From grobair at emusician.com  Wed Aug  1 10:06:28 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 10:06:28 -0700
Subject: [NewMusic] Old School Analog: Phonology studio in Milan
In-Reply-To: <C2D60906.41BF%grobair@emusician.com>
Message-ID: <C2D60BA4.41C7%grobair@emusician.com>

Happy August!
Culled from Brutalsfx, three interesting clips from the early early Milan
electronic music studio:
http://audiolemon.blogspot.com/2007/07/rai-studio-of-musical-phonology.html



From Damon at balancepointacoustics.com  Wed Aug  1 10:11:14 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 1 Aug 2007 10:11:14 -0700
Subject: [NewMusic] Youtube of the week
In-Reply-To: <C2D60BA4.41C7%grobair@emusician.com>
References: <C2D60BA4.41C7%grobair@emusician.com>
Message-ID: <76BD7A9C-FDD9-463F-A6E9-F94C3D117E78@balancepointacoustics.com>

http://www.youtube.com/watch?v=BB9mMABRM0c&NR=1on Smith

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





From tim at perkis.com  Wed Aug  1 10:14:35 2007
From: tim at perkis.com (Tim Perkis)
Date: Wed, 01 Aug 2007 10:14:35 -0700
Subject: [NewMusic] Youtube of the week
In-Reply-To: <76BD7A9C-FDD9-463F-A6E9-F94C3D117E78@balancepointacoustics.com>
References: <C2D60BA4.41C7%grobair@emusician.com>
	<76BD7A9C-FDD9-463F-A6E9-F94C3D117E78@balancepointacoustics.com>
Message-ID: <46B0BF7B.4030904@perkis.com>

nice to see he's mellowed out over the years

Damon Smith wrote:
> http://www.youtube.com/watch?v=BB9mMABRM0c&NR=1on Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
>
>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>   

From letucepry at yahoo.com  Wed Aug  1 10:52:45 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Wed, 1 Aug 2007 10:52:45 -0700 (PDT)
Subject: [NewMusic] Youtube of the week
Message-ID: <576323.30362.qm@web50304.mail.re2.yahoo.com>

Maybe that is why Aurora is always carrying that camera around...perhaps hoping to run into Keith Jarrett and make him "Stop playing and leave the God Damn City..."

Funny, I can't tell if he's serious or not...too little to go on...the winy nasally voice makes it sound like he's being sarcastic...some of the audience members are in the same boat as me, providing a laugh track...

I keep expecting him to say "stop it, or i'm going to personally beat you all up...you wouldn't like me when I'm angry..."


lettuce


----- Original Message ----
From: Damon Smith <Damon at balancepointacoustics.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Wednesday, August 1, 2007 10:11:14 AM
Subject: [NewMusic] Youtube of the week


http://www.youtube.com/watch?v=BB9mMABRM0c&NR=1on Smith

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




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

From ingalls at mills.edu  Wed Aug  1 10:58:03 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Wed, 1 Aug 2007 10:58:03 -0700 (PDT)
Subject: [NewMusic] Youtube of the week
In-Reply-To: <576323.30362.qm@web50304.mail.re2.yahoo.com>
References: <576323.30362.qm@web50304.mail.re2.yahoo.com>
Message-ID: <Pine.LNX.4.60.0708011057590.13353@myfiles.mills.edu>


or its fake

On Wed, 1 Aug 2007, Ron Lettuce wrote:

> Maybe that is why Aurora is always carrying that camera around...perhaps hoping to run into Keith Jarrett and make him "Stop playing and leave the God Damn City..."
>
> Funny, I can't tell if he's serious or not...too little to go on...the winy nasally voice makes it sound like he's being sarcastic...some of the audience members are in the same boat as me, providing a laugh track...
>
> I keep expecting him to say "stop it, or i'm going to personally beat you all up...you wouldn't like me when I'm angry..."
>
>
> lettuce
>
>
> ----- Original Message ----
> From: Damon Smith <Damon at balancepointacoustics.com>
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Wednesday, August 1, 2007 10:11:14 AM
> Subject: [NewMusic] Youtube of the week
>
>
> http://www.youtube.com/watch?v=BB9mMABRM0c&NR=1on Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
>
>
>
>
> _______________________________________________
> 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 grobair at emusician.com  Wed Aug  1 10:58:14 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 10:58:14 -0700
Subject: [NewMusic] Youtube of the week
Message-ID: <C2D617C6.41E2%grobair@emusician.com>

Ron wrote:
<<I keep expecting him to say "stop it, or i'm going to personally beat you
all up...you wouldn't like me when I'm angry...">>

That's assuming we like him at all.

And Keith should feel lucky: during Zappa's last gig in Italy, the audience
threw chunks of cement at the band. (Among other items...)


From grobair at emusician.com  Wed Aug  1 11:00:28 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 11:00:28 -0700
Subject: [NewMusic] Youtube of the week
Message-ID: <C2D6184C.41E7%grobair@emusician.com>

As a friend noted about this clip:
"Strong, harsh words from someone whose onstage gestural shtick derives from
Nora, the piano-playing cat:

http://www.youtube.com/watch?v=TZ860P4iTaM  "


From polly.moller at gmail.com  Wed Aug  1 11:02:54 2007
From: polly.moller at gmail.com (Polly Moller)
Date: Wed, 1 Aug 2007 11:02:54 -0700
Subject: [NewMusic] Youtube of the week
In-Reply-To: <C2D6184C.41E7%grobair@emusician.com>
References: <C2D6184C.41E7%grobair@emusician.com>
Message-ID: <2eb068d40708011102w2c435e01j38c1c59023805f4d@mail.gmail.com>

I always *did* think Nora was a recently reincarnated human piano player.
Now I guess we know which one. ;)  Time doesn't have to be linear, after all.

P.

On 8/1/07, grobair at emusician.com <grobair at emusician.com> wrote:
> As a friend noted about this clip:
> "Strong, harsh words from someone whose onstage gestural shtick derives from
> Nora, the piano-playing cat:
>
> http://www.youtube.com/watch?v=TZ860P4iTaM  "
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>


-- 
------------------------------------------------------------
http://www.pollymoller.com
------------------------------------------------------------
http://www.myspace.com/pollymoller
------------------------------------------------------------

From Damon at balancepointacoustics.com  Wed Aug  1 11:03:37 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 1 Aug 2007 11:03:37 -0700
Subject: [NewMusic] Youtube of the week
In-Reply-To: <Pine.LNX.4.60.0708011057590.13353@myfiles.mills.edu>
References: <576323.30362.qm@web50304.mail.re2.yahoo.com>
	<Pine.LNX.4.60.0708011057590.13353@myfiles.mills.edu>
Message-ID: <DADCC9BC-87F4-46AB-AE31-C5C57A344830@balancepointacoustics.com>

No, it happened, there a bunch of articles about it and thread on  
jazz sites. I was a big festival in Italy. In one of the threads  
there was a link to this article:
http://www.allaboutjazz.com/php/article.php?id=18112
Man, I love Gary Peacock. Finally someone with some integrity...

On Aug 1, 2007, at 10:58 AM, Matt J. Ingalls wrote:

>
> or its fake
>
> On Wed, 1 Aug 2007, Ron Lettuce wrote:
>
>> Maybe that is why Aurora is always carrying that camera  
>> around...perhaps hoping to run into Keith Jarrett and make him  
>> "Stop playing and leave the God Damn City..."
>>
>> Funny, I can't tell if he's serious or not...too little to go  
>> on...the winy nasally voice makes it sound like he's being  
>> sarcastic...some of the audience members are in the same boat as  
>> me, providing a laugh track...
>>
>> I keep expecting him to say "stop it, or i'm going to personally  
>> beat you all up...you wouldn't like me when I'm angry..."
>>
>>
>> lettuce
>>
>>
>> ----- Original Message ----
>> From: Damon Smith <Damon at balancepointacoustics.com>
>> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
>> Sent: Wednesday, August 1, 2007 10:11:14 AM
>> Subject: [NewMusic] Youtube of the week
>>
>>
>> http://www.youtube.com/watch?v=BB9mMABRM0c&NR=1on Smith
>>
>> http://www.balancepointacoustics.com
>> http://myspace.com/smithdamon
>>
>>
>>
>>
>> _______________________________________________
>> 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
>
>

Damon Smith

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





From grobair at emusician.com  Wed Aug  1 11:58:16 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 11:58:16 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
Message-ID: <C2D625D8.41F2%grobair@emusician.com>

Damon sniffed:
<<http://www.allaboutjazz.com/php/article.php?id=18112
Man, I love Gary Peacock. Finally someone with some integrity...>>

I like Dworkin's quote in that article:
<<Our respect of an artist's ability (Peacock is unquestionably a great
bassist) shouldn't mute our criticisms of their actions when they're
hurtful, inciteful and plainly vain.>>

That's exactly my point regarding people like Cecil Taylor, when they act
disrespectfully towards others (musicians, promoters, fans, whatever).
Unlike Damon, I don't feel that jazz innovators should be allowed to be
assholes to people and not get called on it, just as I don't think that
being president allows you to gut the constitution of your country based on
your "faith" and not get called on it.

It's nice when a pair of assholes are in the same band (Jarrett/Peacock),
because it makes boycotting their music that much easier.

Speaking of Taylor, an angel sent me a copy of the London 4tet concert from
July with Oxley, Braxton, and Parker, culled from a radio broadcast. What a
fine performance by all! And too damn short -- only one set (under an hour).

FWIW.
g
 


From polly.moller at gmail.com  Wed Aug  1 12:17:09 2007
From: polly.moller at gmail.com (Polly Moller)
Date: Wed, 1 Aug 2007 12:17:09 -0700
Subject: [NewMusic] For San Francisco-based among us
Message-ID: <2eb068d40708011217x44255f66s3e4d3cd21ffad39e@mail.gmail.com>

There's a new granting program from the San Francisco Arts Commission.
http://www.sfartscommission.org/ceg/grants/indexACIP.html

P.

-- 
------------------------------------------------------------
http://www.pollymoller.com
------------------------------------------------------------
http://www.myspace.com/pollymoller
------------------------------------------------------------

From Damon at balancepointacoustics.com  Wed Aug  1 12:20:45 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 1 Aug 2007 12:20:45 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <C2D625D8.41F2%grobair@emusician.com>
References: <C2D625D8.41F2%grobair@emusician.com>
Message-ID: <C854723C-2375-4B41-A08B-DB5F8414010F@balancepointacoustics.com>

Just based on my own experience, he probably said yes to playing high  
level jazz with a Lee Konitz band and decided at over 70, it was  
worth lugging his bass to the gig and the Costello thing got sprung  
on him.
I have been in that situation several times and made a similar decision.

He is beyond needing a payday and backing a rock singer, even a  
decent one is not something he should have to do.

On Aug 1, 2007, at 11:58 AM, grobair at emusician.com wrote:

> Damon sniffed:
> <<http://www.allaboutjazz.com/php/article.php?id=18112
> Man, I love Gary Peacock. Finally someone with some integrity...>>
>
> I like Dworkin's quote in that article:
> <<Our respect of an artist's ability (Peacock is unquestionably a  
> great
> bassist) shouldn't mute our criticisms of their actions when they're
> hurtful, inciteful and plainly vain.>>
>
> That's exactly my point regarding people like Cecil Taylor, when  
> they act
> disrespectfully towards others (musicians, promoters, fans, whatever).
> Unlike Damon, I don't feel that jazz innovators should be allowed  
> to be
> assholes to people and not get called on it, just as I don't think  
> that
> being president allows you to gut the constitution of your country  
> based on
> your "faith" and not get called on it.
>
> It's nice when a pair of assholes are in the same band (Jarrett/ 
> Peacock),
> because it makes boycotting their music that much easier.
>
> Speaking of Taylor, an angel sent me a copy of the London 4tet  
> concert from
> July with Oxley, Braxton, and Parker, culled from a radio  
> broadcast. What a
> fine performance by all! And too damn short -- only one set (under  
> an hour).
>
> FWIW.
> g
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

Damon Smith

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





From pgsaxo at pacbell.net  Wed Aug  1 12:21:18 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 1 Aug 2007 12:21:18 -0700
Subject: [NewMusic] Youtube of the week
In-Reply-To: <DADCC9BC-87F4-46AB-AE31-C5C57A344830@balancepointacoustics.com>
Message-ID: <000601c7d471$237b3ae0$4001a8c0@PG>

-----Original Message-----
On Behalf Of Damon Smith
Subject: Re: [NewMusic] Youtube of the week

No, it happened, there a bunch of articles about it and thread on  
jazz sites. I was a big festival in Italy. In one of the threads  
there was a link to this article:
http://www.allaboutjazz.com/php/article.php?id=18112
Man, I love Gary Peacock. Finally someone with some integrity...

PG:
It's definitely authentic. He's been doing this for years. I wish he'd
go away. I like some of those recordings that trio has made, but who the
fuck wants to be in the same room with that guy?  

I saw him twice, once at Keystone, once at Great American.  He walked
from the Keystone gig because there was too much "noise" - the sound of
cups clinking and waitresses whispering to see what you wanted to order.
He was playing solo, and I guess no one is supposed to breathe when that
happens. 

When he played at Great American with that quartet with Jan Garbarek and
company, he threatened to walk, but didn't...same thing - he was
intolerant of the fact that they were serving food and drinks while they
were transmitting their superior sounds to us wee lowly listeners.

World's greatest asshole, if you ask me.

Polly - great comment on Nora - I agree, time isn't linear, but there's
no way Jarrett could go from world's greatest asshole to intensely
amusing cat in one life-time...I just can't see karma working that way.


From polly.moller at gmail.com  Wed Aug  1 12:26:55 2007
From: polly.moller at gmail.com (Polly Moller)
Date: Wed, 1 Aug 2007 12:26:55 -0700
Subject: [NewMusic] The soul of Nora
Message-ID: <2eb068d40708011226k3e0d746boe7f21ca1538411db@mail.gmail.com>

On 8/1/07, Phillip Greenlief <pgsaxo at pacbell.net> wrote:

> Polly - great comment on Nora - I agree, time isn't linear, but there's
> no way Jarrett could go from world's greatest asshole to intensely
> amusing cat in one life-time...I just can't see karma working that way.
>

Very well then...which human pianist *did* go on to become Nora?
I assume we're considering being reincarnated as a talented cat, as a
reward, rather than a punishment. :)

P.


-- 
------------------------------------------------------------
http://www.pollymoller.com
------------------------------------------------------------
http://www.myspace.com/pollymoller
------------------------------------------------------------

From slusser at pixar.com  Wed Aug  1 12:39:57 2007
From: slusser at pixar.com (David Slusser)
Date: Wed, 1 Aug 2007 12:39:57 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <C2D625D8.41F2%grobair@emusician.com>
References: <C2D625D8.41F2%grobair@emusician.com>
Message-ID: <91CEC6AE-1F77-47A6-AFBE-09F93EC356D6@pixar.com>

On Aug 1, 2007, at 11:58 AM, grobair at emusician.com wrote:
> Damon sniffed:
> <<http://www.allaboutjazz.com/php/article.php?id=18112
> Man, I love Gary Peacock. Finally someone with some integrity...>>
>
> I like Dworkin's quote in that article:
> <<Our respect of an artist's ability (Peacock is unquestionably a  
> great
> bassist) shouldn't mute our criticisms of their actions when they're
> hurtful, inciteful and plainly vain.>>
>
> That's exactly my point regarding people like Cecil Taylor, when  
> they act
> disrespectfully towards others (musicians, promoters, fans, whatever).
> Unlike Damon, I don't feel that jazz innovators should be allowed  
> to be
> assholes to people and not get called on it, just as I don't think  
> that
> being president allows you to gut the constitution of your country  
> based on
> your "faith" and not get called on it.
>
> It's nice when a pair of assholes are in the same band (Jarrett/ 
> Peacock),
> because it makes boycotting their music that much easier.

FWIT - (I have a little time off, so I actually got to read some of  
this.)

My reading of the situation, as presented, is that Gary Peacock merely
declined to play when approached by Costello shortly before the gig.
The "rockstar" quote came from later, and I'd have to get a copy of
Jazztimes Magazine (not likely) to see how Bill Milkowski posed the
question.  There's no attribution that Peacock was even referring to
Costello when he said it.  Though it's likely he was, I take it as an
offhand comment from someone who has paid enough dues for this
to be totally trivial.  I think Dworkin, whose adoration of pop music
I don't share, is way off bass in his criticisms, and as Damon noted,
this is a pretty common occurrence - where the bass player is thought
of as part of the house (like the PA and the piano).

Keith Jarrett, on the other hand...let's just say he has a fatal flaw.

From grobair at emusician.com  Wed Aug  1 12:41:49 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 12:41:49 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
Message-ID: <C2D6300D.41F8%grobair@emusician.com>

Damon sez:
<<He is beyond needing a payday and backing a rock singer, even a
decent one is not something he should have to do.L>>

Absolutely. But he could also have been respectful about declining the
invitation (if the rude quote from him is accurate, which we don't really
know). 

<<I have been in that situation several times and made a similar decision.>>

You turned down a chance to play with Elvis Costello? That's worth putting
on your resume. Thankfully, you weren't asked to play with Jeff Tweedy's
band: I hear the guitarist is a sell-out. <insert winking emoticon here>



From grobair at emusician.com  Wed Aug  1 12:43:47 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 12:43:47 -0700
Subject: [NewMusic] Speaking of annoying concerts and high volume
Message-ID: <C2D63083.41FB%grobair@emusician.com>

Introducing Mutt Muffs, so your dogs don't have to be annoyed by your music:
http://www.safeandsoundpets.com/page/page/2448858.htm


From Damon at balancepointacoustics.com  Wed Aug  1 12:48:02 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 1 Aug 2007 12:48:02 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <C2D6300D.41F8%grobair@emusician.com>
References: <C2D6300D.41F8%grobair@emusician.com>
Message-ID: <07C1B3FF-A600-49E9-A96F-EDD9F6913760@balancepointacoustics.com>


On Aug 1, 2007, at 12:41 PM, grobair at emusician.com wrote:

> You turned down a chance to play with Elvis Costello?

No, I am not sure would. I am not a fan but you could do worse. I  
still support Peacock.

Damon Smith

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





From pgsaxo at pacbell.net  Wed Aug  1 12:51:15 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 1 Aug 2007 12:51:15 -0700
Subject: [NewMusic] No, here's the YouTube of the week...
In-Reply-To: <76BD7A9C-FDD9-463F-A6E9-F94C3D117E78@balancepointacoustics.com>
Message-ID: <000001c7d475$52c6a240$4001a8c0@PG>

Dear bListers,

Jarrett does not get my vote...here's my entry:

Bergman talks about his ideas on "the absence of god", one of the best
arguments for atheism I've heard, and I'm not a member of that club...

http://www.youtube.com/watch?v=0InfxQQgfS0

Cheers,
PG


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


From jacobmakesnoise at yahoo.com  Wed Aug  1 12:51:47 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Wed, 1 Aug 2007 12:51:47 -0700 (PDT)
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <C854723C-2375-4B41-A08B-DB5F8414010F@balancepointacoustics.com>
Message-ID: <880078.18151.qm@web58007.mail.re3.yahoo.com>

Part of the reason many of us have taken the musical
path we have, is because we don't want to play music
that we don't want to play, or more positively put: we
only want to play the music we want to play.  

The author of that article makes an incorrect analogie
with some symphony players refusing to play something.
 Symphony players are paid to play what they are told
to play. That's part of the gig, and they know that
when they sign up.

There is plenty of music that a) I hate and would
never play, and b) music that I either like and/or
respect, but don't want to play all the same, because
it is not something I feel comfortable playing in an
honest fashion.  So I can definitely respect someone's
decision to "sit out" on a suprise musical switch-up. 
Now, it could be that Peacock was still an asshole
irrespective of this, but oh well.  There you go.

--- Damon Smith <Damon at balancepointacoustics.com>
wrote:

> Just based on my own experience, he probably said
> yes to playing high  
> level jazz with a Lee Konitz band and decided at
> over 70, it was  
> worth lugging his bass to the gig and the Costello
> thing got sprung  
> on him.
> I have been in that situation several times and made
> a similar decision.
> 
> He is beyond needing a payday and backing a rock
> singer, even a  
> decent one is not something he should have to do.
> 
> On Aug 1, 2007, at 11:58 AM, grobair at emusician.com
> wrote:
> 
> > Damon sniffed:
> >
>
<<http://www.allaboutjazz.com/php/article.php?id=18112
> > Man, I love Gary Peacock. Finally someone with
> some integrity...>>
> >
> > I like Dworkin's quote in that article:
> > <<Our respect of an artist's ability (Peacock is
> unquestionably a  
> > great
> > bassist) shouldn't mute our criticisms of their
> actions when they're
> > hurtful, inciteful and plainly vain.>>
> >
> > That's exactly my point regarding people like
> Cecil Taylor, when  
> > they act
> > disrespectfully towards others (musicians,
> promoters, fans, whatever).
> > Unlike Damon, I don't feel that jazz innovators
> should be allowed  
> > to be
> > assholes to people and not get called on it, just
> as I don't think  
> > that
> > being president allows you to gut the constitution
> of your country  
> > based on
> > your "faith" and not get called on it.
> >
> > It's nice when a pair of assholes are in the same
> band (Jarrett/ 
> > Peacock),
> > because it makes boycotting their music that much
> easier.
> >
> > Speaking of Taylor, an angel sent me a copy of the
> London 4tet  
> > concert from
> > July with Oxley, Braxton, and Parker, culled from
> a radio  
> > broadcast. What a
> > fine performance by all! And too damn short --
> only one set (under  
> > an hour).
> >
> > FWIW.
> > g
> >
> >
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
> >
> 
> Damon Smith
> 
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> 
> 
> 
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 


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


       
____________________________________________________________________________________
Take the Internet to Go: Yahoo!Go puts the Internet in your pocket: mail, news, photos & more. 
http://mobile.yahoo.com/go?refer=1GNXIC

From grobair at emusician.com  Wed Aug  1 12:52:40 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 12:52:40 -0700
Subject: [NewMusic] (no subject)
Message-ID: <C2D63298.4205%grobair@emusician.com>

Damon says:
<<No, I am not sure would. I am not a fan but you could do worse. I
still support Peacock.>>

My point is not that he turned down the gig (which is his prerogative), but
the rude comment (supposed comment, that is). Agreed that the Costello part
was probably foisted on him, as is typical.


From pgsaxo at pacbell.net  Wed Aug  1 12:54:25 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 1 Aug 2007 12:54:25 -0700
Subject: [NewMusic] The soul of Nora
In-Reply-To: <2eb068d40708011226k3e0d746boe7f21ca1538411db@mail.gmail.com>
Message-ID: <000c01c7d475$c3e9cc90$4001a8c0@PG>

-----Original Message-----
On Behalf Of Polly Moller
Subject: [NewMusic] The soul of Nora

On 8/1/07, Phillip Greenlief <pgsaxo at pacbell.net> wrote:

> Polly - great comment on Nora - I agree, time isn't linear, but
there's
> no way Jarrett could go from world's greatest asshole to intensely
> amusing cat in one life-time...I just can't see karma working that
way.
>

Very well then...which human pianist *did* go on to become Nora?
I assume we're considering being reincarnated as a talented cat, as a
reward, rather than a punishment. :)

P.

PG:
I'm thinking either Art Tatum or Vladimir Horowitz...

And yes, I'm all about rewards, not the opposite.


From pgsaxo at pacbell.net  Wed Aug  1 13:09:53 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 1 Aug 2007 13:09:53 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <C2D6300D.41F8%grobair@emusician.com>
Message-ID: <000001c7d477$ecca5bf0$4001a8c0@PG>

Mark Helias and I talked about this when I visited him last time (he's a
good friend of Gary's). I'm not sure why it came up - he told me Peacock
was not rude in his conversation with Elvis - and no one actually heard
that conversation but Gary and Elvis. He told me Gary just said he'd
rather not play on those tunes, and he said it in a respectful way. Fair
enough - the guy has a right to make decisions about who he's going to
play with. Mark also said that was the first time Gary had heard that
Elvis was going to "sit in"...Konitz gave him no advance notice.

I like Elvis' early work, but I haven't been such a fan of these
"collaborations" he's done in the past decade. I've heard him say that
he doesn't really care if his "old fans" like his "new music" - fair
enough - stick to your guns and follow your path. I respect that too.

My opinion is why do rock stars think they can just show up at a place
like the Iridium and everyone is supposed to bow down to them and take
orders? You could easily write a piece that argued the opposite of
Dworkin's opinion...that the arrogance is really on Elvis' side...but he
approached Lee with respect and wanted to work with him - I believe they
had already worked together on another project, if I'm not mistaken. I
just think it should have been discussed over the phone in advance, not
in the club a few hours before the band hits the bandstand. Isn't that
what any of us would have wanted in that situation?

It's totally blown out of proportion in that article, the tone of which
reads like an effort from a high school journalist.

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
grobair at emusician.com
Sent: Wednesday, August 01, 2007 12:42 PM
To: New Music
Subject: Re: [NewMusic] Peacock: A baboon's ass?

Damon sez:
<<He is beyond needing a payday and backing a rock singer, even a
decent one is not something he should have to do.L>>

Absolutely. But he could also have been respectful about declining the
invitation (if the rude quote from him is accurate, which we don't
really
know). 

<<I have been in that situation several times and made a similar
decision.>>

You turned down a chance to play with Elvis Costello? That's worth
putting
on your resume. Thankfully, you weren't asked to play with Jeff Tweedy's
band: I hear the guitarist is a sell-out. <insert winking emoticon here>


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


From matthew at matthewgoodheart.com  Wed Aug  1 14:50:13 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Wed, 1 Aug 2007 14:50:13 -0700
Subject: [NewMusic] The soul of Nora
In-Reply-To: <000c01c7d475$c3e9cc90$4001a8c0@PG>
References: <000c01c7d475$c3e9cc90$4001a8c0@PG>
Message-ID: <5FAC6E1B-04A7-4121-A765-136090544C21@matthewgoodheart.com>


> Very well then...which human pianist *did* go on to become Nora?

Sounds like Paul Bley to me. . .



(Oh boy, more zoomusicology!)

From gcremaschi at hotmail.com  Wed Aug  1 15:59:02 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Wed, 01 Aug 2007 15:59:02 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <000001c7d477$ecca5bf0$4001a8c0@PG>
Message-ID: <BAY101-F126FD39D75C98FF88D1DF0C1E80@phx.gbl>

Gary Peacock? I'd rather discuss how he hasn't even
remotely followed up on the incredible promise of his
fantastic playing with Albert Ayler in 1964 - playing
that was as radical a step forward on his instrument
as was Ayler's and Sonny Murray's in their still-frightening
trio. Music that has blown away almost everyone who has
tried to emulate it. Music that continues to make most
post-jazz improv I hear sound puerile in comparison. Peacock's
career has been a forty-year slide into complete irrelevancy.

-George

_________________________________________________________________
Local listings, incredible imagery, and driving directions - all in one 
place! http://maps.live.com/?wip=69&FORM=MGAC01


From Damon at balancepointacoustics.com  Wed Aug  1 16:09:54 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 1 Aug 2007 16:09:54 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <BAY101-F126FD39D75C98FF88D1DF0C1E80@phx.gbl>
References: <BAY101-F126FD39D75C98FF88D1DF0C1E80@phx.gbl>
Message-ID: <814E531D-C2C1-4FAF-BD53-E7C037FCF182@balancepointacoustics.com>

The way I see it he was playing with Bley and Ayler around the same  
time. After you have played with Ayler there is not much else to do  
in that direction so he kept going with the other stuff.
He was also pretty innovative in terms of post-LaFaro piano trio  
interaction from "Trio 64" with Bill Evans on.
The last trio he made with Bley and Motion "Not One, Not Two"  was  
really good.
When I have heard him, he still sounded like Gary Peacock.

On Aug 1, 2007, at 3:59 PM, George Cremaschi wrote:

> Gary Peacock? I'd rather discuss how he hasn't even
> remotely followed up on the incredible promise of his
> fantastic playing with Albert Ayler in 1964 - playing
> that was as radical a step forward on his instrument
> as was Ayler's and Sonny Murray's in their still-frightening
> trio. Music that has blown away almost everyone who has
> tried to emulate it. Music that continues to make most
> post-jazz improv I hear sound puerile in comparison. Peacock's
> career has been a forty-year slide into complete irrelevancy.
>
> -George
>
> _________________________________________________________________
> Local listings, incredible imagery, and driving directions - all in  
> one
> place! http://maps.live.com/?wip=69&FORM=MGAC01
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

Damon Smith

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





From tim at perkis.com  Wed Aug  1 16:12:39 2007
From: tim at perkis.com (Tim Perkis)
Date: Wed, 01 Aug 2007 16:12:39 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <BAY101-F126FD39D75C98FF88D1DF0C1E80@phx.gbl>
References: <BAY101-F126FD39D75C98FF88D1DF0C1E80@phx.gbl>
Message-ID: <46B11367.4000307@perkis.com>



George Cremaschi wrote:
>  Peacock's
> career has been a forty-year slide into complete irrelevancy.
>   

Maybe that's what Elvis Costello was telling him in that unknown 
conversation.

From grobair at emusician.com  Wed Aug  1 16:15:50 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Wed, 01 Aug 2007 16:15:50 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
Message-ID: <C2D66236.4237%grobair@emusician.com>

George C. wrote:
<<. Peacock's career has been a forty-year slide into complete irrelevancy.
>>

So what you're saying is that maybe he should've played that gig with
Costello after all? ;-)


Speaking of Ayler, someone forwarded me a CD-R of Norman Howard's group, the
trumpeter from Albert's '64 band. Not sure if it's the same music that's on
the recently released "Burn Baby Burn" disc. Probably. The story I heard is
that the tape I have is from an unreleased master, that was put on cassette
(in a qty of 100 copies) before being bought by Henry Rollins a decade ago.
It's a very raw recording. In a nice way.

But I digress.


From gcremaschi at hotmail.com  Wed Aug  1 16:33:21 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Wed, 01 Aug 2007 16:33:21 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <C2D66236.4237%grobair@emusician.com>
Message-ID: <BAY101-F38113FB496FC5CD31EEB9FC1E80@phx.gbl>


>So what you're saying is that maybe he should've played that gig with
>Costello after all? ;-)

Yes, they're both completely irrelevant, so why not?
And Frisell was on the gig - perfect!

-George

_________________________________________________________________
http://imagine-windowslive.com/hotmail/?locale=en-us&ocid=TXT_TAGHM_migration_HM_mini_pcmag_0507


From pgsaxo at pacbell.net  Wed Aug  1 18:05:44 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 1 Aug 2007 18:05:44 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <BAY101-F126FD39D75C98FF88D1DF0C1E80@phx.gbl>
Message-ID: <000001c7d4a1$41c34d50$4001a8c0@PG>

----Original Message-----
On Behalf Of George Cremaschi
Subject: Re: [NewMusic] Peacock: A baboon's ass?

Gary Peacock? I'd rather discuss how he hasn't even
remotely followed up on the incredible promise of his
fantastic playing with Albert Ayler in 1964 - playing
that was as radical a step forward on his instrument
as was Ayler's and Sonny Murray's in their still-frightening
trio. Music that has blown away almost everyone who has
tried to emulate it. Music that continues to make most
post-jazz improv I hear sound puerile in comparison. Peacock's
career has been a forty-year slide into complete irrelevancy.

-George

PG:
I'm not sure I'm total agreement with you, but I get your point. Yes,
that trio with Ayler and Murray is a one-of-a-kind thing - unlikely that
anything like that is going to come along again and totally shake up the
troops. Although I highly admire that group and its music, I'm not sure
Peacock of all people can be held "responsible" for the group sound. He
never would have played that way had it not been for Albert out front
leading the pack as only he could.

I'm in agreement with Damon that he also did excellent work with Paul
Bley, and that recording Not One, Two is an excellent piano trio. 

For my money, one of his greatest achievements is the ECM recording,
Mister Major (I think that's what it was called)...it was Peacock's date
as a leader. It's the same trio with Jarrett and DeJohnette, but it's a
totally different approach - Jarrett is playing inside the piano about
half the time and when he isn't, it's a lot of texture and color stuff;
he was also laying out a lot. There's nothing remotely "standard(s)"
about it. As much as I like some of those "standards" recordings (or
used to - it's been years since I listened to one of those discs), I
always thought Peacock sounds out of tune and the tone of his bass is
pretty thin on a lot of those recordings...personally, I'd much rather
hear Mark Helias play "jazz" any day of the week. 

When Peacock was sick and couldn't play SFJazz with Marilyn Crispell and
Paul Motion a few years back, I was initially disappointed that I wasn't
going to get to hear the "original" trio - but Mark Helias was on the
gig and he really sounded great with that band - better than those
recordings that have Peacock on them.


From gcremaschi at hotmail.com  Thu Aug  2 03:21:26 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Thu, 02 Aug 2007 03:21:26 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <000001c7d4a1$41c34d50$4001a8c0@PG>
Message-ID: <BAY101-F334727F89D9E9F5B1C9BB9C1E90@phx.gbl>


PG wrote:

>I'm not sure Peacock of all people can be held "responsible"
>for the group sound.

Why, because he's a bass player? Typical saxophonist attitude...
no wonder Peacock walks out on concerts - he's just the bass
player. That's why I gave up on jazz - it's all about keeping
your mouth shut and doing your little Charlie Haden (or Scott
LaFaro) imitation.
Seriously, though, I didn't say Peacock was responsible for the
group sound, only his part.


>He never would have played that way had it not been for Albert out front 
>leading the pack as only he could.

Anthony Williams' "Spring" debunks that myth. That's just
how he was playing in that time period, with or without
Ayler. Then he found Zen and ECM records. Sure, some
of that 70's music is nice to cook tofu by, but it just doesn't
excite me that much. Anyway, I said "forty-year slide", which
implies that whatever happened in the late 60's and 70's
was still pretty good.

Later, like so many 'outside' players of his generation, he
seemed almost desperate to prove his worth from an 'inside'
perspective. Revolution is for the young, apparently. But at
least he doesn't disown the music he made with Ayler, though
not without the typical qualifiers:
"So when he played it wasn't just squawks and beeps and honks
and that kind of thing. He was really, he was coming from a real place.
It was authentic. It was really him....Albert Ayler could play changes."

-George

_________________________________________________________________
A new home for Mom, no cleanup required. All starts here. 
http://www.reallivemoms.com?ocid=TXT_TAGHM&loc=us


From slusser at pixar.com  Thu Aug  2 11:21:30 2007
From: slusser at pixar.com (David Slusser)
Date: Thu, 2 Aug 2007 11:21:30 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <BAY101-F334727F89D9E9F5B1C9BB9C1E90@phx.gbl>
References: <BAY101-F334727F89D9E9F5B1C9BB9C1E90@phx.gbl>
Message-ID: <632DA4BE-ACA9-4484-BF99-792422684398@pixar.com>

George, are you writing from this country, or overseas?

Typical saxophonist attitude, but you sound full of vinegar,
and I'm ready to square off against your ass with our
instruments if I catch you around here.

Hopefully, I'd like to be around when you're 70, and hear
what you have to say (and play).

On Aug 2, 2007, at 3:21 AM, George Cremaschi wrote:
> PG wrote:
>
>> I'm not sure Peacock of all people can be held "responsible"
>> for the group sound.
>
> Why, because he's a bass player? Typical saxophonist attitude...
> no wonder Peacock walks out on concerts - he's just the bass
> player. That's why I gave up on jazz - it's all about keeping
> your mouth shut and doing your little Charlie Haden (or Scott
> LaFaro) imitation.
> Seriously, though, I didn't say Peacock was responsible for the
> group sound, only his part.
>
>
>> He never would have played that way had it not been for Albert out  
>> front
>> leading the pack as only he could.
>
> Anthony Williams' "Spring" debunks that myth. That's just
> how he was playing in that time period, with or without
> Ayler. Then he found Zen and ECM records. Sure, some
> of that 70's music is nice to cook tofu by, but it just doesn't
> excite me that much. Anyway, I said "forty-year slide", which
> implies that whatever happened in the late 60's and 70's
> was still pretty good.
>
> Later, like so many 'outside' players of his generation, he
> seemed almost desperate to prove his worth from an 'inside'
> perspective. Revolution is for the young, apparently. But at
> least he doesn't disown the music he made with Ayler, though
> not without the typical qualifiers:
> "So when he played it wasn't just squawks and beeps and honks
> and that kind of thing. He was really, he was coming from a real  
> place.
> It was authentic. It was really him....Albert Ayler could play  
> changes."

From gcremaschi at hotmail.com  Thu Aug  2 11:32:21 2007
From: gcremaschi at hotmail.com (George Cremaschi)
Date: Thu, 02 Aug 2007 11:32:21 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <632DA4BE-ACA9-4484-BF99-792422684398@pixar.com>
Message-ID: <BAY101-F33AA31248CDEE06DAB1B48C1E90@phx.gbl>


Slusser wrote:

>Hopefully, I'd like to be around when you're 70, and hear
>what you have to say (and play).

I knew I'd get somebody riled up.

Whatever I'm playing when I'm 70, it sure won't
be a cocktail hour version of "Come Rain or Come Shine".

"More of that cabernet, sir?"

-George

_________________________________________________________________
Puzzles, trivia teasers, word scrambles and more. Play for your chance to 
win! http://club.live.com/home.aspx?icid=CLUB_hotmailtextlink


From pgsaxo at pacbell.net  Thu Aug  2 14:20:11 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Thu, 2 Aug 2007 14:20:11 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <BAY101-F33AA31248CDEE06DAB1B48C1E90@phx.gbl>
Message-ID: <000001c7d54a$e98bd4e0$4001a8c0@PG>

----Original Message-----
On Behalf Of George Cremaschi
Subject: Re: [NewMusic] Peacock: A baboon's ass?


Slusser wrote:

>Hopefully, I'd like to be around when you're 70, and hear
>what you have to say (and play).

I knew I'd get somebody riled up.

Whatever I'm playing when I'm 70, it sure won't
be a cocktail hour version of "Come Rain or Come Shine".

"More of that cabernet, sir?"

-George

PG:
Sure, why not take the bait?

The problem I have with so many improvisers' attitudes about "jazz" is
that the common perception is pretty black and white. You're either out
for blood and tearing the paint off the walls with some noble free jazz
or you're playing bossa novas in a cocktail lounge for silver haired
patrons.

There's obviously a lot of ground between those two poles. And, you can
play great music without being innovative all the time. There are
traditions for a reason - because the tradition you're following is a
good one - why else would someone follow a lead? And a lot of great
things can come from that. 

And, a bassist is a really important part of any trio in the jazz
construct. I apologize for minimizing Peacock's role in the trio with
Ayler. It's an amazing group dynamic and yes, all three members are
critical to that sound. I put the emphasis on Albert in that context
because for me, there really wasn't a precedent for him when he broke on
to the scene. Yes, Coltrane had started to stretch outside the realm of
song forms and his sound was extending the "normal" role of the
saxophonist as a harbinger of melodic and thematic development, but
Ayler's sound concept (along with Peacock and Murray) is really unique
historically to the saxophone. That was a very special group. I could
almost say the same out Giuffre's trio with Steve Swallow and Paul Bley,
but of course, I'd probably be jeered for that because they're not
radical enough...

I don't think people have to imitate Charlie to make great jazz these
days; in fact it's obvious that Charlie's role/influence in post-60's
jazz is severely over-rated. There have been a lot of great players
since Haden and La Faro that live in the canon of jazz.

I guess it gets down to intention really. The main problem that I have
with jazz after 1970 is that we don't seem to be able to get past the
dialectic of neo-cons vs. the avant garde.  Again, it's kind of a black
and white/us and them - construct/approach that seems difficult to
resolve. 

I think if you like a certain kind of music you should play it. That's
why I still like playing with The Lost Trio - we have a really good time
playing "tunes", and I don't feel we're compromising - we're taking
everything we know about music and trying to plug it into the sound of
the band in a very sincere way. That's the best I can do...and I
approach all music that I play with the same sincerity and intention. I
play material that I like with people I enjoy working with. Is there any
one member of the band that is more important than the other in the
creation of our sound? I don't think so. Trios are so compact that every
sound counts...


From pgsaxo at pacbell.net  Thu Aug  2 14:21:56 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Thu, 2 Aug 2007 14:21:56 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <632DA4BE-ACA9-4484-BF99-792422684398@pixar.com>
Message-ID: <000101c7d54b$287d6b00$4001a8c0@PG>

P.S.
Spring is a fantastic record.

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

-----Original Message-----
On Behalf Of David Slusser
Subject: Re: [NewMusic] Peacock: A baboon's ass?
On Aug 2, 2007, at 3:21 AM, George Cremaschi wrote:
>
> Anthony Williams' "Spring" debunks that myth. That's just
> how he was playing in that time period, with or without
> Ayler. Then he found Zen and ECM records. Sure, some
> of that 70's music is nice to cook tofu by, but it just doesn't
> excite me that much. Anyway, I said "forty-year slide", which
> implies that whatever happened in the late 60's and 70's
> was still pretty good.


From pgsaxo at pacbell.net  Thu Aug  2 14:27:57 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Thu, 2 Aug 2007 14:27:57 -0700
Subject: [NewMusic] Peacock: A baboon's ass?
In-Reply-To: <632DA4BE-ACA9-4484-BF99-792422684398@pixar.com>
Message-ID: <000201c7d54b$fefff800$4001a8c0@PG>

----Original Message-----
On Behalf Of David Slusser
Subject: Re: [NewMusic] Peacock: A baboon's ass?
 
Later, like so many 'outside' players of his generation, he
seemed almost desperate to prove his worth from an 'inside'
perspective. Revolution is for the young, apparently. But at
least he doesn't disown the music he made with Ayler, though
not without the typical qualifiers:
"So when he played it wasn't just squawks and beeps and honks
and that kind of thing. He was really, he was coming from a real  
place.
It was authentic. It was really him....Albert Ayler could play  
changes."
 

PG:
It's about surviving, I think. I don't think it has anything to do with
age. After 1970 it was almost impossible for most of those guys to make
a living. McCoy Tyner had to drive a cab to feed his family after
Coltrane died.  I'm glad he drove a cab instead of playing synth one of
Freddie Hubbard's CTI releases...

And those quotes you posted are obviously intended to quell this black
and white perspective that I mentioned in my earlier post. The jazzers
needed to hear that Ayler "could play the horn" - (duh!).  Again, this
neo-con vs. avant garde dialectic just brings out the stupidity in many
of us...Gary shouldn't feel like he needed to legitimize Ayler...


From matthew at matthewgoodheart.com  Thu Aug  2 16:15:00 2007
From: matthew at matthewgoodheart.com (Matthew Goodheart)
Date: Thu, 2 Aug 2007 16:15:00 -0700
Subject: [NewMusic] High Freq ensemble-
In-Reply-To: <000201c7d54b$fefff800$4001a8c0@PG>
References: <000201c7d54b$fefff800$4001a8c0@PG>
Message-ID: <BBDAC63E-3031-49E0-B537-5496166309D9@matthewgoodheart.com>

Had trouble sending this, apologies if it appears twice. . .

I think I found the vocalist for the high frequency ensemble. . .  
maybe she can set the dress code as well

http://youtube.com/watch?v=P6wSyIdwCFM

mg

From bradysharp at gmail.com  Thu Aug  2 18:09:41 2007
From: bradysharp at gmail.com (Brady Sharp)
Date: Thu, 2 Aug 2007 20:09:41 -0500
Subject: [NewMusic] High Freq ensemble-
In-Reply-To: <BBDAC63E-3031-49E0-B537-5496166309D9@matthewgoodheart.com>
References: <000201c7d54b$fefff800$4001a8c0@PG>
	<BBDAC63E-3031-49E0-B537-5496166309D9@matthewgoodheart.com>
Message-ID: <a7177e350708021809v45cb3eb2t33f36b0b4cab0554@mail.gmail.com>

Excellent candidate!  Then you could clone her, hook a MIDI controller
to both of them, and get some cool heterodyning frequencies happening!

Brady

On 8/2/07, Matthew Goodheart <matthew at matthewgoodheart.com> wrote:
> Had trouble sending this, apologies if it appears twice. . .
>
> I think I found the vocalist for the high frequency ensemble. . .
> maybe she can set the dress code as well
>
> http://youtube.com/watch?v=P6wSyIdwCFM
>
> mg
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From matt at sfsound.org  Thu Aug  2 20:53:54 2007
From: matt at sfsound.org (matt)
Date: Thu, 2 Aug 2007 20:53:54 -0700
Subject: [NewMusic] Fwd: Would You Please Donate Some Samples to Me for OLPC
References: <183045579.1186109018263.JavaMail.root@ccprodapp34>
Message-ID: <C0334687-33E2-44EF-90DE-263B947B8445@sfsound.org>



Begin forwarded message:

> From: Richard Boulanger <rboulanger at berklee.net>
> Date: August 2, 2007 7:43:38 PM PDT
> To: Rick Boulanger <rboulanger at berklee.edu>
> Subject: Would You Please Donate Some Samples to Me for OLPC
> Reply-To: Richard Boulanger <rboulanger at berklee.net>
>
> Dear Students, Colleagues, and Friends,
>
> I hope you are having a productive, fun, and relaxing summer.
> (If you get a few copies of this email, please forgive me, but....)
>
> As some of you may know, I have been very busy over the past
> year working with Barry Vercoe on the One Laptop Per Child (OLPC)  
> $100 Laptop Computer
>
> http://laptop.org/laptop/
> http://wiki.laptop.org/go/Home
>
> This incredibly powerful machine, which will be given for free to
> some of the poorest children in the world is destined to change
> how students everywhere learn, collaborate, and share.
>
> I am happy to tell you that the core audio software that is running
> on these machines is Csound5!  It ALL runs. And it all SOUNDS amazing.
>
> I know that you are thinking that Csound is probably too difficult for
> Children to learn and use, but....
>
> Check out Jean Pich?'s Tam Tam application to get some idea
> of how we are wrapping Csound into Friendly Games and Activities
> and thus making Csound easy for young children to use and learn.
>
> miniTamTam - http://www.youtube.com/watch?v=31L9qaxOrp0
> synthLab - http://www.youtube.com/watch?v=Nwqt8NMT-zI
> interviews - http://tamtam4olpc.wordpress.com/
>
> I spent last year building and testing instrument models for the  
> machine.
> (My students made some amazing musical examples that served as
> demos for the rollouts and for the diplomats and ambassadors from
> all the nations involved).  Check out the nations list:
>
> http://www.laptop.org/en/vision/progress/maps.shtml
>
> There will be 3 million units delivered to children in these host  
> countries in the fall!
> (and over 10 million are planned over the next few years!)
>
> This summer, I am collecting and editing samples for a huge archive
> of free books, art, music, samples, games, etc...) that OLPC will be
> setting up at each host school (they call this the *school servers*)
>
> M-Audio - through MS Alum and now Software Project Manager -  Jason  
> McClinsey  - will be donating a General MIDI set
>
> I have donated a collection from The Csound Book (and some other  
> little things I have done in Csound)
> -- http://csounds.com/BoulangerSamplesVol1-44_1k.zip
>
> Berklee will be donating all the Samples from Mike Brigida's  
> Sampling Classes over the past 20 years (here are a few)
> -- http://csounds.com/BerkleeFXvol1-44_1k.zip
>
> Two of my current students (Glenn Forsythe and Lee Barkovich) have  
> donated small collections of their samples
> -- http://csounds.com/BerkleeStudentsVol1-44_1k.zip
>
> I would like to include some samples from YOU in this Archive.
>
> SOoooooooooooooooooooooooooooooooo
>
> Do you have ANY samples...
> - sound fx, loops, acoustic traditional instruments, acoustic  
> ethnic/world instruments, animals, environments, drumkits, etc..
>
> ... that YOU have RECORDED, SAMPLED, SYNTHESIZED;
> - they have to be YOUR sounds - not sounds you have purchased or  
> taken from records, you recorded/created them
>
> ... that you would be willing to DONATE to the project.
> - you would be giving them away (under the creative commons license)
>
> I will make sure your NAME is associated with your donation (on the  
> OLPC website and in the OLPC archive)
> IMAGINE 3 MILLION KIDS making music with your guitar samples, your  
> woodflute samples, your slidewistle samples,
> your wind, rain, traffic, kitchen utensils, explosions, pianos,  
> sitars, tablas, drumloops, etc....
>
> I will edit ALL the samples into the format we need for OLPC.  And....
> I will make sure YOUR samples are in folders with YOUR name on them
> in the Archive.
>
> No donation is TOO small.
>
> Just think about some of the samples you have made, and think about  
> what set of these might make a nice collection
>
> crickets & frogs
> sitars and tabla
> breaking glass
> car engines
> footsteps
> machine noises
> brooks and streams
> raindrops
> thunder
> screams and yells
> breathing and whispering
> crying
> laughing
> jets and planes
> trains
> dogs and cats
> koto
> marimba
> vibes
> bass
> guitar
> trumpet
> accordions
>
> DrumLoops
> Arpeggios
> bassloops
>
> OneShots, With Loops, Without Loops, MultiSamples, LoFI, HiFi,  
> Mono, Stereo, Short, Long,
> - ALL WOULD BE COOL and USEFUL and INCLUDED
> (I need them NOW - in the next couple of weeks.... so, don't make  
> anything new, just look
> over what you have already and what from that might be cool to  
> donate and share.)
>
> Check out Glen and Lee's nice little set of things and think about  
> what you might have to offer.
> -- http://csounds.com/BerkleeStudentsVol1-44_1k.zip
>
> Remember that these samples are going ALL over the world and world  
> instruments would be most especially appreciated.
>
> TO SEND THEM TO ME:
> - zip whatever samples you would like to donate
> email me a link to the archive you have posted with either:
> MEGAUPLOAD
> - http://www.megaupload.com/
> or
> YouSENDIT
> -http://www.yousendit.com/
> or
> your own ftp site.
>
> I look forward to hearing from you and sharing your sounds with  
> some of the poorest and most deserving children in the world.
> This is a major educational and peace initiative.  I hope that you  
> will become part of the movement by donating some of your
> samples.
>
> Wishing you all the very best.
>
> Dr. B.
>
>
> Dr. Richard Boulanger
> 495 Marion Ave
> Dighton, MA 02715
> rboulanger at berklee.edu
> rboulanger at csounds.com
> http://csounds.com/boulanger
>
>
>

m@



From jzitt at metatronpress.com  Fri Aug  3 21:49:30 2007
From: jzitt at metatronpress.com (Joseph Zitt)
Date: Fri, 03 Aug 2007 21:49:30 -0700
Subject: [NewMusic] The soul of Nora
In-Reply-To: <2eb068d40708011226k3e0d746boe7f21ca1538411db@mail.gmail.com>
References: <2eb068d40708011226k3e0d746boe7f21ca1538411db@mail.gmail.com>
Message-ID: <46B4055A.40505@metatronpress.com>

Polly Moller wrote:

> Very well then...which human pianist *did* go on to become Nora?
> I assume we're considering being reincarnated as a talented cat, as a
> reward, rather than a punishment. :)

I would nominate Joyce Hatto.
http://en.wikipedia.org/wiki/Joyce_Hatto

From michaelz at zoka.com  Sat Aug  4 10:43:37 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Sat, 4 Aug 2007 10:43:37 -0700
Subject: [NewMusic] Dr. Art Davis, 1934-2007
Message-ID: <p0602044cc2da6906f4b3@[192.168.0.5]>

>Double bassist Art Davis dies at 73
>
>Sat Aug 4, 6:06 AM ET
>
>LONG BEACH, Calif. (AP) - Art Davis, the renowned double bassist who 
>played with John Coltrane and other jazz greats, has died. He was 73.
>
>Davis died of a heart attack Sunday at his home in Long Beach, his 
>son Kimaili Davis told the Los Angeles Times for a story in 
>Saturday's editions.
>
>Davis was blacklisted in the 1970s for speaking up about racism in 
>the music industry, then later earned a doctorate in clinical 
>psychology and balanced performance dates with appointments to see 
>patients.
>
>"He was adventurous with his approach to playing music," said 
>pianist Nate Morgan, who played with the elder Davis intermittently 
>over the last 10 years. "It takes a certain amount of integrity to 
>step outside the box and say, 'I like it here and I'm going to hang 
>here for a while.'"
>
>Known for his stunning and complete mastery of the instrument, Davis 
>was able to jump between genres. He played classical music with the 
>New York Philharmonic, was a member of the NBC, Westinghouse and CBS 
>orchestras, and played for Broadway shows.
>
>The most enriching experience of his career was collaborating with 
>John Coltrane. Described by jazz critic Nat Hentoff as Coltrane's 
>favorite bassist, Davis performed on the saxophonist's albums 
>including "Ascension," Volumes 1 and 2 of "The Africa/Brass 
>Sessions" and "Ole Coltrane."
>
>The two musicians met one night in the late 1950s at Small's 
>Paradise, a jazz club in Harlem.
>Davis viewed his instrument as "the backbone of the band," one that 
>should "inspire the group by proposing harmonic information with a 
>certain sound quality and rhythmic impulses," Davis said in an 
>excerpt from So What magazine posted on his Web site.
>
>By following his own advice, Davis' career flourished. He played 
>with a long and varied list of artists: Thelonious Monk, Duke 
>Ellington, Rahsaan Roland Kirk, Louis Armstrong, Judy Garland, John 
>Denver, the trio Peter, Paul and Mary and Bob Dylan.
>
>Davis began studying piano at age 5 in Harrisburg, Pa., where he was 
>born in 1933. By sixth grade Davis studied the tuba in school 
>because it was the only instrument available, he said.
>
>By 1951 he decided to make music his career. He chose the double 
>bass, believing it would allow more opportunities to make a living. 
>At age 17 he studied with the principal double bassist at the 
>Philadelphia Orchestra. But when he auditioned for his hometown's 
>symphony, the audition committee was so unduly harsh and demanding 
>that the conductor Edwin MacArthur questioned their objectivity.
>
>"The answer was, 'Well, he's colored,' and there was silence," Davis 
>recalled in a 2002 article in Double Bassist magazine. "Finally 
>MacArthur burst out, 'If you don't want him, then you don't want 
>me.' So they quickly got together and accepted me."
>
>After high school, Davis studied classical music on scholarship at 
>the Manhattan School of Music and the Juilliard School of Music. At 
>night he played jazz in New York clubs.
>
>In the 1970s, his fortunes waned after he filed an unsuccessful 
>discrimination lawsuit against the New York Philharmonic. Like other 
>black musicians who challenged job hiring practices, he lost work 
>and industry connections.
>
>With less work coming his way, Davis returned to school and in 1981 
>earned a doctorate in clinical psychology from New York University. 
>For many years he was a practicing psychologist while also working 
>as a musician.
>
>As a result of his lawsuit and protest, Davis played a key role in 
>the increased use of the so-called blind audition, in which 
>musicians are heard but not seen by those evaluating them, Hentoff 
>said.
>
>The accomplished musician also pioneered a fingering technique for 
>the bass and wrote "The Arthur Davis System for Double Bass."
>
>Davis also wore the hat of university professor. He taught at UC 
>Irvine for two years. Most recently Davis was a part-time music 
>instructor at Orange Coast College in Costa Mesa.
>
>Besides his son Kimaili, Davis is survived by another son and a daughter.

<http://news.yahoo.com/s/ap/20070804/ap_en_mu/obit_art_davis>

<http://www.artdavis.com/>



From pgsaxo at pacbell.net  Sat Aug  4 11:11:20 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Sat, 4 Aug 2007 11:11:20 -0700
Subject: [NewMusic] Ornette on Ornette
In-Reply-To: <p0602044cc2da6906f4b3@[192.168.0.5]>
Message-ID: <009e01c7d6c2$dc3b45e0$4001a8c0@PG>

http://news.bbc.co.uk/go/pr/fr/-/1/hi/entertainment/6927534.stm

One of jazz's great innovators, Ornette Coleman, has spoken of his
feelings after receiving two major music awards at the age of 77.

Coleman has won both a lifetime achievement Grammy and the Pulitzer
Prize for music in recent months, the latter awarded for his latest
album Sound Grammar.

The saxophonist told BBC World Service's The Beat programme that
although he has often had a prickly relationship with critics, "I can't
say it doesn't mean anything."

"It makes me aware of the growth that I have achieved," he said.

"I do honour people that know more than I do, and tell me if it's good,
if it has meaning.

"If I have found a way to share what I do, to inspire people to go even
further than what I don't know yet - that idea is the most supreme form
of expression in culture."

Ideas

Coleman is known as one of the great jazz innovators, pioneering
improvised "free jazz."

In 1960, his album Free Jazz split the jazz world. By discarding jazz
elements such as fixed chord changes, Coleman was hailed as
groundbreaking by some.

And he remains unapologetic about how he has pushed at boundaries
through his career.

"I've had people say, 'you can't play like that' - and I say, 'what do
you mean - I've already played it.'

"I'm not trying - I'm playing."

However, early 1960s acclaimed jazz musicians such as Miles Davis
regarded Coleman's music as a direct affront to their years of training
- something Coleman rejects.

"I have taught myself everything I know."

"I wasn't thinking of insults, I was thinking of ideas," Coleman said.

"Imagine - if you don't have ideas, what are you going to do?

"They weren't playing movements, they were playing changes. I was
playing ideas, changes and non-transposed notes."

He recalled in particular the day his mother bought him a horn when he
was a young boy.

"I thought it was a toy and I played it the way I am playing today," he
said.

"I didn't know that you had to learn to play, I thought you had to play
to play. And I still think that.

"I didn't know that music was a style and that it had rules and stuff. I
thought it was just sound. I still believe that.

"I am not that sensitive or that weak to believe that because someone
says I can't do something, I haven't done it.

"I have taught myself everything I know. I have written symphonies, and
no-one has taught me. Because I realised that the human being is all
there is."

Story from BBC NEWS:
http://news.bbc.co.uk/go/pr/fr/-/1/hi/entertainment/6927534.stm

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



From weaselw at juno.com  Sat Aug  4 13:54:51 2007
From: weaselw at juno.com (weasel walter)
Date: Sat, 4 Aug 2007 13:54:51 -0700
Subject: [NewMusic] Ornette on Ornette
Message-ID: <20070804.135956.2896.1.weaselw@juno.com>

i fucking love this guy. it was love at first sight the first time i
heard his music in 1987.

ww

> One of jazz's great innovators, Ornette Coleman, has spoken of his
> feelings after receiving two major music awards at the age of 77.

From dmichalak at sbcglobal.net  Sun Aug  5 14:57:19 2007
From: dmichalak at sbcglobal.net (dmichalak)
Date: Sun, 5 Aug 2007 14:57:19 -0700
Subject: [NewMusic] OasisCDfont
References: <20070804.135956.2896.1.weaselw@juno.com>
Message-ID: <000a01c7d7ab$98b92b40$6501a8c0@eyefull01>

Hello,
 Would anyone have this copyright font? (OasisCDfont) It's the kind you can 
load into Photo Shope's font list. I switched computers, lost it and can't 
get the download to work.
Thanks,
David 


From letucepry at yahoo.com  Sun Aug  5 15:06:01 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Sun, 5 Aug 2007 15:06:01 -0700 (PDT)
Subject: [NewMusic] OasisCDfont
Message-ID: <782818.97288.qm@web50309.mail.re2.yahoo.com>

there's a zip of it here...

http://forums.cdcovers.cc/showthread.php?t=26504


----- Original Message ----
From: dmichalak <dmichalak at sbcglobal.net>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Sunday, August 5, 2007 2:57:19 PM
Subject: [NewMusic] OasisCDfont


Hello,
Would anyone have this copyright font? (OasisCDfont) It's the kind you can 
load into Photo Shope's font list. I switched computers, lost it and can't 
get the download to work.
Thanks,
David 

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

From pamelaz at pamelaz.com  Sun Aug  5 17:02:56 2007
From: pamelaz at pamelaz.com (Pamela Z)
Date: Sun, 5 Aug 2007 17:02:56 -0700
Subject: [NewMusic] Free Keyboard Cases
In-Reply-To: <782818.97288.qm@web50309.mail.re2.yahoo.com>
References: <782818.97288.qm@web50309.mail.re2.yahoo.com>
Message-ID: <p06240829c2dc140d23b4@[10.0.1.198]>

Hi everyone:

I have two very nice padded keyboard cases.  This is two more than I 
need.  I'm going to give them away to charity unless someone on the 
list says they'd like one or both of them.  They are of the size to 
hold something like a K2000 or like a DX.  Does anyone still gig with 
these instruments anymore?  Or are we all just carrying Laptops and 
gesture controllers and little Behringer mixers?

Anyhow, send me an email at pamelaz at pamelaz.com if you want a free, 
lightweight keyboard case.  (Gino? Moe?  You could fill it with 
toys...)

Cheers,

PZ
-- 
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 10" x 13" 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 grobair at emusician.com  Mon Aug  6 10:00:55 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Mon, 06 Aug 2007 10:00:55 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
Message-ID: <C2DCA1D7.4369%grobair@emusician.com>

Has anyone seen or heard this?
<<The Weevil Saxophones
April 2005 - two electronic devices were built for Mats Gustafsson and Dror
Feiler of Sweden. These devices were based around the alto saxophone and
used the sax as a controller/modifier that hooked up to a big box of
electronics. The saxes contained a large variety of controllers (body
contacts, light dependents, pressure sensors, piezo triggers and
microphones) and connected to the electronic boxes which contained a bunch
of analogue circuitry (ring mods, filters, amplifiers, mixers, audio inputs
and envelope followers).>>

http://www.bugbrand.co.uk/pages/weevilsaxes.htm

There's quite  a number of othercool things at the BugBrand site.


From pgsaxo at pacbell.net  Mon Aug  6 10:35:55 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 6 Aug 2007 10:35:55 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <C2DCA1D7.4369%grobair@emusician.com>
Message-ID: <00e301c7d850$3f49c150$4001a8c0@PG>

-----Original Message-----
On Behalf Of grobair at emusician.com
Subject: [NewMusic] Mats and his Weevil electronic sax

Has anyone seen or heard this?

http://www.bugbrand.co.uk/pages/weevilsaxes.htm



PG:
Electronic saxophones...yuck!  

I'd rather play in shudder/butterfist and surround myself with
electronics...that way all you wired-up folks have to schlep all the
gear.


From jfheule at gmail.com  Mon Aug  6 12:50:00 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Mon, 6 Aug 2007 12:50:00 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <00e301c7d850$3f49c150$4001a8c0@PG>
References: <C2DCA1D7.4369%grobair@emusician.com>
	<00e301c7d850$3f49c150$4001a8c0@PG>
Message-ID: <9c5cfa860708061250s3388eba3s687be7721c47838@mail.gmail.com>

That set-up looks pretty small. Leave the tenor at home and you've got
the same amount of stuff. Try playing sax and drums -- a bad idea.

I haven't seen that horn, but Mats told me about it. It's packed with
electronics so it doesn't really work like a sax anymore. Open and
closing pads effects photocells. Contact points on the keys, etc.
Seems like it would be scary to blow any amount of saliva into
something like that, but I guess it's probably been waterproofed. I
get the impression that there isn't a very logical way to play it.
Just go nuts pretending to play a sax and hear some weirdo electronics
instead.

Shudder/Yellowcake/Butterfist last night was great.

j

On 8/6/07, Phillip Greenlief <pgsaxo at pacbell.net> wrote:
> -----Original Message-----
> On Behalf Of grobair at emusician.com
> Subject: [NewMusic] Mats and his Weevil electronic sax
>
> Has anyone seen or heard this?
>
> http://www.bugbrand.co.uk/pages/weevilsaxes.htm
>
>
>
> PG:
> Electronic saxophones...yuck!
>
> I'd rather play in shudder/butterfist and surround myself with
> electronics...that way all you wired-up folks have to schlep all the
> gear.

-- 
http://ettrick.org
http://myspace.com/ettrick
http://heule.us
http://myspace.com/jacobfelix

From jacobmakesnoise at yahoo.com  Mon Aug  6 13:02:49 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Mon, 6 Aug 2007 13:02:49 -0700 (PDT)
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <9c5cfa860708061250s3388eba3s687be7721c47838@mail.gmail.com>
Message-ID: <182130.59870.qm@web58002.mail.re3.yahoo.com>

--- jacob felix heule <jfheule at gmail.com> wrote:

> It's packed with
> electronics so it doesn't really work like a sax
> anymore. Open and
> closing pads effects photocells. I
> get the impression that there isn't a very logical
> way to play it.

Which begs the question: Why bother?  Why not just
have it activated by a more logical source?  Still,
maybe the results are great.  Who knows?  Would be
interested to hear.

My favorite "electronic" saxophone set-up is Butcher's
amplification/feedback set up.  Simple, AND it makes sense.

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


       
____________________________________________________________________________________
Looking for a deal? Find great prices on flights and hotels with Yahoo! FareChase.
http://farechase.yahoo.com/

From jacobmakesnoise at yahoo.com  Mon Aug  6 13:03:31 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Mon, 6 Aug 2007 13:03:31 -0700 (PDT)
Subject: [NewMusic] Mats and his Weevil electronic sax
Message-ID: <593129.65310.qm@web58009.mail.re3.yahoo.com>


--- Jacob Lindsay <jacobmakesnoise at yahoo.com> wrote:
> My favorite "electronic" saxophone set-up is
> Butcher's
> amplification/feedback set up.  Simple, AND it makes
> sense.

Oh...and plus, it sounds good.  Duh?


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


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From pgsaxo at pacbell.net  Mon Aug  6 13:21:28 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 6 Aug 2007 13:21:28 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <9c5cfa860708061250s3388eba3s687be7721c47838@mail.gmail.com>
Message-ID: <000501c7d867$5f23a0b0$4001a8c0@PG>

-----Original Message-----
On Behalf Of jacob felix heule
Subject: Re: [NewMusic] Mats and his Weevil electronic sax

That set-up looks pretty small. Leave the tenor at home and you've got
the same amount of stuff. Try playing sax and drums -- a bad idea.

Shudder/Yellowcake/Butterfist last night was great.

PG:
That tenor has been with me for 30 years...apart from playing in Citta
di Vitti, wherever I go - it goes.

I play saxophone and drums, but unlike you, I leave the drums at home!
(but to be sure: I admire you not only for the "work" it takes to play
those instruments, but also the music you're coming up with).

Thanks for the kind words on last night's concert.

Cheers!


From slusser at pixar.com  Mon Aug  6 13:25:24 2007
From: slusser at pixar.com (David Slusser)
Date: Mon, 6 Aug 2007 13:25:24 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <593129.65310.qm@web58009.mail.re3.yahoo.com>
References: <593129.65310.qm@web58009.mail.re3.yahoo.com>
Message-ID: <E3E554D9-A746-486A-82DE-A119C2A424BE@pixar.com>

On Aug 6, 2007, at 1:03 PM, Jacob Lindsay wrote:
>> My favorite "electronic" saxophone set-up is
>> Butcher's
>> amplification/feedback set up.  Simple, AND it makes
>> sense.
>
> Oh...and plus, it sounds good.  Duh?

Curious what Butcher does. If, like me, you use the actual
acoustic properties of the saxophone to drive the electronics,
it makes sense.  The sax part of the Weevil sax seems inci-
dental, unrelated or even irrelevant.  At Noise Pancakes, my
rig has a mic in the bell, and the column of air in the horn
is what is controlling all the racket.  I stumbled upon this
in grade school, when I put the mic of the school's Wollensak
tape recorder in the bell of my tenor, with the playback volume
up.  With just a little pressure, but not sounding a note, I
could control the feedback with articulation and fingering.
Is that what Butcher does?

From jacobmakesnoise at yahoo.com  Mon Aug  6 13:38:31 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Mon, 6 Aug 2007 13:38:31 -0700 (PDT)
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <E3E554D9-A746-486A-82DE-A119C2A424BE@pixar.com>
Message-ID: <5228.73730.qm@web58002.mail.re3.yahoo.com>

--- David Slusser <slusser at pixar.com> wrote:
With just a little pressure, but not sounding a
> note, I
> could control the feedback with articulation and
> fingering.
> Is that what Butcher does?

Yep.  Although I believe he creates the air
pressure/feedback by just opening and closing pads. 

He will also use the mic simply to amplify very quiet sounds.

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


       
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From grobair at emusician.com  Mon Aug  6 13:41:51 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Mon, 06 Aug 2007 13:41:51 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
Message-ID: <C2DCD59F.43B6%grobair@emusician.com>

On Aug 6, 2007, at 1:03 PM, David Slusser wrote:
<< With just a little pressure, but not sounding a note, I
could control the feedback with articulation and fingering.
Is that what Butcher does?>>

I believe so, yes. He also has experimented with filters as well,  and uses
a Korg MS-20 (I think it was the 20).

I'm surprised to hear ya'll get so down on the electric horn without trying
it or hearing it for yourself. Sometimes you have to live with a new
instrument to find out what it has to say (or not say)

I heard Jorrit Dykstra play his lyricon the other nite, using a Cwejman
analog synth as his sound source, and it gave him an amazing amount of
control of the sound parameters (or rather, he can really make music with
it). 

If you haven't heard him  play it yet, you have about  three weeks before he
splits. Maybe two...



From Mylesaudio at aol.com  Mon Aug  6 13:41:42 2007
From: Mylesaudio at aol.com (Mylesaudio at aol.com)
Date: Mon, 6 Aug 2007 16:41:42 EDT
Subject: [NewMusic] Mats and his Weevil electronic sax
Message-ID: <cfa.16430f91.33e8e186@aol.com>

Yes, at least in the studio that's how we do it. And sometimes we'll run the 
sax mic through a distortion box and an amp as well.

Myles

In a message dated 8/6/07 1:38:59 PM, jacobmakesnoise at yahoo.com writes:


> With just a little pressure, but not sounding a
> > note, I
> > could control the feedback with articulation and
> > fingering.
> > Is that what Butcher does?
> 
> Yep.? Although I believe he creates the air
> pressure/feedback by just opening and closing pads.
> 




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From michaelz at zoka.com  Mon Aug  6 14:05:49 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Mon, 6 Aug 2007 14:05:49 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <C2DCA1D7.4369%grobair@emusician.com>
References: <C2DCA1D7.4369%grobair@emusician.com>
Message-ID: <p06020407c2dd3d5cfac0@[192.168.0.5]>

On 8/6/07, grobair at emusician.com wrote:

>Has anyone seen or heard this?
><<The Weevil Saxophones
>April 2005 - two electronic devices were built for Mats Gustafsson and Dror
>Feiler of Sweden.

This was discussed around that time on the Wind Synth/Controller Users List.

What, you're not on that list?!?

MZ


--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From grobair at emusician.com  Mon Aug  6 14:13:23 2007
From: grobair at emusician.com (grobair at emusician.com)
Date: Mon, 06 Aug 2007 14:13:23 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
Message-ID: <C2DCDD03.43C4%grobair@emusician.com>

Michael Zelner wrote:
<<This was discussed around that time on the Wind Synth/Controller Users
List. What, you're not on that list?!?>>

Okay, I'll add it to the other 200 lists I'm on. Sheesh....


From pgsaxo at pacbell.net  Mon Aug  6 15:08:40 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Mon, 6 Aug 2007 15:08:40 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <C2DCD59F.43B6%grobair@emusician.com>
Message-ID: <002601c7d876$5928dfe0$4001a8c0@PG>

-----Original Message-----
On Behalf Of grobair at emusician.com
Subject: Re: [NewMusic] Mats and his Weevil electronic sax

I'm surprised to hear ya'll get so down on the electric horn without
trying
it or hearing it for yourself. Sometimes you have to live with a new
instrument to find out what it has to say (or not say)

PG:
I'm not down on it at all - I'm sorry if I gave that impression - but at
this point, I'm still trying to learn to play the saxophone. I added the
clarinet about 12 years ago, and it's kicking my ass much harder than
I'm kicking it back.  

As you probably already know, I'm very interested in electronic music;
I'm just trying to hang with it in my own way (as an acoustic
counter-point, but still trying to work in the language of electronic
music).

GR:
I heard Jorrit Dykstra play his lyricon the other nite, using a Cwejman
analog synth as his sound source, and it gave him an amazing amount of
control of the sound parameters (or rather, he can really make music
with
it). 

PG:
He sounds fantastic on it. I'm reviewing a record he did with John
Hollenbeck - if you don't get a chance to hear him live, check that CD
out - it's amazing.


From liberatednsf at yahoo.com  Mon Aug  6 16:29:58 2007
From: liberatednsf at yahoo.com (andrew wilshusen)
Date: Mon, 6 Aug 2007 16:29:58 -0700 (PDT)
Subject: [NewMusic]  my drum manual
In-Reply-To: <009e01c7d6c2$dc3b45e0$4001a8c0@PG>
Message-ID: <336003.51618.qm@web30504.mail.mud.yahoo.com>

i finished writing my little "how to play drums"
thesis a couple months ago- three years since i've had
any students.  anyway, figured i'd put it out there if
anyone's interested.  feel free to disperse freely. 
any critique would be appreciated.

http://www.andrewwilshusen.com/drum manual.pdf

andrew

Ev oida oti oudev oida

http://www.andrewwilshusen.com


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From ingalls at mills.edu  Mon Aug  6 17:25:41 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Mon, 6 Aug 2007 17:25:41 -0700 (PDT)
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <002601c7d876$5928dfe0$4001a8c0@PG>
References: <002601c7d876$5928dfe0$4001a8c0@PG>
Message-ID: <Pine.LNX.4.60.0708061711230.21876@myfiles.mills.edu>


> I heard Jorrit Dykstra play his lyricon the other nite, using a Cwejman

joritt let me try it out and it definitely wasn't for me - like this 
weevil thing, there are some anti-intuitive ways to control the synth, 
like embourchure pressure - which my feeling is if it doesn't work like 
something i'm used to doing on my acoustic horn, i would rather just use a 
keyboard or slider or 
something.. the keys on the thing too were not resistant either (feels 
identitcal to a casio midi horn) and made it hard to play runs "solidly"

i would agree that the lyricon definitely had a "higher resolution" than a 
midi wind controller, especially for wind pressure, but at least how 
joritt had it configured the mapping was weird and trying to play a 
gradual crescendo as you would on an acoustic horn was bit gradual on the 
lyricon, which was disappointing because for me, the only interest i have 
in the wind controller thing is the breath.  i've wanted for a while to do 
some of my computer stuff and add breath control ( kind of like how perkis 
uses his foot pedals) MIDI breath controllers really suck - they are made 
for recorder players or something (no resistence) i did some experiments 
once just blowing on a microphone and taking the RMS of the signal and 
that had far better results.  was going to get a headset mic and try to 
develop the concept but...

unfortunately i was playing the times joritt was using the lyricon so i 
didn't get a clear picture how he used it.

-m

From letucepry at yahoo.com  Mon Aug  6 17:35:31 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Mon, 6 Aug 2007 17:35:31 -0700 (PDT)
Subject: [NewMusic] my drum manual
Message-ID: <407205.47584.qm@web50308.mail.re2.yahoo.com>

for 1 (although this has nothing to do with drums). When you make a URL, you shouldn't put any spaces in it, the browser has to parse it, and then you get these %20 kinda things... you should probably re-name it drum_manual.pdf or drummanual.pdf...

lettuce


----- Original Message ----
From: andrew wilshusen <liberatednsf at yahoo.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Monday, August 6, 2007 4:29:58 PM
Subject: [NewMusic] my drum manual


i finished writing my little "how to play drums"
thesis a couple months ago- three years since i've had
any students.  anyway, figured i'd put it out there if
anyone's interested.  feel free to disperse freely. 
any critique would be appreciated.

http://www.andrewwilshusen.com/drum manual.pdf

andrew

Ev oida oti oudev oida

http://www.andrewwilshusen.com


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

From mattdavignon at gmail.com  Mon Aug  6 17:37:55 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Mon, 6 Aug 2007 17:37:55 -0700
Subject: [NewMusic] my drum manual
In-Reply-To: <407205.47584.qm@web50308.mail.re2.yahoo.com>
References: <407205.47584.qm@web50308.mail.re2.yahoo.com>
Message-ID: <c70e517b0708061737x358293f8q2aed18c3b8e3a882@mail.gmail.com>

Yah, I had to go to your homepage to get it.

On 8/6/07, Ron Lettuce <letucepry at yahoo.com> wrote:
> for 1 (although this has nothing to do with drums). When you make a URL, you shouldn't put any spaces in it, the browser has to parse it, and then you get these %20 kinda things... you should probably re-name it drum_manual.pdf or drummanual.pdf...
>
> lettuce
>
>
> ----- Original Message ----
> From: andrew wilshusen <liberatednsf at yahoo.com>
> To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
> Sent: Monday, August 6, 2007 4:29:58 PM
> Subject: [NewMusic] my drum manual
>
>
> i finished writing my little "how to play drums"
> thesis a couple months ago- three years since i've had
> any students.  anyway, figured i'd put it out there if
> anyone's interested.  feel free to disperse freely.
> any critique would be appreciated.
>
> http://www.andrewwilshusen.com/drum manual.pdf
>
> andrew
>
> Ev oida oti oudev oida
>
> http://www.andrewwilshusen.com
>
>
>       ____________________________________________________________________________________
> Shape Yahoo! in your own image.  Join our Network Research Panel today!   http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7
>
>
> _______________________________________________
> 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 liberatednsf at yahoo.com  Mon Aug  6 18:49:19 2007
From: liberatednsf at yahoo.com (andrew wilshusen)
Date: Mon, 6 Aug 2007 18:49:19 -0700 (PDT)
Subject: [NewMusic] my drum manual
In-Reply-To: <407205.47584.qm@web50308.mail.re2.yahoo.com>
Message-ID: <519996.25295.qm@web30508.mail.mud.yahoo.com>

sorry. here ya go:

http://www.andrewwilshusen.com/drummanual.pdf


--- Ron Lettuce <letucepry at yahoo.com> wrote:

> for 1 (although this has nothing to do with drums).
> When you make a URL, you shouldn't put any spaces in
> it, the browser has to parse it, and then you get
> these %20 kinda things... you should probably
> re-name it drum_manual.pdf or drummanual.pdf...
> 
> lettuce
> 
> 
> ----- Original Message ----
> From: andrew wilshusen <liberatednsf at yahoo.com>
> To: Bay Area New Music Discussion Group
> <newmusic at music.mills.edu>
> Sent: Monday, August 6, 2007 4:29:58 PM
> Subject: [NewMusic] my drum manual
> 
> 
> i finished writing my little "how to play drums"
> thesis a couple months ago- three years since i've
> had
> any students.  anyway, figured i'd put it out there
> if
> anyone's interested.  feel free to disperse freely. 
> any critique would be appreciated.
> 
> http://www.andrewwilshusen.com/drum manual.pdf
> 
> andrew
> 
> Ev oida oti oudev oida
> 
> http://www.andrewwilshusen.com
> 
> 
>      
>
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> Shape Yahoo! in your own image.  Join our Network
> Research Panel today!  
>
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> 
> _______________________________________________
> 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
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Ev oida oti oudev oida

http://www.andrewwilshusen.com


       
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From letucepry at yahoo.com  Mon Aug  6 21:56:04 2007
From: letucepry at yahoo.com (Ron Lettuce)
Date: Mon, 6 Aug 2007 21:56:04 -0700 (PDT)
Subject: [NewMusic] my drum manual
Message-ID: <657676.62758.qm@web50312.mail.re2.yahoo.com>

thanks, now we can get down to those perididdles...


----- Original Message ----
From: andrew wilshusen <liberatednsf at yahoo.com>
To: Bay Area New Music Discussion Group <newmusic at music.mills.edu>
Sent: Monday, August 6, 2007 6:49:19 PM
Subject: Re: [NewMusic] my drum manual


sorry. here ya go:

http://www.andrewwilshusen.com/drummanual.pdf


--- Ron Lettuce <letucepry at yahoo.com> wrote:

> for 1 (although this has nothing to do with drums).
> When you make a URL, you shouldn't put any spaces in
> it, the browser has to parse it, and then you get
> these %20 kinda things... you should probably
> re-name it drum_manual.pdf or drummanual.pdf...
> 
> lettuce
> 
> 
> ----- Original Message ----
> From: andrew wilshusen <liberatednsf at yahoo.com>
> To: Bay Area New Music Discussion Group
> <newmusic at music.mills.edu>
> Sent: Monday, August 6, 2007 4:29:58 PM
> Subject: [NewMusic] my drum manual
> 
> 
> i finished writing my little "how to play drums"
> thesis a couple months ago- three years since i've
> had
> any students.  anyway, figured i'd put it out there
> if
> anyone's interested.  feel free to disperse freely. 
> any critique would be appreciated.
> 
> http://www.andrewwilshusen.com/drum manual.pdf
> 
> andrew
> 
> Ev oida oti oudev oida
> 
> http://www.andrewwilshusen.com
> 
> 
>      
>
____________________________________________________________________________________
> Shape Yahoo! in your own image.  Join our Network
> Research Panel today!  
>
http://surveylink.yahoo.com/gmrs/yahoo_panel_invite.asp?a=7
> 
> 
> 
> _______________________________________________
> 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
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Ev oida oti oudev oida

http://www.andrewwilshusen.com


       
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From magsatellite at yahoo.com  Mon Aug  6 23:56:11 2007
From: magsatellite at yahoo.com (J. Segel)
Date: Mon, 6 Aug 2007 23:56:11 -0700 (PDT)
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <mailman.1.1186459201.9866.newmusic@music.mills.edu>
Message-ID: <416355.6955.qm@web43142.mail.sp1.yahoo.com>


--- newmusic-request at music.mills.edu wrote:
> Has anyone seen or heard this?
> <<The Weevil Saxophones
> April 2005 - two electronic devices were built for Mats Gustafsson and Dror
> Feiler of Sweden. 

a side note: 
dror feilor is an ass. he's an art star in sweden because of this:
http://en.wikipedia.org/wiki/Snow_White_and_The_Madness_of_Truth
which is just as much billshit as art. his music is drenched in it. saw him
strut his stuff at electronic music festivals in stockholm before. GNEEM anyone?

MAGNETIC --- Jonathan Segel 
magsatellite-yahoo(.)com <---> jsegel-magneticmotorworks(.)com
http://www.MagneticMotorworks.com


       
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From damon at balancepointacoustics.com  Tue Aug  7 00:00:12 2007
From: damon at balancepointacoustics.com (Damon Smith)
Date: Tue, 7 Aug 2007 00:00:12 -0700
Subject: [NewMusic] Fwd: Paul Rutherford (1940-2007)
References: <588875.80974.qm@web33505.mail.mud.yahoo.com>
Message-ID: <09E09D87-C47B-4BDD-9F0D-EEAD1E22CD89@balancepointacoustics.com>



Begin forwarded message:

> sad. . .
>
> Brad Winter <> wrote:
>
> hey  folks,  just passing along the sad news that one of the  
> world's premiere improvisers (and one heck of a great friend) has  
> passed on....a bit too soon for my tastes.  He was only 67 and  
> still posessed a keen intellect and killer chops.  Attached is a  
> photo by Laurence Svirchev for your viewing pleasure whose site  
> (listed below) is well worth perusing.  There is also a bit of a  
> forum about Rutherford at www.organissimo.org .....click  
> forums...then artists...then you'll see the heading for Paul.  Best  
> wishes, Brad.
>

Damon Smith

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





From mattdavignon at gmail.com  Tue Aug  7 00:01:38 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Tue, 7 Aug 2007 00:01:38 -0700
Subject: [NewMusic] my drum manual
In-Reply-To: <519996.25295.qm@web30508.mail.mud.yahoo.com>
References: <407205.47584.qm@web50308.mail.re2.yahoo.com>
	<519996.25295.qm@web30508.mail.mud.yahoo.com>
Message-ID: <c70e517b0708070001vc75ae9ch58ff7b3ba1a1b3d7@mail.gmail.com>

Thanks for posting this Andrew, it will take me a while to read it,
but I'm very interested.

On 8/6/07, andrew wilshusen <liberatednsf at yahoo.com> wrote:
> sorry. here ya go:
>
> http://www.andrewwilshusen.com/drummanual.pdf
>
>

From michaelz at zoka.com  Tue Aug  7 11:26:06 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Tue, 7 Aug 2007 11:26:06 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <Pine.LNX.4.60.0708061711230.21876@myfiles.mills.edu>
References: <002601c7d876$5928dfe0$4001a8c0@PG>
	<Pine.LNX.4.60.0708061711230.21876@myfiles.mills.edu>
Message-ID: <p06020415c2de5e5af68b@[192.168.0.5]>

On 8/6/07, Matt J. Ingalls wrote:

>the only interest i have in the wind controller thing is the breath. 
>i've wanted for a while to do some of my computer stuff and add 
>breath control ( kind of like how perkis uses his foot pedals) MIDI 
>breath controllers really suck - they are made for recorder players 
>or something (no resistence)

I'm not sure about the Akai EWIs, but some of Yamaha's WX wind 
controllers have the option to adjust wind resistance by inserting 
rubber plugs into the bottom vents. I set up my WX7 this way, to have 
more of a sax/clarinet feel. The newer WX5 model comes with a 
reed-less recorder-style mouthpiece (in addition to the regular reed 
one) and can be set up in "recorder mode." It sounds as if  one you 
tried was like this.

>unfortunately i was playing the times joritt was using the lyricon so i
>didn't get a clear picture how he used it.

It was great to see him playing a wind controller that has been out 
of production since 1980. (Apparently, Jorrit found his in a junk 
shop in 1999 -- see <http://www.jorritdijkstra.com/thelyricon.html>.)

For those not familiar with this instrument -- you've probably heard 
one on some popular recordings (e.g., Tom Scott's solo on Steely 
Dan's Peg or Wayne Shorter on Three Clowns from Weather Report's 
Black Market).

MZ


--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From jacobmakesnoise at yahoo.com  Tue Aug  7 12:54:48 2007
From: jacobmakesnoise at yahoo.com (Jacob Lindsay)
Date: Tue, 7 Aug 2007 12:54:48 -0700 (PDT)
Subject: [NewMusic] Fwd: Paul Rutherford (1940-2007)
In-Reply-To: <09E09D87-C47B-4BDD-9F0D-EEAD1E22CD89@balancepointacoustics.com>
Message-ID: <529293.94520.qm@web58004.mail.re3.yahoo.com>

God, that sucks!!!

I guess it is just that time when the innovators from
the 60's/70's are reaching the age when folks start
dropping off...but still...67 is too young to go.

I'm glad I was able to see him live a couple times,
and talk to him (a really nice guy).  And great
player.  One of the best Trombonists ever.


--- Damon Smith <damon at balancepointacoustics.com>
wrote:

> 
> 
> Begin forwarded message:
> 
> > sad. . .
> >
> > Brad Winter <> wrote:
> >
> > hey  folks,  just passing along the sad news that
> one of the  
> > world's premiere improvisers (and one heck of a
> great friend) has  
> > passed on....a bit too soon for my tastes.  He was
> only 67 and  
> > still posessed a keen intellect and killer chops. 
> Attached is a  
> > photo by Laurence Svirchev for your viewing
> pleasure whose site  
> > (listed below) is well worth perusing.  There is
> also a bit of a  
> > forum about Rutherford at www.organissimo.org
> .....click  
> > forums...then artists...then you'll see the
> heading for Paul.  Best  
> > wishes, Brad.
> >
> 
> Damon Smith
> 
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> 
> 
> 
> 
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
> 


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


       
____________________________________________________________________________________
Sick sense of humor? Visit Yahoo! TV's 
Comedy with an Edge to see what's on, when. 
http://tv.yahoo.com/collections/222

From jfheule at gmail.com  Tue Aug  7 13:08:02 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Tue, 7 Aug 2007 13:08:02 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <C2DCD59F.43B6%grobair@emusician.com>
References: <C2DCD59F.43B6%grobair@emusician.com>
Message-ID: <9c5cfa860708071308v410fdebdndc65f213a2211d08@mail.gmail.com>

At the 7/31 1510 show (Jorrit's improv pool), the Lyricon playing...
...sounded really weird (timbrally) at times
...often seemed excessively simplistic
...at various times sounded good or bad due to how simple and corny it was
...at other times blended in just right

I was completely happy with his synth contribution to the
Ettrick+Dijkstra set on 8/2... possibly for all of the above reasons,
which can probably all be applied to Ettrick's music. Really, I felt
like it was a very satisfying set, and the rock crowd seemed to be
into it. I don't think he's playing any more shows before he leaves.
Nothing's scheduled now, anyway.

John Butcher's sax feedback is pretty great.

I'd like to hear the Weevil (though I agree it seems somewhat
gratuitous). I'd like to play it.

I'd like a MIDI wind controller.

jacob

On 8/6/07, grobair at emusician.com <grobair at emusician.com> wrote:
> I heard Jorrit Dykstra play his lyricon the other nite, using a Cwejman
> analog synth as his sound source, and it gave him an amazing amount of
> control of the sound parameters (or rather, he can really make music with
> it).

-- 
http://ettrick.org
http://myspace.com/ettrick
http://heule.us
http://myspace.com/jacobfelix

From jfheule at gmail.com  Tue Aug  7 16:55:43 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Tue, 7 Aug 2007 16:55:43 -0700
Subject: [NewMusic] Breakthrough in Grey Room playlist: 2007 Aug 1
Message-ID: <9c5cfa860708071655t695b59d6y2868ef0af947a8b4@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 Aug 01

Jorrit Dijkstra & John Hollenbeck, "Bubble Wig," Sequence [Trytone, 2006]
Axel D?rner, Cor Fuhler & Jerome Noetinger, #1, Moov Spot [Musica Genera, 2004]

Bernard Parmegiani, "Retour de la foret," Violostries [INA-GRM, 1992]
Jim O'Rourke, "Spirits Never Forgive," Tamper [Extreme, 1991]

Compression of the Chest Cavity Miracle, #5, Fleetingly Improvised
Persons [Dolor del Estamago, 2006]

Head Boggle Domo (in Auralsize), "Nature," Rchive #1 [Greedmink, 2006]
Yellowcake, "Lazy Tongue," Yellowcake [Rastascan, 2006]
[background music] Yellowcake, "The Prince of Wrongdoing," Yellowcake
[Rastascan, 2006]

Hartsaw, Aspelin, Smith & Bryerton, "Vitrine," Ausfegen [Balance Point
Acoustics, 2007]
Kemialliset Ystavat, "Superhimmel," untitled [Fonal, 2007]
Fond of Tigers, "Here, You Are Hated," A Thing to Live With [Drip Audio, 2006]

Memorize the Sky, "Field of Ice," Memorize the Sky [482 Music, 2007]
Circle, "Black Tape," Panic [Ektro, 2007]
Area C, "Haunt," Haunt [Last Visible Dog, 2007]

KTL, "Game," KTL 2 [Editions Mego, 2007]
Bolt Thrower, "As the World Turns," The IVth Crusade [Earache, 1992]

Augustus Pablo, "Brace's Tower Dub No. 2," King Tubby Meets Rockers
Uptown - Augustus Pablo [Shanachie, 2002]
Frank Zappa, "Janet's Big Dance Number," 200 Motels [United Artists, 1971]
Anton Webern, "Quartet, Op. 22 ii," Symphony, Six Pieces & Concerto
for 9 Instruments (Robert Craft) [Naxos, 2005]
Bathory, "Possessed," The Return [Black Mark, 1985]
Belketre, "Twilight of the Black Holocaust," Twilight of the Black
Holocaust [self-released, 1994]
Immortal, "At the Stormy Gates of Mist," Battles in the North [Osmose, 1995]

[background music] Weasel Walter, "Big Green Creature" & "The Stomp,"
Early Recordings 1988-91 [Savage Land, 2007]
Mgla, "II," Presence [Northern Heritage, 2006]
XBXRX, "Minds," Wars [Polyvinyl, 2007]
Pterodactyl, "Astros," Pterodactyl [Brah, 2007]
Daniel A.I.U. Higgs, "Luminous Carcass Ornament," Atomic Yggdrasil
Tarot [Thrill Jockey, 2007]

Bob Ralston, unknown, Tea for Two
16 Bitch Pile-up, "They buried the dead boy," Bury Me Deep [Troniks, 2007]


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

http://heule.us/breakthrough/

From slusser at pixar.com  Tue Aug  7 17:40:51 2007
From: slusser at pixar.com (David Slusser)
Date: Tue, 7 Aug 2007 17:40:51 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
References: <49572.138.72.41.193.1186527191.squirrel@junkmail>
Message-ID: <C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>


> Subject: Re: [NewMusic] Mats and his Weevil electronic sax
> From:    "jacob felix heule" <jfheule at gmail.com>
> Date:    Tue, August 7, 2007 1:08 pm
> To:      "Bay Area New Music Discussion Group"  
> <newmusic at music.mills.edu>
> ---------------------------------------------------------------------- 
> ----
>
> At the 7/31 1510 show (Jorrit's improv pool), the Lyricon playing...
> ...sounded really weird (timbrally) at times
> ...often seemed excessively simplistic
> ...at various times sounded good or bad due to how simple and corny  
> it was
> ...at other times blended in just right
>
> I was completely happy with his synth contribution to the
> Ettrick+Dijkstra set on 8/2... possibly for all of the above reasons,
> which can probably all be applied to Ettrick's music. Really, I  
> felt like
> it was a very satisfying set, and the rock crowd seemed to be into  
> it. I
> don't think he's playing any more shows before he leaves. Nothing's
> scheduled now, anyway.
>
> John Butcher's sax feedback is pretty great.
>
> I'd like to hear the Weevil (though I agree it seems somewhat
> gratuitous). I'd like to play it.
>
> I'd like a MIDI wind controller.

Look around for the Casio midi sax.  They were cheap new.   They also  
had
a fatal capacitor that gave out after a few years, so it would only  
play a single
squeal.  People threw or gave them away at this point, or just put  
'em in their
parts pile.  If you're lucky enough to find one free or cheap in this  
condition,
there are several web pages that tell you how to replace this common  
capacitor.
I did the replacement on mine, and it's good as new.  When I first  
got it, I took
it into Leo's (Pro Audio) and did a comparison with the EWI, driving  
the same
synth modules.  The Casio was just as effective 96% of the time - at  
a miniscule
fraction of the price.

From jfheule at gmail.com  Tue Aug  7 17:43:37 2007
From: jfheule at gmail.com (jacob felix heule)
Date: Tue, 7 Aug 2007 17:43:37 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>
References: <49572.138.72.41.193.1186527191.squirrel@junkmail>
	<C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>
Message-ID: <9c5cfa860708071743q13399fe8s73726f1b09af0fea@mail.gmail.com>

96% might be a little too effective for my purposes, but I can work around that.

jacob

On 8/7/07, David Slusser <slusser at pixar.com> wrote:
> The Casio was just as effective 96% of the time - at a miniscule fraction of the price.

-- 
http://ettrick.org
http://myspace.com/ettrick
http://heule.us
http://myspace.com/jacobfelix

From mattdavignon at gmail.com  Tue Aug  7 18:11:31 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Tue, 7 Aug 2007 18:11:31 -0700
Subject: [NewMusic] Tom Carter contact?
Message-ID: <c70e517b0708071811k1bb48d84yadb1cd9bb03c30e@mail.gmail.com>

Does anyone have an email address for Tom Carter?

From moestaiano1 at yahoo.com  Tue Aug  7 18:14:46 2007
From: moestaiano1 at yahoo.com (Moe! Staiano)
Date: Tue, 7 Aug 2007 18:14:46 -0700 (PDT)
Subject: [NewMusic] Cool Edit Pro Version 2.0 anyone?
Message-ID: <653764.46258.qm@web58715.mail.re1.yahoo.com>

Hi!
   
  Would anyone happen to have a copy of Cool Edit Pro Version 2.0, compatible with Windows 2000? Since our computer crashed some time, we lost several computer programs and I realize that I need that version and program to open and work on some stuff. If any one has a disc I could use, buy or borrow, that'd be great as I need it soon. Any help is appreciated. Thanks.
   
  -M!

       
---------------------------------
Be a better Heartthrob. Get better relationship answers from someone who knows.
Yahoo! Answers - Check it out. 

From dmichalak at sbcglobal.net  Tue Aug  7 18:33:12 2007
From: dmichalak at sbcglobal.net (dmichalak)
Date: Tue, 7 Aug 2007 18:33:12 -0700
Subject: [NewMusic] Cool Edit Pro Version 2.0 anyone?
References: <653764.46258.qm@web58715.mail.re1.yahoo.com>
Message-ID: <000e01c7d95c$162d13a0$6501a8c0@eyefull01>

I have it somewhere M! E-mail me tomorrow. D.

----- Original Message ----- 
From: "Moe! Staiano" <moestaiano1 at yahoo.com>
To: "Bay Area New Music Discussion" <ba-newmus at eartha.mills.edu>
Sent: Tuesday, August 07, 2007 6:14 PM
Subject: [NewMusic] Cool Edit Pro Version 2.0 anyone?


> Hi!
>
>  Would anyone happen to have a copy of Cool Edit Pro Version 2.0, 
> compatible with Windows 2000? Since our computer crashed some time, we 
> lost several computer programs and I realize that I need that version and 
> program to open and work on some stuff. If any one has a disc I could use, 
> buy or borrow, that'd be great as I need it soon. Any help is appreciated. 
> Thanks.
>
>  -M!
>
>
> ---------------------------------
> Be a better Heartthrob. Get better relationship answers from someone who 
> knows.
> Yahoo! Answers - Check it out.
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>
> -- 
> No virus found in this incoming message.
> Checked by AVG Free Edition.
> Version: 7.5.476 / Virus Database: 269.11.8/940 - Release Date: 8/6/2007 
> 4:53 PM
>
> 


From tim at perkis.com  Tue Aug  7 20:43:23 2007
From: tim at perkis.com (Tim Perkis)
Date: Tue, 07 Aug 2007 20:43:23 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>
References: <49572.138.72.41.193.1186527191.squirrel@junkmail>
	<C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>
Message-ID: <46B93BDB.9000209@perkis.com>

Slusser said:
> Look around for the Casio midi sax.  They were cheap new...

I concur! -- fantastic bargain, a real instant classic. I had one and 
broke it trying to do some kind of stupid unnecessary modification on it.
(Unfortunately the story of a lot of my old gear. I ruined my first mac 
opening it up and trying to solder a parallel port to the main bus.)



T



From tim at perkis.com  Tue Aug  7 20:45:40 2007
From: tim at perkis.com (Tim Perkis)
Date: Tue, 07 Aug 2007 20:45:40 -0700
Subject: [NewMusic] cool edit pro
Message-ID: <46B93C64.4000302@perkis.com>

hey moe

try this: site for free downloads of old versions of programs.

http://oldversion.com/program.php?n=coolpro



From freemovementarts at gmail.com  Wed Aug  8 07:43:00 2007
From: freemovementarts at gmail.com (Andrew Raffo Dewar)
Date: Wed, 8 Aug 2007 10:43:00 -0400
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <mailman.1.1186459201.9866.newmusic@music.mills.edu>
References: <mailman.1.1186459201.9866.newmusic@music.mills.edu>
Message-ID: <b9f15af2e7034e0ebc4ddcc34cdfc7f2@gmail.com>

On Aug 6, 2007 "Matt J. Ingalls" <ingalls at mills.edu> wrote:

> i would agree that the lyricon definitely had a "higher resolution" 
> than a
> midi wind controller, especially for wind pressure, but at least how
> joritt had it configured the mapping was weird and trying to play a
> gradual crescendo as you would on an acoustic horn was bit gradual on 
> the
> lyricon, which was disappointing because for me, the only interest i 
> have
> in the wind controller thing is the breath.


I bought a Lyricon (the first model) three years ago and have been 
experimenting with it since then (it's one of my current "laboratory 
projects"), and have found it pretty amazing in terms of subtlety in 
the control of envelopes, etc.  I've used the built-in Oberheim synth 
that came with it, which can do some cool things, but it has been more 
fun to use it as a controller for the old ARP 2600 the electronic music 
studio at wesleyan has.

Like any instrument, it takes practice, but I've found it a million 
times better than the new wind controllers, partly because it "feels" 
like an instrument in its responsiveness and physicality.

So, it could be just how Dijkstra has it set up, and/or your 
unfamiliarity with playing it.

Andrew




From Damon at balancepointacoustics.com  Wed Aug  8 10:15:00 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 8 Aug 2007 10:15:00 -0700
Subject: [NewMusic] Fwd: [Improvised_Music] FW: Paul Rutherford 1940-2007
Message-ID: <02B6E12A-F3AA-4F9B-B66E-1DC9C0C9F47D@balancepointacoustics.com>



Begin forwarded message:

> From: "Martin Davidson" <emanemdisc at btinternet.com>
> Date: August 8, 2007 10:06:53 AM PDT
> To: "Martin Davidson" <emanemdisc at btinternet.com>
> Subject: [Improvised_Music] FW: Paul Rutherford 1940-2007
> Reply-To: improvised_music at yahoogroups.com
>
>
> As you may already know, Paul Rutherford was found dead in his flat  
> in S.E. London on August 5.  The cause of death was sclerosis of  
> the liver and a ruptured aorta.
>
>
>
> Paul was one of the pioneers of free improvisation, and many  
> consider him to have been the finest trombonist and one of the  
> finest improvisers in the area.  He was certainly a very  
> distinctive musician ? many players had been influenced by him to  
> some degree (not only trombonists), but no one sounded anything  
> like him.  Among his most important performances were his  
> unaccompanied solos, and those in his trio Iskra 1903 that  
> contained Barry Guy and either Derek Bailey or Philipp Wachsmann.   
> He was a gentle, kind man with an outrageous sense of humour, and  
> will be sorely missed.  However, he also suffered from bouts of  
> depression, and was frustrated that he was not recognised more widely.
>
>
>
> For those who are able to attend, the funeral will be on Thursday  
> August 16 at 10:30 am at Lewisham Crematorium in Hither Green  
> Cemetery on Verdant Lane, LondonSE6 1JX.  [The nearest station is  
> Grove Park (trains from Charing Cross, WaterlooEast & London  
> Bridge). From there, it is about a 20 minute walk, or buses 124 or  
> 284 can be boarded from the bus stop in Downham Way.]
>
>
>
>
>
>
>
> Martin Davidson
> EMANEM & PSI
> 3 Bittacy Rise
> London
> NW7 2HH
> England
> +44 20 8346 4512
>
> www.emanemdisc.com
>
>
>
>
>
>
> __._,_.___
> Messages in this topic (1)Reply (via web post) | Start a new topic
> Messages | Files | Photos | Links | Database | Polls | Members |  
> Calendar
>
> Change settings via the Web (Yahoo! ID required)
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> Visit Your Group
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Damon Smith

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





From ingalls at mills.edu  Wed Aug  8 10:43:53 2007
From: ingalls at mills.edu (Matt J. Ingalls)
Date: Wed, 8 Aug 2007 10:43:53 -0700 (PDT)
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <46B93BDB.9000209@perkis.com>
References: <49572.138.72.41.193.1186527191.squirrel@junkmail>
	<C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>
	<46B93BDB.9000209@perkis.com>
Message-ID: <Pine.LNX.4.60.0708081041170.8786@myfiles.mills.edu>



> broke it trying to do some kind of stupid unnecessary modification on it.

me too!  wish i had known about the faulty capacitor.. anyway it was only 
marginally useful for me - the air resistance problem - even with the 
"hard" mouthpiece still felt like it was designed for wimpy sax players :)

From slusser at pixar.com  Wed Aug  8 12:51:59 2007
From: slusser at pixar.com (David Slusser)
Date: Wed, 8 Aug 2007 12:51:59 -0700
Subject: [NewMusic] Mats and his Weevil electronic sax
In-Reply-To: <Pine.LNX.4.60.0708081041170.8786@myfiles.mills.edu>
References: <49572.138.72.41.193.1186527191.squirrel@junkmail>
	<C8B7F7E1-5B1D-4ED1-80A1-268CECFADD0A@pixar.com>
	<46B93BDB.9000209@perkis.com>
	<Pine.LNX.4.60.0708081041170.8786@myfiles.mills.edu>
Message-ID: <3FC03D95-037F-48A4-BFF0-631CE6F315F6@pixar.com>

On Aug 8, 2007, at 10:43 AM, Matt J. Ingalls wrote:
>> broke it trying to do some kind of stupid unnecessary modification  
>> on it.
>
> me too!  wish i had known about the faulty capacitor.. anyway it  
> was only
> marginally useful for me - the air resistance problem - even with the
> "hard" mouthpiece still felt like it was designed for wimpy sax  
> players :)

obviously why I like it

From 21grand at 21grand.org  Wed Aug  8 13:14:29 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Wed, 08 Aug 2007 13:14:29 -0700
Subject: [NewMusic] keyboard needed for Saturday
Message-ID: <C2DF7235.1F9EB%21grand@21grand.org>

21 Grand is looking to borrow a keyboard (the sort that one would use in
lieu of a piano) for the Golden Arm Trio show Sat. night.  Anyone willing to
lend such an item will have my immense gratitude and free admission plus
guest to the show (or another show of your choice).

thanks,

sl


From mattdavignon at gmail.com  Wed Aug  8 14:18:07 2007
From: mattdavignon at gmail.com (Matt Davignon)
Date: Wed, 8 Aug 2007 14:18:07 -0700
Subject: [NewMusic] keyboard needed for Saturday
In-Reply-To: <C2DF7235.1F9EB%21grand@21grand.org>
References: <C2DF7235.1F9EB%21grand@21grand.org>
Message-ID: <c70e517b0708081418y1fc42854s28010aefaa06d872@mail.gmail.com>

Since I've seen the ad, I've been imagining that the Golden Arm Trio
is lead by U-God from Wu-Tang Clan.

On 8/8/07, Sarah - 21 Grand <21grand at 21grand.org> wrote:
> 21 Grand is looking to borrow a keyboard (the sort that one would use in
> lieu of a piano) for the Golden Arm Trio show Sat. night.  Anyone willing to
> lend such an item will have my immense gratitude and free admission plus
> guest to the show (or another show of your choice).
>
> thanks,
>
> sl
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>

From Damon at balancepointacoustics.com  Wed Aug  8 15:24:15 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Wed, 8 Aug 2007 15:24:15 -0700
Subject: [NewMusic] New myspace page dedicated to Gino
Message-ID: <CF7769BF-FEF1-4A3F-B991-59D32564A6BA@balancepointacoustics.com>

Gino gave my a gadget that attaches to my ipod so I was able to start  
this project I have been wanting to do for a while now:
http://www.myspace.com/damonsmithsolo

Damon Smith

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





From pgsaxo at pacbell.net  Wed Aug  8 17:51:25 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 8 Aug 2007 17:51:25 -0700
Subject: [NewMusic] keyboard needed for Saturday
In-Reply-To: <C2DF7235.1F9EB%21grand@21grand.org>
Message-ID: <003d01c7da1f$6a2a0ad0$4001a8c0@PG>

Sarah,

I have a nice keyboard with weighted keys...I'll drop it off tonight
when I drop by to pick up my box...

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 Sarah - 21 Grand
Sent: Wednesday, August 08, 2007 1:14 PM
To: Banewmus List
Subject: [NewMusic] keyboard needed for Saturday

21 Grand is looking to borrow a keyboard (the sort that one would use in
lieu of a piano) for the Golden Arm Trio show Sat. night.  Anyone
willing to
lend such an item will have my immense gratitude and free admission plus
guest to the show (or another show of your choice).

thanks,

sl

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


From pgsaxo at pacbell.net  Wed Aug  8 17:52:27 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 8 Aug 2007 17:52:27 -0700
Subject: [NewMusic] keyboard needed for Saturday
In-Reply-To: <C2DF7235.1F9EB%21grand@21grand.org>
Message-ID: <003e01c7da1f$8f691b60$4001a8c0@PG>

Whoops, just realized you are not open tonight.
I can give it to Matt, who can pass it on to you?
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 Sarah - 21 Grand
Sent: Wednesday, August 08, 2007 1:14 PM
To: Banewmus List
Subject: [NewMusic] keyboard needed for Saturday

21 Grand is looking to borrow a keyboard (the sort that one would use in
lieu of a piano) for the Golden Arm Trio show Sat. night.  Anyone
willing to
lend such an item will have my immense gratitude and free admission plus
guest to the show (or another show of your choice).

thanks,

sl

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


From pgsaxo at pacbell.net  Wed Aug  8 17:52:40 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Wed, 8 Aug 2007 17:52:40 -0700
Subject: [NewMusic] keyboard needed for Saturday
In-Reply-To: <C2DF7235.1F9EB%21grand@21grand.org>
Message-ID: <003f01c7da1f$971c63d0$4001a8c0@PG>

PS...

Matt D, that is...

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 Sarah - 21 Grand
Sent: Wednesday, August 08, 2007 1:14 PM
To: Banewmus List
Subject: [NewMusic] keyboard needed for Saturday

21 Grand is looking to borrow a keyboard (the sort that one would use in
lieu of a piano) for the Golden Arm Trio show Sat. night.  Anyone
willing to
lend such an item will have my immense gratitude and free admission plus
guest to the show (or another show of your choice).

thanks,

sl

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


From 21grand at 21grand.org  Wed Aug  8 18:18:52 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Wed, 08 Aug 2007 18:18:52 -0700
Subject: [NewMusic]  keyboard needed for Saturday
Message-ID: <C2DFB98C.1FA38%21grand@21grand.org>

We do have a show tonight!  If you could drop it off that'd be great ... I
could come pick it up if need be.

sl


From 21grand at 21grand.org  Wed Aug  8 18:25:03 2007
From: 21grand at 21grand.org (Sarah - 21 Grand)
Date: Wed, 08 Aug 2007 18:25:03 -0700
Subject: [NewMusic]   keyboard needed for Saturday
Message-ID: <C2DFBAFF.1FA3D%21grand@21grand.org>

And furthermore, I think I'll get a sausage at Top Dog on my way to Longs in
the next hour or so ...

sl


From michaelz at zoka.com  Wed Aug  8 19:44:40 2007
From: michaelz at zoka.com (Michael Zelner)
Date: Wed, 8 Aug 2007 19:44:40 -0700
Subject: [NewMusic] Yoshi's SF
Message-ID: <p06020429c2e02ddb0211@[192.168.0.5]>

On 6/2/07, Phillip Greenlief wrote:

>Slusser:
>An upshot of this is that Yoshi's is concerned enough about their 
>reputation to spend money to make a better impression in the market. 
>This may be good news for jazz fans, for that's an indication of 
>someone in for the long haul.
>
>PG:
>Well, "long haul" can be interpreted here with some irony. It's 
>interesting that at the same time, Yoshi's is planning on closing 
>its Jack London Square location and heading to SF (Fillmore 
>District). They originally said they wanted to keep the Oakland 
>location open while opening another venue in SF. When that was the 
>plan they were willing to reveal, they said that their audience at 
>Jack London Square didn't include a lot of SF listeners, and that by 
>opening a venue in SF they could tap into a new listener's pool. 
>They were confident that the "old Yoshi's" (more irony, right?) 
>would continue to serve audiences from the east bay and beyond.

This afternoon, the San Francisco chapter of the AIA sponsored the 
first public tour of the new Yoshi's ("an architectural tour of the 
new 28,000 square feet venue that will occupy the ground floor of the 
Fillmore Heritage Center"). Here's some of the eyewitness account 
from one of the two non-architects who took the tour:

>* The venue itself will be larger than Yoshi's Oakland by about 50%.
>
>* There will be a mezzanine level that seats 100 (on 2 different 
>levels), and the main floor will seat 320 (on 3 different levels - 
>like Yoshi's Oak). For a total seating of 420..
>
>* There will be valet parking out front and there is a public garage on Eddy.
>
>* It will open 11/28 and the bookings are solid through February 
>2008. They wouldn't tip [the performers' names for] one frickin' 
>show.


>They assured us that it would only be a plus since they can bring in 
>more high-end jazz performers to the Bay Area. They implied the 
>performers would do stints at each venue so maybe the 5 night runs 
>will be 2 and 3 respectively. There will be 2 shows a night, exact 
>same set up as Oakland. Each open 365 days a years, shows 8 & 10 
>with Sundays 7 & 9.
>
>In fact, as part of negotiating the existence of Yoshi's SF they had 
>to re-up Yoshi's Oakland's lease for 10 years. So they are solid 
>there for the next 10. Same chef stays there so I think it will be 
>all fine.

A mockup of the new club:
<http://i101.photobucket.com/albums/m55/rudegrrlz/YoshisSF.jpg?t=1186626699>


MZ



--------------michaelz at zoka.com---
             Michael Zelner
---Oakland CA USA------------------

From weaselw at juno.com  Thu Aug  9 00:49:26 2007
From: weaselw at juno.com (weasel walter)
Date: Thu, 9 Aug 2007 00:49:26 -0700
Subject: [NewMusic] music music music
Message-ID: <20070809.004946.2896.167.weaselw@juno.com>

this question is so far off topic it actually sounds insane, but here
goes nothin':

how the fuck does one get rid of large garbage like a mattress in
oakland?

sincerely,

ww

From Damon at balancepointacoustics.com  Thu Aug  9 00:47:20 2007
From: Damon at balancepointacoustics.com (Damon Smith)
Date: Thu, 9 Aug 2007 00:47:20 -0700
Subject: [NewMusic] music music music
In-Reply-To: <20070809.004946.2896.167.weaselw@juno.com>
References: <20070809.004946.2896.167.weaselw@juno.com>
Message-ID: <749B0EB3-7D04-4C69-90D1-79341EE53F23@balancepointacoustics.com>

you just put it out on telegraph, and it will disappear.
On Aug 9, 2007, at 12:49 AM, weasel walter wrote:

> this question is so far off topic it actually sounds insane, but here
> goes nothin':
>
> how the fuck does one get rid of large garbage like a mattress in
> oakland?
>
> sincerely,
>
> ww
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>
>

Damon Smith

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





From tjohns at mills.edu  Thu Aug  9 07:13:20 2007
From: tjohns at mills.edu (Travis C. Johns)
Date: Thu,  9 Aug 2007 07:13:20 -0700
Subject: [NewMusic] music music music
In-Reply-To: <749B0EB3-7D04-4C69-90D1-79341EE53F23@balancepointacoustics.com>
References: <20070809.004946.2896.167.weaselw@juno.com>
	<749B0EB3-7D04-4C69-90D1-79341EE53F23@balancepointacoustics.com>
Message-ID: <1186668800.46bb2100b4aaa@webmail.mills.edu>

i think you're also alloted like, one bulk pickup per year with the
garbage folks that you have to call in and schedule - might make sense
if there's tons of other crap you wanna part with.

if not, there's always the scavenger section of craigslist...


Quoting Damon Smith <Damon at balancepointacoustics.com>:

> you just put it out on telegraph, and it will disappear.
> On Aug 9, 2007, at 12:49 AM, weasel walter wrote:
>
> > this question is so far off topic it actually sounds insane, but
> here
> > goes nothin':
> >
> > how the fuck does one get rid of large garbage like a mattress in
> > oakland?
> >
> > sincerely,
> >
> > ww
> > _______________________________________________
> > Bay Area New Music Discussion Group
> > NewMusic at music.mills.edu
> > http://music.mills.edu/mailman/listinfo/newmusic
> >
> >
>
> Damon Smith
>
> http://www.balancepointacoustics.com
> http://myspace.com/smithdamon
> http://www.myspace.com/damonsmithsolo
>
>
>
>
> _______________________________________________
> Bay Area New Music Discussion Group
> NewMusic at music.mills.edu
> http://music.mills.edu/mailman/listinfo/newmusic
>



From pgsaxo at pacbell.net  Thu Aug  9 08:35:21 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Thu, 9 Aug 2007 08:35:21 -0700
Subject: [NewMusic] keyboard needed for Saturday
In-Reply-To: <C2DFBAFF.1FA3D%21grand@21grand.org>
Message-ID: <00a901c7da9a$e6a6d360$4001a8c0@PG>

Hey,

I'm sorry I didn't see this last night - I went to my gig at 1510 and
didn't see it until this morning, and I am leaving for my tour shortly.

The keyboard is in my apartment. I will be out of town by the time you
read this.

I gave a spare key to Jen Baker. She can let you in to get the keyboard.
You can pass my black box on to her and she'll give it to me when I get
back.

Call her cell # to arrange pick up: (510) 847-1219.

Cheers,
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 Sarah - 21 Grand
Sent: Wednesday, August 08, 2007 6:25 PM
To: newmusic at music.mills.edu
Subject: [NewMusic] keyboard needed for Saturday

And furthermore, I think I'll get a sausage at Top Dog on my way to
Longs in
the next hour or so ...

sl

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


From pgsaxo at pacbell.net  Thu Aug  9 08:42:42 2007
From: pgsaxo at pacbell.net (Phillip Greenlief)
Date: Thu, 9 Aug 2007 08:42:42 -0700
Subject: [NewMusic] music music music
In-Reply-To: <20070809.004946.2896.167.weaselw@juno.com>
Message-ID: <00b401c7da9b$ed9fb000$4001a8c0@PG>

There's something called "bulk garbage" day in Oakland. Call the phone
number associated with your garbage pick up and make an inquiry. If you
want big bulky garbage to be picked up and you don't want to wait until
"bulk garbage day", you can call the same number and schedule a bulk day
of your own. You only get to do this once a year, I think (schedule it
on a day other than the one they schedule).

Or, take it to the dump (it's in Berkeley).

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, August 09, 2007 12:49 AM
To: newmusic at music.mills.edu
Cc: newmusic at music.mills.edu
Subject: [NewMusic] music music music

this question is so far off topic it actually sounds insane, but here
goes nothin':

how the fuck does one get rid of large garbage like a mattress in
oakland?

sincerely,

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


From sluss