MomsMobley

albinoni oboe d'amore, oboe dementia dombrecht robson / standage

I'm a Pinellas Cty partisan myself but know Hillsborough well too so welcome Cuzz. You know the lay of the musical land yet? Sound Exchange in Brandon will be closest record store and though I wouldn't discourage you from going there, the larger Tampa location (Nebraska just south of Bearrs) is usually much deeper in jazz and blues, the Pinellas Park location falls between 'em. For baseball, only thing I like about the Yankees is the stadium's proximity to various renowned Tampa smut locales (really + there's a healthy local swingers scene if that's an interest) but the Phillies, in Clearwater, and Blue Jays, in Dunedin, are both enjoyable, at least on that level; the former easier access (Courtney Campbell Causeway turns right into Drew), nicer stadium, good running / biking trail adjacent, the latter funkier and close to hep downtown Dunedin, some estimable food and some very good breweries (if that's an interest). Downtown Tampa I don't fux with much though there's a very good Old Tampa Book Company there, St Petersburg has lotsa cool stuff shore to shore. (Hillsborough being less densely populated wins on open parkland, Pinellas beats it for the bayous and beaches.) I've never knowingly run into the Arbors Records folks in Clearwater-- the city is by turns a very interesting and very VERY strange place due to "Sea Org")-- but it's good to know they're around. Books / records you'll also want to hit Mojo in Tampa (strong books & vinyl, some but mostly weak CDs); Microgroove in Tampa (nearly all used vinyl); Planet Retro in St Pete (same). Brief intro Tampa blues history-- http://www.tdblues.com/2009/12/historical-blues-tampa-florida/ (And alas, historic racism of Florida, and Tampa, can't be overstated and veers into story highways / expressways mentioned by JSngry above.) Best local legend, hillbilly / blues variety-- he can tell you much about Tampa blues too-- Birmingham-born lifetime Tampanian Ronny Elliott *** I think this dude became famous later? Greatest (white) Tampa rocker, Benny Joy

Shostakovich Podrugi (Girlfriends), note theremin in last clip

facebook comment from 24 Sunday January 2016; that the station / university still saying nothing substantive remains bizarre / mysterious even if part of these erstwhile 'negotiations.' Rose Ananthanayagam Yesterday at 6:12pm Look, a lot of us are mystified about the cutoff of streaming. What's going on here? No, we're not just being whiners! Hundreds of radio stations big and small across the country continue to stream audio. Struggling, living-on-subsistence- rations WWFM-FM in Trenton, NJ continues to stream from the campus of Mercer County Community College. How is it just the station of Ivy League, NY-based, mighty Columbia University who has its hands tied when it comes to streaming? I am glad for the millions of folks who still live within your terrestrial signal, because WKCR is one of the great, storied radio stations in America. Please bring the stream back. Are negotiations in progress?

whoa, I can see how the edit function is wacked out! last sentence above should conclude ... before getting too bogged down (unless also 'balls deep') in lesser arcana." I do very much recommend Renaldo & the Loaf.

that said, it should be noted that lesser Residents can be annoying / precious as fuck-- but they / "he" (in time) was prolific and can be re-engaging. still, one should certainly internalize, say, the two Virgil Thomson / Gertrude Stein operas, and the best of the other Ralph Records artists, before getting too bogged down in, say,

no, no, no, no... "they"-- in decreasing # of primacy until there was just one-- did many many many things & save technoloy-- MIDI etc changed their lives, the Residents' is not any kind kind of linear development. some folks do abandom ship in the early-mid '80s but I say stick around and if / when there's an album you don't dig, move on to the next one... there are # of turning points to watch for: move from studio to live, analog to digital (in # of ways), what seems an unannounced loss of "original" ("defining") band members... "they" did CD-Rom projects, put increasing effort into video, theater (or 'theatrical') that did or didn't work (and weren't as great as ALL THAT JAZZ even when they did but that's saying their short of very best possible so...) By the time you hit the 1990s you might be worn out but there are moments yet to come.... 2010s I'd hold off on for present. pay particular attn, when he's present to guitarist Phil "Snakefinger" Lithman btw.

Joe's right on with generally working your way forward but I aver there's great work in all their periods, albeit different sound worlds (inc. elements of what will be known as "industrial") & not all concepts work equally well. Also, I used to know more but the "band" changes over time reducing the GROUP "identity" as it were... "Residue of the Residents" is a great comp of their non-lp '70s / '80s brilliance-- http://www.amazon.com/gp/product/B00I6535KS?

Pace 7/4 above, I'd encourage anyone one Facebook or Twitter etc to keep sending up flares though it's important to realize noone involved with the station's programming, in any of its genres, can be pleased with this. The New York Times article obscured more than it clarified and appeared to be poorly edited too, like two articles-- one germane, one not-- jammed into one, both a mess. What's troubling is the quetion of HOW this happened and why, thus far, to WKCR alone? Legal counsel or no, it's bizarre that the station can't address the issue in anything the vaguest way. Is it the combo of over-the-air broadcasting, streaming + regular extended single artist programming: in addition to the Birthday Broadcasts, the memorials, the festivals? Dig from the WKCR archives--

No news, no streaming sucks; espcially tonight I missed beloved Sharif Abdus Salaam 6-9 pm & though it's remarkable there's a total blackout on this from WKCR itself, one hopes that's on the strong suggestion of whomever is negotiating there way out of this mess. Meanwhile, was hipped to this from Phil Schaap Facebook a few years, a photograph which assurdedly does not suck-- left to right: Sonny Greer, Eddie Durham, Snub Mosley, Schaap. SNUB!!!

Kolisch is a great band, great Schoenberg & great story behind the recording. Re: visceral, it was always thus but Arnold especially was victim of long-time smear campaign by simp 'conservatives' (cf. composition &/or performance practice) on one side, adulatory but dessicated epigones the other AND, latterly, recordings (esp. the later Boulez) that wanted to turn Schoenberg into a kind of ersatz ur-Webern-- this from those who'd already sucked the blood from Anton, sometimes rendering him merely a brilliant craftman, pointillist. But that was all bullshit. While varied interpretations are welcome etc, if you're not playing Schoenberg w/ at least the gumption of peak-Wagner and Brahms, you're playing it wrong, baby. I think I posted this elsewhere but Fred Sherry'4-tet on Naxos (under 'supervision' of Robert Craft, whatever that meant exactly) is also superb, & if ya'll have heard Fred elsewhere, you know he's no simp. *** Mitropoulos cond. Orchestal Variations Op. 31, I believe this is the Berliner PO 1960, last seen on Orfeo, the Donuts can put when the Greek baldie tells 'em too!

Ooof. Thanks for that, even if it is, as expected, sickening. I must withdraw the suggestion that WKCR might not have known this; seems likely they did and though they might have communicated it better, they were just fucking paralyzed by the vultures that never gava a godammn about their kind to begin (despite the immense promotion such stations-- including that of Ghost above-- do for musicians both living and dead-- but alive in their publishing.) So to take Max Roach as an example, let's say, probably without exaggeration, that WKCR's 24 hours of Max on 10 January will present more Max that day than all other American radio stations combined... By not renewing the small, non- / low- profit webcast exception, the "Sound Exchange" (sic) is benefiting the owners of Max Roach publishing, the publishing that of non-Max tunes Max performed, & those myriad record companies that still own certain Max Roach albums precisely how? a higher fee / % of nothing = ???

Thanks for that, Ghost... & uh-oh. I wonder if this unfortunately took the station by surprise-- student management cycling in / out over the years, long-ish time 'operations manager' no longer at station-- thus the haste / terseness of the non-explanation. fwiw, Princeton's WPRB (which has excellent classical shows) seems unaffacted-- http://wprb.com Today's (Sunday) WKCR five-hour Jazz Profile is on Ella on the broadcast side at least they're not changing. rhetoric sidenote: some of the language / provisions in that "Webcasters Settlement Act" is gross, to say the least; remember WKCR did TWO WEEKS of all-Duke for his Centennial...

Man, that's TERRIBLE news! Hopefully just a question of computer resources, absurd as that sounds given that WKCR has been streaming for well over a decade... Sometimes (often?) with TWO streams, one mp3, the other 'Real Audio'... These options were useful not only for those outside broadcast range but people at work without a radio AND they could split up their programming: music etc broadcast, some lesser sports event (that noone actually cares about but the participants & broadcaster) on one of the streams. What I don't like-- what worries-- is the obliqueness of that statement: 'reasessing our ability to stream online...' I was traveling last week, tried to connect to Bach fest and couldn't but just assumed it was over capacity. Shame this happened with Max Roach Birthday Broadcast imminent too. *** p/s: WKCR Facebook starting to get questions / comments-- https://www.facebook.com/wkcrfm including those upset they live out of town, happily donated to WKCR & now this... Even with the occasionally 'difficult' relationship between WKCR Sports and the rest of the station (their jazz, classical, Americana, arts, community etc is all excellent), I can't imagine this benefits anyone so hopefully its just a bump whose announcement was poorly done.

I believe some people know Marcia Hadjimarkos' superb Mozart and Haydn discs for Zig-Zag, well her C.P.E. Bach is at least as excellent-- Some Zig Zag discs are elusive and others are being reissued so hopefully this is findable. Hadjimarkos a U of Iowa double major in French lit and piano performance btw, for all the classical 'Hawkeyes' on the board.

hindemith gubaidulina

schoonderwoerd chopin soundworld

idomeneo

FYi, that photo is absolutely NOT Robert Johnson, nor is the previous one this zany (not in a good way) lady 'authenticated.' I understand her wanting to step out from the 'obscurity' of police forensics etc but she's plainly wrong (and I hope her police work was better). hambone willie newbern 1929 kokomo arnold 1934

Late-- my fortune or mis-, with the Rifkin you've happened upon a set whose primary, if not only, virtues are 1) its musical significance and 2) its (relative) historical accuracy. Rifkin not just important figure in Joplin performance but one-to-a-part Bach also and though I am admirer, these are somewhat particular side and not, perhaps, the 'best' of their kind. That said, I'd recommend them strongly over the vast majority of their ponderous, ersatz romantic predecessors, including early those conducted by well-intentioned but ponderous early-ish HIP-ster Karl Richter. Instead, I'd go for a Phillip Herreweghe cond. set on Virgin; his recodings there been collected / anthologized various ways and though I have issues with one of his countertenors (Charles Brett), overall his accomplishment is high. Any single Herreweghe Bach disc on Harmonia Mundi will also be wortwhile The Suzuki cycle on BIS is estimable but currently pricey in single volumes, all the latter ones hybrid SACD. Though sometimes creaky / raw, the Harnoncourt conducted cantatas in the Harnoncourt / Leonhardt cycle are always interesting, often enough excellent. For J.S. secular cantatas, Rene Jacobs is tough to beat. Better to know a few works very well than get caught up in the budget box / false 'bargain' tombstone bullshit (though someday you might indeed want all the Bach cantatas.)

ANY Medtner / Wild & / or ANY Hampton Hawes (electric piano included) >>>> ALL fucking Jarrett (Dewey included) Hamp came to mind because Jarrett's fucking insipid ersatz 'gospel' influences (as if) and his insipid fucking standards trio: DeJohnette gets a pass, barely; Gary Peacock does not. Mitigating Factor: Jarrett's classical records are soporific at best but a U of Texas music school student invited me to her house and though not a record collector, opened her thighs with Jarrett's DSCH Op. 87 P&F accompanying. In this context alone is Jarrett tolerable.

robert fayrfax / cardinal singers monteverdi odheacton

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