Joe Christmas

Larsen (John?), aren't you the one who works at Tulane? I think we exchanged a couple of nice e-mails a couple of years ago. Thanks for the advice, but I'm afraid I'm locked in to one of two practical choices for grad school. I'll do my damnedest on the test though, and see what can come out of it. Luckily though the Navy is footing most of the bill. I'll be sure to find a similar book, as I found out it is only the general test I need to take. Speaking of math, I just started reading this: It's a history of Mathematics from the early use of digits to Pythagoras to Calculus-based Physics and damn, if this book isn't a blast. The opening pages advise the reader to have a pencil, paper and calculator handy whenever reading. The author takes you step by step through some very important and popular equations and theorems (the origin of Pi, for example). It's incredibly readable and full of beautiful diagrams, tables and illustrations. HIGHLY recommended.

You too? Oh man, I almost left my wife for my calculator. Dave, NOthing? Does she still have the program? Didn't she take the LSAT too? Fuck it, I'll call you guys tonight.

>blush< Man, if they ask me questions like what instrument Louis Sclavis plays I'll ROCK! I'm fairly certain it's the general test that I'll be taking. The program is for an MA in History w/ emphasis in Military History. They don't have a "history" subject GRE, do they? Oh, I'm so fucked if that's what it is. About the math. What legs of math are we speaking? I completed a multivariable calculus course last year but I already feel out of practice. If it's only through algebra then I might feel cocky.

Starting Grad school this spring. Any tips/hints/horror stories on taking this test?

Guy, you can probably find a cheap used copy of Sky Piece somewhere (a magnificent album Dmitry turned me onto a couple of years ago). Check it out and go from there. If you like that, it's safe to say you'll want to throw for the box.

So predictable. seek and destroy: Nervous Pervis and the Jitters: Nail Biter's Bop

Interesting article, Claude. I feel like an insider now who should protect my family by not talking about it. Seriously, are there any recent stats, as those are from two years ago? Also, what is the name of this new hybrid coalition, or did it ever form?

I received this e-mail last week, which explains the dire situation in which this historic festival now finds itself. Considering the recent death of Peter Kowald, this must come as a slap in the face to already grieving Berliners and free improvised music lovers in general. Do what you can, follow the request through, as I'm certain that TMM can use any help it can get right now. ________________ Dear friends, The Total Music Meeting Berlin is acutely endangered in its existence. Berlin authorities have cut all fundings for the Festival which traditionally takes place since 1968 annually and parallel to the Berlin Jazzfest. The abandonment of the TMM aims at discriminating Improvised Music altogether in favour of a more ´compatible´ and ´entertaining´ concept of music as viewed by the local administration. Since 2000 the Total Music Meeting is organized by Helma Schleif (FMP FREE MUSIC PRODUCTION DISTRIBUTION & COMMUNICATION & ALL) together with Wolfgang Fuchs (artistic director of TMM) and G. Fritze Margull (artistic counsellor), the three of which form the TMM-Committee. They have since then broadened the profile of the TMM by presenting acoustic, electro-acoustic and electronic ensembles from all over the world, giving master musicians and young improvisers an equal forum and by extending the musical program with workshops, lectures, panel discussions and exhibitions. In 2001 George Lewis lectured on his VOYAGER-project (besides playing twice), and for the first time we showed a collection of paintings (´Visual Sounds´) by Improvising Musicians such as Bill Dixon, Tony Oxley, Floros Floridis, Peter Kowald, Paul Lytton, Alexander Schlippenbach, Sven-Ake Johansson, Uli Gumpert, Carlos Zingaro and Hans Reichel. Additionally we invited master photographer Roberto Masotti to show previous work and participate in the festival as its photographer. Evan Parker directed in 2002 a workshop for young improvisers which attracted musicians from the US, Italy, England and Germany. Last year's festival had been dedicated to Peter Kowald, a co-founder of the TMM, whose sudden death shocked and saddened the community worldwide. Almost all musicians participating had played with Peter in the past. A fulminant final concert had then been rendered by Cecil Taylor and Tony Oxley paying homage to Peter and showing their solidarity with the TMM (which has received a lump sum by Berlin authorities of EURO 25,000 last year. In comparison: Berlin Jazzfest had a budget of EURO 560,000). In the past three years all musicians who have participated in the festival have manifested their profound solidarity with and support by playing for a tiny fee, re-establishing eventually its very beginnings as improvising musicians´ festival. This year's festival (November 6 - 8) will stage again international groupings and extraordinary fine players as well as the King Übü Örchestrü which is celebrating its 20th anniversary, featuring also vocalist Phil Minton, harpist Anne leBaron, and the double bass-players Fernando Grillo and Bertram Turetzky on this special occasion. Major works of Scottish painter and improvising musician Alan Davie will be shown for the first time in Berlin, executed in collaboration with two renowned galleries and our festival venue Podewil. In order to maintain and support the festival we have now established an association to raising funds for the Total Music Meeting. Renowned painters like Max Neumann, Hanns Schimansky, Hans Schnell and others have already signaled their help by donating works for sale. You can be instrumental in the continuation of this festival by writing articles reporting on the situation which might be crucial in opening the eyes and ears of local and federal politicians to the immense musical and artistic value of Improvised Music. Help us to convince them that this is Music that matters. Thanks for your time and consideration. Helma Schleif (FMP FREE MUSIC PRODUCTION Distribution & Communication, a/l/l) Wolfgang Fuchs (musician/composer; artistic director TMM) G. Fritze Margull (artist, artistic counseller TMM) For further information please contact: Helma Schleif FMP FREE MUSIC PRODUCTION Distribution & Communication & a/l/l fmp.distribution@t-online.de www.free-music-production.de

So fucking mysterious. 'Fess up, your name is Donny and you have a small printing business in Akron. Send a postcard! Something girly.

DAMN you get around.

It is a nice resource, M. Thanks for the link.

Gotta wonder about a place that lists Chuck Leavell and James Spaulding in the free jazz category.

Congrats, Tony.

This thread has nothing to be ashamed of. It is what it is. A short-sighted knee-jerk reaction to, well, nothing. So what? What, if any, integrity will deleting it safeguard? waxing philosophical, Christmas

Man, the melodrama can be tiring. I can't believe you guys even care about this shit. This thread is a psychotic ex-girlfriend.

well then, Wa Das Ist?

What John said. Machine Gun is outright aggressive but lots of fun. And the Die Like A Dog discs, especially the Little Birds volumes, are desert island wares for me. If you like those seek out the FMP's with Mangelsdorff, Van Hove and Bennink. The most accessible Brotzmann, IMO, is The Wels Concert, with Hamid Drake and guembri player Mahmoud Gania. You can listen one of the tracks here. It's fairly subdued compared to those listed above.

Thanks, John! Time Berne's Bloodcount Unwound - We're In It For The Food Mike Carr Compilation - PD gave me a couple years back Christof Kurzmann - The Air Between Brubeck - Jazz: Red, Hot and Cool Unstable Ensemble - Liturgy of Ghosts Woody Herman - Proper Box disc 2

The Sea and Cake - s/t Tim Berne's Bloodcount - Poisoned Minds McPhee/Vandermark/Kessler - A Meeting in Chicago Exploding Customer - Live at Glenn Miller Café John Lee Hooker - The Real Folk Blues Lee Konitz - Tenorlee Is there a favorite cd's of 2003 thread anywhere?

I live and breathe racquetball.

Yes!!

Careful now! The reissue on Atavistic sounds like dogshit, IMO. The music isn't very inspired either. Same goes for The Living Music, but is made up for with some fine moments by Manfred Schoof and Paul Rutherford. If you find yourself to be a burgeoning Schlip junkie after your intro, drop me an e-mail and I'll burn you a copy of Globe Unity.

Lawrence Marable - Tenorman Music Improvisation Company - Music Improvisation Company Brotzmann/Mangelsdorff/Van Hove/Bennink - Elements Alex Von Schlippenbach - Globe Unity Richard Twardzik - Twardzik/Freeman Daniel Humair - Liberté Surveillée

posthaste: Elf Bagatellen Complete Combustion prices are in Canadian $. Great source, btw.

Johnny's right, but I could have sworn that he switched up that last extended piece by incorporating differentials. Then again, what the hell do I know? Nice to see you, man. Great show, by the way. Although the token loudmouth at our show wasn't nearly as entertaining as yours... About those signals... they were only used in one piece, "Italian Mentor." The composition was divided into clusters, all associated with one another. Seems like those signals were used to cue different swatches or motifs culled from the composition itself. Probably some sort of graphic notation. Anyway, they were *not* signals for solos. Shit, these guys are professionals. Even high school boys bands know how to use eye contact to their advantage. Lots of good stuff played last night, I look forward to the new record. And Rempis is the stinky poop. That dude can play his ass off. Loved those softer Desmondish runs he was pulling off. And Little Tim Daisy was punchy. He really came alive in the second set to my surprise. I didn't know what to make of him in the first. He seemed a little restrained. Like someone said above, Vandermark has made leaps and bounds on the big horn and uses that thing to great effect. I like the free funk direction he's taken with his writing. Although unlike Mny, I was glad that he didnt bring the bass clarinet, as he's pretty mousy with that horn and his approach to it isn't really suitable for the kind of music the 5's about. Good shit all around.