Sunday Morning Coming Down #Eight

• "So it would be one thing to treat Broad Street as an expensive little joke and forget about it as quickly as possible (in the USA, it climbed to a reluctant peak of #21). But I think there’s something more dreadful at work here, and it’s not just about McCartney being reluctant to tour, and therefore having too much time on his hands to dabble with his past, and the dangers of shuttering yourself off from the world when it no longer agrees with you. No, I actually wonder whether, by re-recording these songs, McCartney thought he could do better than the Beatles." Marcello Carlin lays into Macca at Then Play Long.

• "(The singer) screamed things like “this songs goes out to all the bitches who pay their rent with their tits,” used homophobic slurs and referenced a corrupt “brotherhood,” sending me into a tailspin of feeling simultaneously livid and painfully excluded. On a more profound level, it instantly made everything my sister and I had been working on and living for obsolete. She and I left the show shortly after and, while we felt bruised and rattled, we didn’t feel defeated. A few years later we would start a new band together with a shared prerogative to present a strong front against sexism and all forms of hate that are too common within this tiny punk world that is often bannered by the word 'safe.'" Swearin's Allison Crutchfield curates reflections on sexism in the indie rock world for Impose.

• "Like "November Rain," "Smooth," "Black Hole Sun," "Hey Ya!," "Rolling in the Deep," "Get Lucky," and "Timber," "Wheels on the Bus" easily withstands and is in fact arguably improved by numbing repetition. But you quickly realize that people have strange notions about a) the musical/lyrical content, and b) what constitutes acceptable animated visual accompaniment." Rob Harvilla rolls through a YouTube guide to "Wheels On The Bus" for bedraggled parents everywhere at Deadspin.

 "The cache, five boxes of material, is available to scholars in the Library of Congress Performing Arts Reading Room. It includes several previously unperformed works, as well as extensions or alternative arrangements of Dolphy pieces, including “Hat and Beard,” “Gazzelloni” and “The Prophet.” It also holds a key to how he thought and what he practiced: his transcriptions of other music, including bits of Charlie Parker and Stravinsky; Bach’s Partita in A minor for flute; and a bass-clarinet arrangement for Bach’s Cello Suite No. 1. There are also many scales of Dolphy’s own devising, which he was using as the basis for improvisation; practice books and lead sheets; and a page of transcriptions of bird calls." Ben Ratliff outlines the ongoing discovery of unheard Eric Dolphy for the New York Times.

"For the past thirty years, most of Stockhausen’s music has been all but impossible to hear, and a generation or more has come of age without the slightest understanding of what he once meant to young composers and musicians, who cheered him on as passionately as an older generation rejected him. From the 1950s through the early 1980s, almost all of Stockhausen’s compositions were issued on LP by the Deutsche Grammophon label, which disseminated his work throughout the world. When the leading recording format changed to CD, around 1982, Stockhausen took back all of his rights and the majority of his significant works became available through him, at outrageously expensive prices." Tim Page sketches a quick guide to Stockhausen for NYRB.

• "The challenge of even touching an instrument like the saxophone is that it’s charged with so much prejudice. All of a sudden it becomes something very specific. As soon as you say saxophone, you’re instantly thinking in terms of jazz or lounge, which is very dangerous territory I find." Røyksopp and Robyn discuss their inspirations at Drowned In Sound.

• "A "Live at the Vanguard" album has become a rite of passage for modern jazz players, many of whom credit the room's unusual shape as the secret behind the club's complimentary acoustics. "The way the band can set up in that triangle-type corner, the sound really projects out," maintains Mr. Lovano. "It has a real opera house kind of a feeling -- there's nothing that goes behind you or on the sides." Kurt Lundvall, engineer on the recent Moran and Lovano sessions at the club, explains that "other clubs are like boxes, but in here, you have hardly any parallel or reflective surfaces, so the Vanguard is the best venue on the East Coast for recording jazz, period." How subway excavation created the great West Village jazz club, from the Wall Street Journal back in 2005.

• "Many years ago, penetrating jazz fans explained to me that soul-jazz was a fine test to discover if you were painfully hip or not. If you liked it, you weren’t. Soul-jazzers liked (ugh)tunes, you see, and easy-to-read jams with rump-wiggling rhythms. Shit, the stuff was almost party music (you know, like jazz used to be when it started)." Milo Miles revisits Crawford/McGriff's Road Tested at Miles to Go.

• “The rise of “music Twitter” has stripped Tumblr of much of its power as a forum for discussion, because you can do it faster and with more people on Twitter. The other issue is that many of the writers who came up on Tumblr in the last few years are now doing a lot more freelance work or finding staff positions when they’re available, and if someone has a personal incentive scheme that weights the freedom of Tumblr posts over cold, hard cash, I’d love to have a look. It’s something I grapple with a lot." Casey Newton considers the rise and (maybe) fall of Music Tumblr for Crumbler. 

• "Sonny can play, and he’s playing in and out of things, but it can become confusing. So, if a guy didn’t know him, he’d say, “Where the fuck are we? Where are we in this tune? Where is he?” Sonny, the way he can play time in and out of phrases......Sometimes I’ve heard him with other bass players or other drummers, and they were confused. You hear something; is he really in that place or is he someplace else? My thing was, because I’m really into trying to play the changes in the bottom, I usually stay where I am. I can hear him if he’s in another place." Jazz bassist Bob Cranshaw talks Blue Note and Sonny Rollins with Ethan Iverson for Do The Math.