We started the evening with a set of motets by François Couperin. They were part of a set of motets that had been circulated through the possession of various collectors (including Louis Philippe I, “King of the French” during the July Monarchy) for many years. Parts of the collection had been sold off over the years, but the entire set was eventually reunited by Louise Dyer, founder of the Editions de l’Oiseau-Lyre. These “petit motets” are interesting in that they display Couperin’s Italian influences. Tonight’s recording is by a group of musicians from Les Arts Florissants, under the direction of William Christie, and featuring counter-tenor Paul Agnew.
Ornette Coleman holds an interesting place in jazz history. He became one of the leaders of the avant garde jazz movement, and his Free Jazz album even lent its name to a sub-genre. Yet his method was far more subtly different than what one might gather from his reputation. His major innovation was to unlink improvisation from the standard chordal structure that to this day remains common in jazz – yet his improvisations remained melodic, even if they were more freely structured than what people were used to. But his music was still a major shift for jazz musicians and fans. One of the key albums of Coleman’s catalog, the “watershed event”, was The Shape of Jazz to Come. Recorded without a chording instrument (i.e. piano), Coleman and his quartet (Don Cherry on trumpet, Charlie Haden on bass and Billy Higgins on drums) simply state the primary melody, then improvise freely. It is truly a wonderful listening experience, and hints at some of the things to come. We heard three songs from this album: Lonely Woman, Focus on Sanity, and Congeniality.
Orchestral Manoeuvres in the Dark was (and still is) one of the more interesting of the New Wave bands to come out of England. This is because they combined excellent pop sensibilities and exquisite songwriting skills with a willingness to experiment and take chances. At various points throughout their career, they wrote a number of songs that featured interesting instrumentation and soundscapes, and are considered quite influential by a number of modern acts, including The Killers, Death Cab for Cutie, and LCD Soundsystem. We heard a few of their songs tonight, culled from several albums: Always (from their self-titled Debut), VCL XI (from their 2nd album, Organisation), Souvenir (from their 3rd album, Architecture and Morality), and finished with a set of songs from their excellent Dazzle Ships: This is Helena, International, Dazzle Ships, and The Romance of the Telescope.
It is always fun listening to one of Otis Redding‘s live recordings. While he made some truly classic soul recordings in the 50s and 60s, the stage was where the man truly belonged. Happily, there are some excellent live recordings that have been remastered and repackaged, including the excellent Otis Redding Live! in London and Paris. Originally issued as Live in Europe, this expanded collection gives us most, if not all, of the shows performed in London on 3/17, and Paris on 3/21, 1967. On a number of occasions I have played excerpts from the London show, so tonight I played a few songs from the Paris set: Respect, I Can’t Turn you Loose, and I’ve Been Loving You Too Long.
In researching music for some promotional clips that I’ve assembled, I was impressed by a few instrumental tracks by Metallica. Metallica has not recorded a large number of instrumentals, yet the ones that they have recorded hold a pretty significant place in their catalog. Notably, each of their early albums (Kill ‘Em All, Ride the Lightning, Master of Puppets, …And Justice for All) included an instrumental. That practice ended with the Black Album, so the inclusion of an instrumental (Suicide and Redemption) on Death Magnetic is considered by some as a return of attitude to the musical philosophies that were in existence during their early phase. Of course, another way to look at it is to recognize that the instrumental pieces are great music. We didn’t do a full instrumental set – we just heard Call of Ktulu (from Ride the Lightning), followed by The Thing that Should Not Be, from Master of Puppets.
We do like to emphasize contrasting genres on the Galaxy. So it felt fitting, as a conclusion for the show, to follow Metallica with a couple of songs from Portishead: Sour Times (from their 1994 album Dummy); from Third (2009) we heard Magic Doors and Threads.