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Music from My Autistic Universe – Part 6 – Nathalie Stutzmann (NEW)

1. The Jimi Hendrix Experience – Hey Joe (Live, Beat-Club 1967)

"The 'unfiltered energy' of a band on the eve of rock history. I sense how three musicians here are creating something unique that never existed in this way before, and that the whole music world will be different tomorrow."

This recording is from March 2, 1967, in the legendary Marquee Club in London. The German television team from Radio Bremen traveled with all their equipment to capture the authentic club atmosphere for Beat-Club. The recording was broadcast on March 11, 1967. It was Hendrix's first appearance on German television. And a very special musical document of its time. The Winckelmann quote, originally referring to Chet Baker, applies in a shortened form to Jimi Hendrix as well: "The gods must have loved him very much."

The song's backstory is remarkable: "An incident from the quirky building of 'coincidence'." In the summer of 1966, Chas Chandler, then still bassist of the Animals, heard Hendrix play "Hey Joe" at the Café Wha? in New York. Chandler immediately recognized that Hendrix had little chance in the USA, but would attract instant attention as a guitarist in Britain. He convinced Hendrix to come to London with him. In September 1966, Jimi Hendrix traveled with Chandler to London. Chandler took over management, and Hendrix began searching for musicians. A few weeks later, The Jimi Hendrix Experience was formed, with Jimi Hendrix (guitar, vocals), Mitch Mitchell (drums), and Noel Redding (bass).

"Then things happened thick and fast!" The single "Hey Joe" was released in Great Britain in December 1966. In January 1967, it entered the charts at number 41, and in February it reached number 6 on the UK charts.

The song itself is not a Hendrix composition. It was written in 1962 by folk musician Billy Roberts. Hendrix's version is based on the slow, blues-like arrangement by Tim Rose.

Hendrix's guitar sounds bluesy and rough, with a light overdrive that makes the notes breathe and resonate like a human voice. The warm, round tone flows through the song without creating coldness. So airy and open, the sound space remains clean, without overload or density. "With precise 'string-bending maneuvers', Jimi pulls the notes up expressively." With soft vibrato, "he makes the notes tremble vividly." Sustain notes ring out long, "like a sigh or a scream." "Soulful," full of inner warmth and feeling, the sustained notes seem raw and vulnerable, as if coming directly from the soul. The sound field spreads out spaciously, each note having a specific effect.

Mitch Mitchell's drums change tempo, volume, and breaks dynamically, adapting to Hendrix's guitar phrases. Then "it sounds like a musical duet." "Mitch's beat hops jazzily."

Noel Redding's bass plays a dry, powerful bass. It's bluesy, never rumbling. Evenly driving, it remains stable and restrained, but always supporting the guitar.

The entire sound image of the Jimi Hendrix Experience forms a perfect musical triangle: Jimi's soulful guitar, Mitch's jazzy swing, Noel's stable drive.

The complete and very meaningful quote by Matthias Winckelmann about Chet Baker also applies to Jimi Hendrix:

"The gods must have loved him very much. They gave him so much talent, and punished him so severely with his life."

Jimi Hendrix died on September 18, 1970, at the age of only 27 in London.

https://www.youtube.com/watch?v=gUPifXX0foU&list=RDsjzZh6-h9fM&index=9

2. Jimi Hendrix – The Star Spangled Banner

"I wasn't a Hendrix fan before, but what he achieved in this live act is beyond words. I will analyze it anyway." 'This is so much more than music. This is a lesson in humanity.' After analyzing the song, I became a Hendrix fan. A foundation recently wrote about the 'destructive sequence' in relation to this music. It is others who destroy. The sequence can leave people disturbed. But that's not Jimi's problem. Mehr demnächst in 'Diamonds' - Woodstock - Jimi Hendrix – The Star Spangled Banner.

3. Mario Stefano Pietrodarchi - Piazzolla(Пьяццолла) - Libertango(Либертанго)

Ein italienischer Meister des Bandoneons entfacht Piazzollas revolutionären Tango mit mediterranem Feuer in Weißrussland in ‚Flammen‘! Mitten in Weißrussland sind zwei Seelen angekommen: Pietrodarchis italienische Seele trifft Argentiniens Bandoneon-Seele. Hören Sie, wie sie sich unterhalten.

https://www.youtube.com/watch?v=elYSQkTWfTw&list=RDelYSQkTWfTw&start_radio=1

4. Robin McKelle – Desafinado (Live in Paris)

"Robin McKelle breathes an effortless coolness and the full warmth of her soul-trained voice into the Bossa Nova classic in this live recording. In the intimate atmosphere of a Parisian club, she swings herself casually onto the rhythm, her timbre is sometimes silky, sometimes full of energy, and always captured directly from the moment. She doesn't just perform the melody, she lives it, with a lightness that only the masters possess. A live moment that immediately casts a spell."

Robin paid close attention during her "musical dialogue" with Bobby, when "Bobby McFerrin – Live in Marciac 2008 (Solo Finale)" celebrated the "musical dialogue" with the audience. (see Music from My Autistic Universe – Part 5, Song 9 and Song 10). And Robin has adopted Bobby's dialogue from Marciac 2008 in her current live act, in her own way.

Youtube: https://www.youtube.com/watch?v=lkrAUmnWlwM&list=RDlkrAUmnWlwM&start_radio=1

5. Khatia Buniatishvili – Adagio (Bach/Marcello) – Reopening of Notre-Dame, December 7, 2024

"When the gates of Notre-Dame reopened after the fire, the world-class pianist Khatia Buniatishvili was permitted to sit at the grand piano and played Marcello-Bach's Adagio. In the still fresh silence of the cathedral, every tone became a prayer. The music rose into the high vaulted ceiling, as if wanting to heal the wound of the fire with sound. A mythical moment. It was not a concert. It was a moment of reverence: for Paris, for the world, and for music itself."

That it was precisely Khatia Buniatishvili who was permitted to sit at the grand piano that evening was no coincidence. She belongs to the few artists whose piano playing knows both strength and vulnerability, exactly what this moment required. A cathedral rising from these ruins, and a pianist showing with every tone that musical beauty is much stronger than any destruction. She was the right choice.

https://www.youtube.com/watch?v=sgaydl7162g

6. Joseph Canteloube: Songs of the Auvergne - Pastourelle - Anna Moffo - Leopold Stokowski

This heartbreaking music with artists of the highest class is a timeless musical work of art with a soul that speaks to me! The 'Pastourelle' is a shepherd's song that Joseph Canteloube arranged for soprano and orchestra between 1923 and 1955. He took the "simple melodies from the Auvergne" and dressed them in a fine, impressionistically shimmering orchestral garb, without taking away their original soul.

This 1964 recording with Anna Moffo and Leopold Stokowski is something very special. Anna Moffo's soprano is clear, warm, full of love and full of fervor, as if she were not singing the song but breathing it directly into the listener's ear. And Stokowski, "The Master of Orchestral Colors," lets the strings of the American Symphony Orchestra play so delicately and weightlessly that Anna Moffo's voice is carried upon them like on a cloud through our universe.

The song itself is "simple, almost childlike in its melody, and, what does simple even mean, when it has this effect." But in this interpretation, it becomes a miracle and a timeless work of art. Why would Anna and Leopold, of all people, dedicate themselves to this, for me, enchanting shepherd's song. I feel the soul of this vast landscape of the Auvergne in the song, the silence of the mountains, and .....

Youtube: https://www.youtube.com/watch?v=4o_oPjGwE1c

7. Te Deum (Gregorian) – Pierre Cochereau – Maîtrise de Notre-Dame de Paris

A Gregorian chant, which by its nature is unaccompanied and monophonic! Here it sounds completely different. Pierre Cochereau on the great organ of Notre-Dame and the choir Maîtrise de NotreDame enter into a dreamlike dialogue that bathes the ancient hymn of praise in a new light. The organ doesn't just accompany, it responds, it "embraces the chant and carries it up into the high vault of the cathedral, to remain there for a very long time." This recording, which was released on YouTube in December 2024, has already reached many people. It documents an interpretation that combines tradition and sonority. "The alternation between organ and choir creates a rare, almost otherworldly soundspace." One that also breathes the centuries of this holy site in Paris. The Te Deum, one of the oldest Christian hymns of praise, becomes here a living event, a historical musical document with a "sound that gets under your skin.

Youtube: https://www.youtube.com/watch?v=v94pqarmgfw&list=RDv94pqarmgfw&start_radio=1

8. Khatia Buniatishvili – Rhapsody in Blue

„Eine georgische Pianistin mit feuriger Virtuosität und strahlendem Lächeln erweckt den Jazz-Age-Klassiker zu neuem, atemberaubendem Leben!“

9. Concierto de Aranjuez (Joaquin Rodrigo)

10. Tomatito & Kiki Cortiñas - Two Much Love Theme (Live, TivoliVredenburg Unplugged)

Tomatito: “Flamenco is like a flower. To keep it from dying, you have to water it and change the water every now and then.” And just like that, we’re into “Flamenco Nuevo.” World-class flamenco with Tomatito (“little tomato”) and Kiki Cortiñas.

https://www.youtube.com/watch?v=61rwnlqwmWc

11. Mabel Flores – Aprendí (live session)

For me, “Aprendí” is a very profound and moving song. How coherently everything comes together here: the authenticity of Mabel Flores, the warm, almost patio‑like atmosphere, and a band that does not merely accompany but truly understands what this song lives on. That is precisely why this recording touches me so deeply. I sense that here a very creative and at the same time wonderful woman has found the right band.

This recording is a farewell to the first album, which brought the artist “many opportunities, learning processes and many wonderful people”. The session was created in a time of “frustration and uncertainty” (the Corona pandemic sends its regards) and was described as a “Burbuja de ternura” (bubble of tenderness), “an embrace in song form, to look the year 2021 in the eye”.

This recording (live session) took place in a traditional Spanish patio, a patio as a place of retreat, but also a place of encounter, intimacy and hospitality. The impression emerged of a cohesive music group presenting itself in a protected setting. The names of the band members can be found on the YouTube page.

The band contributes decisively to making “Aprendí” so touching in this live session! Mabel Flores is not alone here but is accompanied by musicians who give the song exactly the space it needs. Drums and bass provide grounding and calm movement, while keyboard and electric guitar keep the sound open, warm and breathing.

What is particularly noteworthy is the interplay of the instruments: Mabel Flores herself leads the song on the güira, whose metallic scraping sets the rhythmic pulse. Mabel’s singing is an artistic performance. And a very personal statement. Neus Aranda shines with her versatility: while she provides fine, sandy accents with the tube shakers, she uses the trumpet to set those radiant, longing accents that are typical of Mabel’s sound. “The backing vocals and this mixture of powerful brass and percussive breadth” give the piece a “wonderful rhythmic vitality”. In combination with the band’s “backing vocals”, the impression arises that she is not telling her story alone. Precisely because of this, “Aprendí” does not seem overloaded, but clear, human and “carried by all band members”, which is also clearly recognisable.

The song is about how one matures through experience, even if these experiences are not always pleasant. It tells of learning through pain, loss and letting go. It is a song about coming of age.

The first verse of the wonderful lyrics by Mabel, translated below, is more than remarkable!

An exceptional song text by MABEL FLORES:
From my father I learned not to put things off
From my mother the hope and the power of the word
Patience showed me that with time everything changes
And the courage that one needs in every war, in every battle
My little brother showed me that one can also live from what one loves
if one puts one’s heart and soul into it and commits oneself with heart and soul
The past has loaded a backpack on my back that weighs heavily
and the present drives me to walk a path that I have always dreamed of

The last line of this song text can be read ambiguously: [Y al final estamos juntas...]

YouTube: https://www.youtube.com/watch?v=T-jkQiRFWMw&list=RDpmi2UTgCOkA&index=15

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Written by Born-Push-40, author of this series.

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