Strikes, demonstrations, riots, the Futura label.. French way of life! One of Europe's most consistent and versatile musicians, Georges Arvanitas has been active since the early '50s. He's worked with traditional, swing, and bebop musicans, accommodating the demands of the many expatriate Americans who've come to Paris.
Though far from being an innovator or daring soloist, Arvanitas is a capable pianist, knowledgeable of bebop fundamentals and able to work effectively in many situations, from recordings to concerts to jam sessions. Arvanitas worked with traditional jazz groups in Marseilles in the '40s, then moved to Paris in the early '50s. He was later resident pianist at the Blue Note and formed his own group. He paid a return visit in He's recorded for Columbia and Saravah among others as a leader, and for Spotlite, Futura and Impro as a session musician Overdubs and mixing at Europasonor.
Sleeve Notes — Philippe Carles. Photos — Hilary Gostinsky. Although the label says 33rpm, it has to be played at 45rpm. A1 - Triptik A2 - Mixage Vert A4 - Ca Va Lecomte B1 - BM B3 - Reflexion B4 - Gaub Bernard Vitet — trumpet [water trumpet].
Learning to see things from another's perspective
Jean Paul Rondepierre — trumpet. Fourth in a reissue series of the cult French underground Futura label. This avant-garde psychedelic jazz masterpiece is a blend of abstract vocals, unusual electronics, twisted sound envelopes and nervous brass instruments. Easily one of the finest archival discoveries of the year. The French never cease to amaze and confound! For this, his only solo outing, he set out to make a soundtrack to a film by Claude Faraldo called "BOF, anatomie d'un livreur". Vitet even plays "underwater trumpet"! Overall, "Tacet" is full of strange sounds and even stranger arrangements.
The use of both contrabass and electric bass on some tracks provides an interesting sound, considering the electric bass is treated to sound nothing like it should this isn't a bad thing! It's hard to pick out standout tracks, since this all flows together perfectly and is best experienced all the way through. The first and last tracks, "Triptik 2" and "Gaub 71" respectively, both feature the same fast rhythm which sounds like a mix of darbouka and primitive drum machine , but otherwise are different entities.
This is the closest that "Tacet" comes to jazz, as the remaining tracks are pure explorations of sound, somewhere between free jazz and the cosmic explorations of Kluster et al.
I had always thought that Herbie had been the pioneer launching himself and me into a musical parallel universe with "Mwandishi, Crossings" and "Sextant", and nobody followed on that path. Only Miles Davis and Weather Report occasionally recorded some kind of psychedelic Jazz and only for a short time: Nothing quite like it - the closest comparison I can come up with is the free-jazz-in-a-reverberating-echo-chamber sound of Sun Ra's "Cosmic Tones for Mental Therapy" combined with the extraterrestrial electronic experiments of Pierre Henry, throw in some absurdist vocals, and But then in all comes together in an entrancing future-primitive vibe, with bubbling water sounds, mysterious echoey effects and hypnotic rhythms and non-rhythms If you want truly unique music, this is it!
Truly an obscure masterpiece!!! Posted by Vitko at 1: Engineer — Paul-Gerhard Landsiedel.
Different Perspectives In My Room!
Layout — Irene Giger. Distributed By — Mix-Musik. Peter Giger — drums, percussion.
- Learning to see things from another's perspective, Opinion News & Top Stories - The Straits Times.
- No Memories Beyond.
The sound is not quite as experimental as Dzyan what is? I want a pleasant listening Abstract, Experimental, Free Improvisation. Recorded at Orthophonic Recording Studio, Roma.
Art Direction — Gianni Sassi. Photography By — Roberto Masotti. Engineer — Sergio Marcotulli. Produced by Cooperativa Nuova Intrapresa. A1 - Schema A2 - Schema B1 - Schema B2 - Omaggio A Giacinto Scelsi Franco Evangelisti — piano, percussion [various]. Ennio Morricone — trumpet, flute, instruments [various]. Giovanni Piazza — french horn, flute, violin.
Antonello Neri — piano, instruments [various]. Giancarlo Schiaffini — trombone, flute. Egisto Macchi — percussion, strings. This group of Italian avant composers from the '60s and '70s created challenging music that sought to define new methods in the compositional process through group improvisation.
Like AMM and Musica Electronica Viva, they came from a background of avant-garde classical music rather than jazz, but embraced the strategies of freeform music that were being explored by both Europeans and Americans. Going a step further, this ensemble employs the techniques of post-World War II classical music, such as the preparation of instruments pioneered by John Cage, as well as the atonality and abrasive percussion that was being explored by Iannis Xenakis in the '60s. The striking trait of this ensemble is in the outlandish and courageous music that it performed, which has aesthetic similarities to the work of Maurucio Kagel and Luigi Nono in that it exploits the peculiarities of both sound and strategy.
Furthermore, legendary Italian soundtrack composer Ennio Morricone was breaking ground as a member of this critical ensemble. With a membership that revolved, the group was most prominently a house for the experiments of Franco Evangelisti and Mario Bertoncini. This LP reissue is debatably the best document of this ensemble following the rediscovery of lateth century classical music's many diversions. This is a vital document in the history of avant-garde music and, like the work of Musica Electronica Viva and AMM, it sounds absolutely new even 40 years after the fact. Deutsche Grammophon — Design — Erich Lethgau.
Engineer — John Timperley. Producer — Karl Faust. Producer [Assistant] — Richard V. If we can and when we do so, we may find our own perspective not as valid as we thought. Or, at least, it is not the only valid one. Of course, we may still hold on to our perspective for good reasons.
But we are now able to address the differences better because we understand the other perspective. The first is the overconfidence that we are succeeding in seeing things from another person's perspective, especially when we honestly tried. Recall the time when our partner was displeased with our gift and doubly upset that we did not try to understand what he or she wants. The fact is we did try to take our partner's perspective, but ended up with a mistaken one. Research has found that people are highly inaccurate when they infer what a person is thinking or feeling by observing the person's facial expressions and behaviours.
More importantly, people are overconfident that they have managed to get the person's perspective right, as shown by their own assessment of their accuracy.
- The Gospel According to Jesus.
- Center for Philosophy for Children.
- Connect With Us.
- Different Perspective!
The second pitfall is uncritically treating another person's perspective as valid and using it to manage the disagreement. When the perspective is based on mistaken assumptions, the consequence is often a misleading conclusion and missing the real issues. For example, a perspective on an incident may assume that a leader had access to a critical piece of information when he made a decision.
If this assumption is factually false but not corrected or questioned, the disagreements could end up with judgments about integrity when the real issue could be information flow. It is politically correct to say we respect different perspectives. It takes personal conviction and political courage to state the pros and cons of each perspective, especially the degree to which it is valid or invalid. In addition to avoiding overconfidence and uncritical acceptance, we can adopt three positive habits in perspective-taking. When we compare opposing perspectives, we may discover similarities.
When we find differences, we can see if their different strengths and weaknesses can compensate and complement each other. Drawing on both perspectives, a new and better perspective may emerge. Ironically, inclusivity may be most important when disagreements between perspectives are based on strong values and principles. We believe in integrity, fairness, meritocracy, racial and religious harmony, accountability and rule of law.
When we vigorously pursue our own perspective driven by one of these values or principles, could it be that the person we have a disagreement with is motivated by some of the other values and principles that are also dear to us? So, we should pay attention to how a value or principle is applied to the specific context, and consider how other values and principles may be relevant. We can also be mindful that when our perspective is dominated by a value or principle, we may end up arguing or behaving in a way that is not as valued-based or principled as we should be. Studies have shown true empathy does not come about by just imagining what the person is going through, no matter how hard we try.
We need to interact with the person by asking and listening to find out the concerns and circumstances as perceived or experienced by the person. This need for interaction applies to close family and social relationships, but also relationships between leaders and followers. When leaders and followers are engaged in naturalistic interactions - as opposed to contrived ones - they are more likely to tell each other what they truly think, instead of what they thought the other wants to hear.
As a result, one can better appreciate another's concerns and circumstances. Over time, quality interactions build mutual trust, reciprocity norms, social cohesion and even shared values between leaders and followers.
Join Our Mailing List
All these will motivate them to see things from each other's perspective, and facilitate conflict resolution and collaboration. But the converse is also true. When trust is low and we take each other's perspective, we will not like what we see. Research has shown that in such situations, seeing things from another's perspective will polarise opposing views further and result in more conflict. Finally, strike an intermediate note between subjectivity and objectivity.
To truly empathise with another person's perspective, one needs to be affective in adopting that perspective - and this involves emotions and subjectivity. But empathy must be accompanied by some level of detachment to maintain objectivity in evaluating issues and perspectives. Detachment means the ability to step back to see the bigger picture, like when we zoom out in Google Earth to fly around with a virtual helicopter view. When we fly too high, we lose sight of important details on the ground.
So, high-flyers must be sensitive to their quick ascent as they seek the helicopter view. If we can be more inclusive, interactive and intermediate when we manage disagreements, many differences may converge. They become pathways towards common or complementary goals.