casimer & casimir

C&C GRAMOPHONE: Marc Chagall’s son David McNeil’s pop psyche single ‘Linda’

Marc Chagall’s son David McNeil’s pop psyche single ‘Linda’

Murray Melvin
by Cecil Beatonbromide print, 1968

Murray Melvin

by Cecil Beaton
bromide print, 1968

C&C Late Night Film Fest: Stephen Weeks’ Ghost Story (1974)

Revered, misunderstood and oft-discussed, Stephen Weeks’ rarely seen 1974 dreamlike chiller is the absolute definition of a cult British Horror film. Set in 1920’s England it tells of three former public schoolmates, Larry Dann (The Bill), Murray Melvin (The Devils) and the enigmatic Vivian Mackerell (the inspiration for Bruce Robinson’s creation ‘Withnail’, seen here in his only major screen role), who reunite in a country mansion haunted by the spirit of insane former resident Marianne Faithfull (Girl On a Motorcycle). The haunting transports them to a surreal world of demonic dolls, sadistic doctors, incest and murder.

Hammer fans will see Barbara Shelley (Dracula Prince Of Darkness) and Leigh Lawson (Hammer House Of Horror), among the cast, ‘cult TV’ enthusiasts will recognise Anthony Bate (Tinker Tailor Soldier Spy, Beasts), and sitcom lovers will enjoy a cameo from Penelope Keith (The Good LifeTo The Manor Born).
This combination of 1970’s Britsploitation and 1920’s quaintness, realised perfectly by Weeks and soundtracked by Pink Floyd collaborator Ron Geesin, have made Ghost Story legendary. 
Murray Melvin
The film’s composer, Ron Geesin, has an amazing resume from being the the orchestrator and savior of Pink Floyd’s “Atom Heart Mother” in 1970 to a multitude of experimental oddities that found their way as incidental music on the BBC, commercials, and obscuro LPs.


POST SCRIPT: Marianne Faithfull stars in the film.

C&C Gramophone: Françoise Hardy - Je te cherche (1974)

C&C Gramophone: Pierre Barouh’s ‘In Our Shadow”

I can’t stop listening to this lovely song from the Un Homme et une Femme soundtrack (1966)

Lovely, lovely time performing with @MilagresBand. These boys know how to write a song. Thanks for having us.

Lovely, lovely time performing with @MilagresBand. These boys know how to write a song. Thanks for having us.

Casimer&Casimir’s set list for 04.03.14 Schubas Tavern starring Sir Noël Coward.

Casimer&Casimir’s set list for 04.03.14 Schubas Tavern starring Sir Noël Coward.

// TONIGHT // MILAGRES (Kill Rock Stars) and CASIMER&CASIMIR (Brille) share the stage again at Chicago’s Schubas Tavern

C&C’s Aggregate Manifesto, Vol. 1: Allan Kaprow on How to Make a Happening

Forget all the standard art forms—don’t paint pictures, don’t make poetry, don’t build architecture, don’t arrange dances, don’t write plays, don’t compose music, don’t make movies, and above all don’t think you’ll get a happening by putting all these together.


C&C Gramophone: Yusef Lateef’s Detroit - “Woodward Avenue”

After issuing the spiritually compelling and contemplatively swinging Complete Yusef Lateef in 1967, Dr. Yusef Lateef's sophomore effort for Atlantic shifted gears entirely. Lateef chose his old stomping grounds of Detroit for an evocative musical study of the landscape, people, and spirit and terrain. Lateef spent the late-’50s in the city recording for Savoy, and this recording captures the memory of a great city before it was torn apart by racial strife and economic inequality in 1967. There is no way to make a record that suggests Detroit without rhythm, and Lateef employs plenty of it here in his choice of musicians: conga players Ray Barretto and Norman Pride; Tootie Heath on percussion; Cecil McBeeRoy Brooks, and Bernard Purdie; electric bassist Chuck Rainey; electric guitarist Eric Gale; pianist Hugh Lawson; and a string quartet that included Kermit Moore. In other words, the same band from the Complete Yusef Lateef with some funky additions. The string section, as heard on the opener “Bishop School,” “Belle Isle,” “Eastern Market,” and “Raymond Winchester” is far from the pastoral or classically seeking group of recordings past, but another rhythmic and melodic construct that delves deep into the beat and the almighty riff that this recording is so full of. For all of the soul-jazz pouring forth from the Blue Note and Prestige labels at the time, this album stood apart for its Eastern-tinged melodies on “Eastern Market”; the “Black Bottom,” gutbucket, moaning bluesiness on “Russell and Elliot,” with Gale and Lateef on tenor trading fours in a slowhanded, low-end groove; and the solid, Motown-glazed, rocking Latin soul of “Belle Isle.” The album ends curiously with the nugget “That Lucky Old Sun,” played with a back porch feeling, as if the urban-ness of the set, with all of its polyrhytmic intensity and raw soul, had to be tempered at the end of the day with a good-old fashioned sit in the yard as the city’s energy swirled around beyond the borders of the fenced lot. Lateef blows a beautiful tenor here, uing a motif from Sonny Rollins' version of the tune and slides it all the way over to Benny Carter in its sheer lyricism. It’s the perfect way to close one of Lateef's most misunderstood recordings. -Thom Jurek