From pgsaxo at pacbell.net  Mon Apr  2 10:35:54 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 2 Apr 2007 10:35:54 -0700
Subject: [NewMusic] LA press contact Scott Yanow
In-Reply-To: <000001c76662$91076e80$4001a8c0@PG>
Message-ID: <000c01c7754d$5e4350f0$4001a8c0@PG>

Hey bListers,

I got this note from Scott Yanow, a fellow that has written about a few
shows I've played in LA. Check it out and send him your CDs for review -
or if you have a show in LA, send him some press.

Cheers,
PG


SCOTT YANOW
1101 N. Sunset Cyn.
Burbank, CA  91504
USA

March 30, 2007

Hi there. Please excuse this form letter.

I have been writing about jazz for 30 years, reviewing
tens of thousands of recordings, contributing to all
of the main jazz magazines and writing nine books on
jazz. For more information, my website is
www.scottyanow.com.

I thought I'd drop you a line to tell you that I am
expanding my writing beyond reviews, articles and
historical essays. Now I am also writing liner notes
(I've written over 500 thus far), press biographies,
website content and press releases. Every artist needs
a good bio and an informative website, and every CD
needs well-written liner notes.

So if you need any writing done in the future, please
feel free to consider me.

And if you have a recent CD out that you'd like me to
consider reviewing for one of the publications I write
for, please feel free to send it along.

Thanks for your consideration.

Sincerely,

Scott Yanow
818-848-2866
scottyanowjazz at yahoo.com

Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com


From 21grand at 21grand.org  Mon Apr  2 12:10:21 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Mon, 02 Apr 2007 12:10:21 -0700
Subject: [NewMusic] Tonic, 1998-2007
In-Reply-To: <mailman.1.1175400002.28510.newmusic@music.mills.edu>
Message-ID: <C236A32D.1AD45%21grand@21grand.org>

- now there's a lethal combo ...

sl

the enormous, appalling tower of condos that got thrown
>> up literally next door

 Melissa very recently gave birth to her and
>> John's first child,


From abennett at calarts.edu  Tue Apr  3 14:24:40 2007
From: abennett at calarts.edu (Aaron Bennett)
Date: Tue, 3 Apr 2007 14:24:40 -0700
Subject: [NewMusic] Atlanta Georgia, Shanghai China
Message-ID: <000001c77636$7dbc1c20$79345460$@edu>

Atlanta Georgia or Shanghai (China)

Looking to make music in one or both of these places.

Does anyone on this list know someone,
or know of someone in one of these locations that I could contact to make
this happen?


Any information you may have and are willing to supply 
would be much appreciated, Thanks
Aaron.



From jonbrumit at gmail.com  Tue Apr  3 15:05:16 2007
From: jonbrumit at gmail.com (Jon Brumit)
Date: Tue, 3 Apr 2007 14:05:16 -0800
Subject: [NewMusic] Atlanta Georgia, Shanghai China
In-Reply-To: <000001c77636$7dbc1c20$79345460$@edu>
References: <000001c77636$7dbc1c20$79345460$@edu>
Message-ID: <8b32960d0704031505r784d874br70282b50fa8ffc85@mail.gmail.com>

eyedrum in atlanta, great venue

On 4/3/07, Aaron Bennett <abennett at calarts.edu> wrote:
>
> Atlanta Georgia or Shanghai (China)
>
> Looking to make music in one or both of these places.
>
> Does anyone on this list know someone,
> or know of someone in one of these locations that I could contact to make
> this happen?
>
>
> Any information you may have and are willing to supply
> would be much appreciated, Thanks
> Aaron.
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From timduroche at variousartists.org  Tue Apr  3 15:49:55 2007
From: timduroche at variousartists.org (Tim DuRoche)
Date: Tue, 3 Apr 2007 15:49:55 -0700 (PDT)
Subject: [NewMusic] Atlanta Georgia, Shanghai China
In-Reply-To: <8b32960d0704031505r784d874br70282b50fa8ffc85@mail.gmail.com>
Message-ID: <652523.48343.qm@web33513.mail.mud.yahoo.com>

Agreed. . .good on viz art and performance

Jon Brumit <jonbrumit at gmail.com> wrote: eyedrum in atlanta, great venue

On 4/3/07, Aaron Bennett  wrote:
>
> Atlanta Georgia or Shanghai (China)
>
> Looking to make music in one or both of these places.
>
> Does anyone on this list know someone,
> or know of someone in one of these locations that I could contact to make
> this happen?
>
>
> Any information you may have and are willing to supply
> would be much appreciated, Thanks
> Aaron.
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From bradysharp at gmail.com  Tue Apr  3 17:14:30 2007
From: bradysharp at gmail.com (Brady Sharp)
Date: Tue, 3 Apr 2007 19:14:30 -0500
Subject: [NewMusic] Atlanta Georgia, Shanghai China
In-Reply-To: <652523.48343.qm@web33513.mail.mud.yahoo.com>
References: <8b32960d0704031505r784d874br70282b50fa8ffc85@mail.gmail.com>
	<652523.48343.qm@web33513.mail.mud.yahoo.com>
Message-ID: <a7177e350704031714u70c2c8afr7de6ff851c37d42a@mail.gmail.com>

Eyedrum is a great place (eyedrum.org)
Euphonic Productions presents shows in various places around Atlanta,
including Eyedrum
http://tk-jk.net/euphonic/
Milton Jones is the guy.

dunno about Shanghai...

If you are coming through Nashville on your way to ATL, let me know
and I might be able to rustle something up.

Brady

On 4/3/07, Tim DuRoche <timduroche at variousartists.org> wrote:
> Agreed. . .good on viz art and performance
>
> Jon Brumit <jonbrumit at gmail.com> wrote: eyedrum in atlanta, great venue
>
> On 4/3/07, Aaron Bennett  wrote:
> >
> > Atlanta Georgia or Shanghai (China)
> >
> > Looking to make music in one or both of these places.
> >
> > Does anyone on this list know someone,
> > or know of someone in one of these locations that I could contact to make
> > this happen?
> >
> >
> > Any information you may have and are willing to supply
> > would be much appreciated, Thanks
> > Aaron.
> >
> >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From jfheule at gmail.com  Tue Apr  3 17:45:17 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Tue, 3 Apr 2007 17:45:17 -0700
Subject: [NewMusic] Breakthrough in Grey Room playlist: 2007 Mar 21
Message-ID: <9c5cfa860704031745v47300f93t9ceaad6bfd77d498@mail.gmail.com>

This week's show is tonight, 11:59pm-3am (Tue. night/Wed. morning).
90.3 FM San Francisco
or online: http://heule.us/breakthrough/ (click "Online Broadcast")


Playlist from the last show:

2007 Mar 21

Gordon Mumma, "Retrospect (1959-1982)," Studio Retrospect [Lovely, 2000]
Giacinto Scelsi, "String Quartet No. 4 (1964)," Natura Renovatur
(Klangforum Wien) [Kairos, 2001]
[background music] Do Make Say Think, "Bound to Be that Way," You
You're a History in Rust [Constellation, 2007]

Polwechsel, "Not Forgetting the Forgetting," Polwechsel 3 [Durian, 2001]
Burzum, "Det Som En Gang Var," Hvis Lyset Tar Oss [Misanthropy, 1992]

Glenn Branca, "Harmonic Series Chords," Indeterminate Activity of
Resultant Masses [Atavistic, 2007]
[background music] Loachfillet, "Cut Throat Rogues," Cut Throat Rogues
[Fish Pies, 2006]

Darkthrone, "The Hordes of Nebulah," Panzerfaust [Moonfog, 1995]
Zs, "Except When You Don't Because Sometimes You Won't," Arms [Planaria, 2007]
Deerhoof, "+81," Friend Opportunity [Kill Rock Stars, 2007]

Kim, Yoon-duk/Chi, Young-hee/Sang, Keum-yan, "Kayageum Sanjo,"
P'ansori: Korea's Epic Vocal Art & Instrumental Music
[Elektra/Nonesuch, 1988]
Hong Wonki & the Orchestra of the National Music Institute, "Lyric
Song, Kagok," various - Korean Court Music
Circle, "Gehtisalo," Tower [Last Visible Dog, 2006]

Partisan, "Line of Flight," untitled 3" [self-released, 2006]
Leonard Cohen, "Famous Blue Raincoat," The Best Of [CBS, 1975]
Gowns, "White Like Heaven," Red State [Cardboard, 2007]

Chad Oliveiri, "I Can't Hear You," Pathetique [Carbon, 2005]
Fennesz, "The Other Face," Venice [Touch, 2004]
Phillip Greenlief & Covered Pages, "Little Vacation in Chechnaya,"
Russian Notebooks [Evander, 2000]
Christian Weber, "Buzz Aldrin," 3 Suits and a Violin [Hatology, 2007]

Tom Nunn, "Skatchmot," Identity [Edgetone, 2007]
Phill Niblock, "Unmentionable Piece for Trombone and Sousaphone
(1982-94)," YPGPN [Blast First, 1995]
Roscoe Mitchell, "Off Five Dark Six," Nonaah [Nessa, 1978]

Kyle Bruckmann's Wrack, "Despite All Evidence to the Contrary,"
Intents and Purposes [482, 2007]
Michael Gendreau, "Noceur," various - Bogatiri [Zero Moon, 2005]


(please contact me if you have corrections to the listed information)

http://heule.us/breakthrough/

From weaselw at juno.com  Tue Apr  3 21:06:41 2007
From: weaselw at juno.com (weasel walter)
Date: Tue, 3 Apr 2007 21:06:41 -0700
Subject: [NewMusic] looking for bay area venue for all-star harmolodic group
	on may 4
Message-ID: <20070403.210642.1564.36.weaselw@juno.com>

 hi folks. i'm trying to book the following band somewhere in the bay
area on may 4th, but due to the last minute nature of this, i'm having a
hard time finding a venue. it's probably going to be loud, so a fairly
dry room is desired. p.a. is not necessary. if anyone has any ideas,
please let me know.

henry kaiser: guitar
david creamer: guitar (of miles' "on the corner" band)
michael manring: bass
weasel walter: drums
g. calvin weston: drums (james blood ulmer, prime time, etc.)

ww

Weasel Walter
http://nowave.pair.com

From damon at balancepointacoustics.com  Wed Apr  4 11:56:17 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 4 Apr 2007 11:56:17 -0700
Subject: [NewMusic] 9 cd Braxton box on emusic
Message-ID: <a9d679fe27228e81cc67e5a274154e52@balancepointacoustics.com>

It ends up being a little over $15....
http://www.emusic.com/album/11022/11022428.html

Damon Smith

http://www.balancepointacoustics.com
http://myspace.com/smithdamon

Just released:
bpa009 "sperrgut" birgit ulher/damon smith/martin blume
bpa 010 "cruxes"  aurora josephson/joelle leandre/damon smith/martin 
blume
bpa 011 "sextesense" john butcher/aaron bennett/henry kaiser/danielle 
degruttola/damon smith/jerome bryerton


From christopher at soundtorrent.com  Wed Apr  4 12:32:21 2007
From: christopher at soundtorrent.com (Christopher Brown)
Date: Wed, 04 Apr 2007 12:32:21 -0700
Subject: [NewMusic] small cd runs
Message-ID: <4613FD45.6090106@soundtorrent.com>

any recommendations for doing short cd runs? (50-150)

cost isn't a big factor here. i'm more concerned with quality of 
cd/labes/packaging, etc.

500-1000 cd's just isn't realistic for this project.


-- 
   Christopher Brown

From damon at balancepointacoustics.com  Wed Apr  4 12:36:50 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 4 Apr 2007 12:36:50 -0700
Subject: [NewMusic] small cd runs
In-Reply-To: <4613FD45.6090106@soundtorrent.com>
References: <4613FD45.6090106@soundtorrent.com>
Message-ID: <1477b95c6a28cbdb84a0a701ca49c492@balancepointacoustics.com>

I think a lot of the cd manufacturers are just going to have to learn 
how to shut off the machine sooner. CDs will be around for the Physical 
transfer of music for a while, but mail order and all that  is really 
going to be digital for small labels. So we all need less cds these 
days. Anyway, good question.

Damon

On Apr 4, 2007, at 12:32 PM, Christopher Brown wrote:

> any recommendations for doing short cd runs? (50-150)
>
> cost isn't a big factor here. i'm more concerned with quality of
> cd/labes/packaging, etc.
>
> 500-1000 cd's just isn't realistic for this project.
>
>
> -- 
>    Christopher Brown
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From windrag at earthlink.net  Wed Apr  4 12:44:08 2007
From: windrag at earthlink.net (Ryk Groetchen)
Date: Wed, 4 Apr 2007 12:44:08 -0700
Subject: [NewMusic] small cd runs
In-Reply-To: <4613FD45.6090106@soundtorrent.com>
References: <4613FD45.6090106@soundtorrent.com>
Message-ID: <FE893CBC-306D-437E-8431-390B4AA04B89@earthlink.net>

I've been using DeNoise.com for an ongoing project, and had good  
experiences with them. I always babysit the layout, and make sure you  
get proofs before it goes to print. They are in Emeryville, and I  
always drop off and pick up my orders in person.

http://www.denoise.com/main-menu.cfm

rag

On Apr 4, 2007, at 12:32 PM, Christopher Brown wrote:

> any recommendations for doing short cd runs? (50-150)
>
> cost isn't a big factor here. i'm more concerned with quality of
> cd/labes/packaging, etc.
>
> 500-1000 cd's just isn't realistic for this project.
>
>
> -- 
>    Christopher Brown
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic


From praemedia at yahoo.com  Wed Apr  4 13:23:33 2007
From: praemedia at yahoo.com (Praemedia)
Date: Wed, 4 Apr 2007 13:23:33 -0700 (PDT)
Subject: [NewMusic] small cd runs
In-Reply-To: <FE893CBC-306D-437E-8431-390B4AA04B89@earthlink.net>
Message-ID: <498477.81724.qm@web51609.mail.re2.yahoo.com>

Also, be sure you know what you are paying for and
know the difference between duplicated and replicated
CDs. Lowest run I've seen going on full on cds (not
CDRs) is 300 these days (even places like discmakers
go that low). If you don't mind replicated cds, there
is also mixsonic (local and quick).

lance

--- Ryk Groetchen <windrag at earthlink.net> wrote:

> I've been using DeNoise.com for an ongoing project,
> and had good  
> experiences with them. I always babysit the layout,
> and make sure you  
> get proofs before it goes to print. They are in
> Emeryville, and I  
> always drop off and pick up my orders in person.
> 
> http://www.denoise.com/main-menu.cfm
> 
> rag
> 
> On Apr 4, 2007, at 12:32 PM, Christopher Brown
> wrote:
> 
> > any recommendations for doing short cd runs?
> (50-150)
> >
> > cost isn't a big factor here. i'm more concerned
> with quality of
> > cd/labes/packaging, etc.
> >
> > 500-1000 cd's just isn't realistic for this
> project.
> >
> >
> > -- 
> >    Christopher Brown
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 




 
____________________________________________________________________________________
Need Mail bonding?
Go to the Yahoo! Mail Q&A for great tips from Yahoo! Answers users.
http://answers.yahoo.com/dir/?link=list&sid=396546091

From matthew at matthewgoodheart.com  Wed Apr  4 13:40:47 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Wed, 4 Apr 2007 13:40:47 -0700
Subject: [NewMusic] small cd runs
In-Reply-To: <FE893CBC-306D-437E-8431-390B4AA04B89@earthlink.net>
References: <4613FD45.6090106@soundtorrent.com>
	<FE893CBC-306D-437E-8431-390B4AA04B89@earthlink.net>
Message-ID: <e7e52159eea2210ca53e2408d276af4e@matthewgoodheart.com>

  I haven't used them yet, but I'm been thinking about using Discmakers, 
they seem to have a few more options than DeNoise and you might come in 
a little cheaper, depending on what you want. But has anyone used them 
yet?

http://duplication.discmakers.com/mcm/discmakers/index.jsp

On Apr 4, 2007, at 12:44 PM, Ryk Groetchen wrote:

> I've been using DeNoise.com for an ongoing project, and had good
> experiences with them. I always babysit the layout, and make sure you
> get proofs before it goes to print. They are in Emeryville, and I
> always drop off and pick up my orders in person.
>
> http://www.denoise.com/main-menu.cfm
>
> rag
>
> On Apr 4, 2007, at 12:32 PM, Christopher Brown wrote:
>
>> any recommendations for doing short cd runs? (50-150)
>>
>> cost isn't a big factor here. i'm more concerned with quality of
>> cd/labes/packaging, etc.
>>
>> 500-1000 cd's just isn't realistic for this project.
>>
>>
>> -- 
>>    Christopher Brown
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From ingalls at mills.edu  Wed Apr  4 14:31:25 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Wed, 4 Apr 2007 14:31:25 -0700 (PDT)
Subject: [NewMusic] kpfa feedback
Message-ID: <Pine.LNX.4.60.0704041417350.595@myfiles.mills.edu>


i just heard an announcement on kpfa requesting listener feedback on their 
programming:

http://kpfa.org/feedback

bitch about how their newmusic is all but gone, but
i'm sure they are thinking mostly about their political/news programming,

-m

From slusser at pixar.com  Wed Apr  4 15:58:37 2007
From: slusser at pixar.com (David Slusser)
Date: Wed, 4 Apr 2007 15:58:37 -0700
Subject: [NewMusic] small cd runs
In-Reply-To: <e7e52159eea2210ca53e2408d276af4e@matthewgoodheart.com>
References: <4613FD45.6090106@soundtorrent.com>
	<FE893CBC-306D-437E-8431-390B4AA04B89@earthlink.net>
	<e7e52159eea2210ca53e2408d276af4e@matthewgoodheart.com>
Message-ID: <DEE36BD1-E75A-4AAD-A923-706E452B53B2@pixar.com>

On Apr 4, 2007, at 1:40 PM, Matthew Goodheart wrote:
> I haven't used them yet, but I'm been thinking about using Discmakers,
> they seem to have a few more options than DeNoise and you might  
> come in
> a little cheaper, depending on what you want. But has anyone used them
> yet?
>
> http://duplication.discmakers.com/mcm/discmakers/index.jsp

I recorded one of my kid's middle school music concerts last year,
and used Discmakers to make 200 for the kids and the school.
Pretty sure it was CDr, but it was fast, well done, and reasonably
priced.  They've set their system up to be very easy to use.

From cypod25 at gmail.com  Wed Apr  4 17:34:21 2007
From: cypod25 at gmail.com (Cypod)
Date: Wed, 4 Apr 2007 17:34:21 -0700
Subject: [NewMusic] kpfa feedback
In-Reply-To: <Pine.LNX.4.60.0704041417350.595@myfiles.mills.edu>
References: <Pine.LNX.4.60.0704041417350.595@myfiles.mills.edu>
Message-ID: <473c28030704041734pc81f963y5615dc51fa54e3c6@mail.gmail.com>

thanks for this feedback form M at +

Not to dis any of the hard working radio dj's out there, but I too feel that
the radio waves could be improved. While I would love to volunteer to spin
records at a station, other commitments prevent me from jumping through all
the hoops required to do this on a regular basis.

That said, if there any radio dj's - legit or pirate - on this list? I'm
sure plenty of musicians here would be willing to bring sounds for airtime,
and as they have on several occasions. I sort of fancy doing an electronica
set, and could provided a play-list upon request.


On 4/4/07, Matt J. Ingalls <ingalls at mills.edu> wrote:
>
>
> i just heard an announcement on kpfa requesting listener feedback on their
> programming:
>
> http://kpfa.org/feedback
>
> bitch about how their newmusic is all but gone, but
> i'm sure they are thinking mostly about their political/news programming,
>
> -m
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



-- 
B~
www.cypod.co.nr

From sopranino at sbcglobal.net  Thu Apr  5 09:16:18 2007
From: sopranino at sbcglobal.net (Jon Raskin)
Date: Thu, 5 Apr 2007 09:16:18 -0700 (PDT)
Subject: [NewMusic] small cd runs
Message-ID: <442088.65344.qm@web82415.mail.mud.yahoo.com>

I used them for CD runs and liked them.  They have an office in Berkeley.  There prices have been coming down as well.


----- Original Message ----
From: Matthew Goodheart <matthew at matthewgoodheart.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Wednesday, April 4, 2007 1:40:47 PM
Subject: Re: [NewMusic] small cd runs


I haven't used them yet, but I'm been thinking about using Discmakers, 
they seem to have a few more options than DeNoise and you might come in 
a little cheaper, depending on what you want. But has anyone used them 
yet?

http://duplication.discmakers.com/mcm/discmakers/index.jsp

On Apr 4, 2007, at 12:44 PM, Ryk Groetchen wrote:

> I've been using DeNoise.com for an ongoing project, and had good
> experiences with them. I always babysit the layout, and make sure you
> get proofs before it goes to print. They are in Emeryville, and I
> always drop off and pick up my orders in person.
>
> http://www.denoise.com/main-menu.cfm
>
> rag
>
> On Apr 4, 2007, at 12:32 PM, Christopher Brown wrote:
>
>> any recommendations for doing short cd runs? (50-150)
>>
>> cost isn't a big factor here. i'm more concerned with quality of
>> cd/labes/packaging, etc.
>>
>> 500-1000 cd's just isn't realistic for this project.
>>
>>
>> -- 
>>    Christopher Brown
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic

From amar at ptank.com  Thu Apr  5 09:24:58 2007
From: amar at ptank.com (amar at ptank.com)
Date: Thu, 5 Apr 2007 09:24:58 -0700 (PDT)
Subject: [NewMusic] small cd runs
In-Reply-To: <442088.65344.qm@web82415.mail.mud.yahoo.com>
References: <442088.65344.qm@web82415.mail.mud.yahoo.com>
Message-ID: <62535.69.107.84.175.1175790298.squirrel@69.107.84.175>

I used them for a few CD runs.  They were pretty good with easy online
tools and very small rush runs, including a run of 25 rushed to New York a
couple years ago...


> I used them for CD runs and liked them.  They have an office in Berkeley.
> There prices have been coming down as well.
>
>
> ----- Original Message ----
> From: Matthew Goodheart <matthew at matthewgoodheart.com>
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Wednesday, April 4, 2007 1:40:47 PM
> Subject: Re: [NewMusic] small cd runs
>
>
> I haven't used them yet, but I'm been thinking about using Discmakers,
> they seem to have a few more options than DeNoise and you might come in
> a little cheaper, depending on what you want. But has anyone used them
> yet?
>
> http://duplication.discmakers.com/mcm/discmakers/index.jsp
>
> On Apr 4, 2007, at 12:44 PM, Ryk Groetchen wrote:
>
>> I've been using DeNoise.com for an ongoing project, and had good
>> experiences with them. I always babysit the layout, and make sure you
>> get proofs before it goes to print. They are in Emeryville, and I
>> always drop off and pick up my orders in person.
>>
>> http://www.denoise.com/main-menu.cfm
>>
>> rag
>>
>> On Apr 4, 2007, at 12:32 PM, Christopher Brown wrote:
>>
>>> any recommendations for doing short cd runs? (50-150)
>>>
>>> cost isn't a big factor here. i'm more concerned with quality of
>>> cd/labes/packaging, etc.
>>>
>>> 500-1000 cd's just isn't realistic for this project.
>>>
>>>
>>> --
>>>    Christopher Brown
>>> _______________________________________________
>>> Bay Area New Music Discussion Group
>>> NewMusic at music.mills.edu
>>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



From pgsaxo at pacbell.net  Thu Apr  5 12:46:51 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Thu, 5 Apr 2007 12:46:51 -0700
Subject: [NewMusic] More Tonic News/Discussions
In-Reply-To: <a7177e350704031714u70c2c8afr7de6ff851c37d42a@mail.gmail.com>
Message-ID: <000c01c777bb$28a83350$4001a8c0@PG>

Hey bListers,

On the thread of the closing of Tonic, here's a thoughtful missive and
invitation to come to a meeting that Marc Ribot sent...

(I doubt that anyone can make the meeting, but it's an interesting
missive nonetheless)

PG

This Thursday: april 5th
6:00 pm
where: the back room at the PINK PONY restaurant
176 ludlow st, between houston and stanton st.

Please rsvp...

welcome: musicians who played tonic, tonic staff, musicians who would  
have played tonic but were unable to due to restrictive booking
policies,  
and all other downtown/new music/experimental/jazz/free jazz/free
improv/experimental rock or just plain weird musicians PISSED OFF at the
complete abandonment of new city's new music cultural scene and the
musicians/composers who work on it. 

Also welcome: activists willing to help DO SOMETHING ABOUT IT. 
Not welcome at this point: press


Background/framework:
The closing of tonic is part of a pattern of the closing, downsizing, or
relocation to bklyn of many other new/jazz/experimental music venues.  
Often venues which remain have abandoned hard fought for rates of pay
for musicians (like the 75% rate at tonic) or progressive booking  
policies. 

John Zorn's Stone is an important exception (as I'm sure The Tank is),
but  
Its hard to believe the stone's 80 capacity room can make up for the  
space lost (Tonic's 180 capacity). Looked at together, the rash of club
closings  
of the last year represents a larger problem than the simple
mismanagement  
of one club: there is a market failure in new music presentation in nyc.

The market failure has left an increasing number of non-profits fighting
for pieces of a shrinking grant/public funding pie.

An increase in NYC public funding directed towards new/jazz/experimental
music is the only thing (short of a serious crash in manhattan real
estate prices) that can change this equation. But its not going to
happen unless people fight for it.

The new music community is very divided in its feelings about
tonic: its booking policy, especially in the last 2-3 years, has  
not been what many of us might have hoped. Still, they have a lot of
support  
in at least some parts of the community: they raised over 90,000 in less

than 4 months last time they almost closed.
       
We are NOT proposing a fight to keep tonic open in its current  
form:
John and Melissa have already agreed to surrender the space to the
landlord. But there is going to be anger felt in the community as yet
another venue gets closed so some landlord can rent the space to a
starbucks. 

I think it is in all our interest to not let that anger dissipate,
but use it to fight for increased funding for experimental/jazz/new
music.
Again- not to keep the current club open, but to use its closing as a  
focal point for a political drive.
 
A fight on this issue this has more of a chance of success than  
most of us realize:
Mayor Bloomberg himself showed up at one of the save cbgb's rallies. The
club's closing got 2 consecutive days of front page NYTimes coverage,
and the NYTimes gave Richard Hell (!!!) an op-ed column. That translates
into major political clout- what political struggle in nyc ever gets
that kind of coverage?-  but the people behind the save cbgbs campaign,
for whatever reasons, chose not to use it once it was apparent the club
couldn't be saved in its original location.

Most of the people on our own scene make most of their money touring in
europe.  Whether the musicians know it or not, almost every venue we
play over there is subsidized, at least by the city or state donating
the performance space (this is also true of squats). 

The europeans have this situation for one reason:  because they fought
for it.
We can do the same.
best, 
marc ribot




Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of Brady Sharp
Sent: Tuesday, April 03, 2007 5:15 PM
To: Bay Area New Music Discussion Group
Subject: Re: [NewMusic] Atlanta Georgia, Shanghai China

Eyedrum is a great place (eyedrum.org)
Euphonic Productions presents shows in various places around Atlanta,
including Eyedrum
http://tk-jk.net/euphonic/
Milton Jones is the guy.

dunno about Shanghai...

If you are coming through Nashville on your way to ATL, let me know
and I might be able to rustle something up.

Brady

On 4/3/07, Tim DuRoche <timduroche at variousartists.org> wrote:
> Agreed. . .good on viz art and performance
>
> Jon Brumit <jonbrumit at gmail.com> wrote: eyedrum in atlanta, great
venue
>
> On 4/3/07, Aaron Bennett  wrote:
> >
> > Atlanta Georgia or Shanghai (China)
> >
> > Looking to make music in one or both of these places.
> >
> > Does anyone on this list know someone,
> > or know of someone in one of these locations that I could contact to
make
> > this happen?
> >
> >
> > Any information you may have and are willing to supply
> > would be much appreciated, Thanks
> > Aaron.
> >
> >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From slusser at pixar.com  Thu Apr  5 13:45:22 2007
From: slusser at pixar.com (David Slusser)
Date: Thu, 5 Apr 2007 13:45:22 -0700
Subject: [NewMusic] More News/Discussions
In-Reply-To: <000c01c777bb$28a83350$4001a8c0@PG>
References: <000c01c777bb$28a83350$4001a8c0@PG>
Message-ID: <FB9832E6-3779-4EE4-A67A-F7ADE1B1D731@pixar.com>

While we're generally running down local support (both here with KPFA  
and other
media and in NY with Tonic), I had to do a double take reading this  
week's East
Bay Express's Critic's Choice at lunch today:

Stefano Scodanibbio @ Hertz Hall and Morrison Hall Friday

"Satan's Mills" 21Grand show tonight (caling the gallery an art &  
music lodestar)

ICP Orchestra @ Yoshi's Monday

From laoze at myrealbox.com  Thu Apr  5 14:48:18 2007
From: laoze at myrealbox.com (Bob Marsh)
Date: Thu, 05 Apr 2007 14:48:18 -0700
Subject: [NewMusic] 21 Grand Goodies
Message-ID: <1175809698.c7cd2a5claoze@myrealbox.com>

21 Grand, Friday April 6, 7-10

Bob Marsh is bringing all this stuff and junk 

Clarinet, La Margus, Paris w/ case $50
Alto Sax, Orpheum Deluxe, Italian w. case, $100
French Horn - Monarch Lyons, $50
Accordion, Loveri, $50

Dan Mo, Vietnamese percussion console, $100
Dan T'rang, Vietnamese, diagonal xylophone, lg, $100

Dual CD Player, American Audio DCD Pro200, $100
Delay Pedal, Image IDL-8 $20
Distortion Pedal, Boss DS-1 $25

CDs, Hill Music, Birds of a Feather, Luggage

What are you bringing?

475 43rd Street
Richmond, CA 94805
510-236-2595 home  510-932-9268 cell
http://www.edgetonerecords.com/marsh.html



From damon at balancepointacoustics.com  Thu Apr  5 14:47:11 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Thu, 5 Apr 2007 14:47:11 -0700
Subject: [NewMusic] 21 Grand Goodies
In-Reply-To: <1175809698.c7cd2a5claoze@myrealbox.com>
References: <1175809698.c7cd2a5claoze@myrealbox.com>
Message-ID: <5176b2e07fb90cd80891f4ea7f10be17@balancepointacoustics.com>

Tons of interesting improvised/new music cds, some lps, drawings and 
books.

Damon

On Apr 5, 2007, at 2:48 PM, Bob Marsh wrote:

> 21 Grand, Friday April 6, 7-10
>
> Bob Marsh is bringing all this stuff and junk
>
> Clarinet, La Margus, Paris w/ case $50
> Alto Sax, Orpheum Deluxe, Italian w. case, $100
> French Horn - Monarch Lyons, $50
> Accordion, Loveri, $50
>
> Dan Mo, Vietnamese percussion console, $100
> Dan T'rang, Vietnamese, diagonal xylophone, lg, $100
>
> Dual CD Player, American Audio DCD Pro200, $100
> Delay Pedal, Image IDL-8 $20
> Distortion Pedal, Boss DS-1 $25
>
> CDs, Hill Music, Birds of a Feather, Luggage
>
> What are you bringing?
>
> 475 43rd Street
> Richmond, CA 94805
> 510-236-2595 home  510-932-9268 cell
> http://www.edgetonerecords.com/marsh.html
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From mattdavignon at gmail.com  Thu Apr  5 15:01:43 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 5 Apr 2007 15:01:43 -0700
Subject: [NewMusic] 21 Grand Goodies
In-Reply-To: <1175809698.c7cd2a5claoze@myrealbox.com>
References: <1175809698.c7cd2a5claoze@myrealbox.com>
Message-ID: <c70e517b0704051501g7b6e0063pbb2db051c5e18803@mail.gmail.com>

Hmmm, I may have to bring my checkbook.

On 4/5/07, Bob Marsh <laoze at myrealbox.com> wrote:
> 21 Grand, Friday April 6, 7-10
>
> Bob Marsh is bringing all this stuff and junk
>
> Clarinet, La Margus, Paris w/ case $50
> Alto Sax, Orpheum Deluxe, Italian w. case, $100
> French Horn - Monarch Lyons, $50
> Accordion, Loveri, $50
>
> Dan Mo, Vietnamese percussion console, $100
> Dan T'rang, Vietnamese, diagonal xylophone, lg, $100
>
> Dual CD Player, American Audio DCD Pro200, $100
> Delay Pedal, Image IDL-8 $20
> Distortion Pedal, Boss DS-1 $25
>
> CDs, Hill Music, Birds of a Feather, Luggage
>
> What are you bringing?
>
> 475 43rd Street
> Richmond, CA 94805
> 510-236-2595 home  510-932-9268 cell
> http://www.edgetonerecords.com/marsh.html
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From moestaiano1 at yahoo.com  Thu Apr  5 17:50:03 2007
From: moestaiano1 at yahoo.com (Moe! Staiano)
Date: Thu, 5 Apr 2007 17:50:03 -0700 (PDT)
Subject: [NewMusic] 21 Grand Goodies
In-Reply-To: <c70e517b0704051501g7b6e0063pbb2db051c5e18803@mail.gmail.com>
Message-ID: <96898.94999.qm@web58706.mail.re1.yahoo.com>

Here's what I'll be bringing:

CD's/DVD's:
Used: $5.00 each or $8.00 for doubles
New: $6.00 each or $10.00 for doubles
or unless marked

45's from $1.00 to $6.00

LP's from $3.00 to $15.00

Cassettes for a quarter

A No-name (possible a Kent) Les Paul copy guitar: $150.00

BOSS Distortion DS-1 Guitar pedal: $25.00

A working-but-needs-repair theremin $10.00

The Wire back issues for $1.00 each/3 for $2.00

A Dan Plonsey t-shirt: best offer

-M!



On 4/5/07, Bob Marsh  wrote:
> 21 Grand, Friday April 6, 7-10
>
> Bob Marsh is bringing all this stuff and junk
>
> Clarinet, La Margus, Paris w/ case $50
> Alto Sax, Orpheum Deluxe, Italian w. case, $100
> French Horn - Monarch Lyons, $50
> Accordion, Loveri, $50
>
> Dan Mo, Vietnamese percussion console, $100
> Dan T'rang, Vietnamese, diagonal xylophone, lg, $100
>
> Dual CD Player, American Audio DCD Pro200, $100
> Delay Pedal, Image IDL-8 $20
> Distortion Pedal, Boss DS-1 $25
>
> CDs, Hill Music, Birds of a Feather, Luggage
>
> What are you bringing?
>
> 475 43rd Street
> Richmond, CA 94805
> 510-236-2595 home  510-932-9268 cell
> http://www.edgetonerecords.com/marsh.html
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


 
---------------------------------
Don't get soaked.  Take a quick peek at the forecast 
 with theYahoo! Search weather shortcut.

From mattdavignon at gmail.com  Thu Apr  5 18:10:22 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Thu, 5 Apr 2007 18:10:22 -0700
Subject: [NewMusic] Microkorg?
Message-ID: <c70e517b0704051810l178fcdd2g9e60dd0785c50175@mail.gmail.com>

Does anyone have a microkorg? It looked nice in the musicians friend
ad, but I don't want to buy it without any more information.

From tjohns at mills.edu  Thu Apr  5 18:47:14 2007
From: tjohns at mills.edu (Travis C. Johns)
Date: Thu,  5 Apr 2007 18:47:14 -0700
Subject: [NewMusic] Microkorg?
In-Reply-To: <c70e517b0704051810l178fcdd2g9e60dd0785c50175@mail.gmail.com>
References: <c70e517b0704051810l178fcdd2g9e60dd0785c50175@mail.gmail.com>
Message-ID: <1175824033.4615a6a20000a@webmail.mills.edu>

I had one a few yeas back but have since parted ways with it in order to
fund...erm... something - probably basic living expenses or something
lame like that.

My synopsis - It's a solid little creature with some nice preset sounds
that you program in with a big honkin' "genre" knob thats somewhat...
dance oriented - like house, d'n'b, hiphop, minimal detroit 2-step,
etc. There's oodles of parameters that you can fiddle with, but on the
fly-in box programming is a little tricky since you have to sort
through banks of effects and there's only like, 5 knobs on the box to
tweak with. If you really want to exploit the box to its fullest, I'd
recommend either an external midi controller or a computer. However,
there's two things to be aware of:

1.) it can only receive MIDI on one channel. Generally not such a big
deal, but it was kind of a hindrance when I tried using it with my Zeta
sending each string on a separate channel - I ended up with the choice
of either an extremely responsive sound with extensive pitch bending
capabilities on only one string or a rudimental attempt sounding from
all four - glissandos became digital chromatic steps and any type of
double stops or chording caused it to flip out but good. If I recall
correctly, it wasn't to keen on handling harmonics, either...

Next thing) 4 voice polyphony! great for leads and synthy-stuff, but if
you try anything fancy - say, 4 voice chorale style voice leading with
a couple suspensions in the mix, you'd find it stealing some of the
older notes leading to somthing just a little less than switched on
Bach. likewise, if you're holding down a drone in the bass and
noodleing around with a melody, the low end would occasionally drop out
due to this particular limitation...

However, the vocoder and the stereo audio in's are pretty snazzy, though
- not to mention that you can get some pretty wicked sounds just by
using the external ins in conjunction with the 16 bands. Very
glitchtastic. And battery powered!!!

I'd say if the mail-order's offering a great deal on it, go for it, but
if you can find a used ms-2000 for a comparable price, snag that
instead - much more hands on control and I think the vocoder is like 40
bands instead of 16 - fun!

Hope this helps - drop a line if you have any other questions and all
that, droppa line.

t.

Quoting Matt Davignon <mattdavignon at gmail.com>:

> Does anyone have a microkorg? It looked nice in the musicians friend
> ad, but I don't want to buy it without any more information.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



From weaselw at juno.com  Thu Apr  5 18:52:21 2007
From: weaselw at juno.com (weasel walter)
Date: Thu, 5 Apr 2007 18:52:21 -0700
Subject: [NewMusic] does anybody have an old power amp laying around?
Message-ID: <20070405.185222.1564.76.weaselw@juno.com>

hi there. i need to find a power amp to use for my bass rig asap . . . i
need at least 400 watts at 4 ohms . . . if anybody has something like
this collecting dust, please let me know. i'm ready to plunk down some
money for something, but charity is always appreciated.

ww

Weasel Walter
http://nowave.pair.com

From pamelaz at pamelaz.com  Thu Apr  5 18:55:37 2007
From: pamelaz at pamelaz.com (Pamela Z)
Date: Thu, 5 Apr 2007 18:55:37 -0700
Subject: [NewMusic] Microkorg?
Message-ID: <p0621022bc23b58ec021f@[10.0.1.3]>

Oh, wait.  I'm sorry.  I think that was MicroKontrol or something. 
Probably a different beast than what you're after...

p

Pamela Z
Composer/Performer

Contact info:

Telephone: 415.861.EARS (415.861.3277)
Mobile: 415.5PAMELA (415.572.6352)
FAX: 415.861.FAKS (415.861.3257)
(I forward my land line to my mobile phone when I'm travelling)

pamelaz at pamelaz.com
http://www.pamelaz.com
http://www.myspace.com/pamelazcomposer

Skype: pamelazed   AIM: pamelazdotcom

Snail Mail:
Pamela Z Productions
540 Alabama Street Studio 213
San Francisco, CA 94110, USA

shipping address (for packages larger than a 9" x 12" envelope):
Pamela Z  2440 Sixteenth Street  PMB #171, San Francisco, CA 94103, USA

Pamela Z's CD "A Delay is Better" on the Starkland label is now 
available at http://www.amazon.com, http://www.starkland.com, and in 
stores near you.
......................................................................................................

From dmichalak at sbcglobal.net  Thu Apr  5 19:58:17 2007
From: dmichalak at sbcglobal.net (dmichalak)
Date: Thu, 5 Apr 2007 19:58:17 -0700
Subject: [NewMusic] 21 Grand Goodies
References: <1175809698.c7cd2a5claoze@myrealbox.com>
	<c70e517b0704051501g7b6e0063pbb2db051c5e18803@mail.gmail.com>
Message-ID: <000a01c777f7$6ed50470$6601a8c0@MARIE>

I'll bring:
-electric Yamaha violin
-couple of acoustic guitars
-omni chord
-nice rain stick
-Line 6 box (green)
-CD recorder (direct to 16 bit CD)
-Raytek MiniTempMT6
-300 rock/soul/jazz cds
-50 DVDs
-music books
-Dr. Bob CD

----- Original Message ----- 
From: "Matt Davignon" <mattdavignon at gmail.com>
To: "Bay Area New Music Discussion Group" <newmusic at music.mills.edu>
Sent: Thursday, April 05, 2007 3:01 PM
Subject: Re: [NewMusic] 21 Grand Goodies


> Hmmm, I may have to bring my checkbook.
> 
> On 4/5/07, Bob Marsh <laoze at myrealbox.com> wrote:
>> 21 Grand, Friday April 6, 7-10
>>
>> Bob Marsh is bringing all this stuff and junk
>>
>> Clarinet, La Margus, Paris w/ case $50
>> Alto Sax, Orpheum Deluxe, Italian w. case, $100
>> French Horn - Monarch Lyons, $50
>> Accordion, Loveri, $50
>>
>> Dan Mo, Vietnamese percussion console, $100
>> Dan T'rang, Vietnamese, diagonal xylophone, lg, $100
>>
>> Dual CD Player, American Audio DCD Pro200, $100
>> Delay Pedal, Image IDL-8 $20
>> Distortion Pedal, Boss DS-1 $25
>>
>> CDs, Hill Music, Birds of a Feather, Luggage
>>
>> What are you bringing?
>>
>> 475 43rd Street
>> Richmond, CA 94805
>> 510-236-2595 home  510-932-9268 cell
>> http://www.edgetonerecords.com/marsh.html
>>
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

From pgsaxo at pacbell.net  Fri Apr  6 00:31:40 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Fri, 6 Apr 2007 00:31:40 -0700
Subject: [NewMusic] does anybody have an old power amp laying around?
In-Reply-To: <20070405.185222.1564.76.weaselw@juno.com>
Message-ID: <00a701c7781d$9ebed640$4001a8c0@PG>

Hey Weasel,
Call me.
510-653-8994.
PG


Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of weasel walter
Sent: Thursday, April 05, 2007 6:52 PM
To: newmusic at music.mills.edu
Cc: newmusic at music.mills.edu
Subject: [NewMusic] does anybody have an old power amp laying around?

hi there. i need to find a power amp to use for my bass rig asap . . . i
need at least 400 watts at 4 ohms . . . if anybody has something like
this collecting dust, please let me know. i'm ready to plunk down some
money for something, but charity is always appreciated.

ww

Weasel Walter
http://nowave.pair.com
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From grobair at emusician.com  Fri Apr  6 10:15:12 2007
From: grobair at emusician.com (Robair, Gino)
Date: Fri, 06 Apr 2007 10:15:12 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <mailman.3.1175832002.29834.newmusic@music.mills.edu>
Message-ID: <C23BCE30.41C4%grobair@emusician.com>

Thanks, PG, for posting that. I just got back from Europe, having played a
few subsidized spaces, and was intrigued by Ribot's ending comment:
<<Whether the musicians know it or not, almost every venue we play over
there is subsidized, at least by the city or state donating the performance
space The europeans have this situation for one reason: because they fought
for it.>>

I think there's truth in that, but there's a deeper issue: Europe has a
culture that supports art! The bottom line is that American's --- on the
whole -- are not interested in supporting 'art", unless it's
"entertainment." I say "on the whole" because, although we can point to some
kick-ass stuff in the bay area and other enlightened areas, there is not a
general cultural view in the US that accepts art as useful, as Europeans
seem to have (or, at least, did before the McDonaldsification of its own
culture happened). 

Nearly every musician I spoke with on this tour lamented that there is
nowhere to play these days over there! (Kinda hard to believe. Many of them
still remember the days when they could make a living playing improvised
music...) They should try building a tour from here to Chicago! ;-)

In Europe, you have state-run radio and television stations funding new
music performances. Here you have annoying infomercials and Yanni concerts
on public TV in order to fundraise. What message does that crap send?

So, I suggest taking up the Ribot fight in our own backyard. But a reminder
that we are up against more than just general apathy. The utility of audio
art has to be seen as important in some way, otherwise, who gives a rat's
ass...


On 4/5/07 9:00 PM, "newmusic-request at music.mills.edu"
<newmusic-request at music.mills.edu> wrote:

> Subject: [NewMusic] More Tonic News/Discussions
> To: "'Bay Area New Music Discussion Group'" <newmusic at music.mills.edu>
> Message-ID: <000c01c777bb$28a83350$4001a8c0 at PG>
> Content-Type: text/plain; charset="us-ascii"
> 
> Hey bListers,
> 
> On the thread of the closing of Tonic, here's a thoughtful missive and
> invitation to come to a meeting that Marc Ribot sent...
> 
> (I doubt that anyone can make the meeting, but it's an interesting
> missive nonetheless)
> 
> PG
> 
> This Thursday: april 5th
> 6:00 pm
> where: the back room at the PINK PONY restaurant
> 176 ludlow st, between houston and stanton st.
> 
> Please rsvp...
> 
> welcome: musicians who played tonic, tonic staff, musicians who would
> have played tonic but were unable to due to restrictive booking
> policies,  
> and all other downtown/new music/experimental/jazz/free jazz/free
> improv/experimental rock or just plain weird musicians PISSED OFF at the
> complete abandonment of new city's new music cultural scene and the
> musicians/composers who work on it.
> 
> Also welcome: activists willing to help DO SOMETHING ABOUT IT.
> Not welcome at this point: press
> 
> 
> Background/framework:
> The closing of tonic is part of a pattern of the closing, downsizing, or
> relocation to bklyn of many other new/jazz/experimental music venues.
> Often venues which remain have abandoned hard fought for rates of pay
> for musicians (like the 75% rate at tonic) or progressive booking
> policies. 
> 
> John Zorn's Stone is an important exception (as I'm sure The Tank is),
> but  
> Its hard to believe the stone's 80 capacity room can make up for the
> space lost (Tonic's 180 capacity). Looked at together, the rash of club
> closings  
> of the last year represents a larger problem than the simple
> mismanagement  
> of one club: there is a market failure in new music presentation in nyc.
> 
> The market failure has left an increasing number of non-profits fighting
> for pieces of a shrinking grant/public funding pie.
> 
> An increase in NYC public funding directed towards new/jazz/experimental
> music is the only thing (short of a serious crash in manhattan real
> estate prices) that can change this equation. But its not going to
> happen unless people fight for it.
> 
> The new music community is very divided in its feelings about
> tonic: its booking policy, especially in the last 2-3 years, has
> not been what many of us might have hoped. Still, they have a lot of
> support  
> in at least some parts of the community: they raised over 90,000 in less
> 
> than 4 months last time they almost closed.
>        
> We are NOT proposing a fight to keep tonic open in its current
> form:
> John and Melissa have already agreed to surrender the space to the
> landlord. But there is going to be anger felt in the community as yet
> another venue gets closed so some landlord can rent the space to a
> starbucks. 
> 
> I think it is in all our interest to not let that anger dissipate,
> but use it to fight for increased funding for experimental/jazz/new
> music.
> Again- not to keep the current club open, but to use its closing as a
> focal point for a political drive.
>  
> A fight on this issue this has more of a chance of success than
> most of us realize:
> Mayor Bloomberg himself showed up at one of the save cbgb's rallies. The
> club's closing got 2 consecutive days of front page NYTimes coverage,
> and the NYTimes gave Richard Hell (!!!) an op-ed column. That translates
> into major political clout- what political struggle in nyc ever gets
> that kind of coverage?-  but the people behind the save cbgbs campaign,
> for whatever reasons, chose not to use it once it was apparent the club
> couldn't be saved in its original location.
> 
> Most of the people on our own scene make most of their money touring in
> europe.  Whether the musicians know it or not, almost every venue we
> play over there is subsidized, at least by the city or state donating
> the performance space (this is also true of squats).
> 
> The europeans have this situation for one reason:  because they fought
> for it.
> We can do the same.
> best, 
> marc ribot
> 


From praemedia at yahoo.com  Fri Apr  6 10:23:00 2007
From: praemedia at yahoo.com (Praemedia)
Date: Fri, 6 Apr 2007 10:23:00 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <C23BCE30.41C4%grobair@emusician.com>
Message-ID: <379166.52144.qm@web51611.mail.re2.yahoo.com>

> culture that supports art! The bottom line is that
> American's --- on the
> whole -- are not interested in supporting 'art",
> unless it's
> "entertainment."

I think that is *almost* correct. I think most
Americans see art AS entertainment anymore and cannot
conceive of much art outside of entertainment (except
the "classics" - opera, ballet, music before 1900,
etc). In a way this multiplies the problem, becuase
(as a for instance in the musical arts) we are asked
to survive on subsidies more appropriate for
entertainment (cd sales [is there such a thing
anymore], concert ticket sales) rather than surviving
"culturally." About the only thing we subsidize in
order to keep American "culture" (don't giggle) is
basic education, and even that has seen cut after cut
after cut every year since I was born.



lance grabmiller
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From timduroche at variousartists.org  Fri Apr  6 10:25:13 2007
From: timduroche at variousartists.org (Tim DuRoche)
Date: Fri, 6 Apr 2007 10:25:13 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <C23BCE30.41C4%grobair@emusician.com>
Message-ID: <575453.49336.qm@web33513.mail.mud.yahoo.com>

Exactly.  The real  issue is we live in a country that does not have an established cultural policy.  

Canada does. Cuba does.  And you see the difference in terms of export and sustainability of indigenous cultural production like jazz and other improvised musics.  

Oregon has developed the Oregon Cultural Trust to support regional arts and cultural work. The city of Portland has developed a commitment to art and culture as part and parcel of the so-called "creative economy". I'm assuming Oakland and SF have similar jargon-riddled pieces of PR/public policy rubric.

The route to change happens on a local/regional level.  Considering that the US will likely never adopt an official policy toward culture (aside from the unwanted step-child/necessary evil one it uses, in the form of state dept.-sponsored propaganda junkets), that's the best we can do. . .although I understand Reykjavik is a very hip place worth looking into.

"Robair, Gino" <grobair at emusician.com> wrote: Thanks, PG, for posting that. I just got back from Europe, having played a
few subsidized spaces, and was intrigued by Ribot's ending comment:
<
there is subsidized, at least by the city or state donating the performance
space The europeans have this situation for one reason: because they fought
for it.>>

I think there's truth in that, but there's a deeper issue: Europe has a
culture that supports art! The bottom line is that American's --- on the
whole -- are not interested in supporting 'art", unless it's
"entertainment." I say "on the whole" because, although we can point to some
kick-ass stuff in the bay area and other enlightened areas, there is not a
general cultural view in the US that accepts art as useful, as Europeans
seem to have (or, at least, did before the McDonaldsification of its own
culture happened). 

Nearly every musician I spoke with on this tour lamented that there is
nowhere to play these days over there! (Kinda hard to believe. Many of them
still remember the days when they could make a living playing improvised
music...) They should try building a tour from here to Chicago! ;-)

In Europe, you have state-run radio and television stations funding new
music performances. Here you have annoying infomercials and Yanni concerts
on public TV in order to fundraise. What message does that crap send?

So, I suggest taking up the Ribot fight in our own backyard. But a reminder
that we are up against more than just general apathy. The utility of audio
art has to be seen as important in some way, otherwise, who gives a rat's
ass...


On 4/5/07 9:00 PM, "newmusic-request at music.mills.edu"
 wrote:

> Subject: [NewMusic] More Tonic News/Discussions
> To: "'Bay Area New Music Discussion Group'" 
> Message-ID: <000c01c777bb$28a83350$4001a8c0 at PG>
> Content-Type: text/plain; charset="us-ascii"
> 
> Hey bListers,
> 
> On the thread of the closing of Tonic, here's a thoughtful missive and
> invitation to come to a meeting that Marc Ribot sent...
> 
> (I doubt that anyone can make the meeting, but it's an interesting
> missive nonetheless)
> 
> PG
> 
> This Thursday: april 5th
> 6:00 pm
> where: the back room at the PINK PONY restaurant
> 176 ludlow st, between houston and stanton st.
> 
> Please rsvp...
> 
> welcome: musicians who played tonic, tonic staff, musicians who would
> have played tonic but were unable to due to restrictive booking
> policies,  
> and all other downtown/new music/experimental/jazz/free jazz/free
> improv/experimental rock or just plain weird musicians PISSED OFF at the
> complete abandonment of new city's new music cultural scene and the
> musicians/composers who work on it.
> 
> Also welcome: activists willing to help DO SOMETHING ABOUT IT.
> Not welcome at this point: press
> 
> 
> Background/framework:
> The closing of tonic is part of a pattern of the closing, downsizing, or
> relocation to bklyn of many other new/jazz/experimental music venues.
> Often venues which remain have abandoned hard fought for rates of pay
> for musicians (like the 75% rate at tonic) or progressive booking
> policies. 
> 
> John Zorn's Stone is an important exception (as I'm sure The Tank is),
> but  
> Its hard to believe the stone's 80 capacity room can make up for the
> space lost (Tonic's 180 capacity). Looked at together, the rash of club
> closings  
> of the last year represents a larger problem than the simple
> mismanagement  
> of one club: there is a market failure in new music presentation in nyc.
> 
> The market failure has left an increasing number of non-profits fighting
> for pieces of a shrinking grant/public funding pie.
> 
> An increase in NYC public funding directed towards new/jazz/experimental
> music is the only thing (short of a serious crash in manhattan real
> estate prices) that can change this equation. But its not going to
> happen unless people fight for it.
> 
> The new music community is very divided in its feelings about
> tonic: its booking policy, especially in the last 2-3 years, has
> not been what many of us might have hoped. Still, they have a lot of
> support  
> in at least some parts of the community: they raised over 90,000 in less
> 
> than 4 months last time they almost closed.
>        
> We are NOT proposing a fight to keep tonic open in its current
> form:
> John and Melissa have already agreed to surrender the space to the
> landlord. But there is going to be anger felt in the community as yet
> another venue gets closed so some landlord can rent the space to a
> starbucks. 
> 
> I think it is in all our interest to not let that anger dissipate,
> but use it to fight for increased funding for experimental/jazz/new
> music.
> Again- not to keep the current club open, but to use its closing as a
> focal point for a political drive.
>  
> A fight on this issue this has more of a chance of success than
> most of us realize:
> Mayor Bloomberg himself showed up at one of the save cbgb's rallies. The
> club's closing got 2 consecutive days of front page NYTimes coverage,
> and the NYTimes gave Richard Hell (!!!) an op-ed column. That translates
> into major political clout- what political struggle in nyc ever gets
> that kind of coverage?-  but the people behind the save cbgbs campaign,
> for whatever reasons, chose not to use it once it was apparent the club
> couldn't be saved in its original location.
> 
> Most of the people on our own scene make most of their money touring in
> europe.  Whether the musicians know it or not, almost every venue we
> play over there is subsidized, at least by the city or state donating
> the performance space (this is also true of squats).
> 
> The europeans have this situation for one reason:  because they fought
> for it.
> We can do the same.
> best, 
> marc ribot
> 

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From praemedia at yahoo.com  Fri Apr  6 10:26:02 2007
From: praemedia at yahoo.com (Praemedia)
Date: Fri, 6 Apr 2007 10:26:02 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <C23BCE30.41C4%grobair@emusician.com>
Message-ID: <722092.53131.qm@web51611.mail.re2.yahoo.com>

I would add also, that most arts organizations, even
the large ones (like MOMA), are in a state in this
country which should have died with the Renaissance -
i.e., chasing the coattails of rich donors or grants.

Oh, where is my Medici?!

lance



 
____________________________________________________________________________________
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in 45,000 destinations on Yahoo! Travel to find your fit.
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From 21grand at 21grand.org  Fri Apr  6 11:38:41 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Fri, 06 Apr 2007 11:38:41 -0700
Subject: [NewMusic]  Ribot rant and subsidized spaces in Europe
Message-ID: <C23BE1C1.1B04C%21grand@21grand.org>

Without a doubt, the illustrious Ms. O'Kane could swiftly articulate and
encapsulate the various issues and positions in relation to this issue in
her sleep, and maybe will do so here.

So I'm not going to go on at length ... but in summary:

Europe has:
- a more homogenous population both ethnically and economically
- governments that play larger roles in culture (there is a powerful segment
in US Society that believes government should only be fixing roads and
fighting wars with the rest left up to private enterprise)
- higher taxes that go to said government
- a history of centuries of autocratic rule - such that there is more
acceptance of a powerful elite dictating "official culture" or "what is good
for the people" (involving the arts, music, etc.)

In terms of government subsidies and policy:
Basically there are two things at play - a good example is the NEA back in
the 80s/early 90s 
1. setting the policy and the interests and agendas of those who create it
(e.g. we are establishing a city/regional/federal arts agency that gives $x
to creative work to make benefit glorious city of Oakland or whatever)

2. the agendas of those who interpret the policy (e.g. the ones selecting
who gets money each year)

- So you can have an enlightened cultural policy that say, supports
improvised music, but often the devil is in the details: who is getting the
money? Is it you or is it Ken "MacArthur Genius" Vandermark?

Often money will go to people/organizations that are already established
(everyone loves a winner/bet on the sure thing), or is serving some other
significant function (e.g. educating kids, eliminating poverty, keeping the
natives from getting restless), or is retreading familiar ground that is
already established as being "important."

That said, I have noticed a swing in the favor of "art for art's sake," vs.
what's called "instrumentality" (art serving other functions: economic,
education, keeping the natives from getting restless) which bodes well for
improvised music and the "avant-garde" (whether you see that as just a
marketing gimmick or arbitrary classification or not).

sl



From elsuperfantastico at yahoo.com  Fri Apr  6 11:47:24 2007
From: elsuperfantastico at yahoo.com (Chris Broderick)
Date: Fri, 6 Apr 2007 11:47:24 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <C23BCE30.41C4%grobair@emusician.com>
Message-ID: <616465.79744.qm@web50302.mail.re2.yahoo.com>


--- "Robair, Gino" <grobair at emusician.com> wrote:

> The utility of audio
> art has to be seen as important in some way,
> otherwise, who gives a rat's
> ass...

So I sez:

Not to get too philosophical or nit-picky about this,
but this American emphasis on utilitarianism is
exactly the problem, IMHO.  Our schools are more and
more concerned with churning out workers than they are
in churning out educated, well-rounded people.  Art,
culture, rhetoric, and the idea of learning things
outside of one's chosen field are all things that are
beneficial, but not (at least not directly)
utilitarian (do you really care if the guy who comes
to patch your roof has read Proust?), and so such
things are pushed to the wayside.

Art is, by its nature, non-utilitarian.  The value of
art is more intangible than the value of an MBA.  All
of us who have been exposed to or played a part in
creating art know of its value, but in a world where
the common cultural currencies are aimed at the lowest
common denominator, the art that is in the mainstream
is deeply utilitarian (as Hakim Bey says about
pornography, "Porn is porn because it works."  The
same can certainly be said about much of mainstream
culture.  If it doesn't achieve maximum penetration of
the marketplace, it is a failure.)  On the other side,
the single most common criticism of art that one
doesn't like is that it is "self-indulgent," meaning
it provides no benefit to anyone but the artist.  I've
always found that argument a way of avoiding talking
about the work.  We need a better way of talking about
the value of art than 'utility'.  Sound art is not a
hammer.



 
____________________________________________________________________________________
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From jacobmakesnoise at yahoo.com  Fri Apr  6 12:42:09 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Fri, 6 Apr 2007 12:42:09 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <379166.52144.qm@web51611.mail.re2.yahoo.com>
Message-ID: <782435.80316.qm@web58014.mail.re3.yahoo.com>

--- Praemedia <praemedia at yahoo.com> wrote:

 we are asked
> to survive on subsidies more appropriate for
> entertainment (cd sales [is there such a thing
> anymore], concert ticket sales) rather than
> surviving
> "culturally." 


Wow.  What a bunch of Socialist Pinkos on this list! 
Always looking for a handout.  Hey, if there's a
demand for your art then you'll get paid.  Obviously,
according to laws of the market if Madonna makes 10
million times as much money from her music as you do,
that means that her music is 10 million times better
than yours.  So, stop complaining.  We don't want to
hear your rhetoric of Marx and Engels.  This is not
Russia.  If you play music that people do not enjoy
that is not my problem and I should not have to pay
for it with my taxes!


Jacob Lindsay
http://www.bayimproviser.com/artistdetail.asp?artist_id=44
http://www.myspace.com/mryellowcake


 
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From matthew at matthewgoodheart.com  Fri Apr  6 14:48:00 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Fri, 6 Apr 2007 14:48:00 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <616465.79744.qm@web50302.mail.re2.yahoo.com>
References: <616465.79744.qm@web50302.mail.re2.yahoo.com>
Message-ID: <abb9121b8891ee31ccc26cc24bd0bfc1@matthewgoodheart.com>

Hard to disagree with much anyone has said here. This is just a bit of 
a side-track about education.

On Apr 6, 2007, at 11:47 AM, Chris Broderick wrote:

> Our schools are more and
> more concerned with churning out workers than they are
> in churning out educated, well-rounded people.

I  think the emphasis these days might be more on creating consumers 
rather than workers in the traditional industrial sense: while much of 
the educational organization originally comes from an industrial model, 
the US industrial base has been diminishing for decades. Concurrent 
with this has been a decrease in funding for public schools, which the 
private sector has seized upon as an opportunity.  So over the last 
couple decades there has been an increased corporate influence in our 
schools, in a very concerted and conscious effort to create "brand 
loyalty" among the youth; that is, a heavy indoctrination into a 
corporate mind-set. (This incident from almost  decade ago still sums 
it all up nicely: 
http://archive.southcoasttoday.com/daily/03-98/03-26-98/a10wn040.htm  
).  In essence, the very terms a student has to think about his/herself 
and their relationship to each other, the culture, the nation, liberty, 
etc. is through some kind of "brand."  In terms of future employment of 
many of these students, the job-base is either professional 
(white-collar corporate job, for example) or for the vast majority, the 
low-paying service sector. But this is, I think, more of a by-product 
than the goal; the goal is to create a functional consumer: the effect 
on any later employment is to ensure the minimum payments on one's Visa 
bill.

I'll also point out that this is often over the objections to actual 
educators, librarians, etc. They'd love to churn out educated, 
well-rounded people. But it's an increasingly uphill battle, and hey, 
money talks. Then I remember "Bong Hits 4 Jesus," and I have hope!

Ah well. Socialist Pinkos of the world unite! We have nothing to lose 
but our credit ratings!


From timduroche at variousartists.org  Fri Apr  6 15:03:14 2007
From: timduroche at variousartists.org (Tim DuRoche)
Date: Fri, 6 Apr 2007 15:03:14 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <782435.80316.qm@web58014.mail.re3.yahoo.com>
Message-ID: <971089.67032.qm@web33504.mail.mud.yahoo.com>

Ah, one of those "content of your clarinet character" types. . .

Jacob Lindsay <jacobmakesnoise at yahoo.com> wrote: --- Praemedia 
 wrote:

 we are asked
> to survive on subsidies more appropriate for
> entertainment (cd sales [is there such a thing
> anymore], concert ticket sales) rather than
> surviving
> "culturally." 


Wow.  What a bunch of Socialist Pinkos on this list! 
Always looking for a handout.  Hey, if there's a
demand for your art then you'll get paid.  Obviously,
according to laws of the market if Madonna makes 10
million times as much money from her music as you do,
that means that her music is 10 million times better
than yours.  So, stop complaining.  We don't want to
hear your rhetoric of Marx and Engels.  This is not
Russia.  If you play music that people do not enjoy
that is not my problem and I should not have to pay
for it with my taxes!


Jacob Lindsay
http://www.bayimproviser.com/artistdetail.asp?artist_id=44
http://www.myspace.com/mryellowcake


 
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_______________________________________________
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NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic



From praemedia at yahoo.com  Fri Apr  6 15:52:49 2007
From: praemedia at yahoo.com (Praemedia)
Date: Fri, 6 Apr 2007 15:52:49 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <abb9121b8891ee31ccc26cc24bd0bfc1@matthewgoodheart.com>
Message-ID: <20070406225249.35044.qmail@web51602.mail.re2.yahoo.com>

> Ah well. Socialist Pinkos of the world unite! We
> have nothing to lose 
> but our credit ratings!

mine is gone. you must all fight on without me.

;-)

lance



 
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From gcremaschi at hotmail.com  Fri Apr  6 18:49:38 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Fri, 06 Apr 2007 18:49:38 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <20070406225249.35044.qmail@web51602.mail.re2.yahoo.com>
Message-ID: <BAY101-F241DCB94532ED832B6B076C15B0@phx.gbl>


I once went out to dinner with a member of a local
city arts council, who admitted not really knowing anything
about art or non-pop music, but she really really thought
art and artists were "cool". She then went on to say that she
never voted for any projects that didn't have a social dimension,
like school or prison outreach. She then ended the evening calling me,
and abstract music and art in general, "elitist".  Why should we give
you money? she said - no one cares about what you do, you're
not helping anybody. This is the person reviewing your application,
folks.

-George

_________________________________________________________________
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From pgsaxo at pacbell.net  Sat Apr  7 01:09:50 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Sat, 7 Apr 2007 01:09:50 -0700
Subject: [NewMusic]  PG rant
In-Reply-To: <BAY101-F241DCB94532ED832B6B076C15B0@phx.gbl>
Message-ID: <000001c778ec$1e6db630$4001a8c0@PG>

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of George Cremaschi
Subject: Re: [NewMusic] Ribot rant and subsidized spaces in Europe

She then ended the evening calling me,
and abstract music and art in general, "elitist".  Why should we give
you money? she said - no one cares about what you do, you're
not helping anybody. This is the person reviewing your application,
folks.

-George

PG:
"you're not helping anybody".

I can't imagine making such a statement about what we do and where we do
it. In other words: the music, the environment, the musicians,
listeners, writers, all the related pieces...and she feels we're not
benefiting anyone and that we're elitists.

All I can say is that I wouldn't be alive if it weren't for this music.
I know that's a bold statement, but all I'm really saying is that music
has helped me get through the most difficult times of my life with
renewed knowledge and a little bit of grace (when I'm lucky). It has
given me a reason to live (and be happy) when I thought living was an
absurdly ridiculous endeavor. I know I'm not alone when I make this
statement.

When you start to think about it, most musicians base a good deal of
their world view through the lens of music. I know so many of you feel
the way I do when I say I've learned so much from music; not only about
music itself but about so many other disciplines that I find relate well
to music (a popular integral studies approach, right?). 

Music inspires me to learn. I can only hope that my music might inspire
someone else to learn something new or think about something differently
- in particular that they think or notice something new about listening.
That is what we learn from other musicians, right? - we learn how to
listen differently, how to hear new things and (eventually?) appreciate
them. But as others have said on this list, learning, especially
learning about music, is the last thing these fuckers in power want to
offer the public at large.

Still, my students' lives seem especially enriched by having music in
their life. They seem like pretty well-balanced kids; even the ones
living in sketchy Richmond hoods (especially those students in fact -
Matthew G teaches there as well, what say you Matt?). They like coming
to class, they're excited about music, even though very few (if any) of
them are thinking of becoming a musician when they grow up. They are
interested in improvising, in sound, in graphic scores; they were really
thrilled by a performance that the FPR trio did recently at OSA
(Gratkowski, PG, Raskin), and we were throwing them lots of curve balls.
The kids are still talking about that concert, and it was a few weeks
ago. My favorite question was: "what does that guy practice, anyway?"
(9th grade saxophone student referring to Gratkowski).

But back to your friend and her wisdom... 

By all means: forget arts education, forget funding for creative music! 

Just tell kids to say no to drugs. Tell kids to say no to art too, and
while they're at it - just say no to creative thinking all together.
Just say no to opening your mind to other ways of thinking, because we
want to control it. Just say no to the in-the-moment exhilaration of
listening, just say no to passionate debate, just say no to looking
within yourself all together. To do so is to be self-indulgent, and
you're not helping the economy if you're just sitting around thinking
all day and writing scribble-scrabble on lined sheets of paper. 

Forget building communities that cross city, state, and national
boundaries - forget learning to develop a language that improvising
musicians are learning all over the world - an exciting language that
takes into consideration any cultural ancestry whatsoever, a language
that people can play on any instrument (or anything called an
instrument, right Gino?). Forget approaching other nations with peace
and good will. Just say no to being a high-brow artsy-fartsy smarty
pants and get back in line at Safeway with your frozen TV dinners and
buy your CDs at Walgreens, they've got all the greatest hits at discount
prices.


From jfheule at gmail.com  Sat Apr  7 17:01:57 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Sat, 7 Apr 2007 17:01:57 -0700
Subject: [NewMusic] free jazz friday
Message-ID: <9c5cfa860704071701m4afe3982u9d892cedf259f9b8@mail.gmail.com>

http://blogs.eastbayexpress.com/earbud/2007/04/jazz_for_punk_rockers.php

I didn't write this, but maybe you'll hear my side of the story some other day.

From mattdavignon at gmail.com  Sat Apr  7 20:34:30 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Sat, 7 Apr 2007 20:34:30 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <782435.80316.qm@web58014.mail.re3.yahoo.com>
References: <379166.52144.qm@web51611.mail.re2.yahoo.com>
	<782435.80316.qm@web58014.mail.re3.yahoo.com>
Message-ID: <c70e517b0704072034n2fdc477dq6dcea59e48fe118@mail.gmail.com>

On 4/6/07, Jacob Lindsay <jacobmakesnoise at yahoo.com> was like:
>
> Obviously,
> according to laws of the market if Madonna makes 10
> million times as much money from her music as you do,
> that means that her music is 10 million times better
> than yours.

Well, in regards to the musicians that make money in America, it's not
really the music that's being sold - it's the appeal of the lifestyle
and image of the musician. In the cases where a song gets popular
because of the music, the 'artists' have very little to do with
whether the music is good or not. Thank the unnamed songwriters and
producers for that. I don't think many Americans buy music anymore.

Then George Creamasci was all:
> I once went out to dinner with a member of a local
> city arts council, who admitted not really knowing anything
> about art or non-pop music, but she really really thought
> art and artists were "cool". She then went on to say that she
> never voted for any projects that didn't have a social dimension,
> like school or prison outreach. She then ended the evening calling me,
> and abstract music and art in general, "elitist".  Why should we give
> you money? she said - no one cares about what you do, you're
> not helping anybody. This is the person reviewing your application,
> folks.

Well, if we're going to ask for grants and stuff, we have to be ready
to answer that question: What value does our music have for people who
don't make our kind of music? I've been trying to answer that one
myself, but everything I come up with sounds even more elitist. (Our
music encourages people to be more open minded, and appreciate things
that don't come in sterilized little packages.)

From slusser at pixar.com  Sat Apr  7 22:13:59 2007
From: slusser at pixar.com (David Slusser)
Date: Sat, 7 Apr 2007 22:13:59 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <c70e517b0704072034n2fdc477dq6dcea59e48fe118@mail.gmail.com>
References: <379166.52144.qm@web51611.mail.re2.yahoo.com>
	<782435.80316.qm@web58014.mail.re3.yahoo.com>
	<c70e517b0704072034n2fdc477dq6dcea59e48fe118@mail.gmail.com>
Message-ID: <8D75BC0F-93B8-45F8-ACFF-9A8021FAE35C@pixar.com>

I should stay out of this - but I've always maintained that Americans
are really going out to see celebrities when they are ostensibly going
out for music or anything else.  In George's case, if this arts council
person thought artists are really cool, he should've kept his mouth
shut and gotten some nookie instead.

On Apr 7, 2007, at 8:34 PM, Matt Davignon wrote:

> On 4/6/07, Jacob Lindsay <jacobmakesnoise at yahoo.com> was like:
>>
>> Obviously,
>> according to laws of the market if Madonna makes 10
>> million times as much money from her music as you do,
>> that means that her music is 10 million times better
>> than yours.
>
> Well, in regards to the musicians that make money in America, it's not
> really the music that's being sold - it's the appeal of the lifestyle
> and image of the musician. In the cases where a song gets popular
> because of the music, the 'artists' have very little to do with
> whether the music is good or not. Thank the unnamed songwriters and
> producers for that. I don't think many Americans buy music anymore.
>
> Then George Creamasci was all:
>> I once went out to dinner with a member of a local
>> city arts council, who admitted not really knowing anything
>> about art or non-pop music, but she really really thought
>> art and artists were "cool". She then went on to say that she
>> never voted for any projects that didn't have a social dimension,
>> like school or prison outreach. She then ended the evening calling  
>> me,
>> and abstract music and art in general, "elitist".  Why should we give
>> you money? she said - no one cares about what you do, you're
>> not helping anybody. This is the person reviewing your application,
>> folks.
>
> Well, if we're going to ask for grants and stuff, we have to be ready
> to answer that question: What value does our music have for people who
> don't make our kind of music? I've been trying to answer that one
> myself, but everything I come up with sounds even more elitist. (Our
> music encourages people to be more open minded, and appreciate things
> that don't come in sterilized little packages.)
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic

From gcremaschi at hotmail.com  Sun Apr  8 00:24:10 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Sun, 08 Apr 2007 00:24:10 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <8D75BC0F-93B8-45F8-ACFF-9A8021FAE35C@pixar.com>
Message-ID: <BAY101-F19B825056884CC6010B1E7C15A0@phx.gbl>


Slusser wrote:

>I should stay out of this - but I've always maintained that Americans are 
>really going out to see celebrities when they are ostensibly going out for 
>music or anything else.

Once on a plane I sat next to two cute bubbly
teenage girls who got really excited when they
spied me looking over a score - wow, are you
a musician? they asked. Who do you play with?
When I replied that, well, probably no one
you've ever heard of, they completely iced me
for the rest of the trip.

>In George's case, if this arts council person thought artists are really 
>cool, he should've kept his mouth shut and gotten some nookie instead.

Well I'd like to think I have my priorities straight -
the discussion only got heated AFTER I realized
that I was not going to get laid...

-George

_________________________________________________________________
Can?t afford to quit your job? ? Earn your AS, BS, or MS degree online in 1 
year. 
http://www.classesusa.com/clickcount.cfm?id=866145&goto=http%3A%2F%2Fwww.classesusa.com%2Ffeaturedschools%2Fonlinedegreesmp%2Fform-dyn1.html%3Fsplovr%3D866143


From weaselw at juno.com  Sun Apr  8 00:49:39 2007
From: weaselw at juno.com (weasel walter)
Date: Sun, 8 Apr 2007 00:49:39 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
Message-ID: <20070408.004940.1564.106.weaselw@juno.com>

sounds like you had a bad date.

ww
  
On Fri, 06 Apr 2007 18:49:38 -0700 "George Cremaschi"
<gcremaschi at hotmail.com> writes:
> 
> I once went out to dinner with a member of a local
> city arts council, who admitted not really knowing anything
> about art or non-pop music, but she really really thought
> art and artists were "cool". She then went on to say that she
> never voted for any projects that didn't have a social dimension,
> like school or prison outreach. She then ended the evening calling 
> me,
> and abstract music and art in general, "elitist".  Why should we 
> give
> you money? she said - no one cares about what you do, you're
> not helping anybody. This is the person reviewing your application,
> folks.
> 
> -George
> 
> _________________________________________________________________
> Exercise your brain! Try Flexicon. 
>
http://games.msn.com/en/flexicon/default.htm?icid=flexicon_hmemailtagline
april07
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 
> 
 

From michaelz at zoka.com  Sun Apr  8 10:57:43 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Sun, 8 Apr 2007 17:57:43 +0000
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
Message-ID: <20070408175743.65915.qmail@zoka.com>

On 4/8/2007, David Slusser wrote:

> I should stay out of this - but I've always maintained
> that Americans are really going out to see celebrities 
> when they are ostensibly going out for music or anything
> else.

For some people, it's a mixture of the two -- but even those folks will tend towards the "names" when choosing what performers to see and hear.

Take my mother (please). She considers herself well-informed on modern American culture (as a daily reader of the NY Times and frequent viewer of PBS, doncha know). Yet when I tell her about some concert or other that I've seen around here, many times she hasn't heard of the artist and will ask, "Is he famous? Should I have heard of him?" She read the article about Cecil Taylor at Jazz At Lincoln Center (sic) and knew who Wynton Marsalis was (because he's "famous") but not Cecil Taylor.

MZ

From michaelz at zoka.com  Sun Apr  8 10:58:44 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Sun, 8 Apr 2007 17:58:44 +0000
Subject: [NewMusic] Music scenes
Message-ID: <20070408175844.66695.qmail@zoka.com>

While here in Austin for a few days, I noticed this bit in an interview with Ian McLagan (keyboardist with Faces, Rod Stewart, Rolling Stones, etc.) in a free bmonthly music newspaper:

---------

AUSTIN DAZE: Why did you choose to be in Austin?

IAN MCLAGAN: To be honest with you I didn?t choose Austin so much as I was choosing not to be in Los Angeles any longer. My wife and I had been there sixteen years and I was on the road a lot of the time and she was stuck there while I was on the road and she didn?t like it any more than I did, but I was hardly there as much as she was. One day she called me, I was on the road, it was a Sunday, and she said, ?I just heard gun shots and I could smell the gun powder.? I said, ?That?s no good.? And then the earthquake in ?94 happened and they said that was the big one that we had all been waiting for to relieve the pressure. And the next day they said that wasn?t the big one. And we just said, ?That?s it.? We left the next month to come here. And you ask why here? Well it has to be a music town and LA really wasn?t a music town. It?s good for recording but not for live music. There?s no overall friendly music scene. New York: too expensive; music sc
ene, but too expensive, Chicago: too cold, Boston: much too cold, Seattle: music scene but English weather, San Francisco: earthquakes. Nashville? No f**king way. No music scene; no restaurants. Memphis: great city but you know. Miami: no f**king way. No music scene; temperature, all the same. So it was obviously Austin.

---------

From:
<http://austindaze.com/?p=236>

MZ

From pgsaxo at pacbell.net  Sun Apr  8 11:24:49 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Sun, 8 Apr 2007 11:24:49 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <20070408175743.65915.qmail@zoka.com>
Message-ID: <008901c77a0b$32175f90$4001a8c0@PG>

-----Original Message-----
On Behalf Of Michael Zelner
Subject: Re: [NewMusic] Ribot rant and subsidized spaces in Europe

Take my mother (please). She considers herself well-informed on modern
American culture (as a daily reader of the NY Times and frequent viewer
of PBS, doncha know). Yet when I tell her about some concert or other
that I've seen around here, many times she hasn't heard of the artist
and will ask, "Is he famous? Should I have heard of him?" She read the
article about Cecil Taylor at Jazz At Lincoln Center (sic) and knew who
Wynton Marsalis was (because he's "famous") but not Cecil Taylor.

MZ
 
PG:
As opposed to my mom, who never thought of herself as cultured, but
whenever I told her I was going to go out and hear some music, she would
say: "Can I go too?"


From 21grand at 21grand.org  Sun Apr  8 13:17:55 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Sun, 08 Apr 2007 13:17:55 -0700
Subject: [NewMusic] free jazz Friday
In-Reply-To: <mailman.3.1176004802.3633.newmusic@music.mills.edu>
Message-ID: <C23E9C03.1B18B%21grand@21grand.org>

> From: "jacob felix heule" <jfheule at gmail.com>
> Subject: [NewMusic] free jazz friday

> http://blogs.eastbayexpress.com/earbud/2007/04/jazz_for_punk_rockers.php
> 
> I didn't write this, but maybe you'll hear my side of the story some other
> day.

Apart from the consistent misspelling of "cymbal" I am not surprised.

The same person wrote this about our valentine's day show last year (scroll
down, it's in the latter part of the article)

http://www.eastbayexpress.com/2006-03-08/music/my-bizarre-valentine/

sl


From matthew at matthewgoodheart.com  Sun Apr  8 13:49:44 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Sun, 8 Apr 2007 13:49:44 -0700
Subject: [NewMusic] free jazz friday
In-Reply-To: <9c5cfa860704071701m4afe3982u9d892cedf259f9b8@mail.gmail.com>
References: <9c5cfa860704071701m4afe3982u9d892cedf259f9b8@mail.gmail.com>
Message-ID: <3afdceceb3816f603e53deb366cd959d@matthewgoodheart.com>

> http://blogs.eastbayexpress.com/earbud/2007/04/ 
> jazz_for_punk_rockers.php

Not much worth reading except this line:

> This was obviously a show based around incest

All the best scenes are!


From ingalls at mills.edu  Sun Apr  8 17:53:34 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Sun, 8 Apr 2007 17:53:34 -0700 (PDT)
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <008901c77a0b$32175f90$4001a8c0@PG>
References: <008901c77a0b$32175f90$4001a8c0@PG>
Message-ID: <Pine.LNX.4.60.0704081746430.13473@myfiles.mills.edu>


just saw this posted on another list, but it's kind of related to this 
thread:

http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html?hpid=topnews


joshua bell plays in a subway in DC, makes $12 bucks (plus the $20 from 
the one person who recognized him). the article is long..

-m




From sopranino at sbcglobal.net  Sun Apr  8 19:03:31 2007
From: sopranino at sbcglobal.net (Jon Raskin)
Date: Sun, 8 Apr 2007 19:03:31 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <Pine.LNX.4.60.0704081746430.13473@myfiles.mills.edu>
References: <008901c77a0b$32175f90$4001a8c0@PG>
	<Pine.LNX.4.60.0704081746430.13473@myfiles.mills.edu>
Message-ID: <000d01c77a4b$46a25c90$489dc14c@HP28718835617>

In the 70's I spent several years performing on the street and it is an open
market situation and a skill that you don't aquire in one day. It would have
been more of a test if Joshua had his marketing person there, which he
certainly has.  The shill happens and you gather a crowd. Either the
musician or someone else.



-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of Matt J. Ingalls
Sent: Sunday, April 08, 2007 5:54 PM
To: Bay Area New Music Discussion Group
Subject: Re: [NewMusic] Ribot rant and subsidized spaces in Europe


just saw this posted on another list, but it's kind of related to this
thread:

http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401
721.html?hpid=topnews


joshua bell plays in a subway in DC, makes $12 bucks (plus the $20 from the
one person who recognized him). the article is long..

-m



_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From jfheule at gmail.com  Mon Apr  9 06:17:32 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Mon, 9 Apr 2007 06:17:32 -0700
Subject: [NewMusic] free jazz Friday
In-Reply-To: <C23E9C03.1B18B%21grand@21grand.org>
References: <mailman.3.1176004802.3633.newmusic@music.mills.edu>
	<C23E9C03.1B18B%21grand@21grand.org>
Message-ID: <9c5cfa860704090617x296e6e45ua224050ddd5ff256@mail.gmail.com>

I didn't have any problem with that blog. Just wanted to be clear that
I didn't write it since I sometimes write things about shows and the
writer's credit is mysteriously somewhat buried in the text. It's not
really what I would've written, but it's mostly accurate and far from
insipid. Plus it's almost entirely about the actual music and almost
entirely devoid of a certain popular style of indie music writing that
makes me sick. I think maybe Pitchfork is the ultimate example of the
type of writing to which I refer, but I'm not really sure because I
don't actually read it. Incidentally, my tracker recently directed me
to a Pitchfork column that mentions Ettrick and Thomas Dimuzio. I
don't think this one is terrible at all, though I did stop reading it
after the Zs review. But winter must've been hard on the guy if
Ettrick and Dimuzio started sounding alike to him.
http://www.pitchforkmedia.com/article/feature/41580-column-out-music-3

jacob

On 4/8/07, Sarah - 21 Grand <21grand at 21grand.org> wrote:
> > From: "jacob felix heule" <jfheule at gmail.com>
> > Subject: [NewMusic] free jazz friday
>
> > http://blogs.eastbayexpress.com/earbud/2007/04/jazz_for_punk_rockers.php
> >
> > I didn't write this, but maybe you'll hear my side of the story some other
> > day.
>
> Apart from the consistent misspelling of "cymbal" I am not surprised.
>
> The same person wrote this about our valentine's day show last year (scroll
> down, it's in the latter part of the article)
>
> http://www.eastbayexpress.com/2006-03-08/music/my-bizarre-valentine/
>
> sl


-- 
http://heule.us

From spiritpark at comcast.net  Mon Apr  9 08:20:47 2007
From: spiritpark at comcast.net (spiritpark at comcast.net)
Date: Mon, 09 Apr 2007 15:20:47 +0000
Subject: [NewMusic] 9 cd Braxton box on emusic
Message-ID: <040920071520.15592.461A59CF0008A95900003CE82215593414059D0E9F9B079D079F9C@comcast.net>

My understanding is that while the music is on Emusic there is also a DVD documentary and book in the box set.  I think it retails for $109.

Ron

-------------- Original message -------------- 
From: Damon Smith <damon at balancepointacoustics.com> 

> It ends up being a little over $15.... 
> http://www.emusic.com/album/11022/11022428.html 
> 
> Damon Smith 
> 
> http://www.balancepointacoustics.com 
> http://myspace.com/smithdamon 
> 
> Just released: 
> bpa009 "sperrgut" birgit ulher/damon smith/martin blume 
> bpa 010 "cruxes" aurora josephson/joelle leandre/damon smith/martin 
> blume 
> bpa 011 "sextesense" john butcher/aaron bennett/henry kaiser/danielle 
> degruttola/damon smith/jerome bryerton 
> 
> _______________________________________________ 
> Bay Area New Music Discussion Group 
> NewMusic at music.mills.edu 
> http://music.mills.edu/mailman/listinfo/newmusic 

From damon at balancepointacoustics.com  Mon Apr  9 09:12:58 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 9 Apr 2007 09:12:58 -0700
Subject: [NewMusic] 9 cd Braxton box on emusic
In-Reply-To: <040920071520.15592.461A59CF0008A95900003CE82215593414059D0E9F9B079D079F9C@comcast.net>
References: <040920071520.15592.461A59CF0008A95900003CE82215593414059D0E9F9B079D079F9C@comcast.net>
Message-ID: <c21774164153b6cdd5bc0517c4c406e2@balancepointacoustics.com>

That is correct. But you can still hear the music for that little. I 
would go $109 in a second for the Braxton/Crispel/Dresser/Hemingway 
quartet, but not for ghost trance music. What I have listened to so far 
is really good, though.

Damon

On Apr 9, 2007, at 8:20 AM, spiritpark at comcast.net wrote:

> My understanding is that while the music is on Emusic there is also a 
> DVD documentary and book in the box set.  I think it retails for $109.
>
> Ron
>
> -------------- Original message --------------
> From: Damon Smith <damon at balancepointacoustics.com>
>
>> It ends up being a little over $15....
>> http://www.emusic.com/album/11022/11022428.html
>>
>> Damon Smith
>>
>> http://www.balancepointacoustics.com
>> http://myspace.com/smithdamon
>>
>> Just released:
>> bpa009 "sperrgut" birgit ulher/damon smith/martin blume
>> bpa 010 "cruxes" aurora josephson/joelle leandre/damon smith/martin
>> blume
>> bpa 011 "sextesense" john butcher/aaron bennett/henry kaiser/danielle
>> degruttola/damon smith/jerome bryerton
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From damon at balancepointacoustics.com  Mon Apr  9 10:35:01 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Mon, 9 Apr 2007 10:35:01 -0700
Subject: [NewMusic] RIP Sol Lewitt
Message-ID: <50e84d895d1a832577de7e39657c682f@balancepointacoustics.com>

http://www.nytimes.com/2007/04/09/arts/design/09lewitt.html? 
_r=1&oref=slogin

Damon Smith

http://www.balancepointacoustics.com
http://myspace.com/smithdamon

Just released:
bpa009 "sperrgut" birgit ulher/damon smith/martin blume
bpa 010 "cruxes"  aurora josephson/joelle leandre/damon smith/martin  
blume
bpa 011 "sextesense" john butcher/aaron bennett/henry kaiser/danielle  
degruttola/damon smith/jerome bryerton


From robi2 at hotmail.com  Mon Apr  9 21:11:02 2007
From: robi2 at hotmail.com (robi kauker)
Date: Tue, 10 Apr 2007 04:11:02 +0000
Subject: [NewMusic] hugh livingston email?
In-Reply-To: <mailman.3.1176091202.31821.newmusic@music.mills.edu>
Message-ID: <BAY113-F350A310B88F3405630D741EB580@phx.gbl>

hey

anybody got  a currtent email for Hugh Livingston

looking for some oakland art ship photos


robi

_________________________________________________________________
Download Messenger. Join the i?m Initiative. Help make a difference today. 
http://im.live.com/messenger/im/home/?source=TAGHM_APR07


From pgsaxo at pacbell.net  Mon Apr  9 22:01:08 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 9 Apr 2007 22:01:08 -0700
Subject: [NewMusic] hugh livingston email?
In-Reply-To: <BAY113-F350A310B88F3405630D741EB580@phx.gbl>
Message-ID: <001501c77b2d$40a79de0$4001a8c0@PG>

hughlivingston at earthlink.net


Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of robi kauker
Sent: Monday, April 09, 2007 9:11 PM
To: newmusic at music.mills.edu
Subject: [NewMusic] hugh livingston email?

hey

anybody got  a currtent email for Hugh Livingston

looking for some oakland art ship photos


robi

_________________________________________________________________
Download Messenger. Join the i'm Initiative. Help make a difference
today. 
http://im.live.com/messenger/im/home/?source=TAGHM_APR07



From cypod25 at gmail.com  Tue Apr 10 09:29:41 2007
From: cypod25 at gmail.com (Cypod)
Date: Tue, 10 Apr 2007 09:29:41 -0700
Subject: [NewMusic] Ribot rant and subsidized spaces in Europe
In-Reply-To: <000d01c77a4b$46a25c90$489dc14c@HP28718835617>
References: <008901c77a0b$32175f90$4001a8c0@PG>
	<Pine.LNX.4.60.0704081746430.13473@myfiles.mills.edu>
	<000d01c77a4b$46a25c90$489dc14c@HP28718835617>
Message-ID: <473c28030704100929k6f6860bdm96843182d61faf1b@mail.gmail.com>

What have we learned from this collective knowledge:

Bars bands, cafe culture, clothing store activity night, records shops, art
opening musicians. Consider these alternative venue locations, music can
added excitement and generate customer interest; in the land of capitalism,
pare with small business owners for opportunities for mutually profitable
events. By moving music to  a  dessert instead  of the main coarse, you'll
find a lot of new chances. Old venues close, new ones open up.

Don't be condescending towards teenagers, they just might be the catalyst to
your new fan base

Take those cd's over to your local music store, get them on the shelves, do
an in store performance, promote the heck out of it, get people to show up
and buy it. But don't tell them that you also have some digital distribution
thats selling it out as singles.





On 4/8/07, Jon Raskin <sopranino at sbcglobal.net> wrote:
>
> In the 70's I spent several years performing on the street and it is an
> open
> market situation and a skill that you don't aquire in one day. It would
> have
> been more of a test if Joshua had his marketing person there, which he
> certainly has.  The shill happens and you gather a crowd. Either the
> musician or someone else.
>
>
>
> -----Original Message-----
> From: newmusic-bounces at music.mills.edu
> [mailto:newmusic-bounces at music.mills.edu] On Behalf Of Matt J. Ingalls
> Sent: Sunday, April 08, 2007 5:54 PM
> To: Bay Area New Music Discussion Group
> Subject: Re: [NewMusic] Ribot rant and subsidized spaces in Europe
>
>
> just saw this posted on another list, but it's kind of related to this
> thread:
>
>
> http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401
> 721.html?hpid=topnews
>
>
> joshua bell plays in a subway in DC, makes $12 bucks (plus the $20 from
> the
> one person who recognized him). the article is long..
>
> -m
>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



-- 
B~
www.cypod.co.nr

From maer at fakescience.com  Tue Apr 10 11:54:10 2007
From: maer at fakescience.com (maer @ fake science)
Date: Tue, 10 Apr 2007 11:54:10 -0700
Subject: [NewMusic] Robert Rich recordings now available...
Message-ID: <06a801c77ba1$a00dab70$92651fac@faisihs.org>

hello banewmus,

    i wanted to let you know that recordings of shows by Robert Rich that Dub Beautiful Collective produced in SF several years ago are now available for digital download.  the new music community was a large portion of the audience for the shows i put on in those days.

here's the info:

Fake Science announces the release of three live recordings by ambient music pioneer Robert Rich.  Two concerts in San Francisco (at Morrison Planetarium and Fort Mason) comprise over three hours of live material.  These recordings have only ever been heard on the Dub Beautiful Radio internet stream, but now are available for digital download for the first time ever.  These are the first live recordings released by Rich since 2001.

http://us1.fakescience.com/music/robertrich/index.php

Robert Rich has a bold entry in the history of ambient music.  His recording career began in the early 1980's and spans over 25 albums and continues today.  He is credited with co-creating the subgenres Dark Ambient and Tribal Ambient.  Each recording displays intricate notes from his wide musical repertoire and include performances on processed steel guitar, bansuri, and his own custom built MOTM module synthesizer.

Live at Morrison Planetarium is a 90 minute set.  Live at Fort Mason is comprised of two sub-60 minute sets, and begins with a 12 minute improvised piano solo - the likes of which has never been recorded or released.

Each set costs $5.00 for 320k mp3 digital download (no DRM).

http://us1.fakescience.com/music/robertrich/index.php

 
-------------------------------------------------------
http://www.fakescience.com 
Fake Science is dedicated to independent music.
You support the artists who make the music.

From jfheule at gmail.com  Tue Apr 10 12:21:42 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Tue, 10 Apr 2007 12:21:42 -0700
Subject: [NewMusic] Breakthrough in Grey Room playlist: 2007 Apr 04
Message-ID: <9c5cfa860704101221i7eb89517ucb4ec970ef7c21ff@mail.gmail.com>

This week's show is tonight, 11:59pm-3am (Tue. night/Wed. morning).
90.3 FM San Francisco
or online: http://heule.us/breakthrough/ (click "Online Broadcast")


Playlist from the last show:

2007 Apr 04

David Grubbs & Mats Gustafsson, "Rendezvous Up North," Off Road [Blue
Chopsticks, 2003]
Tserendavaa, "Shudnii Isgeree (tooth/dental whistling)," various ?
Jargalant Altai: X??mi and other vocal and instrumental music from
Mongolia [Pan, 1996]
Anthony Braxton, "Mohawk," Charlie Parker Project 1993 [Hatology, 1995]
Alice Coltrane, "Universal Consciousness," Universal Consciousness
[Impulse, 1972 / Verve, 2002]
[background music] Alice Coltrane, "Battle of Armageddon," Universal
Consciousness [Impulse, 1971 / Verve, 2002]

Kyle Bruckmann's Wrack, "Slippery Disciplines," Intents & Purposes [482, 2006]
Agents at Midnight, "The Dread at the Back of Your Throat," Agents at
Midnight [Fargone, 2006]

Christian Weber, "Pony Music," 3 Suits and a Violin [Hatology, 2007]
Ilya Monosov, "Autonomous Guitar Music for Marc Schulz," Architectures
on Air and Other Works [Elevator Bath, 2005]

London Sinfonietta, "Chamber Concerto: Corrente [Gy?rgy Ligeti]," Warp
Works and 20th Century Masters [Warp, 2006]
Matt Shoemaker, "3. ...," Spots on the Sun [Helen Scarsdale Agency, 2007]
J?hann J?hannsson, "Tu non mi perderai mai," various - Touch 25 [Touch, 2006]

Mississippi Fred McDowell, "Shake 'Em on Down," First Recordings: The
Alan Lomax Portait Series [Rounder, 1997]
Birgit Uhler, Damon Smith & Martin Blume, "2,10 x 0,95 x 4,05m,"
Sperrgut [Balance Point Acoustics, 2006]
Alexander von Schlippenbach Trio, "Ein Hursten Fur Karl Valentin,"
Pakistani Pomade [FMP, 1972]
Deerhoof, "The Perfect Me," Friend Opportunity [Kill Rock Stars, 2007]

Mindflayer, "Netherworld Bike Patrol C.H.A.O.S.," Expedition to the
Hairier Peaks [Corleone, 2006]
Eiliyas, "Apotheosis of Dialect," Sampler
White Mice, "Turban SPrawl," Blassstphlegmeice [Load, 2007]
Weasel Walter Quartet, "We Have Revolted," Revolt Music [ugExplode, 2006]

Isaiah Ceccarelli, "Estaoubio...," Lieux-Dits [Ambiances Magn?tiques, 2006]
Otomo Yoshihide & Martin T?treault, "Duo 6," Studio ? Analogique ?
Num?rique [Ambiances Magn?tiques, 2003]

Aemae, "Confound Me," Maw [Isounderscore, 2007]
unknown artist, "Night Village Barong No. 2," various ? Night
Recordings from Bali [Sublime Frequencies, 2003]
Arthur Doyle & Sunny Murray, "African Love Call," Live at the Glenn
Miller Caf? [Ayler, 2001]

Alan Bishop, "Andalusian Nights," Radio Algeria [Sublime Frequencies, 2006]
Tommy James and the Shondells, "Mirage" [1967]
unknown artist, "Dengleung," The Best Sound of Kecapi Suling [Maharani]

Captain Beefheart, "Frownland," Grow Fins (Trout Mask House Sessions, 1969)
Jason Willett & Ron Anderson, "Bop Bop Bop Bop Bop Huh," Be the First
on the Block to Eat the Snake
Anaksimandros, "The Bones Tell me Nothing," River of Finland


(please contact me if you have corrections to the listed information)

http://heule.us/breakthrough/

From grobair at emusician.com  Tue Apr 10 12:46:27 2007
From: grobair at emusician.com (Robair, Gino)
Date: Tue, 10 Apr 2007 12:46:27 -0700
Subject: [NewMusic] Lehn/Robair tour vids online
Message-ID: <C24137A3.4304%grobair@emusician.com>

Hey gang, 
For those of you who might be interested, I just posted a couple of short
video gig excerpts on YouTube from a pair of the concerts I did with Thomas
Lehn (two of which are with the amazing Carl-Ludwig H?bsch on tuba)
http://www.youtube.com/watch?v=ACIzI0aqQWs
http://www.youtube.com/watch?v=GrJjCM2NdDY
http://www.youtube.com/watch?v=DoR97YV1rU0

Also, if you have the time, a portion of this TV clip about a hip Parisian
bookstore, En Marge, includes part of my duo concert with guitarist David
Fenech (you may remember him from his performances here last year):
http://www.tribeca75.com/Une-librairie-En-marge-_a280.html

Enjoy!
Cheers,
ginorobair


From damon at balancepointacoustics.com  Tue Apr 10 12:48:52 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Tue, 10 Apr 2007 12:48:52 -0700
Subject: [NewMusic] Lehn/Robair tour vids online
In-Reply-To: <C24137A3.4304%grobair@emusician.com>
References: <C24137A3.4304%grobair@emusician.com>
Message-ID: <10a8dd24cff788594f4378c91ef5fe97@balancepointacoustics.com>

Great trio. I wouldn't mind hearing a little more of this kind of thing 
out of you on the home front.  Congratulations on the Yellowcake Wire 
review too.

Damon


On Apr 10, 2007, at 12:46 PM, Robair, Gino wrote:

> Hey gang,
> For those of you who might be interested, I just posted a couple of 
> short
> video gig excerpts on YouTube from a pair of the concerts I did with 
> Thomas
> Lehn (two of which are with the amazing Carl-Ludwig H?bsch on tuba)
> http://www.youtube.com/watch?v?IzI0aqQWs
> http://www.youtube.com/watch?v=GrJjCM2NdDY
> http://www.youtube.com/watch?v=DoR97YV1rU0
>
> Also, if you have the time, a portion of this TV clip about a hip 
> Parisian
> bookstore, En Marge, includes part of my duo concert with guitarist 
> David
> Fenech (you may remember him from his performances here last year):
> http://www.tribeca75.com/Une-librairie-En-marge-_a280.html
>
> Enjoy!
> Cheers,
> ginorobair
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From kaspelin72 at yahoo.com  Tue Apr 10 13:10:19 2007
From: kaspelin72 at yahoo.com (Kristian Aspelin)
Date: Tue, 10 Apr 2007 13:10:19 -0700 (PDT)
Subject: [NewMusic] Lehn/Robair tour vids online
In-Reply-To: <10a8dd24cff788594f4378c91ef5fe97@balancepointacoustics.com>
Message-ID: <20070410201020.73878.qmail@web52605.mail.re2.yahoo.com>

In case others are interested, here is the Wire review to which Damon refers:
   
   
  Jacob Lindsay/Scott R Looney/Gino Robair
  Yellowcake
  Rastascan CD
   
  The title alludes to uranium concentrates and their political ramifications, such as the waging of disastrous war.  The music is tense with texturally alert improvising.  Lindsay uses a range of clarinets and Looney plays mainly electronically processed percussion, while Robair is once again credited with "energised surfaces" and "voltage made audible."  In practice Robair deploys bows, rubbers balls, motors and rosined sticks to sound metal and drums, and assigns a hi-hat function to a modular analogue synth, "a playground for electrons", as he describes it.  30 years ago percussionists Paul Lovens and Paul Lytton made a record entitled Was It Me?.  It's a question that might frequently arise here, as the distinct members of the trio meet and merge.  The timbre of the reeds blends with electronics, while electronics and percussion also find common ground.  The outcome is far from homogenous:  there's plenty of excitement in the interaction of the voices, the cut and
 thrust of their separateness as well as their convergence.  Keith Rowe is credited as main influence - not least, perhaps, for the cover design.  However, the lineage this music suggests to me is Lytton with Lovens or with Evan Parker, and that's a strong recommendation in itself.  
  

Damon Smith <damon at balancepointacoustics.com> wrote:
  Great trio. I wouldn't mind hearing a little more of this kind of thing
out of you on the home front. Congratulations on the Yellowcake Wire
review too.

Damon


On Apr 10, 2007, at 12:46 PM, Robair, Gino wrote:

> Hey gang,
> For those of you who might be interested, I just posted a couple of
> short
> video gig excerpts on YouTube from a pair of the concerts I did with
> Thomas
> Lehn (two of which are with the amazing Carl-Ludwig H?bsch on tuba)
> http://www.youtube.com/watch?v?IzI0aqQWs
> http://www.youtube.com/watch?v=GrJjCM2NdDY
> http://www.youtube.com/watch?v=DoR97YV1rU0
>
> Also, if you have the time, a portion of this TV clip about a hip
> Parisian
> bookstore, En Marge, includes part of my duo concert with guitarist
> David
> Fenech (you may remember him from his performances here last year):
> http://www.tribeca75.com/Une-librairie-En-marge-_a280.html
>
> Enjoy!
> Cheers,
> ginorobair
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


       
---------------------------------
It's here! Your new message!
Get new email alerts with the free Yahoo! Toolbar.

From damon at balancepointacoustics.com  Tue Apr 10 13:09:27 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Tue, 10 Apr 2007 13:09:27 -0700
Subject: [NewMusic] Lehn/Robair tour vids online
In-Reply-To: <20070410201020.73878.qmail@web52605.mail.re2.yahoo.com>
References: <20070410201020.73878.qmail@web52605.mail.re2.yahoo.com>
Message-ID: <adfc3106174abbc3781157a91d44f72b@balancepointacoustics.com>

It is a great cd.

Damon

On Apr 10, 2007, at 1:10 PM, Kristian Aspelin wrote:

> In case others are interested, here is the Wire review to which Damon 
> refers:
>
>
>   Jacob Lindsay/Scott R Looney/Gino Robair
>   Yellowcake
>   Rastascan CD
>
>   The title alludes to uranium concentrates and their political 
> ramifications, such as the waging of disastrous war.  The music is 
> tense with texturally alert improvising.  Lindsay uses a range of 
> clarinets and Looney plays mainly electronically processed percussion, 
> while Robair is once again credited with "energised surfaces" and 
> "voltage made audible."  In practice Robair deploys bows, rubbers 
> balls, motors and rosined sticks to sound metal and drums, and assigns 
> a hi-hat function to a modular analogue synth, "a playground for 
> electrons", as he describes it.  30 years ago percussionists Paul 
> Lovens and Paul Lytton made a record entitled Was It Me?.  It's a 
> question that might frequently arise here, as the distinct members of 
> the trio meet and merge.  The timbre of the reeds blends with 
> electronics, while electronics and percussion also find common ground. 
>  The outcome is far from homogenous:  there's plenty of excitement in 
> the interaction of the voices, the cut and
>  thrust of their separateness as well as their convergence.  Keith 
> Rowe is credited as main influence - not least, perhaps, for the cover 
> design.  However, the lineage this music suggests to me is Lytton with 
> Lovens or with Evan Parker, and that's a strong recommendation in 
> itself.
>
>
> Damon Smith <damon at balancepointacoustics.com> wrote:
>   Great trio. I wouldn't mind hearing a little more of this kind of 
> thing
> out of you on the home front. Congratulations on the Yellowcake Wire
> review too.
>
> Damon
>
>
> On Apr 10, 2007, at 12:46 PM, Robair, Gino wrote:
>
>> Hey gang,
>> For those of you who might be interested, I just posted a couple of
>> short
>> video gig excerpts on YouTube from a pair of the concerts I did with
>> Thomas
>> Lehn (two of which are with the amazing Carl-Ludwig H?bsch on tuba)
>> http://www.youtube.com/watch?v?IzI0aqQWs
>> http://www.youtube.com/watch?v=GrJjCM2NdDY
>> http://www.youtube.com/watch?v=DoR97YV1rU0
>>
>> Also, if you have the time, a portion of this TV clip about a hip
>> Parisian
>> bookstore, En Marge, includes part of my duo concert with guitarist
>> David
>> Fenech (you may remember him from his performances here last year):
>> http://www.tribeca75.com/Une-librairie-En-marge-_a280.html
>>
>> Enjoy!
>> Cheers,
>> ginorobair
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>
>
> ---------------------------------
> It's here! Your new message!
> Get new email alerts with the free Yahoo! Toolbar.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>


From pgsaxo at pacbell.net  Tue Apr 10 13:13:57 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Tue, 10 Apr 2007 13:13:57 -0700
Subject: [NewMusic] Breakthrough in Grey Room playlist: 2007 Apr 04
In-Reply-To: <9c5cfa860704101221i7eb89517ucb4ec970ef7c21ff@mail.gmail.com>
Message-ID: <000501c77bac$c60cd6b0$4001a8c0@PG>

Great playlist, as always!

Thanks for spinning my pal Christian Weber - we have a trio CD - I hope
I can get it out this year.

PG

Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of jacob felix heule
Sent: Tuesday, April 10, 2007 12:22 PM
To: Bay Area New Music Discussion Group
Subject: [NewMusic] Breakthrough in Grey Room playlist: 2007 Apr 04

This week's show is tonight, 11:59pm-3am (Tue. night/Wed. morning).
90.3 FM San Francisco
or online: http://heule.us/breakthrough/ (click "Online Broadcast")


Playlist from the last show:

2007 Apr 04

David Grubbs & Mats Gustafsson, "Rendezvous Up North," Off Road [Blue
Chopsticks, 2003]
Tserendavaa, "Shudnii Isgeree (tooth/dental whistling)," various ?
Jargalant Altai: X??mi and other vocal and instrumental music from
Mongolia [Pan, 1996]
Anthony Braxton, "Mohawk," Charlie Parker Project 1993 [Hatology, 1995]
Alice Coltrane, "Universal Consciousness," Universal Consciousness
[Impulse, 1972 / Verve, 2002]
[background music] Alice Coltrane, "Battle of Armageddon," Universal
Consciousness [Impulse, 1971 / Verve, 2002]

Kyle Bruckmann's Wrack, "Slippery Disciplines," Intents & Purposes [482,
2006]
Agents at Midnight, "The Dread at the Back of Your Throat," Agents at
Midnight [Fargone, 2006]

Christian Weber, "Pony Music," 3 Suits and a Violin [Hatology, 2007]
Ilya Monosov, "Autonomous Guitar Music for Marc Schulz," Architectures
on Air and Other Works [Elevator Bath, 2005]

London Sinfonietta, "Chamber Concerto: Corrente [Gy?rgy Ligeti]," Warp
Works and 20th Century Masters [Warp, 2006]
Matt Shoemaker, "3. ...," Spots on the Sun [Helen Scarsdale Agency,
2007]
J?hann J?hannsson, "Tu non mi perderai mai," various - Touch 25 [Touch,
2006]

Mississippi Fred McDowell, "Shake 'Em on Down," First Recordings: The
Alan Lomax Portait Series [Rounder, 1997]
Birgit Uhler, Damon Smith & Martin Blume, "2,10 x 0,95 x 4,05m,"
Sperrgut [Balance Point Acoustics, 2006]
Alexander von Schlippenbach Trio, "Ein Hursten Fur Karl Valentin,"
Pakistani Pomade [FMP, 1972]
Deerhoof, "The Perfect Me," Friend Opportunity [Kill Rock Stars, 2007]

Mindflayer, "Netherworld Bike Patrol C.H.A.O.S.," Expedition to the
Hairier Peaks [Corleone, 2006]
Eiliyas, "Apotheosis of Dialect," Sampler
White Mice, "Turban SPrawl," Blassstphlegmeice [Load, 2007]
Weasel Walter Quartet, "We Have Revolted," Revolt Music [ugExplode,
2006]

Isaiah Ceccarelli, "Estaoubio...," Lieux-Dits [Ambiances Magn?tiques,
2006]
Otomo Yoshihide & Martin T?treault, "Duo 6," Studio ? Analogique ?
Num?rique [Ambiances Magn?tiques, 2003]

Aemae, "Confound Me," Maw [Isounderscore, 2007]
unknown artist, "Night Village Barong No. 2," various ? Night
Recordings from Bali [Sublime Frequencies, 2003]
Arthur Doyle & Sunny Murray, "African Love Call," Live at the Glenn
Miller Caf? [Ayler, 2001]

Alan Bishop, "Andalusian Nights," Radio Algeria [Sublime Frequencies,
2006]
Tommy James and the Shondells, "Mirage" [1967]
unknown artist, "Dengleung," The Best Sound of Kecapi Suling [Maharani]

Captain Beefheart, "Frownland," Grow Fins (Trout Mask House Sessions,
1969)
Jason Willett & Ron Anderson, "Bop Bop Bop Bop Bop Huh," Be the First
on the Block to Eat the Snake
Anaksimandros, "The Bones Tell me Nothing," River of Finland


(please contact me if you have corrections to the listed information)

http://heule.us/breakthrough/
_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From pgsaxo at pacbell.net  Tue Apr 10 13:48:28 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Tue, 10 Apr 2007 13:48:28 -0700
Subject: [NewMusic] Lehn/Robair tour vids online
In-Reply-To: <adfc3106174abbc3781157a91d44f72b@balancepointacoustics.com>
Message-ID: <001101c77bb1$9860b150$4001a8c0@PG>

Ditto - YellowCake was shudder's favorite disc to listen to in the car
on our 2006 east coast tour.

Phillip Greenlief
c/o Evander Music
PO Box 22158 Oakland, CA
94623-9991
www.evandermusic.com

-----Original Message-----
From: newmusic-bounces at music.mills.edu
[mailto:newmusic-bounces at music.mills.edu] On Behalf Of Damon Smith
Sent: Tuesday, April 10, 2007 1:09 PM
To: Bay Area New Music Discussion Group
Subject: Re: [NewMusic] Lehn/Robair tour vids online

It is a great cd.

Damon

On Apr 10, 2007, at 1:10 PM, Kristian Aspelin wrote:

> In case others are interested, here is the Wire review to which Damon 
> refers:
>
>
>   Jacob Lindsay/Scott R Looney/Gino Robair
>   Yellowcake
>   Rastascan CD
>
>   The title alludes to uranium concentrates and their political 
> ramifications, such as the waging of disastrous war.  The music is 
> tense with texturally alert improvising.  Lindsay uses a range of 
> clarinets and Looney plays mainly electronically processed percussion,

> while Robair is once again credited with "energised surfaces" and 
> "voltage made audible."  In practice Robair deploys bows, rubbers 
> balls, motors and rosined sticks to sound metal and drums, and assigns

> a hi-hat function to a modular analogue synth, "a playground for 
> electrons", as he describes it.  30 years ago percussionists Paul 
> Lovens and Paul Lytton made a record entitled Was It Me?.  It's a 
> question that might frequently arise here, as the distinct members of 
> the trio meet and merge.  The timbre of the reeds blends with 
> electronics, while electronics and percussion also find common ground.

>  The outcome is far from homogenous:  there's plenty of excitement in 
> the interaction of the voices, the cut and
>  thrust of their separateness as well as their convergence.  Keith 
> Rowe is credited as main influence - not least, perhaps, for the cover

> design.  However, the lineage this music suggests to me is Lytton with

> Lovens or with Evan Parker, and that's a strong recommendation in 
> itself.
>
>
> Damon Smith <damon at balancepointacoustics.com> wrote:
>   Great trio. I wouldn't mind hearing a little more of this kind of 
> thing
> out of you on the home front. Congratulations on the Yellowcake Wire
> review too.
>
> Damon
>
>
> On Apr 10, 2007, at 12:46 PM, Robair, Gino wrote:
>
>> Hey gang,
>> For those of you who might be interested, I just posted a couple of
>> short
>> video gig excerpts on YouTube from a pair of the concerts I did with
>> Thomas
>> Lehn (two of which are with the amazing Carl-Ludwig H?bsch on tuba)
>> http://www.youtube.com/watch?v?IzI0aqQWs
>> http://www.youtube.com/watch?v=JjCM2NdDY
>> http://www.youtube.com/watch?v=R97YV1rU0
>>
>> Also, if you have the time, a portion of this TV clip about a hip
>> Parisian
>> bookstore, En Marge, includes part of my duo concert with guitarist
>> David
>> Fenech (you may remember him from his performances here last year):
>> http://www.tribeca75.com/Une-librairie-En-marge-_a280.html
>>
>> Enjoy!
>> Cheers,
>> ginorobair
>>
>> _______________________________________________
>> Bay Area New Music Discussion Group
>> NewMusic at music.mills.edu
>> http://music.mills.edu/mailman/listinfo/newmusic
>>
>>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>
>
> ---------------------------------
> It's here! Your new message!
> Get new email alerts with the free Yahoo! Toolbar.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

_______________________________________________
Bay Area New Music Discussion Group
NewMusic at music.mills.edu
http://music.mills.edu/mailman/listinfo/newmusic


From praemedia at yahoo.com  Tue Apr 10 13:55:58 2007
From: praemedia at yahoo.com (Praemedia)
Date: Tue, 10 Apr 2007 13:55:58 -0700 (PDT)
Subject: [NewMusic] Lehn/Robair tour vids online
In-Reply-To: <001101c77bb1$9860b150$4001a8c0@PG>
Message-ID: <419972.35627.qm@web51605.mail.re2.yahoo.com>

It beat out the Vampyros Lesbos soundtrack for the
number one spot.....

--- Phillip Greenlief <pgsaxo at pacbell.net> wrote:

> Ditto - YellowCake was shudder's favorite disc to
> listen to in the car
> on our 2006 east coast tour.
> 
> Phillip Greenlief
> c/o Evander Music
> PO Box 22158 Oakland, CA
> 94623-9991
> www.evandermusic.com
> 
> -----Original Message-----
> From: newmusic-bounces at music.mills.edu
> [mailto:newmusic-bounces at music.mills.edu] On Behalf
> Of Damon Smith
> Sent: Tuesday, April 10, 2007 1:09 PM
> To: Bay Area New Music Discussion Group
> Subject: Re: [NewMusic] Lehn/Robair tour vids online
> 
> It is a great cd.
> 
> Damon
> 



       
____________________________________________________________________________________
We won't tell. Get more on shows you hate to love 
(and love to hate): Yahoo! TV's Guilty Pleasures list.
http://tv.yahoo.com/collections/265 

From jmojingle at yahoo.com  Tue Apr 10 14:20:36 2007
From: jmojingle at yahoo.com (John Ingle)
Date: Tue, 10 Apr 2007 14:20:36 -0700 (PDT)
Subject: [NewMusic] Bb Clarinet wanted
In-Reply-To: <c70e517b0704072034n2fdc477dq6dcea59e48fe118@mail.gmail.com>
Message-ID: <534959.6050.qm@web50509.mail.re2.yahoo.com>

Hello ba-newmusers,


After @ 30 years of successfully avoiding the "gloom
tube" I have been called over to the dark side...

I need to borrow, rent, or buy a wooden Bb soprano
clarinet in working condition. I know that I can't
possibly afford a quality instrument, but it needs to
be better than a beater or a lamp--ideally with an
even tone and good intonation. If someone has a good
instrument to lend or rent that  would be ideal, at
least until the end of May.

Please respond off-list,

John Ingle


       
____________________________________________________________________________________
The fish are biting. 
Get more visitors on your site using Yahoo! Search Marketing.
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From grobair at emusician.com  Tue Apr 10 14:29:04 2007
From: grobair at emusician.com (Robair, Gino)
Date: Tue, 10 Apr 2007 14:29:04 -0700
Subject: [NewMusic] Lehn/Robair tour vids online
Message-ID: <C2414FB0.4320%grobair@emusician.com>

Damon wrote:
<<Great trio. I wouldn't mind hearing a little more of this kind of thing
out of you on the home front. >>

When I work with players that will go there, it happens. It's hard to play
that way if the group is too loud or busy, because the timbral subtlety in
what I do (at least) is lost. There were some nice moments the other night
in this vein with the Raskin Quartet and Yumi Hara.

<<Congratulations on the Yellowcake Wire review too.>>

Thanks. Actually, I emailed the writer, Julian, with some info about how our
trio works (and specifically about what I mean with "energized surfaces" and
"voltage made audible" because the phrases were being misinterpreted in
reviews). It's funny how writers get nasty (not Julian, obviously) when you
describe your work in a new way, or reword something to get at a new
meaning. Obviously, we've seen this happen with Braxton and Sun Ra.

All I did was use an appropriate term to describe how I approach my
instruments, and then I get a couple of wiseass guys in the media giving me
a hard time! Like I give a shit.... :-) But anyway....

There have been entire gigs and sessions where I haven't actually hit
anything, so saying that I play "percussion" is misleading --  when in fact
I use *some* percussion instruments, but much of the time they are
"energized" by bows, horns, friction, etc.

Don't even get me started about the "Fricative School" of playing, and how
the reviewers have absolutely no idea what their talking about when they
describe the intriguing work of, say, Ninh LeQuan, Chris Cogburn, or Sean
Meehan (among others). It's like saying Keith Rowe plays guitar! Well, okay,
he uses a guitar as a table...


From mattdavignon at gmail.com  Tue Apr 10 15:31:38 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Tue, 10 Apr 2007 15:31:38 -0700
Subject: [NewMusic] Lehn/Robair tour vids online
In-Reply-To: <C2414FB0.4320%grobair@emusician.com>
References: <C2414FB0.4320%grobair@emusician.com>
Message-ID: <c70e517b0704101531t231f0db1ma93dd8f6a11afcac@mail.gmail.com>

On 4/10/07, Robair, Gino <grobair at emusician.com> wrote:
> Damon wrote:
> <<