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Everything posted by 7/4
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You've had enough...time to sleep it off!
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Seven!
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Pick a number and pull my finger...
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Maybe there's still hope for us yet...
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But maybe some people are just angry and looking for an arguement with anybody?
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...but can it work here?
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Works in theory...
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From a local store* and then I used to pickup a lot at Tower Downtown NYC when it was still open. * there's a huge Indian community here in NJ. I'll list a few places later...
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Wow. RIP .
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hug time... .
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currently in rotation: VG Jog - violin Zakir Hussain - tabla
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Help! I can't bring myself to unload my old rock records!
7/4 replied to blind-blake's topic in The Vinyl Frontier
Hell yeah! -
austrian man blasted off toilet by hailstones
7/4 replied to alocispepraluger102's topic in Miscellaneous - Non-Political
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Yet another glad to be alive post
7/4 replied to slide_advantage_redoux's topic in Miscellaneous - Non-Political
ouch. . -
and now: Vina and Surbahar from North India Amiya Gopal Bhattacharya and Jyatish Chandra Chowdhurdy
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Yet another glad to be alive post
7/4 replied to slide_advantage_redoux's topic in Miscellaneous - Non-Political
My sister had a spill when she was still a teenager. The guy who was driving the bike hit a patch of sand and off they went down the side of a mountain. She had a couple of operations to fix up her leg, it was torn up on the side. She still can't feel a part of her lip. . -
now: Hariprasad Charuasia
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Juilliard’s Summergarden @ the Museum of Modern Art
7/4 replied to 7/4's topic in Classical Discussion
July 22, 2008 Music Review | New Juilliard Ensemble International Divertimenti for Sculpture and Traffic By VIVIEN SCHWEITZER, NYT There must scarcely be a country not represented in the United Nations of composers programmed by Joel Sachs in Juilliard’s annual Summergarden concerts at the Museum of Modern Art. This series takes place in the museum’s Sculpture Garden on Sundays, alternating between concerts offered by Jazz at Lincoln Center and the Juilliard School. This last weekend it was Juilliard’s turn. Argentina, Venezuela, Ukraine, Britain and the United States were represented with four New York premieres and one world premiere. All featured music performed by members of the New Juilliard Ensemble, with some combination of clarinet, violin, cello and piano. Given the steady hum of traffic noise from West 54th Street, the subtleties of these diverse composers are often lost to the elements, sometimes rendering the most exuberant works the most successful. On Sunday the performers (and listeners) also had to battle the stupefying humidity. The sometimes raucous debate of the British composer Daniel Giorgetti’s “Dialogue for Violin and Piano” (played in the second half of the program) penetrated through the heat and noise with a conversation in the highest register of the two instruments. With violin pizzicatos, piano staccatos and muted piano strings, it sometimes sounded like an angry couple shrieking and slamming doors, before a violin cadenza full of whining slides heralded a reconciliation. Much of the one-movement Trio for Clarinet, Cello and Piano by Valentin Bibik, a Ukrainian composer who died in Israel in 2003, fared less well under the auditory circumstances. The work, played in the first half of the program, opened with a melancholy cello line, eventually building to an intense middle section before fading out to a (barely audible) introverted conclusion. The program opened with the tango-inspired “Hipermilonga” for violin, clarinet and piano, by the Argentine-American composer Pablo Ortiz. Energetic, jazzy riffs alternated with sultry interludes, with soulful clarinet solos played elegantly by Sean Rice. The other performers on Sunday included Mr. Sachs on piano, the cellist Elizabeth Lara and the violinist Emilie-Anne Gendron, who all played with conviction. The second half of the concert felt more convincing than the first. After Mr. Giorgetti’s “Dialogue” came the Venezuelan-American composer Ricardo Lorenz’s “Compass Points,” the most successful piece on Sunday’s program. Each of the work’s three sections was written in a different location and reflects the composer’s state of mind and circumstances at the time. The first movement, composed in Umbria, Italy, offered a sultry canvas with passionate violin interludes. The second — both melancholy and defiant, with languid clarinet riffs — was written in Bloomington, Ind., as a tribute to the pianist and composer Robert Avalon. The frenzied, driven dance rhythms of “Scherzarengue,” the last movement, evoke a busy period in the composer’s life when he moved to East Lansing, Mich. The concert concluded with the world premiere of “Homage Leroy Jenkins” by the American composer Elliott Sharp, a rhythmically intense tribute to Mr. Jenkins, the jazz violinist who died last year, with a ragalike, hypnotic pulse. Summergarden concerts continue on Sunday nights through Aug. 24 in the Sculpture Garden, Museum of Modern Art; (212) 708-9400, moma.org. -
Help! I can't bring myself to unload my old rock records!
7/4 replied to blind-blake's topic in The Vinyl Frontier
Lost: Roger Waters' Pig -
Help! I can't bring myself to unload my old rock records!
7/4 replied to blind-blake's topic in The Vinyl Frontier
Roger Waters concert. -
Help! I can't bring myself to unload my old rock records!
7/4 replied to blind-blake's topic in The Vinyl Frontier
Even without Roger Waters, Floyd hasn't toured in many years. Zep hasn't toured since before their drummer died in '80. . -
Help! I can't bring myself to unload my old rock records!
7/4 replied to blind-blake's topic in The Vinyl Frontier
That's right. Young Zep, Who, Floyd and so on fans. Those darn kids. -
Help! I can't bring myself to unload my old rock records!
7/4 replied to blind-blake's topic in The Vinyl Frontier
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July 22, 2008 Artie Traum, 65, Stalwart of ’60s Folk Music Scene, Is Dead By JON PARELES, NYT Artie Traum, a guitarist, songwriter and producer who helped carry the spirit of the 1960s Greenwich Village folk scene to Woodstock, N.Y., died on Sunday. He was 65 and lived in Bearsville, N.Y., near Woodstock. His brother, the musician Happy Traum, who sometimes performed with him, said the cause was liver cancer. In a long and varied career, Mr. Traum played folk music and smooth jazz; recorded 10 albums of his own and four with his brother; produced albums; composed film scores; created guitar-instruction books and videos; teamed with his brother for a radio program; and made a documentary film about the Catskill water system. Mr. Traum, who was born and reared in the Bronx, became a regular visitor to Greenwich Village clubs in the 1960s, hearing blues, folk music and jazz. Soon he was performing there, too. He made his first recording in 1963 as a member of the True Endeavor Jug Band, founded by the blues scholar Sam Charters. He worked with Eric Kaz and the group Bear on the score for Brian de Palma’s 1968 film “Greetings.” In the late 1960s, Artie followed Happy to Woodstock, and they began working as a duo. In 1969 the Traums performed at the Newport Folk Festival and released their first studio album. Managed by Albert Grossman, whose other clients included Bob Dylan and Peter, Paul and Mary, the Traums toured worldwide. They released additional duo albums in 1971 and 1975, reunited as a duo for a 1994 album, “The Test of Time” (Roaring Stream), and continued to play concerts together. Mr. Traum’s first solo album, “Life on Earth,” was released by Rounder Records in 1977. In Woodstock during the 1970s and ’80s, Mr. Traum was a member and producer for the Woodstock Mountains Revue, a gathering of upstate folk musicians and singer-songwriters that also included John Sebastian; it made five albums for Rounder Records, with guests including Paul Butterfield, Eric Andersen and Maria Muldaur. “He was a real instigator, of bringing people together from various styles,” said Happy Traum, “and melding them into a conglomerate that became something totally different.” One member of the Revue was the songwriter Pat Alger, with whom Mr. Traum made a 1980 duo album, “From the Heart.” (Mr. Alger later moved to Nashville and wrote hits for Garth Brooks and others.) Mr. Traum was married in 1981; his wife, Beverly, survives him, along with Happy Traum. The Traum brothers were the hosts of a 1988 public-radio show for WAMC in Albany, “Bring It On Home,” which presented live folk-rooted performers like Richard Thompson, Molly Mason and, from the Band, Rick Danko and Garth Hudson. The programs became the basis of a pair of compilations by the same title released by the Sony Legacy label in 1994. Mr. Traum was a producer on albums by Happy Traum, Livingston Taylor and the bassist Tony Levin, among others. He also wrote guitar-instruction books and demonstrated his techniques on instructional videos released by Happy Traum’s company Homespun Tapes. In the 1990s, Mr. Traum decisively reworked his guitar style, delving into jazz and making instrumental albums. His 1999 album “Meetings With Remarkable Friends” (Narada) included collaborations with Béla Fleck, members of the Band, Mr. Sebastian and others. After another instrumental album, “The Last Romantic” (Narada) in 2001, Mr. Traum returned to songs with words for his album “South of Lafayette” in 2002 and his 2007 album, “Thief of Time,” both on Roaring Stream. Mr. Traum was one of the producers and directors for the 2002 documentary “Deep Water: Building the Catskill Water System.” And he collaborated with Chris Shaw and the fly fisherman and musician Tom Akstens, as the group Big Trout Radio, for the 2003 album “Songs About Fishing” (Twining Tree). “I like it all and enjoy wearing different hats on different days,” he told the online magazine Guitar Sam.
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Uh huh...what he said. .