From ava.mendoza at gmail.com Sat Mar 1 01:10:20 2008 From: ava.mendoza at gmail.com (Ava Mendoza) Date: Sat, 1 Mar 2008 01:10:20 -0800 Subject: [NewMusic] $650 Great Room Available April 1-20, or a little longer Message-ID: <317505170803010110o457520c1mfd3e47ee4038b7b2@mail.gmail.com> Live with other elitist Avant-Garde Musicians! Feel free to forward this on to anyone who might be interested.. thanks.. Ava --------------------- I am traveling in May and my 12 x 12 ft. furnished room will be available. Lots of sunlight, very comfy bed, hardwood floors, walk-in closet, bookshelves and desk. The amount of furniture/stuff I leave in the room is negotiable--if you need lots of room I can move lots of stuff, or if not, great! The house is really gorgeous--all hardwood floors, two pianos, big backyard. Located in Glenview (quiet, safe neighborhood just north of the 580 on Park Blvd). My room is on the ground-level (upper) floor, and you would share it with two very easygoing male musicians in their late 20s. The lower level is occupied by a female opera singer. In general the house is pretty mellow, though everyone is super friendly and approachable. Everyone is a musician so if you need to make noise too that is fine of course. Generally though everyone works during the day so it stays pretty quiet. It is important that you be fairly clean, respectful, not insane, etc. Some of my roommates teach music lessons at home a few times a week, so the house needs to stay presentable. My cat will still be living in the house while I'm gone.. No more pets please! Booze and 420 ok, all smoking must be outside though. My dates are somewhat flexible--I can give or take up to a week if absolutely necessary. Thanks, look forward to hearing from you! From tim at perkis.com Sun Mar 2 16:40:35 2008 From: tim at perkis.com (Tim Perkis) Date: Sun, 02 Mar 2008 16:40:35 -0800 Subject: [NewMusic] [NewMusicEvents] SF Premiere, My Name Is Albert Ayler plays at the Red Vic Mar 9 - 1 In-Reply-To: <975D6FED-76E5-494A-9A19-549917DB28AB@mindspring.com> References: <975D6FED-76E5-494A-9A19-549917DB28AB@mindspring.com> Message-ID: <47CB4903.5090602@perkis.com> I recommend this movie! -- I met the director a few weeks ago at the Gothenburg Film Festival in Sweden; this movie has been getting around and getting a lot of well-deserved attention! T Alan Anzalone wrote: > > SF Premiere, My Name Is Albert Ayler plays at the Red Vic Mar 9 -11 > > Red Vic Movie House > 1727 Haight St. > San Francisco, CA 94117 > _http://www.redvicmoviehouse.com_ > _http://www.myspace.com/redvicmoviehouse_ > > > My Name Is Albert Ayler > Dir. Kasper Collin > (Sweden, 2005. 79min; DVCam) > > _http://www.mynameisalbertayler.com/_ > > Director Kasper Collin is scheduled to be present at each screening for > Q&A. > > SYNOPSIS: > > My Name is Albert Ayler is a new documentary about the prophetic free > jazz > saxophonist Albert Ayler, who today is seen as one of the most important > innovators in jazz. Ayler was obsessed with his radical music and by the > thought that people one day would understand it, as he said in his own > words "If people don't like it now, they will." In 1962 he recorded his > first album in Sweden. Eight years later he was found dead in New York's > East River, aged 34. > > The documentary follows the trail of Albert Ayler from his native > town of > Cleveland to New York by way of Sweden, meeting family, friends and > colleagues who help tell the story of his life and music. Ayler himself > guides us with his voice and music. Seven years in the making, the film > includes newly discovered footage of Albert Ayler and his band. > > "Remarkable!" > - The New Yorker > > "Beautiful feature debut ... brings Ayler and his message of spiritual > unity back to life" > - The Village Voice > > "Heartbreaking as it is, this film is a rarity and not to be > missed."- All > About Jazz > > SHOWTIMES: > > Sunday: 2:00, 4:00, 7:15, 9:15 > Monday and Tuesday: 7:15, 9:15 > > TICKETS: > > Regular $8.50, $6.50 at 2:00 bargain matinees, $5 for seniors and > children > at all times. > Advanced tickets available starting March 2 at > _http://www.redvicmoviehouse.com_ > > > Alan Anzalone > aanz at mindspring.com > > > > ------------------------------------------------------------------------ > > _______________________________________________ > Bay Area New Music Events > NewMusicEvents at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusicevents > From jon_raskin at yahoo.com Sun Mar 2 16:47:37 2008 From: jon_raskin at yahoo.com (Jon Raskin) Date: Sun, 2 Mar 2008 16:47:37 -0800 Subject: [NewMusic] improv brain shutdown In-Reply-To: <3B7466BD-59BD-41AE-961E-83EDDA45E383@matthewgoodheart.com> References: <3B7466BD-59BD-41AE-961E-83EDDA45E383@matthewgoodheart.com> Message-ID: <002601c87cc8$2dcca970$6501a8c0@HP28718835617> Just started reading Sync or Swarm (Improvising Music in a Complex Age by David Borgo that matches up well with this thread. Borgo is looking at improvisation through the "Science of Surprise" a tern that mathematician JohnL. Casti used to group fields of study that dealt with catastrohpe, choas, complexity and criticality. He comes at it from being an improviser as well as a scholar. -----Original Message----- From: newmusic-bounces at music.mills.edu [mailto:newmusic-bounces at music.mills.edu] On Behalf Of Matthew Goodheart Sent: Thursday, February 28, 2008 10:43 PM To: Bay Area New Music Discussion Group Subject: Re: [NewMusic] improv brain shutdown > For other cool stories and research about music and the brain I > recommend Oliver Sach's "Musicophilia" I'll also put in a bid for Steven Mithen's "The Singing Neanderthals" - great stuff about the evolutionary origins of music, with lots o' neurology to boot. . . Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From aurorarising at hotmail.com Sun Mar 2 20:05:55 2008 From: aurorarising at hotmail.com (~ Aurora ~) Date: Sun, 2 Mar 2008 20:05:55 -0800 Subject: [NewMusic] Some Photos from Fall/Winter Posted at Last... Message-ID: Hi there, Been busy re-designing my website and finally got some events posted from last Fall/Winter: http://www.aurorarising.com/phlog.html Please e-mail me with corrections and/or additional info. -- Aurora Josephson http://www.aurorarising.com From katttsammon at hotmail.com Mon Mar 3 10:44:38 2008 From: katttsammon at hotmail.com (Kattt Sammon) Date: Mon, 3 Mar 2008 10:44:38 -0800 Subject: [NewMusic] POW! Looking for volunteers Message-ID: Hi POW! Mini Performance Art Festival March 6-8,2008 @ Space Gallery (on Polk Street - above Post) needs a couple of volunteers to help us with: 1) Video tape (we have a camera or you could bring yours) - Thurs 3/06, Fri 3/07 and/or Sat 3/08 2) Help greet folks @ the door (admission, etc) If you are interested, please email me at - katttsammon at hotmail.com - we would be able to give a couple of comp passes. Thanks warmest regards, Kattt www.myspace.com/samowilmotek _________________________________________________________________ Need to know the score, the latest news, or you need your Hotmail?-get your "fix". http://www.msnmobilefix.com/Default.aspx From bthrew at gmail.com Mon Mar 3 12:57:38 2008 From: bthrew at gmail.com (barry threw) Date: Mon, 3 Mar 2008 12:57:38 -0800 Subject: [NewMusic] Some Photos from Fall/Winter Posted at Last... In-Reply-To: References: Message-ID: <53624D78-6595-4A7B-A2C4-306B9563DE1A@gmail.com> I would suggest labeling those graphics at the top. It would make the navigation...well...navigable. $0.02 b On Mar 2, 2008, at 8:05 PM, ~ Aurora ~ wrote: > > Hi there, > > Been busy re-designing my website and finally got some events posted > from last Fall/Winter: > > http://www.aurorarising.com/phlog.html > > Please e-mail me with corrections and/or additional info. > > -- > Aurora Josephson > http://www.aurorarising.com > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic barry threw Media Art and Technology San Francisco, CA Work: 857-544-3967 Email: bthrew (at) gmail (dot) com Web: www.barrythrew.com From jacobmakesnoise at yahoo.com Mon Mar 3 15:01:37 2008 From: jacobmakesnoise at yahoo.com (Jacob Lindsay) Date: Mon, 3 Mar 2008 15:01:37 -0800 (PST) Subject: [NewMusic] address for all about jazz? Message-ID: <596987.45919.qm@web58001.mail.re3.yahoo.com> Does anyone have the address to send CDs for review to All About Jazz? I can't seem to get their address off the website. Thanks! Jacob Lindsay http://www.bayimproviser.com/artistdetail.asp?artist_id=44 ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ From weaselw at juno.com Mon Mar 3 15:21:53 2008 From: weaselw at juno.com (weasel walter) Date: Mon, 3 Mar 2008 15:21:53 -0800 Subject: [NewMusic] address for all about jazz? Message-ID: <20080303.152157.4964.20.weaselw@juno.com> Michael Ricci All About Jazz 761 Sproul Road, #211 Springfield, PA 19064 they seem to be hiding their address these days . . . you have to login to find it now. ww On Mon, 3 Mar 2008 15:01:37 -0800 (PST) Jacob Lindsay writes: > Does anyone have the address to send CDs for review to > All About Jazz? > > I can't seem to get their address off the website. > > Thanks! > > Jacob Lindsay > http://www.bayimproviser.com/artistdetail.asp?artist_id=44 > > > > _________________________________________________________________________ ___________ > Be a better friend, newshound, and > know-it-all with Yahoo! Mobile. Try it now. > http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > > From letucepry at yahoo.com Mon Mar 3 15:26:54 2008 From: letucepry at yahoo.com (Ron Lettuce) Date: Mon, 3 Mar 2008 15:26:54 -0800 (PST) Subject: [NewMusic] Some Photos from Fall/Winter Posted at Last... Message-ID: <724523.91141.qm@web50305.mail.re2.yahoo.com> >I would suggest labeling those graphics at the top. It >would make the >navigation...well...navigable. But then it wouldn't be all cryptic like... lettuce ----- Original Message ---- From: barry threw To: Bay Area New Music Discussion Group Sent: Monday, March 3, 2008 12:57:38 PM Subject: Re: [NewMusic] Some Photos from Fall/Winter Posted at Last... I would suggest labeling those graphics at the top. It would make the navigation...well...navigable. $0.02 b On Mar 2, 2008, at 8:05 PM, ~ Aurora ~ wrote: > > Hi there, > > Been busy re-designing my website and finally got some events posted > from last Fall/Winter: > > http://www.aurorarising.com/phlog.html > > Please e-mail me with corrections and/or additional info. > > -- > Aurora Josephson > http://www.aurorarising.com > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic barry threw Media Art and Technology San Francisco, CA Work: 857-544-3967 Email: bthrew (at) gmail (dot) com Web: www.barrythrew.com _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From bthrew at gmail.com Mon Mar 3 18:21:23 2008 From: bthrew at gmail.com (barry threw) Date: Mon, 3 Mar 2008 18:21:23 -0800 Subject: [NewMusic] Some Photos from Fall/Winter Posted at Last... In-Reply-To: <724523.91141.qm@web50305.mail.re2.yahoo.com> References: <724523.91141.qm@web50305.mail.re2.yahoo.com> Message-ID: <75874623-F73C-4C98-8AC0-F03C35008A49@gmail.com> On Mar 3, 2008, at 3:26 PM, Ron Lettuce wrote: >> I would suggest labeling those graphics at the top. It >would make >> the >> navigation...well...navigable. > > But then it wouldn't be all cryptic like... Exactly. From 21grand at 21grand.org Mon Mar 3 20:40:40 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Mon, 03 Mar 2008 20:40:40 -0800 Subject: [NewMusic] Some Photos from Fall/Winter Posted at Last... Message-ID: so is this the beginning of a new business - Lettuce Threw: Web Navigation Consultants? sl Mr. T wrote: On Mar 3, 2008, at 3:26 PM, Ron Lettuce wrote: >> I would suggest labeling those graphics at the top. It >would make >> the >> navigation...well...navigable. > > But then it wouldn't be all cryptic like... Exactly. From aurorarising at hotmail.com Mon Mar 3 21:44:55 2008 From: aurorarising at hotmail.com (~ Aurora ~) Date: Mon, 3 Mar 2008 21:44:55 -0800 Subject: [NewMusic] Barry's $.02 Message-ID: Hi Barry, Some clarification.... Not looking for design input, just corrections to the events on my PHLOG, i.e. misspelled names incorrect dates other event errors or omissions And speaking of navigation, yours could be a little more prominent, don't you think? But seriously, if you were to explore the site a little further, you would find labels for the "cryptic" symbols on the splash page. Do I need to spell everything out all the time? Whatever happened to using one's imagination and investigative skills? Next time, how about we take the constructive criticism off list? ;) -Miss A Aurora Josephson http://www.aurorarising.com From mattdavignon at gmail.com Tue Mar 4 01:18:17 2008 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 4 Mar 2008 01:18:17 -0800 Subject: [NewMusic] More on drm-free mp3 releases Message-ID: Just found out about this today. Apparently Nine Inch Nails has been working on a 4-lp-length album called "Ghosts I-IV", and it's out now. 36 instrumental-only tracks. It's available in a variety of ways, but one of the easiest/cheapest is $5 on Amazon mp3 downloads. I downloaded it, and poked around a few tracks. I'd say this is the most growth that NIN has shown, probably since their heyday. The instrumentalness has allowed for some explorations of subtlety. The "rocker" songs are the ones that sound the most dated to me, but there are probably enough 'pretty' tracks to make a single album. Adrian Belew's involved too. No-vocals - I think that's the key word here. Without lyrics, the band's identity is very different. If someone told me this was the new Radian album, I'd probably believe it for a large chunk of the tracks. Somewhere between Radian, 2002-era glitch, instrumental tracks from the last NIN album, and early 80s John Carpenter movie soundtrack. Folks who are weird music purists will probably be disappointed, but I grew up on Nine Inch Nails. Matt From bthrew at gmail.com Tue Mar 4 01:25:21 2008 From: bthrew at gmail.com (barry threw) Date: Tue, 4 Mar 2008 01:25:21 -0800 Subject: [NewMusic] Barry's $.02 In-Reply-To: References: Message-ID: <1FC2B305-F589-4218-9EA1-EEA422729EB7@gmail.com> > Not looking for design input, just corrections to the events on my > PHLOG, i.e. Just giving you feedback from the experience I had on your site. If anyone gets to your site via any deeplink, such as you linked from this list, then they wouldn't have any idea what your navigation symbols meant. As I didn't. > And speaking of navigation, yours could be a little more prominent, > don't you think? No, I don't think so. I thought about this for awhile, and decided to display often updated content prominently, and that anyone looking for other sites could find the navigation, albeit small. Plus, the content in those areas is so specific that people would come to those pages looking specifically for what they wanted. I don't think you actually were interested in my design decisions though, so I'll spare you belaboring my explanation. Thanks for visiting my site though. > But seriously, if you were to explore the site a little further, you > would find labels for the "cryptic" symbols on the splash page. I did. However, even after seeing them once, I didn't memorize all the symbols and what they meant, so I had to navigate back to home every time I wanted to change sections which made the sub-page navigation useless to me, hence the feedback. > Do I need to spell everything out all the time? Whatever happened > to using one's imagination and investigative skills? No. You don't have to. If you think your current design meets your intentions then thats just fine. > Next time, how about we take the constructive criticism off list? I am sorry if this caused you discomfort. If I thought it would be a comment that would embarrass or distress you in any way, I wouldn't have posted it. Please accept my apology. b From bradysharp at gmail.com Tue Mar 4 09:14:53 2008 From: bradysharp at gmail.com (Brady Sharp) Date: Tue, 4 Mar 2008 11:14:53 -0600 Subject: [NewMusic] Barry's $.02 In-Reply-To: <1FC2B305-F589-4218-9EA1-EEA422729EB7@gmail.com> References: <1FC2B305-F589-4218-9EA1-EEA422729EB7@gmail.com> Message-ID: It's a left brain vs. right-brain thing. Despite all of the web usability "experts" railing against "cryptic and imaginative" websites, I think there is a place for them. Parallels can be drawn to the types of music we play and the criticism that draws as well. Regardless, Aurora, thanks for the pictures. I always enjoy them, and it makes me dream of moving the family to the bay area to be a part of it all. Brady On Tue, Mar 4, 2008 at 3:25 AM, barry threw wrote: > > Not looking for design input, just corrections to the events on my > > PHLOG, i.e. > > Just giving you feedback from the experience I had on your site. If > anyone gets to your site via any deeplink, such as you linked from > this list, then they wouldn't have any idea what your navigation > symbols meant. As I didn't. > > > > And speaking of navigation, yours could be a little more prominent, > > don't you think? > > No, I don't think so. I thought about this for awhile, and decided to > display often updated content prominently, and that anyone looking for > other sites could find the navigation, albeit small. Plus, the content > in those areas is so specific that people would come to those pages > looking specifically for what they wanted. I don't think you actually > were interested in my design decisions though, so I'll spare you > belaboring my explanation. Thanks for visiting my site though. > > > > But seriously, if you were to explore the site a little further, you > > would find labels for the "cryptic" symbols on the splash page. > > I did. However, even after seeing them once, I didn't memorize all the > symbols and what they meant, so I had to navigate back to home every > time I wanted to change sections which made the sub-page navigation > useless to me, hence the feedback. > > > > Do I need to spell everything out all the time? Whatever happened > > to using one's imagination and investigative skills? > > No. You don't have to. If you think your current design meets your > intentions then thats just fine. > > > > Next time, how about we take the constructive criticism off list? > > I am sorry if this caused you discomfort. If I thought it would be a > comment that would embarrass or distress you in any way, I wouldn't > have posted it. Please accept my apology. > > b > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From praemedia at yahoo.com Tue Mar 4 09:38:20 2008 From: praemedia at yahoo.com (Praemedia) Date: Tue, 4 Mar 2008 09:38:20 -0800 (PST) Subject: [NewMusic] More on drm-free mp3 releases In-Reply-To: Message-ID: <496048.14907.qm@web51611.mail.re2.yahoo.com> Also available for free all over the intenets (including a few tracks on NIN's own site). Trent and Co. posted torrents all over the the popular places for free music download before they announced the official release. Also offers a variety of free and pay options at ghosts.nin.com. worth paying attention to just to see the innovative ways he's using the web. he labeled his experiment with the saul williams release a failure (moneywise) so this sort of surprised me. lance --- Matt Davignon wrote: > Just found out about this today. Apparently Nine > Inch Nails has been > working on a 4-lp-length album called "Ghosts I-IV", > and it's out now. > 36 instrumental-only tracks. It's available in a > variety of ways, but > one of the easiest/cheapest is $5 on Amazon mp3 > downloads. ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ From letucepry at yahoo.com Tue Mar 4 10:04:12 2008 From: letucepry at yahoo.com (Ron Lettuce) Date: Tue, 4 Mar 2008 10:04:12 -0800 (PST) Subject: [NewMusic] Barry's $.02 Message-ID: <759324.1550.qm@web50305.mail.re2.yahoo.com> FYI, I thought cryptic was a good thing, it's not yahoo, it doesn't need to comply with anyones particular perceptions except Aurora's, why does everyone on this list automatically assume that every comment is immediately hostile, and needs defending against... BTW...on the Lettuce/Threw consulting issue, missing the alt tag does not comply with Strict DTD HTML code, which (looking directly at the source) is clearly missing...including the alt tag would at least give most users a mouseover description (not how it was intended to be used), or when the link is broken or pics can not be downloaded an alternate text to display to show what is missing...when I went there, I needed to look at the link where the pic would send me to make sure it didn't say something like "installbackdoortrojanbot.exe" lettuce ----- Original Message ---- From: Brady Sharp To: Bay Area New Music Discussion Group Sent: Tuesday, March 4, 2008 9:14:53 AM Subject: Re: [NewMusic] Barry's $.02 It's a left brain vs. right-brain thing. Despite all of the web usability "experts" railing against "cryptic and imaginative" websites, I think there is a place for them. Parallels can be drawn to the types of music we play and the criticism that draws as well. Regardless, Aurora, thanks for the pictures. I always enjoy them, and it makes me dream of moving the family to the bay area to be a part of it all. Brady On Tue, Mar 4, 2008 at 3:25 AM, barry threw wrote: > > Not looking for design input, just corrections to the events on my > > PHLOG, i.e. > > Just giving you feedback from the experience I had on your site. If > anyone gets to your site via any deeplink, such as you linked from > this list, then they wouldn't have any idea what your navigation > symbols meant. As I didn't. > > > > And speaking of navigation, yours could be a little more prominent, > > don't you think? > > No, I don't think so. I thought about this for awhile, and decided to > display often updated content prominently, and that anyone looking for > other sites could find the navigation, albeit small. Plus, the content > in those areas is so specific that people would come to those pages > looking specifically for what they wanted. I don't think you actually > were interested in my design decisions though, so I'll spare you > belaboring my explanation. Thanks for visiting my site though. > > > > But seriously, if you were to explore the site a little further, you > > would find labels for the "cryptic" symbols on the splash page. > > I did. However, even after seeing them once, I didn't memorize all the > symbols and what they meant, so I had to navigate back to home every > time I wanted to change sections which made the sub-page navigation > useless to me, hence the feedback. > > > > Do I need to spell everything out all the time? Whatever happened > > to using one's imagination and investigative skills? > > No. You don't have to. If you think your current design meets your > intentions then thats just fine. > > > > Next time, how about we take the constructive criticism off list? > > I am sorry if this caused you discomfort. If I thought it would be a > comment that would embarrass or distress you in any way, I wouldn't > have posted it. Please accept my apology. > > b > > > _______________________________________________ > 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 michaelz at zoka.com Tue Mar 4 10:09:25 2008 From: michaelz at zoka.com (Michael Zelner) Date: Tue, 4 Mar 2008 10:09:25 -0800 Subject: [NewMusic] Barry's $.02 In-Reply-To: <1FC2B305-F589-4218-9EA1-EEA422729EB7@gmail.com> References: <1FC2B305-F589-4218-9EA1-EEA422729EB7@gmail.com> Message-ID: On 3/4/08, barry threw wrote: > > Not looking for design input, just corrections to the events on my >> PHLOG, i.e. > >Just giving you feedback from the experience I had on your site. If >anyone gets to your site via any deeplink, such as you linked from >this list, then they wouldn't have any idea what your navigation >symbols meant. As I didn't. Except for everyone in the world using Firefox, or another browser that shows the URL at the bottom of the browser window when you roll over the symbol links (even Internet Explorer does this). MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From 21grand at 21grand.org Tue Mar 4 11:32:03 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Tue, 04 Mar 2008 11:32:03 -0800 Subject: [NewMusic] an opportunity for constructive criticism! Message-ID: As you may or may not know, I earn part of my modest living by preparing income taxes. A lot of my clients are musicians. For years I've wanted to create a form that lists income and expense types, specifically geared towards musicians that people can fill out and organize their stuff, and that often serves to remind people what they spent money on the year before and what they can deduct and such. I have finally created such a thing, but before I foist it on my clients, I want to make sure that it is comprehensible and that I'm not forgetting anything major. Any and all feedback would be appreciated! If for whatever reason the attachment doesn't work and you want to "beta test" my form, let me know off-list and I'll email a copy. thanks, sl From michaelz at zoka.com Tue Mar 4 12:06:25 2008 From: michaelz at zoka.com (Michael Zelner) Date: Tue, 4 Mar 2008 12:06:25 -0800 Subject: [NewMusic] Cosby on drumming Message-ID: From the Dick Cavett Show, February 21, 1973: From Gino.Robair at penton.com Tue Mar 4 14:27:53 2008 From: Gino.Robair at penton.com (Robair, Gino) Date: Tue, 4 Mar 2008 16:27:53 -0600 Subject: [NewMusic] Cosby on drumming Message-ID: Thanks, Michael! I knew Bill was a jazz fan but didn't know he'd played drums. I remember going to the Playboy Jazz Fest at the Hollywood Bowl as a teen, Bill would be the MC, and sit in a lounge chair just off stage and watch the whole damn thing, all day, even through the somewhat outside-jazz acts. I remember clearly his introduction of; "Weather...ReeeePort." "Weather........ReeeeeePort." Michael Zelner michaelz at zoka.com Tue Mar 4 12:06:25 PST 2008 Previous message: [NewMusic] an opportunity for constructive criticism! Messages sorted by: [ date ] [ thread ] [ subject ] [ author ] From the Dick Cavett Show, February 21, 1973: From slusser at pixar.com Tue Mar 4 14:49:50 2008 From: slusser at pixar.com (David Slusser) Date: Tue, 4 Mar 2008 14:49:50 -0800 Subject: [NewMusic] Cosby on drumming In-Reply-To: References: Message-ID: <6B032A05-54C3-4B0B-AFF0-FBAA459A8621@pixar.com> On Mar 4, 2008, at 2:27 PM, Robair, Gino wrote: > Thanks, Michael! I knew Bill was a jazz fan but didn't know he'd > played > drums. > I remember going to the Playboy Jazz Fest at the Hollywood Bowl as > a teen, > Bill would be the MC, and sit in a lounge chair just off stage and > watch the > whole damn thing, all day, even through the somewhat outside-jazz > acts. > > I remember clearly his introduction of; > > "Weather...ReeeePort." > > "Weather........ReeeeeePort." He knew Coltrane (and Shepp) from Philly, and worked a lot of the same night clubs when he was starting out as a comic. He has a great story about filling in with the Coltrane Quartet when Elvin was tardy for one of the sets. From Gino.Robair at penton.com Tue Mar 4 17:00:35 2008 From: Gino.Robair at penton.com (Robair, Gino) Date: Tue, 4 Mar 2008 19:00:35 -0600 Subject: [NewMusic] Stickers: who makes 'em? Message-ID: Hey gang, I need a roll of stickers for an upcoming CD project. Who would you recommend as a printer specializing in such things, inexpensively and reliably (My fave printer's no longer in the biz...) Cheers, ginorobair From katttsammon at hotmail.com Tue Mar 4 17:17:38 2008 From: katttsammon at hotmail.com (Kattt Sammon) Date: Tue, 4 Mar 2008 17:17:38 -0800 Subject: [NewMusic] Stickers: who makes 'em? In-Reply-To: References: Message-ID: psprint (in west oakland) http://www.psprint.com/printing_products/custom_vinyl_stickers.asp > From: Gino.Robair at penton.com > To: newmusic at music.mills.edu > Date: Tue, 4 Mar 2008 19:00:35 -0600 > Subject: [NewMusic] Stickers: who makes 'em? > > Hey gang, > I need a roll of stickers for an upcoming CD project. Who would you > recommend as a printer specializing in such things, inexpensively and > reliably (My fave printer's no longer in the biz...) > Cheers, > ginorobair > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic _________________________________________________________________ Climb to the top of the charts!?Play the word scramble challenge with star power. http://club.live.com/star_shuffle.aspx?icid=starshuffle_wlmailtextlink_jan From tim at perkis.com Tue Mar 4 17:38:14 2008 From: tim at perkis.com (Tim Perkis) Date: Tue, 04 Mar 2008 17:38:14 -0800 Subject: [NewMusic] Stickers: who makes 'em? In-Reply-To: References: Message-ID: <47CDF986.7060005@perkis.com> yeah, I've used them too, but not for stickers. fast, good, pretty cheap T Kattt Sammon wrote: > psprint (in west oakland) > > http://www.psprint.com/printing_products/custom_vinyl_stickers.asp > > >> From: Gino.Robair at penton.com >> To: newmusic at music.mills.edu >> Date: Tue, 4 Mar 2008 19:00:35 -0600 >> Subject: [NewMusic] Stickers: who makes 'em? >> >> Hey gang, >> I need a roll of stickers for an upcoming CD project. Who would you >> recommend as a printer specializing in such things, inexpensively and >> reliably (My fave printer's no longer in the biz...) >> Cheers, >> ginorobair >> >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic >> > > _________________________________________________________________ > Climb to the top of the charts! Play the word scramble challenge with star power. > http://club.live.com/star_shuffle.aspx?icid=arshuffle_wlmailtextlink_jan > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > > From apsimoes at student.dei.uc.pt Wed Mar 5 07:32:03 2008 From: apsimoes at student.dei.uc.pt (=?ISO-8859-1?Q?Ant=F3nio_Pedro_Oliveira?=) Date: Wed, 05 Mar 2008 15:32:03 +0000 Subject: [NewMusic] Listen and tag some music :) Message-ID: <47CEBCF3.10305@student.dei.uc.pt> Apologies if this is not an appropriate mailing list. Just in case you would like to listen (and tag) some music go to the following address :) You'll need more or less 10 minutes for that. http://student.dei.uc.pt/~apsimoes/PhD/Music/ismir08/index.html Thanks for your attention, -- Ant?nio Pedro Oliveira From lx.rudis at gmail.com Wed Mar 5 10:43:11 2008 From: lx.rudis at gmail.com (lx rudis) Date: Wed, 5 Mar 2008 10:43:11 -0800 Subject: [NewMusic] Listen and tag some music :) In-Reply-To: <47CEBCF3.10305@student.dei.uc.pt> References: <47CEBCF3.10305@student.dei.uc.pt> Message-ID: <7272233a0803051043o4e53612fqa6d8f42866d1a012@mail.gmail.com> this is most interesting! antonio, is this your project? if so, do you know much about 'the ESP game' and some of the discussion about human-computing that was going down about this time last year? http://www.espgame.org/ http://www.youtube.com/watch?v=dtFroEJN1nI [playback's pretty stuttery today, be forewarned] ...was going to send this private, then realized that perhaps some of you improvisers might want to consider the ramifications of using one form of media to generate ideas and focus response by using another media form and playing with the concept of 'time'... On Wed, Mar 5, 2008 at 7:32 AM, Ant?nio Pedro Oliveira < apsimoes at student.dei.uc.pt> wrote: > Apologies if this is not an appropriate mailing list. Just in case you > would like to listen (and tag) some music go to the following > address :) You'll need more or less 10 minutes for that. > http://student.dei.uc.pt/~apsimoes/PhD/Music/ismir08/index.html > > Thanks for your attention, > > -- > Ant?nio Pedro Oliveira > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From 21grand at 21grand.org Wed Mar 5 11:48:16 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Wed, 05 Mar 2008 11:48:16 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: http://www.artsjournal.com/jazzbeyondjazz/2008/03/musicians_dread_words.html #more From Gino.Robair at penton.com Wed Mar 5 12:37:09 2008 From: Gino.Robair at penton.com (Robair, Gino) Date: Wed, 5 Mar 2008 14:37:09 -0600 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: I agree with one of the comments at the end taht this is an ethical no-brainer: " If asked not to review, you should not accept the ticket." From lx.rudis at gmail.com Wed Mar 5 13:14:09 2008 From: lx.rudis at gmail.com (lx rudis) Date: Wed, 5 Mar 2008 13:14:09 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews In-Reply-To: References: Message-ID: <7272233a0803051314o53eeb8c3ke0db9213a159bd8b@mail.gmail.com> i'd humbly offer that most writing is about the writer first, the subject second. by providing raw material for critique, we energize a one-sided or time-diffuse collaboration. supposedly this would be for purpose of alerting strangers [consumers] to our work, and hopefully improving our approach to our work, but the reality is that we are more like grout used to fix tiles to a wall, the tiles being the writer's work. other tilesetters might appreciate the grout-work, but ultimately it's the tiles which get attention. i can say with authority that several of _my_ reviewers are frustrated novelists, scriptwriters, etc. they do reviews, but the purpose of those reviews is both to provide a publisher with examples of skill and to advance the reviewers' own reputation. within that span, i have to question [and some may note that i already have questioned] the purpose of even releasing music, much less music designed for a 'normal' audience. if the very system which pretends to give me a larger audience is nothing more than a tool to advance a different discipline, then pandering to it places me in a 'victim' role, and instantly reduces any lasting value in my own work. in my case, it's an easy transaction: as a creator in this time and place, i don't have much penetration or value. i'm also blessed in that i get to make stuff and be creative as part of the process which pays my rent, so i don't have much need to please - i'm not a semi-successful music 'business' like zorn or trent reznor with a reputation to uphold. therefore there's not much risk for me if someone gives me a bad review or three, and as a result the only logical solution is to rise to the challenge... the people _i_ worry about are the ones just starting out, who have been misinformed by their culture about the value of their creativity, and who have been outright lied to about the economic realities of pursuing a career in the arts. it's ok to be a victim if that's what one's plan is, but to be suckered into it is not good, and imvho should not be rewarded. so in my opinion, whether he knows it or not, zorn has made a valid statement. the documentation machine he's addressing has risen to _their own challenge_ and revealed that they are not only naked, but hollow inside as well. if there was dignity and a thoughtful reaction, it would have been silence, and zorn would instantly be reduced to utilizing more modern systems to communicate to 'his' audience. imvho all i'm seeing here is more of the same - people with deadlines to meet and rent to be paid, who are desperate for some sort of story or another and who will instantly and thoughtlessly react to a name who provides them with something provocative. ok, that's way too much out of me for today. sorry if i'm stepping on toes here, but i felt it important to get this off my chest. back to resume's and cover letters with me... On Wed, Mar 5, 2008 at 11:48 AM, Sarah - 21 Grand <21grand at 21grand.org> wrote: > > http://www.artsjournal.com/jazzbeyondjazz/2008/03/musicians_dread_words.html > #more > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From slusser at pixar.com Wed Mar 5 13:30:01 2008 From: slusser at pixar.com (David Slusser) Date: Wed, 5 Mar 2008 13:30:01 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews In-Reply-To: References: Message-ID: <5AC667FF-F598-4ED1-9D51-AAB95DF4863B@pixar.com> On Mar 5, 2008, at 11:48 AM, Sarah - 21 Grand wrote: > http://www.artsjournal.com/jazzbeyondjazz/2008/03/ > musicians_dread_words.html > #more What a bunch of navel gazing crap. So much fevered inference over a simple policy. Artists (as opposed to concert promoters, club owners and publicists) have felt this way for centuries. Mingus said it succinctly, "Charge those sons of bitches". The writer and the publication are making money off the performance (not a lot, but they ultimately profit from it). (And these idiots just feed the Zorn cult.) From weaselw at juno.com Wed Mar 5 13:42:35 2008 From: weaselw at juno.com (weasel walter) Date: Wed, 5 Mar 2008 13:42:35 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: <20080305.134236.6212.19.weaselw@juno.com> i think the paradigm of "music criticism" fully deserves criticism back from musicians. in the field, pretty much all i see and read right now is a huge amount of hack-work. this disposable, meaningless music writing deserves to be challenged just as much as the writers believe they're challenging the face of music. judging by their writing, a lot of music critics seem to think their opinions are way more important than they really are. i will say that they are greatly capable of hurting music, even when they believe they're giving positive reviews. especially in the field of rock writing, most of these people have no business being taken seriously. the majority are egotistical hacks foisting their dumb opinions on the public at the expense of the music. kudos to john zorn for fucking with the system. he's one of the few in a position to effectively challange it. ww From 21grand at 21grand.org Wed Mar 5 14:40:19 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Wed, 05 Mar 2008 14:40:19 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: On the other hand, what if the writer published a nice article about said musician in advance of the concert that led to increased attendance? Now, I'm just a mere concert promoter, but I believe Mr. Slusser was also pleased with Derk Richardson's article that ran prior to the Rubber City CD release concert, and we didn't charge him admission. The thing is, press tends to generate more press. A review might not directly result in profit for the musician for the show reviewed, however, a good review will often lead to future coverage that will likely increase attendance at performances and record sales, as well as, if one is playing the grant game or the residency game, the review in a significant publication is a valuable piece of the application, and thus can actually lead to the musician being given money to do the work said musician wants to do with less concern for market realities. Yes, the internet sure allows more people to publish garbage about art and music. Yes, a significant number of people paid to write about music are lazy, ignorant, and bad writers, but not all of them. But maybe John Zorn does think that all music writers suck ... he's the genius, after all. And geniuses are never wrong, right? sl Mr. Slusser wrote: ingus said it succinctly, "Charge those sons of bitches". The writer and the publication are making money off the performance (not a lot, but they ultimately profit from it). From mattdavignon at gmail.com Wed Mar 5 14:48:18 2008 From: mattdavignon at gmail.com (Matt Davignon) Date: Wed, 5 Mar 2008 14:48:18 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews In-Reply-To: <20080305.134236.6212.19.weaselw@juno.com> References: <20080305.134236.6212.19.weaselw@juno.com> Message-ID: Personally, I like the practice of reviewing cd's, because getting a collection of cd reviews helps me see what people are actually getting from my music. Honestly I have to admit that I've yet to meet a person who reads music reviews because they want to know whether a cd is worth investigating. Instead I've met: 1) People who were involved in making the cd, who are looking for either the honest opinion of someone who didn't make the cd, or more likely, blind praise and pull quotes. 2) People who've already made a decision about the disc/band in question, and are curious whether the reviewer agrees with them. 3) People who are just looking for something (anything) to read as they eat breakfast. I don't really follow the appeal for reviews of stand-alone concerts. It's not like I'm going to have gone to the concert if the reviewer said the music was good. Who's been following the whole thing with Maxim and the Black Crows? It's incredibly amusing - Maxim magazine in their hipsterness gave their new cd 2.5 out of 5 stars, saying the band hasn't grown at all and it's more of the same. The band got upset that Maxim hadn't received a preview copy, and didn't have a chance to actually hear the album before reviewing it. Bombs were mailed and apologies were demanded. Apparently Maxim needs to hear the cd first before announcing that the Black Crows haven't grown in 17 years.... I mean before publishing blind praise and pull quotes. Matt On Wed, Mar 5, 2008 at 1:42 PM, weasel walter wrote: > i think the paradigm of "music criticism" fully deserves criticism back > from musicians. > > in the field, pretty much all i see and read right now is a huge amount > of hack-work. this disposable, meaningless music writing deserves to be > challenged just as much as the writers believe they're challenging the > face of music. > > judging by their writing, a lot of music critics seem to think their > opinions are way more important than they really are. i will say that > they are greatly capable of hurting music, even when they believe they're > giving positive reviews. especially in the field of rock writing, most of > these people have no business being taken seriously. the majority are > egotistical hacks foisting their dumb opinions on the public at the > expense of the music. > > kudos to john zorn for fucking with the system. he's one of the few in a > position to effectively challange it. > > ww > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From 21grand at 21grand.org Wed Mar 5 15:00:36 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Wed, 05 Mar 2008 15:00:36 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: Mr. Walter wrote: i think the paradigm of "music criticism" fully deserves criticism back from musicians. - I agree. in the field, pretty much all i see and read right now is a huge amount of hack-work. this disposable, meaningless music writing deserves to be challenged just as much as the writers believe they're challenging the face of music. - I thought that article about you in Signal to Noise a few months back by Dan Warburton was pretty good, as well as the reviews of your albums in the Wire shortly before that. sl From slusser at pixar.com Wed Mar 5 15:15:20 2008 From: slusser at pixar.com (David Slusser) Date: Wed, 5 Mar 2008 15:15:20 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews In-Reply-To: References: Message-ID: <668A3AF6-7DFE-4C60-A44E-B2283FE71716@pixar.com> On Mar 5, 2008, at 2:40 PM, Sarah - 21 Grand wrote: > On the other hand, what if the writer published a nice article > about said > musician in advance of the concert that led to increased > attendance? Now, > I'm just a mere concert promoter, but I believe Mr. Slusser was > also pleased > with Derk Richardson's article that ran prior to the Rubber City CD > release > concert, and we didn't charge him admission. Methinks thou seek to smear the weasel and I with the brush of hypocrisy. Mr. Richardson showed his generosity BEFORE my event and was a most welcomed guest. Let's not put the cart before the horse. From weaselw at juno.com Wed Mar 5 15:19:15 2008 From: weaselw at juno.com (weasel walter) Date: Wed, 5 Mar 2008 15:19:15 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: <20080305.151921.6212.26.weaselw@juno.com> i've received some meaningful criticism and/or publicity in my career. i think that there are always exceptions to the rule. i've also received both positive, neutral and negative "criticism" that amounted to a pile of beans. just a bunch of ignorant gumflapping. there are some people out there who can write, but the majority suck. ww On Wed, 05 Mar 2008 15:00:36 -0800 Sarah - 21 Grand <21grand at 21grand.org> writes: > Mr. Walter wrote: > i think the paradigm of "music criticism" fully deserves criticism > back > from musicians. > > - I agree. > > in the field, pretty much all i see and read right now is a huge > amount > of hack-work. this disposable, meaningless music writing deserves to > be > challenged just as much as the writers believe they're challenging > the > face of music. > > - I thought that article about you in Signal to Noise a few months > back by > Dan Warburton was pretty good, as well as the reviews of your albums > in the > Wire shortly before that. > > 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 Mar 5 15:22:07 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Wed, 05 Mar 2008 15:22:07 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: I'm just trying to elicit clarification here ... so, if a writer previews one's work, in a welcoming and intelligent way, of course, which aids in marketing said event, then that is ok, but merely writing a review of the performance is not as welcome? I'm not an expert in the ways of newspapers and magazines, but this seems to be an editorial decision, rather than one the writer is in total control of. Of course that still bypasses the issue of "what's the point of concert reviews" ... apart from use in future marketing efforts. sl Mr. Slusser wrote: Mr. Richardson showed his generosity BEFORE my event and was a most welcomed guest. Let's not put the cart before the horse. From 21grand at 21grand.org Wed Mar 5 15:23:03 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Wed, 05 Mar 2008 15:23:03 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews Message-ID: I would agree with that. I'm glad that you are honest. sl Mr. Walter wrote: i've received some meaningful criticism and/or publicity in my career. i think that there are always exceptions to the rule. i've also received both positive, neutral and negative "criticism" that amounted to a pile of beans. just a bunch of ignorant gumflapping. there are some people out there who can write, but the majority suck. ww From slusser at pixar.com Wed Mar 5 15:25:47 2008 From: slusser at pixar.com (David Slusser) Date: Wed, 5 Mar 2008 15:25:47 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans reviews In-Reply-To: References: Message-ID: <75F47687-F2BC-41E5-8445-2368BCADB3A3@pixar.com> On Mar 5, 2008, at 3:22 PM, Sarah - 21 Grand wrote: > I'm just trying to elicit clarification here ... so, if a writer > previews > one's work, in a welcoming and intelligent way, of course, which > aids in > marketing said event, then that is ok, but merely writing a review > of the > performance is not as welcome? I'm not an expert in the ways of > newspapers > and magazines, but this seems to be an editorial decision, rather > than one > the writer is in total control of. > > Of course that still bypasses the issue of "what's the point of > concert > reviews" ... apart from use in future marketing efforts. see lx rudis @ head of thread From Gino.Robair at penton.com Wed Mar 5 15:46:34 2008 From: Gino.Robair at penton.com (Robair, Gino) Date: Wed, 5 Mar 2008 17:46:34 -0600 Subject: [NewMusic] John Zorn gives out the comps but bans review Message-ID: Although I agree with much of LX says, the opening premise was: <> If a guy, whose job it is to write, is asked to attend a show as a reviewer but NOT write about it, that brings up one set of issues. A) He/She can say fuck you to Zorn and go cover another show, hopefully by some unknown artist who could use the ink, B) take the free tix and say fuck you and write about it anyway, or C) buy a ticket and write about it. If the writer is invited as a friend, but asked not write about it, that's another set of issues. If he/she agrees to attend but not cover it in print, one could consider it an NDA of sorts (a non-disclosure agreement). But then again, Zorn's concert is happening IN A PUBLIC SPACE, and it is a public concert. If this were some sacred ritual space, that's one thing. But just because he doesn't feel like being covered because a writer might not understand his work is not, how shall I say this, "good enough." If he's being an artist in public, there's nothing to stop someone from writing about it (just short of a bullet) if they so desire. At least this was the case before our rights were shredded by the current administration... The question as to whether music criticism is valid is another topic. Although we've all had our share of writers miss the point about our work, I do think that there are writers that fully understand the dynamics of creative music, and have something worthwhile to offer non-specialists and general fans of music. We cannot dismiss all criticism just because a few critics are lazy or crappy writers. Okay, perhaps a majority of them are lazy and crappy, but still, there are some astute writers out there, who aren't just using it to propel their own name. Then there's Kyle Gann.... From lx.rudis at gmail.com Wed Mar 5 16:46:45 2008 From: lx.rudis at gmail.com (lx rudis) Date: Wed, 5 Mar 2008 16:46:45 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans review In-Reply-To: References: Message-ID: <7272233a0803051646k4aa2201aj4538f00cfefda5ec@mail.gmail.com> right, and i should have been more limited in my response i suppose. i don't necessarily consider zorn valid anymore. he's a name, and his public space is global. mention his name in a bar, someone will likely want to name-check. to me, that means that he's about a different sort of media, a different sort of reality from those of us who continue to inhabit loftspaces and poorly attended gallery shows. ...but whose fault is that? when zorn makes a statement like this, i think he's exercising his very real power and influence. as i said, i'm unsure if he knew himself what he was doing, but he's a smart dude, and he sells product, unlike me. so more power to him. should he get reviewed? well, of course. it's bank. is it meaningful that he gets reviewed...? ...is it? and where is the public, reading reviews, making informed decisions and coming to public spaces as a byproduct of that participation? so that's what the initial link said to me. then again, i'm nuts and tend to take loose ends and make connections without worrying much about the aesthetics of the result. btw, i like your writing gino. i have liked it for years. :) But then again, Zorn's concert is happening IN A PUBLIC SPACE, and it is a > public concert. If this were some sacred ritual space, that's one thing. > But > just because he doesn't feel like being covered because a writer might not > understand his work is not, how shall I say this, "good enough." > \ > From weaselw at juno.com Wed Mar 5 19:28:56 2008 From: weaselw at juno.com (weasel walter) Date: Wed, 5 Mar 2008 19:28:56 -0800 Subject: [NewMusic] John Zorn gives out the comps but bans review Message-ID: <20080305.192900.6212.33.weaselw@juno.com> > and where is the public, reading reviews, making informed decisions > and coming to public spaces as a byproduct of that participation? when most reviews consist of ignorant gibberish, why would the public retain any faith in these arbiters of taste? that's the real problem here - so many reviewers are so full of shit these days that i believe many people don't take much creedence in what the critics are saying anymore. i know i don't. a lot of people look blindly to things like pitchfork, the wire, etc. to filter through this onslaught of artistic mediocrity to find the stuff "worth listening to". that's fine, but i posit that those sources are definitely missing out or outright ignoring tons of worthwhile things. why do they miss so much great stuff and champion so much dreck? dunno - could part of it be that they're more apt to write about musicians with publicists? more apt to cover those who buy big ads? more apt to cover the same junk everybody else does? it's a sheep mentality, even in the underground. i wish more critics had the balls to come forward and actually have a voice, but they're few and far between. we've got all these horrible identikit critics just rewriting the same flowery onesheet-regurgitation crap about the same "cool" bands. that's why people don't listen to critics very much anymore - they're interchangable for the most part and they really don't give us very much information to deliberate on. ww From ava.mendoza at gmail.com Wed Mar 5 22:49:10 2008 From: ava.mendoza at gmail.com (Ava Mendoza) Date: Wed, 5 Mar 2008 22:49:10 -0800 Subject: [NewMusic] scott looney turns 24 Message-ID: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> just wanted to pop in and mention that scott looney played a really terrific solo set tonight at 1510.. never seen him play solo before, and i imagine i am not alone in this. super fluid between keyboard and and piano insides.. from subtle timbral/harmonic stuff on the strings to really notey lines and clusters his improvising had a strong sense of character and continuity, which i think is pretty special with such a range. really cool abrupt percussive accents.. i think though that it was his interesting sense of harmony that kind of tied all of his wide vocabulary together and made each piece very personal. even the most abstract parts had a thoughtful attention to harmony. more and more i think that this is important no matter how abstract the music you are playing is-- you can ignore pitch completely if you want, but that just ends up meaning that you create shitty harmonies, or boring ones. happy birthday scott and congrats on such a great set! From tim at perkis.com Thu Mar 6 00:45:16 2008 From: tim at perkis.com (Tim Perkis) Date: Thu, 06 Mar 2008 00:45:16 -0800 Subject: [NewMusic] scott looney turns 24 In-Reply-To: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> References: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> Message-ID: <47CFAF1C.9070507@perkis.com> I'm sorry I missed this set but based on the last times I've heard him play solo, I want to concur -- he's amazing, it's really incredible what he does inside/outside the piano, and I don't understand why he isn't actually famous, really. Maybe he needs to give out more comps and insult more writers, or whatever crazy mind-fuck shit Zorn is up to -- but more people should hear what Looney is doing T Ava Mendoza wrote: > just wanted to pop in and mention that scott looney played a really > terrific solo set tonight at 1510.. never seen him play solo before, > and i imagine i am not alone in this. super fluid between keyboard and > and piano insides.. from subtle timbral/harmonic stuff on the strings > to really notey lines and clusters his improvising had a strong sense > of character and continuity, which i think is pretty special with such > a range. really cool abrupt percussive accents.. i think though that > it was his interesting sense of harmony that kind of tied all of his > wide vocabulary together and made each piece very personal. even the > most abstract parts had a thoughtful attention to harmony. more and > more i think that this is important no matter how abstract the music > you are playing is-- you can ignore pitch completely if you want, but > that just ends up meaning that you create shitty harmonies, or boring > ones. happy birthday scott and congrats on such a great set! > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > > From relijun at hotmail.com Thu Mar 6 01:04:23 2008 From: relijun at hotmail.com (arrington de dionyso) Date: Thu, 6 Mar 2008 01:04:23 -0800 Subject: [NewMusic] Old Time Relijun at the Hemlock "tonight" In-Reply-To: <47CFAF1C.9070507@perkis.com> References: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> <47CFAF1C.9070507@perkis.com> Message-ID: Hello Bay Area New Music Discussion Group friends! Old Time Relijun plays tonight (Thursday night) at the Hemlock Tavern in San Francisco. Wildildlife opens. It will be really fun. You are all welcome to review the concert or not, you are all welcome to come, it would be wonderful to see some familiar faces in the crowd and whatnot. My sister and some friends are already on the guest list so I don't think I can get everybody in for free, but it's going to be a great show, totally worth paying for. love, Arrington _________________________________________________________________ Connect and share in new ways with Windows Live. http://www.windowslive.com/share.html?ocid=TXT_TAGHM_Wave2_sharelife_012008 From letucepry at yahoo.com Thu Mar 6 01:11:19 2008 From: letucepry at yahoo.com (Ron Lettuce) Date: Thu, 6 Mar 2008 01:11:19 -0800 (PST) Subject: [NewMusic] John Zorn bans reviews...Message from Ra-Hoor-Khuit Message-ID: <678605.94963.qm@web50309.mail.re2.yahoo.com> Boo...I'm Aleister Crowley... John Zorn....You are allowed to read my books... Now PLEASE STOP WRITING MUSICAL REVIEWS ABOUT THEM... lettuce From kaspelin72 at yahoo.com Thu Mar 6 07:23:41 2008 From: kaspelin72 at yahoo.com (Kristian Aspelin) Date: Thu, 6 Mar 2008 07:23:41 -0800 (PST) Subject: [NewMusic] scott looney turns 24 In-Reply-To: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> Message-ID: <248786.24568.qm@web52607.mail.re2.yahoo.com> While I was unfortunately not at the show last night, I would like to add that I think Scott's latest solo cd, Repercussions, is excellent. The cd does an excellent job of capturing both his great sense/use of harmony/melody along with his more "abstract" inside piano work, sometimes within the same piece. This cd definitely deserves recognition. The fact that I have yet to see a review about it, however, for me brings up some of the issues discussed in reaction to the Zorn article. Ava Mendoza wrote: just wanted to pop in and mention that scott looney played a really terrific solo set tonight at 1510.. never seen him play solo before, and i imagine i am not alone in this. super fluid between keyboard and and piano insides.. from subtle timbral/harmonic stuff on the strings to really notey lines and clusters his improvising had a strong sense of character and continuity, which i think is pretty special with such a range. really cool abrupt percussive accents.. i think though that it was his interesting sense of harmony that kind of tied all of his wide vocabulary together and made each piece very personal. even the most abstract parts had a thoughtful attention to harmony. more and more i think that this is important no matter how abstract the music you are playing is-- you can ignore pitch completely if you want, but that just ends up meaning that you create shitty harmonies, or boring ones. happy birthday scott and congrats on such a great set! _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic --------------------------------- Looking for last minute shopping deals? Find them fast with Yahoo! Search. From katttsammon at hotmail.com Fri Mar 7 01:20:27 2008 From: katttsammon at hotmail.com (Kattt Sammon) Date: Fri, 7 Mar 2008 01:20:27 -0800 Subject: [NewMusic] scott looney turns 24 In-Reply-To: <47CFAF1C.9070507@perkis.com> References: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> <47CFAF1C.9070507@perkis.com> Message-ID: tim ava scott et al so i'm thinking...<>.... of the seinfeld episode where george does the opposite of his natural instinct....and with that experiences success & respect....so i recommend to scott's "neu" year ("year of the rat") for him to *committ* to being *just an asshole*. that will bring fame and success. more than deserved. i agree, scott's solo sets have been beautiful.... oh man i thought i was off the needle years ago (needle = posting to banm = oh no i hit send). kattt > Date: Thu, 6 Mar 2008 00:45:16 -0800 > From: tim at perkis.com > To: newmusic at music.mills.edu > Subject: Re: [NewMusic] scott looney turns 24 > > I'm sorry I missed this set but based on the last times I've heard him > play solo, I want to concur -- he's amazing, it's really incredible what > he does inside/outside the piano, and I don't understand why he isn't > actually famous, really. > > Maybe he needs to give out more comps and insult more writers, or > whatever crazy mind-fuck shit Zorn is up to -- but more people should > hear what Looney is doing > > T > > > > Ava Mendoza wrote: > > just wanted to pop in and mention that scott looney played a really > > terrific solo set tonight at 1510.. never seen him play solo before, > > and i imagine i am not alone in this. super fluid between keyboard and > > and piano insides.. from subtle timbral/harmonic stuff on the strings > > to really notey lines and clusters his improvising had a strong sense > > of character and continuity, which i think is pretty special with such > > a range. really cool abrupt percussive accents.. i think though that > > it was his interesting sense of harmony that kind of tied all of his > > wide vocabulary together and made each piece very personal. even the > > most abstract parts had a thoughtful attention to harmony. more and > > more i think that this is important no matter how abstract the music > > you are playing is-- you can ignore pitch completely if you want, but > > that just ends up meaning that you create shitty harmonies, or boring > > ones. happy birthday scott and congrats on such a great set! > > _______________________________________________ > > Bay Area New Music Discussion Group > > NewMusic at music.mills.edu > > http://music.mills.edu/mailman/listinfo/newmusic > > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic _________________________________________________________________ Need to know the score, the latest news, or you need your Hotmail?-get your "fix". http://www.msnmobilefix.com/Default.aspx From katttsammon at hotmail.com Fri Mar 7 01:25:17 2008 From: katttsammon at hotmail.com (Kattt Sammon) Date: Fri, 7 Mar 2008 01:25:17 -0800 Subject: [NewMusic] scott looney turns 24 In-Reply-To: <47CFAF1C.9070507@perkis.com> References: <317505170803052249k2ef88a93kdb0ebfd3b4f852cb@mail.gmail.com> <47CFAF1C.9070507@perkis.com> Message-ID: addendum: i meant "well deserved" and not "more than deserved". oh the hex for a gal sending emails later than 1am on too much adrenaline (after a good opening night of pow!) oh damn again, i thought i was off this needle of banm. poof kattt From: katttsammon at hotmail.com To: tim at perkis.com; newmusic at music.mills.edu Subject: RE: [NewMusic] scott looney turns 24 Date: Fri, 7 Mar 2008 01:20:27 -0800 tim ava scott et al so i'm thinking...<>.... of the seinfeld episode where george does the opposite of his natural instinct....and with that experiences success & respect....so i recommend to scott's "neu" year ("year of the rat") for him to *committ* to being *just an asshole*. that will bring fame and success. more than deserved. i agree, scott's solo sets have been beautiful.... oh man i thought i was off the needle years ago (needle = posting to banm = oh no i hit send). kattt > Date: Thu, 6 Mar 2008 00:45:16 -0800 > From: tim at perkis.com > To: newmusic at music.mills.edu > Subject: Re: [NewMusic] scott looney turns 24 > > I'm sorry I missed this set but based on the last times I've heard him > play solo, I want to concur -- he's amazing, it's really incredible what > he does inside/outside the piano, and I don't understand why he isn't > actually famous, really. > > Maybe he needs to give out more comps and insult more writers, or > whatever crazy mind-fuck shit Zorn is up to -- but more people should > hear what Looney is doing > > T > > > > Ava Mendoza wrote: > > just wanted to pop in and mention that scott looney played a really > > terrific solo set tonight at 1510.. never seen him play solo before, > > and i imagine i am not alone in this. super fluid between keyboard and > > and piano insides.. from subtle timbral/harmonic stuff on the strings > > to really notey lines and clusters his improvising had a strong sense > > of character and continuity, which i think is pretty special with such > > a range. really cool abrupt percussive accents.. i think though that > > it was his interesting sense of harmony that kind of tied all of his > > wide vocabulary together and made each piece very personal. even the > > most abstract parts had a thoughtful attention to harmony. more and > > more i think that this is important no matter how abstract the music > > you are playing is-- you can ignore pitch completely if you want, but > > that just ends up meaning that you create shitty harmonies, or boring > > ones. happy birthday scott and congrats on such a great set! > > _______________________________________________ > > Bay Area New Music Discussion Group > > NewMusic at music.mills.edu > > http://music.mills.edu/mailman/listinfo/newmusic > > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Need to know the score, the latest news, or you need your Hotmail?-get your "fix". Check it out. _________________________________________________________________ Connect and share in new ways with Windows Live. http://www.windowslive.com/share.html?ocid=TXT_TAGHM_Wave2_sharelife_012008 From liberatednsf at yahoo.com Sat Mar 8 14:14:00 2008 From: liberatednsf at yahoo.com (andrew wilshusen) Date: Sat, 8 Mar 2008 14:14:00 -0800 (PST) Subject: [NewMusic] dc hum when recording? Message-ID: <440869.21739.qm@web30502.mail.mud.yahoo.com> I'm trying to use a condensor mic needing phantom power with an ART tube-MP pre-amp. There is more than acceptable DC hum like it's not grounded (it even buzzes if you touch the mic). I have two different mics but they both need phantom and it's buzzing with both. Anybody know a way to get rid of this? thanks, andrew Ev oida oti oudev oida http://www.andrewwilshusen.com http://oudevoida.blogspot.com ____________________________________________________________________________________ Be a better friend, newshound, and know-it-all with Yahoo! Mobile. Try it now. http://mobile.yahoo.com/;_ylt=Ahu06i62sR8HDtDypao8Wcj9tAcJ From olorin at lmi.net Sat Mar 8 17:44:15 2008 From: olorin at lmi.net (olorin at lmi.net) Date: Sat, 08 Mar 2008 17:44:15 -0800 Subject: [NewMusic] scott turns 24 (not) In-Reply-To: References: Message-ID: <20080308174415.sssv6wh6skss0c8s@webmail.lmi.net> scott sez: awwwww...you're makin' me blush...thanks very much for all the kind words. as for why i'm not more well known, i think it's due to a good musician/ bad businessman/publicist mentality. if i wanted to go more into debt i could put out a CD but i've always been unwilling to have 425 CDs out of a run of 500 i have to find a home for after a year or so. however, i guess i could manage to give out a plug or two for myself, occasionally, and i might as well start now: for those of you who'd like to hear more of the piano stuff. i do have a new solo CD-R, Repercussions, available from Edgetone or downloadable from Emusic, and even on Itunes. here's the eMusic link: http://www.emusic.com/album/Scott-Looney-Repercussions-MP3-Download/11105152.html -------------------------- plus 3 other offerings with groups: The Sale of Tickets for Money was Abolished (2001) w/ Tony Bevan and Damon Smith - not available in print - only online: eMusic: http://www.emusic.com/album/Tony-Bevan-The-Sale-of-Tickets-For-Money-Was-Abolished-MP3-Download/10996560.html ----------------------------- Untitled - 1959 (2006) w/ Aurora Josephson, Ariel Shibolet, Jen Baker, and Damon Smith. CDBaby: http://cdbaby.com/cd/sslbj ----------------------------- No Way Back (2007) - w/ Jon Raskin and Henry Kaiser http://www.emusic.com/album/Henry-Kaiser-Scott-R-Looney-Jon-Raskin-No-Way-Back-MP3-Download/11034813.html (i do electronics on this one as well) ------------------------------ 2 recordings of a Fantasy Recording session w Henry/ Alexi Pliousnine, Marco Eneidi, Jon Raskin, Damon Smith, John Hanes, and Gino Robair: http://www.emusic.com/album/Henry-Kaiser-Alexei-Pliousine-with-Marco-Eneidi-Indestructible-Fantasy-MP3-Download/11034817.html http://www.emusic.com/album/Henry-Kaiser-Alexei-Pliousine-with-Marco-Eneidi-Invincible-Fantasy-MP3-Download/11034811.html ------------------------------- And if you like my electronics as well there's always Yellowcake w/ Gino and Jacob Lindsay: http://www.emusic.com/album/Yellowcake-Yellowcake-MP3-Download/11056154.html ------------------------------- and quite soon - a limited edition CD-R print w/ Elliott Levin, Damon Smith and Weasel Walter from 2006. if you like blowout free jazz and poetry, look no further, "Summer Rise Summer Set - Summaries' is your ticket to your abode of choice after you shuffle off this mortal coil. Also Coming in 2008 another limited edition of a 4tet with Frank Gratkowski, Damon and Kjell Nordeson. there - that's my self promo for the moment. thanks again for the kudos...returning you now to the usual discussion/banter. scott From michaelz at zoka.com Sun Mar 9 11:37:17 2008 From: michaelz at zoka.com (Michael Zelner) Date: Sun, 9 Mar 2008 10:37:17 -0800 Subject: [NewMusic] Bassist Paul Rogers on improvised music Message-ID: From a 2002 interview: "People have this idea that improvised music is about making funny sounds, breaking glass or whatever, which is pathetic. It's like saying 'Classical music - that's Beethoven isn't it?' or 'Jazz - that's Stan Getz or Kenny Ball isn't it?' Of course it isn't just one thing, there are millions of sounds and ideas. Unfortunately, there's no money in this business, so the criminals who run the live music scene have completely written us improvisers out of music history. In this country there is no decent funding from the government for improvised music. Most of the Arts Council's money goes to classical music and the upper classes who set it up want to keep the status quo for themselves. But it all has to change because if it doesn't, well, it will all go down the toilet. We need to educate people properly, we need to nurture originality and individuality, not applaud the imitative and mediocre! Things have steadily declined now to the point where great musicians have given up playing original music because there's no money or support - and what kind of society is that? Artists are important, they reflect their society." Full interview: From pgsaxo at pacbell.net Sun Mar 9 11:26:29 2008 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Sun, 9 Mar 2008 11:26:29 -0700 (PDT) Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: Message-ID: <18157.79162.qm@web81402.mail.mud.yahoo.com> bListers, I wonder if this statement still rings with the same weight that it had in 2002. Clearly we are a long way from the Halcyon Days, and find that the under-served musical visionaries continue to scrape the bottom of the well for whatever funding they might find. But.... I was reading that Alicia Keyes (sp?) new album, which is on the Top 10 Billboard charts has only sold about 60,000 copies so far. I know that sounds like a lot, but for those kinds of projects it is a really bad turnout. Those kinds of albums (her disc came out almost two month ago) are usually "shipping gold" by this time (meaning they have sold a million and are pressing the second million - forgive the industry terminology - it came over me like a bad case of the flu). I am hoping that the download thing has de-railed BIG record sales for good. And that "the industry" will stop investing all the hundreds of thousands of dollars they usually spend on these kinds of artists, and will instead spread the wealth, so to speak. But I am hopelessly naive AND optimistic and perhaps completely foolish to believe such a thing. Nonetheless, the big record labels are really desperate these days, A&R "players" are getting fired right and left - and that all sounds good to me. PG Michael Zelner wrote: From a 2002 interview: "People have this idea that improvised music is about making funny sounds, breaking glass or whatever, which is pathetic. It's like saying 'Classical music - that's Beethoven isn't it?' or 'Jazz - that's Stan Getz or Kenny Ball isn't it?' Of course it isn't just one thing, there are millions of sounds and ideas. Unfortunately, there's no money in this business, so the criminals who run the live music scene have completely written us improvisers out of music history. In this country there is no decent funding from the government for improvised music. Most of the Arts Council's money goes to classical music and the upper classes who set it up want to keep the status quo for themselves. But it all has to change because if it doesn't, well, it will all go down the toilet. We need to educate people properly, we need to nurture originality and individuality, not applaud the imitative and mediocre! Things have steadily declined now to the point where great musicians have given up playing original music because there's no money or support - and what kind of society is that? Artists are important, they reflect their society." Full interview: _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From weaselw at juno.com Sun Mar 9 11:48:22 2008 From: weaselw at juno.com (weasel walter) Date: Sun, 9 Mar 2008 11:48:22 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music Message-ID: <20080309.114823.2328.23.weaselw@juno.com> >We need to educate people properly, we need to nurture originality and individuality, not applaud the > imitative and mediocre! Things have steadily declined now to the > point where great musicians have given up playing original music > because there's no money or support - and what kind of society is > that? Artists are important, they reflect their society." his answer is right there - the dominant culture (i.e. artists that are mainstream) does indeed reflect their society - a cavalcade of the imitative and mediocre. the public gets what the public deserves: a shit sandwich. i eventually gave up trying to make the highly complex composed group music i was doing for the exact reason he notes - no significant money or support. the futility of constantly banging my head against the wall trying to survive mentally and financially doing that was becoming too painful for me so i just stopped. my rationale for stopping eventually drifted around to the old "that's life" excuse. if i can't figure out how to do what i want to do, the reality of it is that it's my tough luck, not society's onus. i imagine there are some people that would probably like to get paid to eat ice cream sudaes, but the current job market doesn't really support that position either. people voted with their wallets and the verdict is "we, society, don't want or need your highly complex composed group music." ok then! thanks for nothing assholes. ha ha ha. regardless, there are other things (even musical) to do with one's life than waste time being a martyr. in the case of the music i don't make any more, one might argue either that a tree fell in a forest and nobody heard it, or that it's somehow a loss for society, but i think in a 100 years nobody's going to remember much of what happened anyhow, so fuck it. i could have been a contender. ww From weaselw at juno.com Sun Mar 9 11:57:47 2008 From: weaselw at juno.com (weasel walter) Date: Sun, 9 Mar 2008 11:57:47 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music Message-ID: <20080309.115748.2328.25.weaselw@juno.com> > I was reading that Alicia Keyes (sp?) new album, which is on the > Top 10 Billboard charts has only sold about 60,000 copies so far. dude, she sold 60,000 copies in a WEEK! my heart bleeds for that. there's too people playing "musician" right now glutting the market with all their aural crap and this is some sort of natural selection. we're all going to be getting hit pretty hard by these conditions. the only way the music scene is going to reach new equilibrium is by making it so tough for musicians to survive that nobody wants to do it anymore and the superfluous hangers-on drop like flies. the only way music will be cool again is by becoming so uncool that only the people that really have to do it are doing it. henry kaiser said to me a few weeks ago, "brace yourself - it's going to suck for about 10 years". given his four decade observation of the ups and downs of the music biz, i believe he might know something i don't know about this whole mess. brace yourself for survival conditions. ww From pgsaxo at pacbell.net Sun Mar 9 12:05:06 2008 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Sun, 9 Mar 2008 12:05:06 -0700 (PDT) Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: <20080309.115748.2328.25.weaselw@juno.com> Message-ID: <114583.12837.qm@web81402.mail.mud.yahoo.com> No, I'm pretty sure the article said that her sales (at that point, which was about a month after initial release) were at 60,000. I know that's a LOT more than any of us sell, and I wasn't feeling sorry for her...no way! - Merely pointing out that the difference between "us and them" (I hate that way of looking at things) isn't quite as radical as it was even a year ago. And yes, Henry is right. Just look at the deficit Bush has run up. It's going to take a long time and a long recession before the economy changes for the better. But I'm actually not worried - I don't have investments, I don't own real estate - I could care less if the middle class takes a nose dive. They deserve it for sleeping through the murderous rampage of Bush the Second... PG weasel walter wrote: > I was reading that Alicia Keyes (sp?) new album, which is on the > Top 10 Billboard charts has only sold about 60,000 copies so far. dude, she sold 60,000 copies in a WEEK! my heart bleeds for that. there's too people playing "musician" right now glutting the market with all their aural crap and this is some sort of natural selection. we're all going to be getting hit pretty hard by these conditions. the only way the music scene is going to reach new equilibrium is by making it so tough for musicians to survive that nobody wants to do it anymore and the superfluous hangers-on drop like flies. the only way music will be cool again is by becoming so uncool that only the people that really have to do it are doing it. henry kaiser said to me a few weeks ago, "brace yourself - it's going to suck for about 10 years". given his four decade observation of the ups and downs of the music biz, i believe he might know something i don't know about this whole mess. brace yourself for survival conditions. ww _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From weaselw at juno.com Sun Mar 9 12:19:44 2008 From: weaselw at juno.com (weasel walter) Date: Sun, 9 Mar 2008 12:19:44 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music Message-ID: <20080309.121945.2328.27.weaselw@juno.com> > No, I'm pretty sure the article said that her sales (at that point, > which was about a month after initial release) were at 60,000. incorrect, viz. http://www.billboard.com/bbcom/news/article_display.jsp?vnu_content_id=10 03676535 "Alicia Keys storms The Billboard 200 this week with "As I Am" (J), which debuts at No. 1 after selling 742,000 copies in the United States, according to Nielsen SoundScan. That's the best sales week for a solo female artist since Norah Jones' "Feels Like Home" shifted 1 million copies in 2004." and that's from january, so i'm sure she's close to a million. that record was a blockbuster. ww From matthew at matthewgoodheart.com Sun Mar 9 14:47:56 2008 From: matthew at matthewgoodheart.com (Matthew Goodheart) Date: Sun, 9 Mar 2008 14:47:56 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: <20080309.115748.2328.25.weaselw@juno.com> References: <20080309.115748.2328.25.weaselw@juno.com> Message-ID: <4EA7301B-EB69-42F2-936A-931A29DB4A0D@matthewgoodheart.com> On Mar 9, 2008, at 11:57 AM, weasel walter wrote: > this is some sort of natural selection. we're > all going to be getting hit pretty hard by these conditions. the > only way > the music scene is going to reach new equilibrium is by making it so > tough for musicians to survive that nobody wants to do it anymore > and the > superfluous hangers-on drop like flies. the only way music will be > cool > again is by becoming so uncool that only the people that really have > to > do it are doing it. Or maybe the only ones left will be sociopaths and wealthy dilettantes. Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart From weaselw at juno.com Sun Mar 9 14:55:31 2008 From: weaselw at juno.com (weasel walter) Date: Sun, 9 Mar 2008 14:55:31 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music Message-ID: <20080309.145532.2328.30.weaselw@juno.com> > Or maybe the only ones left will be sociopaths and wealthy > dilettantes. exactly my point. ww From matthew at matthewgoodheart.com Sun Mar 9 15:00:27 2008 From: matthew at matthewgoodheart.com (Matthew Goodheart) Date: Sun, 9 Mar 2008 15:00:27 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: <20080309.145532.2328.30.weaselw@juno.com> References: <20080309.145532.2328.30.weaselw@juno.com> Message-ID: Hmmm. . . the romance of mental illness dissipated for me some years ago. . . On Mar 9, 2008, at 2:55 PM, weasel walter wrote: >> Or maybe the only ones left will be sociopaths and wealthy >> dilettantes. > > exactly my point. > > ww > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart From weaselw at juno.com Sun Mar 9 15:17:58 2008 From: weaselw at juno.com (weasel walter) Date: Sun, 9 Mar 2008 15:17:58 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music Message-ID: <20080309.151759.2328.31.weaselw@juno.com> i'm not romanticizing mental illness at all. i want less shitty music in the world and i believe that it may eventually come down to the two extremes you've cited. much of my favorite music seems to have come from extremists and borderline "sociopaths". sadly, we generally do not and cannot care about their personal problems - we care about their musical output. i might love their music but i may not want to loan them money or let them crash on my couch or whatever. ww On Sun, 9 Mar 2008 15:00:27 -0700 Matthew Goodheart writes: > Hmmm. . . the romance of mental illness dissipated for me some years > > ago. . . > From matthew at matthewgoodheart.com Sun Mar 9 15:45:15 2008 From: matthew at matthewgoodheart.com (Matthew Goodheart) Date: Sun, 9 Mar 2008 15:45:15 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: <20080309.151759.2328.31.weaselw@juno.com> References: <20080309.151759.2328.31.weaselw@juno.com> Message-ID: <7635B260-AE10-4EE5-AC44-9DAAF6DFD93B@matthewgoodheart.com> On Mar 9, 2008, at 3:17 PM, weasel walter wrote: > i'm not romanticizing mental illness at all. i want less shitty > music in > the world and i believe that it may eventually come down to the two > extremes you've cited. Point taken, though I'm not so psyched about it, as I think it destroys some great artists. > much of my favorite music seems to have come from extremists and > borderline "sociopaths". Some of mine too, but certainly not all of it. I can only speak for myself, but there came a point where I felt the highly romanticized and maniacal energy substituted for insight or some supposed deep aesthetic; once the force of the charismatic energy was transparent, there was less backing it up than was purported to be there. I came to hear around the edges of them music that there was more illusion than depth. Consequently, music that did not engage itself with this same seductive energy became more significant and I heard it in a more detailed and significant way; the more startling revelation was the one which did not shout at you, but rather proceeded unnoticed and allowed you to discover it. The power of the sleeping giant. Of course everyone's craziness plays into the music they make, but craziness does not equal depth, and disturbance does make one more or less of an artist. Unfortunately, we live in an adolescent nature of our culture romanticizes it and promulgates itself on such simplistic equations. But that's just my take- and its a cultural criticism, not one of your particular aesthetics. > sadly, we generally do not and cannot care about > their personal problems - we care about their musical output. i might > love their music but i may not want to loan them money or let them > crash > on my couch or whatever. > > ww > > On Sun, 9 Mar 2008 15:00:27 -0700 Matthew Goodheart > writes: >> Hmmm. . . the romance of mental illness dissipated for me some years >> >> ago. . . >> > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart From luke at westbrookmusic.net Sun Mar 9 22:34:24 2008 From: luke at westbrookmusic.net (luke at westbrookmusic.net) Date: Sun, 09 Mar 2008 22:34:24 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music (Luke Westbrook) Message-ID: I think to properly analyze this predicament or chasm between artistic integrity and daily bread, you have take a really broad view. I think for the most part when you trace music back to its roots you find that in practice it was much more integrated into daily living, more of a collective expression that required and included everyone in a community. I would also wager a bet that when the music making was over even the more skilled musicians in the "tribe" had to till the fields. This of course gave way in time to "specialization". I will spare you the amateur history lesson and skip ahead to our present condition where every person is a culture of one and enjoys a sort of independence that could never have been possible before now. I would argue that to be "Avante Garde" is to be at the cutting edge of your own ideas, it is a sort of conscious divorce from the collective. I would say there is a trend in human history towards ultimate individuation. You can see it in music most clearly in cases where the person controls every aspect of their artistic and entrepreneurial process from conception to distribution. I think anyone in this tough business knows the price you pay for walking a path away from the tribe, its harder to find food alone. Fame and recognition are also inexorably wrapped into this "problem". We have all been indoctrinated equate fame with success to some degree. To be honest I don't know what solutions to offer. I have the suspicion though that there needs to be a paradigm shift in order for music making to survive into the 21st century. Luke Westbrook --- luke at westbrookmusic.net http://www.westbrookmusic.net/ http://www.myspace.com/lukewestbrooktrio http://www.youtube.com/Westbrookmusic From jon_raskin at yahoo.com Mon Mar 10 03:21:34 2008 From: jon_raskin at yahoo.com (jon_raskin at yahoo.com) Date: Mon, 10 Mar 2008 10:21:34 +0000 Subject: [NewMusic] Bassist Paul Rogers on improvised music (LukeWestbrook) In-Reply-To: References: Message-ID: <883844934-1205144650-cardhu_decombobulator_blackberry.rim.net-1398047379-@bxe019.bisx.prod.on.blackberry> I would posit community, which at this point in the bay area, is strong and vibrant in terms of the quality of ideas, music and the number of people that organize concerts and series. The market place isn't the only gathering place, and the individual being a loner because the task of self discovery and the work of creating art doesn't mean not coming to the "commons". . Nuture and struggle are intertwined for me and striving for music truth is not the path of least resistance. The cumpulstion and joy I find in it is hard to quantify as it is hard to undertand that so many don't share the same enthusiasm. The has to be a bit of tilting at windmills and, as we joke in Rova, banging your head against a wall" to get a perspective. Sent from my Verizon Wireless BlackBerry -----Original Message----- From: "luke at westbrookmusic.net" Date: Sun, 09 Mar 2008 22:34:24 To: Subject: Re: [NewMusic] Bassist Paul Rogers on improvised music (Luke Westbrook) I think to properly analyze this predicament or chasm between artistic integrity and daily bread, you have take a really broad view. I think for the most part when you trace music back to its roots you find that in practice it was much more integrated into daily living, more of a collective expression that required and included everyone in a community. I would also wager a bet that when the music making was over even the more skilled musicians in the "tribe" had to till the fields. This of course gave way in time to "specialization". I will spare you the amateur history lesson and skip ahead to our present condition where every person is a culture of one and enjoys a sort of independence that could never have been possible before now. I would argue that to be "Avante Garde" is to be at the cutting edge of your own ideas, it is a sort of conscious divorce from the collective. I would say there is a trend in human history towards ultimate individuation. You can see it in music most clearly in cases where the person controls every aspect of their artistic and entrepreneurial process from conception to distribution. I think anyone in this tough business knows the price you pay for walking a path away from the tribe, its harder to find food alone. Fame and recognition are also inexorably wrapped into this "problem". We have all been indoctrinated equate fame with success to some degree. To be honest I don't know what solutions to offer. I have the suspicion though that there needs to be a paradigm shift in order for music making to survive into the 21st century. Luke Westbrook --- luke at westbrookmusic.net http://www.westbrookmusic.net/ http://www.myspace.com/lukewestbrooktrio http://www.youtube.com/Westbrookmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From jon_raskin at yahoo.com Mon Mar 10 03:43:44 2008 From: jon_raskin at yahoo.com (jon_raskin at yahoo.com) Date: Mon, 10 Mar 2008 10:43:44 +0000 Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: <7635B260-AE10-4EE5-AC44-9DAAF6DFD93B@matthewgoodheart.com> References: <20080309.151759.2328.31.weaselw@juno.com><7635B260-AE10-4EE5-AC44-9DAAF6DFD93B@matthewgoodheart.com> Message-ID: <1310214977-1205145886-cardhu_decombobulator_blackberry.rim.net-1212181980-@bxe019.bisx.prod.on.blackberry> The needs and frame work of the listener enters into this for me. When I first heard Coltrane it was the record "Om" and I heard boundries that were shattered. Now I hear oranization and how his language on tenor is utilized in the framework of the group and context he has deployed. It was wild and dangerous for me and opened my ears and mind. Since I didn't know the context of it how it even existed was unfathonable and craziness had to be a part of it. Sent from my Verizon Wireless BlackBerry -----Original Message----- From: Matthew Goodheart Date: Sun, 9 Mar 2008 15:45:15 To:Bay Area New Music Discussion Group Subject: Re: [NewMusic] Bassist Paul Rogers on improvised music On Mar 9, 2008, at 3:17 PM, weasel walter wrote: > i'm not romanticizing mental illness at all. i want less shitty > music in > the world and i believe that it may eventually come down to the two > extremes you've cited. Point taken, though I'm not so psyched about it, as I think it destroys some great artists. > much of my favorite music seems to have come from extremists and > borderline "sociopaths". Some of mine too, but certainly not all of it. I can only speak for myself, but there came a point where I felt the highly romanticized and maniacal energy substituted for insight or some supposed deep aesthetic; once the force of the charismatic energy was transparent, there was less backing it up than was purported to be there. I came to hear around the edges of them music that there was more illusion than depth. Consequently, music that did not engage itself with this same seductive energy became more significant and I heard it in a more detailed and significant way; the more startling revelation was the one which did not shout at you, but rather proceeded unnoticed and allowed you to discover it. The power of the sleeping giant. Of course everyone's craziness plays into the music they make, but craziness does not equal depth, and disturbance does make one more or less of an artist. Unfortunately, we live in an adolescent nature of our culture romanticizes it and promulgates itself on such simplistic equations. But that's just my take- and its a cultural criticism, not one of your particular aesthetics. > sadly, we generally do not and cannot care about > their personal problems - we care about their musical output. i might > love their music but i may not want to loan them money or let them > crash > on my couch or whatever. > > ww > > On Sun, 9 Mar 2008 15:00:27 -0700 Matthew Goodheart > writes: >> Hmmm. . . the romance of mental illness dissipated for me some years >> >> ago. . . >> > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From matthew at matthewgoodheart.com Mon Mar 10 15:46:35 2008 From: matthew at matthewgoodheart.com (Matthew Goodheart) Date: Mon, 10 Mar 2008 15:46:35 -0700 Subject: [NewMusic] NY Times op ed Message-ID: <8BCEF5A0-1847-40D1-B262-5874D0986C41@matthewgoodheart.com> more grist for the milll http://tinyurl.com/yptdsn Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart From mattdavignon at gmail.com Mon Mar 10 16:09:09 2008 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 10 Mar 2008 16:09:09 -0700 Subject: [NewMusic] NY Times op ed In-Reply-To: <8BCEF5A0-1847-40D1-B262-5874D0986C41@matthewgoodheart.com> References: <8BCEF5A0-1847-40D1-B262-5874D0986C41@matthewgoodheart.com> Message-ID: Nope, it doesn't get to be grist for the mill if we need to create an account with the nyt before we can read it. It's sub-grist. Matt On Mon, Mar 10, 2008 at 3:46 PM, Matthew Goodheart wrote: > more grist for the milll > > http://tinyurl.com/yptdsn > > > Matthew Goodheart > composer ~ improviser ~ pianist > matthew at matthewgoodheart.com > http://matthewgoodheart.com > http://myspace.com/matthewgoodheart > > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From bradysharp at gmail.com Mon Mar 10 16:28:34 2008 From: bradysharp at gmail.com (Brady Sharp) Date: Mon, 10 Mar 2008 18:28:34 -0500 Subject: [NewMusic] NY Times op ed In-Reply-To: References: <8BCEF5A0-1847-40D1-B262-5874D0986C41@matthewgoodheart.com> Message-ID: It works for me! Used without permission! WHY should real musicians ? the ones who can actually play their instruments ? have all the fun? Some years ago, a group of frustrated people in Scotland decided that the pleasure of playing in an orchestra should not be limited to those who are good enough to do so, but should be available to the rankest of amateurs. So we founded the Really Terrible Orchestra, an inclusive orchestra for those who really want to play, but who cannot do so very well. Or cannot do so at all, in some cases. My own playing set the standard. I play the bassoon, even if not quite the whole bassoon. I have never quite mastered C-sharp, and I am weak on the notes above the high D. In general, I leave these out if they crop up, and I find that the effect is not unpleasant. I am not entirely untutored, of course, having had a course of lessons in the instrument from a music student who looked quietly appalled while I played. Most of the players in the orchestra are rather like this; they have learned their instruments at some point in their lives, but have not learned them very well. Now such people have their second chance with the Really Terrible Orchestra. The announcement of the orchestra's founding led to a great wave of applications to join. Our suspicion that there were many people yearning to play in an orchestra but who were too frightened or too ashamed to do anything about it, proved correct. There was no audition, of course, although we had toyed with the idea of a negative audition in which those who were too good would be excluded. This proved to be unnecessary. Nobody like that applied to join. Some of the members were very marginal musicians, indeed. One of the clarinet players, now retired from the orchestra for a period of re-evaluation, stopped at the middle B-flat, before the instrument's natural break. He could go no higher, which was awkward, as that left him very few notes down below. Another, a cellist, was unfortunately very hard of hearing and was also hazy on the tuning of the strings. As an aide-m?moire, he had very sensibly written the names of the notes in pencil on the bridge. This did not appear to help. At the outset, we employed a professional conductor, which is a must for anybody who is reading this and who is already planning to start a similar orchestra. Find somebody who is tolerant and has a sense of humor. The conductor also has to be sufficiently confident to be associated with something called the Really Terrible Orchestra; after all, it does go on the r?sum?. Our initial efforts were dire, but we were not discouraged. Once we had mastered a few pieces ? if mastered is the word ? we staged a public concert. We debated whether to charge for admission, but wisely decided against this. That would be going too far. So should we go to the other extreme and pay people to come? There was some support for this, but we decided against it. Instead, we would give the audience several free glasses of wine before the concert. That, it transpired, helped a great deal. We need not have worried. Our first concert was packed, and not just with friends and relations. People were intrigued by the sheer honesty of the orchestra's name and came to see who we were. They were delighted. Emboldened by the rapturous applause, we held more concerts, and our loyal audience grew. Nowadays, when we give our annual concert at the Edinburgh Festival Fringe, the hall is full to capacity with hundreds of music-lovers. Standing ovations are two-a-penny. "How these people presume to play in public is quite beyond me," wrote one critic in The Scotsman newspaper. And another one simply said "dire." Well, that may be so, but we never claimed to be anything other than what we are. And we know that we are dire; there's no need to state the obvious. How jejune these critics can be! Even greater heights were scaled. We made a CD and to our astonishment people bought it. An established composer was commissioned to write a piece for us. We performed this and recorded it at a world premiere, conducted by the astonished composer himself. He closed his eyes. Perhaps he heard the music in his head, as it should have been. This would have made it easier for him. There is now no stopping us. We have become no better, but we plow on regardless. This is music as therapy, and many of us feel the better for trying. We remain really terrible, but what fun it is. It does not matter, in our view, that we sound irretrievably out of tune. It does not matter that on more than one occasion members of the orchestra have actually been discovered to be playing different pieces of music, by different composers, at the same time. I, for one, am not ashamed of those difficulties with C-sharp. We persist. After all, we are the Really Terrible Orchestra, and we shall go on and on. Amateurs arise ? make a noise. Alexander McCall Smith is the author of the forthcoming novel "The Miracle at Speedy Motors." On Mon, Mar 10, 2008 at 6:09 PM, Matt Davignon wrote: > Nope, it doesn't get to be grist for the mill if we need to create an > account with the nyt before we can read it. It's sub-grist. > > Matt > > > > On Mon, Mar 10, 2008 at 3:46 PM, Matthew Goodheart > wrote: > > more grist for the milll > > > > http://tinyurl.com/yptdsn > > > > > > Matthew Goodheart > > composer ~ improviser ~ pianist > > matthew at matthewgoodheart.com > > http://matthewgoodheart.com > > http://myspace.com/matthewgoodheart > > > > > > > > > > _______________________________________________ > > 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 itzat at earthlink.net Mon Mar 10 17:49:15 2008 From: itzat at earthlink.net (Ernesto Diaz-Infante) Date: Mon, 10 Mar 2008 16:49:15 -0800 Subject: [NewMusic] SF Premiere, My Name is Albert Ayler, at the Red Vic Mar 9 - 11 Message-ID: <47D5D70B.6010305@earthlink.net> hey Everybody, I really enjoyed this! i think it's worth seeing . . . ernesto Red Vic Movie House 1727 Haight St. San Francisco, CA 94117 http://www.redvicmoviehouse.com http://www.myspace.com/redvicmoviehouse My Name Is Albert Ayler Dir. Kasper Collin (Sweden, 2005. 79min; DVCam) http://www.mynameisalbertayler.com/ Director Kasper Collin is scheduled to be present at each screening for Q&A. SYNOPSIS: My Name is Albert Ayler is a new documentary about the prophetic free jazz saxophonist Albert Ayler, who today is seen as one of the most important innovators in jazz. Ayler was obsessed with his radical music and by the thought that people one day would understand it, as he said in his own words ?If people don't like it now, they will." In 1962 he recorded his first album in Sweden. Eight years later he was found dead in New York's East River, aged 34. The documentary follows the trail of Albert Ayler from his native town of Cleveland to New York by way of Sweden, meeting family, friends and colleagues who help tell the story of his life and music. Ayler himself guides us with his voice and music. Seven years in the making, the film includes newly discovered footage of Albert Ayler and his band. "Remarkable!" - The New Yorker ?Beautiful feature debut ... brings Ayler and his message of spiritual unity back to life" - The Village Voice ?Heartbreaking as it is, this film is a rarity and not to be missed.?- All About Jazz SHOWTIMES: Sunday: 2:00, 4:00, 7:15, 9:15 Monday and Tuesday: 7:15, 9:15 TICKETS: Regular $8.50, $6.50 at 2:00 bargain matinees, $5 for seniors and children at all times. Advanced tickets available starting March 2 at http://www.redvicmoviehouse.com -- _____________________________________ http://www.myspace.com/diazinfante From michaelz at zoka.com Mon Mar 10 16:48:12 2008 From: michaelz at zoka.com (Michael Zelner) Date: Mon, 10 Mar 2008 16:48:12 -0700 Subject: [NewMusic] NY Times op ed In-Reply-To: <8BCEF5A0-1847-40D1-B262-5874D0986C41@matthewgoodheart.com> References: <8BCEF5A0-1847-40D1-B262-5874D0986C41@matthewgoodheart.com> Message-ID: On 3/10/08, Matthew Goodheart wrote: >more grist for the milll > >http://tinyurl.com/yptdsn I read this yesterday, and immediately thought of the Portsmouth Sinfonia: I suppose the moral of the story is either: (1) Everything old is new again; or (2) There is no monopoly on bad musicianship. MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From michaelz at zoka.com Mon Mar 10 16:49:19 2008 From: michaelz at zoka.com (Michael Zelner) Date: Mon, 10 Mar 2008 16:49:19 -0700 Subject: [NewMusic] Your brain on improv (cont'd.) Message-ID: The recent brain research news hit the AP wires today. Hey, if further studies are done, maybe we can get paid to be research subjects. MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From Damon at balancepointacoustics.com Wed Mar 12 01:38:59 2008 From: Damon at balancepointacoustics.com (Damon Smith) Date: Wed, 12 Mar 2008 01:38:59 -0700 Subject: [NewMusic] Bassist Paul Rogers on improvised music In-Reply-To: <1310214977-1205145886-cardhu_decombobulator_blackberry.rim.net-1212181980-@bxe019.bisx.prod.on.blackberry> References: <20080309.151759.2328.31.weaselw@juno.com><7635B260-AE10-4EE5-AC44-9DAAF6DFD93B@matthewgoodheart.com> <1310214977-1205145886-cardhu_decombobulator_blackberry.rim.net-1212181980-@bxe019.bisx.prod.on.blackberry> Message-ID: Paul Rogers is probably the bass player I get most excited about right now, he is doing great things with his 7 string bass. But, I am not so into complaining or worrying about the situation for the music. It is best just to work on your music and make personal connections with musicians you like from around the world. Improvised music shows no sign of stopping or slowing down regardless of funding. I am in Israel right now for the third time, the first time I came there was not much happening in Haifa, it was mostly centered in Tel Aviv, this time I have been in Haifa for a week, and there is a good, strong scene here that came together in just a few years. We had a good audience at a concert and two workshops. Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From itzat at earthlink.net Fri Mar 14 19:43:12 2008 From: itzat at earthlink.net (Ernesto Diaz-Infante) Date: Fri, 14 Mar 2008 18:43:12 -0800 Subject: [NewMusic] Fwd: Dorothy Stone, 49, new music composer & Memorial Service Message-ID: <47DB37C0.90201@earthlink.net> Dorothy Stone, 49, new music composer VIRTUOSO FLUTIST DIRECTED PIECES By Chris Pasles Los Angeles Times Article Launched: 03/14/2008 01:36:57 AM PDT http://www.mercurynews.com/ci_8569675 Dorothy Stone, an award-winning composer and virtuoso flutist who in 1981 co-founded the new music ensemble the California EAR Unit, has died. She was 49. Stone was found dead March 7 by police at her home in Green Valley. No foul play is suspected, said her father, Jerome J. Stone of Kingston, Pa. Results of an autopsy are pending, he said. Dorothy Ann Stone was born June 7, 1958, in Kingston. She received a bachelor's degree in music from the Manhattan School of Music in New York, where she studied with Harvey Sollberger, and a master of fine arts from the California Institute of the Arts in Valencia. While at CalArts, she also studied composition with Stephen "Lucky" Mosko, Mel Powell, Leonard Stein and Morton Subotnick. She and Mosko married in 1989. During her performing career, Stone premiered solo works throughout the United States and Europe and was showcased on National Public Radio and WGBH's "Art of the States" program. She also built a special electronic system for her solo flute composition, "Wizard Ball," which received a Freeman Composition Award as well as prizes from the International League of Women Composers and the ARS Electronica festival in Brussels, Belgium. She recorded for Crystal, New Albion, Cambria and other labels and played on Subotnick's Voyager CD-ROM, "All My Hummingbirds Have Alibis," which was written for her and members of the EAR Unit. Her New World Records solo album, "None but the Lonely Flute," includes works composed for her by Milton Babbitt and Mosko, who wrote all of his flute music for her. Other composers who wrote for her include Rand Steiger, William Roper, Ann Millikan and Louis Andriessen. She and Mosko directed the U.S. premiere of Karlheinz Stockhausen's "Sternklang" for the Los Angeles Olympic Arts Festival in 1984. Mosko died at their Green Valley home in 2005 at age 58. The couple had no children. Subject: [alumni-special] Memorial Service for Dorothy Stone, Saturday, March 15, 2008 at 10:30 AM. From: alumni Date: 3:38 PM To: alumni-special at alum.calarts.edu Dear Friends and Colleagues, It is with combined feelings of sadness and respect that I write to inform our community of the passing of a generous and courageous colleague, Dorothy Stone. Dorothy was a unique spirit, a champion and extraordinary interpreter of contemporary music. She possessed a unique mind and exhibited inspiring tenacity. She was a flutist, composer and conductor consistently hailed for her virtuosic and persuasive interpretations of the latest in musical literature. We all mourn the tragic loss of a beautiful, creative soul who had been suffering enormous grief after the death of her beloved husband, Stephen ?Lucky? Mosko not long ago. The following is a brief biography. Dorothy Stone received her BM degree from the Manhattan School of Music, where she studied with Harvey Sollberger, and her MFA from CalArts. While at CalArts, she also studied composition with Stephen Mosko, Mel Powell, Leonard Stein and Morton Subotnick. For over 20 years she was the Artistic Director of the California EAR Unit, which she co-founded in 1981 and is the achievement of which she was certainly the most proud. During her performing career she appeared as soloist throughout the US and Europe as well as for NPR and WGBH's Art of the States program. She built a custom live electronic system for her solo flute composition, Wizard Ball, which received prizes from the International League of Women Composers, the Freeman Composition Award, and the ARS Electronica festival in Brussels. Dorothy recorded for Crystal, New Albion, Cambria, Newport Classics, OO Discs, Tzadik, CRI/Emergency, and Nonesuch. She appeared on Subotnick's Voyager CD-ROM, All My Hummingbirds Have Alibis, which was written for her and members of the EAR Unit. Her solo album for New World Records, None but the Lonely Flute, includes works by Milton Babbitt and Stephen Mosko written especially for her. Other composers who wrote for her include Rand Steiger, William Roper, Ann Millikan, and Louis Andriessen, whose piece for the EAR Unit, Zilver, was particularly intended for her. Her recording of Morton Feldman's, For Philip Guston, (with the EAR Unit) was awarded "Best Classical CD" by CDNow. Her late husband Stephen Mosko wrote all of his flute music for her and together they directed the US premiere of Stockhausen's Sternklang at the LA Olympic Arts Festival. David Rosenboom Dean, School of Music California Institute of the Arts Memorial Service for Dorothy Stone Saturday, March 15, 2008 at 10:30 AM. Eternal Valley Funeral Home at 23287 Sierra Highway. (From the south, take Interstate 5 north to the 14 Freeway. Take the first exit, which is San Fernando Road and turn left at the first signal, which is Sierra Highway. It will be on your right.) -- _____________________________________ http://www.myspace.com/diazinfante From pamelaz at pamelaz.com Sun Mar 16 00:01:11 2008 From: pamelaz at pamelaz.com (Pamela Z) Date: Sun, 16 Mar 2008 00:01:11 -0700 Subject: [NewMusic] Some Photos from Fall/Winter Posted at Last... In-Reply-To: References: Message-ID: <5425ACA9-45EA-4C44-913F-BC0F42A47D66@pamelaz.com> Really nice site. I think the design is very elegant and thoughtful! p Pamela Z Composer/Performer Contact info: Telephone: 415.861.EARS (415.861.3277) Mobile: 415.5PAMELA (415.572.6352) FAX: 415.861.FAKS (415.861.3257) (I forward my land line to my mobile phone when I'm travelling) pamelaz at pamelaz.com http://www.pamelaz.com http://www.myspace.com/pamelazcomposer Skype: pamelazed AIM: pamelazdotcom Snail Mail: Pamela Z Productions 540 Alabama Street Studio 213 San Francisco, CA 94110, USA shipping address (for packages larger than a 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://cdbaby.com http://www.amazon.com, http://www.starkland.com, and in stores near you. On Mar 2, 2008, at 3/2/08, 8:05 PM, ~ Aurora ~ wrote: > > Hi there, > > Been busy re-designing my website and finally got some events posted > from last Fall/Winter: > > http://www.aurorarising.com/phlog.html > > Please e-mail me with corrections and/or additional info. > > -- > Aurora Josephson > http://www.aurorarising.com > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From matt at sfsound.org Thu Mar 20 11:00:29 2008 From: matt at sfsound.org (matt) Date: Thu, 20 Mar 2008 11:00:29 -0700 Subject: [NewMusic] testing ignore Message-ID: <0936831F-3B78-4CFB-99B0-BF5FD6A49F9A@sfsound.org> sorry m@ From mhenry at crypticstudios.com Thu Mar 20 22:57:11 2008 From: mhenry at crypticstudios.com (Michael Henry) Date: Thu, 20 Mar 2008 22:57:11 -0700 Subject: [NewMusic] This is not a test....please don't ignore Message-ID: Not sorry either. ;-) -MH ---------------------------------------------------------------------- Message: 1 Date: Thu, 20 Mar 2008 11:00:29 -0700 From: matt Subject: [NewMusic] testing ignore To: newmusic at music.mills.edu Message-ID: <0936831F-3B78-4CFB-99B0-BF5FD6A49F9A at sfsound.org> Content-Type: text/plain; charset=US-ASCII; format=flowed sorry m@ ------------------------------ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic End of NewMusic Digest, Vol 23, Issue 14 **************************************** From mattdavignon at gmail.com Tue Mar 25 18:06:52 2008 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 25 Mar 2008 18:06:52 -0700 Subject: [NewMusic] Bass for David Chiesa Message-ID: Hi all, David Chiesa is playing at the LSG on April 24th. He's flying from France and needs to borrow a bass. Can anyone help out? Matt ---------- Forwarded message ---------- From: David Chiesa Date: Tue, Mar 25, 2008 at 3:19 PM Subject: Mathieu Werchowski/David Chiesa To: mattdavignon at gmail.com Hello ! We soon arrive with Mathieu Werchowski for our tour. The funding worked out ok !! Thanks for the letter ! I still have a request ! Do you know anyone that I could borrow a bass from ? It's very complicate and expensive to travel by plane with a bass, so the best for me is to find one there. The best would be to find one and keep all the way long, but if it's not possible let's see what we could do. Maybe rent one, but I don't know any place for that, can you help me ? Please let me know if you think about anything that could help. All the best David ====================== David Chiesa "Trocanard" Route des Versannes 24330 St Pierre de Chignac ====================== http://david.chiesa.free.fr david at ouiedire.com ---------------------------- Tel : +33(0)5 53 07 17 01 Mob. : +33(0)6 85 31 38 24 ________________ http://myspace.com/davidchiesa ---------------------------- http://lesrequinsmarteaux.over-blog.com/ www.supermarcheferraille.com http://makicom.com/ http://le.clou.free.fr http://ouiedire.com From dmichalak at sbcglobal.net Thu Mar 27 07:50:01 2008 From: dmichalak at sbcglobal.net (dmichalak) Date: Thu, 27 Mar 2008 07:50:01 -0700 Subject: [NewMusic] Stolen car References: Message-ID: <000001c8901a$2aea0b70$6501a8c0@eyefull01> My car was stolen at the Oakland Flea Mkt. last Friday. Luckily my guitar & gear weren't in the trunk like they usually are. If anybody has a small car for sale please contact me off list. Thanks, David From mylesaudio at aol.com Thu Mar 27 10:49:43 2008 From: mylesaudio at aol.com (mylesaudio at aol.com) Date: Thu, 27 Mar 2008 13:49:43 -0400 Subject: [NewMusic] Cosa Brava photos In-Reply-To: <000001c8901a$2aea0b70$6501a8c0@eyefull01> References: <000001c8901a$2aea0b70$6501a8c0@eyefull01> Message-ID: <8CA5E4A1274997E-BE8-1637@webmail-nc20.sysops.aol.com> Hey y'all:? ? I've posted some of the Cosa Brava photos from 21 Grand on my flickr site.? If you haven't heard, this is Fred Frith's new band with Zeena Parkins, Carla Kihlstedt, and Matthias Bossi, and it was their first and only US gig before going on a European tour. ? You can check them out at? ? http://www.flickr.com/photos/21341545 at N00/? ? There are lots of other musician pictures on this site as well. If you're on flickr let me know and we can be "flickr friends". Best regards, Myles Boisen From 21grand at 21grand.org Thu Mar 27 11:41:10 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 27 Mar 2008 11:41:10 -0700 Subject: [NewMusic] pictures - while we wait for the seismic assessment and ponder "prosperity consciousness" Message-ID: lots of pictures from 21 Grand - shows and art and food - from recently and years back are here (and will be organized later) http://flickr.com/photos/sarah_21grand/ sl From 21grand at 21grand.org Thu Mar 27 16:38:33 2008 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 27 Mar 2008 16:38:33 -0700 Subject: [NewMusic] NewMusic Digest, Vol 23, Issue 16 In-Reply-To: Message-ID: > Send NewMusic mailing list submissions to > newmusic at music.mills.edu > > To subscribe or unsubscribe via the World Wide Web, visit > http://music.mills.edu/mailman/listinfo/newmusic > or, via email, send a message with subject or body 'help' to > newmusic-request at music.mills.edu > > You can reach the person managing the list at > newmusic-owner at music.mills.edu > > When replying, please edit your Subject line so it is more specific David is playing at 21 Grand the night before. Tom Djll is the one organizing it. I imagine he is dealing/has dealt with this question as well. If you don't have his contact info, I can provide. sl > Message: 1 > Date: Tue, 25 Mar 2008 18:06:52 -0700 > From: "Matt Davignon" > Subject: [NewMusic] Bass for David Chiesa > To: "Bay Area New Music Discussion Group" > Message-ID: > > Content-Type: text/plain; charset=ISO-8859-1 > > Hi all, > > David Chiesa is playing at the LSG on April 24th. He's flying from > France and needs to borrow a bass. Can anyone help out? > > Matt > From pamelaz at pamelaz.com Thu Mar 27 18:16:30 2008 From: pamelaz at pamelaz.com (Pamela Z) Date: Thu, 27 Mar 2008 18:16:30 -0700 Subject: [NewMusic] POW! Looking for volunteers In-Reply-To: References: Message-ID: <86B1A7F5-827C-410D-BAE0-9549600CDE7E@pamelaz.com> Hi Kattt, I'm wondering if you are available to participate in something I'm doing on August 22nd? Also, what's your phone number? I'd love to call you and talk to you about it if you're into it. (I don't remember whether or not I talked you you a couple of years ago about doing this vocal evening I want to do, but I'm finally doing it...) p Pamela Z Composer/Performer Contact info: Telephone: 415.861.EARS (415.861.3277) Mobile: 415.5PAMELA (415.572.6352) FAX: 415.861.FAKS (415.861.3257) (I forward my land line to my mobile phone when I'm travelling) pamelaz at pamelaz.com http://www.pamelaz.com http://www.myspace.com/pamelazcomposer Skype: pamelazed AIM: pamelazdotcom Snail Mail: Pamela Z Productions 540 Alabama Street Studio 213 San Francisco, CA 94110, USA shipping address (for packages larger than a 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://cdbaby.com http://www.amazon.com, http://www.starkland.com, and in stores near you. On Mar 3, 2008, at 3/3/08, 10:44 AM, Kattt Sammon wrote: > > > > Hi > > POW! Mini Performance Art Festival March 6-8,2008 @ Space Gallery > (on Polk Street - above Post) needs a couple of volunteers to help > us with: > > > > 1) Video tape (we have a camera or you could bring yours) - Thurs > 3/06, Fri 3/07 and/or Sat 3/08 > > 2) Help greet folks @ the door (admission, etc) > > > If