WHAT COMES NEXT ON TOUR

WHAT COMES NEXT

Vesna Pavlović & Eduardo Alvarado

del 17 al 30 de abril

Gallery Metodi Meta Petrov

Dimitrovgrad

The Republic of Serbia

PRESENTACION LA CHIMENEA FANZINE # 11

El viernes 12 de abril a las 21:00 horas estáis invitados a la Presentación del número 11 de La Chimenea Fanzine que tendrá lugar en el Café-Bar Asterisco, situado en Avenida Portugal número 22. Contaremos con un concierto acústico a cargo de Odón y Davis de ElCuartoVerde. El nuevo número viene cargado de aportaciones de Pablo Madorrán, David Romero, Mariano Espinosa, Samy, Bosko Iniesta, Moreau, Igorosfera, Roberto Arroniz, Alejandro Mata, Carmen Beltrán, Eduardo Alvarado, Liliana Lima, Victor Gorrindo, Amparo Bonet, Marina Melo, Estimanol Vicario, Ricardo Martín Ramos, Esther Carreras, Lucas Rodríguez, Fernando de la Iglesia, Arturo Vozmediano, María Velasco, Guillermo de Jorge, Sonia San Román, Enrique Cabezón, Yaniquini, Chavo, Juan Carlos Mendoza, Rocío Álvarez, Fabra, Emilio Perera, Alfonso Valenciano, Carmelo Rodríguez Sedano, Diego Murugarren, Char, Iñigo San Sebastián y Carlos Cabezón. Además de una entrevista al grupo ElCuartoVerde. Estáis todos invitados, ¡lo pasaremos teta!

DEDICADO AL PUBLICO INCAUTO, A ESOS ARTISTAS QUE ALIMENTAN EL MISTERIO (Y EL CULTO A SU GENIO), Y MUY ESPECIALMENTE A LOS HISTORIADORES... OH, ESOS GRANDES ILUMINADOS!

"... optics do not make marks, only the artists hand can do that, and it requires great skill. And optics don’t make drawing any easier, far from it’. He stresses that by proposing the use of optical devices ‘is not to diminish their achievements… it makes them all the more astounding!"

David Hockney

TESTIMONY OF SPIRIT AND OPTIMISM

Jesus' blood never failed me yet

Never failed me yet

Jesus' blood never failed me yet

There's one thing I know

For he loves me so

Jesus' blood never failed me

Never failed me yet

Never failed me yet

One thing I know

For he loves me so

Jesus' blood never failed me yet

Never failed me yet

Never failed me yet

There's one thing I know

Loves me so

Jesus' blood never failed me

Never failed me yet

Never failed me yet

One thing I know

For he loves me so

Jesus' Blood Never Failed Me Yet is a 1971 composition by Gavin Bryars. It is formed on a loop of an unknown homeless man singing a brief stanza. Rich harmonies, comprising string and brass, are gradually overlaid over the stanza. The piece was first recorded for use in a documentary which chronicles street life in and around Elephant and Castle and Waterloo, in London. When later listening to the recordings, Bryars noticed the clip was in tune with his piano and that it conveniently looped into 13 bars.[2] For the first LP recording, Bryars was limited to a duration of 25 minutes; with the invention of the cassette tape, Bryars was able to complete a 60-minute version of the piece; and later, with the advent of the CD, a 74-minute version.

Bryars says:

In 1971, when I lived in London, I was working with a friend, Alan Power, on a film about people living rough in the area around Elephant and Castle and Waterloo Station. In the course of being filmed, some people broke into drunken song - sometimes bits of opera, sometimes sentimental ballads - and one, who in fact did not drink, sang a religious song "Jesus' Blood Never Failed Me Yet". This was not ultimately used in the film and I was given all the unused sections of tape, including this one.

When I played it at home, I found that his singing was in tune with my piano, and I improvised a simple accompaniment. I noticed, too, that the first section of the song - 13 bars in length - formed an effective loop which repeated in a slightly unpredictable way. I took the tape loop to Leicester, where I was working in the Fine Art Department, and copied the loop onto a continuous reel of tape, thinking about perhaps adding an orchestrated accompaniment to this. The door of the recording room opened on to one of the large painting studios and I left the tape copying, with the door open, while I went to have a cup of coffee. When I came back I found the normally lively room unnaturally subdued. People were moving about much more slowly than usual and a few were sitting alone, quietly weeping.

I was puzzled until I realised that the tape was still playing and that they had been overcome by the old man's singing. This convinced me of the emotional power of the music and of the possibilities offered by adding a simple, though gradually evolving, orchestral accompaniment that respected the tramp's nobility and simple faith. Although he died before he could hear what I had done with his singing, the piece remains as an eloquent, but understated testimony to his spirit and optimism."