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 TULSA et les archives de Dylan

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MessageSujet: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeLun 3 Juil - 23:24

http://www.rollingstone.com/music/features/bob-dylans-tulsa-archive-an-exclusive-inside-look-w489787

Citation :
Exclusive: A Look Inside Bob Dylan's Secret Archives

Rolling Stone browses 50 years of hidden history in Tulsa – from an unknown love song to Mavis Staples to video of Dylan recording "The Man in Me"


The trucks began arriving in Tulsa in March 2016, each filled with priceless artifacts from Bob Dylan's past. Open up one box and see a handwritten draft of "Visions of Johanna" on yellow legal paper with alternate lyrics (including mentions of "nightingales" and "infinity codes"). Look inside another and find the leather jacket he wore at the 1965 Newport Folk Festival, and the guest list for a 1974 show at Madison Square Garden (Yoko Ono got two tickets; Allen Ginsberg got four). Another has a 1969 letter from George Harrison: "Dear Bobbie, Thanks for Nashville Skyline, it is beautiful. Love to you all."



The collection is still arriving in stages at Tulsa's Center for American Research at the Gilcrease Museum, but it will eventually include about 6,000 largely unseen items stretching back more than 50 years, culled from Dylan's exhaustive personal collection. It's the result of a reported $15 million–to–$20 million deal between Dylan and the George Kaiser Family Foundation that will give the material – which also includes digital and video files – a permanent home in Oklahoma. The public will be able to see a curated set of items when a planned Dylan museum opens downtown in two years or so, but accredited Dylan scholars and select journalists are already combing through some of the memorabilia in a secure room at the Gilcrease – and it's clear that the contents of the archive could revolutionize Dylan scholarship. "It opens up a world to Dylan scholars that we didn't know existed," says Clinton Heylin, who has written eight books about Dylan.

Robert Polito, the first scholar allowed access to the archive, is researching a book on Dylan's work from the past two decades. On a June afternoon, he's sitting in front of a box filled with papers from Love and Theft, along with a business card from a Santa Monica boxing gym on which Dylan scrawled the phrase "I'll get as far away from myself as I can" – a rough version of a line in 2000's "Things Have Changed." "For the first time," says Polito, "it's possible to follow a song from a notion on a hotel notepad through multiple drafts and then into multiple versions of recordings, sometimes with different lyrics or different arrangements. Going through all of it is totally overwhelming. I'm a little bleary from all there is to pay attention to."

The archive will also house digital copies of the raw session tapes from every one of Dylan's studio albums, though the master tapes will remain safely tucked away at the atomic-bomb–proof Iron Mountain storage facility in upstate New York. Visitors will also be able to access audio from all of his recorded concerts during the past five decades. Many of them were taped by the Dylan camp – including every show on the Never Ending Tour – but the archive has also turned to fans for audience recordings to fill in the gaps. "Things always weirdly pop up," says chief curator Michael Chaiken. "We just got the complete recording of the 1961 Carnegie Chapter Hall from the engineer. He did two sets, but half of it has ever been out there. We have the first generation original tape. And I think from 1966 on they have almost all the shows in one way or another, whether they are soundboard or audience recordings."

To guard against bootlegging, the archive will maintain the audio files on a secure, offline network accessible only by three computer terminals at the library. Employees are still in the process of transferring many of the audio files, though they do have John Wesley Harding outtakes that have never been heard by fans. A click on the first take of "As I Went Out One Morning" reveals a drastically slowed-down, dirge-like rendition of the song.

In order to gain access to the material – which is housed in a climate-controlled, fire-resistant room monitored by 24/7 security – scholars or journalists will have to outline exactly what they want to see. Cameras and recording devices will be completely forbidden. All notes will need to be taken by hand and the audio files will be watermarked. "Only the part of the archive that people request will be accessible to them," says Chaiken. "Somebody won't be able to come in to to look at '66 stuff and then say, 'OK, cool, now I want to hear the Blood on the Tracks tapes.' They will only be able to see a little slice of the collection. We're keeping it very focused and specific."

Michael Chaiken is an archivist who has curated the film collections of documentarians like the Maysles brothers and D.A. Pennebaker. His work with Pennebaker included poring through outtakes from the 1967 Dylan documentary Don't Look Back, a task that began his involvement with the Dylan camp and eventually landed him the coveted job of head curator of the Dylan archive. Chaiken says he assumes Dylan's motivation for the sale was simple: "If you want to leave any sort of legacy behind, you want the mass of your material at a single place where future generations will be able to come and see it."

The flood of tourists expected to turn up to see the archive will have to be patient. The Kaiser Foundation is still sorting through bids from architects and exhibition companies to create the Dylan museum, though they do have a site ready: The building that will eventually house it sits next to the Woody Guthrie Center, funded by the same foundation – likely another reason Dylan chose this deal and location. "I would like to see the Dylan center be an active, lively magnet for Dylan fans and music fans from all over the world," says Ken Levit, Executive Director of the Kaiser Family Foundation. "I'd like this to be an active place of scholarship and I hope it infuses our community with more artists and songwriters and helps it be a gift that keeps on giving."

The biggest surprises may well be in the collection's video assets, which include all of the Don't Look Back outtakes, plus hours of unseen Pennebaker-shot footage from Dylan's 1966 tour and Dylan-directed outtakes from 1978's Renaldo and Clara, shot on the Rolling Thunder Revue tour. There is even exceedingly rare footage of Dylan in the recording studio: an hour and a half of a grinning, bearded Dylan working on 1970's New Morning tracks, including "The Man in Me," and another 90 minutes of him tracking Infidels in 1983. Another hour of previously unheard of 16mm film captures Dylan hanging out with the Band (and Tiny Tim) during the Basement Tapes era; at one point, they're playing cards.

Rolling Stone was allowed to sift through about 15 boxes from the collection, each one packed with revelations. One folder included the complete contents of Dylan's wallet from 1966, along with Otis Redding's business card and an address book featuring Lenny Bruce's contact information as well as scrawled lyrics. Another box was full of lyrics from 1965. The manuscripts reveal that "Just Like Tom Thumb's Blues" was originally called "Just Like Juarez," and that at one point "Ballad of a Thin Man" began with the line "You walk into the room with your hatchet in your hand." The back of a draft of "Subterranean Homesick Blues" contains the beginning of a never-released love song for Mavis Staples, whom Dylan famously proposed to in 1963. "Down in Chicago there lives a queen," he wrote. "She sings the blues, if you know what I mean/Ah, Mavis/I dream she's singing in my sleep/But worse, I wake up thinking that I'm in church."

Lyric sheets from the 1960s through the 1980s are typewritten, and recent ones are mostly handwritten in tiny letters on unlined typing paper. A lyric sheet for 2001's "High Water" shows meticulous craft work in pencil and blue ink, with endless variations and revisions. "He emerges as an extraordinary editor of his own work," says Polito. "What the archive reveals, what the lyric revisions reveal, is somebody who works very hard, who edits his work very capably, rarely leaves a good line behind, and when he does leave it behind in one song it often winds up in another song."

Heylin has yet to visit the center, but he's been in close touch with Chaiken and hopes to visit in November, around the time he releases his upcoming book on Dylan's gospel years. "I'm interested in learning more about his songwriting process, particularly when he was a mature artist," he says. "Say he's working on Street Legal. By that point he was a very self-conscious artist, working on material in a very deliberate way. That album has some of his most poetic lyrics. The final form may not be as great as Blonde on Blonde, but the lyrics are. And it would be fascinating to see the [lyric manuscripts] from that album."

It will take years for Dylan scholarship to catch up with the materials in the archives, which may well change the way the world perceives him and his art. "It's very easy to imagine complete books being written about each of his albums," says Polito. "The material is clearly here." Heylin agrees. "The deeper you dig with Dylan, the more profound the work becomes," he says. "And there's a lot of digging to do now."

_________________
Sing along Bob
Sing, sing along Zimmerman
J'suis cow-boy à Paname
Mais c'est la faute à Dylan
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeMar 4 Juil - 8:39

Qu'est ce qu'on apprend sur les archives de Tulsa ?

- Les sessions de "John Wesley Harding" contiennent une jolie version alternative de "As I Went Out One Morning" et il faut absolument que ça ressorte un jour sinon je serais éternellement triste.
- Otis Redding a donné une carte de visite à Dylan.
- Le jour où Dylan a écrit "Subterranean Homesick Blues", il a également écrit une chanson d'amour pour Mavis Staples (qu'il a demandé en mariage en 63).
- Il existe un texte alternatif à "High Water" et une démo de "Things Have Changed".
- Il existe des outtakes des documentaires "Don't Look Back" et "Eat the Document" ainsi que des heures de rush de "Renaldo & Clara", un documentaire d'une 1h30 sur l'enregistrement de "New Morning" et de "Infidels" ainsi que des coulisses des Basement Tapes.
- Le titre de travail de "Just Like Tom Thumb's Blues" était "Just Like Juarez".

Je déménage à Tulsa.

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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeMar 4 Juil - 10:39

-Et l'ensemble du Never Ending Tour a été enregistré !
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeVen 7 Juil - 20:50

15 à 20 patates quand même Shocked
Du coup, il avait pas trop besoin du Nobel...
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeDim 16 Juil - 22:06

Intéressant, enfin on enlève la poussière sur les sessions de JWH !!! 

Pas une surprise concernant les enregistrements du NET, mais rassurant  Laughing

Un texte alternatif à High Water? ça peut être dévastateur comme découverte ça !
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeJeu 3 Aoû - 15:33

Il y a quelques trucs qui ont émergés ces derniers jours et, d'après ce que j'ai compris, c'est lié aux archives de Tulsa.

Il y a d'abord le concert de San Francisco du 11 décembre 1965 enregistré par Allen Ginsberg.

01 Backstage conversation.flac
02 To Ramona.flac
03 Gates Of Eden.flac
04 It's All Over Now, Baby Blue.flac
05 Desolation Row.flac
06 Love Minus Zero - No Limit.flac
07 Visions Of Johanna.flac
08 Mr Tambourine Man.flac
09 Tombstone Blues.flac
10 I Don't Believe You.flac
11 Baby, Let Me Follow You Down.flac
12 Just Like Tom Thumb's Blues.flac
13 Long Distance Operator.flac
14 It Ain't Me, Babe.flac
15 Ballad Of A Thin Man.flac
16 Positively 4th Street.flac
17 Like A Rolling Stone.flac

A priori, le bootleg "Long Distance Operator" qui circule est en fait le concert de San José et non celui de Berkeley. Un enregistrement complet et de meilleure qualité existe. Une personne a pu l'écouter et son témoignage donne envie : "the San Jose show immediately enters the "best concert of his career" conversation. It is an unbelievable listen. Dylan's interaction with the audience is special here, the entire crowd is sitting on the edge of their seats.
Dylan says to Ginsberg during the intermission of the San Jose show that "what you are seeing now is a typical concert, last night was wild, I sort of felt who they were out there". Bob was still very much beaming from the SF show 24 hours later."

Si vous voulez en savoir plus : http://www.expectingrain.com/discussions/viewtopic.php?f=6&t=91085

L'enregistrement :




Ensuite il y a deux enregistrements datant de 1976 :

-Un Tangled Up In Blue électrifié qui aurait été enregistré pour Hard Rain : https://drive.google.com/file/d/0BxdRH6dPUmDrNVIwX2xfdnVJbFU/view
-Un court extrait de Lily, Rosemary & The Jack Of Hearts chanté en duo avec Baez lors d'une répétition. Malheureusement la vidéo a été supprimée car la personne qui l'a diffusée l'avait obtenue d'un ami travaillant là-bas. Si jamais quelqu'un a eu le temps de la télécharger...
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeSam 5 Aoû - 21:22

Et voici ce fameux concert de San Jose bounce

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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeSam 5 Aoû - 22:44

Tebaldeo a écrit:
Et voici ce fameux concert de San Jose  bounce


Enfin !

Ce qu'il fait avec "To Ramona", les nuances dans sa voix et son harmonica, n'a rien à envier au meilleur des parties acoustiques de la tournée 66.
Touchant au début d'entendre Ginsberg expliquer à des fans que Joan Baez ne sera pas là, surtout quand on a vu "Don't Look Back".
Ces concerts sont le lien manquant entre ceux des deux tournées anglaises (65 et 66) avec un Dylan en mutation et une répétition générale réjouissante pour la longue spirale infernale qui suivra.
Malgré la qualité sonore, n'hésitez pas à écouter religieusement ces documents essentiels.
Bon sinon, on l'organise quand ce braquage à Tulsa ?

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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeLun 3 Juin - 19:07

Des nouvelles des archives : en ce moment se tient à Tulsa la conférence World of Bob Dylan. Au programme, des conférences mais aussi des extraits des archives présentées au public. Plusieurs informations intéressantes recueillies par des personnes présentes :

-des prises alternatives d'All Along The Watchtower et As I Went Out One Morning ont été passés. Ces extraits pourraient bien se retrouver sur le prochain volume des BS qui sortirait à la fin de l'année et porterait sur la période 67-69. Cette rumeur vient du forum de Steven Hoffman mais cela ne semble pas déconnant étant donné que Columbia veut publier les sessions avec Cash dans l'année.

-les archives contiennent des extraits vidéos des sessions d'enregistrement de New Morning et Time Out Of Mind. Pour TOOM, la majorité du film porte sur des interviews de musiciens mais on y voit aussi Dylan en train d'enregistrer.

-les archives contiennent des carnets avec des paroles inédites écrites vers 67/68 "with lots of effort for Dylan to write a Woody Guthrie-style outlaw/badman style ballad" (je cite le gars qui donne ces infos). On y trouve également les manuscrits des fameuses chansons écrites en 1977 dont "I'm Cold" mais aucun enregistrement ne se trouve dans les archives. Le mystère persiste donc sur l'existence d'éventuelles démos.

-une version alternative de Love Sick a été passée et les spectateurs n'ont pas été indifférents. Deux témoignages : "More than anything I saw or heard, I was blown away by a haunting stripped down version of Love Sick. Guys, the Time Out of Mind outtakes are going to be unbelievable", " Just y'all wait until you hear the unreleased studio take of the beginning of "Love Sick" that Michael played for us. I tried to listen to it critically, but I also cried."


On a la confirmation que Columbia peut publier des nouveautés chaque années pendant des siècles. Bon, j'espère qu'ils auront le bon goût de sortir les sessions de TOOM assez rapidement...
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeLun 3 Juin - 23:37

Merci beaucoup pour ces infos.
Où as-tu lu ces comptes-rendus ?

_________________
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Sing, sing along Zimmerman
J'suis cow-boy à Paname
Mais c'est la faute à Dylan
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeMer 5 Juin - 14:30

Merci Telbadeo ! Oui où as tu lu tout ça?

C'est incroyable ce que l'avenir nous réserve !

Le passage sur Love Sick laisse rêveur...
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeVen 14 Juin - 19:04

Les infos viennent d'ER. Je vous mets les liens si vous voulez plus de détails :

https://www.expectingrain.com/discussions/viewtopic.php?f=6&t=94973

https://www.expectingrain.com/discussions/viewtopic.php?f=6&t=97715
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeMar 10 Mai - 15:45

Le musée a ouvert cette semaine et d'après les images que j'en ai vu, ça a l'air super !

En attendant, voilà une interview de Parker Fishel, le co-curateur du musée qui parle des archives actuellement à sa disposition (pour ceux qui peuvent lire en VO).

***

Every article I’ve read has like one or two sentences about how you have all this unseen or unheard concert stuff, but I haven't seen much detail. So, to start, can you just give an overview or what you actually have there?

Sure. I'm trying to think how to break it up because there's the stuff that came from Dylan, then there's the stuff that came from acquisitions after the fact.

What came from Bob? Let’s start there.

With Bob's stuff, the first live recording would be Town Hall in April of ’63, then Carnegie Hall in October. Columbia Records was trying to do a live album that was then shelved in the aftermath of the assassination of John F. Kennedy.

If you start there, it's a lot of stuff. The live recordings that were generated from within Dylan's world really pick up with the '66 stuff. The soundboard recordings that Richard Alderson made.

I've interviewed him. He made some of the Village recordings, too.

In fact, I helped him to find some that he put in the care of a gentleman when he left the country for Mexico in '71 or '72. It had just sat since that time.

Oh yeah, he told me they were lost. He gave it to a friend and the friend flaked on him or something.

I sent a Hail Mary through some archivists' listservs. It turned up at the New York Public Library. It was in an unprocessed collection, so they were quite pleased to find out that they had rare Dylan mixed in there. And even just beyond Dylan, all the free jazz stuff that he engineered, the stuff with Belafonte.

So Richard made those unbelievable recordings, which again, are all available now. Then the '74 tour was also recorded.

All of the shows?

Not all of the shows.

The other caveat here is over time, things do have a way of disappearing, being incomplete. Either because when they were created, they were incomplete—like when they were doing Before the Flood, they were doing A reels and B reels and they might miss something. The whole point was to not miss anything, but accidents happen. So there are gaps. But most of that tour was recorded. There's the two-inch multi-tracks that are the concerts that became Before the Flood. Then there's a set of reel-to-reel recordings, quarter-inch reel recordings, and then audio cassettes.

Then there's all the Rolling Thunder stuff.

Is that basically the same stuff that they released on the box set? Whatever it was, four shows, five shows.

Yeah, yeah. There might be more that are incomplete shows that are out there, but I think that's pretty much the whole of the thing.

1976 there's, again, most if not all of the tour was recorded, with certain things being missing for one reason or another.

Does your set include the fabled Salt Lake City? [A Holy Grail-type tape, with the only ever “Lily Rosemary and the Jack of Hearts” and maybe “Black Diamond Bay” too]

No. We ran that down. What Joel Bernstein told me was that the cassettes [they were recording on] were integrated into the rig they had. They could just pop in a cassette and record the show. But they'd sent all their equipment home by Salt Lake City. They were using borrowed equipment, and it didn't have the same sort of setup. That was not recorded.

If you guys can't find it, it probably is truly lost.

You know, I give it up for like a guy like Bill Pagel. He'll probably be the one to pull it out. That's why he's part of the Center. I think one of the strokes of genius is to find the collectors whose hearts have always been in the right place. To bring them into the fold and allow them to track down things. In effect, that's how the acquisitions that came after the fact, a lot of those came through Bill Pagel, Mitch Blank, Jeff Friedman.


I saw some of the cool videos downstairs are labeled “the Bill Pagel collection.”

They built these relationships of trust over years and years and years. When there was this official place for these recordings to end up, they'd already sort of primed the pump that these are historically important. Yes they're valuable, but they also need to be part of this larger story. It's been good having them as allies on our side.

Of the stuff the Dylan crew sent, do you have more recent stuff like a Never-Ending Tour? Are they taping all that stuff?

Yes, I think the stuff that's currently in the archive goes up to 2016, when the archive was acquired, but the Dylan office does continue to collect that stuff. The Center and the archive has a good relationship with them, so I think it is the hope and the desire that that material does someday fill out the story.

Presumably, taping from the soundboard is easier technologically these days. Do you have like every show in 2016 or 2010 or whatever?

Yes. I would say generally every tour is very well represented from 1966 onwards with the exception of maybe 1988-1996 where coverage is more sparse. Major events like Supper Club are there, but there's less soundboard recordings. Otherwise everything from 1997 onwards is pretty complete.

The thing that would be interesting is that there are rehearsals. Before they go on tour, they will take a week to rehearse. If you’re someone who wants to sit and listen to rehearsals, I think they’re quite interesting.

I've interviewed a lot of the musicians and it always surprised me. You think of Bob as, like, spontaneous or flying by the seat of his pants. You don't think of him as somebody who's drilling the musicians for a week before every tour—even though they probably just toured two months prior.

Yeah, but then you hear those bands and you're like, "I get it." They can do so much and so well.

This is maybe a dumb question, but do you know why they tape the rehearsals? Are they listening back?

I imagine it's on the chance that someone in the band—

If Bob says, "Were you taping that?”, you don't want your answer to be no.

No, you don't. You want to have it on hand, and it's better to have it than to not have it. That's my total guess.

Do you have any personal favorite things you’ve heard on rehearsal tapes?

There's some lovely rehearsal performances from Rundown [in the gospel era] that appear to have been pulled for copyright purposes. One is a solo performance of “Baby Give It Up” and another is a duet with Regina McCrary (then Havis) on an early version of “Ain't No Man Righteous, No Not One.”

Also as you can imagine, there are incredible covers throughout. Three examples:

1. The Jumpin' Bill Carlisle song “No Help Wanted” from rehearsals with Tom Petty and the Heartbreakers in December 1985

2. A really grooving “Folsom Prison Blues” from an August 1998 rehearsal in Melbourne

3. A 2014 soundcheck with the band running through a beautiful arrangement the Lefty Frizzell tune “You're Too Late”

Is there any plan to make more of this stuff available at the Center? Unless I missed something on my first pass, I haven't seen a room where you can be like, let me call up this show and listen on a pair of headphones.

No, no. There is not a room like that. We've scattered live stuff throughout because the story doesn't end with the album. That's why the six songs are set up [a display diving deep into six songs on the main floor]: introducing the song, writing the song, producing the song, but then performing the song. These songs have afterlives. Part of Dylan's journey of restless creativity is the rewriting, rearrangement, and continuing to try and perfect or find the song, or push it into new dimensions of meaning.

Are there plans? I love what you've done here, but it's so curated. You’re talking maybe 1% of 1% of what you've got.

Probably not in the way that you might imagine or hope, it sounds like, but a lot of this is architected so that it could grow over time. This is the baseline. I think in the Archive Wall and microcinema and the jukebox, those are all places where you could really see that kind of thing.

The jukebox’s going to be one of the things that rotates? The Elvis Costello thing's real cool, but I wasn't sure if that was forever.

Elvis's thing will be there for a while, but there's a flexibility to introduce additional playlists. Again, this isn't going to satisfy if you want to flip through all the shows, but here's a representative show from '78, or a best-of compilation of '86 or '87. Because it is all there and it's remarkable how much documentation there is.


Jukebox with 160 tunes curated by Elvis Costello
The other thing, and you would know it because you'd know the Bootleg Series Vol. 13 [the gospel one], but once Dylan has rundown— It's like '76, once the system is in place, you just hit hit the record button. Like, there are auditions with guitarists in the lead up the Slow Train tour. Just tons and tons of rehearsals. In every one he sings as if he's performing in front of a million people. It's crazy.

I was listening to one of the rehearsals that leaked from the '78 tour recently. They do “You’re Gonna Make Me Lonesome When You Go” with this whole big arrangement, he's singing like hell, the backing up singers sound great. Then they never play it live.

That's how these things go, right?

One of the best things from the "tour" is not really from the tour.

Yeah. I think increasingly live stuff will be integrated but I don't think, at least not in its current iteration, that you'll ever be able to go and flip through shows in that way.

You said earlier there were two categories and I've been mostly asking about the stuff from Bob’s people. What is in category B?

The other stuff is a lot of early recordings. It's the Madison tapes. Bob’s on his way to New York City for the first time in late 1960, early 1961. He stops at Madison, Wisconsin, and it's a recording of him and Danny Kalb and a guy named Sam Chase. Before they acquired it, it was totally unknown.

Is this a live performance? A jam with friends?

It’s just a guitar pull. Three guys sitting around like, "Oh, have you heard this?" They're like, "Who's wrote that?" He's like, "Woody Guthrie wrote that!" It's great, and it's this snapshot before the thing happens.

They also acquired the Cynthia Gooding collection.

She was the radio host?

Yes, but she was also I think one of the first signings to Elektra Records back in the early '50s. She was a folklorist, taking songs from around the world and introducing them. I think she recorded “La Bamba” two years before Ritchie Valens.

For her radio show, she used to have an engineer come to Gerde’s Folk City and tape live music. Actually, it's a remarkable collection because it doesn't just have Bob. It has I think five reels of John Lee Hooker—

Were those the shows they played together?

They're not. Hooker starts the engagement and then it keeps getting held over for weeks, and then eventually Bob is tagged on. I think [the tapes] just precede that. One night Cannonball Adderley just shows up at Gerde’s Folk City with John Lee Hooker. They're friends, which I never would have thought. And then also all the folk stuff, The Clancy Brothers and Greenbriar Boys and things of that nature.

She also captured Bob in the clubs. In the Archive Wall, there's a great clip of Dave Van Ronk and Bob Dylan doing “Fixin’ to Die.” It sounds like it's closing time because they're just talking. They're joking about “Pretty Peggy O.” She also had a house party recording as well in there.


I found it after we spoke, and he’s right, it’s amazing - better than on the album
Just to use this Gooding stuff as an example, where has this been all these years?

With her family. Again, it's these people like Mitch Blank and Jeff Friedman who have cultivated these relationships over the years. They'd actually done a lot of the archival work of getting the tapes digitized and identifying and putting dates to things. It was just when the time was right when this thing [the Center] existed, they could come and say [to] the family, you should figure out how to make this work.

In terms of the concert stuff that didn't come to you pre-digitized, I think one of the articles mentioned that you're working on digitizing stuff. How big is that process, and how far along are you?

Well, there's over 100,000 I think media assets in the archive, so sort of shifting target. [laughs]

Media assets meaning audio and video?

Meaning anything from a reel of film to a DAT. It's extensive. We've been very fortunate that the George Kaiser Family Foundation has provided a yearly digitization budget, quite generous by terms of what museums generally have available. We've been able to really make a lot of progress, particularly on at-risk media, and also on studio recordings predominantly.

We've also been lucky because Sony is also actively mining the archive for the Bootleg Series. They've been very generous and cover some of the bases as well. We'll digitize this whole recording session, even though we're just going to use a couple of tracks.

Divide and conquer

Exactly, and that's been part of the symbiosis. The third component is that we have trusted friends of the archive who have helped us to tackle a lot of the live stuff, because it is like thousands of DATs and audio cassettes. Luckily, the live stuff is pretty well-labeled, but sometimes it's just like “the first night” or “third night” kind of thing, and that takes some time.

That's all it says, then you’re like “first night of what?”

Yeah. Eventually we figured out that he was '86 and he was in Sydney.

There's always more to do, but a remarkable amount is digitized. There's been big pushes to do for film and video material too, and I would say that is also very well in hand. Right now, we're doing an enormous preservation project for Hard to Handle.

I’ve seen that video a million times, but the “When the Night Comes Falling from the Sky” clip you’re showing here is like a million miles ahead in terms of quality.

That's thanks to Technicolor-PostWorks, they do a great job on this with us. It was the largest multi-camera shoot in Australian history. Also we've been lucky because we've also had access to the filmmakers, the people in Australia who helped put together. They've been very helpful in helping us figure out what is what, in terms of the elements.

Benmont [Tench] told me there's at least one full show she filmed.

There's two shows. We're in the process. I'd say we're a little more than halfway on that. That's the big project. We'd really like to partner with D.A Pennebaker’s son Frazer to do all the Don’t Look Back stuff in high def, which hasn't been done yet.

Speaking of that era, one of the things in the screening room was showing the difference between the old '66 footage and the restored version. What's the plan for all this restored '66 footage?

For use here. Then if Dylan and his team and Sony ever have need for it, that's part of the relationship.

I realize the archives are not curating the Bootleg Series, but are you storing the raw materials at this point? They come to you and say, "We want to listen to X, Y, or Z, we're considering doing a Bootleg Series."

We all share a digital archive actually, the thought being that all boats rise together. As [Bob’s office] finds new things, they go into the center's collection; as [we] find new things, they come into [their] collection.

Any things that you've heard that like jumped out to you and you're like, "Oh my God, I didn't know this existed,” or “I didn't know it'd be so good."

I really love some of the '76 shows. I have maybe a higher opinion of those than the general consensus.

Even than Bob!

I get that it's not the prior year, but he really changed it up in terms of the arrangements. It's hard to keep that energy, but when the band hits… I love the— what's the one he rewrote, and he did twice, and it's two completely different versions. “If You See Her, Say Hello.”

“She might be in outer space.” That line's a one-off! That's one of the things that makes it all so rich.

I also really love the rehearsals. I always love his interpretations of other people's songs.

It seems like of the few rehearsal tapes that have leaked, a lot of them are not him rehearsing his own songs. They'll do “Peggy-O” and then that whole tour, he doesn't play “Peggy-O.” That sort of thing.

I think it's that returning to the well. You can find new dimensions of your own things in other people's work. Find your voice through other people's.

The one other that blew me away on my first trip through was that “Blowin’ in the Wind” video from '81, where the cameraman just has free reign to wander around on stage getting up close to everyone. What is that from?

There's some more like that. The ones that I think people have seen are “Heart of Mine” and “Shot of Love.” Howard Alk was shooting some sort of experimental film. Amongst [the live footage], he also was shooting some weird unscripted narrative things. Howard died the next year and never finished assembling the thing. I don't know that it could ever really be recreated.

Sounds very Renaldo and Clara.

Yeah, yeah. I don't know whether these musical performances were supposed to be part of that or just, “I'm already doing this on the tour.” He also took all these wonderful photographs of the '81 tour. But yeah, there's a maybe like a dozen of live songs that were filmed across Europe. That's all been transferred. It’s just a matter of— There's some records that we found that will now allow us to go and figure out which show’s which, to sync the soundboards, but we haven't really had the opportunity to do that.

So the unscripted stuff was connected to the tour too, or that's just a totally different thing and he was combining them?

It was totally different. Bob's not in any of that footage. He seemed to be shooting in Bourbon Street with a Bob Dylan impersonator. Then, all of a sudden, there's footage of Devo and Muddy Waters, I think at the Bottom Line. I don't know exactly what the vision was.

I was brainstorming a few minutes ago what specific shows I was interested in. They've released a couple Supper Club videos over the years, on that CD-ROM they did back in the day and a Bootleg Series. Do you have the full video fro all of those shows?

Yes. There's a body of material that's been restricted though. Supper Club is part of that.

What does restricted mean?

It means that it won't be accessible. You might see clips here and there in the Center, but as a whole, that material won't be accessible until, I think that one is after Mr. Dylan's passing.

Is that a legal thing?

It’s just what we inherited. There are things that they really wanted sealed off.

Have you watched it? Is it as good as its reputation?

It's pretty great.

The audio’s already out in good quality, but I’d love to see more videos. That Highway '61 CD-ROM, which predates me, the footage is amazing, but because it came out of a CD-ROM in the ‘90s, it’s tiny. You're like squinting.

Exactly. That's funny. I want them to create an emulator so that we can get that up and running in the archive wall. An emulator that simulates early ‘90s computers that you can actually plug in the CD-ROM and play it. That'd be pretty great.

Right before I came up here, Mark [Davidson, director of the archives] had pointed me to that amazing “Groom’s Still Waiting at the Altar” 1980 footage with Michael Bloomfield. Is that from a full concert that's been recorded?

I don't think Bill [Pagel] shot a full concert. I think he shot things that he knew were important. We haven't really begun to delve into digitizing Bill's things. The videos that I know of are “To Ramona” with Jerry Garcia. He has that, he has the Bloomfield, and he has “Caribbean Wind,” at least part of it.

Right now the actual archives are mostly not in this building [the Bob Dylan Center]. Is that correct?

The building isn't ready yet.

Are they all going to be moved?

Yes, minus all the audio-visual stuff, which is so big it couldn't fit in here.

That's the stuff that's at Iron Mountain [giant storage facility]?

Yeah. That's not at the Helmerich Center [at the University of Tulsa], but everything else from the Helmerich Center will come here. Hopefully within the month.

I know a lot of the Center is set up to switch around. How often will it switch around? If I came back in say a year from today, how different would it be?

We’ve been so focused on this that I'm not entirely sure, but I do know that within a couple months there will be some more playlists on the jukebox.

Also curated by famous musicians or more curated by you all?

A mix, I think. Like dig into the archives—unreleased stuff, some live stuff—then also to invite artists. Not just musicians, but writers, visual artists, all to contribute playlists. Elvis didn't really do it, but there's a whole component where people can annotate the tracks, say why they chose these things. So there's the chance to grow things there.

I don't know in the next year, but we did talk about the six songs would rotate. People are always going to want to see “Like a Rolling Stone” and probably “Tangled Up in Blue,” but the other four songs. We actually had a really great exercise as we were putting this all together with everybody who was on the team, like 20 people. We asked everyone to send us their ten favorite Bob Dylan songs. Then from that, we pooled them together and landed on the six that spoke to how we wanted to do it.

What about you? Is there one song you'd love to see get rotated into one of the six?

“Dignity” is one that I think would be really cool. In the end, “Jokerman” showed a similar sort of revision work ethic, a dedication to finding the essence of the thing. But “Dignity,” that's one of my favorite, and I think there's probably a lot to show there with what happened during the recording sessions as well.


Screenshot from CBS Sunday Morning segment yesterday
The other thing would be the temporary exhibit will change. The Archive Wall will continue to grow. I'm not sure how much with the physical artifacts in the next year, but certainly with the touch screen. And the microcinema will change out. There'll be new clips. Also I know that soon they want to do screenings of Jerry Schatzberg’s films. It will not just be Dylan content. It’ll be related to the temporary exhibition or other events that are going on in the center or in Tulsa.

Obviously, this weekend is the big event for now, but are you thinking of holding semi-regular events of any sort? Virtual, real life, etc?

Yes. I don't know too much the details about it, but there's a pretty robust education and outreach and event component. Obviously, Professor Sean Latham with the Tulsa University Institute for Bob Dylan Studies has been doing yearly events down here that will be in partnership [with us].

I'm mostly talking about the publicly available stuff, but in terms of the archives, in the sense of, you're a researcher and you get approval, will all the live audio we talked about be available in that world?

Oh, yes. 100%. In fact, Terry [Gans] listened to every minute of Infidels that was available. We had to get stuff digitized for him

So if some reason, you're like, “I want to listen to every show you have from 1999” and you're a researcher…

Sure. All that is available.

There's also, you were asking about cool discoveries. Some of the ‘78 stuff, he’s working up new songs at soundcheck. There's a great one called “This Away, That Away.” It’s just like tacked on. They use like five minutes of the tape to get some ideas down at the soundcheck, and then you get the show.

Then those songs just vanish into the ether sometimes.

They totally did. Definitely. Songs that come in and then, poof. [But] every time he's going in there, they're recording it.

Maybe it just speaks my ignorance about this technology, but I would've figured that, back before things were digital, you get your mobile truck out for a show or two and then don't do it otherwise because it's expensive and hard.

The thing is, a lot of the time they'd record on reel-to-reel, but then they'd dump it down to cassette. Reels were such a commodity and cassettes were cheaper and nobody knew that however many years later we'd be sitting here talking about this. [laughs] But the fact that it exists at all is the coup.

Do you collect audience tapes that, in most cases, probably circulate among fans already? Are you monitoring that stuff?

That's one of the things where we job it out to the collectors. They do such wonderful, thorough work in many cases that we're able to piggyback off that.

Do you even keep copies?

Sure. There's a lot of copies of audience recordings in the archive. But I wouldn't say it's an active part of the collecting.

As you say, it's already been collected.

Exactly. Somebody who's done it all and has it all organized is going to decide that they want to donate it. Again, it's not for us to decide what people are going to be interested in. No one was studying what fans were into 20 years ago, but now fan-generated stuff is an important thing.

Is it safe to assume you would still be interested if someone reading this thinks they have something amazing that maybe you don't have?

Oh, yes. They should definitely be in touch with the Archive. We're all in the service of this larger project of trying to create as complete a record as possible. Because it doesn't feel superfluous. It all adds depth and nuance. Nothing ever happens the same way twice in Dylan's music.

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Tebaldeo
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeJeu 12 Mai - 20:57

Merci pour le partage de cette interview très intéressante.

Je retiens surtout que :
-ils n'ont pas Salt Lake City 1976
-Dylan a l'air de ne pas vouloir sortir le Supper Club
-le trou des premières années du NET est assez étonnant alors qu'ils avaient l'air d'enregistrer beaucoup de concerts avant
-ils ont de quoi nous abreuver de sorties pendant des décennies, surtout pour les concerts
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astralweeks
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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeVen 13 Mai - 11:17

Je n'ai pas tout lu mais ça
Citation :

3. A 2014 soundcheck with the band running through a beautiful arrangement the Lefty Frizzell tune “You're Too Late”

C'est l'extrait qu'on entend devant l'unique spectateur pour l'émission suédoise, et ça avait l'air génial.
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gengis_khan
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Date d'inscription : 25/07/2012

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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeLun 16 Mai - 23:15

astralweeks a écrit:
Je n'ai pas tout lu mais ça
Citation :

3. A 2014 soundcheck with the band running through a beautiful arrangement the Lefty Frizzell tune “You're Too Late”

C'est l'extrait qu'on entend devant l'unique spectateur pour l'émission suédoise, et ça avait l'air génial.

Ah oui c'est ça ! Ce titre me disait quelque chose aussi.

L'interview est très intéressante, merci du partage. Ce que je retiens:

- C'est fou la dose d'inédits qu'on pourrait se mettre sous la dent...c'est à la fois super et terriblement rageant de les savoir là, mais pas accessible.

- Car si j'ai bien compris il n'est pas question pour le moment d'avoir accès à l'intégralité des enregistrements? D'ailleurs la matière première n'est même pas encore arrivée dans l'enceinte du centre.

- On apprend aussi, et c'est regrettable, que le centre a été financé par un magna du pétrole, qui a permis de créer ce lieu avec plus d'argent que pour un musée dit lambda. Adieu Ô conscience, je suis tombé dans la musique américaine, et c'est la faute à Dylan.... bom

Qu'est ce qu'il fout Dylan avec ce Super Club et pourquoi devoir attendre sa mort avant de le sortir de façon officiel ce soit disant live filmé intégralement et surréaliste ! Shocked On se tape des sorties bootlegs inutiles et ils conservent jalousement une pépite du NET...raaa ça m'énerve

- Entre nous Salt Lake City 1976 absent on s'en fou non?

- Une vidéo de Boomfield (quelque temps avant sa mort) sur The "Groom still waiting at the Altar" est évoquée mais j'ai pas bien compris si elle existait réellement?

J'aimerais tant que Dylan fasse comme a fait Neil Young avec des sorties régulières de ses bootlegs via une plateforme en streaming. Car non, vraiment, je ne pense pas aller à Tusla un jour...
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redmoney
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Date d'inscription : 05/04/2012

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MessageSujet: Re: TULSA et les archives de Dylan   TULSA et les archives de Dylan Icon_minitimeJeu 19 Mai - 18:17

Fais gaffe Gengis, moi aussi, j'ai dit ça...  TULSA et les archives de Dylan 1f609
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