Weekend links 165

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Cahill Expressway (1962) by Jeffrey Smart whose death was announced this week.

• “Russell Beale is awed by the beauty of the Roman silver Warren Cup showing men and youths making love, so startlingly erotic that the first time the British Museum was offered it in the 1950s, it turned it down flat. In 1999, when it came on the market again, the museum had to raise £1.8m to acquire it. ‘It’s just heaven, isn’t it?’ Russell Beale sighs.” Maev Kennedy on Same-Sex Desire and Gender Identity, a new exhibition at the British Museum.

• “The route to Tyburn Tree snaked through Holborn and St Giles, then went along Tyburn Road, today’s Oxford Street. It was dense with spectators.” Matthew Beaumont on the tiny memorial (Google view) for the estimated 50,000 people executed in the centre of London.

• Mixes of the Week: Bottoms Up by Staffan Lindberg for BUTT Magazine, and Electronic Ladyland, a collection of women with synths (and other instruments) from Bitch Media.

But the very thing that is valuable about diversity – the cultural and ideological clashes that it brings about – is precisely what many people fear. And that fear takes two forms. On the one hand you have the little Englander sentiment: immigration is undermining the national fabric, eroding our sense of British or Englishness, turning our cities into little Lahores or mini-Kingstons. And on the other you have the multicultural argument: that diversity is good, but it has to be policed to minimise the clashes and conflicts and frictions that diversity brings in its wake. And so we have to restrain speech, and police the giving of offence.

Kenan Malik on The Pleasures of Pluralism, The Pain of Offence.

L’Empire des Lumières is a great title for Anne Billson’s blog about Belgium. Tram-wire covered streets are one of my favourite things.

The Outer Church, 28 musical artists with an uncanny temperament collected by Joseph Stannard for Front & Follow.

His Heavy Heart, a film by Alan Moore & Mitch Jenkins, is looking for Kickstarter funding.

• In 1997 Quentin Crisp wrote about “Ten Wonderful Gangster Movies” for Neon magazine.

Raymond Chandler’s The Big Sleep redesigned for the Penguin Design Award, 2013.

• Out on DVD/Blu-Ray this month: The Curtis Harrington Short Film Collection.

A billion-pixel panoramic view of the planet Mars from the Curiosity Rover.

• In the TLS: Robert Craft on Stravinsky and The Rite of Spring.

Typophonic: Album cover typography.

The Owl Theremin is a thing.

LSD ABC

Spring Rounds From The Rite Of Spring (1975) by Alice Coltrane | Revenge Of The Black Regent (1999) by Add N To (X) | Sore Ga Afrirampo (2010) by Afrirampo

Weekend links 31

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One of a series of illustrations by Vera Bock for A Ring and a Riddle (1944) by M.Ilin and E. Segal. Via A Journey Round My Skull.

The Creator of Devotion: Photos from a Vogue Hommes Japan feature by Matthew Stone. And also here.

Dressing For Pleasure: Jonny Trunk gets out the rubber gear. Related: King of Kinky.

Salvator Rosa (1615–1673) is having a show at the Dulwich Picture Gallery, London.

Hackney Dissenting Academy #1: Throbbing Gristle, Iain Sinclair & Alan Moore.

Out Of The Flesh (1984) by Chakk. A great single never reissued on CD.

• Photographer Charles Gatewood remembers William Burroughs.

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The Endless Mural. Follow links here to have a play around.

Vinyl record sales are at the top of a four-year sales trend.

Can explosions move faster than the speed of light?

• Buckminster Fuller’s Dymaxion Car is reborn.

• Maximus Clarke talks with William Gibson.

Why Stephen Fry loves Wagner.

Kafka’s Last Trial.

• Alice Coltrane in concert, Warsaw, 1987: Harp solo | Impressions | Lonnie’s Lament | A Love Supreme.

Rashied Ali, 1935–2009

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The death this week of guitar pioneer Les Paul is already receiving considerable attention; less will be given to the passing of drummer Rashied Ali. The latter means more for me as a musician since I’m listening to his work all the time. Ali famously (and to some, controversially) replaced drummer Elvin Jones as John Coltrane’s drummer of choice from 1966 onwards, and Ali’s revolutionary free style enabled Coltrane to voyage even further out with his stream-of-consciousness sax playing. Ali’s playing supports all of Coltrane’s later recordings, including their extraordinary duet album Interstellar Space (recorded in the ’60s but not released until 1974). Following Coltrane’s death in 1967, Ali played on a number of albums by the fantastic Alice Coltrane, and while this period inevitably overshadows any appraisal of his work, his career continued to develop to the present day.

If you’re unused to the “formlessness” of free jazz, Interstellar Space can be a forbidding region until you attune yourself to its rarefied atmospheres. Alice Coltrane’s A Monastic Trio, recorded shortly after her husband’s death, is less challenging and a beautiful tribute to John Coltrane from his wife, friends and collaborators. With Jimmy Garrison on bass, Pharoah Sanders on sax, Alice playing harp and piano, and Ali drumming on five of its six tracks, its a perfect introduction to Ali’s work, and, by extension, to some of the finest music of the last century.

Previously on { feuilleton }
John Coltrane’s Giant Steps
Alice Coltrane, 1937–2007

Oh Yeah by Charles Mingus

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Oh Yeah (1962). Sleeve design by Loring Eutemey.

“People say that I’m hollering. Man, I feel like hollering.” Charles Mingus.

Listening to this great album this week had me searching for the equally great sleeve design from the vinyl edition which vanished from the CD reissue. The cover that replaced it is a dour photo of a gloomy-looking Mingus, completely unsuited to an album full of joyous noise. Happily there’s a Japanese edition that preserves the original design. As far as I can gather Loring Eutemey was a house designer at Atlantic, responsible for many of their jazz sleeves but also providing covers for rock albums including Iron Butterfly’s dumb psychedelic opus, In-A-Gadda-Da-Vida. Lots of playful typography evident in Eutemey’s designs and bold, hand-drawn graphics à la Saul Bass, a style very popular in the Sixties not least because of Bass’s considerable influence.

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Designs by Loring Eutemey: Born Under A Bad Sign (1967), In-A-Gadda-Da-Vida (1968).

That playfulness especially suits an album where Mingus set aside his bass to play piano and sing (or, more correctly, holler) his way through seven tracks of energetic craziness. There are some amazing solos here from Rahsaan Roland Kirk, a blind musician famous for playing two saxophones at once, one in each hand. The opening Hog Callin’ Blues is one of my favourite jazz pieces, a number where bop rawness approaches the equivalent rawness of Fifties’ rock’n’roll or Chess blues. Always great to play (loud!) to people who think jazz is all polite cocktail music and studied cool. Mingus recorded lots of great albums, of course, and I imagine this is regarded as a throwaway novelty by many of his more dedicated listeners, but it remains one I keep returning to.

Charles Mingus—piano and vocals
Rahsaan Roland Kirk—flute, siren, tenor sax, manzello, and strich
Booker Ervin—tenor sax
Jimmy Knepper—trombone
Doug Watkins—bass
Dannie Richmond—drums

1 Hog Callin’ Blues (7:26)
2 Devil Woman (9:38)
3 Wham Bam Thank You Ma’am (4:41)
4 Ecclusiastics (6:55)
5 Oh Lord Don’t Let Them Drop That Atomic Bomb On Me (5:38)
6 Eat That Chicken (4:36)
7 Passions Of A Man (4:52)

Elsewhere on { feuilleton }
The album covers archive