Convergence was really enjoyable. Words to describe it are escaping me due to profuse alcohol consumption, but I suppose that gives an accurate reflection on the event
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That offhand remark about a goth Andrews Sisters is very inspiring. I was listening to Souxsie & The Banshees' version of Iggy's "The Passenger" the other day, while working on my script. Sitting here in my office, I got to thinking about the horn section used on that track, and about Debbie Harry's recordings and performances with The Jazz Passengers (look for their version of Poe's "The City & The Sea" on the album Closed On Account Of Rabies, or Harry's contributions to Roy Nathanson's concept album Fire At Keaton's Bar & Grill), also about Nick Cave and P. J. Harvey's recordings of music by Kurt Weill. And I finally realized how attractive I find the notion of a post-punk mobidly-romantic noirish kind of jazz: imagine the kind of bar where something like that would thrive, the sort of Weimar-via-London '76 or Television/VU-era New York (not punk per se, but the precursor), the darkness and decadence, the feeling of fin-de-siecle, the Berlin Dada Club meets CBGB, or Threepenny Opera as performed by The Clash (this is not as far
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Glad I could inspire you. Ever heard Gitane Demone's solo stuff? kind of in the vein of spooky-ish jazz. Not really my thing but it seems like you might like it.
I do not believe I have ever heard of that person. I'd like to know more, I think.
Of course, it occurred to me later, some hours after I had typed the message above, that the prototype for all of these female singers to whom I referred is Lotte Lenya. She is the source, the river of life.
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:p
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I have a good picture of us, too
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That offhand remark about a goth Andrews Sisters is very inspiring. I was listening to Souxsie & The Banshees' version of Iggy's "The Passenger" the other day, while working on my script. Sitting here in my office, I got to thinking about the horn section used on that track, and about Debbie Harry's recordings and performances with The Jazz Passengers (look for their version of Poe's "The City & The Sea" on the album Closed On Account Of Rabies, or Harry's contributions to Roy Nathanson's concept album Fire At Keaton's Bar & Grill), also about Nick Cave and P. J. Harvey's recordings of music by Kurt Weill. And I finally realized how attractive I find the notion of a post-punk mobidly-romantic noirish kind of jazz: imagine the kind of bar where something like that would thrive, the sort of Weimar-via-London '76 or Television/VU-era New York (not punk per se, but the precursor), the darkness and decadence, the feeling of fin-de-siecle, the Berlin Dada Club meets CBGB, or Threepenny Opera as performed by The Clash (this is not as far ( ... )
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Ever heard Gitane Demone's solo stuff? kind of in the vein of spooky-ish jazz. Not really my thing but it seems like you might like it.
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Well, I'm glad too.
I do not believe I have ever heard of that person. I'd like to know more, I think.
Of course, it occurred to me later, some hours after I had typed the message above, that the prototype for all of these female singers to whom I referred is Lotte Lenya. She is the source, the river of life.
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