samedi 21 septembre 2013

LOUIS SKORECKI'S LE JUIF DE LASCAUX (2)

nazem al ghazali (elle me donne des cheveux blancs)


le plus grand chanteur irakien dans une boite de nuit en irak (1963)

dagar brothers dhrupad senior dynasty

skorecki va au cinéma ...

...  eh oui, et deux fois en trois jours, mais qu'est-ce qui m'arrive? j'ai d'abord été voir tirez la langue mademoiselle, une douce aventure amoureuse à la lubistch ... mon dieu qu'est-ce qui m'arrive? j'ai bien écrit "à la lubistch", non? comme si c'était encore possible ... comme si mademoiselle ropert, se chaussant d'ailes de velours, savait, elle, retrouver la formule sucrée-salée du vicieux viennois ...  comment fait-elle axelle? disons qu'elle fait comme l'ami brisseau: elle croit en ce qu'elle filme, elle croit  -et pas seulement au premier degré- dans les pouvoirs intacts du cinéma ... peut-être est-elle aidée d'une voyante, une sorte de madame pierre rissient, c'est possible, je ne sais pas ... disons surtout qu'elle prend son temps, vite et lentement à la fois, en ne perdant jamais de vue l'idée bien oubliée que les histoires d'amour commencent à la fois dans les yeux et dans le pantalon ... c'est tout? eh oui, j'ai bien peur que cette histoire de dim sum mélo trouve là son réservoir amoureux, là et nulle part ailleurs ... et ça suffit? j'ai bien peur que oui ...
... l'autre film, je voulais vérifier qu'il était horriblement mauvais, et il l'est, horrible et mauvais ... c'est une crise de nerf documentaire, la pire indigestion de cassavettes/pialat/lelouch jamais administrée au public français consentant ... je vous fais grâce du titre ... trouvez-le ...


vendredi 20 septembre 2013

dylan, fin juillet 2013



richard manuel, quelques semaines avant son suicide


Now when my troubles start to get me down She's always there, you know she always can be found And never lets it weight 'til much on me She always seems to be in touch with me. You see she knows and I am drawn to her It is as though I'm a moth and she's the candle's glow. And when this whole world gets the best of me She even has the power to change my destiny I try to tell her what is on my mind And even though the words are hard to find, at times I know she knows. And when she comes to me, it is as though I'm the earth and she's new falling snow. Well, I love her for the things she knows She gives me wings with all the things she knows.

sinatra s'essaye à LUSH LIFE, le plus beau ratage du monde

eddy arnold/you don't know me (eddy arnold-cindy walker)


perfection at the end of the road

best of dylan recent songs, sugar baby (2002, great live version)

vendredi 13 septembre 2013

cliff edwards & joe brown/i'll see you in my dreams

In a soldier’s stance, I aimed my hand/At the mongrel dogs who teach/Fearing not that I’d become my enemy/In the instant that I preach

Crimson flames tied through my ears Rollin’ high and mighty traps Pounced with fire on flaming roads Using ideas as my maps “We’ll meet on edges, soon,” said I Proud ’neath heated brow Ah, but I was so much older then I’m younger than that now Half-wracked prejudice leaped forth “Rip down all hate,” I screamed Lies that life is black and white Spoke from my skull. I dreamed Romantic facts of musketeers Foundationed deep, somehow Ah, but I was so much older then I’m younger than that now Girls’ faces formed the forward path From phony jealousy To memorizing politics Of ancient history Flung down by corpse evangelists Unthought of, though, somehow Ah, but I was so much older then I’m younger than that now A self-ordained professor’s tongue Too serious to fool Spouted out that liberty Is just equality in school “Equality,” I spoke the word As if a wedding vow Ah, but I was so much older then I’m younger than that now In a soldier’s stance, I aimed my hand At the mongrel dogs who teach Fearing not that I’d become my enemy In the instant that I preach My pathway led by confusion boats Mutiny from stern to bow Ah, but I was so much older then I’m younger than that now Yes, my guard stood hard when abstract threats Too noble to neglect Deceived me into thinking I had something to protect Good and bad, I define these terms Quite clear, no doubt, somehow Ah, but I was so much older then I’m younger than that now

mercredi 28 août 2013

gilles tordjman as a jewish crooner (music for SKORECKI'S LE JUIF DE LASCAUX)

photo by Gardabelle

d'où vient le juif de lascaux (2013)



L'ESCALIER DE LA HAINE (stairway to hatred) est un film de 1982 de louis skorecki 
voici un extrait photo/filmé médiocre sensible
/la version définitive, LE JUIF DE LASCAUX, s'est tournée du 15 au 18 août 2013 à paris

FIN DU TOURNAGE DU JUIF DE LASCAUX/ musiques du film

 ... 
 
music for LE JUIF DE LASCAUX will be played and sung by gilles tordjman, didier hébert and probably ti frère ... .... didier hébert was a blind guitarist from louisiana, who accompanied the accordeon player dewey segura on four sides for columbia records ... on one recording session (december 10, 1929), he sang this strange conversational song ... 

mardi 20 août 2013

la plus belle voix du monde (nadam el ghazali, irak)



et sa femme; la délicieuse juive salma mourad

au cinéma mieux vaut douter de tout

vu HORS SATAN sur CLUB sans savoir ce que c'était .... et j'ai été troublé, énervé, déboussolé ...
c'était la nuit, c'était presque très beau ... on aura tout vu ...

sinatra 1961 (i was seventeen, remember ...)

mercredi 14 août 2013

bob dylan, août 2013/high water (for charley patton)



LE JUIF DE LASCAUX CHANTE COMME çA ... mais il n'y aura pour une fois pas de musique juive chez SKORECKI

 ....... ..... ..... ..... .... .... Rabbi and Cantor Hyman Millman was born in Britchane, Bessarabia, on the last day of Passover, in 1893. His father was a great Rabbi, and soifer, whose name was Itzchock, the son of Moshe Soifer Millman. Cantor Chaim Millman received a thorough education under the training of Rabbi Yehudah Rabinowitz, Rabbi Moshe Ratzes, Rabbi Barshefsky, and also his brother-in-law Rabbi Moshe Berman, a cousin of Rabbi Yehudah Leib Mimon. When Cantor Millman was a young boy he was a student at the Kishinev Yeshivah. He first became Cantoir in Kishinev .... DR. Meyer Ebner, leader of the Zionist Organization of Bukovnia, came to Chotin and hired him for the Tombeale Synagogue. When Rabbi and Cantor Millman arrived in the United States, he sang in the great synagogues of New York City, Boston Philadelphia, Newark, Cleveland, Chicago, as well as in Montreal and Toronto.

skorecki devient producteur (juillet 2012/ juillet 2013)

  ... .... .... .... .... .... .... .... .... .... .... 1. 1. 1111 skorecki s'éloignant des cinéphiles. 
skorecki et son deuxième psy (marc quattro)des cinéphiles
2. skorecki et son deuxième psy (marc quattro),... ... ... ... ... ... .... .... .... .... .... ...



.... 3. skorecki et son premier psy (harold manning)
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la projection du 16 juillet de SKORECKI DEVIENT PRODUCTEUR, s'est bien passée ... on en   trouvera bientôt ici des échos, mondains ou immondes, des lettres, des mails, des témoignages. MERCI à CHRISTOPHE et NINO.

mardi 13 août 2013

nadam al ghazali (irakian singer, died 1963 in Iraq), best arabic voice ever recorded

and his wife, famous jewish iraquian singer Salima Murad (Arabic,سليمة مراد)


mercredi 7 août 2013

long live raIs omar wahrouche king of berbere music


bob dylan meets pope john paul II with hat and without hat


I Don't Believe You (She Acts Like We Never Have Met) 1997 + i"m not there


Thing's all right and she's all too tight In my neighborhood she cries both day and night I know it because I was there It's a milestone but she's down on her luck And she's daily salooning about to make her hard earned buck I was there I believe where she'd stop him if she wants time to care I believe that she'd look upon beside him to care And I'd go by the Lord and when she's on my way But I don't belong there No, I don't belong to her, I don't belong to anybody She's my Christ forsaken angel but she don't hear me cry She's a lone hearted mystic and she can't carry on When I'm there she's alright but then she's not when I'm gone Heaven knows that the answer, she's don't calling no one She's the way, her sailing beauty for she's mine for the one And I lost her hesitating by temptation lest it runs But she don't holler me but I'm not there, I'm gone Now I'll cry tonight like I cried the night before And I'm released on the heights in but I'll dream about the door It's alone, she's forsaken by her fate, worse to tell "It don't have approximation", she smiled, "Fare thee well" Now when I'll teach that lady I was born to love her But she knows that the kingdom waits so high above her And I run but I race but it's not too fast or slow But I don't perceive her, I'm not there, I'm gone Well, it's all about confusion and I cry for her Well, I don't need anybody now beside me to tell And it's all affirmation I receive but it's not She's adorned by the beauty but she don't like the spot and she won't Yes, she's gone like the rainbow that shined yesterday But now she's home beside me and I'd like her here to stay She's a lone forsaken beauty and it's don't trust anyone I wish I was beside her but I'm not there, I'm gone Well, it's too hard to stay here and I don't want to leave It's so bad but amusing when she's hard, too hard to leave It's a load, it's a crime the way she haunt me around But she told, "Won't you hate me?" but [Incomprehensible] Yes, I believe that it's rightful, oh, I believe it in my mind I been told like I said when I before carry on the grind And she's on yet she told her like I said, "Carry on" I wish I was there to help her but I'm not there, I'm gone


le dernier des grands gnawas; si mohammed bel hassan


from sam cooke to bob dylan and way back, en passant par les neville bros


BALLAD OF A THIN MAN from EAT THE DOCUMENT


long live blues and rock"n"roll




listen carefully to alfred elkins"s bass on both sides

KAATSKILL SERENADE °1

KAATSKILL SERENADE + 2


DAVID BROMBERG"s OWN DELICATE VERSION



young sinatra; young doris day; around 1954 or so

best voices ever in irak and in the arab world _et au delà




بارك الله في جهودكم على ايصال هذه التسجيلات العراقية الواضحة لأغاني ناظم الغزالي , الرحمة و السلام على روحه 

lundi 5 août 2013



Joel Teitelbaum, né le 13 janvier 1871 à Máramarossziget et décédé le 19 août 1979 à New York2,3, était un Grand-Rabbin hassidique hongrois, fondateur de la dynastie hassidique de Satmar.
Les grands maîtres du hassidisme: Yisroel Baal Shem Tov (1698-1760), fondateur du hassidisme son disciple, Rabbi Dov Baer de Mezeritch(1710-1772), le Maguid de Mezritch son disciple, Rabbi Elimelekh de Lizhensk (1717-1786), Le Noam Elimelekh son disciple, Rabbi Yaakov Yitzchak Horowitz(1745-1815), le Hozeh de Lublin .
..... et le Rabbi Yoel Rabbi Joël Teitelbaum (1887-1979), Satmar Rebbe, auteur de Divrei Yoël et VaYoel Moshe .....
Joel Teitelbaum rabbin de Irchava en Ukraine puis appelé au rabbinat de Carei en Roumanie, avant de s'installer en 1929 à Szatmárnémeti où il crée et dirige la communauté hassidique de Satmar. Durant la Shoah, bien que le mouvement n'ait pas été complètement anéanti, beaucoup de hassidim Satmar sont assassinés et déportés durant la Seconde Guerre mondiale. À l'arrivée des nazis, les membres de la communauté organisent le déplacement de leur rabbi vers Cluj-Napoca, où il est arrêté et transféré dans un ghetto.
En juin 1944, Rudolf Kastner négocie avec les SS l'autorisation pour 1 684 Juifs de quitter la Hongrie pour la Suisse, en échange d'argent, d'or et de diamants, dans ce qui sera appelé le "train de Kastner". Yoel Teitelbaum est un des passagers de ce train, qui est dérouté vers Bergen-Belsen pendant six mois avant d'être autorisé à continuer jusqu'à la frontière suisse, comme prévu initialement. Le 21 Kislev 5705 (1944), le jour où le rabbin Teitelbaum traverse la frontière suisse et échappe aux nazis, est célébré comme un jour férié par les Hassidim de Satmar.
Après la guerre, le rabbin Teitelbaum séjourne quelque temps dans le camp de personnes déplacées de Feldafing (Arrondissement de Starnberg). Le sauvetage de Joel Teteilbaum est sujet à controverse. En effet, les sionistes lui reprochent d'avoir accepté d'être épargné alors que sa communauté mourait dans les camps et les groupes anti-sionistes lui reprochent de s'être allié aux sionistes dans ce sauvetage. Le Rabbi a, quant à lui, écrit une revue Al hagueoula veal Atemoura (Sur la Rédemption et sur la Donation), dans laquelle il répond à ces accusations. En 1945, Joël Teitelbaum monte en Palestine alors sous mandat britannique. Il séjourne à Jérusalem où il fonde une yeshiva.
Fin 1946, il collecte des fonds aux États-Unis, où il rencontre les membres de son ancienne communauté qui ont survécu à la Shoah. Ceux-ci le convainquent de s'installer aux États-Unis. En quelques années, Teitelbaum transforme sa petite communauté en un mouvement mondial dont le siège est à Williamsburg, New York. Dans les années 1970, Kiryas Joel, un village dans le comté d'Orange, New York, est créé pour les adeptes du mouvement.

L'opposition de Satmar à l'État d'Israël est fondée sur leur conviction que la création d'un État juif par les Juifs est un blasphème. Ils croient que les Juifs doivent attendre que Dieu envoie le Messie pour que le peuple juifs puissent retourner en terre d'Israël.
Son opposition au sionisme moderne est celle des trois serments mentionnés dans le Talmud (Ketoubot 110b-111a), qui traite d'un passage du Cantique des Cantiques, dans laquelle Dieu a fait les Israélites "promesse de l'attendre avant de susciter son amour"

Quels sont ces trois serments? Un, qu'Israël ne devrait pas monter en muraille Rachi interprète: avec force]. Deux, le Saint-béni-soit-Il a fait jurer à Israël de ne pas se rebeller contre les nations du monde. Trois, le Saint-béni-soit-Il a fait jurer aux nations de ne pas opprimer Israël trop durement. Le Midrash est en grande partie une analyse exégétique de trois versets séparés du Cantique des Cantiques (2:7, 3:5 & 8:4), et reflète naturellement l'interprétation traditionnelle, qui considère le livre entier comme une allégorie de la relation entre Dieu et le peuple juif : הִשְׁבַּעְתִּי אֶתְכֶם בְּנוֹת יְרוּשָׁלַ‏יִם בִּצְבָאוֹת, אוֹ בְּאַיְלוֹת הַשָּׂדֶה, אִם-תָּעִירוּ וְאִם-תְּעוֹרְרוּ אֶת-הָאַהֲבָה, עַד שֶׁתֶּחְפָּץ ה הִשְׁבַּעְתִּי אֶתְכֶם בְּנוֹת יְרוּשָׁלַ‏יִם בִּצְבָאוֹת, אוֹ בְּאַיְלוֹת הַשָּׂדֶה, אִם-תָּעִירוּ וְאִם-תְּעוֹרְרוּ אֶת-הָאַהֲבָה, עַד שֶׁתֶּחְפָּץ הִשְׁבַּעְתִּי אֶתְכֶם בְּנוֹת יְרוּשָׁלַ‏יִם, מַה-תָּעִירוּ וּמַה-תְּעֹרְרוּ אֶת-הָאַהֲבָה, עַד שֶׁתֶּחְפָּץ Je vous en conjure, ô filles de Jérusalem, par les biches et les gazelles des champs: n'éveillez pas, ne provoquez pas l'amour, avant qu'il le veuille. Je vous en conjure, ô filles de Jérusalem, par les biches ou les gazelles des champs: n'éveillez pas, ne provoquez pas l'amour, avant qu'il le veuille! Je vous conjure, filles de Jérusalem, n'éveillez pas, ne provoquez pas l'amour avant qu'il le veuille.
Le Rabbi de Satmar soutient que Maïmonide a parlé des trois serments comme contraignants: Les serments sont entre le peuple juif et Dieu, et les gentils, et Dieu, respectivement. Le fait que les gentils violent leur serment ne signifie implicitement que le peuple juif soit libre de le violer. Vivre en Eretz Israel n'est pas une mitsva générale pour la collectivité, mais uniquement sur l'individu.

samedi 3 août 2013

mercredi 24 juillet 2013

vendredi 12 juillet 2013

LE TOURNAGE DU JUIF DE LASCAUX EST TERMINé/ musique (1)





un standard par gilles tordjman, c'est comme se lever au brésil  à l'aube dans un film de SKORECKI

dimanche 7 juillet 2013

dylan 1975




 can hear the turning of the key/i’ve been deceived by the clown inside of me/ i thought that he was righteous but he’s vain/ oh, something’s a-telling me/ i wear the ball and chain/ my patron saint is a-fighting with a ghost/ he’s always off somewhere when I need him most/ the spanish moon is rising on the hill/ but my heart is a-tellin’ me/ i love ya still/ i come back to the town from the flaming moon/ i see you in the streets, i begin to swoon/ i love to see you dress before the mirror/ won’t you let me in your room one time ’fore I finally disappear? everybody’s wearing a disguise/ to hide what they’ve got left behind their eyes/ but me, i can’t cover what I am/ wherever the children go, i’ll follow them/ i march in the parade of liberty/ but as long as i love you i’m not free/ how long must i suffer such abuse/ won’t you let me see you smile one time before I turn you loose?/ i’ve given up the game, i’ve got to leave/ the pot of gold is only make-believe/ the treasure can’t be found by men who search/ whose gods are dead and whose queens are in the church/ we sat in an empty theater and we kissed I asked ya please to cross me off-a your list/ my head tells me it’s time to make a change/ but my heart is telling me I love ya but you’re strange/ one more time at midnight, near the wall/ take off your heavy makeup and your shawl/ won’t you descend from the throne, from where you sit?/ let me feel your love one more time before I abandon it ...

a simple twist of fate/birth of a new dylan (10 juillet 2013)



a simple twist of fate

dedicated to bobby vee/bob dylan, st paul, 10 juillet 2013



... ... ... ... ... ... ... ... ... .... BOBBY VEE:       after we cut suzie baby,  which was about five months after buddy holly's death, we started working in the [North Dakota] area and the record looked like it was doing well, and we had a vision of success in the group. And we worked June, July, August, somewhere around there and we thought to ourselves that maybe we should add a piano, y'know, to the band. It was just a rhythm section at that time, and in doing that we would probably have the ultimate rock 'n' roll band. So we sort of asked around the Fargo area and a friend of ours suggested a guy that had been staying at his house, and was working at a café as a busboy -- the Red Apple Café in Fargo -- and so my brother met him and they went over to the radio station to use the piano and they sort of plunked around a bit and played "Whole Lotta Shakin'" in the key of C, and he told my brother that he had played with Conway Twitty, which was a lie, but for openers he thought, "Phew!" He didn't even want to audition the guy -- he got the job. He was Bob Zimmerman at the time -- that was his name. He wanted us to use the stage name of Elston Gunn for him. And we went out and bought him a shirt; it was a small investment to make him a member of the band. So he was identical to us -- looked like he'd always been there -- and went out and played a couple of small jobs in North Dakota, just tiny places... One was in a church basement, the other in a little pavillion. He was kind of a scruffy little guy, but he was really into it. Loved to rock 'n' roll. He was pretty limited by what he could play. He was pretty hot -- in the key of C. He liked to do handclaps, like Gene Vincent and the Bluecaps, who had two guys who were handclappers. He would come up to my microphone and do that every now and then, and then scurry back to the piano. But we realized that... he didn't have a piano and we weren't in a position where we wanted to buy one; lug a piano around with us... that was really too much of a hassle. So we decided to work as a four-piece band and we told him that, er, y'know, we decided not to use the piano. And he was a bit disappointed at the time, and eventually left Fargo... We paid him $15 a night, so we paid him $30 and he was on his way. He left Fargo and went down to Minneapolis and went to school, and then, about a year later, we were out in Long Island or Staten Island, playing. And one of the guys in the band saw him in the audience -- this was before he was popular -- and he said, "I saw Bob Zimmerman, in about the second row." And we all said, "No kidding? I wonder how he got so far east." 'Cos he was just a spacey little guy, y'know, just sort of worming his way around. And then about a year after that I was in Greenwich Village and I saw an album -- his first album cover. And I realized that was him.

vendredi 7 juin 2013

bob dylan, 10 juillet 2013, new arrangement, new voice ...


sinatra 1957

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10 juillet 2013/getting old with bob dylan



fifty years before: dylan 1963


well it ain't no use to sit and wonder why, babe/even if you don't know by now/an' it ain't no use to sit and wonder why, babe/it don't matter anyhow/ babe/when your rooster crows at the break of dawn/look out your window and I'll be gone/you're the reason I'm trav'lin' on/but don't think twice, it's all right/an' it ain't no use in turnin' on your light, babe/that light i never knowed/an' it ain't no use in turnin' on your light, babe/i'm on the dark side of the road/still wish there was somethin' you would do or say/to try and make me change my mind and stay/we never did too much talkin' anyway/so don't think twice, it's all right/it ain't no use in callin' out my name, gal/like you never did before/it ain't no use in callin' out my name, gal/i can't hear you anymore/i'm a-thinkin' and a-wond'rin' all the way down the road/i once loved a woman, a child i'm told/i give her my heart but she wanted my soul/but don't think twice, it's all right/i'm walkin' down that long, lonesome road, babe/where I'm bound, i can't tell/but goodbye's too good a word, gal/so i'll just say fare thee well/ iain't sayin' you treated me unkind/you could have done better but i don't mind/you just kinda wasted my precious time/but don't think twice, it's all right

dylan 1975



 can hear the turning of the key/i’ve been deceived by the clown inside of me/ i thought that he was righteous but he’s vain/ oh, something’s a-telling me/ i wear the ball and chain/ my patron saint is a-fighting with a ghost/ he’s always off somewhere when I need him most/ the spanish moon is rising on the hill/ but my heart is a-tellin’ me/ i love ya still/ i come back to the town from the flaming moon/ i see you in the streets, i begin to swoon/ i love to see you dress before the mirror/ won’t you let me in your room one time ’fore I finally disappear? everybody’s wearing a disguise/ to hide what they’ve got left behind their eyes/ but me, i can’t cover what I am/ wherever the children go, i’ll follow them/ i march in the parade of liberty/ but as long as i love you i’m not free/ how long must i suffer such abuse/ won’t you let me see you smile one time before I turn you loose?/ i’ve given up the game, i’ve got to leave/ the pot of gold is only make-believe/ the treasure can’t be found by men who search/ whose gods are dead and whose queens are in the church/ we sat in an empty theater and we kissed I asked ya please to cross me off-a your list/ my head tells me it’s time to make a change/ but my heart is telling me I love ya but you’re strange/ one more time at midnight, near the wall/ take off your heavy makeup and your shawl/ won’t you descend from the throne, from where you sit?/ let me feel your love one more time before I abandon it ...

dylan sings leonard cohen (1987)




bob: how long did it take you to write this song?
leonard: about three, four years i think ... and what about you, bob, how long did it take you to write SAD EYED LADY OF THE LOWLANDS? .......
 bob: huh, two , three hours i guess ...

pops staples, his guitar, his voice


desolation row (sydney, 13/04/1966)



4th time around (sheffield, 16/05/1966)



direct stereo/best version EVER ....

a simple twist of fate (1981)



godard 1972


ymg 1980


i thought about you


denise, denise/new orleans rag/another side outtakes


lundi 3 juin 2013

bailes bros 1943/better than louvin brothers?

.... .... .... .... ..... ..... .... the year i was born, the bailes brothers would record THAT .... very close to the sound the everly bros would try to reach fifteen years after ..(their version was recorded in 1958).

charlie louvin sings about his high voiced dead brother, ira



lundi 27 mai 2013

jimmy durante & frank sinatra 1952 (master and disciple)


cantor aryeh leib rutman 1919 (jewish gospel at its best)



loin de mon père, près de mon père ... .... .... ARYEH LEIB RUTMAN (1866-1935) was born in Zhlobin, Russia. ... Rutman was generally considered a "cantor's cantor", best of the best ...

youtube 2013 / la musique de skorecki7


pour ceux qui aiment entendre les rares dhrupads des frères dagar, les plus beaux dylan pirates, des trésors country pas encore découverts, des disques rock ou soul introuvables, des 78 tours à pleurer des plus grands cantors de pologne ou d'ukraine, c'est l'endroit où fouiner ... où on peut discuter avec des fous de musique du monde entier (cliquer skorecki7 sur youtube) ...

skorecki 2010/ SKORECKI DEMENAGE (tournage)


louis rostain (le petit louis) et ls

love sick 2013

love sick/ bethlehem, april 2013

skorecki 1964/ avec buster keaton et serge daney


skorecki/sun ra 1965


new york 1965 (photo bernard gidel) il mange une glace, je mange mon micro, bernard g. nous immortalise ... c'est à quelques semaines de l'interview/psychanalyse avec thelonious monk (voir colonne de droite) et à quelques semaines aussi de mes rencontres musicales avec dylan ....

cantor meyer kanewsky (1913)



cent ans avant SKORECKI DEMENAGE, meyer kanewsky essayait de chanter comme mon père ... dois-je encore en pleurer? pas sûr ... mais on ne commande pas ses larmes, n'est-ce pas?

bob dylan 1966 (vodka-coke, cocaïne, héroine .... ?)



skorecki 1974/eugénie de franval (d'après sade)




edf (1974)/capture dans la salle avec appareil photo
duras aimera beaucoup ce film, noguez aussi ... je me souviens m'y être masturbé trois fois de suite (trois prises d'une réelle éjaculation, on a gardé la troisième) devant une fillette d'un an et demi dont marguerite duras a cru voir le sexe offert aux regards (elle n'arrêtait pas de croiser et de décroiser ses petites jambes) ...

godard 1963/les carabiniers

scarlet town/mai 2013

bob dylan à la bougie/nouvelle voix, nouveaux arrangements, nouvelle douceur ...

nathanaëlle viaux/skorecki 2013/la pimbêche à vélo




le film attend sagement d'être monté, on le verra bientôt, s'il décide de se laisser voir ...

dylan 1963/première version de don't think twice it's alright

... .... .... .... .... la chanson qui m'a fait découvrir (et aimer) dylan l'été 1963 à new york sur the freewheelin' bob dylan .... en 1962 j'avais écouté et détesté (trop étrange) son premier disque nasillard, à new york aussi ...

skorecki 1988

pascal cervo 2013 (monsieur lapin)

vu samedi (le 1er juin) le nouveau film émouvant et rigolo réalisé par pascal cervo, monsieur lapin ... en une petite quarantaine de minutes, on retrouve avec une grande fraîcheur et une belle modestie discrète les qualités mystérieuses et obliques du cinéma de jean-claude biette ... le rire succède à l'énigme, jamais résolue, toujours mise en attente ... on ne sait pas où on va mais on y va avec un plaisir sans cesse renouvelé ... il y aussi un sens des durées proprement straubien ... le premier festival à le sélectionner rendra un service au cinéma, ou ce qui est reste ...

dimanche 19 mai 2013

dimanche 12 mai 2013

une des plus belles choses au monde ...

.... .... .... ..... .... .... .... .... al hibbler et hank jones (1982)... le dernier disque de al hibbler ...

jeudi 7 mars 2013

bob dylan and sam peckinpah, as told by rudy wurlitzer

Bob Dylan came to see me and said, "you know I think I was the reincarnation of Billy the Kid". And I said, "really? That’s interesting". And he said, y"eah. Is there any way I can be in that film"? So I called the producer and I said, "listen, Bob Dylan wants to be in the film" and I wrote him a part really off the cuff. Then I took Dylan down to Durango to meet Peckinpah. It was night when Dylan and I got off the plane and we caught a cab to the house Sam had outside of town. When we got there, there was a shot, and this maid ran out of the house screaming. Dylan was freaked! So I thought, oh man, we’re going to blow the whole thing. We went up to the house, opened the door and it was all dark, just a light upstairs. So I called, "Sam, are you up there? Anyone up there? What’s going on?" No answer. We crept up the stairs and Dylan was behind me — we go down the hall where Sam’s bedroom was, I slowly opened the door and Peckinpah is standing in front of a full length mirror completely naked. He has a pistol in his hand and he had shot his own image in the full length mirror. I turned to Sam, and I said, "Sam, I don’t know if you know it, but this is Bob Dylan, he’s going to be in the film, I wrote him a part." Sam paused and turned to Dylan and said, "I’m a big Roger Miller fan myself." -- Rudy Wurlitzer

lundi 25 février 2013

SKORECKI à 69 ANS



... en attendant la sortie de SKORECKI DEVIENT PRODUCTEUR (1h27, 2013)

vendredi 1 février 2013

kevin ayers/why are we sleeping (1970)

robert johnson et johnny shines

une troisième photo de robert johnson découverte: l'élégance, la classe ...

jeudi 31 janvier 2013

my back pages, desire style (utica, 1997)

skorecki devient producteur, 1H 26 (2013)


tournage de SDP (photo: vladimir léon)

the ballad of frankie lee and judas priest

meilleure année (2000), meilleure version de ce qui reste sans doute la plus belle chanson de dylan superbe version velvetienne de queen jane, approximativement (berlin, 1996) ..... une autre très belle interprétation sous influence lou reed  (it's all over now, baby blue)

jeudi 17 janvier 2013

yiddish blues or string band rap?


boibriker kapelle (1927), dave tarras, clarinet, abe schwartz, violin

mercredi 16 janvier 2013


" invraisemblable ou pas, crois-moi, c'est la vérité -et il n'y en a pas deux ..."