ilovefuzz.com

Excellent, thank you!

Happy Birthday, Eliane Madame Radigue!

https://vimeo.com/ondemand/annealockwood

not sure how i feel about renting for something like this - if i'm gonna pay, i'd rather it cost more for unlimited viewing (and money going straight to the film-maker and subject)
but still - wanna watch this one in full

Yep, that seems interesting.

yeass - and this:


https://www.youtube.com/watch?v=si5eVIDq-8M

This may be of interest, if you're not paywalled out (article about E. Radigue in today's NYT): https://www.nytimes.com/2022/02/04/arts ... music.html

I am paywalled out. (I bookmarked it for later though. )

dag

https://www.youtube.com/watch?v=G33WeCjTw_Q

Jazz Centered Omnivores? brb

Love Poly Styrene!



https://www.youtube.com/watch?v=ACg3F_1x2Vw

Hopefully this one'll embed:



https://www.youtube.com/watch?v=kvIY86MzJAc

100%

Bill Frisell's SG saga from instagram:

"Guitar Nerd Alert!! Folks have been asking about the SG...here’s the story from Bill in FOUR parts to fit on IG:
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Part 1
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My SG (as of July 8, 2019)
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I hope I’ve got this story straight.

What I remember is this.

It was time to get out of town. In the spring of 1975 I took my Gibson ES 175, a little Gibson tweed amp, and loaded up everything else I owned into a trunk and one suitcase and took off in my Volkswagen. Left Denver in the early evening with my friend Mike Miller. On the outskirts of town we stopped at a bar where Tonk Edwards was playing. He let us sit in. Tonk was always so supportive and encouraging. I think I played “Stella by Starlight”. We drove north to Mike’s parents’ house in Sioux Falls, South Dakota. Took a nap. From there, Mike headed west to LA and I went east to Boston.

My first day at Berklee I met Kermit Driscoll. Kermit got me an audition with a band he was working with called the Boston Connection. I got the gig.

Organ, guitar, bass, drums, and 2 women singers. The repertoire was made up mostly of the popular songs you’d hear on the radio during that time. Vinnie Coliauta was the drummer. He was WAY into Tony Williams. I think there may have been a few times when Kermit, Vinnie, and I got a little carried away and played some things not appropriate to this particular musical situation. One night I was pulled aside by the leader, reprimanded quite strongly, and told to cool out a bit. It was a good lesson.

My ES 175 wasn’t cutting it for this gig. I needed to play louder. On the bulletin board at Berklee there was an add for a 1971 Gibson SG. I bought it for $200. It had been “do it yourself” refinished in white house paint. I wasn’t crazy about that, so I stripped it all off, sanded it down a bit, and put some varnish on there. The neck was the same shape and scale length as my ES 175, so I felt comfortable with it right away.
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Part 2 in next post!


Part 2 of 4
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I stayed in Boston until the spring of 1978 when it was time to get out of town again. I sold the ES 175 for $400, moved to Belgium with Kermit, Vinnie Johnson, and Greg Badolato and joined Steve Houben’s band called Mauve Traffic. The first day in Belgium I met my wife Carole d’Inverno. She was working in a bar-jazz club called the Chapati.

Kermit, Vinnie, Greg and I lived in rooms up above the club. Lots of musicians came through there. Art Blakey, Chet Baker, The Art Ensemble of Chicago, Betty Carter, Air (Henry Threadgil, Steve McCall, Fred Hopkins), James Newton, Archie Shepp, Dexter Gordon, Woody Shaw, etc etc.
At some point during that time in Belgium the bridge pickup on the SG stopped working. I took it to some guy and he said it was a goner.

He put something else in there. Didn’t sound that great.

Spring of 1979 I left Belgium with Carole and moved to New Jersey so we could be close to New York.

I went to the original Rudy’s guitar shop on 48th St. and met Michael Ross who was working there at the time. He recommended I get a Seymour Duncan Jeff Beck Bridge pickup to replace whatever that lame one was I had in there. I went upstairs and John Suhr installed it.

Sometime in the early 80s I decided to change the tailpiece and bridge.

People were using heavy brass parts in those days. I bought into that idea. Decided to do the work myself.

I removed the old parts, drilled some holes and somehow stuck the new stuff in there. There was a loose wire sticking out from under where the old tailpiece was. It didn’t seem to be doing anything, so I just nailed it down back into the body and covered it with plastic wood. I didn’t know what a ground wire was, but soon found out.
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Part 3 in next post!


Part 3 of 4
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Someone told me (I think it was Ross Traut) that I should go to a guy named Roger Sadowsky to get this situation corrected. I went to Roger and he fixed it. He also planted the seed in my mind that maybe I should get a better guitar. The SG was the only guitar I owned and the only guitar I played. The frets were pretty much non existent at that point. I had played it into the ground. I got a really great Sadowsky strat type guitar. On the back of the headstock it said JW Black. That’s where I met J. He worked for Roger at the time and later went on to work at the Fender Custom Shop. We reconnected many years later. You may have seen me playing his guitars these days. They are awesome.

So, in the mid 80s I put the SG away. I took the Jeff Beck pickup out of it and put it into a Klein guitar that I played for a long time.

In the early 2000s I started to think I should get the SG back up and running. I took it to Mike Lull in Seattle. He put in new frets, removed all kinds of disgusting bodily fluid residue from the fingerboard, replaced the brass bridge with a more normal tune-o-matic, and put new Grover tuners on there. Some of the old ones were held together with tape. He did a fantastic job bringing the guitar back to life.

Somewhere along the line Eric Daw at Emerald City Guitars in Seattle installed a Seymour Duncan Antiquity pickup in the bridge position.

But .....

I still didn’t play it.

It went back into the closet.
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Part 4 in next post!


Part 4 of 4
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A couple months ago I had a dream about playing that guitar again. Had this idea to put a Bigsby on it.

I brought it to Alex Whitman at TR Crandall Guitars in New York.

He took out the brass stop tailpiece that I’d put on there, installed the Bigsby, and found some nickel Grover tuners from the 60s. He set it up for flatwounds. (D’Addario Chromes 11-50)

This guitar has very narrow string spacing at the nut as do many Gibsons from that time. I was worried I wouldn’t like it, but it’s not really bothering me. The spacing is exactly the same as on the ES 175 I had before the SG. I spent more hours on those 2 guitars than any others.

The ES 175 was the only guitar I owned and played from about 1970 until 1975 when I got the SG. The SG is on everything I did from mid 70s to mid 80s. The very first recordings I ever made were on that guitar. Lots and lots of stuff. It’s been fun playing it again.

Oh yea. One last thing. I can’t remember where and when I found those volume and tone knobs. It was a long time ago.

I put those on there myself."