Walt Mundkowsky was born 1944 in San Antonio, TX. As a teenager, he had a dachshund named after Hugo Wolf. Extensive writings on film (cf. his “Cinema Obscura” column in Home Theater, 1995-2001). He favors the mine-shaft approach to music listening — in-depth exploration of tiny, unrelated areas. A resident of Beverly Hills, he has lived in basements in Denver, London and Stockholm, and may very well do so again.
Noise rockers Einstürzende Neubauten got the chance to record Die Hamletmaschine for East German radio in 1990.
“Caminantes, no hay caminos, hay que caminar.” — Travelers, there are no roads, but we must go on.
Bob van Asperen stood out in Gustav Leonhardt’s first wave of gifted pupils (Alan Curtis and Ton Koopman among them).
Utrecht’s Rosa Ensemble is another of the category-crossing bands that renders the New Music scene in Holland so vital.
The opening cut, Bley’s solo rendition of “Touching,” distills the pianist’s art — pedaling that turns notes into sculpture, leaping figures suddenly dropped, looming spaces.
Cole’s highlights package hasn’t been assembled with great care, but it does lend an old fan the excuse to spill some opinions.
These records influenced the course my listening subsequently took. Their CD versions are new to me, and fifteen years have passed since I last lowered a stylus. Can one look back without disappointment?
Diddling with Bach has been old hat for more than a century, and lately I’ve sighted Goldbergs from accordion, brass quintet, cathedral organ, jazz trio, overdubbed guitars, and several string ensembles.