Corona Sunset: Art and Music: Views.
Corona Sunset
In future when we are able to time-travel,Many good years a-plenty,
Please don't go back to 2020,
Where you will see life begin to unravel.
Those were the days, oh my good friend
when those who could, clicked
the internet;
And watched their tabs grow higher
yet.
Banks wondered how many would
default at the end.
Then, when the Virus tapped you
on the shoulder
Having a very persistent headache,
your throat was dry, for goodness sake,
My friend, you may not live much older.
TBC ( as events move on.)
👻👻👻👻👻
The three artists above are three of my favourite recording performers.
Don Van Vliet ( aka. Captain Beefheart 1941 - 2010 ) for his quirky views, often obscure: " I'd never just want to do what everybody else does. I'd be contributing to the sameness of everything; " and for his records which have a modal setting, with his band members often playing in a different key from one another.
To enjoy this best, I recommend listening on head-phones , where you will usually hear different sounds in each ear. This can become quite an expanding experience and excellent 'ear-therapy.'
Joni Mitchell ( 1943- ), for her incisive lyrics:
Don Van Vliet ( aka. Captain Beefheart 1941 - 2010 ) for his quirky views, often obscure: " I'd never just want to do what everybody else does. I'd be contributing to the sameness of everything; " and for his records which have a modal setting, with his band members often playing in a different key from one another.
To enjoy this best, I recommend listening on head-phones , where you will usually hear different sounds in each ear. This can become quite an expanding experience and excellent 'ear-therapy.'
Joni Mitchell ( 1943- ), for her incisive lyrics:
The Hissing of Summer Lawns
He bought her a diamond for her throat
He put her in a ranch house on a hill
She could see the valley barbecues
From her window sill
See the blue pools in the squinting sun
Hear the hissing of summer lawns
He put up a barbed wire fence
To keep out the unknown
And on every metal thorn
Just a little blood of his own
She patrols that fence of his
To a Latin drum
And the hissing of summer lawns
Darkness
Wonder makes it easy
Darkness
With a joyful mask
Darkness
Tube's gone, darkness, darkness, darkness
No color no contrast
Diamond dog
Carrying a cup and a cane
Looking through a double glass
Looking at too much pride and too much shame
There's a black fly buzzing
There's a heat wave burning in her master's voice
Hissing summer lawns
He gave her his darkness to regret
And good reason to quit him
He gave her a roomful of Chippendale
That nobody sits in
Still she stays with a love of some kind
It's the lady's choice
The hissing of summer lawns
Darkness
Darkness
Darkness
Darkness
Darkness
Darkness
Darkness
Darkness
Darkness
This album was released in 1975. After a while, the quality of the lyrics persuaded the critics to judge it one of Joni's greatest records.
This song describes how a rich man kept his Lady as part of his portfolio; showering her with gifts she did not want. The title refers to the sprinkling of the lawns with water.
The album cover; see the link above, shows gentlemen of colour; ( "We are all coloured, otherwise we would not see one another." - well put DVV.) pushing a giant hose (snake?) up the front garden. One wonders if Joni is referencing South Africa ; where blacks manicure gardens for the rich white middle classes, for little or no money.
I can't check this, but in my memory, Joni won the " Melody Maker " Rock n Roll album of that year, for ' The Hissing of Summer Lawns. " At the time I reflected it was an odd choice, but listening again to the arrangements, the song and the overall production;
I began to see the case for this award.
There is usually a moral message within her songs, or an episodic
account from her life. Joni always is careful and precise with her lyrics, putting in well observed details. Right from the get-go she has been in charge in all aspects of her work, arrangements, instrumentation and of course only using her own lyrics.
Like Miles she has never wanted to stand still, always looking for an new innovation. From her first album, where as a folk singer, she made ( Song to a Seagull 1968 ), to ( Don Juan's Recklass Daughter 1978 ), where she joined forces with Jaco Pastorious and later in ( Mingus 1979") embracing other jazz luminaries, such as Wayne Shorter and Herbie Hancock, she demonstrated her desire to alter direction ; but of course always keeping that rare quality that infused all her work.
Her output numbered 19 albums, spread over a period from 1968 to 2006.
1994's " Turbulent Indigo " won Joni two 'Grammy ' awards, but increasingly ill health forced her to restrict her recordings.
" Shine " in 2006 was her last work.
Miles Davis; or properly Miles Dewey Davis 111 (1926 - 1991 ) was, without question, my favourite jazz musician. His ' golden horn' could emit; depending on music, a sorrowful, or joyous tone.
When, later, in his career he 'invented ' electro jazz,- see "In a Silent Way 1969 and " Bitches Brew," 1970 (and in so doing, assembling the best musicians available,) his trumpet horn could punctuate the air, like bullet shots.
He always allowed his players 'breathing space', but his entrance into his tunes was a power statement- Miles was the Man. He took charge.
Miles never stood still. He always wanted to be current with sounds at the time.
Following the gorgeous " Porgy and Bess," ( 1959) which involved a full orchestra under the direction of Gill Evans, Miles went onto make his bellwether album " Kind of Blue " ( 1959) featuring an all-star sextet ; including saxophonists, John Coltrane and Julian ' cannonball' Adderley. It was, in the manner of DVV, entirely worked out with the group at the recording sessions.
It went to sell five million copies and was heralded, a masterpiece.
Yet twenty five years later, when asked about " Blue ," Miles replied; " It was like warmed over turkey!"
The one aspect that brought DVV, Joni and Miles together was their love of painting. In fact, it is largely true to say, that Joni and the Captain preferred to paint rather than record. It was the measure of success of their records and appearances that gave them a name into the field of art. DVV thought of art as; " rearranging and grouping mistakes." I guess this philosophy sums, to an extent his method of recording, where he took a portion out there- dabbed on some new replacement, until he became satisfied with the overall result. His paintings were largely daubs of colour over a big, sometimes two metre canvas. His subject matter was often animals.
He spent the last period of his life, with his wife Jan, in a trailer park,in the mojave desert. When asked , why he always looked pale, he replied that he liked to paint all day in the van and venture out at night, to see the animals. As he wryly remarked; " you don't see animals with a tan ! "
Joni, usually worked with water-colours in a more delicate, but more observational manner.
All three contributed to their album art.
In the Captain's case (see above link ) " Shiny Beast." is one example.
Joni, a more prolific album artist has ( from link) "Court and Spark ;" Ladies of the Canyon ;" and "Mingus.
Miles's art can be seen from "Amandla "
(From link)
and from his most recent album; "Rubberband ( 1985)" ( released from the vaults (2019), after all this time.)
It seems from all this above, that truly creative artists, often require more than one outlet to show off their skills.
I can't check this, but in my memory, Joni won the " Melody Maker " Rock n Roll album of that year, for ' The Hissing of Summer Lawns. " At the time I reflected it was an odd choice, but listening again to the arrangements, the song and the overall production;
I began to see the case for this award.
There is usually a moral message within her songs, or an episodic
account from her life. Joni always is careful and precise with her lyrics, putting in well observed details. Right from the get-go she has been in charge in all aspects of her work, arrangements, instrumentation and of course only using her own lyrics.
Like Miles she has never wanted to stand still, always looking for an new innovation. From her first album, where as a folk singer, she made ( Song to a Seagull 1968 ), to ( Don Juan's Recklass Daughter 1978 ), where she joined forces with Jaco Pastorious and later in ( Mingus 1979") embracing other jazz luminaries, such as Wayne Shorter and Herbie Hancock, she demonstrated her desire to alter direction ; but of course always keeping that rare quality that infused all her work.
Her output numbered 19 albums, spread over a period from 1968 to 2006.
1994's " Turbulent Indigo " won Joni two 'Grammy ' awards, but increasingly ill health forced her to restrict her recordings.
" Shine " in 2006 was her last work.
Miles Davis; or properly Miles Dewey Davis 111 (1926 - 1991 ) was, without question, my favourite jazz musician. His ' golden horn' could emit; depending on music, a sorrowful, or joyous tone.
When, later, in his career he 'invented ' electro jazz,- see "In a Silent Way 1969 and " Bitches Brew," 1970 (and in so doing, assembling the best musicians available,) his trumpet horn could punctuate the air, like bullet shots.
He always allowed his players 'breathing space', but his entrance into his tunes was a power statement- Miles was the Man. He took charge.
Miles never stood still. He always wanted to be current with sounds at the time.
Following the gorgeous " Porgy and Bess," ( 1959) which involved a full orchestra under the direction of Gill Evans, Miles went onto make his bellwether album " Kind of Blue " ( 1959) featuring an all-star sextet ; including saxophonists, John Coltrane and Julian ' cannonball' Adderley. It was, in the manner of DVV, entirely worked out with the group at the recording sessions.
It went to sell five million copies and was heralded, a masterpiece.
Yet twenty five years later, when asked about " Blue ," Miles replied; " It was like warmed over turkey!"
The one aspect that brought DVV, Joni and Miles together was their love of painting. In fact, it is largely true to say, that Joni and the Captain preferred to paint rather than record. It was the measure of success of their records and appearances that gave them a name into the field of art. DVV thought of art as; " rearranging and grouping mistakes." I guess this philosophy sums, to an extent his method of recording, where he took a portion out there- dabbed on some new replacement, until he became satisfied with the overall result. His paintings were largely daubs of colour over a big, sometimes two metre canvas. His subject matter was often animals.
He spent the last period of his life, with his wife Jan, in a trailer park,in the mojave desert. When asked , why he always looked pale, he replied that he liked to paint all day in the van and venture out at night, to see the animals. As he wryly remarked; " you don't see animals with a tan ! "
Joni, usually worked with water-colours in a more delicate, but more observational manner.
All three contributed to their album art.
In the Captain's case (see above link ) " Shiny Beast." is one example.
Joni, a more prolific album artist has ( from link) "Court and Spark ;" Ladies of the Canyon ;" and "Mingus.Miles's art can be seen from "Amandla "
(From link)
and from his most recent album; "Rubberband ( 1985)" ( released from the vaults (2019), after all this time.)
It seems from all this above, that truly creative artists, often require more than one outlet to show off their skills.
👻👻👻👻👻
An English Rose.
Fields of May Gold.
And finally; some Spanish night shots for you.
Spanish Shots from JE.
👻👻👻👻👻
Stay apart, but not from each other's thoughts.
WiFi for now,
Ck.
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please feel free to comment and point out faults.
glad to have you aboard .
Curlykale.