From jon_raskin at yahoo.com Sat May 2 13:52:15 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Sat, 2 May 2009 13:52:15 -0700 Subject: [NewMusic] Rahsaan Roland Kirk, live '72. In-Reply-To: References: Message-ID: <005a01c9cb67$dff58790$9fe096b0$@com> Wow, not only Rahsaan, the other music on this is worth checking out as well. The Willie Colon/ Tito Puente and the Earth Wind and Fire-(with the sun-ra inspired jam around the audience.) -----Original Message----- From: newmusic-bounces at music.mills.edu [mailto:newmusic-bounces at music.mills.edu] On Behalf Of Gino Robair Sent: Thursday, April 30, 2009 1:27 PM To: newmusic at music.mills.edu Subject: [NewMusic] Rahsaan Roland Kirk, live '72. Did someone post this link already? If so, sorry. If not...dig! http://www.thirteen.org/soul/2009/02/06/october-4-1972/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From matt at sfsound.org Sun May 3 12:22:23 2009 From: matt at sfsound.org (matt) Date: Sun, 3 May 2009 12:22:23 -0700 Subject: [NewMusic] Bioweedwack from the artland In-Reply-To: <9984.77148.qm@web45213.mail.sp1.yahoo.com> References: <9984.77148.qm@web45213.mail.sp1.yahoo.com> Message-ID: for pure sarcastic stupidity how about that dancing trombonist http://www.youtube.com/watch?v=G-N1qKHCMdE he was on america's talent but they didn't get it and made him actually play the horn in the 2nd round On Apr 30, 2009, at 11:07 PM, J. Segel wrote: > > wow. sure beats anything on american idol. > > > i gotta cop some of them hendrix-ish bowing techniques! amazing. and > maybe get some long shoes. > what's funny to me is that "pop goes the weasel" is probably why i > started playing violin to begin with: a girl i like played violin > and i saw her play that, with the pizzicato pop and i thought, i > wanna do that too! > > -jes > >> Excellent, but Willie Hall is still my favorite Vaudeville >> act: >> >> http://www.youtube.com/watch?v=7XA16CzV_Y0&NR=1 >> >> mg >> >> >> On Apr 30, 2009, at 9:44 AM, Tom Dill wrote: >> >>> http://www.youtube.com/watch?v=ZtKttr2Tnyw&feature=player_embedded >>> >>> Dancin' mallet-fingered fool from Portland, Indiana... >> 'nuff said... > > > MAGNETIC --- Jonathan Segel > magsatellite-yahoo(.)com <---> jsegel-magneticmotorworks(.)com > http://www.MagneticMotorworks.com > > > > > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic m@ From gino at rastascan.com Sun May 3 17:19:53 2009 From: gino at rastascan.com (Gino Robair) Date: Sun, 03 May 2009 17:19:53 -0700 Subject: [NewMusic] BioFeedBack in the Pragueland Message-ID: "Emotional conductor". Interesting. http://news.bbc.co.uk/2/hi/technology/8020904.stm From shiurba at pacbell.net Mon May 4 10:34:39 2009 From: shiurba at pacbell.net (John Shiurba) Date: Mon, 4 May 2009 10:34:39 -0700 Subject: [NewMusic] Sperry Memorial Concert call for players June 4th Message-ID: <36CB33BF-F1B3-45E5-A250-F6D3B48E8A21@pacbell.net> The 2009 Matthew Sperry Memorial Festival will be June 2-5 and for the June 4th show, we're planning to have the Orchesperry large ensemble, which Gino will conduct. If you would like to play, please send me an email offlist. Most of the pieces will not require music reading, but let me know if you can read music. The concert will be at the Luggage Store. From pgsaxo at pacbell.net Mon May 4 11:33:32 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Mon, 4 May 2009 11:33:32 -0700 (PDT) Subject: [NewMusic] Sperry Memorial Concert call for players June 4th Message-ID: <420269.8089.qm@web81408.mail.mud.yahoo.com> I would love to do it and I can read music pg Sent from my iPhone On May 4, 2009, at 10:34 AM, John Shiurba wrote: The 2009 Matthew Sperry Memorial Festival will be June 2-5 and for the June 4th show, we're planning to have the Orchesperry large ensemble, which Gino will conduct. If you would like to play, please send me an email offlist. Most of the pieces will not require music reading, but let me know if you can read music. The concert will be at the Luggage Store. _______________________________________________ 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 May 5 12:23:38 2009 From: polly.moller at gmail.com (Polly Moller) Date: Tue, 5 May 2009 12:23:38 -0700 Subject: [NewMusic] Job opening Message-ID: <2eb068d40905051223i160c518ekc385edb0a0a7ca5d@mail.gmail.com> The San Francisco Girls Chorus has a full-time opening for a choral music educator starting in July. We need a Director for Chorus School Level II, the Preparatory Chorus, and our outreach program. This is a full-time position for a choral director. If you are this person, or you know this person, please get the word out and direct resumes to me off list. Thanks! Polly -- ------------------------------------- Outsound New Music Summit 2009 Schedule: http://www.outsound.org/summit/09/schedule_details09.html Tickets: http://www.brownpapertickets.com/event/61377 ------------------------------------- From polly.moller at gmail.com Tue May 5 15:12:45 2009 From: polly.moller at gmail.com (Polly Moller) Date: Tue, 5 May 2009 15:12:45 -0700 Subject: [NewMusic] Send me your press releases. :) Message-ID: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> Hi everybody, I'm happy to let you all know that I've been invited to be the SF Bay Area correspondent for the Sequenza21 contemporary music blog: www.sequenza21.com So send me stuff off list about your festivals, concert series, extra-special gigs, commissions, etc. in exhaustive detail so I can write you up. :) P. -- ------------------------------------- Outsound New Music Summit 2009 Schedule: http://www.outsound.org/summit/09/schedule_details09.html Tickets: http://www.brownpapertickets.com/event/61377 ------------------------------------- From mattdavignon at gmail.com Tue May 5 15:22:14 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 5 May 2009 15:22:14 -0700 Subject: [NewMusic] Send me your press releases. :) In-Reply-To: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> References: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> Message-ID: Sequenza21 calls itself "the contemporary classical music community". Does that mean we should limit our submissions to things that would be of interest to the contemporary classical music community? On Tue, May 5, 2009 at 3:12 PM, Polly Moller wrote: > Hi everybody, I'm happy to let you all know that I've been invited to be the > SF Bay Area correspondent for the Sequenza21 contemporary music blog: > www.sequenza21.com > > So send me stuff off list about your festivals, concert series, > extra-special gigs, commissions, etc. in exhaustive detail so I can write > you up. :) > > P. > > -- > ------------------------------------- > Outsound New Music Summit 2009 > Schedule: > http://www.outsound.org/summit/09/schedule_details09.html > Tickets: > http://www.brownpapertickets.com/event/61377 > ------------------------------------- > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From pgsaxo at pacbell.net Tue May 5 15:26:36 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Tue, 5 May 2009 15:26:36 -0700 (PDT) Subject: [NewMusic] Send me your press releases. :) In-Reply-To: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> Message-ID: <612355.63800.qm@web81405.mail.mud.yahoo.com> Cool - thanks for the community support, Polly! pg --- On Tue, 5/5/09, Polly Moller wrote: > From: Polly Moller > Subject: [NewMusic] Send me your press releases. :) > To: "Bay Area New Music Discussion Group" > Date: Tuesday, May 5, 2009, 3:12 PM > Hi everybody, I'm happy to let you all know that > I've been invited to be the > SF Bay Area correspondent for the Sequenza21 contemporary > music blog: > www.sequenza21.com > > So send me stuff off list about your festivals, concert > series, > extra-special gigs, commissions, etc. in exhaustive detail > so I can write > you up. :) > > P. > > -- > ------------------------------------- > Outsound New Music Summit 2009 > Schedule: > http://www.outsound.org/summit/09/schedule_details09.html > Tickets: > http://www.brownpapertickets.com/event/61377 > ------------------------------------- > _______________________________________________ > 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 May 5 15:31:14 2009 From: polly.moller at gmail.com (Polly Moller) Date: Tue, 5 May 2009 15:31:14 -0700 Subject: [NewMusic] Send me your press releases. :) In-Reply-To: References: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> Message-ID: <2eb068d40905051531i7b84cf19mcb6091494bef58d2@mail.gmail.com> Here is a quote from Steve Layton, the managing editor, about what he'd like me to blog about: "word of any good University gig, funky experimental club stuff, short profiles of musicians or groups/ensembles... even the SF symphony if there's some absolutely cool premiere or something." I think "funky experimental club stuff" covers a lot of what we are up to. :) On Tue, May 5, 2009 at 3:22 PM, Matt Davignon wrote: > Sequenza21 calls itself "the contemporary classical music community". > Does that mean we should limit our submissions to things that would be > of interest to the contemporary classical music community? > > On Tue, May 5, 2009 at 3:12 PM, Polly Moller > wrote: > > Hi everybody, I'm happy to let you all know that I've been invited to be > the > > SF Bay Area correspondent for the Sequenza21 contemporary music blog: > > www.sequenza21.com > > > > So send me stuff off list about your festivals, concert series, > > extra-special gigs, commissions, etc. in exhaustive detail so I can write > > you up. :) > > > > P. > > > > -- > > ------------------------------------- > > Outsound New Music Summit 2009 > > Schedule: > > http://www.outsound.org/summit/09/schedule_details09.html > > Tickets: > > http://www.brownpapertickets.com/event/61377 > > ------------------------------------- > > _______________________________________________ > > 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 > -- ------------------------------------- Outsound New Music Summit 2009 Schedule: http://www.outsound.org/summit/09/schedule_details09.html Tickets: http://www.brownpapertickets.com/event/61377 ------------------------------------- From mattdavignon at gmail.com Tue May 5 15:42:12 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Tue, 5 May 2009 15:42:12 -0700 Subject: [NewMusic] Send me your press releases. :) In-Reply-To: <2eb068d40905051531i7b84cf19mcb6091494bef58d2@mail.gmail.com> References: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> <2eb068d40905051531i7b84cf19mcb6091494bef58d2@mail.gmail.com> Message-ID: Sounds good to me! On Tue, May 5, 2009 at 3:31 PM, Polly Moller wrote: > Here is a quote from Steve Layton, the managing editor, about what he'd like > me to blog about: > > "word of any good University gig, funky experimental club stuff, short > profiles of musicians or groups/ensembles... even the SF symphony if there's > some absolutely cool premiere or something." > > I think "funky experimental club stuff" covers a lot of what we are up to. > :) > > On Tue, May 5, 2009 at 3:22 PM, Matt Davignon wrote: > >> Sequenza21 calls itself "the contemporary classical music community". >> Does that mean we should limit our submissions to things that would be >> of interest to the contemporary classical music community? >> >> On Tue, May 5, 2009 at 3:12 PM, Polly Moller >> wrote: >> > Hi everybody, I'm happy to let you all know that I've been invited to be >> the >> > SF Bay Area correspondent for the Sequenza21 contemporary music blog: >> > www.sequenza21.com >> > >> > So send me stuff off list about your festivals, concert series, >> > extra-special gigs, commissions, etc. in exhaustive detail so I can write >> > you up. :) >> > >> > P. >> > >> > -- >> > ------------------------------------- >> > Outsound New Music Summit 2009 >> > Schedule: >> > http://www.outsound.org/summit/09/schedule_details09.html >> > Tickets: >> > http://www.brownpapertickets.com/event/61377 >> > ------------------------------------- >> > _______________________________________________ >> > 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 >> > > > > -- > ------------------------------------- > Outsound New Music Summit 2009 > Schedule: > http://www.outsound.org/summit/09/schedule_details09.html > Tickets: > http://www.brownpapertickets.com/event/61377 > ------------------------------------- > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From amar at ptank.com Tue May 5 20:43:49 2009 From: amar at ptank.com (Amar Chaudhary) Date: Tue, 5 May 2009 20:43:49 -0700 (PDT) Subject: [NewMusic] Send me your press releases. :) In-Reply-To: References: <2eb068d40905051512v3e729b65yb6c0f0a94e8cd308@mail.gmail.com> <2eb068d40905051531i7b84cf19mcb6091494bef58d2@mail.gmail.com> Message-ID: <54059.69.106.233.168.1241581429.squirrel@webmail.ptank.com> Congrats, Polly! I have been forgetting to check out sequenza21 lately. It does have a lot on contemporary classical - including a memorial post for my long-time composition teacher when she passed away in 2006. But I'm always for seeing all these types of music together. -Amar > Sounds good to me! > > On Tue, May 5, 2009 at 3:31 PM, Polly Moller > wrote: >> Here is a quote from Steve Layton, the managing editor, about what he'd >> like >> me to blog about: >> >> "word of any good University gig, funky experimental club stuff, short >> profiles of musicians or groups/ensembles... even the SF symphony if >> there's >> some absolutely cool premiere or something." >> >> I think "funky experimental club stuff" covers a lot of what we are up >> to. >> :) >> >> On Tue, May 5, 2009 at 3:22 PM, Matt Davignon >> wrote: >> >>> Sequenza21 calls itself "the contemporary classical music community". >>> Does that mean we should limit our submissions to things that would be >>> of interest to the contemporary classical music community? >>> >>> On Tue, May 5, 2009 at 3:12 PM, Polly Moller >>> wrote: >>> > Hi everybody, I'm happy to let you all know that I've been invited to >>> be >>> the >>> > SF Bay Area correspondent for the Sequenza21 contemporary music blog: >>> > www.sequenza21.com >>> > >>> > So send me stuff off list about your festivals, concert series, >>> > extra-special gigs, commissions, etc. in exhaustive detail so I can >>> write >>> > you up. :) >>> > >>> > P. >>> > >>> > -- >>> > ------------------------------------- >>> > Outsound New Music Summit 2009 >>> > Schedule: >>> > http://www.outsound.org/summit/09/schedule_details09.html >>> > Tickets: >>> > http://www.brownpapertickets.com/event/61377 >>> > ------------------------------------- >>> > _______________________________________________ >>> > 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 >>> >> >> >> >> -- >> ------------------------------------- >> Outsound New Music Summit 2009 >> Schedule: >> http://www.outsound.org/summit/09/schedule_details09.html >> Tickets: >> http://www.brownpapertickets.com/event/61377 >> ------------------------------------- >> _______________________________________________ >> 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 td at pixar.com Wed May 6 20:50:49 2009 From: td at pixar.com (Tom Duff) Date: Wed, 6 May 2009 20:50:49 -0700 Subject: [NewMusic] Skronkathon: call for participation Message-ID: <200905070350.n473onn4017976@marvin.dynamic.pixar.com> A N N O U N C I N G THE 9th ANNUAL TRANSBAY SKRONKATHON BBQ After months of intensive negotiations, we've decided to run another Skronkathon (the 9th!). It'll be at 21 Grand in Oakland like the last few years and it'll be on Saturday July 11, 2009. The Skronkathon is an all-day marathon of creative music and BBQ. There'll be performances all day inside the gallery and hot grills & cold drinks in the alleyway outside. We don't charge admission, so we have no budget to pay anybody. It's more like a party than a gig. (We do take donations for the benefit of the Transbay Creative Music Calendar ) We're interested in new, challenging, unfamiliar, adventurous, engaging, peculiar music of all kinds. We really mean all kinds: if you do Throbbing Gristle covers using medieval instruments, or a Cappella arrangements of Stockhausen pieces, or play prepared BBQ grills, we want you on our program. (And if you don't do something silly-sounding, we still want you -- just because I'm goofy doesn't mean you have to be.) If you are interested in performing please please send a proposal to td at pixar.com, including the following information: + group and performers names + contact email + a short (20-30 words?) description of what you do for our press packet + range of preferred start times between, say 1:00 PM and 9:00 PM. We try to fit a lot of performers into not much time, so count on playing for about 30 min. Although there is a PA, there will be minimal setup time, so please keep in mind sound check will be "on the fly". It is a small space -- "unplugged" is an option to seriously consider... Once we get an idea of the submissions, we'll try to put together a logical schedule... *********************************************************** * We also need volunteers to help out with minding * * the donation jar, running the PA, assisting people * * loading in and out and generally coordinating * * things. Please let us know if you can help!!!!! * *********************************************************** Thanks for your interest, Tom Duff speaking for ACME Observatory Staff From matt at sfsound.org Wed May 6 21:10:25 2009 From: matt at sfsound.org (matt ingalls) Date: Wed, 6 May 2009 21:10:25 -0700 (PDT) Subject: [NewMusic] sfSoundRadio NOW Message-ID: <560944.68801.qm@web80002.mail.sp1.yahoo.com> Jon Raskin and Kanoko Nishi are playing live on sfSoundRadio NOW (9pm) -- if you happen to get this, would you mind tuning in for a bit as a stress test of the station? (and get some good music out of it too!) thanks! matt here's the link: http://200.35.148.107:8000/listen.pls From tbickley at metatronpress.com Wed May 6 21:56:26 2009 From: tbickley at metatronpress.com (Tom Bickley) Date: Wed, 6 May 2009 21:56:26 -0700 Subject: [NewMusic] sfSoundRadio NOW In-Reply-To: <560944.68801.qm@web80002.mail.sp1.yahoo.com> References: <560944.68801.qm@web80002.mail.sp1.yahoo.com> Message-ID: It sounds great! Thank you for streaming this, and to all the musicians for playing. Pax, -Tom On May 6, 2009, at 9:10 PM, matt ingalls wrote: > > Jon Raskin and Kanoko Nishi are playing live on sfSoundRadio NOW > (9pm) -- if you happen to get this, would you mind tuning in for a > bit as a stress test of the station? (and get some good music out > of it too!) > > thanks! > matt > > here's the link: > > http://200.35.148.107:8000/listen.pls > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From jfheule at gmail.com Wed May 6 22:14:06 2009 From: jfheule at gmail.com (jacob felix heule) Date: Wed, 6 May 2009 22:14:06 -0700 Subject: [NewMusic] sfSoundRadio NOW In-Reply-To: References: <560944.68801.qm@web80002.mail.sp1.yahoo.com> Message-ID: <9c5cfa860905062214y1f92bf2dudbc93543535e134b@mail.gmail.com> sounded great. nice live mix. thanks for streaming it, matt. i loved the dot matrix printer action at the end! jacob -- http://www.myspace.com/jacobfelix http://www.heule.us On Wed, May 6, 2009 at 9:56 PM, Tom Bickley wrote: > It sounds great! Thank you for streaming this, and to all the > musicians for playing. Pax, -Tom > > On May 6, 2009, at 9:10 PM, matt ingalls wrote: > > > > > Jon Raskin and Kanoko Nishi are playing live on sfSoundRadio NOW > > (9pm) -- if you happen to get this, would you mind tuning in for a > > bit as a stress test of the station? (and get some good music out > > of it too!) > > > > thanks! > > matt > > > > here's the link: > > > > http://200.35.148.107:8000/listen.pls > > > > _______________________________________________ > > 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 gino at rastascan.com Thu May 7 16:40:14 2009 From: gino at rastascan.com (Gino Robair) Date: Thu, 07 May 2009 16:40:14 -0700 Subject: [NewMusic] Gino Robair workshop in Chicago, May 23 Message-ID: Hey gang, I'm doing a workshop/performance in Chicago on Saturday, May 23 using the material in my opera "I, Norton". Andrew of Wummin is organizing it for me, so I'm pasting his message below. Just in case you have friends in the Windy City who would be interested in taking part... * * * * * Gino Robair is visiting Chicago for the first time in 19 years! ?In addition to performances at Elastic and on WNUR, I am pleased to announce that Gino will be conducting a workshop on group improvisation. ?Please distribute this announcement widely. ?The more participants, the better. ?Also, please feel free to contact me about specific questions or for more information about the event at AndrewTRoyal at gmail.com. ?Details on the workshop and Gino's bio below. Saturday, May 23, 2009 at 1550 N. Milwaukee Avenue 1-5 PM: Workshop on Strategies for Multidisciplinary Group Interaction (see description below) at Enemy (3rd Floor) 10 PM: Workshop Participants Perform ?I, Norton? as a culmination of the afternoon?s activities at Heaven Gallery (2nd Floor) as part of the Protest Heaven concert series Open to: instrumentalists, vocalists, electronic musicians, dancers, visual artists, videographers, computer artists, etc. NO EXPERIENCE WITH IMPROVISATION NECESSARY! ?PARTICIPANTS OF ALL SKILL LEVELS WELCOME AND APPRECIATED! Price: $25 RSVP to AndrewTRoyal at gmail.com or GroupImprovWorkshop at gmail.com Details and updates available at groupimprovworkshop.tumblr.com. Description of workshop: In this workshop, we will create a multi-movement piece that combines open-ended structures and free improvisation. ?The result will be somewhat of a ?guerrilla opera,? using conduction (hand cues), graphic scores, and memory-improv structures. ?The workshop is open to any type of artist: musicians, singers, dancers, painters, videographers, sculptors, and computer-based artists. ?We will focus in particular on strategies of interdisciplinary group interaction. The literary element of the workshop is based on the writings of Norton I, Emperor of the United States and Protector of Mexico. Norton declared himself emperor in 1859 and promptly abolished Congress, decreed bridges be built over the ocean, and printed his own money. ?Consequently, the piece may have a political subtext that resonates with the current geo-political situation. ?The words, letters, rhythms, and structure of Norton?s texts will be used as source material by each participant. Gino's Bio: Gino Robair is a composer/percussionist who has written music for film, dance, theater, radio, and television (including commercials for MTV and Starbucks). He was the music director for the CBS animated series The Twisted Tales of Felix the Cat, and composer in residence with the California Shakespeare Festival for five years. As an editor at Electronic Musician magazine for 10 years, Gino wrote about music technology, and he has authored two books on the subject. The most recent is The Ultimate Personal Recording Studio (Thompson; 2006). Gino is also one of the ?25 innovative percussionists? included in the book Percussion Profiles (SoundWorld, 2001). He has recorded albums with Tom Waits, Anthony Braxton, Terry Riley, Lou Harrison, John Butcher, Derek Bailey, Peter Kowald, Otomo Yoshihide, the ROVA Saxophone Quartet, and Eugene Chadbourne, among many others. He has performed with numerous artists and ensembles spanning rock, jazz, and classical music, including John Zorn, Nina Hagen, and the Kronos Quartet. Gino is a founding member of the Splatter Trio and Pink Mountain. In addition, he runs Rastascan Records, a label devoted to creative music. His opera ?I, Norton? has been performed in San Francisco and Oakland, California; Seattle, Washington; Chattanooga, Tennessee; Miami, Florida; St Louis, Missouri; Tokyo, Japan; and Milan and Palermo, Italy. In addition, the ROVA Saxophone Quartet has performed a reduced version of the piece across Europe and North America. Gino maintains a web-presence at myspace.com/ginorobair. -- Andrew T. Royal, Esq. 1849 W. Cullerton St., Apt. 2F Chicago, IL 60608 310-903-6567 From djll at sonic.net Mon May 11 16:40:04 2009 From: djll at sonic.net (Tom Dill) Date: Mon, 11 May 2009 16:40:04 -0700 Subject: [NewMusic] East meets worst Message-ID: <3D068B24-5DF6-438C-949F-7B154BF0824B@sonic.net> 'Smoke On the Water' -- played by gagaku + symphony orchestra http://www.youtube.com/watch?v=pANmsm3CwWM&feature=related Tom Djll 227 Otis St. Santa Cruz, CA 95060 (831) 429-8072 home (831) 423-3050 office (831) 320-1489 cell djll at sonic.net tom at mythmaker.com www.mythmaker.com Music, calendar, & bio: http://www.bayimproviser.com/TomDjll More music w/sound snippets: http://www.myspace.com/analoguelipsynthesizer Photography: http://www.flickr.com/photos/djll/ From 8vuit8 at gmail.com Mon May 11 17:18:29 2009 From: 8vuit8 at gmail.com (Bob Marsh) Date: Mon, 11 May 2009 17:18:29 -0700 Subject: [NewMusic] East meets worst In-Reply-To: <3D068B24-5DF6-438C-949F-7B154BF0824B@sonic.net> References: <3D068B24-5DF6-438C-949F-7B154BF0824B@sonic.net> Message-ID: <98e30a870905111718r2f868cfbsab47f5919f26183f@mail.gmail.com> thg jrrrr zmp zmp fffffffffffffffff? On Mon, May 11, 2009 at 4:40 PM, Tom Dill wrote: > 'Smoke On the Water' -- played by gagaku + symphony orchestra > > http://www.youtube.com/watch?v=pANmsm3CwWM&feature=related > > Tom Djll > 227 Otis St. > Santa Cruz, CA 95060 > (831) 429-8072 home > (831) 423-3050 office > (831) 320-1489 cell > djll at sonic.net > tom at mythmaker.com > www.mythmaker.com > > Music, calendar, & bio: > http://www.bayimproviser.com/TomDjll > > More music w/sound snippets: > http://www.myspace.com/analoguelipsynthesizer > > Photography: > http://www.flickr.com/photos/djll/ > > > > > _______________________________________________ > 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/yollesmarsh www.myspace.com/desperateremedies www.myspace.com/mrhg80 www.myspace.com/8vuit8 www.myspace.com/ottoeight www.myspace.com/thespiritmovesus From setar at pacbell.net Fri May 15 22:41:42 2009 From: setar at pacbell.net (Katherine Setar) Date: Fri, 15 May 2009 22:41:42 -0700 Subject: [NewMusic] Cardew Choir Concert May 17 In-Reply-To: References: Message-ID: <4A0E5216.7020605@pacbell.net> On Sunday, May 17, 2009 from 2:00 p.m. - 4:00 p.m. the Cornelius Cardew Choir will present choral works at the Koret Auditorium of the San Francisco Public Library, Main Library at 100 Larkin St. (at Grove) in San Francisco. The choir engages audiences and each other with surprising vocal sounds and innovative music making. The program will include works by Pauline Oliveros, Sam Richards, Sarah Rose Stiles, and others. Free admission. ABOUT THE CORNELIUS CARDEW CHOIR: Founded in 2001, the Cornelius Cardew Choir is a vocal performance ensemble based in the San Francisco Bay Area. The choir is an exciting intersection of community and experimental music brought together by singing. The ensemble consists of professional, amateurs, and novice singers who collectively work to turn their ideas into sonic action. All participants feel free to make suggestions about ways of performing a given piece or try new approach to singing. WEB LINKS AND FURTHER INFORMATION: Cornelius Cardew Choir: Tom Bickley, choir director Phone (510) 204-0607 tbickley at metatronpress.com http://metatronpress.com/artists/cardewchoir/index.php San Francisco Public Library, Main Library Koret Auditorium 100 Larkin St. San Francisco, CA 94102-4733 (415) 557-4400 http://sfpl.org/ From tbickley at metatronpress.com Mon May 18 11:06:51 2009 From: tbickley at metatronpress.com (Tom Bickley) Date: Mon, 18 May 2009 11:06:51 -0700 Subject: [NewMusic] Cardew Choir Concert May 17 In-Reply-To: <4A0E5216.7020605@pacbell.net> References: <4A0E5216.7020605@pacbell.net> Message-ID: <85B1905F-27BB-4BAF-A70F-5C69BCD43E2D@metatronpress.com> Yikes! We may win not just the sausage of the day award, but the day old sausage of the day award! But, it was a very good performance, and Sam Richards who dedicated his new piece About Time: Voice to us, was there for the performance. Sam was an associate of Cardew. He was very pleased as well. We'll post these to the correct list in the future! Pax, -Tom On May 15, 2009, at 10:41 PM, Katherine Setar wrote: > On Sunday, May 17, 2009 from 2:00 p.m. - 4:00 p.m. the Cornelius > Cardew > Choir will present choral works at the Koret Auditorium of the San > Francisco Public Library, Main Library at 100 Larkin St. (at > Grove) in > San Francisco. The choir engages audiences and each other with > surprising vocal sounds and innovative music making. The program will > include works by Pauline Oliveros, Sam Richards, Sarah Rose Stiles, > and > others. Free admission. > > ABOUT THE CORNELIUS CARDEW CHOIR: > > Founded in 2001, the Cornelius Cardew Choir is a vocal performance > ensemble based in the San Francisco Bay Area. The choir is an > exciting > intersection of community and experimental music brought together by > singing. The ensemble consists of professional, amateurs, and novice > singers who collectively work to turn their ideas into sonic action. > All participants feel free to make suggestions about ways of > performing > a given piece or try new approach to singing. > > WEB LINKS AND FURTHER INFORMATION: > > Cornelius Cardew Choir: > > Tom Bickley, choir director > Phone (510) 204-0607 > tbickley at metatronpress.com > http://metatronpress.com/artists/cardewchoir/index.php > > San Francisco Public Library, Main Library > Koret Auditorium > 100 Larkin St. San Francisco, CA 94102-4733 > (415) 557-4400 > http://sfpl.org/ > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From mattdavignon at gmail.com Fri May 22 12:06:49 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Fri, 22 May 2009 12:06:49 -0700 Subject: [NewMusic] Cash boxes Message-ID: My work has a couple cash boxes they're giving away. Does anybody want one- For example, if you're running a music series? Let me know ASAP! Matt Davignon www.ribosomemusic.com From windrag at mac.com Fri May 22 13:08:24 2009 From: windrag at mac.com (Ryk A. Groetchen) Date: Fri, 22 May 2009 13:08:24 -0700 Subject: [NewMusic] Cash boxes In-Reply-To: References: Message-ID: <6DBE45C7-1156-4D76-A6F3-6234EF599366@mac.com> Hi Matt, Trinity Chamber Concerts could use a cash box. Thanks! How can I meet up with you to pick it up? Best, Ryk On May 22, 2009, at 12:06 PM, Matt Davignon wrote: > My work has a couple cash boxes they're giving away. > > Does anybody want one- For example, if you're running a music series? > > Let me know ASAP! > > Matt Davignon > www.ribosomemusic.com > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From mattdavignon at gmail.com Fri May 22 13:34:29 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Fri, 22 May 2009 13:34:29 -0700 Subject: [NewMusic] Cash boxes In-Reply-To: <6DBE45C7-1156-4D76-A6F3-6234EF599366@mac.com> References: <6DBE45C7-1156-4D76-A6F3-6234EF599366@mac.com> Message-ID: Hi Ryk, I just found out they're missing the little money trays, so it's just a metal box. Still want it? I work at Market & New Montgomery in SF. I'm also going to SF Symphony this Saturday and game night at Polly's house on Sunday. Not sure what the schedule is the next week. Matt On Fri, May 22, 2009 at 1:08 PM, Ryk A. Groetchen wrote: > Hi Matt, > > Trinity Chamber Concerts could use a cash box. Thanks! How can I meet > up with you to pick it up? > > Best, > > Ryk > > On May 22, 2009, at 12:06 PM, Matt Davignon wrote: > >> My work has a couple cash boxes they're giving away. >> >> Does anybody want one- For example, if you're running a music series? >> >> Let me know ASAP! >> >> Matt Davignon >> www.ribosomemusic.com >> _______________________________________________ >> 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 suki at zoka.com Sat May 23 08:30:23 2009 From: suki at zoka.com (Suki O'Kane) Date: Sat, 23 May 2009 08:30:23 -0700 Subject: [NewMusic] Borrow Your Music Stand and Light? In-Reply-To: References: <6DBE45C7-1156-4D76-A6F3-6234EF599366@mac.com> Message-ID: amigos, I'm collecting 9 music stands with 9 battery-operated stand lights for use in the may 30 illuminated corridor. May I borrow your stand, your light or both? Clunky manhasset style preferred (this year's illCorr site is known for being a lil windy), but no music stand or battery-operated stand light turned away. Pickup on Saturday the 30th, return on Sunday the 31st. Thanks for your help! -s -- suki o'kane mailto:suki at zoka.com http://www.myspace.com/sukiokane From matt at sfsound.org Sat May 23 13:38:59 2009 From: matt at sfsound.org (matt) Date: Sat, 23 May 2009 13:38:59 -0700 Subject: [NewMusic] thirtysomethings (+/- a few yrs?) -- our brainwashed music Message-ID: <5E2DC11B-B47C-4992-AE8E-2204F19785F9@sfsound.org> kfjc is playing this right now: Saturday Mayhem 23 12pm to 3pm Hosted by Johnny Darko Original BGM on the fab four home systems who popularized 8-bit music: The Nintendo Entertainment System, Sega Master System and Turbographics 16. Hacker hits ripped from the core CPU's and the minds of composers Koji Kondo (Super Mario, Zelda), Hidenori Maezawa (Contra, Teenage Mutant Ninja Turtles) and co-composers Manami Matsumae & Yoshihiro Sakaguchi (Mega Man series). m@ From michaelz at zoka.com Sat May 23 14:26:58 2009 From: michaelz at zoka.com (Michael Zelner) Date: Sat, 23 May 2009 14:26:58 -0700 Subject: [NewMusic] thirtysomethings (+/- a few yrs?) -- our brainwashed music In-Reply-To: <5E2DC11B-B47C-4992-AE8E-2204F19785F9@sfsound.org> References: <5E2DC11B-B47C-4992-AE8E-2204F19785F9@sfsound.org> Message-ID: On 5/23/09, matt wrote: >kfjc is playing this right now: > >Saturday Mayhem 23 12pm to 3pm >Hosted by Johnny Darko > >Original BGM on the fab four home systems who popularized 8-bit music: >The Nintendo Entertainment System, Sega Master System and >Turbographics 16. Hacker hits ripped from the core CPU's and the minds >of composers Koji Kondo (Super Mario, Zelda), Hidenori Maezawa >(Contra, Teenage Mutant Ninja Turtles) and co-composers Manami >Matsumae & Yoshihiro Sakaguchi (Mega Man series). That might prepare you for 12 hours of Throbbing Gristle on KFJC. >Day of Gristle > >Saturday Mayhem 23 to Sunday Mayhem 24 6pm to 6pm >Hosted by Mr. E and friends > >This will be a continuation of the 2002 Day of Gristle. This version >will focus on new material released since 2002, as well as some >essential earlier material. We will include some new interviews as >well as the existing interviews from 1979 and 2002. We will set up >the Gristle Lounge again to screen the TGV collection released in >2008. MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From jacobmakesnoise at yahoo.com Sat May 23 22:40:46 2009 From: jacobmakesnoise at yahoo.com (Jacob Lindsay) Date: Sat, 23 May 2009 22:40:46 -0700 (PDT) Subject: [NewMusic] Streifenjunko Message-ID: <822359.11452.qm@web58006.mail.re3.yahoo.com> These guys just played a stellar set at Soja.? Really first-rate.? I highly recommend checking them out before they leave town. Jacob Lindsay www.bayimproviser.com/jacoblindsay www.sojamartialarts.com From mattdavignon at gmail.com Sun May 24 14:12:50 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Sun, 24 May 2009 14:12:50 -0700 Subject: [NewMusic] New "Rigs" videos featuring Thomas Dimuzio Message-ID: Hi all, I just uploaded a set of 4 "Rigs" videos, with Thomas Dimuzio discussing how he makes music. Here's a list of all the current videos. Thomas Dimuzio Discussion Part 1: http://www.youtube.com/watch?v=z6SSlv-1Zew Discussion Part 2: http://www.youtube.com/watch?v=pIToUjsl-vY Discussion Part 3: http://www.youtube.com/watch?v=tf5ufuFTVeo Performance: http://www.youtube.com/watch?v=VU03wtYxaQY Tom Nunn Sonoglyph discussion: http://www.youtube.com/watch?v=TO1N59Y4RUM Sonoglyph performance: http://www.youtube.com/watch?v=RyGBhmZPtWc Crustacean discussion: http://www.youtube.com/watch?v=xYFLiE1DSQI Skatchbox discussion: http://www.youtube.com/watch?v=ElrJisnhtSU Skatchbox performance (w/David Michalak): http://www.youtube.com/watch?v=h0aUVf3R2ds CJ Borosque Discussion: http://www.youtube.com/watch?v=wtq04Nh0NJw Performance: http://www.youtube.com/watch?v=AfkHnE_aZdo Matt Davignon Discussion: http://www.youtube.com/watch?v=6ELCrrMdphk Performance: http://www.youtube.com/watch?v=7euFSrxHUtA Matt Davignon www.ribosomemusic.com From mattdavignon at gmail.com Mon May 25 22:58:04 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Mon, 25 May 2009 22:58:04 -0700 Subject: [NewMusic] Odd announcement list Message-ID: is anyone else receiving their newmusic announcements in strange characters? ---------- Forwarded message ---------- From: Date: 2009/5/25 Subject: NewMusicEvents Digest, Vol 37, Issue 20 To: newmusicevents at music.mills.edu ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? From polly.moller at gmail.com Tue May 26 06:59:49 2009 From: polly.moller at gmail.com (Polly Moller) Date: Tue, 26 May 2009 06:59:49 -0700 Subject: [NewMusic] Odd announcement list In-Reply-To: References: Message-ID: <2eb068d40905260659rf087156y81f10c4fde7fad6f@mail.gmail.com> I'm getting these too. I actually made one happen, a few weeks ago, by cutting and pasting some HTML in there. So that may be what folks are doing. I did it again with plain text, and it was fine. P. 2009/5/25 Matt Davignon > is anyone else receiving their newmusic announcements in strange > characters? > > > ---------- Forwarded message ---------- > From: > Date: 2009/5/25 > Subject: NewMusicEvents Digest, Vol 37, Issue 20 > To: newmusicevents at music.mills.edu > > > > ??????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????????? > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- ------------------------------------- Outsound New Music Summit 2009 Schedule: http://www.outsound.org/summit/09/schedule_details09.html Tickets: http://www.brownpapertickets.com/event/61377 ------------------------------------- From michaelz at zoka.com Tue May 26 09:25:09 2009 From: michaelz at zoka.com (Michael Zelner) Date: Tue, 26 May 2009 09:25:09 -0700 Subject: [NewMusic] Odd announcement list In-Reply-To: References: Message-ID: On 5/25/09, Matt Davignon wrote: >????z[ ?? ?????^????k??????q?@?"??kjx r?i?^??h??u?fz???k?i??k???z{l??z?f???)e??n >?^?M=????+???-5? ????????-V?w?,??N???k???z{l??"rh???????5? ??+ ??"?q???M{.?'&???)e??n??i????'&?Yly????????+-?w??w???" Translation: On 5/25/09, Matt Davignon wrote: >is anyone else receiving their newmusic announcements in strange characters? From michaelz at zoka.com Tue May 26 09:26:11 2009 From: michaelz at zoka.com (Michael Zelner) Date: Tue, 26 May 2009 09:26:11 -0700 Subject: [NewMusic] Odd announcement list In-Reply-To: <2eb068d40905260659rf087156y81f10c4fde7fad6f@mail.gmail.com> References: <2eb068d40905260659rf087156y81f10c4fde7fad6f@mail.gmail.com> Message-ID: On 5/26/09, Polly Moller wrote: >"h ????^??h?????')?u?'z????}?0y?,j >???)?jwij?b? (???0????y*-??fk&???~?d???v????bv+Z????+a?V???????????x??????nLj?Cj?????j?]j??????r?????w???y??)???w???"q????zg??????????r??Z+???y???xZ?w???"q???+z?????'&?Yly?j??O???J??y?M{.?'???8?z?U?]?"?.{m?w???"q???&???)e??n????{.?'??.???j?T^?????'&?Yly????k????[ v??j)fj??b?????&??:?l???5? ??J???????n??m???? (??(?wh??i???=??!y?y?j)l??m?T?rG??m????? > ?j???'$z? ?o?????w?Z? >?h??2?"p8?r?,?????5? ????"rh????m?????)e??n?f??f??X??)????k?? Translation: On 5/26/09, Polly Moller wrote: >I'm getting these too. I actually made one >happen, a few weeks ago, by cutting and pasting >some HTML in there. So that may be what folks >are doing. I did it again with plain text, and >it was fine. >P. From gino at rastascan.com Wed May 27 17:13:59 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 27 May 2009 17:13:59 -0700 Subject: [NewMusic] Yes, Streifenjunko Message-ID: As Jacob noted--- I can attest that those chaps are seriously musical. I shared a bill with the duo at Elastic in Chicago last week: their first piece was the most subtly powerful, timbre-based duet I've heard in years -- long tones, circular breathing, but not in the macho, post-free jazz sense, nor was there any overuse of lowercase breath-sound stuff: These guys use their instruments like complex oscillators, carefully filtering the tones to get specific harmonics. Eivind, the trumpeter, especially blew my mind. At times it sounded like he was doing some sort of throat singing through his horn, yielding some extreme lows and sparkling but soft high notes. But he was just carefully using his mute and playing subtones. Elastic's acoustics are, how can I put this....dead as a doornail -- not the most enjoyable place to play for wind players. (As a drummer, it was great!) But the lack of natural reverberation didn't phase Streifenjunko. They filled the room with sound while playing in the range of pp to mp. Keep an eye and ear on this band... From gino at rastascan.com Wed May 27 17:20:20 2009 From: gino at rastascan.com (Gino Robair) Date: Wed, 27 May 2009 17:20:20 -0700 Subject: [NewMusic] Lisle Ellis profile on Emusician.com Message-ID: Hey gang, Lisle is featured online at emusician.com: http://emusician.com/interviews/lisle-ellis-profile-bass-circuitry/ From electric.tokyo at gmail.com Wed May 27 17:26:57 2009 From: electric.tokyo at gmail.com (Travis Johns) Date: Wed, 27 May 2009 17:26:57 -0700 Subject: [NewMusic] Do You Want New Age? Message-ID: alo, so dig this: new album from moi out on a ny label called shinkoyo this week. two 30 minute jams for just-intoned electronics and an auto-tuned instrument or two, originally written on commission for use by a massage therapist (hence, the new age implications). feel free to check it out at www.shinkoyo.com - i believe that their paradigm = listen for free but donate to download - penny to infinity. as always, any feedback, suggestions or scholarly reviews, published or otherwise, are greatly appreciated. for those who like reading, here's the press release from the label - enjoy! best, t. VSLS: MIXXES VSLS (pronounced vessels) is the work of San Francisco composer Travis Johns. His new record, Mixxes originally began as a commission for performer/masseur Jeremie Chetrit to use in his body work sessions. We felt the end result was too good to keep sequestered in a massage studio. We proudly give to you Mixxes, a record you can leave on for days at a time. Track 1, Antefin, is pure electronic Deep Listening. Leave this on repeat and watch time fold into Dune spice-dust. Track 2, Spirale, is Antefin?s earthly cousin. Spirale features slide whistle, bells, viola, and pan flute immersed in a calm electronic bed, floating in ever-changing cycles of simplified melodic patterns. Both are very serene, ?true-age? and worthy cosmic companions for your next flight to Venus or Dubai. We reccomend Mixxes at any volume for any of the following activities: sleep, sex, meditation, rest, driving down the lonliest highway, cleaning the house, corporate lobbies, reading Carl Sagan, massage, trance, seance, swimming, tripping, travelling, Skymall stress relief, or any other appropriate ritual. Visit think-tankmedia.net to learn more about the VSLS project. -SM VSLS | Mixxes 01 Antefin (31:06) Electronics by Travis Johns 02 Spirale (30:10) Electronics, Gong, Bells - Travis Johns Pan Flute, Slide Whistle, Bell - Severiano Martinez Viola - Leif Shackelford Mixed by Travis Johns additional mixing on Spirale by Severiano Martinez Mastered by Leif Shackelford ?Shinkoyo 2009 From michaelz at zoka.com Wed May 27 20:32:04 2009 From: michaelz at zoka.com (Michael Zelner) Date: Wed, 27 May 2009 20:32:04 -0700 Subject: [NewMusic] Lisle Ellis profile on Emusician.com In-Reply-To: References: Message-ID: On 5/27/09, Gino Robair wrote: >Hey gang, >Lisle is featured online at emusician.com: >http://emusician.com/interviews/lisle-ellis-profile-bass-circuitry/ He did some good stuff at 21 Grand a couple weeks ago (and also with Rova last weekend). Some snapshots: MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From jon_raskin at yahoo.com Thu May 28 01:36:56 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Thu, 28 May 2009 01:36:56 -0700 (PDT) Subject: [NewMusic] Lisle Ellis profile on Emusician.com In-Reply-To: References: Message-ID: <177982.43303.qm@web55603.mail.re4.yahoo.com> Lisle's electronics for Rovate worked really well with Thomas Lehn. The pairing of the EMS synth with Lisle's sound pallete and approach to generating the sounds allow them to really be able to blend together and still have distinct voices. Lisle has it set up so that he can play the bass in an amplified acoustic manner or have it trigger the electronics. At other times he plays the notebook (with dramatic gestures which was helpful inside the ensemble when were getting sonic cues for the compositions.) Oddly, it was Charllote Hugs voice that could sound very electonic that was difficult to figure out who was doing it. Was it the electronics or her? She was adapting an Irish vocal tradition called "Keening" that I wasn't familiar with. Having a bass as part of a string quartet was also a very nice and we wondered why this doesn't happen more often. There doesn't seem to be much literature for this either. Jon Raskin ________________________________ From: Michael Zelner To: Bay Area New Music Discussion Group Sent: Wednesday, May 27, 2009 8:32:04 PM Subject: Re: [NewMusic] Lisle Ellis profile on Emusician.com On 5/27/09, Gino Robair wrote: >Hey gang, >Lisle is featured online at emusician.com: >http://emusician.com/interviews/lisle-ellis-profile-bass-circuitry/ He did some good stuff at 21 Grand a couple weeks ago (and also with Rova last weekend). Some snapshots: MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From jon_raskin at yahoo.com Thu May 28 01:38:54 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Thu, 28 May 2009 01:38:54 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: References: Message-ID: <910545.30694.qm@web55601.mail.re4.yahoo.com> That reminds me of a duo from Boston that played at the Beanbenders series- trumpet and reeds? I can't remember what they were called. Jon Raskin ________________________________ From: Gino Robair To: newmusic at music.mills.edu Sent: Wednesday, May 27, 2009 5:13:59 PM Subject: [NewMusic] Yes, Streifenjunko As Jacob noted--- I can attest that those chaps are seriously musical. I shared a bill with the duo at Elastic in Chicago last week: their first piece was the most subtly powerful, timbre-based duet I've heard in years -- long tones, circular breathing, but not in the macho, post-free jazz sense, nor was there any overuse of lowercase breath-sound stuff: These guys use their instruments like complex oscillators, carefully filtering the tones to get specific harmonics. Eivind, the trumpeter, especially blew my mind. At times it sounded like he was doing some sort of throat singing through his horn, yielding some extreme lows and sparkling but soft high notes. But he was just carefully using his mute and playing subtones. Elastic's acoustics are, how can I put this....dead as a doornail -- not the most enjoyable place to play for wind players. (As a drummer, it was great!) But the lack of natural reverberation didn't phase Streifenjunko. They filled the room with sound while playing in the range of pp to mp. Keep an eye and ear on this band... _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From jzitt at metatronpress.com Thu May 28 05:55:00 2009 From: jzitt at metatronpress.com (Joseph Zitt) Date: Thu, 28 May 2009 08:55:00 -0400 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <910545.30694.qm@web55601.mail.re4.yahoo.com> References: <910545.30694.qm@web55601.mail.re4.yahoo.com> Message-ID: nmperign? On Thu, May 28, 2009 at 4:38 AM, Jon Raskin wrote: > That reminds me of a duo from Boston that played at the Beanbenders series- > trumpet and reeds? I can't remember what they were called. > > Jon Raskin > > > > > ________________________________ > From: Gino Robair > To: newmusic at music.mills.edu > Sent: Wednesday, May 27, 2009 5:13:59 PM > Subject: [NewMusic] Yes, Streifenjunko > > As Jacob noted--- > I can attest that those chaps are seriously musical. I shared a bill with > the duo at Elastic in Chicago last week: their first piece was the most > subtly powerful, timbre-based duet I've heard in years -- long tones, > circular breathing, but not in the macho, post-free jazz sense, nor was > there any overuse of lowercase breath-sound stuff: These guys use their > instruments like complex oscillators, carefully filtering the tones to get > specific harmonics. > > Eivind, the trumpeter, especially blew my mind. At times it sounded like he > was doing some sort of throat singing through his horn, yielding some > extreme lows and sparkling but soft high notes. But he was just carefully > using his mute and playing subtones. > > Elastic's acoustics are, how can I put this....dead as a doornail -- not > the > most enjoyable place to play for wind players. (As a drummer, it was > great!) > But the lack of natural reverberation didn't phase Streifenjunko. They > filled the room with sound while playing in the range of pp to mp. > > Keep an eye and ear on this band... > > _______________________________________________ > 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 > -- Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com From jon_raskin at yahoo.com Thu May 28 07:10:36 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Thu, 28 May 2009 07:10:36 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: References: <910545.30694.qm@web55601.mail.re4.yahoo.com> Message-ID: <225020.84909.qm@web55605.mail.re4.yahoo.com> That was it, 1998 or so. Jon Raskin ________________________________ From: Joseph Zitt To: Bay Area New Music Discussion Group Sent: Thursday, May 28, 2009 5:55:00 AM Subject: Re: [NewMusic] Yes, Streifenjunko nmperign? On Thu, May 28, 2009 at 4:38 AM, Jon Raskin wrote: > That reminds me of a duo from Boston that played at the Beanbenders series- > trumpet and reeds? I can't remember what they were called. > > Jon Raskin > > > > > ________________________________ > From: Gino Robair > To: newmusic at music.mills.edu > Sent: Wednesday, May 27, 2009 5:13:59 PM > Subject: [NewMusic] Yes, Streifenjunko > > As Jacob noted--- > I can attest that those chaps are seriously musical. I shared a bill with > the duo at Elastic in Chicago last week: their first piece was the most > subtly powerful, timbre-based duet I've heard in years -- long tones, > circular breathing, but not in the macho, post-free jazz sense, nor was > there any overuse of lowercase breath-sound stuff: These guys use their > instruments like complex oscillators, carefully filtering the tones to get > specific harmonics. > > Eivind, the trumpeter, especially blew my mind. At times it sounded like he > was doing some sort of throat singing through his horn, yielding some > extreme lows and sparkling but soft high notes. But he was just carefully > using his mute and playing subtones. > > Elastic's acoustics are, how can I put this....dead as a doornail -- not > the > most enjoyable place to play for wind players. (As a drummer, it was > great!) > But the lack of natural reverberation didn't phase Streifenjunko. They > filled the room with sound while playing in the range of pp to mp. > > Keep an eye and ear on this band... > > _______________________________________________ > 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 > -- Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From ie at allwaysnorth.com Thu May 28 09:57:15 2009 From: ie at allwaysnorth.com (Cheryl Leonard) Date: Thu, 28 May 2009 09:57:15 -0700 Subject: [NewMusic] Musicians needed for my Sat performance at Illuminated Corridor Message-ID: Greetings folks, I am looking for 4-6 additional musicians to help out with my performance at the Illuminated Corridor event this Sat in Oakland. No special skills needed, I will provide the instruments (windchimes and percussion). All you would need to do is show up an hour early, at 6pm, for a brief improv/runthrough. Email me off list please if you are interested. Thanks! Cheryl From matt at sfsound.org Thu May 28 10:56:00 2009 From: matt at sfsound.org (matt) Date: Thu, 28 May 2009 10:56:00 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <225020.84909.qm@web55605.mail.re4.yahoo.com> References: <910545.30694.qm@web55601.mail.re4.yahoo.com> <225020.84909.qm@web55605.mail.re4.yahoo.com> Message-ID: <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> i don't think they ever played at beanbenders, but they did play sweat shop(they became a duo after their drummer quit that night), big sur xfest, clitstop, luggagestore, etc -- (i thought they also played art rattan but i don't have it on my list maybe they were just staying there or we just did a private show or something i can't remember..) On May 28, 2009, at 7:10 AM, Jon Raskin wrote: > That was it, 1998 or so. > > Jon Raskin > > > > > ________________________________ > From: Joseph Zitt > To: Bay Area New Music Discussion Group > Sent: Thursday, May 28, 2009 5:55:00 AM > Subject: Re: [NewMusic] Yes, Streifenjunko > > nmperign? > > On Thu, May 28, 2009 at 4:38 AM, Jon Raskin > wrote: > >> That reminds me of a duo from Boston that played at the Beanbenders >> series- >> trumpet and reeds? I can't remember what they were called. >> >> Jon Raskin >> >> >> >> >> ________________________________ >> From: Gino Robair >> To: newmusic at music.mills.edu >> Sent: Wednesday, May 27, 2009 5:13:59 PM >> Subject: [NewMusic] Yes, Streifenjunko >> >> As Jacob noted--- >> I can attest that those chaps are seriously musical. I shared a >> bill with >> the duo at Elastic in Chicago last week: their first piece was the >> most >> subtly powerful, timbre-based duet I've heard in years -- long tones, >> circular breathing, but not in the macho, post-free jazz sense, nor >> was >> there any overuse of lowercase breath-sound stuff: These guys use >> their >> instruments like complex oscillators, carefully filtering the tones >> to get >> specific harmonics. >> >> Eivind, the trumpeter, especially blew my mind. At times it sounded >> like he >> was doing some sort of throat singing through his horn, yielding some >> extreme lows and sparkling but soft high notes. But he was just >> carefully >> using his mute and playing subtones. >> >> Elastic's acoustics are, how can I put this....dead as a doornail >> -- not >> the >> most enjoyable place to play for wind players. (As a drummer, it was >> great!) >> But the lack of natural reverberation didn't phase Streifenjunko. >> They >> filled the room with sound while playing in the range of pp to mp. >> >> Keep an eye and ear on this band... >> >> _______________________________________________ >> 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 >> > > > > -- > Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com > _______________________________________________ > 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 m@ From jon_raskin at yahoo.com Thu May 28 11:20:15 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Thu, 28 May 2009 11:20:15 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> References: <910545.30694.qm@web55601.mail.re4.yahoo.com> <225020.84909.qm@web55605.mail.re4.yahoo.com> <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> Message-ID: <787325.85440.qm@web55608.mail.re4.yahoo.com> hmmm- the show was at the beanbenders space but I looked through Plonsey's list and didn't see them listed. (That was fun to go through- wow, what a run of great events) Wasn't there another trumpet player from out of town that played here as well who took apart his trumpet in various ways and had some alterations as well that was part of his language? Ben something? I think he played at New Langton. Jon Raskin ________________________________ From: matt To: Bay Area New Music Discussion Group Sent: Thursday, May 28, 2009 10:56:00 AM Subject: Re: [NewMusic] Yes, Streifenjunko i don't think they ever played at beanbenders, but they did play sweat shop(they became a duo after their drummer quit that night), big sur xfest, clitstop, luggagestore, etc -- (i thought they also played art rattan but i don't have it on my list maybe they were just staying there or we just did a private show or something i can't remember..) On May 28, 2009, at 7:10 AM, Jon Raskin wrote: > That was it, 1998 or so. > > Jon Raskin > > > > > ________________________________ > From: Joseph Zitt > To: Bay Area New Music Discussion Group > Sent: Thursday, May 28, 2009 5:55:00 AM > Subject: Re: [NewMusic] Yes, Streifenjunko > > nmperign? > > On Thu, May 28, 2009 at 4:38 AM, Jon Raskin > wrote: > >> That reminds me of a duo from Boston that played at the Beanbenders >> series- >> trumpet and reeds? I can't remember what they were called. >> >> Jon Raskin >> >> >> >> >> ________________________________ >> From: Gino Robair >> To: newmusic at music.mills.edu >> Sent: Wednesday, May 27, 2009 5:13:59 PM >> Subject: [NewMusic] Yes, Streifenjunko >> >> As Jacob noted--- >> I can attest that those chaps are seriously musical. I shared a >> bill with >> the duo at Elastic in Chicago last week: their first piece was the >> most >> subtly powerful, timbre-based duet I've heard in years -- long tones, >> circular breathing, but not in the macho, post-free jazz sense, nor >> was >> there any overuse of lowercase breath-sound stuff: These guys use >> their >> instruments like complex oscillators, carefully filtering the tones >> to get >> specific harmonics. >> >> Eivind, the trumpeter, especially blew my mind. At times it sounded >> like he >> was doing some sort of throat singing through his horn, yielding some >> extreme lows and sparkling but soft high notes. But he was just >> carefully >> using his mute and playing subtones. >> >> Elastic's acoustics are, how can I put this....dead as a doornail >> -- not >> the >> most enjoyable place to play for wind players. (As a drummer, it was >> great!) >> But the lack of natural reverberation didn't phase Streifenjunko. >> They >> filled the room with sound while playing in the range of pp to mp. >> >> Keep an eye and ear on this band... >> >> _______________________________________________ >> 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 >> > > > > -- > Joseph Zitt :: The Path of the Bookseller :: blog.josephzitt.com > _______________________________________________ > 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 m@ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From damon at balancepointacoustics.com Thu May 28 11:38:46 2009 From: damon at balancepointacoustics.com (Damon Smith) Date: Thu, 28 May 2009 11:38:46 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <787325.85440.qm@web55608.mail.re4.yahoo.com> References: <910545.30694.qm@web55601.mail.re4.yahoo.com> <225020.84909.qm@web55605.mail.re4.yahoo.com> <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> <787325.85440.qm@web55608.mail.re4.yahoo.com> Message-ID: <42F4289A-3353-4602-BF7A-26D558AB517B@balancepointacoustics.com> Interesting that memories of nmperign and Beanbenders both bring up a very simlar mix of exclusionary poltics and great musical experiences! Damon Smith http://www.balancepointacoustics.com http://myspace.com/smithdamon New solo project: http://www.myspace.com/damonsmithsolo From michaelz at zoka.com Thu May 28 12:05:33 2009 From: michaelz at zoka.com (Michael Zelner) Date: Thu, 28 May 2009 12:05:33 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> References: <910545.30694.qm@web55601.mail.re4.yahoo.com> <225020.84909.qm@web55605.mail.re4.yahoo.com> <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> Message-ID: On 5/28/09, matt wrote: >i don't think they ever played at beanbenders, Right. (Greg Kelley did play in the Braxton ensemble that Beanbender's co-presented at the Victoria Theatre in Dec. 2003.) >but they did play >sweat shop(they became a duo after their drummer quit that night), >big sur xfest, clitstop, luggagestore, etc -- (i thought they also >played art rattan but i don't have it on my list maybe they were just >staying there or we just did a private show or something i can't >remember..) Nmperign played at Matt's East Bay Creative Music Festival 5 at Art Rattan on June 4, 1999. (This is on your list, Matt: ) I also saw them perform at the Meridian Gallery on Oct. 1, 1999. There's a short video clip of a more recent performance here, for anyone who isn't familiar with this duo: MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From matt at sfsound.org Thu May 28 12:19:33 2009 From: matt at sfsound.org (matt) Date: Thu, 28 May 2009 12:19:33 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: References: <910545.30694.qm@web55601.mail.re4.yahoo.com> <225020.84909.qm@web55605.mail.re4.yahoo.com> <41F9B887-B975-4F28-9811-F561921D1DCB@sfsound.org> Message-ID: <8BA47C48-39EF-4AFE-AFE4-6932DAF6A3B7@sfsound.org> > > Nmperign played at Matt's East Bay Creative Music Festival 5 at Art > Rattan on June 4, 1999. (This is on your list, Matt: > ) oh thanks -- don't know why i didn't see that.... and while we are posting things, i recently dug up this recording with nmperign and phil gelb from ClitStop: 6/5/99 http://sfsound.org/matt/sounds/Bhob_Greg_Matt_Phil.mp3 m@ From mattdavignon at gmail.com Thu May 28 14:00:41 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Thu, 28 May 2009 14:00:41 -0700 Subject: [NewMusic] Shows that happened 10-13 years ago Message-ID: Weren't they wonderful? As someone who didn't start going to ba-newmus-related shows until 1999 or so, I'm often surprised by this very focused, very specific form of nostalgia. For example, the last 2 transbay calendars featured reprinted reviews from shows back in this era. Were colors brighter and sounds more full between 1996 and 1999 in a way that they haven't been before or since? Personally, I consider the era from 2003 to 2007 or so to be sort of a golden age for local weird music, but I'm not sure if I'll be still talking about it so fervently in 2019. So... what's the skinny? Please discuss. Matt Davignon www.ribosomemusic.com From polly.moller at gmail.com Thu May 28 14:09:10 2009 From: polly.moller at gmail.com (Polly Moller) Date: Thu, 28 May 2009 14:09:10 -0700 Subject: [NewMusic] Shows that happened 10-13 years ago In-Reply-To: References: Message-ID: <2eb068d40905281409k7e937eebh2fb771554a24d86a@mail.gmail.com> Here's some somewhat focused nostalgia: I only attended one Beanbender's show ever, in February of 1996. My memory is not specific down to the date. I came to see the ADD Trio. My ex came with me. We drove up from Mountain View. It was very loud. I brought along a funny book of "mondegreens" to give my then long-distance flute teacher Robert Dick who was a member of said trio, and who was (is) a crazed fan of Jimi Hendrix, so I figured a book that said "Scuse Me While I Kiss This Guy" on the front was appropriate. My ex ranted for weeks afterwards how loud the music was, how dirty and dangerous the neighborhood and the venue were, and what suspicious-looking deadbeats the fans were, and I got the distinct impression that (a) he would never go there or to any new music show with me again, and (b) if I tried to go by myself, I would be subject to some serious retaliation. So that was it for me concert-attendance-wise until after I got divorced. P. On Thu, May 28, 2009 at 2:00 PM, Matt Davignon wrote: > Weren't they wonderful? > > As someone who didn't start going to ba-newmus-related shows until > 1999 or so, I'm often surprised by this very focused, very specific > form of nostalgia. For example, the last 2 transbay calendars featured > reprinted reviews from shows back in this era. Were colors brighter > and sounds more full between 1996 and 1999 in a way that they haven't > been before or since? > > Personally, I consider the era from 2003 to 2007 or so to be sort of a > golden age for local weird music, but I'm not sure if I'll be still > talking about it so fervently in 2019. > > So... what's the skinny? Please discuss. > > Matt Davignon > www.ribosomemusic.com > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > -- ------------------------------------- Outsound New Music Summit 2009 Schedule: http://www.outsound.org/summit/09/schedule_details09.html Tickets: http://www.brownpapertickets.com/event/61377 ------------------------------------- From 21grand at 21grand.org Thu May 28 14:22:48 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 14:22:48 -0700 Subject: [NewMusic] Shows that happened 10-13 years ago In-Reply-To: <2eb068d40905281409k7e937eebh2fb771554a24d86a@mail.gmail.com> Message-ID: I never went to a show at Beanbenders. Never heard of it until it was gone. But even if I had been familiar, I wouldn't have gone because I recognized the name of the series as derived from one of those whimsical quirky kids' books that my ex- loved, which had no appeal for me, and which characterized a major difference in sensibility that eventually led to a break up. sl From jon_raskin at yahoo.com Thu May 28 14:46:21 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Thu, 28 May 2009 21:46:21 +0000 Subject: [NewMusic] Yes, Streifenjunko Message-ID: <1073083376-1243547049-cardhu_decombobulator_blackberry.rim.net-1442356476-@bxe1287.bisx.prod.on.blackberry> ???? Exclusionary politics? You got to kidding. As for nostalgia, I still wonder and hear the sounds from the Mapenzi flub in Berkeley in the 70's. It's our history and deserve to be relished for the collective creativity that is our culture. ------Original Message------ From: Damon Smith Sender: newmusic-bounces at music.mills.edu To: Bay Area New Music Discussion Group ReplyTo: Bay Area New Music Discussion Group Subject: Re: [NewMusic] Yes, Streifenjunko Sent: May 28, 2009 8:38 PM Interesting that memories of nmperign and Beanbenders both bring up a very simlar mix of exclusionary poltics and great musical experiences! 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 Sent from my Verizon Wireless BlackBerry From weaselw at juno.com Thu May 28 15:06:12 2009 From: weaselw at juno.com (weasel walter) Date: Thu, 28 May 2009 15:06:12 -0700 Subject: [NewMusic] Yes, Streifenjunko Message-ID: <20090528.150613.3580.51.weaselw@juno.com> the rise and fall of united states musical scenes is very patternistic and somewhat predictable in nature. in this case, it's just like all the others - the arc is the same. someday i'll probably have to write down my whole thesis about it, but right now, i don't have the time, so i'll just point out something particularly pertinent. what i'm seeing here is rampant factionalization and a resulting lack of unity in relation to the bigger picture of the scene. it's not that there was any particular unity before, but now any notion of that possibility is studiously avoided. when a scene reaches this amount of musical saturation, it's natural for most people to choose tightly focused camps and stay exclusively within them for reasons of support. of course, the viewpoint within these camps is generally that of "we're the only/main thing happening". if the isolated camp is not well received by the public, the camp assumes nothing is happening at all. there's plenty always happening. it's just a matter of whether or not one can relate to it. ww ____________________________________________________________ Save on Cell Phones. Click Now! http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ From 21grand at 21grand.org Thu May 28 15:18:24 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 15:18:24 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <20090528.150613.3580.51.weaselw@juno.com> Message-ID: I think this is somewhat related to the saturation of music in general. I'm sure there is scientifc research on the subject - at what point is it perceived that there are so many options that things factionalize or people feel the need to restrict their choices in ways they hadn't before. The thing about music scenes - that would be basis for a book that I also don't have time to write - is that they're partly professional or aesthetic associations, and partly social. I'm generally interested in reading threads on other boards about scenes in other places to see whether the size or profile of a scene leads to factionalization, and to what degree other scenes are. sl on 5/28/09 3:06 PM, weasel walter at weaselw at juno.com wrote: > the rise and fall of united states musical scenes is very patternistic > and somewhat predictable in nature. in this case, it's just like all the > others - the arc is the same. someday i'll probably have to write down my > whole thesis about it, but right now, i don't have the time, so i'll just > point out something particularly pertinent. > > what i'm seeing here is rampant factionalization and a resulting lack of > unity in relation to the bigger picture of the scene. it's not that there > was any particular unity before, but now any notion of that possibility > is studiously avoided. when a scene reaches this amount of musical > saturation, it's natural for most people to choose tightly focused camps > and stay exclusively within them for reasons of support. of course, the > viewpoint within these camps is generally that of "we're the only/main > thing happening". if the isolated camp is not well received by the > public, the camp assumes nothing is happening at all. > > there's plenty always happening. it's just a matter of whether or not one > can relate to it. > > ww > ____________________________________________________________ > Save on Cell Phones. Click Now! > http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgO > iZXRSNbPD1ARGC0DMC3xYkTXi/ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From mattdavignon at gmail.com Thu May 28 15:19:15 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Thu, 28 May 2009 15:19:15 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <20090528.150613.3580.51.weaselw@juno.com> References: <20090528.150613.3580.51.weaselw@juno.com> Message-ID: Strangely, right now is about the least-factionalized time that I can remember in our local weird-music scene. We have improvisers doing noise pancakes and a rotating cast of guest curators at the Luggage Store, and 21 Grand has done a good job of mixing things up and being inclusive. Even Aquarius Records is finally getting around to acknowledging that such a our exists and has quality! (They've recently given good reviews to Darwinsbitch and Lindsay/Heule/Dryer cds.) I'm also seeing a lot of musical diversity these days, whereas in the late 90s/early 2000s it seemed to me like an overwhelming number of people were coming from an avant-jazz direction. (Enough that I thought people were going to hate me for having no chops.) Then a couple years ago it seemed like everyone was doing max-msp. Now I'm seeing avant-jazz, max-msp, drones, psychedelic guitar stuff, noise pedals, lowercase, etc. The only thing I think is significantly missing is that in the last 2 years or so I haven't seen many new Mills students joining us. Matt On Thu, May 28, 2009 at 3:06 PM, weasel walter wrote: > the rise and fall of united states musical scenes is very patternistic > and somewhat predictable in nature. in this case, it's just like all the > others - the arc is the same. someday i'll probably have to write down my > whole thesis about it, but right now, i don't have the time, so i'll just > point out something particularly pertinent. > > what i'm seeing here is rampant factionalization and a resulting lack of > unity in relation to the bigger picture of the scene. it's not that there > was any particular unity before, but now any notion of that possibility > is studiously avoided. when a scene reaches this amount of musical > saturation, it's natural for most people to choose tightly focused camps > and stay exclusively within them for reasons of support. of course, the > viewpoint within these camps is generally that of "we're the only/main > thing happening". if the isolated camp is not well received by the > public, the camp assumes nothing is happening at all. > > there's plenty always happening. it's just a matter of whether or not one > can relate to it. > > ww From 21grand at 21grand.org Thu May 28 15:26:20 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 15:26:20 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: Message-ID: That's interesting that you say that, Matt. I see a lot of the same names playing SIMM and Luggage Store repeatedly, just as 21 Grand has a lot of the same names playing regularly, though your names and our names are mostly mutually exclusive. sl on 5/28/09 3:19 PM, Matt Davignon at mattdavignon at gmail.com wrote: > Strangely, right now is about the least-factionalized time that I can > remember in our local weird-music scene. We have improvisers doing > noise pancakes and a rotating cast of guest curators at the Luggage > Store, and 21 Grand has done a good job of mixing things up and being > inclusive. Even Aquarius Records is finally getting around to > acknowledging that such a our exists and has quality! (They've > recently given good reviews to Darwinsbitch and Lindsay/Heule/Dryer > cds.) > > I'm also seeing a lot of musical diversity these days, whereas in the > late 90s/early 2000s it seemed to me like an overwhelming number of > people were coming from an avant-jazz direction. (Enough that I > thought people were going to hate me for having no chops.) Then a > couple years ago it seemed like everyone was doing max-msp. Now I'm > seeing avant-jazz, max-msp, drones, psychedelic guitar stuff, noise > pedals, lowercase, etc. > > The only thing I think is significantly missing is that in the last 2 > years or so I haven't seen many new Mills students joining us. > > Matt > > On Thu, May 28, 2009 at 3:06 PM, weasel walter wrote: >> the rise and fall of united states musical scenes is very patternistic >> and somewhat predictable in nature. in this case, it's just like all the >> others - the arc is the same. someday i'll probably have to write down my >> whole thesis about it, but right now, i don't have the time, so i'll just >> point out something particularly pertinent. >> >> what i'm seeing here is rampant factionalization and a resulting lack of >> unity in relation to the bigger picture of the scene. it's not that there >> was any particular unity before, but now any notion of that possibility >> is studiously avoided. when a scene reaches this amount of musical >> saturation, it's natural for most people to choose tightly focused camps >> and stay exclusively within them for reasons of support. of course, the >> viewpoint within these camps is generally that of "we're the only/main >> thing happening". if the isolated camp is not well received by the >> public, the camp assumes nothing is happening at all. >> >> there's plenty always happening. it's just a matter of whether or not one >> can relate to it. >> >> ww > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From jacobmakesnoise at yahoo.com Thu May 28 15:31:35 2009 From: jacobmakesnoise at yahoo.com (Jacob Lindsay) Date: Thu, 28 May 2009 15:31:35 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko Message-ID: <694263.71635.qm@web58004.mail.re3.yahoo.com> I was thinking recently that (speaking in a very generalized way) this scene's focus on actual music-making has resulted in a lack of focus on social/presentation issues, and that is really one of the reasons for things "not happening".? The idea that if you just play good music that people will be interested doesn't really work in reality.? The success of a music scene often derives from its ability to attach itself to or foster it's own social structure/movement, for better or worse.? I'm really starting to get some perspective right now?on the importance of placing music (and other art forms) in the world rather than having it be some kind of abstract entity that exists in and of and for itself.? If you first allow yourself the possibility that you could not play music, then suddenly playing music must have a reason, that is to somehow enhance our experience in a positive way (which could take many forms).? So then you're grounded and not just turning circles. Jacob Lindsay www.bayimproviser.com/jacoblindsay www.sojamartialarts.com --- On Thu, 5/28/09, weasel walter wrote: From: weasel walter Subject: Re: [NewMusic] Yes, Streifenjunko To: newmusic at music.mills.edu Date: Thursday, May 28, 2009, 3:06 PM the rise and fall of united states musical scenes is very patternistic and somewhat predictable in nature. in this case, it's just like all the others - the arc is the same. someday i'll probably have to write down my whole thesis about it, but right now, i don't have the time, so i'll just point out something particularly pertinent. what i'm seeing here is rampant factionalization and a resulting lack of unity in relation to the bigger picture of the scene. it's not that there was any particular unity before, but now any notion of that possibility is studiously avoided. when a scene reaches this amount of musical saturation, it's natural for most people to choose tightly focused camps and stay exclusively within them for reasons of support. of course, the viewpoint within these camps is generally that of "we're the only/main thing happening". if the isolated camp is not well received by the public, the camp assumes nothing is happening at all.? there's plenty always happening. it's just a matter of whether or not one can relate to it. ww ____________________________________________________________ Save on Cell Phones. Click Now! http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From weaselw at juno.com Thu May 28 15:49:39 2009 From: weaselw at juno.com (weasel walter) Date: Thu, 28 May 2009 15:49:39 -0700 Subject: [NewMusic] Yes, Streifenjunko Message-ID: <20090528.154944.3580.52.weaselw@juno.com> well spoken. ww On Thu, 28 May 2009 15:31:35 -0700 (PDT) Jacob Lindsay writes: > I was thinking recently that (speaking in a very generalized way) > this scene's focus on actual music-making has resulted in a lack of > focus on social/presentation issues, and that is really one of the > reasons for things "not happening". The idea that if you just play > good music that people will be interested doesn't really work in > reality. ____________________________________________________________ You're never too old to date. Senior Dating. Click Here. http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTQbQWp7rdOm9f4DiXXDRf9lWUfcNnlDKias3jjHPx5vKAxkzsw6HG/ From mattdavignon at gmail.com Thu May 28 16:04:12 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Thu, 28 May 2009 16:04:12 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: References: Message-ID: Well (grumble grumble) I'm not too crazy about that. We had some folks recently talk to me about LSG, then turn around and talk to Rent seconds later about SIMM. If I knew they were booking SIMM I probably would have spread them out more for LSG. But in the end, they are 2 different series. I'm usually not involved with SIMM. In regards to what Jacob just posted (loosely, perhaps): I am seeing an increase in folks who want to produce evenings of music that aren't entirely self-serving. (In other words, booking shows for reasons other than to give themselves a gig.) I think that's a good thing - what the scene needs. Matt Davignon www.ribosomemusic.com On Thu, May 28, 2009 at 3:26 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: > That's interesting that you say that, Matt. I see a lot of the same names > playing SIMM and Luggage Store repeatedly, just as 21 Grand has a lot of the > same names playing regularly, though your names and our names are mostly > mutually exclusive. > > sl From 21grand at 21grand.org Thu May 28 16:09:07 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 16:09:07 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: Message-ID: I don't have a problem with people producing shows because they want to give themselves a gig ...as long as that gig entails good music and valid attempts at getting an audience. sl on 5/28/09 4:04 PM, Matt Davignon at mattdavignon at gmail.com wrote: > Well (grumble grumble) I'm not too crazy about that. We had some folks > recently talk to me about LSG, then turn around and talk to Rent > seconds later about SIMM. If I knew they were booking SIMM I probably > would have spread them out more for LSG. But in the end, they are 2 > different series. I'm usually not involved with SIMM. > > In regards to what Jacob just posted (loosely, perhaps): > I am seeing an increase in folks who want to produce evenings of music > that aren't entirely self-serving. (In other words, booking shows for > reasons other than to give themselves a gig.) I think that's a good > thing - what the scene needs. > > Matt Davignon > www.ribosomemusic.com > > On Thu, May 28, 2009 at 3:26 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: >> That's interesting that you say that, Matt. I see a lot of the same names >> playing SIMM and Luggage Store repeatedly, just as 21 Grand has a lot of the >> same names playing regularly, though your names and our names are mostly >> mutually exclusive. >> >> sl > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From 21grand at 21grand.org Thu May 28 16:22:30 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 16:22:30 -0700 Subject: [NewMusic] Speaking of nostalgia ... Message-ID: I'm in the very early planning stage of putting together a slightly-less-than-a-festival thing to commemorate the end of the decade, the probable end of 21 Grand's current location that would happen in November (tentatively). I'd like it partly to feature performers/groups that did really great shows at 21 Grand over the past 9 years, and I'm looking for input. On or off list Thanks, sl From mattdavignon at gmail.com Thu May 28 16:24:48 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Thu, 28 May 2009 16:24:48 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: References: Message-ID: I don't have a problem with it either. Heck, I just booked such a gig with you! I just feel a little warmer inside when people do things for the music community without the self-interest. Matt On Thu, May 28, 2009 at 4:09 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: > I don't have a problem with people producing shows because they want to give > themselves a gig ...as long as that gig entails good music and valid > attempts at getting an audience. > > sl > > on 5/28/09 4:04 PM, Matt Davignon at mattdavignon at gmail.com wrote: > >> Well (grumble grumble) I'm not too crazy about that. We had some folks >> recently talk to me about LSG, then turn around and talk to Rent >> seconds later about SIMM. If I knew they were booking SIMM I probably >> would have spread them out more for LSG. But in the end, they are 2 >> different series. I'm usually not involved with SIMM. >> >> In regards to what Jacob just posted (loosely, perhaps): >> I am seeing an increase in folks who want to produce evenings of music >> that aren't entirely self-serving. (In other words, booking shows for >> reasons other than to give themselves a gig.) I think that's a good >> thing - what the scene needs. >> >> Matt Davignon >> www.ribosomemusic.com >> >> On Thu, May 28, 2009 at 3:26 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: >>> That's interesting that you say that, Matt. I see a lot of the same names >>> playing SIMM and Luggage Store repeatedly, just as 21 Grand has a lot of the >>> same names playing regularly, though your names and our names are mostly >>> mutually exclusive. >>> >>> sl >> _______________________________________________ >> 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 mattdavignon at gmail.com Thu May 28 16:35:40 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Thu, 28 May 2009 16:35:40 -0700 Subject: [NewMusic] Speaking of nostalgia ... In-Reply-To: References: Message-ID: You should invite the rapper Height! (White suburban gangsta rapper who started crying because the small audience wasn't jumping up and down to his fresh jams.) And the "Presents for Everyone" girl, whose loyal karaoke cover of "Lady Marmalade" induced many epiphanies about the societal contributions of prostitutes! Sorry, that's mean. It sounds there should be a big show of guided improv ensembles. On Thu, May 28, 2009 at 4:22 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: > I'm in the very early planning stage of putting together a > slightly-less-than-a-festival thing to commemorate the end of the decade, > the probable end of 21 Grand's current location that would happen in > November (tentatively). > > I'd like it partly to feature performers/groups that did really great shows > at 21 Grand over the past 9 years, and I'm looking for input. > > On or off list > > Thanks, > > sl > > > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From 21grand at 21grand.org Thu May 28 16:43:18 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 16:43:18 -0700 Subject: [NewMusic] Speaking of nostalgia ... In-Reply-To: Message-ID: For those who weren't there - Height opened for Dan Deacon in 2004?, Dan Deacon is now playing to audiences of well over 20 people. Not sure what happened to Height. The "presents for everyone" girl was a performance artist who at one point in her piece asked the audience what they think of when they hear the word "Ho." Ryan Junell (who did video with Sagan) replied, "Ho Ho Ho Presents for Everyone!" I don't think it was the response she was going for. sl on 5/28/09 4:35 PM, Matt Davignon at mattdavignon at gmail.com wrote: > You should invite the rapper Height! (White suburban gangsta rapper > who started crying because the small audience wasn't jumping up and > down to his fresh jams.) > > And the "Presents for Everyone" girl, whose loyal karaoke cover of > "Lady Marmalade" induced many epiphanies about the societal > contributions of prostitutes! > > Sorry, that's mean. It sounds there should be a big show of guided > improv ensembles. > > > On Thu, May 28, 2009 at 4:22 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: >> I'm in the very early planning stage of putting together a >> slightly-less-than-a-festival thing to commemorate the end of the decade, >> the probable end of 21 Grand's current location that would happen in >> November (tentatively). >> >> I'd like it partly to feature performers/groups that did really great shows >> at 21 Grand over the past 9 years, and I'm looking for input. >> >> On or off list >> >> Thanks, >> >> sl >> >> >> _______________________________________________ >> 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 jon_raskin at yahoo.com Thu May 28 16:55:17 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Thu, 28 May 2009 16:55:17 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <20090528.150613.3580.51.weaselw@juno.com> References: <20090528.150613.3580.51.weaselw@juno.com> Message-ID: <321527.8743.qm@web55603.mail.re4.yahoo.com> I've certainly a number of "scenes" come and go and they tend to follow the cycles of the artists that make them up and the how the concerns of group play out over time. I help run the Blue Dolphin and the Farm in the 70's. That they ended when the participant burned out is part and parcel of the coming and going of the scenes. I'm still making music with people I first met coming to San Francisco and were part of the scene. Ideas are generational and non generational. We worked on conducting improves at the Blue Dolphin and at one point Butch Morris came and did one, connecting us with Charles Moffets work. I participated in conducted improves at Johnston College through Barney Childs and Gino studied with Barney. There is a wealth of history that remains unconnected and confined to the participants. There have been some histories, Tom Nunn and Tim Perkis come to mind but not comprehensive. I go back, again, to say it's important to know the history of the music. The swells of energy and creativity that continue to happen in the Bay Area. It is dynamic and cyclic. It isn't nostalgia to remember hearing Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in GG Park and Henry Kaiser playing solo electric guitar. There's no pining for the good old days but it does allow the understanding of the arc of the ideas that presented that day. The free music festivals at the Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, Venue Nine, The Blue Dolphin, The Metropolitan Art Gallery. There are things that I was involved with but there are ones that I wasn't and that doesn't mean I don't want to know about them. I didn't hear the sessions of Glenn Spearman in the early 70's, go to the Electronic studio on Divisidero, hear any of Terry Rileys evening long jams but I'm glad to know about them heard the participants have to say about them. What was it like at the Moffet house when Butch and David Murray were playing with the group? I regret missing Pops Foster before he died, who was at the beginning of jazz and played with john Coltrane, of not seeing more bands at the early Mabuhay but glad to have heard the blues at Dottie's Stardust lounge. I'm glad about the connection of the Divisidero studio and Mills College and that the instruments are preserved and studied. Having a focus for your art is essential, knowing and supporting the greater community is essential. Keeping your life together is essential. I'm not sure who the "barb" of the nostalgia or political comment were meant for. I don't really encounter the narrowness of view that seems implicit in the comment and more often than not am surprised by the depth of knowledge that I find on the scene about other art forms and music. I would posit that working on the music and learning the trade doesn't guarantee a career or recognition. (By the trade, I mean how to put together a group, organize concerts, make a recording, go on tour, etc.) Spending time shedding on your instrument doesn't equate that you will add to the canon of the music but that doesn't negate the effort or the worth of the commitment. Success in the financial sense is elusive and There isn't enough pride or recognition for the music that is made here, which is why looking back over the Beanbenders concert list is a good thing. Props to the Beanbenders crew for presenting a great string of work by local, national and international musicians at a musician run venue. It would great to review a list from the Luggage Store or 21 Grand. Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 Grand location where he did, Buster Keaton inspired musical fall down a flight of steps. Truly a highlight performance. Jon Raskin ________________________________ From: weasel walter To: newmusic at music.mills.edu Sent: Thursday, May 28, 2009 3:06:12 PM Subject: Re: [NewMusic] Yes, Streifenjunko the rise and fall of united states musical scenes is very patternistic and somewhat predictable in nature. in this case, it's just like all the others - the arc is the same. someday i'll probably have to write down my whole thesis about it, but right now, i don't have the time, so i'll just point out something particularly pertinent. what i'm seeing here is rampant factionalization and a resulting lack of unity in relation to the bigger picture of the scene. it's not that there was any particular unity before, but now any notion of that possibility is studiously avoided. when a scene reaches this amount of musical saturation, it's natural for most people to choose tightly focused camps and stay exclusively within them for reasons of support. of course, the viewpoint within these camps is generally that of "we're the only/main thing happening". if the isolated camp is not well received by the public, the camp assumes nothing is happening at all. there's plenty always happening. it's just a matter of whether or not one can relate to it. ww ____________________________________________________________ Save on Cell Phones. Click Now! http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From 21grand at 21grand.org Thu May 28 17:08:18 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Thu, 28 May 2009 17:08:18 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <321527.8743.qm@web55603.mail.re4.yahoo.com> Message-ID: I'll try to put something up soon. We've had to make lists of all of our events for grant purposes. There might be a few from fall of 2000 that might be missing, but we've done well over 1000 shows. sl on 5/28/09 4:55 PM, Jon Raskin at jon_raskin at yahoo.com wrote: > > There isn't enough pride or recognition for the music that is made here, which > is why looking back over the Beanbenders concert list is a good thing. Props > to the Beanbenders crew for presenting a great string of work by local, > national and international musicians at a musician run venue. It would great > to review a list from the Luggage Store or 21 Grand. > > Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 Grand > location where he did, Buster Keaton inspired musical fall down a flight of > steps. Truly a highlight performance. > > Jon Raskin From mattdavignon at gmail.com Thu May 28 17:16:24 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Thu, 28 May 2009 17:16:24 -0700 Subject: [NewMusic] Speaking of nostalgia ... In-Reply-To: References: Message-ID: The strange thing about Height was that he played at a time when it wasn't unusual for white rappers to play in a 21 Grand-like space. (The Anticon guys were still doing a lot of shows.) He wasn't great, but it was especially memorable because of his incessant posturing. He looked kind of like the unusually tall, pudgy son of my Mormon neighbors when I lived in Santa Rosa. His scripted banter between tracks seemed to suggest he saw himself as the next Ice Cube or something. He'd say things like, "Sup Oakland, I know you guys are down with the real hardcore shit. I want you to know I'm down there with you, cuz I been dere. I been dere. Know what I'm sayin? So keep it chilly while I kick this next jam. Peace." He used the phrase "I keep it real" way too often for someone who was clearly not keeping it real. Nobody was buying it. Towards the end of his set, he started to develop quiver chin and his banter started to take a whimpery tone. My heart kind of went out to him, except that he NEVER dropped the act of being real hardcore with the gangsta shit. Ah 2004 - wasn't it magical? Matt On Thu, May 28, 2009 at 4:43 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: > For those who weren't there - Height opened for Dan Deacon in 2004?, Dan > Deacon is now playing to audiences of well over 20 people. ?Not sure what > happened to Height. > > The "presents for everyone" girl was a performance artist who at one point > in her piece asked the audience what they think of when they hear the word > "Ho." Ryan Junell (who did video with Sagan) replied, "Ho Ho Ho Presents for > Everyone!" I don't think it was the response she was going for. > > sl > > on 5/28/09 4:35 PM, Matt Davignon at mattdavignon at gmail.com wrote: > >> You should invite the rapper Height! ?(White suburban gangsta rapper >> who started crying because the small audience wasn't jumping up and >> down to his fresh jams.) >> >> And the "Presents for Everyone" girl, whose loyal karaoke cover of >> "Lady Marmalade" induced many epiphanies about the societal >> contributions of prostitutes! >> >> Sorry, that's mean. It sounds there should be a big show of guided >> improv ensembles. >> >> >> On Thu, May 28, 2009 at 4:22 PM, Sarah - 21 Grand <21grand at 21grand.org> wrote: >>> I'm in the very early planning stage of putting together a >>> slightly-less-than-a-festival thing to commemorate the end of the decade, >>> the probable end of 21 Grand's current location that would happen in >>> November (tentatively). >>> >>> I'd like it partly to feature performers/groups that did really great shows >>> at 21 Grand over the past 9 years, and I'm looking for input. >>> >>> On or off list >>> >>> Thanks, >>> >>> sl >>> >>> >>> _______________________________________________ >>> 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 wobbly at detritus.net Thu May 28 17:16:42 2009 From: wobbly at detritus.net (wobbly at detritus.net) Date: Thu, 28 May 2009 17:16:42 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <321527.8743.qm@web55603.mail.re4.yahoo.com> References: <20090528.150613.3580.51.weaselw@juno.com> <321527.8743.qm@web55603.mail.re4.yahoo.com> Message-ID: <1ec18ff501a72b4560278b1ce558c621.squirrel@webmail.detritus.net> it goes back in the bay area as far as you can see reading david's 'san francisco tape music center' book was astonishing because the descriptions of those 60's happenings seemed so familiar to this region. for every time I thought wow, wish I could have been there for that Oliveros / Tudor improv or city-wide arts installation or 12 hour long tape music fest or whatever, I thought of five shows I've been to in the last 15 years that were in the same spirit or breaking further ground now all we need is a book on the Vortex planetarium tape music shows run by Henry Jacobs in the 50's, or an overview on Partch's 51-53 residency at Lisser Hall & the concerts, or if Larry Austin could kick down more anecdotes about UCSC & Source Magazine, then we could get our nostalgia on the last few years have seemed a tiny bit slow, but only relatively, and a lot of it is probably only because a set of my friends moved, I figure I'll learn where the new clusters are soon enough -jl http://www.amazon.com/Francisco-Tape-Music-Center-Counterculture/dp/0520256174 > I've certainly a number of "scenes" come and go and they tend to follow > the cycles of the artists that make them up and the how the concerns of > group play out over time. I help run the Blue Dolphin and the Farm in the > 70's. That they ended when the participant burned out is part and parcel > of the coming and going of the scenes. I'm still making music with people > I first met coming to San Francisco and were part of the scene. Ideas are > generational and non generational. We worked on conducting improves at > the Blue Dolphin and at one point Butch Morris came and did one, > connecting us with Charles Moffets work. I participated in conducted > improves at Johnston College through Barney Childs and Gino studied with > Barney. There is a wealth of history that remains unconnected and > confined to the participants. There have been some histories, Tom Nunn > and Tim Perkis come to mind but not comprehensive. > > I go back, again, to say it's important to know the history of the music. > The swells of energy and creativity that continue to happen in the Bay > Area. It is dynamic and cyclic. It isn't nostalgia to remember hearing > Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in > GG Park and Henry Kaiser playing solo electric guitar. There's no pining > for the good old days but it does allow the understanding of the arc of > the ideas that presented that day. The free music festivals at the > Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, > Venue Nine, The Blue Dolphin, The Metropolitan Art Gallery. There are > things that I was involved with but there are ones that I wasn't and that > doesn't mean I don't want to know about them. I didn't hear the sessions > of Glenn Spearman in the early 70's, go to the Electronic studio on > Divisidero, hear any of Terry Rileys evening long jams but I'm glad to > know about them heard the > participants have to say about them. What was it like at the Moffet > house when Butch and David Murray were playing with the group? I regret > missing Pops Foster before he died, who was at the beginning of jazz and > played with john Coltrane, of not seeing more bands at the early Mabuhay > but glad to have heard the blues at Dottie's Stardust lounge. I'm glad > about the connection of the Divisidero studio and Mills College and that > the instruments are preserved and studied. > > Having a focus for your art is essential, knowing and supporting the > greater community is essential. Keeping your life together is essential. > I'm not sure who the "barb" of the nostalgia or political comment were > meant for. I don't really encounter the narrowness of view that seems > implicit in the comment and more often than not am surprised by the depth > of knowledge that I find on the scene about other art forms and music. > > I would posit that working on the music and learning the trade doesn't > guarantee a career or recognition. (By the trade, I mean how to put > together a group, organize concerts, make a recording, go on tour, etc.) > Spending time shedding on your instrument doesn't equate that you will add > to the canon of the music but that doesn't negate the effort or the worth > of the commitment. Success in the financial sense is elusive and > > There isn't enough pride or recognition for the music that is made here, > which is why looking back over the Beanbenders concert list is a good > thing. Props to the Beanbenders crew for presenting a great string of > work by local, national and international musicians at a musician run > venue. It would great to review a list from the Luggage Store or 21 > Grand. > > Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 > Grand location where he did, Buster Keaton inspired musical fall down a > flight of steps. Truly a highlight performance. > > Jon Raskin > > > > > ________________________________ > From: weasel walter > To: newmusic at music.mills.edu > Sent: Thursday, May 28, 2009 3:06:12 PM > Subject: Re: [NewMusic] Yes, Streifenjunko > > the rise and fall of united states musical scenes is very patternistic > and somewhat predictable in nature. in this case, it's just like all the > others - the arc is the same. someday i'll probably have to write down my > whole thesis about it, but right now, i don't have the time, so i'll just > point out something particularly pertinent. > > what i'm seeing here is rampant factionalization and a resulting lack of > unity in relation to the bigger picture of the scene. it's not that there > was any particular unity before, but now any notion of that possibility > is studiously avoided. when a scene reaches this amount of musical > saturation, it's natural for most people to choose tightly focused camps > and stay exclusively within them for reasons of support. of course, the > viewpoint within these camps is generally that of "we're the only/main > thing happening". if the isolated camp is not well received by the > public, the camp assumes nothing is happening at all. > > there's plenty always happening. it's just a matter of whether or not one > can relate to it. > > ww > ____________________________________________________________ > Save on Cell Phones. Click Now! > http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ > _______________________________________________ > 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 tedbrinkley at sbcglobal.net Thu May 28 19:22:21 2009 From: tedbrinkley at sbcglobal.net (ted brinkley) Date: Thu, 28 May 2009 19:22:21 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko Message-ID: <886965.12603.qm@web82803.mail.mud.yahoo.com> i try to always keep in mind: there usually is/was good shit going on in Private that is not necessarily associated with a "Public" space. and by extension---if things seem slow because there are fewer visible venues at a given time, that may simply mean that things have Moved Indoors. a scene can thrive simply in a context of "rehearsals, etc." (some examples have been cited in the lists presented already...and that monday night band that used to happen in berkeley has attained near-mythic status). ....related to this--steve lacy felt that it is appropriate for "research" to take place out of view and then, for "findings" to be presented to the public. i might personally go a step further and posit that neither research or findings need to ever be presented to the public. --GC --- On Thu, 5/28/09, wobbly at detritus.net wrote: From: wobbly at detritus.net Subject: Re: [NewMusic] Yes, Streifenjunko To: "Bay Area New Music Discussion Group" Date: Thursday, May 28, 2009, 5:16 PM it goes back in the bay area as far as you can see reading david's 'san francisco tape music center' book was astonishing because the descriptions of those 60's happenings seemed so familiar to this region.? for every time I thought wow,? wish I could have been there for that Oliveros / Tudor improv or city-wide arts installation or 12 hour long tape music fest or whatever, I thought of five shows I've been to in the last 15 years that were in the same spirit or breaking further ground now all we need is a book on the Vortex planetarium tape music shows run by Henry Jacobs in the 50's, or an overview on Partch's 51-53 residency at Lisser Hall & the concerts, or if Larry Austin could kick down more anecdotes about UCSC & Source Magazine, then we could get our nostalgia on the last few years have seemed a tiny bit slow, but only relatively, and a lot of it is probably only because a set of my friends moved, I figure I'll learn where the new clusters are soon enough -jl http://www.amazon.com/Francisco-Tape-Music-Center-Counterculture/dp/0520256174 > I've certainly a number of "scenes" come and go and they tend to follow > the cycles of the artists that make them up and the how the concerns of > group play out over time.? I help run the Blue Dolphin and the Farm in the > 70's.? That they ended when the participant burned out is part and parcel > of the coming and going of the scenes.? I'm still making music with people > I first met coming to San Francisco and were part of the scene.? Ideas are > generational and non generational.? We worked on conducting improves at > the Blue Dolphin and at one point Butch Morris came and did one, > connecting us with Charles Moffets work.? I participated in conducted > improves at Johnston College through Barney Childs and Gino studied with > Barney.? There is a wealth of history that remains unconnected and > confined to the participants.? There have been some histories, Tom Nunn > and Tim Perkis come to mind but not comprehensive. > > I go back, again, to say it's important to know the history of the music. > The swells of energy and creativity that continue to happen in the Bay > Area.? It is dynamic and cyclic. It isn't nostalgia to remember hearing > Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in > GG Park and Henry Kaiser playing solo electric guitar.? There's no pining > for the good old days but it does allow the understanding of the arc of > the ideas that presented that day. The free music festivals at the > Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, > Venue Nine,? The Blue Dolphin, The Metropolitan Art Gallery.? There are > things that I was involved with but there are ones that I wasn't and that > doesn't mean I don't want to know about them.? I didn't hear the sessions > of Glenn Spearman in the early 70's, go to the Electronic studio on > Divisidero, hear any of Terry Rileys evening long jams but I'm glad to > know about them heard the >? participants have to say about them.? What was it like at the Moffet > house when Butch and David Murray were playing with the group?? I regret > missing Pops Foster before he died, who was at the beginning of jazz and > played with john Coltrane, of not seeing more bands at the early Mabuhay > but glad to have heard the blues at Dottie's Stardust lounge.? I'm glad > about the connection of the Divisidero studio and Mills College and that > the instruments are preserved and studied. > > Having a focus for your art is essential, knowing and supporting the > greater community is essential.? Keeping your life together is essential. > I'm not sure who the "barb" of the nostalgia or political comment were > meant for.? I don't really encounter the narrowness of view that seems > implicit in the comment and more often than not am surprised by the depth > of knowledge that I find on the scene about other art forms and music. > > I would posit? that working on the music and learning the trade doesn't > guarantee a career or recognition.? (By the trade, I mean how to put > together a group, organize concerts, make a recording, go on tour, etc.) > Spending time shedding on your instrument doesn't equate that you will add > to the canon of the music but that doesn't negate the effort or the worth > of the commitment. Success in the financial sense is elusive and > > There isn't enough pride or recognition for the music that is made here, > which is why looking back over the Beanbenders concert list is a good > thing.? Props to the Beanbenders crew for presenting a great string of > work by local, national and international musicians at a musician run > venue.? It would great to review a list from the Luggage Store or 21 > Grand. > > Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 > Grand location where he did, Buster Keaton inspired musical fall down a > flight of steps.? Truly a highlight performance. > > Jon Raskin > > > > > ________________________________ > From: weasel walter > To: newmusic at music.mills.edu > Sent: Thursday, May 28, 2009 3:06:12 PM > Subject: Re: [NewMusic] Yes, Streifenjunko > > the rise and fall of united states musical scenes is very patternistic > and somewhat predictable in nature. in this case, it's just like all the > others - the arc is the same. someday i'll probably have to write down my > whole thesis about it, but right now, i don't have the time, so i'll just > point out something particularly pertinent. > > what i'm seeing here is rampant factionalization and a resulting lack of > unity in relation to the bigger picture of the scene. it's not that there > was any particular unity before, but now any notion of that possibility > is studiously avoided. when a scene reaches this amount of musical > saturation, it's natural for most people to choose tightly focused camps > and stay exclusively within them for reasons of support. of course, the > viewpoint within these camps is generally that of "we're the only/main > thing happening". if the isolated camp is not well received by the > public, the camp assumes nothing is happening at all. > > there's plenty always happening. it's just a matter of whether or not one > can relate to it. > > ww > ____________________________________________________________ > Save on Cell Phones. Click Now! > http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From pgsaxo at pacbell.net Thu May 28 19:31:34 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Thu, 28 May 2009 19:31:34 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko Message-ID: <832867.7796.qm@web81404.mail.mud.yahoo.com> I fully agree with mr Brinkley. It isn't just about what's going on at the venues. The work in a myriad of private spaces, especially our own private studios and rehearsal spaces are vital to the life and growth of any scene or cultural institution. Like Mr Raskin, whenever I engage in trotting out tales of local new music lore, it is always with a mind of offering evidence of past activity, as a means forcomparison rather than modes of nostalgia. Sent from my iPhone On May 28, 2009, at 7:22 PM, ted brinkley wrote: i try to always keep in mind: there usually is/was good shit going on in Private that is not necessarily associated with a "Public" space. and by extension---if things seem slow because there are fewer visible venues at a given time, that may simply mean that things have Moved Indoors. a scene can thrive simply in a context of "rehearsals, etc." (some examples have been cited in the lists presented already...and that monday night band that used to happen in berkeley has attained near-mythic status). ....related to this--steve lacy felt that it is appropriate for "research" to take place out of view and then, for "findings" to be presented to the public. i might personally go a step further and posit that neither research or findings need to ever be presented to the public. --GC --- On Thu, 5/28/09, wobbly at detritus.net wrote: From: wobbly at detritus.net Subject: Re: [NewMusic] Yes, Streifenjunko To: "Bay Area New Music Discussion Group" Date: Thursday, May 28, 2009, 5:16 PM it goes back in the bay area as far as you can see reading david's 'san francisco tape music center' book was astonishing because the descriptions of those 60's happenings seemed so familiar to this region. for every time I thought wow, wish I could have been there for that Oliveros / Tudor improv or city-wide arts installation or 12 hour long tape music fest or whatever, I thought of five shows I've been to in the last 15 years that were in the same spirit or breaking further ground now all we need is a book on the Vortex planetarium tape music shows run by Henry Jacobs in the 50's, or an overview on Partch's 51-53 residency at Lisser Hall & the concerts, or if Larry Austin could kick down more anecdotes about UCSC & Source Magazine, then we could get our nostalgia on the last few years have seemed a tiny bit slow, but only relatively, and a lot of it is probably only because a set of my friends moved, I figure I'll learn where the new clusters are soon enough -jl http://www.amazon.com/Francisco-Tape-Music-Center-Counterculture/dp/0520256174 I've certainly a number of "scenes" come and go and they tend to follow the cycles of the artists that make them up and the how the concerns of group play out over time. I help run the Blue Dolphin and the Farm in the 70's. That they ended when the participant burned out is part and parcel of the coming and going of the scenes. I'm still making music with people I first met coming to San Francisco and were part of the scene. Ideas are generational and non generational. We worked on conducting improves at the Blue Dolphin and at one point Butch Morris came and did one, connecting us with Charles Moffets work. I participated in conducted improves at Johnston College through Barney Childs and Gino studied with Barney. There is a wealth of history that remains unconnected and confined to the participants. There have been some histories, Tom Nunn and Tim Perkis come to mind but not comprehensive. I go back, again, to say it's important to know the history of the music. The swells of energy and creativity that continue to happen in the Bay Area. It is dynamic and cyclic. It isn't nostalgia to remember hearing Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in GG Park and Henry Kaiser playing solo electric guitar. There's no pining for the good old days but it does allow the understanding of the arc of the ideas that presented that day. The free music festivals at the Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, Venue Nine, The Blue Dolphin, The Metropolitan Art Gallery. There are things that I was involved with but there are ones that I wasn't and that doesn't mean I don't want to know about them. I didn't hear the sessions of Glenn Spearman in the early 70's, go to the Electronic studio on Divisidero, hear any of Terry Rileys evening long jams but I'm glad to know about them heard the participants have to say about them. What was it like at the Moffet house when Butch and David Murray were playing with the group? I regret missing Pops Foster before he died, who was at the beginning of jazz and played with john Coltrane, of not seeing more bands at the early Mabuhay but glad to have heard the blues at Dottie's Stardust lounge. I'm glad about the connection of the Divisidero studio and Mills College and that the instruments are preserved and studied. Having a focus for your art is essential, knowing and supporting the greater community is essential. Keeping your life together is essential. I'm not sure who the "barb" of the nostalgia or political comment were meant for. I don't really encounter the narrowness of view that seems implicit in the comment and more often than not am surprised by the depth of knowledge that I find on the scene about other art forms and music. I would posit that working on the music and learning the trade doesn't guarantee a career or recognition. (By the trade, I mean how to put together a group, organize concerts, make a recording, go on tour, etc.) Spending time shedding on your instrument doesn't equate that you will add to the canon of the music but that doesn't negate the effort or the worth of the commitment. Success in the financial sense is elusive and There isn't enough pride or recognition for the music that is made here, which is why looking back over the Beanbenders concert list is a good thing. Props to the Beanbenders crew for presenting a great string of work by local, national and international musicians at a musician run venue. It would great to review a list from the Luggage Store or 21 Grand. Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 Grand location where he did, Buster Keaton inspired musical fall down a flight of steps. Truly a highlight performance. Jon Raskin ________________________________ From: weasel walter To: newmusic at music.mills.edu Sent: Thursday, May 28, 2009 3:06:12 PM Subject: Re: [NewMusic] Yes, Streifenjunko the rise and fall of united states musical scenes is very patternistic and somewhat predictable in nature. in this case, it's just like all the others - the arc is the same. someday i'll probably have to write down my whole thesis about it, but right now, i don't have the time, so i'll just point out something particularly pertinent. what i'm seeing here is rampant factionalization and a resulting lack of unity in relation to the bigger picture of the scene. it's not that there was any particular unity before, but now any notion of that possibility is studiously avoided. when a scene reaches this amount of musical saturation, it's natural for most people to choose tightly focused camps and stay exclusively within them for reasons of support. of course, the viewpoint within these camps is generally that of "we're the only/main thing happening". if the isolated camp is not well received by the public, the camp assumes nothing is happening at all. there's plenty always happening. it's just a matter of whether or not one can relate to it. ww ____________________________________________________________ Save on Cell Phones. Click Now! http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From jon_raskin at yahoo.com Fri May 29 00:21:00 2009 From: jon_raskin at yahoo.com (Jon Raskin) Date: Fri, 29 May 2009 07:21:00 +0000 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <886965.12603.qm@web82803.mail.mud.yahoo.com> References: <886965.12603.qm@web82803.mail.mud.yahoo.com> Message-ID: <2032039504-1243582824-cardhu_decombobulator_blackberry.rim.net-588995550-@bxe1287.bisx.prod.on.blackberry> Th sounds of Connah falling in the forest exist with out being there but it certainly more fun hearing the research in the commons. Sent from my Verizon Wireless BlackBerry -----Original Message----- From: ted brinkley Date: Thu, 28 May 2009 19:22:21 To: Bay Area New Music Discussion Group Subject: Re: [NewMusic] Yes, Streifenjunko i try to always keep in mind: there usually is/was good shit going on in Private that is not necessarily associated with a "Public" space. and by extension---if things seem slow because there are fewer visible venues at a given time, that may simply mean that things have Moved Indoors. a scene can thrive simply in a context of "rehearsals, etc." (some examples have been cited in the lists presented already...and that monday night band that used to happen in berkeley has attained near-mythic status). ....related to this--steve lacy felt that it is appropriate for "research" to take place out of view and then, for "findings" to be presented to the public. i might personally go a step further and posit that neither research or findings need to ever be presented to the public. --GC --- On Thu, 5/28/09, wobbly at detritus.net wrote: From: wobbly at detritus.net Subject: Re: [NewMusic] Yes, Streifenjunko To: "Bay Area New Music Discussion Group" Date: Thursday, May 28, 2009, 5:16 PM it goes back in the bay area as far as you can see reading david's 'san francisco tape music center' book was astonishing because the descriptions of those 60's happenings seemed so familiar to this region.? for every time I thought wow,? wish I could have been there for that Oliveros / Tudor improv or city-wide arts installation or 12 hour long tape music fest or whatever, I thought of five shows I've been to in the last 15 years that were in the same spirit or breaking further ground now all we need is a book on the Vortex planetarium tape music shows run by Henry Jacobs in the 50's, or an overview on Partch's 51-53 residency at Lisser Hall & the concerts, or if Larry Austin could kick down more anecdotes about UCSC & Source Magazine, then we could get our nostalgia on the last few years have seemed a tiny bit slow, but only relatively, and a lot of it is probably only because a set of my friends moved, I figure I'll learn where the new clusters are soon enough -jl http://www.amazon.com/Francisco-Tape-Music-Center-Counterculture/dp/0520256174 > I've certainly a number of "scenes" come and go and they tend to follow > the cycles of the artists that make them up and the how the concerns of > group play out over time.? I help run the Blue Dolphin and the Farm in the > 70's.? That they ended when the participant burned out is part and parcel > of the coming and going of the scenes.? I'm still making music with people > I first met coming to San Francisco and were part of the scene.? Ideas are > generational and non generational.? We worked on conducting improves at > the Blue Dolphin and at one point Butch Morris came and did one, > connecting us with Charles Moffets work.? I participated in conducted > improves at Johnston College through Barney Childs and Gino studied with > Barney.? There is a wealth of history that remains unconnected and > confined to the participants.? There have been some histories, Tom Nunn > and Tim Perkis come to mind but not comprehensive. > > I go back, again, to say it's important to know the history of the music. > The swells of energy and creativity that continue to happen in the Bay > Area.? It is dynamic and cyclic. It isn't nostalgia to remember hearing > Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in > GG Park and Henry Kaiser playing solo electric guitar.? There's no pining > for the good old days but it does allow the understanding of the arc of > the ideas that presented that day. The free music festivals at the > Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, > Venue Nine,? The Blue Dolphin, The Metropolitan Art Gallery.? There are > things that I was involved with but there are ones that I wasn't and that > doesn't mean I don't want to know about them.? I didn't hear the sessions > of Glenn Spearman in the early 70's, go to the Electronic studio on > Divisidero, hear any of Terry Rileys evening long jams but I'm glad to > know about them heard the >? participants have to say about them.? What was it like at the Moffet > house when Butch and David Murray were playing with the group?? I regret > missing Pops Foster before he died, who was at the beginning of jazz and > played with john Coltrane, of not seeing more bands at the early Mabuhay > but glad to have heard the blues at Dottie's Stardust lounge.? I'm glad > about the connection of the Divisidero studio and Mills College and that > the instruments are preserved and studied. > > Having a focus for your art is essential, knowing and supporting the > greater community is essential.? Keeping your life together is essential. > I'm not sure who the "barb" of the nostalgia or political comment were > meant for.? I don't really encounter the narrowness of view that seems > implicit in the comment and more often than not am surprised by the depth > of knowledge that I find on the scene about other art forms and music. > > I would posit? that working on the music and learning the trade doesn't > guarantee a career or recognition.? (By the trade, I mean how to put > together a group, organize concerts, make a recording, go on tour, etc.) > Spending time shedding on your instrument doesn't equate that you will add > to the canon of the music but that doesn't negate the effort or the worth > of the commitment. Success in the financial sense is elusive and > > There isn't enough pride or recognition for the music that is made here, > which is why looking back over the Beanbenders concert list is a good > thing.? Props to the Beanbenders crew for presenting a great string of > work by local, national and international musicians at a musician run > venue.? It would great to review a list from the Luggage Store or 21 > Grand. > > Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 > Grand location where he did, Buster Keaton inspired musical fall down a > flight of steps.? Truly a highlight performance. > > Jon Raskin > > > > >________________________________ > From: weasel walter > To: newmusic at music.mills.edu > Sent: Thursday, May 28, 2009 3:06:12 PM > Subject: Re: [NewMusic] Yes, Streifenjunko > > the rise and fall of united states musical scenes is very patternistic > and somewhat predictable in nature. in this case, it's just like all the > others - the arc is the same. someday i'll probably have to write down my > whole thesis about it, but right now, i don't have the time, so i'll just > point out something particularly pertinent. > > what i'm seeing here is rampant factionalization and a resulting lack of > unity in relation to the bigger picture of the scene. it's not that there > was any particular unity before, but now any notion of that possibility > is studiously avoided. when a scene reaches this amount of musical > saturation, it's natural for most people to choose tightly focused camps > and stay exclusively within them for reasons of support. of course, the > viewpoint within these camps is generally that of "we're the only/main > thing happening". if the isolated camp is not well received by the > public, the camp assumes nothing is happening at all. > > there's plenty always happening. it's just a matter of whether or not one > can relate to it. > > ww >____________________________________________________________ > Save on Cell Phones. Click Now! > http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ >_______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic >_______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From pgsaxo at pacbell.net Fri May 29 00:58:17 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Fri, 29 May 2009 00:58:17 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko Message-ID: <548463.37506.qm@web81407.mail.mud.yahoo.com> Of course, I moss the days when you could hear the sour note seven just about every week at Bruno's...but I'm glad to know that, just like Sun Ra's band, Mr Connah has kept his composing laboratory in operation (quite often on aregular weekly basis) all these years. Sent from my iPhone On May 29, 2009, at 12:21 AM, "Jon Raskin" wrote: Th sounds of Connah falling in the forest exist with out being there but it certainly more fun hearing the research in the commons. Sent from my Verizon Wireless BlackBerry -----Original Message----- From: ted brinkley Date: Thu, 28 May 2009 19:22:21 To: Bay Area New Music Discussion Group Subject: Re: [NewMusic] Yes, Streifenjunko i try to always keep in mind: there usually is/was good shit going on in Private that is not necessarily associated with a "Public" space. and by extension---if things seem slow because there are fewer visible venues at a given time, that may simply mean that things have Moved Indoors. a scene can thrive simply in a context of "rehearsals, etc." (some examples have been cited in the lists presented already...and that monday night band that used to happen in berkeley has attained near-mythic status). ....related to this--steve lacy felt that it is appropriate for "research" to take place out of view and then, for "findings" to be presented to the public. i might personally go a step further and posit that neither research or findings need to ever be presented to the public. --GC --- On Thu, 5/28/09, wobbly at detritus.net wrote: From: wobbly at detritus.net Subject: Re: [NewMusic] Yes, Streifenjunko To: "Bay Area New Music Discussion Group" Date: Thursday, May 28, 2009, 5:16 PM it goes back in the bay area as far as you can see reading david's 'san francisco tape music center' book was astonishing because the descriptions of those 60's happenings seemed so familiar to this region. for every time I thought wow, wish I could have been there for that Oliveros / Tudor improv or city-wide arts installation or 12 hour long tape music fest or whatever, I thought of five shows I've been to in the last 15 years that were in the same spirit or breaking further ground now all we need is a book on the Vortex planetarium tape music shows run by Henry Jacobs in the 50's, or an overview on Partch's 51-53 residency at Lisser Hall & the concerts, or if Larry Austin could kick down more anecdotes about UCSC & Source Magazine, then we could get our nostalgia on the last few years have seemed a tiny bit slow, but only relatively, and a lot of it is probably only because a set of my friends moved, I figure I'll learn where the new clusters are soon enough -jl http://www.amazon.com/Francisco-Tape-Music-Center-Counterculture/dp/0520256174 I've certainly a number of "scenes" come and go and they tend to follow the cycles of the artists that make them up and the how the concerns of group play out over time. I help run the Blue Dolphin and the Farm in the 70's. That they ended when the participant burned out is part and parcel of the coming and going of the scenes. I'm still making music with people I first met coming to San Francisco and were part of the scene. Ideas are generational and non generational. We worked on conducting improves at the Blue Dolphin and at one point Butch Morris came and did one, connecting us with Charles Moffets work. I participated in conducted improves at Johnston College through Barney Childs and Gino studied with Barney. There is a wealth of history that remains unconnected and confined to the participants. There have been some histories, Tom Nunn and Tim Perkis come to mind but not comprehensive. I go back, again, to say it's important to know the history of the music. The swells of energy and creativity that continue to happen in the Bay Area. It is dynamic and cyclic. It isn't nostalgia to remember hearing Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in GG Park and Henry Kaiser playing solo electric guitar. There's no pining for the good old days but it does allow the understanding of the arc of the ideas that presented that day. The free music festivals at the Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, Venue Nine, The Blue Dolphin, The Metropolitan Art Gallery. There are things that I was involved with but there are ones that I wasn't and that doesn't mean I don't want to know about them. I didn't hear the sessions of Glenn Spearman in the early 70's, go to the Electronic studio on Divisidero, hear any of Terry Rileys evening long jams but I'm glad to know about them heard the participants have to say about them. What was it like at the Moffet house when Butch and David Murray were playing with the group? I regret missing Pops Foster before he died, who was at the beginning of jazz and played with john Coltrane, of not seeing more bands at the early Mabuhay but glad to have heard the blues at Dottie's Stardust lounge. I'm glad about the connection of the Divisidero studio and Mills College and that the instruments are preserved and studied. Having a focus for your art is essential, knowing and supporting the greater community is essential. Keeping your life together is essential. I'm not sure who the "barb" of the nostalgia or political comment were meant for. I don't really encounter the narrowness of view that seems implicit in the comment and more often than not am surprised by the depth of knowledge that I find on the scene about other art forms and music. I would posit that working on the music and learning the trade doesn't guarantee a career or recognition. (By the trade, I mean how to put together a group, organize concerts, make a recording, go on tour, etc.) Spending time shedding on your instrument doesn't equate that you will add to the canon of the music but that doesn't negate the effort or the worth of the commitment. Success in the financial sense is elusive and There isn't enough pride or recognition for the music that is made here, which is why looking back over the Beanbenders concert list is a good thing. Props to the Beanbenders crew for presenting a great string of work by local, national and international musicians at a musician run venue. It would great to review a list from the Luggage Store or 21 Grand. Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 Grand location where he did, Buster Keaton inspired musical fall down a flight of steps. Truly a highlight performance. Jon Raskin ________________________________ From: weasel walter To: newmusic at music.mills.edu Sent: Thursday, May 28, 2009 3:06:12 PM Subject: Re: [NewMusic] Yes, Streifenjunko the rise and fall of united states musical scenes is very patternistic and somewhat predictable in nature. in this case, it's just like all the others - the arc is the same. someday i'll probably have to write down my whole thesis about it, but right now, i don't have the time, so i'll just point out something particularly pertinent. what i'm seeing here is rampant factionalization and a resulting lack of unity in relation to the bigger picture of the scene. it's not that there was any particular unity before, but now any notion of that possibility is studiously avoided. when a scene reaches this amount of musical saturation, it's natural for most people to choose tightly focused camps and stay exclusively within them for reasons of support. of course, the viewpoint within these camps is generally that of "we're the only/main thing happening". if the isolated camp is not well received by the public, the camp assumes nothing is happening at all. there's plenty always happening. it's just a matter of whether or not one can relate to it. ww ____________________________________________________________ Save on Cell Phones. Click Now! http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKdWzIXMTCCSt2RzmHHW7n9l1JgOiZXRSNbPD1ARGC0DMC3xYkTXi/ _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic _______________________________________________ Bay Area New Music Discussion Group NewMusic at music.mills.edu http://music.mills.edu/mailman/listinfo/newmusic From olorin at lmi.net Fri May 29 01:28:16 2009 From: olorin at lmi.net (Scott R. Looney) Date: Fri, 29 May 2009 01:28:16 -0700 Subject: [NewMusic] not much happening - same as it ever was? Message-ID: <98e2a4ba0905290128h72d3a8bfub1b071a66d4bc0bf@mail.gmail.com> > > > > http://www.amazon.com/Francisco-Tape-Music-Center-Counterculture/dp/0520256174 > > I've certainly a number of "scenes" come and go and they tend to follow > the cycles of the artists that make them up and the how the concerns of > group play out over time. I help run the Blue Dolphin and the Farm in the > 70's. That they ended when the participant burned out is part and parcel > of the coming and going of the scenes. I'm still making music with people > I first met coming to San Francisco and were part of the scene. Ideas are > generational and non generational. We worked on conducting improves at > the Blue Dolphin and at one point Butch Morris came and did one, > connecting us with Charles Moffets work. I participated in conducted > improves at Johnston College through Barney Childs and Gino studied with > Barney. There is a wealth of history that remains unconnected and > confined to the participants. There have been some histories, Tom Nunn > and Tim Perkis come to mind but not comprehensive. > > I go back, again, to say it's important to know the history of the music. > The swells of energy and creativity that continue to happen in the Bay > Area. It is dynamic and cyclic. It isn't nostalgia to remember hearing > Chris Brown and Tom Nunn's group, Confluence, perform in the band-shell in > GG Park and Henry Kaiser playing solo electric guitar. There's no pining > for the good old days but it does allow the understanding of the arc of > the ideas that presented that day. The free music festivals at the > Koncepts Cultural Gallery, the music series at Olives, Radio Valencia, > Venue Nine, The Blue Dolphin, The Metropolitan Art Gallery. There are > things that I was involved with but there are ones that I wasn't and that > doesn't mean I don't want to know about them. I didn't hear the sessions > of Glenn Spearman in the early 70's, go to the Electronic studio on > Divisidero, hear any of Terry Rileys evening long jams but I'm glad to > know about them heard the > participants have to say about them. What was it like at the Moffet > house when Butch and David Murray were playing with the group? I regret > missing Pops Foster before he died, who was at the beginning of jazz and > played with john Coltrane, of not seeing more bands at the early Mabuhay > but glad to have heard the blues at Dottie's Stardust lounge. I'm glad > about the connection of the Divisidero studio and Mills College and that > the instruments are preserved and studied. > > Having a focus for your art is essential, knowing and supporting the > greater community is essential. Keeping your life together is essential. > I'm not sure who the "barb" of the nostalgia or political comment were > meant for. I don't really encounter the narrowness of view that seems > implicit in the comment and more often than not am surprised by the depth > of knowledge that I find on the scene about other art forms and music. > > I would posit that working on the music and learning the trade doesn't > guarantee a career or recognition. (By the trade, I mean how to put > together a group, organize concerts, make a recording, go on tour, etc.) > Spending time shedding on your instrument doesn't equate that you will add > to the canon of the music but that doesn't negate the effort or the worth > of the commitment. Success in the financial sense is elusive and > > There isn't enough pride or recognition for the music that is made here, > which is why looking back over the Beanbenders concert list is a good > thing. Props to the Beanbenders crew for presenting a great string of > work by local, national and international musicians at a musician run > venue. It would great to review a list from the Luggage Store or 21 > Grand. > > Heyl, don't get pissed if I still remember Moe!'s solo at a previous 21 > Grand location where he did, Buster Keaton inspired musical fall down a > flight of steps. Truly a highlight performance. > > Jon Raskin > > > > > ________________________________ > From: weasel walter > To: newmusic at music.mills.edu > Sent: Thursday, May 28, 2009 3:06:12 PM > Subject: Re: [NewMusic] Yes, Streifenjunko > > the rise and fall of united states musical scenes is very patternistic > and somewhat predictable in nature. in this case, it's just like all the > others - the arc is the same. someday i'll probably have to write down my > whole thesis about it, but right now, i don't have the time, so i'll just > point out something particularly pertinent. > > what i'm seeing here is rampant factionalization and a resulting lack of > unity in relation to the bigger picture of the scene. it's not that there > was any particular unity before, but now any notion of that possibility > is studiously avoided. when a scene reaches this amount of musical > saturation, it's natural for most people to choose tightly focused camps > and stay exclusively within them for reasons of support. of course, the > viewpoint within these camps is generally that of "we're the only/main > thing happening". if the isolated camp is not well received by the > public, the camp assumes nothing is happening at all. > > there's plenty always happening. it's just a matter of whether or not one > can relate to it. > > ww i'll chime in here with my recollections and observations. i got here in '96 and was absolutely amazed at the plethora of weekly series. Staring Tuesday there was Hotel Utah, then Wednesday Venue 9, Thursday Luggage Store, Friday/Saturday Radio Valencia and Sunday w/ Beanbenders. little did i know i was getting here at the zenith of the weekly series, and that we had nowhere else to go but down as far as that went, as either presenters or venues got tired of little to no audience and doing the show week after week. i imagine it's probably a cycle going on here. although we have a lot of gigs going on in the area - possibly even more than before. i'll wade right in here and state that beanbender's was an excellent series. sure they may not have booked everyone who deserved it, but all of these types of series are run completely by volunteers, and they define the procedures by which bands are selected. beanbenders was probably a bit more selective than other venues have been, and some may not have agreed with their choices - but hey, it's their series, they can do what they want. they're not required by a charter to book X amount of one type of music vs another. overall i believe they did a great job, and brought out many high profile acts to the area. i remember Matthew Shipp/William Parker duo, Georg Graewe solo, Gerry Hemingway's 4tet, as well as many great luminaries in the improv scene like Perkis, Tom Nunn, Ron Heglin and many others. notables besides the beanbender gigs in 96-99: leo smith ensemble, radio valencia, Moekestra! doing Death of a Piano at a place in SF in the Mission - Commotion? GC with his beautiful band at radio valencia - great charts! philip G - schoenberg project - radio valencia Ben Goldberg/Billy Mintz - Luggage Store Francis Wongs Improv workshop sessions in SF Gallery 2310 - Kaffe Matthews, Bhob Rainey/Jack Wright duo Starry Plough - Theo bleckmann/John Hollenbeck duo overall i think the scene nowadays is vibrant and pretty far flung in terms of styles and interests, but i do think the cliquishness is fairly extensive. i do like very much that we have rather large get togethers occasionally like Illuminated Corridor, Skronkathon, Sperry Fest, Drone nights, and the Garden Of Memory. although not every clique is represented perfectly at each of these events, it plays a role in at least getting us to inhabit physical space next to each other, if not actually play on the same stage. other things are sites like Bayimproviser and this list, and the Transbay Calendar. it may not be the most ideal, but to me its at least an attempt to corral the various wild cats of the improv/experimental music scene, and getting them to relate to each other. whether it's successful or not, it is useful making each of the atomized particles know about the other ones. scott From michaelz at zoka.com Fri May 29 09:47:24 2009 From: michaelz at zoka.com (Michael Zelner) Date: Fri, 29 May 2009 09:47:24 -0700 Subject: [NewMusic] not much happening - same as it ever was? In-Reply-To: <98e2a4ba0905290128h72d3a8bfub1b071a66d4bc0bf@mail.gmail.com> References: <98e2a4ba0905290128h72d3a8bfub1b071a66d4bc0bf@mail.gmail.com> Message-ID: On 5/29/09, Scott R. Looney wrote: >i'll chime in here with my recollections and observations. i got here in '96 >and was absolutely amazed at the plethora of weekly series. Staring Tuesday >there was Hotel Utah, then Wednesday Venue 9, Thursday Luggage Store, >Friday/Saturday Radio Valencia and Sunday w/ Beanbenders. little did i know >i was getting here at the zenith of the weekly series, and that we had >nowhere else to go but down as far as that went, as either presenters or >venues got tired of little to no audience and doing the show week after >week. Yes, sad -- now the only weekly series we have are Mondays at Kingman's Ivy Room, Thursdays at the Luggage Store Gallery, and Sundays at the Musicians Union Hall, plus the monthly series at Meridian Gallery, Make-Out Room, Uptown, sfSoundSeries at ODC, Flux 53 Theater, and Tom's Place. (In most months, that's a mere 18 shows. . .) MZ --------------michaelz at zoka.com--- Michael Zelner ---Oakland CA USA------------------ From gino at rastascan.com Fri May 29 10:19:44 2009 From: gino at rastascan.com (Gino Robair) Date: Fri, 29 May 2009 10:19:44 -0700 Subject: [NewMusic] F Nostalgia Message-ID: I agree with PG on this: the only reason I bring up the past venues is to point to what we had to do or deal with in comparison to today's dynamics. Guidance, not nostalgia. For example, The Dark Circle Lounge came to be for two main reasons: 1. Rick Rees's series at Olives was closing/closed, and 2. I was in a band with the guy (Guy Carson, who now owns a swanky club in SF) running the bar at the Hotel Utah and he wanted to help foster a scene by offering a weekly series there. There was no other weekly series that I was aware of, so DCL filled a gap in the scene for 4 years or so. (LGG was happening, too, but I wasn't aware of who was booking it at the time, and consequently didn't have much info about its scene.) Finally DCL ran its course and was shut down, while other series took over the improv presenting. Do I pine for those days? Nope. We had some great shows there, to be sure. But the room wasn't so great acoustically. Rather, it was what we had at the point in time. A nice stop on a long journey. FWIW, my feeling is that, if you haven't curated or run a series, or hosted a festival, you haven't contributed to the scene. It's easy to just take gigs and give back nothing to the artistic community you share creative space with. But to REALLY give something back to the local community means to do something besides promote your own stuff and sell your own merch. Back in THE DAY, Ben Goldberg had these interesting events at his house, including an impro-v-athon where you had to just come in and play (no talking aloud), as well as hosting a Steve Lacy concert there. He also started what grew into Beanbenders (once Dan and others jumped in). His seeds bore fruit many times over. I have immense respect for Rent, M at ++, Matt, Tom Duff, Sarah, Damon (Coffeehead!!!), Dan, PG, Polly, Moe, Scott, Michaela, ROVA, etc for giving others the opportunity to do their thing in public. It's a sacrifice to put down your own work and promote others. But it teaches you humility and helps you AND the scene grow. /rant. GR From 21grand at 21grand.org Fri May 29 13:29:02 2009 From: 21grand at 21grand.org (Sarah - 21 Grand) Date: Fri, 29 May 2009 13:29:02 -0700 Subject: [NewMusic] not much happening - same as it ever was? In-Reply-To: Message-ID: Michael, perhaps intentionally, omitted the last sentence of Scott's post: " although we have a lot of gigs going on in the area - possibly even more than before." sl on 5/29/09 9:47 AM, Michael Zelner at michaelz at zoka.com wrote: > On 5/29/09, Scott R. Looney wrote: > >> i'll chime in here with my recollections and observations. i got here in '96 >> and was absolutely amazed at the plethora of weekly series. Staring Tuesday >> there was Hotel Utah, then Wednesday Venue 9, Thursday Luggage Store, >> Friday/Saturday Radio Valencia and Sunday w/ Beanbenders. little did i know >> i was getting here at the zenith of the weekly series, and that we had >> nowhere else to go but down as far as that went, as either presenters or >> venues got tired of little to no audience and doing the show week after >> week. > > Yes, sad -- now the only weekly series we have are Mondays at > Kingman's Ivy Room, Thursdays at the Luggage Store Gallery, and > Sundays at the Musicians Union Hall, plus the monthly series at > Meridian Gallery, Make-Out Room, Uptown, sfSoundSeries at ODC, Flux > 53 Theater, and Tom's Place. (In most months, that's a mere 18 shows. > . .) > > MZ > > > --------------michaelz at zoka.com--- > Michael Zelner > ---Oakland CA USA------------------ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic From weaselw at juno.com Fri May 29 18:35:19 2009 From: weaselw at juno.com (weasel walter) Date: Fri, 29 May 2009 18:35:19 -0700 Subject: [NewMusic] advice about samplers Message-ID: <20090529.183520.3580.104.weaselw@juno.com> hi there pals. i have a question for the electronics pros out there . . . i'm trying to figure out what the cheapest, most portable and dependable hardware sampler would be for playing on stage with a midi keyboard. i don't really need more than 8 polyphonic voices or a ton of memory, just want something i can load samples into, set up quickly and not have it mess up on stage. if anyone can recommend a unit (preferably old and easily findable used), i'd appreciate it. i know it would prob. be easier to use a computer, but i'd rather just have a piece of standalone hardware. thanks, ww ____________________________________________________________ Find toupees to help you look your best! Click now! http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKtjU0m0rhHLAwlFnMno40IjWsqjJ5HCsVUbFvVfB8wN4kto6Ecog/ From mattdavignon at gmail.com Fri May 29 23:42:35 2009 From: mattdavignon at gmail.com (Matt Davignon) Date: Fri, 29 May 2009 23:42:35 -0700 Subject: [NewMusic] advice about samplers In-Reply-To: <20090529.183520.3580.104.weaselw@juno.com> References: <20090529.183520.3580.104.weaselw@juno.com> Message-ID: Hmmm, sorry I don't know more, but... I have a Roland Dr. Sample SP-303, that supposedly will hook up to a MIDI keyboard, but I've never tried it before, and I don't own a midi keyboard. Looking at the user manual, it looks like all the different samples get mapped to keys on the keyboard, but it doesn't say anything about mapping a single sample chromatically across the keys so that melodies can be played. Has anyone tried this? Anyway, the sampler's been very portable, dependable, easy to use, and is pretty cheap. If you're lucky you can find one for a couple hundred bucks on ebay. Do a search for "roland sampler" or "boss sampler". There's also a 202 model, a 404, and a 555. Of course, the higher numbers are newer models that probably have more features. (The 303 has a lot of effects that the 202 doesn't - I can verify that.) Matt Davignon www.ribosomemusic.com On Fri, May 29, 2009 at 6:35 PM, weasel walter wrote: > hi there pals. i have a question for the electronics pros out there . . . > > > i'm trying to figure out what the cheapest, most portable and dependable > hardware sampler would be for playing on stage with a midi keyboard. i > don't really need more than 8 polyphonic voices or a ton of memory, just > want something i can load samples into, set up quickly and not have it > mess up on stage. if anyone can recommend a unit (preferably old and > easily findable used), i'd appreciate it. > > i know it would prob. be easier to use a computer, but i'd rather just > have a piece of standalone hardware. > > thanks, > > ww > ____________________________________________________________ > Find toupees to help you look your best! Click now! > http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTKtjU0m0rhHLAwlFnMno40IjWsqjJ5HCsVUbFvVfB8wN4kto6Ecog/ > _______________________________________________ > Bay Area New Music Discussion Group > NewMusic at music.mills.edu > http://music.mills.edu/mailman/listinfo/newmusic > From jfheule at gmail.com Sat May 30 08:52:18 2009 From: jfheule at gmail.com (jacob felix heule) Date: Sat, 30 May 2009 08:52:18 -0700 Subject: [NewMusic] Yes, Streifenjunko In-Reply-To: <548463.37506.qm@web81407.mail.mud.yahoo.com> References: <548463.37506.qm@web81407.mail.mud.yahoo.com> Message-ID: <9c5cfa860905300852j6b1f649ayfa27866102a6b30d@mail.gmail.com> The scene seems slow? Go to some shows. The scene needs you to be involved if it is to be active. I don't see very many new music/free improv folks at shows they're not playing, and almost none at shows falling under a slightly different genre. I won't even bother to suggest that you should buy some records. As a musician, try presenting your own shows, and putting together bills of good music pulled from different social/musical scenes. This works. This especially works because people more associated with the noise scene or rock scene are way more likely to go to shows than people associated with the improv scene! Mixed bills are musically more interesting as well. Aquarius didn't magically notice that Dryer/Heule/Lindsay released a cool CD. We have been busting our asses for a long time, and reaching out into many different musical spheres, some of which Aquarius is more interested in than the standard stodgy improv scene. It's just a matter of framing your music in a multitude of ways. Tours in March and right now indicate that music scenes are a bit slow everywhere. Or maybe nobody gives a fuck about my music specifically, which would be no surprise. Tempe AZ has had the coolest show so far, beating the whole west coast. Musically, there have been great shows on the coast, but nobody there to hear them. Same problem of split communities. Tempe was cool largely because the bill had a solo noise act, a punk rock cover band, a noise rock band, and 2 out-of-town acoustic improv groups. A lot of people from related spheres came out, most of them ignored the music they didn't like, some music probably interested some people who wouldn't have thought to check it out, etc. The same thing I've found makes for an interesting & successful show in the Bay Area. jacob .. basshaters western u.s. tour may 23 - june 7 http://heule.us/basshaters/ .. http://www.myspace.com/jacobfelix http://www.heule.us From weaselw at juno.com Sat May 30 09:14:22 2009 From: weaselw at juno.com (weasel walter) Date: Sat, 30 May 2009 09:14:22 -0700 Subject: [NewMusic] Yes, Streifenjunko Message-ID: <20090530.091428.3580.113.weaselw@juno.com> > The scene seems slow? Go to some shows. The scene needs you to be > involved if it is to be active. I don't see very many new music/free improv > folks at shows they're not playing, and almost none at shows falling under a > slightly different genre. bro has a MAJOR point here. that's what i'm seeing and i'm as guilty of it as anybody. the reasons why probably go back to my initial post on this subject - as state of factionalized insularity. this post was right on all the way through. ww ____________________________________________________________ Get your dream car or truck. Click here. http://thirdpartyoffers.juno.com/TGL2141/fc/BLSrjpTLa8v7etKhqVuZ1B2T96wC0HtaV4qSp9gHi6qSYivdG0PDr3spUHm/ From pgsaxo at pacbell.net Sat May 30 17:00:59 2009 From: pgsaxo at pacbell.net (Phillip Greenlief) Date: Sat, 30 May 2009 17:00:59 -0700 (PDT) Subject: [NewMusic] Yes, Streifenjunko Message-ID: <511704.37743.qm@web81401.mail.mud.yahoo.com> Well said, Jacob. Thanks for you words and good luck and safe travels on the rest of the tour. Sent from my hella muthafuckin' iPhone On May 30, 2009, at 8:52 AM, jacob felix heule wrote: The scene seems slow? Go to some shows. The scene needs you to be involved if it is to be active. I don't see very many new music/free improv folks at shows they're not playing, and almost none at shows falling under a slightly different genre. I won't even bother to suggest that you should buy some records. As a musician, try presenting your own shows, and putting together bills of good music pulled from different social/musical scenes. This works. This especially works because people more associated with the noise scene or rock scene are way more likely to go to shows than people associated with the improv scene! Mixed bills are musically more interesting as well. Aquarius didn't magically notice that Dryer/Heule/Lindsay released a cool CD. We have been busting our asses for a long time, and reaching out into many different musical spheres, some of which Aquarius is more interested in than the standard stodgy improv scene. It's just a matter of framing your music in a multitude of ways. Tours in March and right now indicate that music scenes are a bit slow everywhere. Or maybe nobody gives a fuck about my music specifically, which would be no surprise. Tempe AZ has had the coolest show so far, beating the whole west coast. Musically, there have been great shows on the coast, but nobody there to hear them. Same problem of split communities. Tempe was cool largely because the bill had a solo noise act, a punk rock cover band, a noise rock band, and 2 out-of-town acoustic improv groups. A lot of people from related spheres came out, most of them ignored the music they didn't like, some music probably interested some people who wouldn't have thought to check it out, etc. The same thing I've found makes for an interesting & successful show in the Bay Area. jacob .. basshaters western u.s. tour may 23 - june 7 http://heule.us/basshaters/ .. 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 From gino at rastascan.com Sun May 31 21:21:56 2009 From: gino at rastascan.com (Gino Robair) Date: Sun, 31 May 2009 21:21:56 -0700 Subject: [NewMusic] Gig in Portland sought Message-ID: Howdy, Hans Koch is coming the West Coast and is looking for a place to play in Portland. Any suggestions as to whom he should contact? Let me know off list. Thanks! ginorobair