Bald gibt es wieder ein neues, starkes Album , wenn man vom Konzert und von diesem Stück auf das ganze Album hinzielt.
JAD FAIR & NORMAN BLAKE YES
Wir finden Ihn auch in der berühmten Wissensbibliothek: Jad Fairs Eintrag auf Wiki (externer Link)
Ah, da schau an: ein scherenschneidender Musikant!
Jad Fair bei der Arbeit
TUSK Festival presents an exhibition of the very contrasting art works of Andrew Chalk and Jad Fair. The exhibition runs from October 5-19 and is free to visit.
Jad Fair is an underground musical legend: one half of the band Half Japanese and collaborator with such leftfield luminaries as Yo La Tengo, John Zorn, Fred Frith and J. Mascis.
Jad Fair developed a parallel career as a visual artist via the many record sleeves he designed and his habit of paper-cutting to alleviate the boredom of touring, having four books to date published of his work and exhibiting on both sides of the Atlantic.
Though he planned to become a visual artist on leaving school, the success that Half Japanese had with their initial recordings led to his time being dominated by music making. Nowadays though, most of his time and income are tied up in his visual art (though he’s still making records of course, and also now writing with brother David for an online comedy show).
Andrew Chalk is an English musician and visual artist. Though through his music he has associated with such violently loud artists as The New Blockaders and Merzbow, his own recordings could reasonably be described as ‘painterly’ in the way he very precisely and deliberately layers and arranges different elements within his recordings, often focusing on very small musical incidents or details and bringing them to the fore of the piece.
Andrew’s paintings perhaps employ a similar approach, zooming in on a small group of details and drawing unexpected depth and detail from them whilst also leaving the viewer wondering what’s happening in the unseen fringes.
This exhibition is presented as part of TUSK Festival. Andrew Chalk also performs as part of the band Elodie at the festival at Star & Shadow Cinema on October 11th.
Also on the morning of October 12th, TUSK Festival will present a free performance by Irshad Ali Qawwali Party at the Holy Biscuit – this performance is open to all and is free entry.
For full information on these performances and the festival, please visit www.tuskfestival.com
Bevor er mit Half Japanese und mit uns , der Harakiri-Crew auf den musikalischen Plan trifft, hat er erst mal mit Danielson sich warm gelaufen. Heraus kam ein wunderschöner neuer Titel
Recently, Soundblab spoke with Jad Fair (of Half Japanese fame and numerous other projects) and Daniel Smith (Danielson and similarly many other projects) following the release of their collaborative effort, Solid Gold Heart, a master-stroke in bringing together two unique and well established talents.
Thanks for speaking with Soundblab, and congratulations on a successful venture on Solid Gold Heart.
Jad and Daniel, you are often both referred to as 'outsider' artists. Do you wear this description as a badge of honour, or do you think it is just lazy condescension on the part of music journalists?
Jad: I know a lot of people think of me as an outsider artist. I’ve never thought of myself as that. What I do comes very natural to me. It has never seemed strange. I’m me and I sound like me. There is nothing outside about that.
Daniel: I am not outsider artist. To me the term 'outsider artis' implies that the artist doesn't have any outside influences. I have been influenced by growing up in a musical home, listening to and playing music in bands most of my life, going to art school and learning about the creative process, and collaborating with all kinds of creative people.
The reason I ask is that, it seems to me the division of artists into mainstream, or non mainstream, or alternative (whatever that means these days), or 'outsider' creates artificial boundaries that potentially stifle the growth and exposure of some really worthwhile music. Or am I being too precious?
Jad: I’ve released albums with many different music styles and have never paid any attention to boundaries. I think a lot of great bands never get the attention they should, and that says more about mainstream media than it does about the music. Most music media seems very conservative to me.
Daniel: I used to think things were cooler if not too many people liked something, like it was an exclusive club. Over time I have come to really dislike that attitude. While I know I should never consider what is going to happen with something while I am making it, I would really be happy is some people liked it. Then after the chips fall where they may, I need to be strong enough to stand up and make some more stuff.
The collaboration on Solid Gold Heart seems to play to your respective strengths. Did you share a friendship, or some kind of musical fraternity before this project got underway?
Jad: I’ve opened for Danielson a couple times in Austin and they’ve played at a music festival my brother is in charge of called ShakeMore. We always got along well, and I felt some connection in that we’ve both worked with Kramer.
Daniel: My teenage years of studying music was filled with music by Jad/Half Japanese and Kramer. This album is a dream come true for me. Maybe I've been thinking about it for the past 25 years?
Jad, you've had some fairly diverse musical projects with everyone from Daniel Johnston to John Zorn. I'm guessing you have an inquisitive and adventurous nature when it comes to musical experimentation. Do you care whether the results are enduring or not ?
Jad: At a very early age I was listening to Sun Ra, Lol Coxhill, Captain Beefheart, and other adventurous musicians. I don’t think the term musical experimentation applies to me. What I do comes so natural to me. It’s the opposite of experimentation. It’s just normal to me. Some of the albums I released are more enduring than others, but I think they all have merit.
I couldn’t be happier with Solid Gold Heart. Daniel is a major talent, and I’m lucky to have had the opportunity of working with him. Everyone on the album did a fine job. Kramer and Brave Combo sound great on the album
I understand that Solid Gold Heart was mostly conceived by remote, with Jad providing musical outlines to you, Daniel. Were you overawed with the prospect of unravelling Jad's musical ideas?
Jad: Daniel is the one that should be credited for the musical ideas. What I sent to Daniel were songs with just vocals. What I sent may have influenced the feel and direction, but the musical ideas are by Daniel.
Daniel: All these songs started as audio lyrical vocal pieces that Jad had made, I think he sent 60 or so. They were really wild and fun vocal loops with effects and he's speaking/singing his words over them. It was certainly overwhelming but I decided to pay attention to the lyrics first.
There were certain tracks that I really connected with and I wrote down the lyrics from those tracks. I wanted to write really immediate pop songs with these words. Some of the melody or feel was inspired by a sound-loop that I liked and started to write musical parts from them.
Jad and Gilles (on drums) had a three hour window to record at my studio between their train ride from Baltimore to NYC (stopped off in Philly) and we tracked nine songs with them hearing the music for the first time on the car ride to the studio. That was a very magical afternoon
I made reference in my review of the album to a sense of barely contained exuberance on Solid Gold Heart, almost evangelical in delivery. Is it possible that 'indie music' can convey so much positivity and maintain its cool exterior? I ask with tongue in cheek, of course.
Jad: I don’t feel any need to have a cool exterior. I just do what I do, and it is what it is. I always try to be positive. I read an interview of George Burns, and in the interview he said that Jack Benny was always positive. If he had a cup of coffee it would always be the best cup of coffee he’s ever had.
Having every thing be the best is a good way to look at things. There are so many good things in life. Take full advantage of that, and enjoy your life.
Daniel: This goes back to my youth of searching for music I had never heard before. I was finding all kinds of interesting, noisy, aggressive music and I loved a lot of it. But not until I heard Half Japanese and that wild joy that was coming across did I feel a connection to the lyrics.
I wasn't an angry kid, I tried to hate my parents but it didn't work. I really loved my family and here's Jad Fair to say that it's ok.
Having said that, I particularly liked the addition on Solid Gold Heart of some squawking atonal saxophone, which I thought had the affect of throwing the happy melodies into chaotic disarray. Was this just for fun?
Jad: Brave Combo is a band in Texas that I’ve seen several times. When Daniel and I first started work on the album I suggested having Brave Combo add tracks to it. They were a big help. It would be a different album without them.
Daniel: Yes, they did such an amazing job.
What's with the howling wolves on 'Here’s Our Time'? Is this some kind of call to nature, to wrest us away from our comfort zone?
Jad: I think you’re referring to a backing vocal I did. It just felt right to me.
Daniel: This is one of those vocal loops that Jad had made that I just loved. Those guitar chords came out of trying to play along with those howls and pull some additional melodic elements out of them.
Do either of you have plans for a tour of the United Kingdom ? How did it go in Scandanavia, Daniel?
Jad: In September, Daniel and I will have a tour in the US. We haven’t made any plans to tour beyond that, but I certainly would be open to it.
Daniel: Actually, I did play in London during this last small Europe tour. It was very fun. I would love to take this show over there but it's hard for all of us to travel too much.
Jad and Daniel have undertaken to write a song for Soundblab. We're not sure what to expect, but it's bound to be an event. Keep checking the site for news on that one.
Jad Fair: Ohne Titel
Jad Fair: Welcome To The Garden
Badische Suite: Der Reiseplan
Abfahrt Die erste Begegnung mit dem Hotel Harakiri zeigt den Badener, wie er wirklich ist: abweisend, aber herzlich. Gepflegte Anranzung gleich bei der Ouvertüre (Y. Schmidt, M. Kucin, R. Summer). Aber wenn schon Ouvertüre, dann doch bitte schon gleich die ganz große Oper. Da steht heute Hörend Herz (M. Godglück, M. Zimmer) auf dem Programm – hört, hört! Das Dienen geht weiter mit dem Prolog (S. Hülk, S. Veith): „Wir wollen bessere badische Menschen werden durch das Dienen am Badischen.“ Das wirft die Frage auf: Was ist Badisch? Und vor allem: Darf man eigentlich „Badenser“ sagen? Das wird hier endlich einmal final geklärt. Unterwegs gibt es von Frau Annele Susannele (B. Hallbauer, Musik: Fey) das musikalische Rezept für Kartoffelsalat. Wenigstens zwei haben was zu lachen, nämlich Hülk und Veith beim Prolog Continuum. Man fragt sich, ob die Herren Reisebegleiter den nötigen Ernst aufbringen für das Folgende: die Dadaistische Deklination des Wortes Badenser (H. Zippert). Als Nächster Halt folgt die von Japan in der 90er-Jahren annektierte malerische Touristenvorhölle Heidelberg (T. Gsella, Musik: Fey) samt Schloss, Altstadt und Zinnober. Ob sich der Dichter danach noch dort blicken lassen darf? Da wird nicht zum Spaß hier sind, wird nun die Schulbank gedrückt. Der Sprachkurs Ich lerne badisch (S. Hülk, Musik: Ditter) ist für alle Teilnehmer verpflichtend und muss zwingend noch vor dem Mittagsessen (Schäufele mit Kraut und Kuche) belegt werden. Unsere musikalische Zwischenstation widmet sich dem Thema Weiter Dienen (W. Baco, Musik: P. Fey). Woran noch mal? Natürlich am Badischen. Nächster Halt: Schwaben/Baden Baden. Alles doppelt, sagt der Schwabe, sagt Sir Gsella-Gsella. Zum Kaffee während der Weiterfahrt wird Badischer Streiselkuchen (Smudo, S. Veith, S. Amendt) gereicht und gesegnet. Für die Flüchtlinge (F. Veith) bleibt da wie immer nicht mehr viel. Aber ehrlich, sind wir nicht alle irgendwie auf der Flucht, ganz besonders als Badener? Jedenfalls: „Die Chinese, die wo sich anständisch benemme, die könne dableibe.“ Zur Not sogar mit Pilates. Das erfahren wir beim Vortrag Badener über Chinesen (Veith-Clan, Musik: P. Fey), bevor es weiter zur Verkostung von Schwarzwälder Wein (J. Wentrup) geht. Und Bad ich im Wein (A. Kayer, Musik: P. Fey), geht’s ganz beschwingt Richtung Mummelsee (S. Schababerle). Den zuvor genossenen Alkohol können wir gut gebrauchen, denn hier wird’s experimentell mit unserem Vorzeigebadenser Jad Fair. Fair bleibe, gell?! Danach frönen wir Der Liebe pur, wenn Reiseleiter Veith erst das Wort und dann ganz schnell die Flucht ergreift. Was haben wir bis jetzt gelernt? Baden ist das Land der Sänger und Dichter (B. Hallbauer, Musik: P. Fey), sogar gedacht wird ab und zu, weil „ohne Ideologie bisch du nix“! Nach all dem Wein(en) und (Kopfzer)Brechen wohnen wir kurz vor der Weiterfahrt einem traditionellen Veithstanz (Veith-Clan, Musik: P. Fey) bei, gesponsert von Monsanto (G. Veith), wo man der Bühler Zwetschge (F. Veith, Musik: P. Fey) gentechnisch auf den Stein fühlt. Wir sagen: Bitte – Danke (T. Hintner) und auf Wiedersehen. Nein, halt, noch lange nicht, denn nun wird erst mal erneut zu Tisch gerufen, wo den Exilstuttgarter Smudo prompt die Kellneritis ereilt. Den Sauerkrautnotstand (T. Metzinger) muss man im Land aber noch nicht ausrufen – oder etwa doch? Kurz macht sich Panik breit, die hierzulande traditionell Von Generation zu Generation (Veith-Clan/Kucin) weitergegeben wird. Diese Reise wäre nicht komplett, ohne einen kurzen Besuch bei den Milchbauern (T. Metzinger, Musik: P. Fey) der Region, die für eine Handvoll Cent pro Liter weitermachen, bis gar nichts mehr geht. Schockiert werfen wir den Wankelmotor (F. Schmid, Musik: Rade) an und brettern Richtung Breisgau, denn die vorletzte Station heißt Freiburg salomonisch (S. Veith), wo für Freiburgs Rentner (H. Zippert, Musik: Jad Fair) seniorengerechtes Brot hergestellt wird. Wer frisst wie ein Ochs (P. Fey), der wird, ob zahnlos oder nicht, allerdings der Tafel verwiesen. Doris ds Spinnli (L. Münich) kann über das Treiben der Zweibeiner nur schmunzeln. Zum Auftakt der Endetappe trägt sie ihre versponnene Version eines Klassikers der britannischen Knödelkapelle The Who vor. Müpfi Müpfinger lässt sich zur Feier des Tages auch noch zu einem gepflegten Gegrantel hinreißen. Du mich auch (Müpfi/Vreneli, Musik: B. Hallbauer)? Ich mich schon lange! Bei der Ankunft singt alles leise Henai Henai (S. Veith / P.Fey) und schickt ein hoffnungsvolles Maria Hilf (Veith-Clan/Kucin) gen Himmel. Es gilt auch weiterhin: We try to do our best (Jad Fair). Wir haben’s zumindest versucht
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