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Moondog And His Friends Album 5 versions. Crescent Snaketime Series Album 13 versions. Moondog Records 2. More Moondog Album 6 versions. Prestige , Prestige. The Story Of Moondog Album 7 versions.

Moondog: The vagabond who became a countercultural icon

Moondog Album 13 versions. Columbia Masterworks. Moondog 2 Album 5 versions. In Europe Album 3 versions. Kopf , Managarm. H'art Songs Album 3 versions. Kopf , Roof Records. Trimba Music. Kopf Records. SMC Pro-Arte. Immense thanks to Amaury Cornut for his precious help and research work. Con la presente Policy vogliamo farti comprendere le caratteristiche e finalita' dei cookie e le modalita' con cui eventualmente disabilitarli.

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10 things that you (might) not know about Moondog, the Viking of 6th Avenue

Quali cookie sono utilizzati in questo Sito? All'interno del nostro Sito utilizziamo esclusivamente cookie detti "tecnici". A few days later, I was standing at the stage door entrance and the man there said 'you're not getting any farther.


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Joseph came over to me and said 'I saw you Sunday, would you like to go to rehearsals? He took me and said 'you sit here and enjoy yourself. I talked to Bernstein later and I told him about all of that. We got very friendly. He was having his shoes shined and I was out on the street. He said 'what are you doing in Sante Fe?

I'm on my way to Israel. Rodzinski introduced me to Arturo Toscanini. I was so impressed that I bent over to kiss his hand. He pulled it away and said 'I'm not a beautiful woman! Over a hundred musicians there. PSF: It's amazing that in such a short amount of time, you went from playing on the streets to having symphonies perform your works. Was that a dizzying pace for you? I had been working for it, even on the street. I had problems like with Alan Freed, the rock and roll king. He was coming out of Ohio, using my name and one of my singles 'cause it had a howling wolf in it.

Word got around that he wanted me to work with him but then he was calling himself Moondog. Then, when he came to New York, he had a program and was calling it the Moondog Show. I took him to court. He tried to settle out of court but I told him no. He said 'you might lose' and I said 'you might lose too. He called up the judge in the case and said 'Do right by this man, he's a good musician. What's your fasincation about this?

It's the interplay of one part against another but the parts must fit. When you write a piece, it may take a day to write it but then, composers, especially Bach, would put it aside and say 'it's finished.

Moondog – Moondog (1969) [Full Album]

It's note by note and in a sixteen part canon, there's possibilities of making a mistake between any two notes. That's the most boring labor you can imagine, comparing note against note for a whole composition. If you find a mistake, you can't just change the note, you have to change the whole phrase because of the musical grammatics.

My music on this album Sax Pax , there's not one mistake in there. I use it on a lot of other things too. One other thing I like about canon is that you start with one voice and then you add first counterpoint, then the second and so forth.

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If it's a nine part canon, then you have this build-up which leads up to a climax. Harmonic music doesn't do that- they start out full blast and goes on. But this builds up and builds up. That's what I like. A lot of people like that effect of the gradual build-up. PSF: I've heard that you've also had special instruments made for your work. Yes, I had a cabinet maker in New York who had built instruments for me. I'd give him the specifications and he'd do a beautiful job on it. For the street playing, I needed a special kind of drum down close to the ground.

I didn't have a chair there so I'd just squat down and played. I had them specially built on a triangular shape. First I had square drums but I liked the triangle shaped better- I called them trimbas. Then I had a little harp that I played with my left hand. I'd beat the other drum with a maraca. What's drawn you there? I feel culturally and artistically closer to Europe than I do to America, although I was born there and I have fond memories of America. Especially Wyoming where I lived on ranch as a boy and had my horses. I was hunting and trapping and fishing.

But New York has a big hold on me too. Europe is where my heart is, artistically with all the composers who have worked here and all the historical things that I've read about. It's very fascinating. PSF: This is an interesting quote from you: 'rhythmically I'm in the past. Melodically and harmonically, I'm in the present or avant-garde.