Curating The Week: Harold Budd, Forest Bathing, Craig Taborn


A rare interview with Harold Budd, one of my favorite musicians.

“I had this job, a very nice appearance at Oxford University. Halfway through this performance – large audience, really nice lovely people, as English people are – I decided, ‘This is boring the shit out of me. I cannot stand this another second.’ Somehow I got through it without letting on that I hated being here, and I never did it again, that was the ending. It wasn’t enough. I was going onto something else. I didn’t know what it was, still don’t.”

An article on microdosing nature through “forest bathing” to reduce stress.

“In the woods, the sounds of our wandering were deafening. Each step we took brought an orchestra to life.”

An article on the pianist Craig Taborn.

“His final form of preparation was listening to his iPod in the rental car he drove to Cambridge. It contains about 45,000 tracks, and Taborn prefers to listen to it on shuffle. ‘Moving from Xenakis to some metal thing creates a space where you don’t know what you’re listening to anymore,’ he told me in his dressing room. ‘You’re making inferences and connections, and that’s really what composition is. So I don’t worry what I’m listening to. I just like the experience, the change in moods, the feeling of going from a 20-minute composed track to a 30-second blast of metal. Even the discontinuity creates its own logic.’”

Reading Analogically: Alain Passard’s Axis Of Creativity And Gestures


“You see, color is an axis of creativity. Arrange your yellow, crimson, green ingredients. When you begin your dish like this, you can play with it” (29).

“With colors, I never go wrong. You choose the colors, you listen” (30).

(From Christophe Blain, In the Kitchen with Alain Passard)

“We don’t record anything. We don’t write anything down. That forces us to keep looking.”

“You sense [Passard’s] concentration through the calm, focused gestures. He always talks about ‘the gesture.'”

“Either we like the gesture, either we like the hand, or we don’t. There is that one gesture to which we can add an elegance, that love.”

“I am never happier than when I put my fingers on a new gesture, a new flavor.”

(From Chef’s Table: France)



Lessons on how to live
are everywhere sounding
in the relationships
among human part-writing

watch how people move
their melodies along
with and against
the tunes of others
to create reluctant harmony
or passing polyrhythm

notes interdependent
yet disguised
as offset, mirror, retrograde, inversion
following rules
to avoid parallel thoughts
and move in contrary motion
building from the bass
to keep experience florid

listen how we move
our thoughts along
contrapuntal lines and passing notes
reaching towards consonance
forever delaying that final cadence.