Field Recordings Volume One: Long Hot Summer is available for free download here.
Field Recordings started out as a sort of sketchbook: I was sitting out on the porch recording songs with my cell phone so I wouldn't forget them. I listened to a whole bunch of them together, and kinda liked the way they sounded, so I decided to go ahead and put them out there for anybody who wants them. Also included are a handful of recent poems.
Most of this was recorded late at night, with crazy humidity and ridiculous temperatures. I think that comes through pretty clearly.
I'm liking this: though the recording quality is pretty bad, and the playing isn't spectacular, I think it's a nice sketchbook.
If you are interested in keeping track of Hoosier Pete, I do make a token attempt to keep the HP MySpace page up to date, so that would be one way to do it.
Enjoy!
Showing posts with label mp3. Show all posts
Showing posts with label mp3. Show all posts
September 26, 2010
April 12, 2010
New Hoosier Pete Track
Busy, busy, busy . . .
Here's a new Hoosier Pete track recorded during a break in a Black Kaspar recording session. More a sound check than anything, but I think it turned out nice. Poured just a little sugar on it Sunday after Dan gave me a copy. No big deal, but a nice little track that will most likely show up on the next Hoosier Pete joint whenever that gets finished (half written, no recording yet). BTW, it starts about 16 seconds in. Sorry 'bout that.
More soon - both written and played.
March 18, 2010
Dalai Lama
With all the genuine, sad, and serious tributes to Alex Chilton, with all the dark, tortured, and introverted remembrances, it's time somebody celebrated the shambles.
Ladies and Gentlemen, The Belgian Waffles!, at your service.
January 16, 2010
November 14, 2009
More Free Hoosier Pete Downloads
Let's face it: I'll never get around to selling this stuff on my own. So here it is, free of charge . . .
The Portland L.P.
and
The Drunkard's Lament E.P.
Enjoy! And, while you're there, surf around the Indiana Musical Family Tree. It's a really fun little network.
Of course, the Swirling Gingerbread River E.P. is available right on this here blog. Collect all three!
Ciao!
The Portland L.P.
and
The Drunkard's Lament E.P.
Enjoy! And, while you're there, surf around the Indiana Musical Family Tree. It's a really fun little network.
Of course, the Swirling Gingerbread River E.P. is available right on this here blog. Collect all three!
Ciao!
April 20, 2009
Columbine
I'm here today not to write about Columbine, but to tell you why I'm not . . . which, at the end of the day, amounts to the same thing.
I've been making notes on Columbine, Oklahoma City, Iraq, and Afghanistan for a while now. They usually reach out toward Foucault and Baudrillard, among others. Yesterday, I sat down on a rainy day to watch some basketball & dig through my notes, so I could have this post done on the 10th anniversary of the Columbine massacre.
As I rumbled through my notes, the Lakers were destroying a good Jazz team on TV. It seemed that every ad break was dedicated to Oprah's 10th Anniversary of Columbine Special. Sprinkled in were various mentions of other memorials on news shows and the like. I was beginning to feel like I was part of the gold rush in a way I didn't intend. The word "exploitation" was on the tip of my tongue.
I'm not criticizing Oprah here: the nation expects its intrusive and controlling but kind and well meaning auntie to address the anniversary that still is a source of grief and confusion. And if the daily news on April 20th, 2009 didn't memorialize the Columbine massacre, then something would be amiss. Without having read the book in question, I am willing to assume that the gentleman who wrote the book that Oprah built her show around is well meaning and intelligent, a man who values truth and insight above his own personal reputation, which he is staking on Columbine.
But somewhere today, someone will point to Columbine in an attempt to further an agenda. Someone will say "look at Columbine" when what they really mean is "look at me". Someone will talk of martyrs, someone will talk of monsters, and neither will add to the greater understanding of humanity. Someone on Fox News will say "If the security guards at Columbine had guns . . . ", and someone at CNN will say "If guns were outlawed . . . " and both will be ignoring the point. The point is this: 10 years ago, 15 kids died at a high school in Colorado.
Somewhere between sober memorials, Oprah's typically grandiose attempts to be the world's psychic savior, and blithering idiots on cable news shows, there is a line. The line is fuzzy and unclear, and I'm not sure where it is, but it does exist. I also feel I know just where in this scheme I fall.
I can assure you that my intentions are good; but at the same time, I can't help but feel I'm scratching at a wound needlessly by posting on this anniversary. I believe what I have to say about Columbine (and Iraq and Oklahoma City and Afghanistan) is worth saying . . . but I'm not going to say it today.
The chance of anyone with a personal connection to Columbine reading this is virtually nil, but I have always approached this blog as being fully in the public sphere, even if few sort through the noise to find it. As a public (if obscure) author, it would be irresponsible of me to exploit this anniversary for my purposes. Anything I have to say on April 20, 2009, will be equally valid June 12th, 2009. I will post my essay in the future.
Instead, allow me to light a candle. This song, "Columbine", is by Rob Bayne, a songwriter and friend of mine. It is far more appropriate than a philosophical rant. Please listen to it.
I've been making notes on Columbine, Oklahoma City, Iraq, and Afghanistan for a while now. They usually reach out toward Foucault and Baudrillard, among others. Yesterday, I sat down on a rainy day to watch some basketball & dig through my notes, so I could have this post done on the 10th anniversary of the Columbine massacre.
As I rumbled through my notes, the Lakers were destroying a good Jazz team on TV. It seemed that every ad break was dedicated to Oprah's 10th Anniversary of Columbine Special. Sprinkled in were various mentions of other memorials on news shows and the like. I was beginning to feel like I was part of the gold rush in a way I didn't intend. The word "exploitation" was on the tip of my tongue.
I'm not criticizing Oprah here: the nation expects its intrusive and controlling but kind and well meaning auntie to address the anniversary that still is a source of grief and confusion. And if the daily news on April 20th, 2009 didn't memorialize the Columbine massacre, then something would be amiss. Without having read the book in question, I am willing to assume that the gentleman who wrote the book that Oprah built her show around is well meaning and intelligent, a man who values truth and insight above his own personal reputation, which he is staking on Columbine.
But somewhere today, someone will point to Columbine in an attempt to further an agenda. Someone will say "look at Columbine" when what they really mean is "look at me". Someone will talk of martyrs, someone will talk of monsters, and neither will add to the greater understanding of humanity. Someone on Fox News will say "If the security guards at Columbine had guns . . . ", and someone at CNN will say "If guns were outlawed . . . " and both will be ignoring the point. The point is this: 10 years ago, 15 kids died at a high school in Colorado.
Somewhere between sober memorials, Oprah's typically grandiose attempts to be the world's psychic savior, and blithering idiots on cable news shows, there is a line. The line is fuzzy and unclear, and I'm not sure where it is, but it does exist. I also feel I know just where in this scheme I fall.
I can assure you that my intentions are good; but at the same time, I can't help but feel I'm scratching at a wound needlessly by posting on this anniversary. I believe what I have to say about Columbine (and Iraq and Oklahoma City and Afghanistan) is worth saying . . . but I'm not going to say it today.
The chance of anyone with a personal connection to Columbine reading this is virtually nil, but I have always approached this blog as being fully in the public sphere, even if few sort through the noise to find it. As a public (if obscure) author, it would be irresponsible of me to exploit this anniversary for my purposes. Anything I have to say on April 20, 2009, will be equally valid June 12th, 2009. I will post my essay in the future.
Instead, allow me to light a candle. This song, "Columbine", is by Rob Bayne, a songwriter and friend of mine. It is far more appropriate than a philosophical rant. Please listen to it.
December 12, 2008
Free Download: New Hoosier Pete Live EP
"In St. Louis things didn't seem to be so good, and he got into a row with a hooker he picked up on Market Street who tried to roll him, so as a guy told him there were plenty jobs to be had in Louisville he began to beat his way east. By the time he got to New Albany it was hot as the hinges of hell; he'd had poor luck on hitches and his feet were swollen and blistered. He stood a long time looking into the swift brown current of the Ohio, too tired to go any further. He hated the idea of tramping around looking for a job. The river was the color of gingerbread; he started to think of the gingercookies Lizzie Green used to make in his mother's kitchen and he thought he was a damn fool to be bumming around like this. He'd go home and plant himself among the weeds, that's what he'd do."-- John Dos Passos, The 42nd Parallel
Listen to (and download) the new Hoosier Pete EP, Swirling Gingerbread River: Live at Lisa's 9-12-2008.
Recorded at the release party for Portland, Swirling Gingerbread River is a rough & ready live document of the Hoosier Pete sound.
Hoosier Pete wrote & played it
Dan Willems recorded it
Hoosier Pete salted it
October 25, 2008
Nocturne for a Synth Band
Bart Galloway did a set with some electronics/synth guys at Derby City Thursday. It seemed new ground for him, being a free jazz - free improv type of guy. He is more comfortable with people like the Sick City crew (he is now, according to the Sick City MySpace page, a member of the group) who find their roots in sixties free jazz-style improvising. The synth guys were definitely working from a more textural place, devoid of the kind of rapid change and aggression that a drummer like Bart thrives on. During the set break, he stepped outside to chat with Heather, Dan, and I about the set (Heather Floyd and Dan Willems being the aforementioned Sick City people), and he didn't seem to be sure about what was going on, or how his response to it was working. I assured him that all was going well. The synth guys were working on some interesting textures, and his drumming was actively engaging those textures. I think it is a tribute to Bart's musicianship that he was so readily able to work outside of his comfort zone.
Discussing the set with Bart, I talked about the difference between how the synth guys worked and how we (Dan, Heather, Chris, Bart, and I, for starters) tended to work. I talked about the long scope of their changes, and how their textural decisions amounted to a sort of musical wallpaper. Now, calling music "wallpaper" in my circles is usually a pretty serious dis, but I think that the synth guys wouldn't necessarily take it that way, and I certainly didn't mean it that way. There were some very interesting textures going on, and, at the end of the day, I think the collaboration worked pretty well.
After I got home, I realised that I actually do work (at times) in the same modes that the synth guys do. My ideas of texture are different, but I do work with texture quite a bit . . . it just tends to happen in different ranges than the synth guys. Black Kaspar, for instance, works for texture at a very high volume, though those textures are usually built from string instruments (guitars) and feedback, so the attack is slightly different. Also, in my Hoosier Pete mode, I have Blind Willie Johnson's "Dark was the Night, Cold was the Ground" as one of my primary touchpoints, and that is all about texture as well . . . hell, one of the continuing compositional gambits I have is "Blues for Morton Feldman", and that's all about reckoning music with the plasticity of painting and sculpture. What is wallpaper other than the liberation of painting from the frame?
Anyway, here's a song I recorded that night. I think it illustrates what I'm talking about.
Discussing the set with Bart, I talked about the difference between how the synth guys worked and how we (Dan, Heather, Chris, Bart, and I, for starters) tended to work. I talked about the long scope of their changes, and how their textural decisions amounted to a sort of musical wallpaper. Now, calling music "wallpaper" in my circles is usually a pretty serious dis, but I think that the synth guys wouldn't necessarily take it that way, and I certainly didn't mean it that way. There were some very interesting textures going on, and, at the end of the day, I think the collaboration worked pretty well.
After I got home, I realised that I actually do work (at times) in the same modes that the synth guys do. My ideas of texture are different, but I do work with texture quite a bit . . . it just tends to happen in different ranges than the synth guys. Black Kaspar, for instance, works for texture at a very high volume, though those textures are usually built from string instruments (guitars) and feedback, so the attack is slightly different. Also, in my Hoosier Pete mode, I have Blind Willie Johnson's "Dark was the Night, Cold was the Ground" as one of my primary touchpoints, and that is all about texture as well . . . hell, one of the continuing compositional gambits I have is "Blues for Morton Feldman", and that's all about reckoning music with the plasticity of painting and sculpture. What is wallpaper other than the liberation of painting from the frame?
Anyway, here's a song I recorded that night. I think it illustrates what I'm talking about.
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