Johannes in retroland

Archive for January, 2005

Die Geldschein-Nominale erhöhten sich nun in schneller Folge, bis die Reichsbank im November als höchsten Wert einen Geldschein über 100 Billionen Mark (100.000.000.000.000 M) drucken ließ. Zur Abwicklung des Zahlungsverkehrs wurden riesige Mengen an Scheinen benötigt. Bis zu 133 Fremdfirmen mit 1.783 Druckmaschinen arbeiteten im Herbst 1923 für die Reichsdruckerei Tag und Nacht. Das dafür erforderliche Banknotenpapier wurde von 30 Papierfabriken produziert. Für den Druck stellten 29 galvanoplastische Werkstätten rund 400.000 Druckplatten her. Etwa 30.000 Menschen waren mit der Herstellung der insgesamt ca. 10 Milliarden staatlich ausgegebenen Inflationsscheine (10.000.000.000 Stück) beschäftigt.

Bron: Die Inflation von 1914 bis 1923

Ambitious, atonal, challenging — all are accurate descriptions of Dimensions and Extensions, Sam Rivers’ fourth album for Blue Note. Sam Rivers remains grounded in hard bop structure, working with a sextet featuring Donald Byrd (trumpet), James Spaulding (alto saxophone, flute), Julian Priester (trombone), Cecil McBee (bass), and Steve Ellington (drums), but he explodes the boundaries of the form with difficult, dissonant compositions. With his unique, mercurial tone and edgy solos, he keeps pushing the sextet in different directions. It’s intense, cerebral music, but since it has distinct themes and strong rhythms, the forays into free jazz, dissonant harmonies, and unpredictable tonal textures are actually quite accessible.

Sam Rivers simply burns on each track, whether playing tenor, soprano, or flute. Donald Byrd doesn’t display the wild imagination of Sam Rivers, yet he keeps the pace with alternately languid and biting solos. Similarly, each of the remaining musicians makes a lasting impression with his individual time in the spotlight. With music as risky at this, it’s forgivable that it occasionally meanders (especially on the slower numbers) but, overall, Dimensions and Extensions offers more proof that Sam Rivers was one of the early giants of the avant-garde.

mp3.com

Bron: wolfgangsvault.com

Bron: callihan.com/art/vintagetrains

In 1952 Mulligan began a musical association that not only attracted critical acclaim but also brought him widespread popularity with audiences. His performance of “My Funny Valentine” around this time was usually stunning. This came about through the formation with Chet Baker of a quartet that was unusual for the absence of a piano. When Baker quit in 1953, Mulligan subsequently led other quartets, notably with Bob Brookmeyer in the mid-50s. He became a doyen of the California “cool jazz” movement.

Although the quartet format dominated Mulligan’s work during this part of his career he occasionally formed larger groups and early in the 60s formed his Concert Jazz Band. This band was periodically revived during the decade and beyond. He interspersed this with periods of leading groups of various sizes, working and recording with other leaders, including Dave Brubeck, in frequently rewarding partnerships with musicians such as Paul Desmond, Stan Getz, Johnny Hodges, Zoot Sims and Thelonious Monk, and writing arrangements on a freelance basis.

Bron: musicstore.mymmode.com

Bron: about.com