en 1997, ces 28 chansons, comme pour la toute dernière fois ....

"oui, oui, il est étrangement boursouflé pendant ces quelques concerts magnifiques du printemps 1997 ... .... c'était juste avant ces étranges problèmes de santé, vous vous rappelez, il était atteint d'histoplasmosis cette maladie raririssime qui affecte le coeur, il avait failli mourir .... .... it was just before the strange health problem he had later that year.." ....
just before old bobby nearly died of a very rare heart infection, that is just before he nearly met Him face to face ....
et quelques semaines plus tard, à bologne, il chante (devant le pape jean-paul 2) qu'il frappe devant la porte du paradis ... un vrai mélo, un vrai western ....


she belongs to me (scranton,spring 1997 ... .... maybe)

under the red skies / senor

gambling man/masters of war

i'm younger than that now/positively 4th street

memphis blues again (out of mobile with the)/it sparkles before she speaks

lay, lady, lay/maggie's farm

it's late ... ... .../cocaïne

white dove/i and i

to ramona/till i fell in love with you

highway 61/don't think twice, it's alright

tonight, i'll be stayin' here with you/cold irons bound

tangled up in blue/silvio

blind willie mctell/shelter from the storm

live at the fisher auditorium, philadelphia, 22 avril 1997/pledging my time/absolutely sweet marie

tough mama

27 SEPTEMBRE 1997, BOLOGNE

stockholm, mars 2007

don't think twice it's alright, done in pure country picking style, light and crisp

it's alright ma/watching the river flow/nettie moore (stockholm, mars 2007)

dylan as emmett miller

here's an extraordinary glasgow 2004 version of cry a while, most difficult song to sing with it's changing rhythms, both accelerating and slowing down its own diction .... ..... one of dylan's fabulous emmett miller influenced compositions from 2002's "love and theft" ... here at it's best ...

bob dylan, juin 2011

cold irons bound, londres, finsbury park (feist), 19 juin 2011

she just acts like we never have met/hambourg, dimanche 26 juin 2011


simple twist of fate, londres, finsbury park (feist), 19 juin 2011/forgetful heart (juin 2011)

NEW HOLLIS1960 REAL UNSHAVEN CLOSE UP VERSION OF A SIMPLE TWIST OF FATE (CORK, 16 JUNE 2011)
it's a hard, hard, rain's-a-gonna fall/sursee, 24 juin 2011
...

NEW HOLLIS1960 REAL UNSHAVEN CLOSE UP VERSION OF SPANISH BOOTS OF SPANISH LEATHER (Odense, 27 JUIN 2011 )

all along the watchtower (OSLO, 30 juin 2011)

ALL FINSBURY PARK CONCERT IS ON JUNE 27

dylan 1997 (bonus)

" 1997 Albany NY State I think.", says hollis 1960 of this lovely version of the elizabeth cotten song, babe it ain't no lie ... belongs to the set of great spring 1997 "sick songs" i love so much ... check 28 others on june 27 ...

finsbury park, l'intégrale

1. intro. 2. gonna change my way of thinkin' 3. it's all over now baby blue

4. things have changed .... 5. tangled up in blue

(A SUIVRE)

en 1997, ces 28 chansons, comme pour la toute dernière fois ....

"oui, oui, il est étrangement boursouflé pendant ces quelques concerts magnifiques du printemps 1997 ... ....

shelter from the storm ........ ...... strangest version ever ....
.... .... c'était juste avant ces étranges problèmes de santé, vous vous rappelez, c'était juste avant ces étranges problèmes de santé, vous vous rappelez, il avait été atteint d'histoplasmosis, cette maladie raririssime qui affecte le coeur, il avait failli mourir .... ... it was just before the strange health problem he had later that year.." ....
just before old bobby nearly died of a very rare brain infection, that is just before he nearly met Him face to face ....
et quelques semaines plus tard, à bologne, il chante (devant le pape jean-paul 2) qu'il frappe devant la porte du paradis ... un vrai mélo, un vrai western ....


TOUTES CES CHANSONS, CES 28 CHANSONS DE REVE, SONT reportées AU 27 JUIN

london, 2000, dylan sang ...

... you left me in the doorway, crying, a song he had recorded only three years earlier for time out of mind ....

... 2000 was precisely the year i decided to abandon the idea of finalizing my very last ambitious film project, le juif de lascaux .... i've been questionning the reasons for dropping this film project for two or three months, beginning to think there might be room somewhere to try and eventually direct this ambitious l'escalier de la haine remake ... more than a producer, i've decided to look for some kind of script writer, professional or not ... if there's one around at the time, reading these lines, he should make me some kind of proposal ... as quickly as he can ....

dylan 2000

it ain't me babe .... folk blues in blue, as pure as heaven, as lovely as hell

trying to get to heaven/before they close the door/glasgow, 2004

The air is getting hotter
There's a rumbling in the skies
I've been wading through the high muddy water
With the heat rising in my eyes
Every day your memory grows dimmer
It doesn't haunt me like it did before
I've been walking through the middle of nowhere
Trying to get to heaven before they close the door


When I was in Missouri
They would not let me be
I had to leave there in a hurry
I only saw what they let me see
You broke a heart that loved you
Now you can seal up the book and not write anymore
I've been walking that lonesome valley
Trying to get to heaven before they close the door

People on the platforms
Waiting for the trains
I can hear their hearts a-beatin'
Like pendulums swinging on chains
When you think that you lost everything
You find out you can always lose a little more
I'm just going down the road feeling bad
Trying to get to heaven before they close the door

I'm going down the river
Down to New Orleans
They tell me everything is gonna be all right
But I don't know what "all right" even means
I was riding in a buggy with Miss Mary-Jane
Miss Mary-Jane got a house in Baltimore
I been all around the world, boys
Now I'm trying to get to heaven before they close the door

Gonna sleep down in the parlor
And relive my dreams
I'll close my eyes and I wonder
If everything is as hollow as it seems
Some trains don't pull no gamblers
No midnight ramblers, like they did before
I been to Sugar Town, I shook the sugar down
Now I'm trying to get to heaven before they close the door
robyn hitchcock's fabulous version with david rawlings and gillian welch:
http://youtu.be/JbT-V8FLFeI


same session, cry a while

1963

this was the year of my second visit to my cousin tsella in the bronx, in new york, and of my first "professional" sixty four hour trip by charter and greyhound to hollywood ...

... john coltrane was playing, johnny hartman taking his time before and between the notes, and the soudtrack softly and slowly whispered that my only love (at the time, it did make sense) was movies .... i was living at errol flynn's old love house on 8425 beverly hills, next to ciro's, where i'd go see sonny and cher two tyears later, in july 1965, same year i witnessed john coltrane in chicago, playing worse than alix combelle on a real bad day, while archie schepp (whom i interviewed a few days later, high on acid, and really making sense), who was playing with old coltrane managed to surpass both albert ayler and lucky thompson ....

le grand cinéma est-il d'extrême droite?

Tourneur travaille avec une petite équipe et un producteur génial, Lewton, petit juif ukrainien, immigré aussi, qui a le génie du cinéma (Lui est un génie du cinéma, ce n’est pas la même chose). Ses films sont brefs – une heure quinze, c’est plus que suffisant –, ce sont des séries B ; ils manquent d’argent, ils doivent fait des entrées ; Tourneur travaille dans un art d’industrie, comme dit Louis Skorecki : il doit faire vite et bien. L’art naît de conquêtes, vit de lutte, meurt de liberté … Si l’on prend Pendez-moi haut et court (Out of the past),
tourneur/mitchum, 1947
Kirk Douglas en fait trop, Mitchum pas assez (comme toujours), et Tourneur ne fait pas assez durer le plaisir au Mexique, pays riche encore de son exotique sauvagerie. Le film fait une heure quarante, un classique français na pas besoin de tant de temps.
in les 4 vérités hebdo, journal d'extrême droite en ligne aux accents très PRESENCE DU CINEMA (nicolas bonnal, lundi 27 juin 2011)

marvin gaye 94, pour les amoureux ... de sinatra

a cottage for sale, part three

judy garland overacts deliciously

frankie laine, torch singer/sam brown, best early crooner's version (1930)

best old time version ever: the velvet fog himself, mel tormé

willard robison sings his splendidly romantic and wonderfully dated "a cottage for sale"

willard robison, composer of this charming hoagy carmichaelian song (1930)

little known sfumato version by the young chris connor, in 1954

the two absolutely perfect interpreters of willard robison's work, miss peggy lee and good old faithful jack teagarden ..... ........ peggy lee's classic version/1962 poignant bluesy jack teagarden's version ... except new obscure version by chris connor, all three videos are films d'occasion productions ....

herzog vs skorecki

i disagree with most of what werner herzog says here (i've been in love with television for more than twenty years now, and i tend to ignore or hate cinema these days) ... but he DOES say all the things he says in a rather elegant way ...
(and i do consider him an extremely minor artist in the field of cinema)-

a cottage for sale, part four

little willie john's high soul falsetto version/his own original version of fever, years before peggy lee's or elvis presley's ... short tragic life, beautiful baby voice ....

le cinéma est-il de droite? (3)

gary cooper, virginia mayo, and raoul walsh acting as cecil b de mille
distant drums/les aventures du capitaine wyatt (1951)
(à suivre)

a cottage for sale, part two

frank sinatra's glorious version with gordon jenkins from no one cares

chuck berry's splendid unplugged slow rock rehearsal of the song

billy eckstine dying baritone (+ bobby tucker)/ivory joe hunter's soulful rendition, almost forgotten
http://youtu.be/GsjcVjESPko
arthur prysock's superlative sublime barytone version for centuries to treasure

mitchum sings

robert mitchum and the ames brothers go irish/too ra loo ra loo ral
(sons of Russian Jewish immigrants from the Ukraine, the Ames Brothers -five brothers, four sisters- were among the top selling artists of the early 1950s. Their close-harmony style had few equals.)

leaning/night of the hunter

le cinéma est-il de droite? (2)

the cattle queen of montana (ronald reagan/barbara stanwyck/allan dwan, 1954) .... (à suivre)

strange to think about it ....

... i loved both jazz and cinema when i was 20, now i don't love them anymore .... maybe the world changed around me without most people realizing it ...

le cinéma est-il de droite? (1)

charles laughton, leo mc carey/ruggles of red gap (1935)
the gettysburg adress scene/l'acte fondateur de la toute puissante démocratie américaine ....
(à suivre)

jlg/leonard cohen

pour gilles tordjman

introduction to willard robison's a cottage for sale

Willard Robison was born into a Missouri family with a long line of preachers. He broke with tradition, to the consternation of some family members, and pursued a career in music. But he carried his religious values and the love of small-town, rural America into his songs. He was heavily influenced by Negro spirituals, and his early songs often had religious themes such as “Religion in Rhythm,” “The Devil Is Afraid of Music” (which the sheet music calls “a syncopated sermon”), and “Truthful Parson Brown” which appeared in a 1929 film, The Broadway Melody. He played piano, participated in college musicals, and formed his own band in 1917, The Deep River Boys, which toured the Midwest and Southwest. Paul Whiteman heard Robison in Omaha and signed him to a three-year contract.

In New York Robison recorded piano solos and vocals and made piano rolls for the Duo-Art Company. His singing style was straight-forward--like a Johnny Mercer or Hoagy Carmichael without the southern accent. He also played with Busse’s Buzzards, a group led by Whiteman trumpeter Henry Busse. Robison developed his own radio show, “The Deep River Hour,” on WOR in New York. By 1931 the show was running three times weekly. He signed a contract with the distinguished William Grant Still, one of the country’s foremost composers often referred to as the Dean of American Negro Composers, to write orchestrations for the band. Trombonist Jack Teagarden, who had played with the band in Kansas City in 1924, occasionally joined them to record. But after seven years Robison felt that commercial demands compromised his music and he quit the radio show.

Robison wrote the theme song for the Jack Tremaine Orchestra, “Lonely Acres,” and Whiteman’s first theme song, “Peaceful Valley.” In 1962 Teagarden recorded an album of Robison’s songs entitled Think Well Of Me, and he included two Robison tunes on Mis’ry and the Blues, including “Guess I’ll Go Back Home Again (This Summer)” written with Ray Mayer. In 1976 vocalist Barbara Lea recorded a Robison tribute album, The Devil Is Afraid of Music. The lyrics of the title song express Robison’s optimism: “When there’s music in the heart, you won’t find room for evil.”

Robison’s contributions to the jazz standards include “Old Folks,” written in 1938 with lyricist Dedette Lee Hill ... ....

..... ..... and 1929’s “A Cottage for Sale,” written with lyricist Larry Conley, which became a million seller in 1945 for Billy Eckstine and was memorably recorded by Chris Connor in 1956 (who also recorded “Old Folks”). In 1948 Peggy Lee had a hit with “Don’t Smoke in Bed” which was also frequently performed by Nina Simone. The song is variously credited to Robison or to Lee, her husband Dave Barbour, and Robison.

Although Robison often wrote of the simple life, his music was quite sophisticated. His arrangements, in which he often used strings and oboe, had a symphonic flare. He also composed the eight-part “American Suite” in the ‘20s, “Six Studies in Syncopation” for piano, and the five-part “Rural Revelations.”

adieu lester

goodbye porkpie hat

Charles Mingus' Requiem to Lester Young.
Charles Mingus (Bass), John Handy (Tenor Sax), Booker Ervin (Tenor Sax), Horace Parlan (Piano), Dannie Richmond (Drums)
Composed by Charles Mingus
Recorded: New York, May 12, 1959

shelter from the storm (1997)

ob dylan's strangely fat looking on these series of songs ... i wonder why ... this arrangement is one of the strangest he ever did on shelter from the storm, surely not one of his best songs .... dressed like that i POSITIVELY love it ...
says hollis1960, who releases this bootleg on youtube, when i told him how i thought dylan looked strangely fat or something .... : "it's probably from the spring 1997 tour ... can't remember which show...he looked a bit bloated in the face for the whole of that tour...it was just before the health problem later that year.."
... tO BE CONTINUED ON JUNE 27 ... .... .... 28 fabulous performances from the same spring 1997 tour, just before bob dylan's near fatal brain accident, and just before his near fatal encounter with lord jesus christ ... reborn ...

8 X 8 (the end)

i've grown accustomed to her face, which happens to be my fair lady's ending: seven or eight of the very best versions ever of this sweet loerner/lowe standard
1. my personal favourite, perry como .... 2. the strangest most sensual one: marvin gaye ..... 3. the most simple one: nat king cole, ever so young, ever so live ...... 4: dean martin, the only crooner's absolute version ... .... 5. johnny mathis sings to audrey hepburn's lovely images, sweet sweet baritone .... ...6.marlene dietrich (1959, rio de janeiro)....7. matilde santing's lesbian version ... 7 bis: wes montgomery, 1962
MARVIN GAYE'S SOFT LITTLE KNOWN STANDARD ALBUM, JUST A WHISPER AND A DREAM
1. You've Changed/2. I Was Telling Her About You/3. I Wonder/4. I'll Be Around/5. Because of You /6. I Don't Know Why/7. I've Grown Accustomed to Her Face/8. When Your Lover Has Gone/9. When I'm Alone I Cry10. If My Heart Could Sing

ida

ida lupino, posing as director

Ida Lupino's Hard, Fast and Beautiful is a melodrama that takes place on the tennis court. it's a masterpiece, no less /p>

ida (2)

rita lupino directed by her sister, ida lupino/never fear (1949)

i met ida lupino in hollywood, in 1965 .... she was directing a lousy tv series, and dating a blond actor/assistant three times younger than she was ... ... i loved her walshian films, but i'd never seen never fear, her first film as director, that she directed in 1949, and which was released in 1950.
the man responsible for saving the print of the film at MOMA's writes: "quite an auspicious achievement, never fear was ida lupino’s directorial debut .... the film stars unknowns sally forrest and keefe braselle as carol and guy, a dance team up-and-coming on the los Angeles night club circuit ... the night after their triumphant performance, carol is sick and later learns she has contracted ... polio (we all know now that lupino was diagnosed with polio in 1934) ... .... carol’s dancing career is over and she turns away from guy, now her fiancé ... .... . as part of her rehabilitation, carol enters the famed kabat-kaiser institute in santa monica to regain her ability to walk and her diminished self-worth .... never fear was produced by lupino and her then husband collier young for their production company, the filmmakers".

frank sinatra, nat king cole, coleman hawkins, harry carney, johnny hodges, charlie shavers .......

frank sinatra/sweet lorraine (1946) ... ... nat king cole/piano, coleman hawkins/tenor saxophone, harry carney/barytone saxophone, johnny hodges/alto saxophone, charlie shavers/trumpet, lawrence brown/trombone, eddie safranski/bass, buddy rich/drums

1/2

balls and chain 1 (beverly kenney, demo, 1953), balls and chain 2 (beverly kenney/master, with johnny smith, guitar, 1955)/sweet lorraine/nat king cole (1957) ... beverly came first, of course

1947

it's been a long long time/stan kenton orchestra with "sfumato" debutante, miss june christy