Hoppy T. Frog

Seeing the opera live was very special, I don't think they come off on record very well as you miss the theatrical elements. I would have liked to have a libretto with a glossary to read (I don't begrudge them not printing one as I am sure it would have been expensive to do--maybe supertitles could have worked?), as Braxton's terminology gets arcane (and as a fan I've tried to familiarize myself with his jargon) and from where I was sitting sometimes the orchestra drowned out the singers. I was pleasantly surprised at the humor in the opera too. This was definitely an "occasion" as I recognized Tim Berne, Wadada Leo Smith, Andrew Cyrille, and Steve Lehman in the audience. I felt like I may have been the only person there who hadn't played with Braxton! On Friday night I went to Ibeam and saw Travis LaPlante (a new name to me) playing with Mary Halvorson, Trevor Dunn, and Ches Smith. It was pretty good, to be honest a little too samey with the almost uniformaly muted dynamics. But I just love the sound of Halvorson's guitar .

Anybody been so far? I will be coming up from Washington to see the Saturday Trillium "doubleheader". I've seen Anthony Braxton several times in different contexts, but never one of his operas. Looking forward to it!

Gonna see the doubleheader on Saturday.

Relatively boring seasons from both the Baltimore and National Symphonies. Mendelssohn VC every year--hey, why not? Both symphonies seem to be beginning Mahler cycles, which is interesting (most notably Baltimore doing the 3rd and NSO doing the 9th), and the first Bruckner (that is, the first I am aware of her doing a Brucnker symphony) from Marin Alsop. Maasaki Suzuki guesting at the BSO to do an all Mozart program is promising. Frankly, I'm more excited about one concert in the Kennedy Center's Jazz season--Muhal Richard Abrams--than any of the classical offering, although I am looking forward to the National Opera doing the Flying Dutchman.

Yeah, it was a live gig with Fonda and Altschul that that made me notice Irabagon. Before that, I had heard stuff on record, and he didn't make much of an impression. Maybe it's the company that kicked him into higher gear? And Foxy was a fun goof, but not one for a repeat listen.

Now that might of interest -- if somebody recommended their favorite 3-5 recordings that are also on emusic. I always liked the Monk/Herbie Nichols albums. And I have a soft spot for the barrell organ album.

Too early for next season info here in Washington/Baltimore...

There 's a definite warmth to the sound, and I'm hearing a lot more of what is in the source. The first CD I put in, I could hear the room ambience, which I definitely couldn't do with my headphone jack directly into the computer. Also, there's definitely less ear fatigue. Worth the 250$ definitely.

Got mine today and have just set it up for computer output. Need to do some A/B comparisons, but so far liking what I hear.

Scott, your detailed enthusiasm has gotten me to try one out. I see that the Headroom Micro costs more that the whole DAC converter! You say the Emotiva's heaphone amp isn't ideal but better than the usual. I've been listening for years through the headphone jack in my computer, so I assume anything would be better than that. In the future I may save up for a "real" headphone amp, but, baby steps.

Schutz' Weihnachtshistorie by the Oxford Camerata (Naxos).

Yes, through their distribution arm, Northcountry Distribution (lot's of CDs I own have that little sticker), but they are winding down their business too, or at least the mail order.

I think he meant Crown Heights. Apparently that is the new frontier.

Yes, I concur, having boutghten theat verszt samme package as soon as sseing ti, and it getting here in no mroe than three days, and yes, it is a very muvh "heard to maximum adbandage in small doeses thins, oh well. Jut doo it likt that and hve teh ahahpies for so having done been did, ti. God, I love your Ambien posts.

This link has a history. They're British.

Nessa's Art Ensemble box set.

Thanks. I'm up for hearing those other pieces you mentioned Bertrand, as I think nothing he does should be dismissed immediately.

Get out the knives for me, but as much as I love Wayne, and think that the new album is great, the DC concert was a big disappointment, bordering on the most misconceived concert I have ever been to. The orchestral backing was elementary, just the entire orchestra playing the same simple repetitive patterns in unison or harmony, there was no use of orchestral color or the possibilities inherent in having different instrument groups play off each other. No transformations or development of themes. Eventually it just sounded like Muzak and I was so bored I left before the last number was over. Wayne seemed tired and played very little, and when he did play it was a few toots on the soprano. Esperenza Spalding added nothing of interest and she is nothing more than an average pop singer with a thin characterless voice, why she's being foisted on us as a "jazz" musician I'll never know ("Oh but she plays the bass!" Not here). I loved the lone piece by the Quartet but that was the beginning of the concert and it was all downhill from there. A couple people around me up in the Second Tier never applauded for the orchestral numbers and left even earlier than I did.

Stereolab = Neu! + National Health + Catherine Ribiero/Alpes + Alan Stivell + Doug Yule's Velvet Underground. Stereolab = Neu! + National Health + Catherine Ribiero/Alpes + Alan Stivell + Doug Yule's Velvet Underground. Don't forget their acknowledged debt to The Free Design.

A Marilyn Crispell/Louis Moholo duet in Baltimore that was put out on Intakt.

Typo, Freudian slip, or joke?

It's enjoyable, but a little too "...Plays for Lovers" for my taste too.

Bloomberg ruined all the museums too? He's responsible for the bookings at Carnegie Hall?

Aren't old sealed records likely to be warped? I remember hearing that somewhere, and have subsequently avoided them.

But we should be grateful Hackensack never shut down Rudy Van Gelder's home studio!