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!!!Bb Dorian Blues (1963) ---- {cap}'''Improvisations 1962-1964 - sopranino saxophone (w/ drones & various instruments)''' : Bb Dorian Blues, The Overday, Early Tuesday Morning Blues, Sunday Morning Blues{/cap} {br}{br} {html} <TABLE BORDER=0" WIDTH="100%" style="background-color:#CCCCCC;"> <TR> <TD> <small>LA MONTE YOUNG<br>(improvisations 1962-1964)<br>19 X 63 - B FLAT DORIAN BLUES (excerpt)<br>(Recorded by La Monte Young and the Theater Of Eternal Music on October 19th, 1963)</small><br> <object type="application/x-shockwave-flash" data="webs/dewplayer-vol.swf" width="350" height="20" id="dewplayer" name="dewplayer"> <param name="wmode" value="transparent" /> <param name="movie" value="webs/dewplayer-vol.swf" /> <param name="flashvars" value="mp3=https://jeromejoy.org/files/articles/lamonteyoung/1963_LMY_DorianBlues.mp3&bgcolor=FFFFFF&showtime=1&autoplay=0&autoreplay=0&volume=100" /> </object> </TD> </TR> </TABLE> {/html} B♭ Dorian Blues Saturday 19th October 1963 - 5th Day Of The Hammer{br}Drums ^[Hand^] : Angus MacLise — Guitar ^[Bowed^] : Tony Conrad — Sopranino Saxophone : La Monte Young — Viola : John Cale — Vocals ^[Drone^] : Marian Zazeela{br}{br}{br}{small}{cap}Comments on another variation "Dorian Blues in G"{/cap}{/small}{br}{small} ''Young's "Dorian Blues in G", captured for posterity on Just Stompin': Live at the Kitchen (Gramavision). It's an intensely physical, two-hour-long piece that transfigures blues progressions and through use of his "just intonation" system (which forsakes conventional "equal-tempered" notation in favor of a 49-notes-to- the-octave system) creates a listening environment that's totally unique and surprisingly easy to grasp.'' — (David Sprague, In Request magazine){br}{br}''Between the concept and its actual execution, there's a mass of theory and application that rivals quantum physics in complexity. But you don't need to understand it to love Young's "Dorian Blues in G", a piece in which each chord of a six-chord progression gets a 20-minute workout. The unusual harmonies produced through just intonation are invigorating; they resonate in the heart and soul besides ringing in your ears. Young's blues are unlike any you've heard before, and at the same time they're as pure a musical illumination of the form as you're ever likely to hear.'' — (Glenn Kenny, In Spin magazine){br}{br}''Listening to Young's "Dorian Blues in G" the sole, two-hour piece in the band's repertoire I'm filled with the same urgent, excited feeling I felt when I first heard something as agonizingly beautiful as Robert Johnson's "Stones in My Passway." Only Young is approaching blues from the other side, the top side, where harmonic theory and microtonal minutiae are the gates that free the flow of emotion. Partly due to Young's mathematical and compositional precision, his grasp of the real meaning of musical intervals, his deeply ingrained spirituality and romanticism, and his coherence to the universal truth of sound, there's a beauty in the piece that goes beyond math, beyond the blues, and beyond music.'' — (Neil Strauss, New York Press){br}{br} — '''Sources :'''{br}— http://www.melafoundation.org/fbbpress.htm {br}— http://www.dbdoty.com/Words/LMYInterview_01.html {br}— http://home.cogeco.ca/~lamonteyoung/63X19_5TH_DAY_OF_THE_HAMMER_Bb_DORIAN_BLUES.htm {/small} * {small} '''^[[more info on Bb Dorian Blues (Yam Festival)\|DOCLMYyam]^]'''{/small} {br}{br} {br}{br} ----
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