air which after thirty years, still bursts out of me during moments of intense melancholy. The final set of tunes, beginning with "Purser's Air," are new compositions written for old friends. An unaccompanied work, it reflects my undying passion for Scottish fiddle music. It is my wish that these melodies will grow on you as they have grown on me. Thank you for listening." BELOW ARE FROM THE CD BOOKLET:1. Grant's Rant/NIGHEAN DONN(The Brown-Haired Daughter)/ Innes of Sandsides'/MO CHUACHAG LAGHACH (The Gentle Milkmaid)/ Stuart's Rant Traditional Highland reels. Fiddle, guitar (Al), Scottish small-pipes & bodhran 4:162. The Champion of the Seas/Over the Isles to America/Pop Goes the Weasel/Rossie Castle This set begins with a hornpipe and works its way into some fun traditional reels. Fiddle, guitar (Al), cittern (Robin) & bodhran 5:143. OH ONOCHIE O A Scottish air. Fiddle, viola & uilleann pipes 5:06.4. Grace Hay's Delight/Dunkeld House/Mrs. McGee's Reel Two jigs published by the Gows and one by J. Riddell -- all favorites among country dancers. A warning to choreographers: I have added bits and beats so this may be a challenge on the dance floor. Fiddle, 12-string guitar & cittern (Robin) & bodhran 4:12.5. The Highlands of Scotland/The Lowlands of Scotland/Kelo House/Miss Clementina Stewart The "Highlands" and "Lowlands" are traditionally played as a strathspey and reel set, although I also play "Lowlands" as a strathspey. Because "Kelo House" and "Miss Clementina" share very similar B sections, we enjoyed ...
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Falling somewhere between a ghost- and tribute-band the Mingus Big Band has been a staple at The Time CafT in Manhattan for more than a decade. As 1998's QUE VIVA MINGUS focused on the late bassist/composer's Latin-inspired works, TONIGHT AT NOONą shows us that he also had a way with love. That's not to say that these are lush ballads full of strings; they carry all the intensity of his other works.
The long history of this ensemble allows for some of the most intimately performed versions since the originals were recorded. "Eclipse," taken here as a samba, features the Charles Mingus Orchestra in it's first recording and includes of all things a playful bassoon solo. Never a stranger to exotic instrumentation, Mingus would have loved the mysterious timbres created by the combination of bass clarinet, French horn, and acoustic guitar. "Invisible Lady" is enhanced with lyrics and vocals from musical chameleon Elvis Costello. The highlight here is arguably the brilliant performance of "Black Saint & Sinner Lady." The classic ...
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A guy who Miles Davis called his favorite piano player, Ahmad Jamal has always earned respect among other musicians and critics for his consistent and innovative five-decade career, but the general public has never celebrated him. Why is anybody's guess, except that he's never been one for self-promotion; he's always been too busy making music to talk about it much. This trio date, featuring the greatest soul-jazz drummer of all time -- Idris Muhammad -- and bassist James Cammack, is one of the most fiery and inspired of Jamal's career. Kicking it off with "In Search Of," Jamal's more percussive style is in evidence, kicking it with ninths and even elevenths in shifting time signatures in a modern version of something that unites McCoy Tyner's Coltrane period with the barrelhouse. Jamal's trademark dissonances are juxtaposed against his whimsical lyric side in "Should I," a tune he has played live for decades. His right-hand legato phrasing and a near Monk-ish sense of harmony highlight his cascading arpeggios and enormous chord voicings. And harmony is the central motif of this album. Jamal's sense of melodic and harmonic development is under-recognized, even as he has used both Ellington and Oscar Peterson for starting points and built upon them via Monk's engagement with rhythm and "wrong" notes. His chords are unique among jazz pianists in that ...
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