een kerkdienst voor de filmkunst*


Orwa Nyrabia, artistic director of IDFA, explains the how and why

Dziga Vertov’s Anniversary of the Revolution (1918) was long lost, but thanks to Nikolai Izvolov, IDFA could screen a glorious full version of this epic film – perhaps the first documentary film in world history. Bass Sambeek (Cinesonic) made it happen with a live soundtrack, provided by Kate NV – electronics, Anna Azernikova – soprano, Victoria Dmitrieva – piano, Anastasia Kozlova – violin, Varvara Tishina – soprano, Rodolfo Ravissant – accordeon and the Russian Chamber Choir, conducted by Anna Azernikova.

*”Een kerkdienst voor de filmkunst”(“A church service for the art of cinema”), my colleague SK dubbed this wonderful, wonderful night.



Music for mallet instruments, voices and organ (Steve Reich, 1973)

Just came across this fantastic version of Steve Reich’s Music for mallet instruments, voices and organ (1973), by ensemble Alarm will Sound. I can vividly imagine this music to sound during the creation of a universe – or two.

Great interview (in Dutch, Groene Amsterdammer, 1985) by Frits van der Waa here.


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At Tchong’s klinkt op deze heerlijke dag o.a. dit, doe er uw voordeel mee (of niet). Gegarandeerde satisfactie!

Amsterdam Beat Club, The Best Place To Go! Go! volume II (releaseparty paradiso 5 mei)
Atamina, Sycophantic Friends (Makkum Records)
Ayuune Sule, We have one destiny (Makkum Records)
Dimitri Verhulst, Corrie van Binsbergen en anderen, Godverdomse dagen op een godverdomse bol (Uitgeverij Rubinstein)
The Dubbeez, Peace, Love & Dub (Tuff Gong/V2) (releaseparty paradiso 8 februari)
Fendika, Birabiro (Terp Records)
Jaap Blonk & Terrie Ex, Thirsty Ears (Terp Records)
Kapok, Mirabel (Kerfstok Records) (releaseparty broedplaats lely 15+16 februari)
Namibian Tales, Kalahari Encounters (Mundus Productions)
Narwal, Nirvana (compiled by Jeroen Vermandere, label: Ongehoord – 001 2017)
Herman Schoonderwalt feat. Rob Madna, The Winner (Nederlands Jazz Archief)
Super Onze de Gao, Enregistrés pour YEHIA LE MARABOUT (white label, thanks Horst!)

St. James Infirmary by Koko the Clown (1933)

Gorgeous classic Betty Boop from 1933. Check out Koko the Clown (sung by Cab Calloway) stealing the show from 4.20 on – the beautiful way he dances! Fleischer’s animator Doc Crandall used Rotoscope (invented by Max Fleischer) to be able to transpose Calloway’s famous dance moves into animation. ‘An undisputed highlight of cartoon surrealism, matched by very few other cartoons’, says Dr. Grob’s Animation Review. Can’t stop watching Koko and his ghost version dancing.. His movements are simply gorgeous, the feet timing brilliant. Calloway’s rendition of this early jazz standard has a haunting quality of its own. Listen to his unique phrasing, the way it propels the meaning of the words. Chilled to the bone..

Folks, I’m goin’ down to St. James Infirmary
To see my baby there;
She’s stretched out on a long, white table
She’s so sweet, so cold, so fair

Let her go, let her go, God bless her
Wherever she may be
She will search this wide world over
But she’ll never find another sweet man like me

Now when I die, bury me in my straight-leg britches
Put on a box-back coat and a Stetson a-hat
Put a twenty-dollar gold piece on my watch chain
So you can let all the boys know I died standing fair

Folks, now that you have heard my story
Say, boy, hand me over another shot of that booze;
If anyone should ask you
Tell ‘em I’ve got those St. James Infirmary blues


Deze week hervond ik een cassette die ik ooit eindeloos in mijn walkman, fietsend tussen Nuenen en Eindhoven, draaide. Eén nummer in het bijzonder trof me als een meteoriet op een kansloze aardebewoner. Sandy Denny, zangeres bij Fairport Convention, doorvoelde zich de niet benijdenswaardige situatie van Mary, Queen of Scots (8 december 1542 – 8 februari 1587), eenzaam opgesloten in Fotheringay, wachtend op het eindoordeel. Let (ook) op de bassist, jazzy anticipatie in een folk framewerk. Wonderschoon, uitgevoerd in totale rust en perfectie. Drie minuten en vijf seconden die je gaan bijblijven. Dank aan D.K. van wie ik de zorgvuldig samengestelde cassette destijds kreeg.

How often she has gazed from castle windows o’er,
And watched the daylight passing within her captive wall,
With no-one to heed her call.

The evening hour is fading within the dwindling sun,
And in a lonely moment those embers will be gone
And the last of all the young birds flown.

Her days of precious freedom, forfeited long before,
To live such fruitless years behind a guarded door,
But those days will last no more.

Tomorrow at this hour she will be far away,
Much farther than these islands,
Or the lonely fotheringay.

Fairport Convention, ‘Fotheringay’ van: What we did on our holidays, 1969.

NB: Sonic Youth’s Lee Ranaldo over Sandy Denny. “Sandy always transports me to a unique musical place, and defines a certain time in music history to my ears. Her music and voice have been elevated to the top-most reverential rungs of all I hold dear in my musical life.”

is het internet kapot?

Animatie gemaakt door Steve Cutts. De Groene Amsterdammer heeft een scherpe analyse van het ‘tactisch anarchisme’ waarmee digitale grootmachten zoals Google en Facebook vooral hun eigen belang beschermen. Ten koste van een civiel debat onder vrije, kwalitatief geïnformeerde burgers.

“Zo is de rolverdeling: Silicon Valley predikt de ‘disruptie’, maar uitsluitend in één richting.”

Byrne interviews Byrne

In an attempt to bypass promotional interviews for the movie Stop Making Sense (1984), Byrne decided to interview himself. Besides being outrageously funny performing as several interviewer types, Byrne as interviewee excels as usual with some razorsharp observations like ‘music is very physical, and often the body understands it before the head’. Hence the legendary big suit: to make his head smaller! I cheered out loud at home watching this, when Byrne states that ‘the better the singer’s voice, the harder it is to believe what they are saying’. The lovesong he sings to a lamp is ofcourse this gem, a personal favourite.