Friday, June 19, 2026

Tom Waits and Captain Beefheart discuss the weather

Tom Waits and Captain Beefheart discuss the weather.

The sky over the diner is the color of a wet cardboard box. Inside, the vinyl booth groans. Tom Waits is stirring a cup of black coffee with a rusted butter knife. Captain Beefheart is staring intensely at a puddle of spilled cream on the Formica table, sketching an imaginary lizard in it with his index finger.

Tom Waits: (Voice sounding like it was dragged through a gravel pit behind a Buick)
Look at that out there, Don. The sky’s got the blues. It’s got that old, gray wool coat on. Rain’s coming down like loose change falling out of a dead man’s pocket. It’s a good day for a breakdown.

Captain Beefheart: (voice a sudden, booming baritone growl)
That’s not rain, Tom. That’s the sky combing its hair! It’s dropping its silver teeth into the mud. You’ve got to watch the crows. The crows know when the moisture is heavy. They fly backwards to keep the damp out of their headlights!

Tom Waits: (Grins, a slow, yellowed-tooth smirk, lighting a cigarette that’s mostly ash)
Backwards crows. Yeah. I knew a crow like that in Biloxi. Played the accordion. But this wind… this wind has got a knife, Don. It’s scraping the paint right off the neon signs. It smells like wet dogs and fried onions. The kind of weather that makes a thermometer just give up and drop its mercury on the floor.

Captain Beefheart: (Slapping the table, making the coffee cups rattle)
The wind is a rubber neck turnip! You can’t measure it with a glass tube, Tom. You gotta measure it by how hard the paint barks at the canvas. Look at that windowpane. The raindrops are staging a tiny, wet revolution. They’re running down the glass because they’re afraid of the sky!

Tom Waits: (Leans back, blowing a plume of smoke toward the grease-stained ceiling tiles)
They oughtta be afraid. The ceiling's got a leak. It’s ticking like a cheap watch. Drip. Drip. Drip. Just like the plumbing in a cheap hotel. I like it when the clouds get low and heavy, though. Like an old pregnant dog looking for a porch to die under. It keeps the tourists inside. Keeps the daylight from asking too many personal questions.

Captain Beefheart: (Leaning forward, his eyes wide, whispering fiercely)
The sun is just a fried egg in a pan of black grease anyway. Who needs it? When the fog rolls in, that’s when the desert breathes. It comes up from the floorboards, Tom. A great big, gray eraser, wiping out the telephone poles. Pfft! Gone. Now we’re just two fish in a dusty aquarium.

Tom Waits: (Takes a slow sip of his coffee, wincing)
An aquarium with bad coffee.

Captain Beefheart: (Nodding solemnly)
The best kind. The kind where the sugar cubes have memories

From a Gemini AI prompt

Saturday, March 7, 2026

Geeky bit on a snartsy experience, science nerdy and artsy.


Sitting behind the soundboard at a Dark Star Orchestra show at the Grand Opera House in Wilmington, Del (3/5/2026 playing a 1984 Dead show from Alpine Valley, WI. A classic analog soundboard with 100s of little dials in mint condition lovingly draped in tiedye at halftime. Excellent sound, each instrument clear in the mix.

JerryGuitar.png photo representing a Jerry guitar run
The board had a tiedye video display that was a fun fusion of science and art. On top, a plot of frequency color-mapped by amplitude in rainbow spectrum, rolling vertically through time. Underneath a red line graph of amplitude vs frequency. The lower plot first caught my eye as tan abstract view of he cover of my first and favorite Zappa record, One Size Fits All. A red sofa floating in space (Du bist mein sofa!) The top graph was an improvised temporal expression of tie dye color. The bass showed horizontal lines in a rhythm of yellow accented in orange and blue. Small spattering of drum color in the background. Multicolored vertical patterns of melody dominated the mids and highs. The extreme high only responding in isolated peaks of vocal timbres. The far low-end empty until Drums when it filled with a solid stripe of red-hot color from a large hanging drum. Jerry runs were beautiful cascading blue tendrils in the mid to highs. Slide guitar veered across the vertical pattern. Sometimes large gaps in frequency space. Surprised and baffled by distinct gridwork in the bass.

No doubt why I enjoyed this so much. The experience coupled many of my favorite things: live music, abstract art, physics, crystal clear sound, improvisation, The Dead, and a Zappa album and meshed with some experiences: the rainbow color map I use in thermal imaging, frequency analyses from my MS thesis, and recent reading of Fourier's original work on the Fourier Transform.

An aside and all hail to Jerry.
Looking at the frequency patterns of Jerry-style guitar and stealing some terms I don't pretend to understand, Jerry's Cosmic Chromatics included arpeggios, half-step approach tones, chromatic passing tones, ghost notes, and chord-tone encirclement. "Like many beboppers...and  "Like Django Reinhardt, ...embellishing arpeggios."

image.png

Sunday, December 24, 2023

Terms that can be used (or not used) when planning to clear a room.

musical audacity and originality 

abstract electronic music
action jazz
avant-garde
avante-garde jazz
creative music
danger music
electroacoustic music
ecstatic jazz
energy music
experimental jazz
experimental music
found sound
free improvisation
free jazz
free music
immediate ("in the moment") musical composition
improvised music
musical extemporization
noise music - expressive use of noise within a musical context.
non-idiomatic improvisation
sound sculpture

--------------------------------------------------------------------
No conventional use of melody, harmony, rhythm or pulse
sound-based creative practices
improvisation
extended technique
cacophony
dissonance
indeterminacy
----------------------------------------------------------------
Extemporaneous composition or free performance of a musical passage, usually in a manner conforming to certain stylistic norms but unfettered by the prescriptive features of a specific musical text. 

Improvised music without any rules beyond the logic or inclination of the musician(s) involved. The term can refer to both a technique (employed by any musician in any genre) and as a recognizable genre in its own right. 

To "play or sing (music) extemporaneously, by inventing variations on a melody or creating new melodies, rhythms and harmonies".



How do I Clear a Room?

 Also see a Note to a friend post.

Trying to make up a list of “clear the room music” that may be good for people wanting to check it out.  At first thinking accessible but that does not really give a a good sonic picture.  So I mixed in more adventurous recordings ( marked with a *).

* John Coltrane- Live at the Village Vanguard

The Thing - Garage

Atomic - any recording

Zu and Mats Gustafson - How to Raise an Ox

* Ornette Coleman - The Shape of Jazz to Come

Ornette Coleman - Free Jazz

The Peter Brotzmann Octet - Machine Gun 

Lasso Marhaug - The Shape of Rock to Come

*Frank Zappa - Uncle Meat

Vamdermark 5

William Parker

David S Ware

Matthew Shipp




Saturday, April 11, 2020

Dear Blockhead

Dear Blockhead, 

The best creative music is when it strays far from its own basic form. The idea of picking the best music is really counterintuitive to listening to improvised music. Anybody who uses a list to find the best version of a song is missing the point (wanking). Listening to improvised music is to get to know the many versions.  A lifelong pursuit.

Ramble On,

DeadHead

Tuesday, December 2, 2014

Sunday, June 2, 2013

Two Bands and a Legend

Pete reminded me of this one the other day and just gave another look over and listen.  Thurston Moore sums it up in the liner notes.  The Thing would rock out some outdoor summer festivals. No rooms to clear there.  Why not?  Who else would mix James Blood Ulmer and PJ Harvey?

T w o  Bands and a Legend   
Cato Salsa Experience, The Thing, Joe McPhee