Time And Sound – 4 (Aristide Bruant – 4)

Allen Ginsberg on Aristide Bruant continues from here, concluding here

AG: So, you know, l.. let’s try.. What I was noticing was the time again –  Yeah, what I was noticing was the time in both songs [Editorial note – Allen is not referring specifically to the two songs above altho’ he could be] –  there was a verse, a little rest, and then there’s a verse and a rest, and he’s very good at the rests.  And  the rests are really interesting – a unique little interval, so that you anticipate him coming in again, and you’re able to…it’s almost telepathic.. that you can follow, how long will he rest?  Because he’s doing it by intuition, and you’re listening by intuition, and so there’s this organic communication between the performer and the audience in which they are both focused on the same space of time and appreciating each of his proposals (or at least the audience appreciating his proposal – what are the proper rests?)  In a way it’s like copulation, in the sense that there’s an exchange of… a sense of time and pleasure in the thrust and withdrawal and thrust and withdrawal, or, the variation in the intimacy of communication in the copulation. It’s very similar to the intimacy in the communication in poetics and music, where both audience and proclaimer are focusing on the same time…playing with each others time so that you actually get to appreciate the organic body, or the breath-body of the vocalizer.

Aristide Bruant – “5 minutes chez Bruant”:

[Audio for the above can be heard here, beginning at approximately seventeen-and-a-half minutes in and concluding at approximately twenty-nine minutes in]

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