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Guest Chaney

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but first get Ellington/Hawkins on Impulse!

ubu  ;)

I'll go explore the Hawk thread in a minute. I think BMG has the Hawk / Ellington disc in stock, and I have a few free discs to redeem....hmmmmnnnn....

Hawk / Ellington has now been ordered, along with Sonny Rollins - Newk's Time, both for free. :tup

Have fun! The Ellington/Hawkins is a MAGNIFICIENT album! Check the latin tunes first! Tremendous grooves, and great solos by all (Hawk, Hodges, Brown...)

ubu

....Ray Nance. :tup

Wasn't sure who's on trumpet, and had no time to look it up back then... now I'm home, work finished, but Organissimo still there, thankfully ;)

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Ken Vandermark's website has a great Quicktime recording of:

MISHA MENGELBERG (PIAN0)

KEN VANDERMARK (REEDS)

& HAMID DRAKE (DRUMS)

Recorded live at the Storefront Theatre Gallery 37 in Chicago. It is a Featured Performance link on the right side of the page.

Great performance. I can't seem to save it even though it is a quicktime file. I'd love to listen to it more often. Anyway, I recommend it to anyone.

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Hey, Chaney, the rat's on page 56, right? Me too, finally! Long way to go until we reach page 100 (again)...

ubu  B)

6 months or so, if it goes the way it does now.

Did you end up ordering any of the Italian stuff?

-------------------------------------------

BTW, new solo Brötzm. is phenomenal. I will elaborate later, but everybody here should do himself (or herself, he-he) a favor and get it. According to (good) Steve Lake's liner notes, this is the best of 5 (!) Brötzmann's solo CDs.

Edited by Д.Д.
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He-he, talkins about music for balloons (from DMG newsletter):

RICARDO ARIAS -- Musica Global (NurNichtNur 102 12 02) Balloons are the future of music. Only a person in the severest grips of denial could listen to these solo balloon pieces and resist the revolution. After you hear this miraculous music, you will sell your instruments and/or record collection and begin a new life of ecstatic rubbing. About six years ago I read an article in Experimental Musical Instruments written by Ricardo Arias that gave an overview of his work with balloons. Intrigued by this idea that I hadn't previously encountered, I immediately inflated a balloon, moistened my fingers and discovered for myself what this South American prophet was so passionate about.

To put the matter bluntly, balloons offer a wider range of timbres and more phrasal complexity than any other known instrument; a single, ordinary balloon is like an entire orchestra in itself. Having seen Arias perform solo and with the likes of Pascal Boudreault, Hans Tammen, Jack Wright, and Michel Doneda, I can attest to his authenticity as a real-time improvisor in tune with the aesthetic zeitgeist of experimental non-idiomatic improvisation, not just a maverick of instrumental concepts and sound. This is not a minor point, as it distinguishes his work from Judy Dunaway's comparably brilliant explorations. Dunaway is the only other artist to extensively pursue balloon music thus far, and released the seminal 1998 CD "Balloon Music" on CRI. Where Dunaway's work has been distracted by esoteric investigations of pitch relationships, ditties (think Hans Reichel), electronics, compositional strategies, and other semi-obsolete concerns, Arias offers the raw, mind-blowing sound world of balloons in its naked state and most favorable context of free improvisation, especially on the first 11 pieces of this CD, the best public recorded representation of balloon music in history so far.

He also includes 5 multi-tracked compositions that pose new questions about texture, density, and the boundaries of rhythmic perception for humans, without relying on any conventional structures. The middle segment of the disc is a series of 20 very brief tracks that function as a catalog of balloon techniques in the manner of Ami Yoshida's "Tiger Thrush", ideal for "shuffle" mode on a CD player. This is a monumental exposition of balloon music by a virtuoso who's spent decades refining his art, and it even comes in a damn cool metal box just like other NurNichtNur releases (e.g. Hans Tammen's solo endangered guitar disc). This is not a CD to file away with others; it's something to create a whole new section of your shelf for, conspicuously displayed close enough to your stereo to be quickly grabbed and played with obsessive frequency. Balloon music is the future. You can get with the program now or face the future onset of debilitating regret. You've been advised. - Michael Anton Parker

NurNichtNur label

Edited by Д.Д.
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Michael Anton Parker

I've had arguments with this guy, in real time. :eye::eye::eye:

Details?

He was staying at Bruce Gallanter's place for the weekend (Bruce from Downtown Music Gallery) and Bruce gave me a ride home from NYC. We live a few blocks apart. I'm the the original author of the the DMG web pages (but not since 8/2003).

MAP and I were debating Pauline Oliveros' Deep Listening concept. It was pretty much a dead end. He really didn't want to accept what ever I had to say about it. He kept trying to spin Deep Listening into some new Western intellectual concept, while I just saw it as Buddhist mindfullness practice.

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balloon music? right. You must be some nail on black board fetishist to really like that. This will never be the future. Any kid who has a life and plays with the things knows that no one like to hear you rubbing and squeeking them.

couw, I don't have your majic ability to judge the music without hearing it, so I will go for it. No trial, no fail, as you know.

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Michael Anton Parker

I've had arguments with this guy, in real time. :eye::eye::eye:

Details?

He was staying at Bruce Gallanter's place for the weekend (Bruce from Downtown Music Gallery) and Bruce gave me a ride home from NYC. We live a few blocks apart. I'm the the original author of the the DMG web pages (but not since 8/2003).

MAP and I were debating Pauline Oliveros' Deep Listening concept. It was pretty much a dead end. He really didn't want to accept what ever I had to say about it. He kept trying to spin Deep Listening into some new Western intellectual concept, while I just saw it as Buddhist mindfullness practice.

Thanks for sharing the details. Of course I never heard of Pauline Oliveros' Deep Listening concept. Apropos dead end: whatever happened to the sound files on your site?

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Michael Anton Parker

I've had arguments with this guy, in real time. :eye::eye::eye:

Details?

He was staying at Bruce Gallanter's place for the weekend (Bruce from Downtown Music Gallery) and Bruce gave me a ride home from NYC. We live a few blocks apart. I'm the the original author of the the DMG web pages (but not since 8/2003).

MAP and I were debating Pauline Oliveros' Deep Listening concept. It was pretty much a dead end. He really didn't want to accept what ever I had to say about it. He kept trying to spin Deep Listening into some new Western intellectual concept, while I just saw it as Buddhist mindfullness practice.

Thanks for sharing the details. Of course I never heard of Pauline Oliveros' Deep Listening concept. Apropos dead end: whatever happened to the sound files on your site?

mp3.com got bought and dropped all of it's customers.

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balloon music? right. You must be some nail on black board fetishist to really like that. This will never be the future. Any kid who has a life and plays with the things knows that no one like to hear you rubbing and squeeking them.

couw, I don't have your majic ability to judge the music without hearing it, so I will go for it. No trial, no fail, as you know.

I was not mocking the music but the way over the top review. No majic needed. It promises us the reinvention of the wheel and I'm not much for such worshipping blahblah.

I listened to some shorties online just now and I am pretty underwhelmed. Sound yes, music maybe, the future? no.

at least, not for me, listening to this show now... :w

Edited by couw
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balloon music? right. You must be some nail on black board fetishist to really like that. This will never be the future. Any kid who has a life and plays with the things knows that no one like to hear you rubbing and squeeking them.

couw, I don't have your majic ability to judge the music without hearing it, so I will go for it. No trial, no fail, as you know.

I was not mocking the music but the way over the top review. No majic needed. It promises us the reinvention of the wheel and I'm not much for such worshipping blahblah.

I listened to some shorties online just now and I am pretty underwhelmed. Sound yes, music maybe, the future? no.

at least, not for me, listening to this show now... :w

Oh, I think the review is very much tongue-in-cheak. But I am intrigued (and I have this Judy Dunaway "Balloon Music" disc the reviewer refers to, and I like it quite bit).

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MAP and I were debating Pauline Oliveros' Deep Listening concept. It was pretty much a dead end. He really didn't want to accept what ever I had to say about it. He kept trying to spin Deep Listening into some new Western intellectual concept, while I just saw it as Buddhist mindfullness practice.

http://www.pofinc.org/

A new age explanation of the difference between "to hear" and "to listen." I don't see a concept.

Edited by rockefeller center
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I was not mocking the music but the way over the top review.

His "reviews" tend to be like that.

what does this mean: "[it poses] new questions about texture, density, and the boundaries of rhythmic perception for humans, without relying on any conventional structures." That sounds like he's hiding behind big buzzy words, and would in all honesty have to call it "something that sounds like a big mess to me."

I hate that kind of misplaced intellectual crap. Or am I too stoopid to understand the lingo? (first one who says yes gets a free disk of stoopid music).

If it is tongue in cheek like David suggests; if ALL of it is tongue in cheek, that would mean that we are not supposed to take the music serious right? That's pretty lame.

(again: nothing against the music or the artist)

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what does this mean: "[it poses] new questions about texture, density, and the boundaries of rhythmic perception for humans, without relying on any conventional structures." That sounds like he's hiding behind big buzzy words, and would in all honesty have to call it "something that sounds like a big mess to me."

I hate that kind of misplaced intellectual crap. Or am I too stoopid to understand the lingo? (first one who says yes gets a free disk of stoopid music).

It sounds like a critic who isn't a musican!

If it is tongue in cheek like David suggests; if ALL of it is tongue in cheek, that would mean that we are not supposed to take the music serious right? That's pretty lame.

"I" didn't say that! I will say that MTP is trying to describe the texture of noise and failing....I don't think balloon music poses any new questions about texture...blah, blah, blah....

It's just another instrument...

Edited by 7/4
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BTW, new solo Brötzm. is phenomenal. I will elaborate later, but everybody here should do himself (or herself, he-he) a favor and get it. According to (good) Steve Lake's liner notes, this is the best of 5 (!) Brötzmann's solo CDs.

How does the reissue solo Brötzmann (14 Love Poems) compare to No Nothing?

Not sure if you also have this one, it came out in '91 on FMP.

Don't have No Nothing.

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