From djcypod at gmail.com Sat Aug 1 13:37:11 2009 From: djcypod at gmail.com (b) Date: Sat, 1 Aug 2009 13:37:11 -0700 Subject: [NewMusic] folk at newport online Message-ID: http://www.npr.org/music/newportfolk/index2.html From henrykuntz at comcast.net Thu Aug 6 18:42:38 2009 From: henrykuntz at comcast.net (Henry Kuntz) Date: Thu, 6 Aug 2009 18:42:38 -0700 Subject: [NewMusic] New Discs: JAVA 1997 and BOLIVIA 1986 Message-ID: <000a01ca1700$58de1a30$0a9a4e90$@net> Hello Folks, JAVA (1997): Sacred Gamelan Sekati of Yogyakarta . and BOLIVIA (1986): Native Ritual Music from Italaque. are new releases on my Humming Bird Earth Series label. The Notes for each release, audio samples, and information for ordering appear on my website, Sax & Stories. http://henrykuntz.free-jazz.net/ Thanks for having a look. Henry "What is so special about the music of the gamelan sekati? It is played on the largest and loudest Javanese instruments, yet it is the slowest, most spacious, and perhaps most internally complex of any Javanese music. It is characterized by odd phrasings and intervals, strange rhythmic markings and interjections, and sharp punctuations both on and off the beat. At the same time, the music is deeply spiritual in intent and is profoundly moving." (from JAVA Notes) "Although the several groups frequently played their own music at the same time right next to each other, there was no apparent competition between them.. Rather, there was only a dizzying and outrageous mix of sound, of varying sorts and in varying chance combinations, never the same twice! .When the groups had all finally moved out onto the small precipice, the music really took off.. It was like the wildest dream of sound, a perfect mix of the earthy and the ethereal, the tops of rugged Andean peaks and wisps of high altitude clouds readily visible in the distance." (from BOLIVIA Notes) From td at pixar.com Tue Aug 11 16:02:47 2009 From: td at pixar.com (Tom Duff) Date: Tue, 11 Aug 2009 16:02:47 -0700 (PDT) Subject: [NewMusic] Slim's/Great American Music Hall plan to expand to UC Theater Message-ID: http://www.insidebayarea.com/entertainment/ci_13038872 Not sure Berkeley needs another medium-big concert venue -- the Community Theater, the Greek Theater and Julia Morgan are all underutilized. But it's great to see someone using the beautiful old UC Theater for something. -- Tom Duff. Two types specified in one empty declaration. From matt at sfsound.org Tue Aug 11 16:13:41 2009 From: matt at sfsound.org (matt) Date: Tue, 11 Aug 2009 16:13:41 -0700 Subject: [NewMusic] Slim's/Great American Music Hall plan to expand to UC Theater In-Reply-To: References: Message-ID: <59784576-836F-4871-8AE6-9209A409CE7C@sfsound.org> On Aug 11, 2009, at 4:02 PM, Tom Duff wrote: > > http://www.insidebayarea.com/entertainment/ci_13038872 > > Not sure Berkeley needs another medium-big concert venue -- the > Community > Theater, the Greek Theater and Julia Morgan are all underutilized. > But > it's great to see someone using the beautiful old UC Theater for > something. except that it will: "showcase live bands playing alternative rock, classic rock, country, bluegrass, blues, reggae and world music." if "alternative rock" and "world music" is what i think it is, this kind of sucks. i was just talking to someone the other day that UC was a great theater. has the parkway been taken over yet? i was wondering what it would take (how many creative musicians and artists) to pool resources and turn it into the next 21grand -- presumably all the building liability issues would have been taken care of? m@ From michaelz at zoka.com Tue Aug 11 18:11:07 2009 From: michaelz at zoka.com (Michael Zelner) Date: Tue, 11 Aug 2009 18:11:07 -0700 Subject: [NewMusic] Slim's/Great American Music Hall plan to expand to UC Theater In-Reply-To: <59784576-836F-4871-8AE6-9209A409CE7C@sfsound.org> References: <59784576-836F-4871-8AE6-9209A409CE7C@sfsound.org> Message-ID: On 8/11/09, matt wrote: >except that it will: "showcase live bands playing alternative rock, >classic rock, country, bluegrass, blues, reggae and world music." >if "alternative rock" and "world music" is what i think it is, this >kind of sucks. I think that's just the plan's blanket statement to cover lots of possible musics there. If and when the new venue opens, it seems pretty likely that it'll have the same wide range of music as the GAMH (especially if Dawn Holliday is the booker). >i was just talking to someone the other day that UC was a great theater. Better that it opens as a mainstream club than remain mothballed. . . >has the parkway been taken over yet? Short answer: no. Longer answer: >i was wondering what it would take >(how many creative musicians and artists) to pool resources and turn >it into the next 21grand -- presumably all the building liability >issues would have been taken care of? It will take tens if not hundreds of thousands of dollars to make the necessary repairs (it's an 85-year old building), including a new roof and major plumbing and electrical overhauls. MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From mmcdonal at library.berkeley.edu Wed Aug 12 10:29:13 2009 From: mmcdonal at library.berkeley.edu (Marianne McDonald) Date: Wed, 12 Aug 2009 10:29:13 -0700 Subject: [NewMusic] NewMusic Digest, Vol 40, Issue 3 In-Reply-To: References: Message-ID: <4A82FBE9.3010005@library.berkeley.edu> Not sure Berkeley needs another medium-big concert venue -- the CommunityTheater, the Greek Theater and Julia Morgan are all underutilized. Butit's great to see someone using the beautiful old UC Theater for something. > The reason why the UC Theater closed was that it was SO un-earthquake safe. I wonder if it will be retrofitted? That will take lots of money, Marianne > From slusser at pixar.com Thu Aug 13 09:59:59 2009 From: slusser at pixar.com (David Slusser) Date: Thu, 13 Aug 2009 09:59:59 -0700 Subject: [NewMusic] Fwd: RIP Les Paul References: <7C8ECD44-965F-40B4-B76D-73E19FCA2D20@pixar.com> Message-ID: Begin forwarded message: > http://www.cnn.com/2009/SHOWBIZ/Music/08/13/obit.les.paul/ From damon at balancepointacoustics.com Thu Aug 13 10:05:14 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Thu, 13 Aug 2009 10:05:14 -0700 Subject: [NewMusic] Fwd: RIP Les Paul In-Reply-To: References: <7C8ECD44-965F-40B4-B76D-73E19FCA2D20@pixar.com> Message-ID: And Rashid Ali. On Aug 13, 2009, at 9:59 AM, David Slusser wrote: > Begin forwarded message: >> http://www.cnn.com/2009/SHOWBIZ/Music/08/13/obit.les.paul/ > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From pgsaxo at pacbell.net Thu Aug 13 11:18:10 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Thu, 13 Aug 2009 11:18:10 -0700 (PDT) Subject: [NewMusic] Fwd: RIP Les Paul Message-ID: <297207.19198.qm@web81403.mail.mud.yahoo.com> rashied ali passed? ug, that's sad news. Sent from my iPhone On Aug 13, 2009, at 10:05 AM, Damon Smith wrote: And Rashid Ali. On Aug 13, 2009, at 9:59 AM, David Slusser wrote: Begin forwarded message: http://www.cnn.com/2009/SHOWBIZ/Music/08/13/obit.les.paul/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From michaelz at zoka.com Thu Aug 13 12:40:36 2009 From: michaelz at zoka.com (Michael Zelner) Date: Thu, 13 Aug 2009 12:40:36 -0700 Subject: [NewMusic] Rashied Ali (was Re: Fwd: RIP Les Paul) In-Reply-To: <297207.19198.qm@web81403.mail.mud.yahoo.com> References: <297207.19198.qm@web81403.mail.mud.yahoo.com> Message-ID: On 8/13/09, Phillip Greenlief wrote: >rashied ali passed? > >ug, that's sad news. Indeed. MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From miltnerunit at gmail.com Thu Aug 13 14:45:11 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Thu, 13 Aug 2009 14:45:11 -0700 Subject: [NewMusic] Anyone out there have a Technics MK2 turntable for Maria Chavez? Message-ID: Hi BListers, Maria Chavez is performing at this year's SFEMF -- anyone on the list have a standard, DJ-quality Technics MK2 that she can use? Or similar? She is bringing her own needles and other gear but has requested that we provide a turntable for her. Anyone....anyone? I'll pick it up from you. I'm offering free tickets to SFEMF in exchange, k -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From kbruck at igc.org Fri Aug 14 08:37:34 2009 From: kbruck at igc.org (Kyle Bruckmann) Date: Fri, 14 Aug 2009 08:37:34 -0700 Subject: [NewMusic] Anyone out there have a Technics MK2 turntable for Maria Chavez? In-Reply-To: Message-ID: > [NewMusic] Anyone out there have a Technics MK2 turntable for > Maria Chavez? Kristin, we've got 1200s available, if that's close enough. I'm psyched to hear Maria's coming! She's awesome. offlist: kb at kylebruckmann.com ___________________________________________ kyle bruckmann http://www.kylebruckmann.com ___________________________________________ From miltnerunit at gmail.com Fri Aug 14 12:26:08 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Fri, 14 Aug 2009 12:26:08 -0700 Subject: [NewMusic] Anyone out there have a Technics MK2 turntable for Maria Chavez? In-Reply-To: References: Message-ID: Isn't she?! I am so looking forward to hearing her. I will ask her if she can use 1200s -- I am pretty sure she'd be fine with it. I'll let you know, k On Fri, Aug 14, 2009 at 8:37 AM, Kyle Bruckmann wrote: > > > > [NewMusic] Anyone out there have a Technics MK2 turntable for > > Maria Chavez? > > Kristin, we've got 1200s available, if that's close enough. I'm psyched to > hear Maria's coming! She's awesome. > > offlist: kb at kylebruckmann.com > ___________________________________________ > kyle bruckmann http://www.kylebruckmann.com > ___________________________________________ > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From jfheule at gmail.com Sat Aug 15 01:21:03 2009 From: jfheule at gmail.com (jacob felix heule) Date: Sat, 15 Aug 2009 01:21:03 -0700 Subject: [NewMusic] Aug 6: Wong/Nishi/Lee, Greenlief/Boyce Message-ID: <9c5cfa860908150121m2a45b8e1ib9e7fd193f9d26b3@mail.gmail.com> A last-minute SMS informed me of Theresa Wong, Kanoko Nishi, and Dohee Lee performing at Yerba Buena Center for the Arts last Thursday, August 6. Not publicized through the usual channels, but I was about to leave the house anyway, so I merely changed my destination, and arrived just as the trio was starting. The room, Gallery 1, was quite large, perhaps a perfect 40' cube, but I'm a terrible estimator of size. An enormous full-wall multimedia work adorned each side wall. On the right, a wall of canvas sheets with variously shaped cut-outs and black smudges. On the left, multicolored rivers meandering around the wall and dripping down, frozen in time, flowing through 100 white flags protruding, and mystical metallic symbols (pentagram, swastika, star of David). I first heard insane screaming and whooping while the ticket seller entered all my vital information into her computer, and of course that meant the music had started. The set continued to be very heavy on beautiful vocals from Wong and Lee. Chattery and silly, legato and emotional. The two have a very similar vocal timbre, and their sonorities blended quite well. Nishi, as expected, was unleashing mayhem on her koto, sawing and smashing to typically great effect. But not all loud and physical; a koto solo midway through the set was the quietest and most delicate part of the performance. Wong seamlessly joined in with tasteful cello glissandi, with control exemplary of her playing. Lee had a set of Korean drums with cymbals, bamboo sticks, and many gongs that didn't get used. She exercised much restraint in her percussion playing, always waiting for the most appropriate moment to punctuate the music with her sound. An orchestral style tied to her use of traditional playing techniques and limited timbres. A very nice set from a very nice trio. I stopped by CELLspace to see some very nice neon Kandinsky paintings by Michelle Guintu. German Expressionism reinterpreted by 21st century San Francisco. Highlight of the show, with honorable mention going out to a 6-piece series of Skoda photos. Then to the Luggage Store Gallery just in time to hear Phillip Greenlief and David Boyce's tenor sax duo. Their rich sounds filled the room, a perfect space for such a duo. And a like-instrument duo is an ideal group for a saxophone to my ears. The best way for a saxophone to unapologetically exist as saxophone, something a bit harder to do in the Bay Area's heavily textural free improv scene. Greenlief and Boyce were perfectly, mind-bogglingly synced up harmonically and rhythmically. It sounded like they were intermittently referencing tunes and structures in their collective vocabulary, but perhaps they just have an amazing sense for playing together. I think I heard some Sun Ra underlying their encore, but Greenlief chose not to sync up too directly. This was a great setting for this duo, and they played wonderfully. The audience responded very enthusiastically. http://heule.us/blog/ http://www.flickr.com/photos/74578389 at N00/sets/72157600278274486/ From 8vuit8 at gmail.com Sat Aug 15 10:54:05 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Sat, 15 Aug 2009 10:54:05 -0700 Subject: [NewMusic] Aug 6: Wong/Nishi/Lee, Greenlief/Boyce In-Reply-To: <9c5cfa860908150121m2a45b8e1ib9e7fd193f9d26b3@mail.gmail.com> References: <9c5cfa860908150121m2a45b8e1ib9e7fd193f9d26b3@mail.gmail.com> Message-ID: <98e30a870908151054s52243cfl6af0c09121d00d68@mail.gmail.com> Thanks Jacob for your thoughtful and insightful re-view. I really appreciate your doing this. Someone should clue in the Yerba Buena Center for the Arts about the resources for publicizing new music events. It was almost totally impossible to find on their own website. Lisa Mezzacappa's Group was also great last Thursday. Very interesting compositions and instrumentation. Seems like Yerba Buena has finally started doing some more adventuresome programming. Hope it continues. On Sat, Aug 15, 2009 at 1:21 AM, jacob felix heule wrote: > A last-minute SMS informed me of Theresa Wong, Kanoko Nishi, and Dohee Lee > performing at Yerba Buena Center for the Arts last Thursday, August 6. Not > publicized through the usual channels, but I was about to leave the house > anyway, so I merely changed my destination, and arrived just as the trio > was > starting. The room, Gallery 1, was quite large, perhaps a perfect 40' cube, > but I'm a terrible estimator of size. An enormous full-wall multimedia work > adorned each side wall. On the right, a wall of canvas sheets with > variously > shaped cut-outs and black smudges. On the left, multicolored rivers > meandering around the wall and dripping down, frozen in time, flowing > through 100 white flags protruding, and mystical metallic symbols > (pentagram, swastika, star of David). I first heard insane screaming and > whooping while the ticket seller entered all my vital information into her > computer, and of course that meant the music had started. The set continued > to be very heavy on beautiful vocals from Wong and Lee. Chattery and silly, > legato and emotional. The two have a very similar vocal timbre, and their > sonorities blended quite well. Nishi, as expected, was unleashing mayhem on > her koto, sawing and smashing to typically great effect. But not all loud > and physical; a koto solo midway through the set was the quietest and most > delicate part of the performance. Wong seamlessly joined in with tasteful > cello glissandi, with control exemplary of her playing. Lee had a set of > Korean drums with cymbals, bamboo sticks, and many gongs that didn't get > used. She exercised much restraint in her percussion playing, always > waiting > for the most appropriate moment to punctuate the music with her sound. An > orchestral style tied to her use of traditional playing techniques and > limited timbres. A very nice set from a very nice trio. > > I stopped by CELLspace to see some very nice neon Kandinsky paintings by > Michelle Guintu. German Expressionism reinterpreted by 21st century San > Francisco. Highlight of the show, with honorable mention going out to a > 6-piece series of Skoda photos. > > Then to the Luggage Store Gallery just in time to hear Phillip Greenlief > and > David Boyce's tenor sax duo. Their rich sounds filled the room, a perfect > space for such a duo. And a like-instrument duo is an ideal group for a > saxophone to my ears. The best way for a saxophone to unapologetically > exist > as saxophone, something a bit harder to do in the Bay Area's heavily > textural free improv scene. Greenlief and Boyce were perfectly, > mind-bogglingly synced up harmonically and rhythmically. It sounded like > they were intermittently referencing tunes and structures in their > collective vocabulary, but perhaps they just have an amazing sense for > playing together. I think I heard some Sun Ra underlying their encore, but > Greenlief chose not to sync up too directly. This was a great setting for > this duo, and they played wonderfully. The audience responded very > enthusiastically. > > http://heule.us/blog/ > http://www.flickr.com/photos/74578389 at N00/sets/72157600278274486/ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus From polly.moller at gmail.com Sat Aug 15 16:46:25 2009 From: polly.moller at gmail.com (Polly Moller) Date: Sat, 15 Aug 2009 16:46:25 -0700 Subject: [NewMusic] Musicians needed to further infiltrate apartment building Message-ID: <2eb068d40908151646o5d80e965ub236a8f97d23220b@mail.gmail.com> Hi listers. If you wanna take one of the two one-bedroom apartments currently available in my building (which is also Matt Davignon's building), that would be cool. More musicians means more fun sounds, more people to play board games with, and more people to look after cats and parrots when their humans are on tour! They are both on the ground floor next to the pool. Here are full details:* http://tinyurl.com/mqnbtk* Cheers, P. -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ From mattdavignon at gmail.com Sat Aug 15 17:33:53 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Sat, 15 Aug 2009 17:33:53 -0700 Subject: [NewMusic] Musicians needed to further infiltrate apartment building In-Reply-To: <2eb068d40908151646o5d80e965ub236a8f97d23220b@mail.gmail.com> References: <2eb068d40908151646o5d80e965ub236a8f97d23220b@mail.gmail.com> Message-ID: OH yeah - I love this building. It's 1 block from whole foods, a 15 minute walk to Bart, has a pool, and 4 sets of washers/dryers. On Sat, Aug 15, 2009 at 4:46 PM, Polly Moller wrote: > Hi listers. > If you wanna take one of the two one-bedroom apartments currently available > in my building (which is also Matt Davignon's building), that would be cool. > More musicians means more fun sounds, more people to play board games with, > and more people to look after cats and parrots when their humans are on > tour! > They are both on the ground floor next to the pool. > Here are full details:* > > http://tinyurl.com/mqnbtk* > > Cheers, > P. > -- > ------------------------------------------------------ > http://pollymollerjournal.blogspot.com > ------------------------------------------------------ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From polly.moller at gmail.com Sat Aug 15 20:38:02 2009 From: polly.moller at gmail.com (Polly Moller) Date: Sat, 15 Aug 2009 20:38:02 -0700 Subject: [NewMusic] Musicians needed to further infiltrate apartment building In-Reply-To: References: <2eb068d40908151646o5d80e965ub236a8f97d23220b@mail.gmail.com> Message-ID: <2eb068d40908152038h13452beaid86d66ddca917696@mail.gmail.com> Yeah, all that is true! Plus, we have a really good building manager. P. On Sat, Aug 15, 2009 at 5:33 PM, Matt Davignon wrote: > OH yeah - I love this building. It's 1 block from whole foods, a 15 > minute walk to Bart, has a pool, and 4 sets of washers/dryers. > > On Sat, Aug 15, 2009 at 4:46 PM, Polly Moller > wrote: > > Hi listers. > > If you wanna take one of the two one-bedroom apartments currently > available > > in my building (which is also Matt Davignon's building), that would be > cool. > > More musicians means more fun sounds, more people to play board games > with, > > and more people to look after cats and parrots when their humans are on > > tour! > > They are both on the ground floor next to the pool. > > Here are full details:* > > > > http://tinyurl.com/mqnbtk* > > > > Cheers, > > P. > -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ From setar at pacbell.net Sun Aug 16 17:48:57 2009 From: setar at pacbell.net (Katherine Setar) Date: Sun, 16 Aug 2009 17:48:57 -0700 Subject: [NewMusic] Meridian Gallery Fundraiser Message-ID: <4A88A8F9.2000909@pacbell.net> Dear Friends, Our dear friends Anne and Tony of Meridian Gallery are hosting a fundraiser which sounds very exciting. Meridian Gallery is offering a week in a Parisian apartment during the 2009 holiday season. For an opportunity to stay for free in this lovely studio, purchase a ticket before September 21. All proceeds benefit the Meridian Gallery and it's programs. Here is a link for more information: http://parisraffle.com/ I hope that all who are able will support this worthwhile cause. Best wishes, Katherine Setar From ava.mendoza at gmail.com Mon Aug 17 14:10:52 2009 From: ava.mendoza at gmail.com (Ava Mendoza) Date: Mon, 17 Aug 2009 14:10:52 -0700 Subject: [NewMusic] fwd: Quality Gear for Sale Message-ID: <317505170908171410j1ae29123n66b0c4c3930c2cef@mail.gmail.com> Hello, I got my car towed and had to pay a bunch of money to get it out of impoundment, so I am selling some good gear! Feel free to write with any questions... Thanks, Ava -------------------------- BERKELEY ES 335 ELECTRIC GUITAR- $300 OBO I bought this guitar from Subway guitars in Berkeley for $400... it is in excellent condition. It's a semi-hollowbody ES-335 type... neck is straight, plays great, the pickups have a nice full, warm sound. LEVY'S LEATHERS POLYESTER GIG BAG W/ LEATHER TRIM- $120 OBO. 600 denier polyester classical guitar bag featuring 1" foam padding, plush lining, internal bridge and string protectors, saddle bag accessory pocket, twin shoulder straps and genuine leather trim and appointments. Inside dimensions: 39" x 15" at lower bout. ELECTRO-HARMONIX "WORM" ANALOG WAH PHASER VIBRATO TREMOLO- $80 OBO. http://www.amazon.com/dp/B001NXDSKW/ref=asc_df_B001NXDSKW884336?smid=ATVPDKIKX0DER&tag=googlecom09c9-20&linkCode=asn&creative=380341&creativeASIN=B001NXDSKW BOSS BF-2 FLANGER- $60 OBO. http://www.bossus.com/gear/productdetails.php?ProductId=134 2 ARTCESSORIES POWER MIX II MIXERS- $30 EACH OBO http://www.sweetwater.com/store/detail/PowerMix2/ BLACK HARDSHELL GUITAR CASE- $35 OBO FENDER STANDARD GIG BAG- $20 OBO KRAMER FOCUS GUITAR NECK- $20. Red headstock, this neck is in good condition... good for a project.... -- www.myspace.com/avamendoza www.myspace.com/mutesocialite http://www.bayimproviser.com/avamendoza From jfheule at gmail.com Mon Aug 17 18:46:59 2009 From: jfheule at gmail.com (jacob felix heule) Date: Mon, 17 Aug 2009 18:46:59 -0700 Subject: [NewMusic] Sunday, August 9th: A Story of Rats, Brandon Nickell, sfSound Message-ID: <9c5cfa860908171846p1e86484co5b79675909fe0844@mail.gmail.com> I biked four miles in the blazing sun to Bay Area 51 in Bayview for an afternoon show. A Story of Rats, from Portland, was performing as I arrived, a solo performer looping layers sampled from a sruti box. There was a fantastic polyrhythm happening between the layers, as the turnaround of the bellows dropped at different points in each loop, very clearly articulated. We were in the back parking lot of a fenced-in house in a fairly industrial neighborhood. Old cars piled up, makeshift canopy hanging over the audience, longhaired musician looking a bit uncomfortable in the excruciatingly bright, hot sunlight. Pleasant sounds from ASOR. Quite different from a minimal organ-based piece I heard him perform on a cold foggy spring day in Seattle, in a house basement with all lights extinguished at the performer's request. I liked that set a little better, but this one was nice too, and it's good to know someone can do more than one thing that sounds good. The polyrhythms of the loops became more obscured as new layers emerged. The loops faded away, leaving only an acoustic sruti drone for the short amount of time it took to squeeze it shut. Brandon Nickell (formerly known as Aemae) was next. His set sounded like bursts of noise through a granulator followed by slapback delay -- a wall of noise approximated by irregularly fragmented bricks. After a substantial section of this sort of thing, he settled into a quieter section, which sounded great, more nuanced, but very shortly faded out to an ending. A short set, possibly eager to get out of the sunlight himself. Later that night was a very impressive sfSound concert. Christopher Jones' very nice flute and percussion duo, Intuition, opened the program. I was entranced by the tom-tom, bongos, gongs and woodblocks. Christopher Burns' woodwind trio, Planetary, was next. It began with short notes primitively, emphatically passed around the trio. A bit too simplistically demonstrative of the rotational structure of the piece for my taste, but the single notes soon expanded into layered melodic fragments, flurries, and clusters. Very intricate writing, skillfully performed. Delightful music which anticipated the Braxton piece which was to close the evening. Klaus Huber's Schattenbl?tter is based around a moody piano solo -- quiet, melancholy, static -- with echoes (shadows) in the bass clarinet and cello parts. A very nice introspective piece. The free improvisation closing the first half of the program was a bit overstaffed with the addition of two of the evening's composers (Burns and Bithell, on laptop and trumpet) joining the core group for a nonet -- a very challenging setting for group improvisation, especially with some of the performers not having as much experience in the form as a few of the regular sfSound players. As was likely, the results were a bit busy and messy. Stockhausen's Kreuzspiel opened the second half of the program. The driving rhythm of the bongos and the tom-tom accents were very emphatic and loud. Exciting to hear live, but not quite as effective as a more subdued recording I've heard. I liked the performance anyway. David Bithell conducted a very good performance of his sextet, temporary structures. Tonal textures and sound clusters shifted back and forth between winds and strings. Very precise writing, and while it may not have been realized quite perfectly, it sounded great. Anthony Braxton's Composition No. 75, performed by a wind trio, closed the program. Odd-time, odd-tonality unison lines were interspersed with free solos. A very energetic performance from players working in a realm in which they were clearly quite comfortable. Some of the most energetic moments got some chuckles from the audience -- a result of importing this free-jazz piece into a chamber music concert -- there was nothing funny about it. A very enjoyable, very interesting performance. This piece, originally written for Braxton, Roscoe Mitchell and Joseph Jarman, was a perfect choice for Bruckmann, Ingalls and Ingle. http://heule.us/blog/ From adam at otherminds.org Tue Aug 18 10:52:31 2009 From: adam at otherminds.org (Adam Fong) Date: Tue, 18 Aug 2009 10:52:31 -0700 Subject: [NewMusic] Texas tour Message-ID: <46F2BA0B-B987-4A11-8665-F4374DC5FD85@otherminds.org> Hi folks: FYI a guy named James Talambas called the Other Minds office yesterday. James is the music curator for an art gallery / collective called Metrognome in Fort Worth, and he's looking to book music acts into their space. http://metrognome.org/ Doesn't sound like he has much money to offer but if you are planning a trip to Texas, maybe it's worth a shot. He sounded very eager/ enthusiastic; his email is newmediarecords at hotmail.com . He also mentioned a group called Church of the Friendly Ghost in Austin, run by Aaron Mace. This looks like a more established series: http://www.churchofthefriendlyghost.org/ Sorry if this is old news to you but I thought it information worth sharing. We referred James to this list as well so he might put out the offer himself. Bests, adam -- Adam Fong Associate Director Other Minds 333 Valencia Street, Suite 303 San Francisco, CA 94103 (415) 934-8134 (415) 934-8136 fax adam at otherminds.org http://www.otherminds.org http://www.radiom.org From highhorse at mhorse.com Tue Aug 18 11:04:43 2009 From: highhorse at mhorse.com (Daryl Shawn) Date: Tue, 18 Aug 2009 14:04:43 -0400 Subject: [NewMusic] Texas tour In-Reply-To: <46F2BA0B-B987-4A11-8665-F4374DC5FD85@otherminds.org> References: <46F2BA0B-B987-4A11-8665-F4374DC5FD85@otherminds.org> Message-ID: <4A8AED3B.2000905@mhorse.com> Much appreciated, Adam - as it happens I'm booking a tour that goes through TX and I'm going to get in touch w/these folks. Daryl Shawn www.swanwelder.com > Hi folks: > > FYI a guy named James Talambas called the Other Minds office > yesterday. James is the music curator for an art gallery / collective > called Metrognome in Fort Worth, and he's looking to book music acts > into their space. > http://metrognome.org/ > Doesn't sound like he has much money to offer but if you are planning > a trip to Texas, maybe it's worth a shot. He sounded very eager/ > enthusiastic; his email is newmediarecords at hotmail.com . He also > mentioned a group called Church of the Friendly Ghost in Austin, run > by Aaron Mace. This looks like a more established series: > http://www.churchofthefriendlyghost.org/ > > Sorry if this is old news to you but I thought it information worth > sharing. We referred James to this list as well so he might put out > the offer himself. > Bests, > adam > > -- > Adam Fong > Associate Director > Other Minds > 333 Valencia Street, Suite 303 > San Francisco, CA 94103 > (415) 934-8134 > (415) 934-8136 fax > adam at otherminds.org > http://www.otherminds.org > http://www.radiom.org > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > ------------------------------------------------------------------------ > > > No virus found in this incoming message. > Checked by AVG - www.avg.com > Version: 8.5.392 / Virus Database: 270.13.58/2304 - Release Date: 08/15/09 06:10:00 > > From henrykuntz at comcast.net Thu Aug 20 16:21:00 2009 From: henrykuntz at comcast.net (Henry Kuntz) Date: Thu, 20 Aug 2009 16:21:00 -0700 Subject: [NewMusic] Exciting New Release: Year of the Ox! Message-ID: <000901ca21ec$e1941fe0$a4bc5fa0$@net> Hello Folks, YEAR OF THE OX.featuring. Paul V. Kuntz: Embellished Piano, Bell Wreath Henry Kuntz: Chinese Musette, Angel Soprano Recorder (Korea), Bells is an exciting new release on Humming Bird Records. the first recording by my brother Paul and I in 25 years. Information and Audio samples appear on my website, Sax & Stories. http://henrykuntz.free-jazz.net/ .ALSO, still available JAVA (1997): Sacred Gamelan Sekati of Yogyakarta . and BOLIVIA (1986): Native Ritual Music from Italaque. Click on the icons in the SAX & STORIES sidebar to view the Notes, hear Audio Samples, and find information for ordering. Best &. Cheers! Henry (NOTE: For US orders, you may order any item directly from me for fewer Dollars than the website price in Euros.) From gino at rastascan.com Thu Aug 20 16:33:47 2009 From: gino at rastascan.com (Gino Robair) Date: Thu, 20 Aug 2009 16:33:47 -0700 Subject: [NewMusic] Amplified Gesture Message-ID: The project: http://www.manafon.com/manafon/ The trailer: http://www.manafon.com/amplified_gesture/ The grumpy voices: http://ihatemusic.noquam.com/viewtopic.php?f=3&t=4604 From 8vuit8 at gmail.com Fri Aug 21 14:58:09 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Fri, 21 Aug 2009 14:58:09 -0700 Subject: [NewMusic] Zeum Store Sale Message-ID: <98e30a870908211458l6e27faa4vd37d44b9d3ed7cf9@mail.gmail.com> The Reason for this Discussion posting is that I have a few really interesting music things for sale cheap at the Zeum Store Yard Sale Saturday September 22 11-3pm in the Zeum Court;yard, 221 Fourth Street at Howard. One medium Dan 'trang (vietnamese diagonal bamboo xylophone - $30, Two Peruvian 4 note log drum xylophones, $20 each, 2 Wind Wands - super cool buzzing things. Also many groovey cheap things - one to five dollars.And other stuff, too. -- Bob Marsh Zeum Store Manager 415-820-3348 From jon_raskin at yahoo.com Fri Aug 21 17:36:01 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Fri, 21 Aug 2009 17:36:01 -0700 Subject: [NewMusic] Amplified Gesture In-Reply-To: References: Message-ID: <000801ca22c0$86411d80$92c35880$@com> Interesting- adding language with improvisation has been something I've working on for the last several months and I liked hearing the song approach with the artists he choose to work with. The clips I listened to had the vocal in the same range and cadence letting the lyrics be the primary focus. The overall timing of the music is very relaxed and legato in the clips as well- not sure it changes dynamics much or has many layers. A comfortable bed for the lyric. The price tag is a bit steep for the movie and CD ($85 plus shipping) but I would like to hear the music and may get the cd. -----Original Message----- From: newmusic-bounces at music.mills.edu [mailto:newmusic-bounces at music.mills.edu] On Behalf Of Gino Robair Sent: Thursday, August 20, 2009 4:34 PM To: newmusic at music.mills.edu Subject: [NewMusic] Amplified Gesture The project: http://www.manafon.com/manafon/ The trailer: http://www.manafon.com/amplified_gesture/ The grumpy voices: http://ihatemusic.noquam.com/viewtopic.php?f=3&t=4604 _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From polly.moller at gmail.com Sat Aug 22 08:09:26 2009 From: polly.moller at gmail.com (Polly Moller) Date: Sat, 22 Aug 2009 08:09:26 -0700 Subject: [NewMusic] Fwd: [Voxnovus] Call for horn music Message-ID: <2eb068d40908220809h1af92686l6328ce8a14ca4441@mail.gmail.com> Has anyone written chamber music with horn? See below. P. ---------- Forwarded message ---------- From: Vox Novus List Date: Sat, Aug 22, 2009 at 5:50 AM Subject: [Voxnovus] another call - this one for horn music To: voxnovus at voxnovus.com Hello, I have been asked to announce another call for a musician in based in the Denver area trying to find some repertoire. She is looking for a chamber music piece of variable instrumentation, but must include horn. It needs to be by a living American composer and no longer than 15 minutes. If interested, please contact her at: Nina Horvath ninahorvath at gmail.com Robert Voisey RobVoisey at VoxNovus.com 60x60 Director Living Music Foundation Vice President Founder of Vox Novus http://www.VoxNovus.com _______________________________________________ VoxNovus mailing list VoxNovus at voxnovus.com http://seven.pairlist.net/mailman/listinfo/voxnovus -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ From itzat at earthlink.net Sat Aug 22 10:45:06 2009 From: itzat at earthlink.net (Ernesto Diaz-Infante) Date: Sat, 22 Aug 2009 10:45:06 -0700 Subject: [NewMusic] pick in the voice & aaj References: <259EBA0D-6FE1-4889-972C-4C111B659531@generaterecords.net> Message-ID: Hey, I'm off to NY next week. Forward to any friends out East if you like . . . hope you're all thriving and surviving, ernesto http://www.villagevoice.com/events/generate-records-jazz-festival-1323136/ http://www.allaboutjazz.com/php/article.php?id=33675 ___________________________ http://www.myspace.com/diazinfante From 8vuit8 at gmail.com Sun Aug 23 19:56:20 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Sun, 23 Aug 2009 19:56:20 -0700 Subject: [NewMusic] pick in the voice & aaj In-Reply-To: References: <259EBA0D-6FE1-4889-972C-4C111B659531@generaterecords.net> Message-ID: <98e30a870908231956q7cb16450mb33e338ea3d5ff29@mail.gmail.com> buena sweaty Have fun drb On Sat, Aug 22, 2009 at 10:45 AM, Ernesto Diaz-Infante wrote: > Hey, > I'm off to NY next week. Forward to any friends out East if you > like . . . > hope you're all thriving and surviving, > ernesto > > http://www.villagevoice.com/events/generate-records-jazz-festival-1323136/ > http://www.allaboutjazz.com/php/article.php?id=33675 > > ___________________________ > http://www.myspace.com/diazinfante > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Bob Marsh 475 43rd Street Richmond, CA 94805 510-236-2595 home 510-932-9268 cell www.bobmarsh.net www.myspace.com/bobisadoctor www.myspace.com/emergencystringxtet www.myspace.com/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/neufnineneuf www.myspace.com/thespiritmovesus From mattdavignon at gmail.com Mon Aug 24 13:53:51 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 24 Aug 2009 13:53:51 -0700 Subject: [NewMusic] Best opening clause in a bio Message-ID: >From the events list today: "For hundreds of years, Oakland, California's Porest (aka Mark Gergis) has..." -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From mattdavignon at gmail.com Mon Aug 24 14:37:43 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 24 Aug 2009 14:37:43 -0700 Subject: [NewMusic] cd cover art question Message-ID: Hi all, I'm currently brainstorming cover art for my next cd. It involves some painting for the background, with some handwritten text and a hand-drawn image on top of it. How generally does someone take these real-world elements and get them into a digital template? I'm sure the handwritten text can be scanned. What about with a painting? -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From 21grand at 21grand.org Mon Aug 24 14:40:50 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Mon, 24 Aug 2009 14:40:50 -0700 Subject: [NewMusic] cd cover art question In-Reply-To: Message-ID: If it's an actual painting, probably the easiest way would be to work from a digital photo of it. Alternate method: scan a photographic slide. sl on 8/24/09 2:37 PM, Matt Davignon at mattdavignon at gmail.com wrote: > Hi all, > > I'm currently brainstorming cover art for my next cd. It involves some > painting for the background, with some handwritten text and a > hand-drawn image on top of it. > > How generally does someone take these real-world elements and get them > into a digital template? I'm sure the handwritten text can be scanned. > What about with a painting? From otis_mccoppin at yahoo.com Mon Aug 24 14:44:39 2009 From: otis_mccoppin at yahoo.com (Otis McCoppin) Date: Mon, 24 Aug 2009 14:44:39 -0700 (PDT) Subject: [NewMusic] Best opening clause in a bio In-Reply-To: Message-ID: <832386.49471.qm@web38307.mail.mud.yahoo.com> agreed! Guess he paid his dues for the Bay Area weird music scene....unlike those newbies, Fifty Foot Hose......... --- On Mon, 8/24/09, Matt Davignon wrote: From: Matt Davignon Subject: [NewMusic] Best opening clause in a bio To: "Bay Area New Music Discussion Group" Date: Monday, August 24, 2009, 1:53 PM >From the events list today: "For hundreds of years, Oakland, California's Porest (aka Mark Gergis) has..." -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From walters at doubtfulpalace.com Mon Aug 24 14:51:27 2009 From: walters at doubtfulpalace.com (Tim Walters) Date: Mon, 24 Aug 2009 14:51:27 -0700 (PDT) Subject: [NewMusic] cd cover art question In-Reply-To: References: Message-ID: <46034.198.1251150687.squirrel@o2.hostbaby.com> > If it's an actual painting, probably the easiest way would be to work from > a > digital photo of it. Alternate method: scan a photographic slide. Note that this is hard to do at a professional level yourself (you need a copy stand and the right kind of lighting). There are photographers who specialize in this and can do it relatively cheaply. Of course, "professional" isn't necessarily better, and it doesn't hurt to try some DIY. Take it outside on a cloudy day (for better color and relatively directionless light) and give it a whirl. -- Tim Walters | http://doubtfulpalace.com From 21grand at 21grand.org Mon Aug 24 14:56:17 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Mon, 24 Aug 2009 14:56:17 -0700 Subject: [NewMusic] cd cover art question In-Reply-To: <46034.198.1251150687.squirrel@o2.hostbaby.com> Message-ID: It's not that hard ... Find a white wall without much texture. Hang it. Depending on the size of the painting, you could probably get away with using some relatively cheap household lights. The key is to do it at night, when you aren't mixing daylight and electric light, because you'd end up spending a bunch of time doing color correction. sl on 8/24/09 2:51 PM, Tim Walters at walters at doubtfulpalace.com wrote: > >> If it's an actual painting, probably the easiest way would be to work from >> a >> digital photo of it. Alternate method: scan a photographic slide. > > Note that this is hard to do at a professional level yourself (you need a > copy stand and the right kind of lighting). There are photographers who > specialize in this and can do it relatively cheaply. > > Of course, "professional" isn't necessarily better, and it doesn't hurt to > try some DIY. Take it outside on a cloudy day (for better color and > relatively directionless light) and give it a whirl. From 21grand at 21grand.org Mon Aug 24 17:49:25 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Mon, 24 Aug 2009 17:49:25 -0700 Subject: [NewMusic] Prolificity - from some critic's blog Message-ID: [The following is not meant as a personal attack on Joe Morris. I know Joe, I like him, I am a fan of his music. This is a statement about free jazz in general, with him as an example.] Do relentlessly prolific out-jazz musicians sabotage themselves by tossing new CDs into a flood-tide of superficially similar releases? Today I listened to two upcoming albums - Fire!'s You Liked Me Five Minutes Ago, on Rune Grammofon , and the Joe Morris Quartet's Today on Earth, on AUM Fidelity . Fire! (punctuation in original) is a new project featuring saxophonist Mats Gustafsson (who also plays electronics and Fender Rhodes); this is but the latest entry in an intimidatingly deep catalog that includes work with the groups The Thing, Two Bands and a Legend, Original Silence, Diskaholics Anonymous Trio, and collaborations with Peter Br?tzmann and equally session-happy drummer Paal Nilssen-Love. (All this was garnered from a cursory glance at the website for the Smalltown Superjazz label, which puts most of this material out.) The Joe Morris Quartet album is his eighth full-length release of 2009, his sixth as a leader or co-leader. (I've heard four of the discs he led or co-led, and the two on which he was a sideman. They're all very good.) He appeared on 11 albums in 2008, and has played on approximately 45 releases (my eyes may have glazed over while counting) since the turn of the millennium. Now granted, this doesn't come close to the audio diary-keeping of Anthony Braxton, but is Braxton really a model to be emulated in this regard? I guess what I'm wondering is, what's the business rationale for doing this? I assume that there must be one. Can it be pure fatalism - a conviction that one is destined to sell only a few hundred or a couple of thousand copies of each album, so frequent trips to the well (the well being the free jazz fan's wallet/bank account) are excusable? Is there a presumption that free jazz fans are, indeed, willing to subsidize a favorite artist to this degree? Because speaking from personal experience, I can offer a few reasons why I think this is an ill-advised strategy. 1) I just don't think there are that many people willing to buy five or ten Joe Morris CDs every year. I am a free jazz fan, but I am also a critic; therefore, I get albums in the mail, for free. As much as I enjoy these records, and have written favorable reviews of some of them, if I wasn't getting them for free I don't think I could be convinced to purchase more than one or two of them. Because... 1a) A flood-tide of material, to me at least, only serves to devalue each individual disc. Again, drawing from personal experience: I decided I wanted to hear all the Blue Note releases by Freddie Hubbard. There were eight of them (Blue Spirits, Breaking Point, Goin' Up, Here to Stay, Hub Cap, Hub-Tones, Open Sesame and Ready for Freddie - if I'm missing any, please alert me in comments). I found that totally manageable. Joe Morris's discography, by contrast, numbers in the dozens and is scattered across 26 labels, some of which no longer exist. Hearing all of it is pretty clearly an unmanageable task. And even if I was able to stack all of his releases up in front of me, how would I decide which to prioritize? Sure, each one is a beautiful and unique snowflake, but taken together they are a snowdrift. Each piece of the whole becomes insignificant, each album or CD no more than proof that a recording session occurred. In this way, the title of the new album, Today on Earth, appears heavy with irony. Today, Joe Morris went into the recording studio with some other musicians. In a week or so, he'll probably do it again. And on and on. When an artist puts out one album every two or three years, that album has a gravity, an impact, that simply would be lost if it were the third release to hit stores under his name that month. Which leads me to... 1b) What is a neophyte listener to make of this? For decades, it's been pretty easy to trace your way through jazz if you so choose. Pick up an album someone more knowledgeable recommends. If you like it, make a list of the personnel, whose names will more than likely be on the back. Go find some more records they play on. Repeat as often as you like. And that can still happen. But it seems to me that the almost compulsive productivity of some in the free/avant-jazz community only serves to baffle and intimidate the new listener, who will gaze upon a shelf in, say, Downtown Music Gallery containing a dozen or more titles by a single musician and say, in effect, "I don't know...this one? That one? Ah, the hell with it." You know those scenes in movies where the immigrant from some impoverished nation arrives in America and is dumbstruck by the awe-inspiring variety of, say, the grocery store's breakfast cereal aisle? That's how a brand-new potential free jazz fan will feel, gazing upon the shelves in a record store that even stocks this stuff - or, say, the vendors' section at the Vision Festival or a similar event. It may seem weird and counterintuitive, but I believe that if free jazz artists want to start playing to audiences beyond the already converted, they need to make fewer records, not more. Let people catch up, dammit! From slusser at pixar.com Mon Aug 24 18:04:12 2009 From: slusser at pixar.com (David Slusser) Date: Mon, 24 Aug 2009 18:04:12 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: <644100AB-3135-494E-BC84-ED93D356B02E@pixar.com> Thanks for posting. I ponder the phenomenon, but this blogger is just ranting about the broken paradigm. If you can get it out there, more power to you. Reaching one person, in a real-time, live situation seems a lot more rewarding to me right now. On Aug 24, 2009, at 5:49 PM, Sarah - 21 Grand wrote: > [The following is not meant as a personal attack on Joe Morris. I > know Joe, > I like him, I am a fan of his music. This is a statement about free > jazz in > general, with him as an example.] > > Do relentlessly prolific out-jazz musicians sabotage themselves by > tossing > new CDs into a flood-tide of superficially similar releases? Today I > listened to two upcoming albums - Fire!'s You Liked Me Five Minutes > Ago, on > Rune Grammofon , and the Joe Morris > Quartet's > Today on Earth, on AUM Fidelity . Fire! > (punctuation in original) is a new project featuring saxophonist Mats > Gustafsson (who also plays electronics and Fender Rhodes); this is > but the > latest entry in an intimidatingly deep catalog that includes work > with the > groups The Thing, Two Bands and a Legend, Original Silence, > Diskaholics > Anonymous Trio, and collaborations with Peter Br?tzmann and equally > session-happy drummer Paal Nilssen-Love. (All this was garnered from a > cursory glance at the website for the Smalltown Superjazz > label, which puts most of this > material > out.) The Joe Morris Quartet album is his eighth full-length > release of > 2009, his sixth as a leader or co-leader. (I've heard four of the > discs he > led or co-led, and the two on which he was a sideman. They're all very > good.) He appeared on 11 albums in 2008, and has played on > approximately 45 > releases (my eyes may have glazed over while counting) since the > turn of the > millennium. Now granted, this doesn't come close to the audio diary- > keeping > of Anthony Braxton, but is Braxton really a model to be emulated in > this > regard? I guess what I'm wondering is, what's the business > rationale for > doing this? I assume that there must be one. Can it be pure > fatalism - a > conviction that one is destined to sell only a few hundred or a > couple of > thousand copies of each album, so frequent trips to the well (the > well being > the free jazz fan's wallet/bank account) are excusable? Is there a > presumption that free jazz fans are, indeed, willing to subsidize a > favorite > artist to this degree? Because speaking from personal experience, I > can > offer a few reasons why I think this is an ill-advised strategy. > > 1) I just don't think there are that many people willing to buy > five or ten > Joe Morris CDs every year. I am a free jazz fan, but I am also a > critic; > therefore, I get albums in the mail, for free. As much as I enjoy > these > records, and have written favorable reviews of some of them, if I > wasn't > getting them for free I don't think I could be convinced to > purchase more > than one or two of them. Because... > > 1a) A flood-tide of material, to me at least, only serves to > devalue each > individual disc. Again, drawing from personal experience: I decided > I wanted > to hear all the Blue Note releases by Freddie Hubbard. There were > eight of > them (Blue Spirits, Breaking Point, Goin' Up, Here to Stay, Hub Cap, > Hub-Tones, Open Sesame and Ready for Freddie - if I'm missing any, > please > alert me in comments). I found that totally manageable. Joe Morris's > discography, by contrast, numbers in the dozens and is scattered > across 26 > labels, some of which no longer exist. Hearing all of it is pretty > clearly > an unmanageable task. And even if I was able to stack all of his > releases up > in front of me, how would I decide which to prioritize? Sure, each > one is a > beautiful and unique snowflake, but taken together they are a > snowdrift. > Each piece of the whole becomes insignificant, each album or CD no > more than > proof that a recording session occurred. In this way, the title of > the new > album, Today on Earth, appears heavy with irony. Today, Joe Morris > went into > the recording studio with some other musicians. In a week or so, he'll > probably do it again. And on and on. When an artist puts out one > album every > two or three years, that album has a gravity, an impact, that > simply would > be lost if it were the third release to hit stores under his name that > month. Which leads me to... > > 1b) What is a neophyte listener to make of this? For decades, it's > been > pretty easy to trace your way through jazz if you so choose. Pick > up an > album someone more knowledgeable recommends. If you like it, make a > list of > the personnel, whose names will more than likely be on the back. Go > find > some more records they play on. Repeat as often as you like. And > that can > still happen. But it seems to me that the almost compulsive > productivity of > some in the free/avant-jazz community only serves to baffle and > intimidate > the new listener, who will gaze upon a shelf in, say, Downtown > Music Gallery > containing a dozen or more > titles by a > single musician and say, in effect, "I don't know...this one? That > one? Ah, > the hell with it." You know those scenes in movies where the > immigrant from > some impoverished nation arrives in America and is dumbstruck by the > awe-inspiring variety of, say, the grocery store's breakfast cereal > aisle? > That's how a brand-new potential free jazz fan will feel, gazing > upon the > shelves in a record store that even stocks this stuff - or, say, the > vendors' section at the Vision Festival www.visionfestival.org> or > a similar event. > > It may seem weird and counterintuitive, but I believe that if free > jazz > artists want to start playing to audiences beyond the already > converted, > they need to make fewer records, not more. Let people catch up, > dammit! > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From miltnerunit at gmail.com Mon Aug 24 18:10:23 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Mon, 24 Aug 2009 18:10:23 -0700 Subject: [NewMusic] cd cover art question In-Reply-To: References: <46034.198.1251150687.squirrel@o2.hostbaby.com> Message-ID: in my experience, glare can be a hassle unless you're working on a cloudy day outside, especially if the painting you're photographing had lots of hi gloss paint. k On Mon, Aug 24, 2009 at 2:56 PM, Sarah - 21 Grand <21grand at 21grand.org>wrote: > It's not that hard ... Find a white wall without much texture. Hang it. > Depending on the size of the painting, you could probably get away with > using some relatively cheap household lights. The key is to do it at > night, > when you aren't mixing daylight and electric light, because you'd end up > spending a bunch of time doing color correction. > > sl > > on 8/24/09 2:51 PM, Tim Walters at walters at doubtfulpalace.com wrote: > > > > >> If it's an actual painting, probably the easiest way would be to work > from > >> a > >> digital photo of it. Alternate method: scan a photographic slide. > > > > Note that this is hard to do at a professional level yourself (you need a > > copy stand and the right kind of lighting). There are photographers who > > specialize in this and can do it relatively cheaply. > > > > Of course, "professional" isn't necessarily better, and it doesn't hurt > to > > try some DIY. Take it outside on a cloudy day (for better color and > > relatively directionless light) and give it a whirl. > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From damon at balancepointacoustics.com Mon Aug 24 18:17:59 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Mon, 24 Aug 2009 18:17:59 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: I can't pretend to like Mats' recent work, but Joe sort of has two careers, his bass playing and guitar playing are related but ultimately very different. I have most of the releases in question and I have enjoyed them. Also, with downloads people will buy/steal more of an artist's work they like. You either want your work out there or not. On Aug 24, 2009, at 5:49 PM, Sarah - 21 Grand wrote: > [The following is not meant as a personal attack on Joe Morris. I > know Joe, > I like him, I am a fan of his music. This is a statement about free > jazz in > general, with him as an example.] > > Do relentlessly prolific out-jazz musicians sabotage themselves by > tossing > new CDs into a flood-tide of superficially similar releases? Today I > listened to two upcoming albums - Fire!'s You Liked Me Five Minutes > Ago, on > Rune Grammofon , and the Joe Morris > Quartet's > Today on Earth, on AUM Fidelity . Fire! > (punctuation in original) is a new project featuring saxophonist Mats > Gustafsson (who also plays electronics and Fender Rhodes); this is > but the > latest entry in an intimidatingly deep catalog that includes work > with the > groups The Thing, Two Bands and a Legend, Original Silence, > Diskaholics > Anonymous Trio, and collaborations with Peter Br?tzmann and equally > session-happy drummer Paal Nilssen-Love. (All this was garnered from a > cursory glance at the website for the Smalltown Superjazz > label, which puts most of this > material > out.) The Joe Morris Quartet album is his eighth full-length > release of > 2009, his sixth as a leader or co-leader. (I've heard four of the > discs he > led or co-led, and the two on which he was a sideman. They're all very > good.) He appeared on 11 albums in 2008, and has played on > approximately 45 > releases (my eyes may have glazed over while counting) since the > turn of the > millennium. Now granted, this doesn't come close to the audio diary- > keeping > of Anthony Braxton, but is Braxton really a model to be emulated in > this > regard? I guess what I'm wondering is, what's the business > rationale for > doing this? I assume that there must be one. Can it be pure > fatalism - a > conviction that one is destined to sell only a few hundred or a > couple of > thousand copies of each album, so frequent trips to the well (the > well being > the free jazz fan's wallet/bank account) are excusable? Is there a > presumption that free jazz fans are, indeed, willing to subsidize a > favorite > artist to this degree? Because speaking from personal experience, I > can > offer a few reasons why I think this is an ill-advised strategy. > > 1) I just don't think there are that many people willing to buy > five or ten > Joe Morris CDs every year. I am a free jazz fan, but I am also a > critic; > therefore, I get albums in the mail, for free. As much as I enjoy > these > records, and have written favorable reviews of some of them, if I > wasn't > getting them for free I don't think I could be convinced to > purchase more > than one or two of them. Because... > > 1a) A flood-tide of material, to me at least, only serves to > devalue each > individual disc. Again, drawing from personal experience: I decided > I wanted > to hear all the Blue Note releases by Freddie Hubbard. There were > eight of > them (Blue Spirits, Breaking Point, Goin' Up, Here to Stay, Hub Cap, > Hub-Tones, Open Sesame and Ready for Freddie - if I'm missing any, > please > alert me in comments). I found that totally manageable. Joe Morris's > discography, by contrast, numbers in the dozens and is scattered > across 26 > labels, some of which no longer exist. Hearing all of it is pretty > clearly > an unmanageable task. And even if I was able to stack all of his > releases up > in front of me, how would I decide which to prioritize? Sure, each > one is a > beautiful and unique snowflake, but taken together they are a > snowdrift. > Each piece of the whole becomes insignificant, each album or CD no > more than > proof that a recording session occurred. In this way, the title of > the new > album, Today on Earth, appears heavy with irony. Today, Joe Morris > went into > the recording studio with some other musicians. In a week or so, he'll > probably do it again. And on and on. When an artist puts out one > album every > two or three years, that album has a gravity, an impact, that > simply would > be lost if it were the third release to hit stores under his name that > month. Which leads me to... > > 1b) What is a neophyte listener to make of this? For decades, it's > been > pretty easy to trace your way through jazz if you so choose. Pick > up an > album someone more knowledgeable recommends. If you like it, make a > list of > the personnel, whose names will more than likely be on the back. Go > find > some more records they play on. Repeat as often as you like. And > that can > still happen. But it seems to me that the almost compulsive > productivity of > some in the free/avant-jazz community only serves to baffle and > intimidate > the new listener, who will gaze upon a shelf in, say, Downtown > Music Gallery > containing a dozen or more > titles by a > single musician and say, in effect, "I don't know...this one? That > one? Ah, > the hell with it." You know those scenes in movies where the > immigrant from > some impoverished nation arrives in America and is dumbstruck by the > awe-inspiring variety of, say, the grocery store's breakfast cereal > aisle? > That's how a brand-new potential free jazz fan will feel, gazing > upon the > shelves in a record store that even stocks this stuff - or, say, the > vendors' section at the Vision Festival www.visionfestival.org> or > a similar event. > > It may seem weird and counterintuitive, but I believe that if free > jazz > artists want to start playing to audiences beyond the already > converted, > they need to make fewer records, not more. Let people catch up, > dammit! > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From jon_raskin at yahoo.com Mon Aug 24 18:20:28 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Tue, 25 Aug 2009 01:20:28 +0000 Subject: [NewMusic] cd cover art question Message-ID: <1000740772-1251163179-cardhu_decombobulator_blackberry.rim.net-633290137-@bxe1099.bisx.prod.on.blackberry> And more natural color, light bulbs change the color. A tripod is also extremely handy to get a square on shot without jitter, something that is difficult to acheive with a point and shoot. ------Original Message------ From: Kristin Miltner Sender: newmusic-bounces at music.mills.edu To: Bay Area New Music Discussion Group ReplyTo: Bay Area New Music Discussion Group Subject: Re: [NewMusic] cd cover art question Sent: Aug 24, 2009 6:10 PM in my experience, glare can be a hassle unless you're working on a cloudy day outside, especially if the painting you're photographing had lots of hi gloss paint. k On Mon, Aug 24, 2009 at 2:56 PM, Sarah - 21 Grand <21grand at 21grand.org>wrote: > It's not that hard ... Find a white wall without much texture. Hang it. > Depending on the size of the painting, you could probably get away with > using some relatively cheap household lights. The key is to do it at > night, > when you aren't mixing daylight and electric light, because you'd end up > spending a bunch of time doing color correction. > > sl > > on 8/24/09 2:51 PM, Tim Walters at walters at doubtfulpalace.com wrote: > > > > >> If it's an actual painting, probably the easiest way would be to work > from > >> a > >> digital photo of it. Alternate method: scan a photographic slide. > > > > Note that this is hard to do at a professional level yourself (you need a > > copy stand and the right kind of lighting). There are photographers who > > specialize in this and can do it relatively cheaply. > > > > Of course, "professional" isn't necessarily better, and it doesn't hurt > to > > try some DIY. Take it outside on a cloudy day (for better color and > > relatively directionless light) and give it a whirl. > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic Sent from my Verizon Wireless BlackBerry From jfheule at gmail.com Mon Aug 24 18:26:52 2009 From: jfheule at gmail.com (jacob felix heule) Date: Mon, 24 Aug 2009 18:26:52 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: <9c5cfa860908241826w245e5ea4n556168011832cdf7@mail.gmail.com> Albums are already a devalued artwork/commodity that most listeners will only listen to once or twice. If you want someone to listen to you a third or fourth time, you need to have another album out. I'm not happy with this situation, but I'm begrudgingly coming to terms with what I perceive as reality. I think the real question is not how many albums to release, but how much work to put into any given album. In lieu of what I just said, I think listeners/consumers are sadly pushing musicians toward more albums, less effort per album. For me, time, effort and cash sunk into any given album correlates with the quantity to be produced and the scope of the distribution. I want to reach as many people as possible with as many different sorts of albums out in the world as seems reasonable, and I want to reach the same people again with another new album in a timely manner. Hopefully I'm reaching a compromise between doing this and not releasing any bullshit. jacob felix .. http://www.myspace.com/jacobfelix http://www.heule.us From mattdavignon at gmail.com Mon Aug 24 18:37:06 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 24 Aug 2009 18:37:06 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: I can think of a couple reasons for it... 1) Diary-keeping, as mentioned earlier. Personally I'm all for diary-keeping as a musician (keeping an active recording schedule so as to have a record of your musical development over a long period of time). However, PUBLIC diary-keeping gets a little weird when it's beyond a certain scale. I might be interested in how your music changes between 2005 and 2007, but it may be too much to think I'd want to hear how much it changed between February 15th and February 28th. 2) One could argue that by releasing cd's of live performances several times a year, you're allowing remote fans of yours the opportunity to hear your music closer to the way they'd here it if they lived in your town. The price of the cd is like a concert ticket, and you listen to the disc once. Then you wait for the next one so you can hear that when it comes out. Similarly, if you're a fan you could get 20 or so cds by an artist you like, and put on a different one each time you want to hear their music. That way, they don't get into the mode of knowing the music too well and predicting what comes next. I have a collection of 15 Rapoon cds like that. 3) Because you can, and nobody's stopping you. --- Well, despite all those arguments for it, it's really not my thing. I find that I gradually tire of listening to artists if I get a cd more than once a year or so. Likewise, if I'm curious about an artists, a fecund discography usually increases the chances that I'm not going to be as wowed by what I pick up. For example, Nurse With Wound. I think I've purchased about 7 of his discs so far, but I only *really* enjoy 2 of them. -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt On Mon, Aug 24, 2009 at 5:49 PM, Sarah - 21 Grand<21grand at 21grand.org> wrote: > [The following is not meant as a personal attack on Joe Morris. I know Joe, > I like him, I am a fan of his music. This is a statement about free jazz in > general, with him as an example.] > > Do relentlessly prolific out-jazz musicians sabotage themselves by tossing > new CDs into a flood-tide of superficially similar releases? Today I > listened to two upcoming albums - Fire!'s You Liked Me Five Minutes Ago, on > Rune Grammofon , and the Joe Morris Quartet's > Today on Earth, on AUM Fidelity . Fire! > (punctuation in original) is a new project featuring saxophonist Mats > Gustafsson (who also plays electronics and Fender Rhodes); this is but the > latest entry in an intimidatingly deep catalog that includes work with the > groups The Thing, Two Bands and a Legend, Original Silence, Diskaholics > Anonymous Trio, and collaborations with Peter Br?tzmann and equally > session-happy drummer Paal Nilssen-Love. (All this was garnered from a > cursory glance at the website for the Smalltown Superjazz > label, which puts most of this material > out.) The Joe Morris Quartet album is his eighth full-length release of > 2009, his sixth as a leader or co-leader. (I've heard four of the discs he > led or co-led, and the two on which he was a sideman. They're all very > good.) He appeared on 11 albums in 2008, and has played on approximately 45 > releases (my eyes may have glazed over while counting) since the turn of the > millennium. Now granted, this doesn't come close to the audio diary-keeping > of Anthony Braxton, but is Braxton really a model to be emulated in this > regard? I guess what I'm wondering is, what's the business rationale for > doing this? I assume that there must be one. Can it be pure fatalism - a > conviction that one is destined to sell only a few hundred or a couple of > thousand copies of each album, so frequent trips to the well (the well being > the free jazz fan's wallet/bank account) are excusable? Is there a > presumption that free jazz fans are, indeed, willing to subsidize a favorite > artist to this degree? Because speaking from personal experience, I can > offer a few reasons why I think this is an ill-advised strategy. > > 1) I just don't think there are that many people willing to buy five or ten > Joe Morris CDs every year. I am a free jazz fan, but I am also a critic; > therefore, I get albums in the mail, for free. As much as I enjoy these > records, and have written favorable reviews of some of them, if I wasn't > getting them for free I don't think I could be convinced to purchase more > than one or two of them. Because... > > 1a) A flood-tide of material, to me at least, only serves to devalue each > individual disc. Again, drawing from personal experience: I decided I wanted > to hear all the Blue Note releases by Freddie Hubbard. There were eight of > them (Blue Spirits, Breaking Point, Goin' Up, Here to Stay, Hub Cap, > Hub-Tones, Open Sesame and Ready for Freddie - if I'm missing any, please > alert me in comments). I found that totally manageable. Joe Morris's > discography, by contrast, numbers in the dozens and is scattered across 26 > labels, some of which no longer exist. Hearing all of it is pretty clearly > an unmanageable task. And even if I was able to stack all of his releases up > in front of me, how would I decide which to prioritize? Sure, each one is a > beautiful and unique snowflake, but taken together they are a snowdrift. > Each piece of the whole becomes insignificant, each album or CD no more than > proof that a recording session occurred. In this way, the title of the new > album, Today on Earth, appears heavy with irony. Today, Joe Morris went into > the recording studio with some other musicians. In a week or so, he'll > probably do it again. And on and on. When an artist puts out one album every > two or three years, that album has a gravity, an impact, that simply would > be lost if it were the third release to hit stores under his name that > month. Which leads me to... > > 1b) What is a neophyte listener to make of this? For decades, it's been > pretty easy to trace your way through jazz if you so choose. Pick up an > album someone more knowledgeable recommends. If you like it, make a list of > the personnel, whose names will more than likely be on the back. Go find > some more records they play on. Repeat as often as you like. And that can > still happen. But it seems to me that the almost compulsive productivity of > some in the free/avant-jazz community only serves to baffle and intimidate > the new listener, who will gaze upon a shelf in, say, Downtown Music Gallery > containing a dozen or more titles by a > single musician and say, in effect, "I don't know...this one? That one? Ah, > the hell with it." You know those scenes in movies where the immigrant from > some impoverished nation arrives in America and is dumbstruck by the > awe-inspiring variety of, say, the grocery store's breakfast cereal aisle? > That's how a brand-new potential free jazz fan will feel, gazing upon the > shelves in a record store that even stocks this stuff - or, say, the > vendors' section at the Vision Festival ?or > a similar event. > > It may seem weird and counterintuitive, but I believe that if free jazz > artists want to start playing to audiences beyond the already converted, > they need to make fewer records, not more. Let people catch up, dammit! > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From damon at balancepointacoustics.com Mon Aug 24 18:38:10 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Mon, 24 Aug 2009 18:38:10 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: <9c5cfa860908241826w245e5ea4n556168011832cdf7@mail.gmail.com> References: <9c5cfa860908241826w245e5ea4n556168011832cdf7@mail.gmail.com> Message-ID: <14B06321-BEF3-4BBA-93BC-A5FF48D6FCB2@balancepointacoustics.com> I tend to want to hear a lot of albums by a particular musician at once when I get interested in their work. If it is interesting work it really isn't a problem. I hated Jeff Koons until I saw a whole exhibition of his work, then it became clear what he was up to. With improvised music we are more than likely going to hear different musicians and different contexts all together. I might even go as far as to say if what a musician does can be summed up in one or two albums, they actually don't have what it takes for contemporary improvised music. On Aug 24, 2009, at 6:26 PM, jacob felix heule wrote: > Albums are already a devalued artwork/commodity that most listeners > will > only listen to once or twice. If you want someone to listen to you > a third > or fourth time, you need to have another album out. I'm not happy > with this > situation, but I'm begrudgingly coming to terms with what I > perceive as > reality. > > I think the real question is not how many albums to release, but > how much > work to put into any given album. In lieu of what I just said, I think > listeners/consumers are sadly pushing musicians toward more albums, > less > effort per album. For me, time, effort and cash sunk into any given > album > correlates with the quantity to be produced and the scope of the > distribution. > > I want to reach as many people as possible with as many different > sorts of > albums out in the world as seems reasonable, and I want to reach > the same > people again with another new album in a timely manner. Hopefully I'm > reaching a compromise between doing this and not releasing any > bullshit. > > jacob felix > .. > http://www.myspace.com/jacobfelix > http://www.heule.us > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From mustafaumutsarac at gmail.com Mon Aug 24 18:44:07 2009 From: mustafaumutsarac at gmail.com (Mustafa Umut Sarac) Date: Tue, 25 Aug 2009 04:44:07 +0300 Subject: [NewMusic] cd cover art question In-Reply-To: References: Message-ID: If you want the best quality , scan the original painting on drum scanner. Drum scanners are quite strange to the beginners .Drum is a cylinder and covered with transparent film. Scanner operator , put the painting between drum and white film and strech the film. This makes the painting flat. And than the scanner starts to rotate the drum and a camera head slide and scan the painting. But there are some points to calculate. If your painting is thick textured impasto , may be they CAN NOT roll it on to the drum.Because paint CRACKS . And drum scanner camera - small SINGLE PIXEL NOT MILLION PIXEL CAMERA - CAN NOT FOCUS to the surface of the painting. If it is a watercolor or photograph and size of it exceeds the size of the flat desktop scanner , i advise you to order with drum scanner. BECAUSE , professional industrial grade scanners - drum , crossfield - and flat heidelberg scanners are calibrated to the press machines inks characteristics. They transform every color of the painting to the best grade of printing press output. IF YOU WANT TO USE YOUR DIGITAL CAMERA , you cant adjust the light temperature. At every hour of the day , the color of the daylight changes and it changes of the painting colors You need a scanner which enlights the painting with pure 12 daylight. YOU NEED TO FIND A PREPRESS HOUSE and ask them to help you your MAC FREEHAND , QUARK EXPRESS paper layout , scan and clean the digital image etc. IT IS NOT CHEAP , THEY WILL PREPARE CYAN YELLOW MAGENTA BLACK PRINTING PRESS FILMS , PRINTED PAPER CUTTING STEEL TEMPLATE AND THE MACHINE TO PACK IT IN TO THE CD CASE WITH YOUR CD. Thats why , it is complicated , you have to find a art director and his her agency. They will do everything for you Good luck , Mustafa Umut Sarac Istanbul From mattdavignon at gmail.com Mon Aug 24 18:47:01 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 24 Aug 2009 18:47:01 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: <14B06321-BEF3-4BBA-93BC-A5FF48D6FCB2@balancepointacoustics.com> References: <9c5cfa860908241826w245e5ea4n556168011832cdf7@mail.gmail.com> <14B06321-BEF3-4BBA-93BC-A5FF48D6FCB2@balancepointacoustics.com> Message-ID: You HATED him? Poor guy. On Mon, Aug 24, 2009 at 6:38 PM, Damon Smith wrote: > I tend to want to hear a lot of albums by a particular musician at > once when I get interested in their work. If it is interesting work > it really isn't a problem. I hated Jeff Koons until I saw a whole > exhibition of his work... From mustafaumutsarac at gmail.com Mon Aug 24 19:02:22 2009 From: mustafaumutsarac at gmail.com (Mustafa Umut Sarac) Date: Tue, 25 Aug 2009 05:02:22 +0300 Subject: [NewMusic] cd cover art question In-Reply-To: References: Message-ID: By this way , you have two selection for print technology , offset and rotogravure. If you have money , if you will prepare thousands of print , and if you want the colors of national geographic magazine , order from rotogravure machines. They use copper plates , they dig gravure in them with diamond or laser and these small millions of gravure dots , carry more ink than the offset because offset printing plate is like a mountain. Rotogravure is like a valley. You can put more ink to the valley. It makes stronger colors , darker blacks and wider degrades. IF YOU WANT TO BE SURE THE COMPOSITION OF YOUR PAINTING ON CD , YOU CAN PHOTOGRAPH , SCALE , PUT IN A TEMPLATE AND PRINT. bY THIS WAY ART DIRECTOR WILL BE SURE ABOUT WHATEVER YOU WANT Dont forget to order a proof from prepress house. It will be very similar to offset FINAL print. I dont know is there a proof system for rotogravure but might be there. U On 8/25/09, Mustafa Umut Sarac wrote: > > If you want the best quality , scan the original painting on drum scanner. > Drum scanners are quite strange to the beginners .Drum is a cylinder and > covered with transparent film. > Scanner operator , put the painting between drum and white film and strech > the film. This makes the painting flat. And than the scanner starts to > rotate the drum and a camera head slide and scan the painting. > But there are some points to calculate. If your painting is thick textured > impasto , may be they CAN NOT roll it on to the drum.Because paint CRACKS > . And drum scanner camera - small SINGLE PIXEL NOT MILLION PIXEL CAMERA > - CAN NOT FOCUS to the surface of the painting. > If it is a watercolor or photograph and size of it exceeds the size of the > flat desktop scanner , i advise you to order with drum scanner. > BECAUSE , professional industrial grade scanners - drum , crossfield - and > flat heidelberg scanners are calibrated to the press machines inks > characteristics. > They transform every color of the painting to the best grade of printing > press output. > IF YOU WANT TO USE YOUR DIGITAL CAMERA , you cant adjust the light > temperature. > At every hour of the day , the color of the daylight changes and it changes > of the painting colors > You need a scanner which enlights the painting with pure 12 daylight. > YOU NEED TO FIND A PREPRESS HOUSE and ask them to help you your MAC > FREEHAND , QUARK EXPRESS paper layout , scan and clean the digital image > etc. > IT IS NOT CHEAP , THEY WILL PREPARE CYAN YELLOW MAGENTA BLACK PRINTING > PRESS FILMS , PRINTED PAPER CUTTING STEEL TEMPLATE AND THE MACHINE TO PACK > IT IN TO THE CD CASE WITH YOUR CD. > Thats why , it is complicated , you have to find a art director and his her > agency. They will do everything for you > > Good luck , > > Mustafa Umut Sarac > > Istanbul > From mattdavignon at gmail.com Mon Aug 24 19:08:42 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 24 Aug 2009 19:08:42 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: <9c5cfa860908241826w245e5ea4n556168011832cdf7@mail.gmail.com> <14B06321-BEF3-4BBA-93BC-A5FF48D6FCB2@balancepointacoustics.com> Message-ID: On Mon, Aug 24, 2009 at 6:47 PM, Matt Davignon wrote: > You HATED him? Poor guy. > > On Mon, Aug 24, 2009 at 6:38 PM, Damon > Smith wrote: >> I tend to want to hear a lot of albums by a particular musician at >> once when I get interested in their work. If it is interesting work >> it really isn't a problem. I hated Jeff Koons until I saw a whole >> exhibition of his work... > Oh shit - here's the proof! ---------------- From: Damon Smith Sent: Friday, February 14, 1976 To: Jeff Koons Subject: Jeff Koons Dear Jeff Koons, I just found out about you today in art class. Knowing you exist fills my heart with inconsolable rage. Seriously, Damon Smith. -------------------------- From: Damon Smith Sent: Tuesday, August 19, 1994 To: Jeff Koons Subject: dark breakfast Hey Jeff, Just keeping you abreast of current events in my life. Today I was really enjoying some cinnamon pancakes with a strawberry topping. I was enjoying them thuroughly and things in the world were starting to look up. Birds were twittering outside. Then I thought of you, and how you must be enjoying your breakfast somewhere. Suddenly all the flavour drained out, and it was as if I was eating sand. Angry sand. The awful birds continued to shred my ears with their incessant cawing. Really, how do you live with yourself? Truly, Damon Smith. ---------------------------- From: Damon Smith Sent: Wednesday, July 22nd, 2007 To: Jeff Koons Subject: Neat! I was dragged kicking and screaming to your art show today. I expected it to suck, but it wasn?t too bad. You're ok, I guess. With warm regards, Damon Smith From 21grand at 21grand.org Mon Aug 24 19:12:06 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Mon, 24 Aug 2009 19:12:06 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: Message-ID: That's obviously false ...if Damon Smith were describing his breakfast, he would include his beverage of choice. sl on 8/24/09 7:08 PM, Matt Davignon at mattdavignon at gmail.com wrote: > On Mon, Aug 24, 2009 at 6:47 PM, Matt Davignon wrote: >> You HATED him? Poor guy. >> >> On Mon, Aug 24, 2009 at 6:38 PM, Damon >> Smith wrote: >>> I tend to want to hear a lot of albums by a particular musician at >>> once when I get interested in their work. If it is interesting work >>> it really isn't a problem. I hated Jeff Koons until I saw a whole >>> exhibition of his work... >> > > Oh shit - here's the proof! > > ---------------- > > From: Damon Smith > Sent: Friday, February 14, 1976 > To: Jeff Koons > Subject: Jeff Koons > > Dear Jeff Koons, > > I just found out about you today in art class. Knowing you exist fills > my heart with inconsolable rage. > > Seriously, > Damon Smith. > > -------------------------- > > From: Damon Smith > Sent: Tuesday, August 19, 1994 > To: Jeff Koons > Subject: dark breakfast > > Hey Jeff, > > Just keeping you abreast of current events in my life. Today I was > really enjoying some cinnamon pancakes with a strawberry topping. I > was enjoying them thuroughly and things in the world were starting to > look up. Birds were twittering outside. Then I thought of you, and how > you must be enjoying your breakfast somewhere. Suddenly all the > flavour drained out, and it was as if I was eating sand. Angry sand. > The awful birds continued to shred my ears with their incessant > cawing. Really, how do you live with yourself? > > Truly, > Damon Smith. > > ---------------------------- > > From: Damon Smith > Sent: Wednesday, July 22nd, 2007 > To: Jeff Koons > Subject: Neat! > > I was dragged kicking and screaming to your art show today. I expected > it to suck, but it wasn?t too bad. > > You're ok, I guess. > > With warm regards, > Damon Smith > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From pgsaxo at pacbell.net Mon Aug 24 19:44:56 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Mon, 24 Aug 2009 19:44:56 -0700 (PDT) Subject: [NewMusic] Best opening clause in a bio Message-ID: <836238.51008.qm@web81407.mail.mud.yahoo.com> i liked that too. Sent from my iPhone On Aug 24, 2009, at 1:53 PM, Matt Davignon wrote: >From the events list today: "For hundreds of years, Oakland, California's Porest (aka Mark Gergis) has..." -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From damon at balancepointacoustics.com Mon Aug 24 20:18:37 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Mon, 24 Aug 2009 20:18:37 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: While it was obviously based on his work, I actually did hate Koons and think all his work should be ground to bits in a wood chipper like Buscemi in Fargo. Now I reseve that hope for Robert Arneson and Chris Johansson's work and speaking of "Hope" we can add Robert Indiana to the list. On Aug 24, 2009, at 7:12 PM, Sarah - 21 Grand wrote: > That's obviously false ...if Damon Smith were describing his > breakfast, he > would include his beverage of choice. > > sl > > on 8/24/09 7:08 PM, Matt Davignon at mattdavignon at gmail.com wrote: > >> On Mon, Aug 24, 2009 at 6:47 PM, Matt >> Davignon wrote: >>> You HATED him? Poor guy. >>> >>> On Mon, Aug 24, 2009 at 6:38 PM, Damon >>> Smith wrote: >>>> I tend to want to hear a lot of albums by a particular musician at >>>> once when I get interested in their work. If it is interesting work >>>> it really isn't a problem. I hated Jeff Koons until I saw a whole >>>> exhibition of his work... >>> >> >> Oh shit - here's the proof! >> >> ---------------- >> >> From: Damon Smith >> Sent: Friday, February 14, 1976 >> To: Jeff Koons >> Subject: Jeff Koons >> >> Dear Jeff Koons, >> >> I just found out about you today in art class. Knowing you exist >> fills >> my heart with inconsolable rage. >> >> Seriously, >> Damon Smith. >> >> -------------------------- >> >> From: Damon Smith >> Sent: Tuesday, August 19, 1994 >> To: Jeff Koons >> Subject: dark breakfast >> >> Hey Jeff, >> >> Just keeping you abreast of current events in my life. Today I was >> really enjoying some cinnamon pancakes with a strawberry topping. I >> was enjoying them thuroughly and things in the world were starting to >> look up. Birds were twittering outside. Then I thought of you, and >> how >> you must be enjoying your breakfast somewhere. Suddenly all the >> flavour drained out, and it was as if I was eating sand. Angry sand. >> The awful birds continued to shred my ears with their incessant >> cawing. Really, how do you live with yourself? >> >> Truly, >> Damon Smith. >> >> ---------------------------- >> >> From: Damon Smith >> Sent: Wednesday, July 22nd, 2007 >> To: Jeff Koons >> Subject: Neat! >> >> I was dragged kicking and screaming to your art show today. I >> expected >> it to suck, but it wasn?t too bad. >> >> You're ok, I guess. >> >> With warm regards, >> Damon Smith >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From letucepry at yahoo.com Tue Aug 25 11:01:47 2009 From: letucepry at yahoo.com (Ron Lettuce) Date: Tue, 25 Aug 2009 11:01:47 -0700 (PDT) Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: <975474.16127.qm@web54302.mail.re2.yahoo.com> Hmmmm....interesting in-depth revelations about Damon Smith Apparently the first e-mail was sent by a 3 year old Damon on Valentines day which was a Saturday, which was probably the only time he had free to take an Art class, as?he must have been working for DARPA or something,?since he had e-mail access in 1976... The second was sent on the date of Linus Pauling's death, interestingly enough, no mention about it...soured pancakes definitely overshadowed the passing of a great man... and I'll assume that he was in London for the 2007 exhibit... http://www.gagosian.com/exhibitions/davies-street-2007-06-jeff-koons/ btw none of the days of the week are correct... lettuce ________________________________ From: Damon Smith To: Bay Area New Music Discussion Group Sent: Monday, August 24, 2009 8:18:37 PM Subject: Re: [NewMusic] Prolificity - from some critic's blog While it was obviously based on his work, I actually did hate Koons and think all his work should be ground to bits in a wood chipper like Buscemi in Fargo. Now I reseve that hope for Robert Arneson and Chris Johansson's work and speaking of "Hope" we can add Robert Indiana to the list. On Aug 24, 2009, at 7:12 PM, Sarah - 21 Grand wrote: > That's obviously false ...if Damon Smith were describing his > breakfast, he > would include his beverage of choice. > > sl > > on 8/24/09 7:08 PM, Matt Davignon at mattdavignon at gmail.com wrote: > >> On Mon, Aug 24, 2009 at 6:47 PM, Matt >> Davignon wrote: >>> You HATED him? Poor guy. >>> >>> On Mon, Aug 24, 2009 at 6:38 PM, Damon >>> Smith wrote: >>>> I tend to want to hear a lot of albums by a particular musician at >>>> once when I get interested in their work. If it is interesting work >>>> it really isn't a problem. I hated Jeff Koons until I saw a whole >>>> exhibition of his work... >>> >> >> Oh shit - here's the proof! >> >> ---------------- >> >> From: Damon Smith >> Sent: Friday, February 14, 1976 >> To: Jeff Koons >> Subject: Jeff Koons >> >> Dear Jeff Koons, >> >> I just found out about you today in art class. Knowing you exist >> fills >> my heart with inconsolable rage. >> >> Seriously, >> Damon Smith. >> >> -------------------------- >> >> From: Damon Smith >> Sent: Tuesday, August 19, 1994 >> To: Jeff Koons >> Subject: dark breakfast >> >> Hey Jeff, >> >> Just keeping you abreast of current events in my life. Today I was >> really enjoying some cinnamon pancakes with a strawberry topping. I >> was enjoying them thuroughly and things in the world were starting to >> look up. Birds were twittering outside. Then I thought of you, and >> how >> you must be enjoying your breakfast somewhere. Suddenly all the >> flavour drained out, and it was as if I was eating sand. Angry sand. >> The awful birds continued to shred my ears with their incessant >> cawing. Really, how do you live with yourself? >> >> Truly, >> Damon Smith. >> >> ---------------------------- >> >> From: Damon Smith >> Sent: Wednesday, July 22nd, 2007 >> To: Jeff Koons >> Subject: Neat! >> >> I was dragged kicking and screaming to your art show today. I >> expected >> it to suck, but it wasn?t too bad. >> >> You're ok, I guess. >> >> With warm regards, >> Damon Smith >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From polly.moller at gmail.com Tue Aug 25 13:07:39 2009 From: polly.moller at gmail.com (Polly Moller) Date: Tue, 25 Aug 2009 13:07:39 -0700 Subject: [NewMusic] 2010 booking inquiry Message-ID: <2eb068d40908251307w7445b041pf5545e164c1e44ae@mail.gmail.com> Hi Marianne. I'm wondering if you might be available and interested in helping me premiere my new piece for twelve improvisers? It's called "Genesis", and the concert is on Feb. 25, 2010 at the Luggage Store Gallery. I think having you and your harp be a part of the ensemble would be awesome. Please let me know what you think. Cheers, Polly -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ From mattdavignon at gmail.com Tue Aug 25 13:22:52 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 25 Aug 2009 13:22:52 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: <975474.16127.qm@web54302.mail.re2.yahoo.com> References: <975474.16127.qm@web54302.mail.re2.yahoo.com> Message-ID: Yeah... research would've taken effort. I also forgot to put in a line like "The pancakes tasted like a mouthful of sand or whole grain pancakes." But that's beside the point. We were talking about prolificity. Matt On Tue, Aug 25, 2009 at 11:01 AM, Ron Lettuce wrote: > Hmmmm....interesting in-depth revelations about Damon Smith > > Apparently the first e-mail was sent by a 3 year old Damon on Valentines day which was a Saturday, which was probably the only time he had free to take an Art class, as?he must have been working for DARPA or something,?since he had e-mail access in 1976... > > The second was sent on the date of Linus Pauling's death, interestingly enough, no mention about it...soured pancakes definitely overshadowed the passing of a great man... > > and I'll assume that he was in London for the 2007 exhibit... > > http://www.gagosian.com/exhibitions/davies-street-2007-06-jeff-koons/ > > btw none of the days of the week are correct... > > lettuce > > From mattdavignon at gmail.com Tue Aug 25 13:47:52 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 25 Aug 2009 13:47:52 -0700 Subject: [NewMusic] Board games night every sunday Message-ID: Hi all, Just a periodic reminder. A few of us weird music types try to meet regularly for board games, usually on Sunday nights. We welcome new people. If you want to be part of that discussion, just send me an email and I'll add you to the "games and weird music" google group. Meanwhile, the next night is this coming sunday from 6-10pm at Amar Chaudhary's apartment, which is near 6th and Brannan in the South of Market area. Email me or Amar (amar at ptank.com) to get the full address details. -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From gino at rastascan.com Tue Aug 25 19:14:52 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 25 Aug 2009 19:14:52 -0700 Subject: [NewMusic] Prolificity - from some critic's blog Message-ID: So far, few have taken my new-Obama-continuum suggestion about solving the glut of CD releases seriously. Maybe you listers will: It starts with a 2-year ban on releasing new products, IF you've released something before. If you have NEVER released something to the public, now's your chance, w/o all the bandwidth being eaten up by Joe Morris, Anthony Braxton, Damon Smith, Gino Robair, etc. What this will hopefully foster (especially for those out there who say they'ver heard it all) is a deep crate-diving craze by the general listenership. It would hopefully incentivize the masses to listen to ALL the albums by their favorite artist -- ROVA, Cecil Taylor, George Lewis, Richard Thompson, Beacon Street Union, Splatter Trio, etc. Go back and find the stuff you haven't heard (it's all up on Torrent, right? Or drop some dimes at Amoeba, Downtown Music Gallery, etc). And, of course, give the unheard a chance to be heard. When I declare myself Emperor of these United States, I'll abolish congress and get this process into motion... From phil at philipgelb.com Tue Aug 25 19:20:28 2009 From: phil at philipgelb.com (philip gelb) Date: Tue, 25 Aug 2009 19:20:28 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: If it is truly in Obama style, then we have to assume everything Gino is offering and saying is a complete and total lie :) phil philip gelb phil at philipgelb.com http://philipgelb.com http://myspace.com/inthemoodforfood http://myspace.com/philipgelb On Aug 25, 2009, at 7:14 PM, Gino Robair wrote: > So far, few have taken my new-Obama-continuum suggestion about > solving the > glut of CD releases seriously. Maybe you listers will: > > It starts with a 2-year ban on releasing new products, IF you've > released > something before. If you have NEVER released something to the > public, now's > your chance, w/o all the bandwidth being eaten up by Joe Morris, > Anthony > Braxton, Damon Smith, Gino Robair, etc. > > What this will hopefully foster (especially for those out there who > say > they'ver heard it all) is a deep crate-diving craze by the general > listenership. It would hopefully incentivize the masses to listen to > ALL the > albums by their favorite artist -- ROVA, Cecil Taylor, George Lewis, > Richard > Thompson, Beacon Street Union, Splatter Trio, etc. > > Go back and find the stuff you haven't heard (it's all up on > Torrent, right? > Or drop some dimes at Amoeba, Downtown Music Gallery, etc). > > And, of course, give the unheard a chance to be heard. > > When I declare myself Emperor of these United States, I'll abolish > congress > and get this process into motion... > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From matthew at matthewgoodheart.com Tue Aug 25 19:45:37 2009 From: matthew at matthewgoodheart.com (Matthew Goodheart) Date: Tue, 25 Aug 2009 19:45:37 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: Gino's a secret Kenyan-born athiest muslim communist black-supremist nazi euthanist? Oh wait, I already knew that. mg On Aug 25, 2009, at 7:20 PM, philip gelb wrote: > If it is truly in Obama style, then we have to assume everything Gino > is offering and saying is a complete and total lie :) > > phil > > philip gelb > phil at philipgelb.com > http://philipgelb.com > http://myspace.com/inthemoodforfood > http://myspace.com/philipgelb > > On Aug 25, 2009, at 7:14 PM, Gino Robair wrote: > >> So far, few have taken my new-Obama-continuum suggestion about >> solving the >> glut of CD releases seriously. Maybe you listers will: >> >> It starts with a 2-year ban on releasing new products, IF you've >> released >> something before. If you have NEVER released something to the >> public, now's >> your chance, w/o all the bandwidth being eaten up by Joe Morris, >> Anthony >> Braxton, Damon Smith, Gino Robair, etc. >> >> What this will hopefully foster (especially for those out there who >> say >> they'ver heard it all) is a deep crate-diving craze by the general >> listenership. It would hopefully incentivize the masses to listen to >> ALL the >> albums by their favorite artist -- ROVA, Cecil Taylor, George Lewis, >> Richard >> Thompson, Beacon Street Union, Splatter Trio, etc. >> >> Go back and find the stuff you haven't heard (it's all up on >> Torrent, right? >> Or drop some dimes at Amoeba, Downtown Music Gallery, etc). >> >> And, of course, give the unheard a chance to be heard. >> >> When I declare myself Emperor of these United States, I'll abolish >> congress >> and get this process into motion... >> >> _______________________________________________ >> 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 Matthew Goodheart composer ~ improviser ~ pianist matthew at matthewgoodheart.com http://matthewgoodheart.com http://myspace.com/matthewgoodheart From 21grand at 21grand.org Tue Aug 25 19:47:12 2009 From: 21grand at 21grand.org (Sarah Lockhart) Date: Tue, 25 Aug 2009 19:47:12 -0700 Subject: [NewMusic] Prolificity - from some critic's blog In-Reply-To: References: Message-ID: <314ad94ab17bc006d274dc622a004228.squirrel@webmail.21grand.org> You forget the part about his wife actually being a man. sl > Gino's a secret Kenyan-born athiest muslim communist black-supremist > nazi euthanist? > > Oh wait, I already knew that. > > mg > > > > On Aug 25, 2009, at 7:20 PM, philip gelb wrote: > >> If it is truly in Obama style, then we have to assume everything Gino >> is offering and saying is a complete and total lie :) >> >> phil >> >> philip gelb >> phil at philipgelb.com >> http://philipgelb.com >> http://myspace.com/inthemoodforfood >> http://myspace.com/philipgelb >> >> On Aug 25, 2009, at 7:14 PM, Gino Robair wrote: >> >>> So far, few have taken my new-Obama-continuum suggestion about >>> solving the >>> glut of CD releases seriously. Maybe you listers will: >>> >>> It starts with a 2-year ban on releasing new products, IF you've >>> released >>> something before. If you have NEVER released something to the >>> public, now's >>> your chance, w/o all the bandwidth being eaten up by Joe Morris, >>> Anthony >>> Braxton, Damon Smith, Gino Robair, etc. >>> >>> What this will hopefully foster (especially for those out there who >>> say >>> they'ver heard it all) is a deep crate-diving craze by the general >>> listenership. It would hopefully incentivize the masses to listen to >>> ALL the >>> albums by their favorite artist -- ROVA, Cecil Taylor, George Lewis, >>> Richard >>> Thompson, Beacon Street Union, Splatter Trio, etc. >>> >>> Go back and find the stuff you haven't heard (it's all up on >>> Torrent, right? >>> Or drop some dimes at Amoeba, Downtown Music Gallery, etc). >>> >>> And, of course, give the unheard a chance to be heard. >>> >>> When I declare myself Emperor of these United States, I'll abolish >>> congress >>> and get this process into motion... >>> >>> _______________________________________________ >>> 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 > > 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 gino at rastascan.com Tue Aug 25 20:29:25 2009 From: gino at rastascan.com (Gino Robair) Date: Tue, 25 Aug 2009 20:29:25 -0700 Subject: [NewMusic] In defense of prolificity: a personal tale Message-ID: Now that you folks have outed me and my wife... Let me make a serious point. No one expects a painter to not use so many canvases because there are already millions out there in the world. 1. The most important reason I put out CDs is that I'm an artist. I work in sound. CDs are often the frame for my work --- a convenient delivery system. If someone wants to experience my art, even for only one play, fine. Then like Matt D. says, it's as if they paid admission to a concert and got to hear it that one time. 2a. In an age where product sales suck and the music is free online before the first review is published, one important reason I release a new CD or two each year is to keep my name out there and get gigs. I see the CD release as the equivalent of a business card or project brochure. If we look at ourselves as individual business owners (in the pursuit of paying gigs or bringing in some money), we have to advertise ourselves like any other business (as well as have a Web site, etc). The compact disc, LP, DVD, and especially the cassette tape are the cheapest art multiples that you can deliver to potential "friendly experiencers" (as Braxton calls his fans), with the audio quality you prefer. And if you want to take Trent Reznor's advice, give the music away free and come up with a fetish item to sell to people who want to enjoy your vibe. 2b. Even though I can put the music online for anyone on the planet to hear, there are STILL magazines and festival organizers who want to receive a piece of plastic in the mail before they'll take a project seriously. (At least at my level of the music biz. It's probably not the same situation for Zorn, Dave Douglas, or Cecil Taylor.) Those are two of the main reasons why I (and many of my music-making friends and colleagues) seem to be so "prolific." From mattdavignon at gmail.com Wed Aug 26 08:40:01 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Wed, 26 Aug 2009 08:40:01 -0700 Subject: [NewMusic] cd cover art question In-Reply-To: References: Message-ID: Thanks All! On Mon, Aug 24, 2009 at 6:44 PM, Mustafa Umut Sarac wrote: > If you want the best quality , scan the original painting on drum scanner. > Drum scanners are quite strange to the beginners .Drum is a cylinder and > covered with transparent film. > Scanner operator , put the painting between drum and white film and strech > the film. This makes the painting flat. And than the scanner starts to > rotate the drum and a camera head slide and scan the painting. > But there are some points to calculate. If your painting is thick textured > impasto , may be they CAN NOT ?roll it on to the drum.Because paint CRACKS > . And drum scanner camera - small SINGLE PIXEL NOT MILLION PIXEL CAMERA > - CAN NOT FOCUS to the surface of the painting. > If it is a watercolor or photograph and size of it exceeds the size of the > flat desktop scanner , i advise you to order with drum scanner. > BECAUSE , professional industrial grade scanners - drum , crossfield - and > flat heidelberg scanners are calibrated to the press machines inks > characteristics. > They transform every color of the painting to the best grade of printing > press output. > IF YOU WANT TO USE YOUR DIGITAL CAMERA , you cant adjust the light > temperature. > At every hour of the day , the color of the daylight changes and it changes > of the painting colors > You need a scanner which enlights the painting with pure 12 daylight. > YOU NEED TO FIND A PREPRESS HOUSE and ask them to help you your MAC FREEHAND > , QUARK EXPRESS paper layout , scan and clean the digital image etc. > IT IS NOT CHEAP , THEY WILL PREPARE CYAN YELLOW MAGENTA BLACK PRINTING PRESS > FILMS , PRINTED PAPER CUTTING STEEL TEMPLATE AND THE MACHINE TO PACK IT IN > TO THE CD CASE WITH YOUR CD. > Thats why , it is complicated , you have to find a art director and his her > agency. They will do everything for you > > Good luck , > > Mustafa Umut Sarac > > Istanbul > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From electric.tokyo at gmail.com Wed Aug 26 09:41:56 2009 From: electric.tokyo at gmail.com (Travis Johns) Date: Wed, 26 Aug 2009 09:41:56 -0700 Subject: [NewMusic] cd cover art question In-Reply-To: References: Message-ID: A little late on the uptake here (moved over the weekend, still slightly living out of boxes, etc.) but my 2 cents, if you will: just a thought, but you COULD just do a limited-edition hand painted/lettered run of 50 or less and either sell direct or through an indy/distributor with a decent digital download contract. that way you can: a.) rock the diy indy cred. b.) not be continually tripping over the 500-1000 discs in huge, heavy boxes in your living room. c.) make more when you run low (and effectively bill it as a re-release, viva publicity - "back by popular demand") and d.) pay less in replication since you dont have to pay out for fancy, eye-catching packaging. not to mention that I'm sure there's scores of graphic designers/makers/crafters/letterpressers on the local level who would love the work and considering the trend of exclusive, extreme limited editions in certain scenes (take a look at some of Digitalis' releases or Not Not Fun's stuff, etcetc - a perfect example would be Marielle Jakobson's recent-ish Digitalis release, for instance) as well as the collectors/resale value associated with some of those runs (case in point - take a look on ebay for copies of early Pocahaunted releases, etc.) - i mean, yeah, exclusive releases might suffer from limited availability for radio play and zine reviews, etc. and dont fare well with mass mailings, but hey, for a an interesting experiment, what all do you have to lose, ja? again, just a thought - feel free to ignore and pontificate at your leisure. t. On Mon, Aug 24, 2009 at 7:02 PM, Mustafa Umut Sarac wrote: > By this way , you have two selection for print technology , offset and > rotogravure. > If you have money , if you will prepare thousands of print , and if you want > the colors of national geographic magazine , order from rotogravure > machines. They use copper plates , they dig gravure in them with diamond or > laser and these small millions of gravure dots , carry more ink than the > offset because offset printing plate is like a mountain. Rotogravure is like > a valley. You can put more ink to the valley. It makes stronger colors , > darker blacks and wider degrades. > IF YOU WANT TO BE SURE THE COMPOSITION OF YOUR PAINTING ON CD , YOU CAN > PHOTOGRAPH , SCALE , PUT IN A TEMPLATE AND PRINT. > bY THIS WAY ART DIRECTOR WILL BE SURE ABOUT WHATEVER YOU WANT > Dont forget to order a proof from prepress house. It will be very similar to > offset FINAL print. I dont know is there a proof system for rotogravure but > might be there. > U > > > On 8/25/09, Mustafa Umut Sarac wrote: >> >> If you want the best quality , scan the original painting on drum scanner. >> Drum scanners are quite strange to the beginners .Drum is a cylinder and >> covered with transparent film. >> Scanner operator , put the painting between drum and white film and strech >> the film. This makes the painting flat. And than the scanner starts to >> rotate the drum and a camera head slide and scan the painting. >> But there are some points to calculate. If your painting is thick textured >> impasto , may be they CAN NOT ?roll it on to the drum.Because paint CRACKS >> . And drum scanner camera - small SINGLE PIXEL NOT MILLION PIXEL CAMERA >> - CAN NOT FOCUS to the surface of the painting. >> If it is a watercolor or photograph and size of it exceeds the size of the >> flat desktop scanner , i advise you to order with drum scanner. >> BECAUSE , professional industrial grade scanners - drum , crossfield - and >> flat heidelberg scanners are calibrated to the press machines inks >> characteristics. >> They transform every color of the painting to the best grade of printing >> press output. >> IF YOU WANT TO USE YOUR DIGITAL CAMERA , you cant adjust the light >> temperature. >> At every hour of the day , the color of the daylight changes and it changes >> of the painting colors >> You need a scanner which enlights the painting with pure 12 daylight. >> YOU NEED TO FIND A PREPRESS HOUSE and ask them to help you your MAC >> FREEHAND , QUARK EXPRESS paper layout , scan and clean the digital image >> etc. >> IT IS NOT CHEAP , THEY WILL PREPARE CYAN YELLOW MAGENTA BLACK PRINTING >> PRESS FILMS , PRINTED PAPER CUTTING STEEL TEMPLATE AND THE MACHINE TO PACK >> IT IN TO THE CD CASE WITH YOUR CD. >> Thats why , it is complicated , you have to find a art director and his her >> agency. They will do everything for you >> >> Good luck , >> >> Mustafa Umut Sarac >> >> Istanbul >> > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From mattdavignon at gmail.com Wed Aug 26 13:16:02 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Wed, 26 Aug 2009 13:16:02 -0700 Subject: [NewMusic] cd cover art question In-Reply-To: References: Message-ID: Heh, I did that for a few of my earliest releases - one of my early bands had a cassette that came with a sandpaper cover, a brown shopping bag insert, and it came rubber-banded to an extra cassette case full of dirt. - too much work! Marielle's new cd does have a nice cover. I did look into having the same printer do mine, but it was pretty expensive. Matt Travis Johns was all: > A little late on the uptake here (moved over the weekend, still > slightly living out of boxes, etc.) but my 2 cents, if you will: > > > just a thought, but you COULD just do a limited-edition hand > painted/lettered run of 50 or less and either sell direct or through > an indy/distributor with a decent digital download contract. that way > you can: > > a.) rock the diy indy cred. > b.) not be continually tripping over the 500-1000 discs in huge, heavy > boxes in your living room. > c.) make more when you run low (and effectively bill it as a > re-release, viva publicity - "back by popular demand") and > d.) pay less in replication since you dont have to pay out for fancy, > eye-catching packaging. > > not to mention that I'm sure there's scores of graphic > designers/makers/crafters/letterpressers on the local level who would > love the work and considering the trend of exclusive, extreme limited > editions in certain scenes (take a look at some of Digitalis' releases > or Not Not Fun's stuff, etcetc - a perfect example would be Marielle > Jakobson's recent-ish Digitalis release, for instance) as well as the > collectors/resale value associated with some of those runs (case in > point - take a look on ebay for copies of early Pocahaunted releases, > etc.) - i mean, yeah, exclusive releases might suffer from limited > availability for radio play and zine reviews, etc. and dont fare well > with mass mailings, but hey, for a an interesting experiment, what all > do you have to lose, ja? again, just a thought - feel free to ignore > and pontificate at your leisure. > > t. From gino at rastascan.com Wed Aug 26 17:24:36 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 26 Aug 2009 17:24:36 -0700 Subject: [NewMusic] cd cover art question Message-ID: My favorite packages, in terms of collectability, are the Eugene Chabourne releases that he puts in whatever detritus he happens to find. I have one of his cassettes in an old paper incense package (which I almost accidentally threw away...glad I opened it). I some food containers with his CD-Rs in them, too. I think Plonsey has one in a sock. John Butcher was telling me about a cassette release by an English improviser that was "sandwiched" between two laminated slices of bread. However, the bread did eventually decay, forcing John to find and destroy the artwork in order to avoid a rodent infestation... From gino at rastascan.com Thu Aug 27 10:26:49 2009 From: gino at rastascan.com (Gino Robair) Date: Thu, 27 Aug 2009 10:26:49 -0700 Subject: [NewMusic] RIP Joe Maneri Message-ID: Steve Norton of Debris just wrote that "Joe Maneri passed on Monday, August 24th." Steve also wrote: "Bhob Rainey has posted some classic snippets of Joe speaking from his personal archives, which i have linked below. Thanks, Bhob! http://bhobrainey.net/assets/Joe%20Maneri%20-%20Get%20Cuddly.mp3 http://bhobrainey.net/assets/Joe%20Maneri%20-%20Beulah%27s%20Lovin.mp3 http://bhobrainey.net/assets/Joe%20Maneri%20-%20Cool%20Healing.mp3 And there's a nice, if short, overview of Joe's career in the Chicago Reader on line, here: http://www.chicagoreader.com/TheBlog/archives/2009/08/25/rip-joe-maneri " From pgsaxo at pacbell.net Thu Aug 27 10:33:19 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Thu, 27 Aug 2009 10:33:19 -0700 (PDT) Subject: [NewMusic] RIP Joe Maneri Message-ID: <721738.79491.qm@web81404.mail.mud.yahoo.com> i'm really sorry to hear that. joe was such a warm and encouraging man. what a monster saxophonist! i have looked for his book on microtonal fingerings for saxophone, but haven't had much luck. we shared the bill at zeitgeist a few years ago and he gave me a huge hug after my solo set and said he really wanted to do something together someday. we stayed in touch a bit, but we were unable to realize that dream due to schedule conflicts. i'm really sorry i never got to play with him, i know it would have been a wonderful experience. rip joe.... i'll do some sound meditations for him today. Sent from my iPhone On Aug 27, 2009, at 10:26 AM, Gino Robair wrote: Steve Norton of Debris just wrote that "Joe Maneri passed on Monday, August 24th." Steve also wrote: "Bhob Rainey has posted some classic snippets of Joe speaking from his personal archives, which i have linked below. Thanks, Bhob! http://bhobrainey.net/assets/Joe%20Maneri%20-%20Get%20Cuddly.mp3 http://bhobrainey.net/assets/Joe%20Maneri%20-%20Beulah%27s%20Lovin.mp3 http://bhobrainey.net/assets/Joe%20Maneri%20-%20Cool%20Healing.mp3 And there's a nice, if short, overview of Joe's career in the Chicago Reader on line, here: http://www.chicagoreader.com/TheBlog/archives/2009/08/25/rip-joe-maneri " _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From damon at balancepointacoustics.com Thu Aug 27 10:38:01 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Thu, 27 Aug 2009 10:38:01 -0700 Subject: [NewMusic] RIP Joe Maneri In-Reply-To: References: Message-ID: Yeah, I saw that, too. I really like the three quartet albums he did on Hat, and the trios with Barre Phillips on ECM. His music was it's own thing. On Aug 27, 2009, at 10:26 AM, Gino Robair wrote: > Steve Norton of Debris just wrote that "Joe Maneri > passed on Monday, August 24th." > > Steve also wrote: > "Bhob Rainey has posted some classic snippets of > Joe speaking from his personal archives, which i > have linked below. Thanks, Bhob! > > http://bhobrainey.net/assets/Joe%20Maneri%20-%20Get%20Cuddly.mp3 > > http://bhobrainey.net/assets/Joe%20Maneri%20-%20Beulah%27s%20Lovin.mp3 > > http://bhobrainey.net/assets/Joe%20Maneri%20-%20Cool%20Healing.mp3 > > > And there's a nice, if short, overview of Joe's > career in the Chicago Reader on line, here: > > http://www.chicagoreader.com/TheBlog/archives/2009/08/25/rip-joe- > maneri > > " > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From gino at rastascan.com Thu Aug 27 11:07:09 2009 From: gino at rastascan.com (Gino Robair) Date: Thu, 27 Aug 2009 11:07:09 -0700 Subject: [NewMusic] RIP Joe Maneri Message-ID: The obit/historial overview by Stu Vandermark: Joseph Gabriel Esther ?Joe? Maneri, reed-instrument and piano playing improvisor/composer, passed away on August 24, 2009 as a result of heart failure and related complications. He was born in Brooklyn, New York on February 9, 1927. He moved permanently to the Boston area in 1970 when he joined the faculty of the New England Conservatory where he taught through 2007. He founded the Boston Microtonal Society in 1988 and was that organization?s president. He was both a microtonal composer out of the European tradition and an improvising microtonal musician who has taught and otherwise influenced countless students and performing artists such as Marty Ehrlich, James Bergin, Chris Brooks, Pandelis Karayorgis, and his own remarkable son, Mat Maneri. When Ornette Coleman refused to perform the tenor saxophone solos in a Carnegie Recital Hall performance of David Reck?s Number One for twelve performers (a work dedicated to Mr. Coleman), Joe Maneri accepted the challenge successfully. According to Harold C. Schonberg of the New York Times, of the five works featured in the Twentieth Century Innovations presentation, Number One was ?[the] most impressive piece.? Joe Maneri?s composed music ranges from mid-century Bach-like etudes to chromatic music influenced by the Second Viennese School during the late 1950s and 1960s to his later microtonal works based on a 72-pitch scale. Among the musicians who have performed his composed works are the Claremont String Quartet, Jennifer Ashe, Lalan Parrot, Rebecca la Brecque, the American Composers Orchestra, Christopher Oldfather, John McDonald, and NotaRiotous, the resident ensemble of the Boston Microtonal Society. He is the co-author of Preliminary Studies in the Virtual Pitch Continuum. A resident of Framingham, Massachusetts, Joe Maneri was an important jazz musician who worked out groundbreaking post-Ayler approaches to improvisation during the early and mid-1960s, the same time such innovators as Cecil Taylor and Ornette Coleman were developing their unique jazz voices. His duo performance with Peter Dolger in 1963 or 1964 released as Peace Concert (Atavistic) probably is the earliest extant percussion-tenor saxophone free jazz recording. Several jazz critics?most notably Harvey Pekar and Steve Lake?have praised Joe Maneri?s performances. Jazz magazine?s Philippe Maziat claims, ?Joe is one of the most important musicians in the history of free jazz.? The New England Conservatory awarded him an honorary Doctorate of Music degree on May 17, 2009. Recordings of Joe Maneri may be found on the ECM, Avant, Leo, Atavistic, and HatArt labels. Referring to Preliminary Studies, Boston Microtonal Society Artistic Director Julia Werntz said, ?There is no other book of that sort, and the creation of that method--the book and the NEC course--was a major and completely unique contribution to the progression of contemporary music.? From gino at rastascan.com Thu Aug 27 11:09:03 2009 From: gino at rastascan.com (Gino Robair) Date: Thu, 27 Aug 2009 11:09:03 -0700 Subject: [NewMusic] RIP Joe Maneri (a personal look, by Steve Norton) Message-ID: Steve Norton's lovely thoughts about Joe (courtesy of Steve): " The news of Joe's passing makes me want to write a bit about what he meant to me. Joe & Sonja Maneri attended the same church in Framingham, Massachusetts, that my family and I attended, so i had met them when i was fairly young. When i was 13, my parents had them over for Sunday dinner, and Joe gave me my first saxophone lesson. I had my grandfather's old Buescher alto (from the '30s or 40s), and i had been playing around with it but i couldn't figure out how to play a standard C major scale: Joe taught me that i had to put down the middle finger of my left hand to get the scale to end up on on C rather than C#. (Trust me, it was very puzzling!) Joe and Sonja once came and played at the churchy youth group that I attended during high school. They played some standards, a "dirty blues" (at my request), and Sonja played Debussy's prelude "La cath?drale engloutie". I had just started to improvise with a friend and Joe & Sonja left a big impression. When i graduated from high school in June of 1977, my parents threw a big party at the house. Joe & Sonja came with Mat who was 8 years old at the time. I have a vivid memory of Mat throwing a tantrum and kicking Joe in the shins with his hard Sunday shoes. (I was very conderned with how that must have hurt.) Many years later, when Mat rehearsed with Debris for a Middle East gig (April 8, 1991), i told him this story. He probably thought i was creepy. In 1993, I had been playing with Joe Morris' Racket Club sextet, and a year (or so?) later, Joe put together a quintet to play one of the annual Mobius benefit parties with Joe on tenor and me on baritone. This was the first time that Joe & i ever played together. I was suitably terrified, but have very fond memories of the show. During Dave Gross's first Autumn Uprising festival of 1997, Dave organized a panel discussion/press conference thing (am i remembering this correctly?) at Killian Hall just before the festival was to kick off, and he had Joe and me play a duet as part of the event. I remember that being really exciting and fun. This past January, Stu & Sunny Vandermark threw a party at their house in Framingham when Ken & Ellen came to town for a visit. Joe & Sonja (who live less than a mile away) came, and i got to talk to them for the first time in a while. Joe didn't seem all that well, but we managed to talk for some time. One thing he said hit home hard: "I haven't played for a while because i just don't feel like it." That statement made me feel that something was truly not right. I feel terrible now that i can't remember more of the conversation. I knew Joe wasn't doing well--why didn't i write it all down as soon as i got home? Joe was an amazing musician who had a huge influence on most of the musicians i've known here in Boston over the last couple of decades. Requiescat in pace, my friend. Bhob Rainey has posted some classic snippets of Joe speaking from his personal archives, which i have linked below. Thanks, Bhob! http://bhobrainey.net/assets/Joe%20Maneri%20-%20Get%20Cuddly.mp3 http://bhobrainey.net/assets/Joe%20Maneri%20-%20Beulah%27s%20Lovin.mp3 http://bhobrainey.net/assets/Joe%20Maneri%20-%20Cool%20Healing.mp3 And there's a nice, if short, overview of Joe's career in the Chicago Reader on line, here: http://www.chicagoreader.com/TheBlog/archives/2009/08/25/rip-joe-maneri enjoy, all! /steve " From polly.moller at gmail.com Thu Aug 27 14:30:19 2009 From: polly.moller at gmail.com (Polly Moller) Date: Thu, 27 Aug 2009 14:30:19 -0700 Subject: [NewMusic] Fwd: Economic Impact on Artists Survey In-Reply-To: <19287859.1251400210243.JavaMail.etap@localhost> References: <19287859.1251400210243.JavaMail.etap@localhost> Message-ID: <2eb068d40908271430n4f0c02fat4c6692be9d1cd560@mail.gmail.com> Hey all, here is a survey relevant to us. And there's a drawing for $100 prizes. P. ---------- Forwarded message ---------- From: J. Anthony Allen Date: Thu, Aug 27, 2009 at 12:10 PM Subject: Economic Impact on Artists Survey [image: ACF logo] Is the recession over for you, or still going strong? As an artist, the conditions you face in this current economic climate should be heard and addressed. The McKnight Foundation has asked ACF to make our members aware of a national survey that's recently been launched to determine the impact of the current economic situation on artists. Over 5,000 artists have already responded, but we know there are more voices who have not yet weighed in. The *Artists and the Economic Recession Survey* invites you to share your experience. It is being conducted by Leveraging Investments in Creativity (LINC), a ten-year national initiative to improve conditions for artists, and supervised by Princeton Survey Research Associates International. Completing the survey takes about 15 minutes and is offered in both English and Spanish. There is strength in numbers. Reaching as many artists as possible improves the quality of this important research, and better equips everyone who advocates for artists and the arts. To complete the survey, please click on the link that follows or type the survey website address in your browser. To spread the word, please feel free to forward this email throughout your own networks. Survey web site: http://www.zoomerang.com/Survey/?p=WEB229J8EUDWA8 Your participation in our survey is completely voluntary. If you have any questions about this survey, please contact techsupport at psra.com. -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ From ava.mendoza at gmail.com Fri Aug 28 13:50:04 2009 From: ava.mendoza at gmail.com (Ava Mendoza) Date: Fri, 28 Aug 2009 13:50:04 -0700 Subject: [NewMusic] RIP Joe Maneri (a personal look, by Steve Norton) In-Reply-To: References: Message-ID: <317505170908281350l6b19ed08vd6b07db699259956@mail.gmail.com> i love joe's playing on In Full Cry and Three Men Walking... in full cry especially is a gorgeous record as a whole... i knew a few folks who studied with him and always heard about what an inspiring and hilarious person he was as a teacher and a player. i really wish i'd gotten to see him play. ava On Thu, Aug 27, 2009 at 11:09 AM, Gino Robair wrote: > Steve Norton's lovely thoughts about Joe (courtesy of Steve): > > " > The news of Joe's > passing makes me want to write a bit about what > he meant to me. > > Joe & Sonja Maneri attended the same church in > Framingham, Massachusetts, that my family and I > attended, so i had met them when i was fairly > young. When i was 13, my parents had them over > for Sunday dinner, and Joe gave me my first > saxophone lesson. I had my grandfather's old > Buescher alto (from the '30s or 40s), and i had > been playing around with it but i couldn't figure > out how to play a standard C major scale: Joe > taught me that i had to put down the middle > finger of my left hand to get the scale to end up > on on C rather than C#. (Trust me, it was very > puzzling!) > > Joe and Sonja once came and played at the churchy > youth group that I attended during high school. > They played some standards, a "dirty blues" (at > my request), and Sonja played Debussy's prelude > "La cath?drale engloutie". I had just started to > improvise with a friend and Joe & Sonja left a > big impression. > > When i graduated from high school in June of > 1977, my parents threw a big party at the house. > Joe & Sonja came with Mat who was 8 years old at > the time. I have a vivid memory of Mat throwing a > tantrum and kicking Joe in the shins with his > hard Sunday shoes. (I was very conderned with how > that must have hurt.) Many years later, when Mat > rehearsed with Debris for a Middle East gig > (April 8, 1991), i told him this story. He > probably thought i was creepy. > > In 1993, I had been playing with Joe Morris' > Racket Club sextet, and a year (or so?) later, > Joe put together a quintet to play one of the > annual Mobius benefit parties with Joe on tenor > and me on baritone. This was the first time that > Joe & i ever played together. I was suitably > terrified, but have very fond memories of the > show. > > During Dave Gross's first Autumn Uprising > festival of 1997, Dave organized a panel > discussion/press conference thing (am i > remembering this correctly?) at Killian Hall just > before the festival was to kick off, and he had > Joe and me play a duet as part of the event. I > remember that being really exciting and fun. > > This past January, Stu & Sunny Vandermark threw a > party at their house in Framingham when Ken & > Ellen came to town for a visit. Joe & Sonja (who > live less than a mile away) came, and i got to > talk to them for the first time in a while. Joe > didn't seem all that well, but we managed to talk > for some time. One thing he said hit home hard: > "I haven't played for a while because i just > don't feel like it." That statement made me feel > that something was truly not right. I feel > terrible now that i can't remember more of the > conversation. I knew Joe wasn't doing well--why > didn't i write it all down as soon as i got home? > > Joe was an amazing musician who had a huge > influence on most of the musicians i've known > here in Boston over the last couple of decades. > > Requiescat in pace, my friend. > > > Bhob Rainey has posted some classic snippets of > Joe speaking from his personal archives, which i > have linked below. Thanks, Bhob! > > http://bhobrainey.net/assets/Joe%20Maneri%20-%20Get%20Cuddly.mp3 > > http://bhobrainey.net/assets/Joe%20Maneri%20-%20Beulah%27s%20Lovin.mp3 > > http://bhobrainey.net/assets/Joe%20Maneri%20-%20Cool%20Healing.mp3 > > > And there's a nice, if short, overview of Joe's > career in the Chicago Reader on line, here: > > http://www.chicagoreader.com/TheBlog/archives/2009/08/25/rip-joe-maneri > > > enjoy, all! > > /steve > " > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- www.myspace.com/avamendoza www.myspace.com/mutesocialite http://www.bayimproviser.com/avamendoza From slusser at pixar.com Fri Aug 28 14:38:01 2009 From: slusser at pixar.com (David Slusser) Date: Fri, 28 Aug 2009 14:38:01 -0700 Subject: [NewMusic] music from trees Message-ID: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> Good recording technology, but why do they think that incredibly lame shit is music? Cheryl Leonard, do not watch this video. http://www.behance.net/Gallery/Music-from-a-Tree/263872 From damon at balancepointacoustics.com Fri Aug 28 16:06:07 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Fri, 28 Aug 2009 16:06:07 -0700 Subject: [NewMusic] RIP Joe Maneri (a personal look, by Steve Norton) In-Reply-To: <317505170908281350l6b19ed08vd6b07db699259956@mail.gmail.com> References: <317505170908281350l6b19ed08vd6b07db699259956@mail.gmail.com> Message-ID: <40FD89BA-EE76-495B-BA6B-5731491F03EE@balancepointacoustics.com> In full cry is beautiful! Damon Smith http://www.balancepointacoustics.com Sent from my iPod On Aug 28, 2009, at 1:50 PM, Ava Mendoza wrote: > i love joe's playing on In Full Cry and Three Men Walking... in full > cry > especially is a gorgeous record as a whole... i knew a few folks who > studied > with him and always heard about what an inspiring and hilarious > person he > was as a teacher and a player. > > i really wish i'd gotten to see him play. > > ava > > On Thu, Aug 27, 2009 at 11:09 AM, Gino Robair > wrote: > >> Steve Norton's lovely thoughts about Joe (courtesy of Steve): >> >> " >> The news of Joe's >> passing makes me want to write a bit about what >> he meant to me. >> >> Joe & Sonja Maneri attended the same church in >> Framingham, Massachusetts, that my family and I >> attended, so i had met them when i was fairly >> young. When i was 13, my parents had them over >> for Sunday dinner, and Joe gave me my first >> saxophone lesson. I had my grandfather's old >> Buescher alto (from the '30s or 40s), and i had >> been playing around with it but i couldn't figure >> out how to play a standard C major scale: Joe >> taught me that i had to put down the middle >> finger of my left hand to get the scale to end up >> on on C rather than C#. (Trust me, it was very >> puzzling!) >> >> Joe and Sonja once came and played at the churchy >> youth group that I attended during high school. >> They played some standards, a "dirty blues" (at >> my request), and Sonja played Debussy's prelude >> "La cath?drale engloutie". I had just started to >> improvise with a friend and Joe & Sonja left a >> big impression. >> >> When i graduated from high school in June of >> 1977, my parents threw a big party at the house. >> Joe & Sonja came with Mat who was 8 years old at >> the time. I have a vivid memory of Mat throwing a >> tantrum and kicking Joe in the shins with his >> hard Sunday shoes. (I was very conderned with how >> that must have hurt.) Many years later, when Mat >> rehearsed with Debris for a Middle East gig >> (April 8, 1991), i told him this story. He >> probably thought i was creepy. >> >> In 1993, I had been playing with Joe Morris' >> Racket Club sextet, and a year (or so?) later, >> Joe put together a quintet to play one of the >> annual Mobius benefit parties with Joe on tenor >> and me on baritone. This was the first time that >> Joe & i ever played together. I was suitably >> terrified, but have very fond memories of the >> show. >> >> During Dave Gross's first Autumn Uprising >> festival of 1997, Dave organized a panel >> discussion/press conference thing (am i >> remembering this correctly?) at Killian Hall just >> before the festival was to kick off, and he had >> Joe and me play a duet as part of the event. I >> remember that being really exciting and fun. >> >> This past January, Stu & Sunny Vandermark threw a >> party at their house in Framingham when Ken & >> Ellen came to town for a visit. Joe & Sonja (who >> live less than a mile away) came, and i got to >> talk to them for the first time in a while. Joe >> didn't seem all that well, but we managed to talk >> for some time. One thing he said hit home hard: >> "I haven't played for a while because i just >> don't feel like it." That statement made me feel >> that something was truly not right. I feel >> terrible now that i can't remember more of the >> conversation. I knew Joe wasn't doing well--why >> didn't i write it all down as soon as i got home? >> >> Joe was an amazing musician who had a huge >> influence on most of the musicians i've known >> here in Boston over the last couple of decades. >> >> Requiescat in pace, my friend. >> >> >> Bhob Rainey has posted some classic snippets of >> Joe speaking from his personal archives, which i >> have linked below. Thanks, Bhob! >> >> http://bhobrainey.net/assets/Joe%20Maneri%20-%20Get%20Cuddly.mp3 >> >> http://bhobrainey.net/assets/Joe%20Maneri%20-%20Beulah%27s >> %20Lovin.mp3 >> >> http://bhobrainey.net/assets/Joe%20Maneri%20-%20Cool%20Healing.mp3 >> >> >> And there's a nice, if short, overview of Joe's >> career in the Chicago Reader on line, here: >> >> http://www.chicagoreader.com/TheBlog/archives/2009/08/25/rip-joe-maneri >> >> >> enjoy, all! >> >> /steve >> " >> >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic >> > > > > -- > www.myspace.com/avamendoza > www.myspace.com/mutesocialite > http://www.bayimproviser.com/avamendoza > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From liberatednsf at yahoo.com Fri Aug 28 16:47:30 2009 From: liberatednsf at yahoo.com (andrew wilshusen) Date: Fri, 28 Aug 2009 16:47:30 -0700 (PDT) Subject: [NewMusic] music from trees In-Reply-To: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> References: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> Message-ID: <432387.54795.qm@web30608.mail.mud.yahoo.com> Okay seriously, nobody on this list should watch this video! Andrew http://oudevoida.blogspot.com ----- Original Message ---- From: David Slusser To: Bay Area New Music Discussion Group Sent: Friday, August 28, 2009 2:38:01 PM Subject: [NewMusic] music from trees Good recording technology, but why do they think that incredibly lame shit is music? Cheryl Leonard, do not watch this video. http://www.behance.net/Gallery/Music-from-a-Tree/263872 _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From miltnerunit at gmail.com Fri Aug 28 17:14:24 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Fri, 28 Aug 2009 17:14:24 -0700 Subject: [NewMusic] music from trees In-Reply-To: <432387.54795.qm@web30608.mail.mud.yahoo.com> References: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> <432387.54795.qm@web30608.mail.mud.yahoo.com> Message-ID: the combo of really good recording gear and absolutely no imagination is such a sin. k On Fri, Aug 28, 2009 at 4:47 PM, andrew wilshusen wrote: > Okay seriously, nobody on this list should watch this video! > > Andrew > > http://oudevoida.blogspot.com > > > > ----- Original Message ---- > From: David Slusser > To: Bay Area New Music Discussion Group > Sent: Friday, August 28, 2009 2:38:01 PM > Subject: [NewMusic] music from trees > > Good recording technology, but why do they > > think that incredibly lame shit is music? > > Cheryl Leonard, do not watch this video. > > http://www.behance.net/Gallery/Music-from-a-Tree/263872 > _______________________________________________ > 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 > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From mattdavignon at gmail.com Sat Aug 29 13:23:05 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Sat, 29 Aug 2009 13:23:05 -0700 Subject: [NewMusic] music from trees In-Reply-To: References: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> <432387.54795.qm@web30608.mail.mud.yahoo.com> Message-ID: Yes, everybody should start out as a well-developed musician, and play in the same genre as us! On Fri, Aug 28, 2009 at 5:14 PM, Kristin Miltner wrote: > the combo of really good recording gear and absolutely no imagination is > such a sin. > > k > > On Fri, Aug 28, 2009 at 4:47 PM, andrew wilshusen wrote: > >> Okay seriously, nobody on this list should watch this video! >> >> Andrew >> >> http://oudevoida.blogspot.com >> >> >> >> ----- Original Message ---- >> From: David Slusser >> To: Bay Area New Music Discussion Group >> Sent: Friday, August 28, 2009 2:38:01 PM >> Subject: [NewMusic] music from trees >> >> Good recording technology, but why do they >> >> think that incredibly lame shit is music? >> >> Cheryl Leonard, do not watch this video. >> >> http://www.behance.net/Gallery/Music-from-a-Tree/263872 >> _______________________________________________ >> 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 >> > > > > -- > kristin miltner > audio professional > www.kristinmiltner.net > www.myspace.com/miltnerunit > http://www.linkedin.com/in/kristinmiltner > http://www.praemedia.com/consumerproducts.html > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From miltnerunit at gmail.com Sat Aug 29 15:39:06 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Sat, 29 Aug 2009 15:39:06 -0700 Subject: [NewMusic] music from trees In-Reply-To: References: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> <432387.54795.qm@web30608.mail.mud.yahoo.com> Message-ID: that's not what i meant, i didn't say anything about being a well-developed musician from the beginning, Matt. That isn't the problem, it's working in the confines of 'drum track', melody lines, harmony lines' in a standard sort of way without really listening to the sounds and exploring what's possible, you know me better than that, k On Sat, Aug 29, 2009 at 1:23 PM, Matt Davignon wrote: > Yes, everybody should start out as a well-developed musician, and play > in the same genre as us! > > On Fri, Aug 28, 2009 at 5:14 PM, Kristin Miltner > wrote: > > the combo of really good recording gear and absolutely no imagination is > > such a sin. > > > > k > > > > On Fri, Aug 28, 2009 at 4:47 PM, andrew wilshusen < > liberatednsf at yahoo.com>wrote: > > > >> Okay seriously, nobody on this list should watch this video! > >> > >> Andrew > >> > >> http://oudevoida.blogspot.com > >> > >> > >> > >> ----- Original Message ---- > >> From: David Slusser > >> To: Bay Area New Music Discussion Group > >> Sent: Friday, August 28, 2009 2:38:01 PM > >> Subject: [NewMusic] music from trees > >> > >> Good recording technology, but why do they > >> > >> think that incredibly lame shit is music? > >> > >> Cheryl Leonard, do not watch this video. > >> > >> http://www.behance.net/Gallery/Music-from-a-Tree/263872 > >> _______________________________________________ > >> 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 > >> > > > > > > > > -- > > kristin miltner > > audio professional > > www.kristinmiltner.net > > www.myspace.com/miltnerunit > > http://www.linkedin.com/in/kristinmiltner > > http://www.praemedia.com/consumerproducts.html > > _______________________________________________ > > Bay Area New Music Discussion Group > > NewMusic at music.mills.edu > > http://music.mills.edu/mailman/listinfo/newmusic > > > > > > -- > Matt Davignon > www.ribosomemusic.com > Rigs! www.youtube.com/user/ribosomematt > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From mattdavignon at gmail.com Sat Aug 29 17:58:23 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Sat, 29 Aug 2009 17:58:23 -0700 Subject: [NewMusic] music from trees In-Reply-To: References: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> <432387.54795.qm@web30608.mail.mud.yahoo.com> Message-ID: Actually, I was going to write this big defense about him, in that he sounds like a dabbler and that people should be allowed to "try things out" in the experimental realm without jumping in completely. Then I looked a little further into his website, and found out that he's actually a professional. So my "let's not knock the new guy" argument falls flat. On Sat, Aug 29, 2009 at 3:39 PM, Kristin Miltner wrote: > that's not what i meant, i didn't say anything about being a well-developed > musician from the beginning, Matt. That isn't the problem, it's working in > the confines of 'drum track', melody lines, harmony lines' in a standard > sort of way without really listening to the sounds and exploring what's > possible, > > you know me better than that, > > k > > On Sat, Aug 29, 2009 at 1:23 PM, Matt Davignon wrote: > >> Yes, everybody should start out as a well-developed musician, and play >> in the same genre as us! >> >> On Fri, Aug 28, 2009 at 5:14 PM, Kristin Miltner >> wrote: >> > the combo of really good recording gear and absolutely no imagination is >> > such a sin. >> > >> > k >> > >> > On Fri, Aug 28, 2009 at 4:47 PM, andrew wilshusen < >> liberatednsf at yahoo.com>wrote: >> > >> >> Okay seriously, nobody on this list should watch this video! >> >> >> >> Andrew >> >> >> >> http://oudevoida.blogspot.com >> >> >> >> >> >> >> >> ----- Original Message ---- >> >> From: David Slusser >> >> To: Bay Area New Music Discussion Group >> >> Sent: Friday, August 28, 2009 2:38:01 PM >> >> Subject: [NewMusic] music from trees >> >> >> >> Good recording technology, but why do they >> >> >> >> think that incredibly lame shit is music? >> >> >> >> Cheryl Leonard, do not watch this video. >> >> >> >> http://www.behance.net/Gallery/Music-from-a-Tree/263872 >> >> _______________________________________________ >> >> 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 >> >> >> > >> > >> > >> > -- >> > kristin miltner >> > audio professional >> > www.kristinmiltner.net >> > www.myspace.com/miltnerunit >> > http://www.linkedin.com/in/kristinmiltner >> > http://www.praemedia.com/consumerproducts.html >> > _______________________________________________ >> > Bay Area New Music Discussion Group >> > NewMusic at music.mills.edu >> > http://music.mills.edu/mailman/listinfo/newmusic >> > >> >> >> >> -- >> Matt Davignon >> www.ribosomemusic.com >> Rigs! www.youtube.com/user/ribosomematt >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic >> > > > > -- > kristin miltner > audio professional > www.kristinmiltner.net > www.myspace.com/miltnerunit > http://www.linkedin.com/in/kristinmiltner > http://www.praemedia.com/consumerproducts.html > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- Matt Davignon www.ribosomemusic.com Rigs! www.youtube.com/user/ribosomematt From otis_mccoppin at yahoo.com Mon Aug 31 11:06:11 2009 From: otis_mccoppin at yahoo.com (Otis McCoppin) Date: Mon, 31 Aug 2009 11:06:11 -0700 (PDT) Subject: [NewMusic] music from trees In-Reply-To: <25B22A8C-CB53-4DE5-B5FB-BEC3CCD553E5@pixar.com> Message-ID: <439939.54819.qm@web38304.mail.mud.yahoo.com> OK, hope this makes everyone happy...... http://facesofsound.blogspot.com/2009/08/18-friends-playing-with-plants.html --- On Fri, 8/28/09, David Slusser wrote: From: David Slusser Subject: [NewMusic] music from trees To: "Bay Area New Music Discussion Group" Date: Friday, August 28, 2009, 2:38 PM Good recording technology, but why do they think that incredibly lame shit is music? Cheryl Leonard, do not watch this video. http://www.behance.net/Gallery/Music-from-a-Tree/263872 _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From seb4k at yahoo.com Mon Aug 31 14:33:54 2009 From: seb4k at yahoo.com (Sebastian Krawczuk) Date: Mon, 31 Aug 2009 14:33:54 -0700 (PDT) Subject: [NewMusic] music from trees In-Reply-To: <439939.54819.qm@web38304.mail.mud.yahoo.com> References: <439939.54819.qm@web38304.mail.mud.yahoo.com> Message-ID: <292534.75670.qm@web54306.mail.re2.yahoo.com> A friend of mine did at presentation at Library of Congress about experiment made in '70 at Botanic Garden in Washington DC. A few folks hooked up orchids to VC inputs of an analogue synth. They were sensing change of resistance between two electrode plates attached to leaves. Plants reacted to water, light or even tuna fish. http://www.panicresearch.com/mondo-stereofern.html Jeff gave me a copy of this vinyl EP on a CD. Quite cool. Lemme know if interested in. This inspired me to make my soundtrack to a film where the film was "playing" on the modular synthesizer... Cheers, Sebastian. ----- Original Message ---- From: Otis McCoppin To: Bay Area New Music Discussion Group Sent: Monday, August 31, 2009 11:06:11 AM Subject: Re: [NewMusic] music from trees OK, hope this makes everyone happy...... http://facesofsound.blogspot.com/2009/08/18-friends-playing-with-plants.html --- On Fri, 8/28/09, David Slusser wrote: From: David Slusser Subject: [NewMusic] music from trees To: "Bay Area New Music Discussion Group" Date: Friday, August 28, 2009, 2:38 PM Good recording technology, but why do they think that incredibly lame shit is music? Cheryl Leonard, do not watch this video. http://www.behance.net/Gallery/Music-from-a-Tree/263872 _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From damon at balancepointacoustics.com Mon Aug 31 14:43:51 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Mon, 31 Aug 2009 14:43:51 -0700 Subject: [NewMusic] music from trees In-Reply-To: <292534.75670.qm@web54306.mail.re2.yahoo.com> References: <439939.54819.qm@web38304.mail.mud.yahoo.com> <292534.75670.qm@web54306.mail.re2.yahoo.com> Message-ID: <386E5D2A-9D70-4F9C-82A1-25DDB3EA0A5E@balancepointacoustics.com> In April when I was in Ulrichsburg, Austria, the composer Peter Ablinger (his work is really good, and really worth hearing) had a "Landscape Opera" that will slowly start making sounds as the trees grow. Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From miltnerunit at gmail.com Mon Aug 31 14:55:26 2009 From: miltnerunit at gmail.com (Kristin Miltner) Date: Mon, 31 Aug 2009 14:55:26 -0700 Subject: [NewMusic] music from trees In-Reply-To: <386E5D2A-9D70-4F9C-82A1-25DDB3EA0A5E@balancepointacoustics.com> References: <439939.54819.qm@web38304.mail.mud.yahoo.com> <292534.75670.qm@web54306.mail.re2.yahoo.com> <386E5D2A-9D70-4F9C-82A1-25DDB3EA0A5E@balancepointacoustics.com> Message-ID: WOW. I am definitely going to go find out more about that, Damon k On Mon, Aug 31, 2009 at 2:43 PM, Damon Smith < damon at balancepointacoustics.com> wrote: > In April when I was in Ulrichsburg, Austria, the composer Peter > Ablinger (his work is really good, and really worth hearing) had a > "Landscape Opera" that will slowly start making sounds as the trees > grow. > > Damon Smith > > http://www.balancepointacoustics.com > http://myspace.com/smithdamon > New solo project: > http://www.myspace.com/damonsmithsolo > > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- kristin miltner audio professional www.kristinmiltner.net www.myspace.com/miltnerunit http://www.linkedin.com/in/kristinmiltner http://www.praemedia.com/consumerproducts.html From damon at balancepointacoustics.com Mon Aug 31 15:01:40 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Mon, 31 Aug 2009 15:01:40 -0700 Subject: [NewMusic] music from trees In-Reply-To: References: <439939.54819.qm@web38304.mail.mud.yahoo.com> <292534.75670.qm@web54306.mail.re2.yahoo.com> <386E5D2A-9D70-4F9C-82A1-25DDB3EA0A5E@balancepointacoustics.com> Message-ID: <6D61EFDF-683B-4EEC-A78A-A42BE3784A75@balancepointacoustics.com> Field recordings from the area figured into it somehow. You could listen to the raw recordings on CD players, but the other really interesting thing he did was that he made a map and whereever he had found a really interesting sound or more often combinations of sounds there was a little bench where you could sit and listen. On Aug 31, 2009, at 2:55 PM, Kristin Miltner wrote: > WOW. I am definitely going to go find out more about that, Damon > > k > > On Mon, Aug 31, 2009 at 2:43 PM, Damon Smith < > damon at balancepointacoustics.com> wrote: > >> In April when I was in Ulrichsburg, Austria, the composer Peter >> Ablinger (his work is really good, and really worth hearing) had a >> "Landscape Opera" that will slowly start making sounds as the trees >> grow. >> >> Damon Smith >> >> http://www.balancepointacoustics.com >> http://myspace.com/smithdamon >> New solo project: >> http://www.myspace.com/damonsmithsolo >> >> >> >> >> _______________________________________________ >> Bay Area New Music Discussion Group >> NewMusic at music.mills.edu >> http://music.mills.edu/mailman/listinfo/newmusic >> > > > > -- > kristin miltner > audio professional > www.kristinmiltner.net > www.myspace.com/miltnerunit > http://www.linkedin.com/in/kristinmiltner > http://www.praemedia.com/consumerproducts.html > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From polly.moller at gmail.com Mon Aug 31 15:36:46 2009 From: polly.moller at gmail.com (Polly Moller) Date: Mon, 31 Aug 2009 15:36:46 -0700 Subject: [NewMusic] Sequenza21 CD reviews Message-ID: <2eb068d40908311536w169c34d3m8538872ccb41791@mail.gmail.com> If you have a new CD you'd like them to review, send it to: Jerry Bowles 340 W. 57th Street, Apt. 12B New York, NY 10019 P. -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ From bischoff at mills.edu Mon Aug 31 16:06:21 2009 From: bischoff at mills.edu (John Bischoff) Date: Mon, 31 Aug 2009 16:06:21 -0700 Subject: [NewMusic] FW: Leonardo Music Journal - Call for articles on improvisation & technology In-Reply-To: Message-ID: ------ Forwarded Message ======================================= Call for LMJ 20 Improvisation Improvisation has been a critical component in many forms music around the world throughout most of history, and is an essential quality of human intelligence that extends far beyond the borders of art. It remains, nonetheless, a controversial subject in contemporary Western music: detested and denounced by such titans as Pierre Boulez and John Cage, embraced with equal fervor by others, and seriously misunderstood by many. For Volume 20 of the Leonardo Music Journal we welcome papers on aspects of improvisation in music, art and the general realm of decision-making - especially texts addressing the interplay of improvisation and technology. DEADLINES 15 October 2009: Rough proposals, queries 1 January 2010: Submission of finished article Address inquiries to Nicolas Collins, Editor-in-Chief, at: ncollins at saic.edu. Finished articles should be sent to the LMJ Editorial Office at lmj at leonardo.info. Editorial guidelines and information for authors can be found on our Information for Authors page. Note: LMJ is a peer-reviewed journal. All manuscripts are reviewed by LMJ editors, editorial board members and/or members of the LMJ community prior to acceptance. -------------------- ------ End of Forwarded Message From otis_mccoppin at yahoo.com Mon Aug 31 16:21:58 2009 From: otis_mccoppin at yahoo.com (Otis McCoppin) Date: Mon, 31 Aug 2009 16:21:58 -0700 (PDT) Subject: [NewMusic] music from trees In-Reply-To: <292534.75670.qm@web54306.mail.re2.yahoo.com> Message-ID: <600313.68299.qm@web38308.mail.mud.yahoo.com> I wanted to hear this since many, many years ago. Would love to listen. Thanks! --- On Mon, 8/31/09, Sebastian Krawczuk wrote: From: Sebastian Krawczuk Subject: Re: [NewMusic] music from trees To: "Bay Area New Music Discussion Group" Date: Monday, August 31, 2009, 2:33 PM A friend of mine did at presentation at Library of Congress about experiment made in '70 at Botanic Garden in Washington DC.? A few folks hooked up orchids to VC inputs of an analogue synth.? They were sensing change of resistance between two electrode plates attached to leaves.? Plants reacted to water, light or even tuna fish. http://www.panicresearch.com/mondo-stereofern.html Jeff gave me a copy of this vinyl EP on a CD.? Quite cool.? Lemme know if interested in. This inspired me to make my soundtrack to a film where the film was "playing" on the modular synthesizer... Cheers, Sebastian. ----- Original Message ---- From: Otis McCoppin To: Bay Area New Music Discussion Group Sent: Monday, August 31, 2009 11:06:11 AM Subject: Re: [NewMusic] music from trees OK, hope this makes everyone happy...... http://facesofsound.blogspot.com/2009/08/18-friends-playing-with-plants.html --- On Fri, 8/28/09, David Slusser wrote: From: David Slusser Subject: [NewMusic] music from trees To: "Bay Area New Music Discussion Group" Date: Friday, August 28, 2009, 2:38 PM Good recording technology, but why do they think that incredibly lame shit is music? Cheryl Leonard, do not watch this video. http://www.behance.net/Gallery/Music-from-a-Tree/263872 _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic ? ? ? _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From slusser at pixar.com Mon Aug 31 17:28:37 2009 From: slusser at pixar.com (David Slusser) Date: Mon, 31 Aug 2009 17:28:37 -0700 Subject: [NewMusic] Slussomatic in a CD case Message-ID: <20F37580-5567-40E0-A414-18FC5F08DCC4@pixar.com> time to retire http://www.youtube.com/watch?v=T8UzSVFUIc0 From pgsaxo at pacbell.net Mon Aug 31 19:58:55 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Mon, 31 Aug 2009 19:58:55 -0700 (PDT) Subject: [NewMusic] Sequenza21 CD reviews Message-ID: <802641.26701.qm@web81405.mail.mud.yahoo.com> thanks polly! Sent from my iPhone On Aug 31, 2009, at 3:36 PM, Polly Moller wrote: If you have a new CD you'd like them to review, send it to: Jerry Bowles 340 W. 57th Street, Apt. 12B New York, NY 10019 P. -- ------------------------------------------------------ http://pollymollerjournal.blogspot.com ------------------------------------------------------ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic