7/4

They're both evil. Don't kid yer self. .

Polytown with Mick Karn, bass (Japan)

Having Quicktime on my machine triggers Safari and iTunes updates on this machine, even though I've never had them on my machine. WTF...

Having lived a life surrounded by Mariachi bands, real Mariachi bands, I assure you that whoever it was who said that, and no matter how sharp they might otherwise have been, on that point they were 100% a fucking idiot.

Soul Kitty.

Maybe you can get one of these in time for recording sessions:

When I heard about this last Summer, it was on a different label. .

Wow. I keep forgetting that people dressed like that when I was a teenager. .

what he said.

music: here and here. I don't have any recordings of me attempting to play Jazz right now.

happy happy joy joy!

Then they could have said they didn't. .

I'd expect Concord to take care of bidnez. .

Wow - cool! .

I hope she has some kind of health insurance. She should really have a doctor check that thing out.

It was a Monday, but it sounds like there were a lot of comp tickets that weren't used. Thank for reporting - I wish I could have gone.

Cool. I used a Brown Princeton in the last band I was in for rehearsals in NYC. Perfect for the gig. The last series of solo shows I did, I used ported 12" cabs and people were starting to complain occasionally about getting beamed by the sound. It might be time for open cabs for me next time....

You know, now that you mention it, that could be my problem. Hard to ignore the satellite internet at the library when you have dial up at home... Sometimes I give the board a quick check when I'm over at my parents, I forget to logout. This screws up logins on my home machine for more than this board.

I guess this is the man: http://www.theotravis.com/

Chamber Orchestra premieres Terry Riley concerto By David Patrick Stearns Inquirer Classical Music Critic Terry Riley is a composer who challenges limitations that you never thought existed - but without any iconoclastic confrontation. During his new concerto, Sol Tierra Luna, Concerto for Two Guitars, Violin and Chamber Orchestra on Monday at the Kimmel Center, you were ambushed by things that never happen in concertos - followed by "Well, why not?" > Commissioned and premiered by Chamber Orchestra of Philadelphia, the concerto was supposed to be 20 minutes long but, in an amiably counterrevolutionary way, occupied 40. Though a single listening in a good but quickly assembled performance probably offered only a fraction of what was there, this is among the more substantial works this 71-year-old composer has written for traditional ensembles. That's "traditional" with an asterisk. > A gurulike figure with a long white beard and a warm, inviting aura, the Bay Area composer is one for the musical competitiveness of conventional concertos. His once-minimalist aesthetic is about layers of unlikely music. And because Riley has gravitated with breathtaking ease toward Indian ragas, the music had a constant sense of alternative possibilities not guided by even the vaguest reference to Germanic classical forms, though the concerto's four movements did sport a fugue and, most moving of all, a funereal version of the 18th-century sarabande. > The three soloists were a heterogeneous resource: Each had solo moments and various combinations of duets, particularly between the guitarists, David Tanenbaum and Gyan Riley. At one point, violinist Krista Bennion-Feeney laid down her violin and picked up temple bells. > At the outset, Riley seemed out to cooperate with the medium, sounding vaguely like Ralph Vaughan Williams, but he soon drilled determinedly toward a desirable but elusive goal with music that's involved, complicated but not convoluted. The second movement was squarely within Riley's world, with non-Western scales used with unison string writing, plus exotic percussion interplay. > The fugue in the third movement was more giddy than severe, while the fourth movement, "Sarabande for Iraq," had oblique references to "Taps," with muted trumpet playing a slow scale that descended into infinity. > The program's Ravel-dominated first half had its breakthroughs. French impressionists don't really need lush string sound (one of my favorite encounters with Debussy's Pelleas et Melisande was with chamber orchestra), and often reveal their Gallic sense of logic without it. That's certainly what music director Ignat Solzhenitsyn was up to with Le Tombeau de Couperin. When string sound was needed, he summoned a forthright timbre that was arresting for not having the typical misty sonic scrim heard in conventional performances.

Ticket prices like that make me pass on the opportunities that living close to NYC give me. I go to less and less shows these days. .

Who makes it?

Terry Riley: The Cusp of Magic

Neu! in 1972. Jonathan Cohen, N.Y. Billboard German musician Klaus Dinger, who played drums in the early days of Kraftwerk and went on to co-found Neu!, died March 21 of heart failure. He was 61. The news was not widely publicized until Neu!'s label, Gronland, announced it today (April 2). Dinger and guitarist Michael Rother played with Kraftwerk in the early 1970s before opting to leave and form Neu! The group released three albums in rapid succession: a self-titled effort in 1972, "Neu! 2" the following year and "Neu! '75" in 1975. Although the albums were not legally available on CD in the United States until 2001, the precise rhythms and pre-punk minimalism conjured by Dinger and Rother were a major influence on countless acts, from Sonic Youth to Tortoise and Stereolab. Neu! disbanded after "Neu '75" but returned to the studio in 1985-86 to record new music. Material from these sessions was finally released in 1995 as "Neu! 4," although a Rother confidant later said it was only done to counter rampant bootlegging. After Neu!, Dinger went on to form La Dusseldorf, which achieved international stardom with singles such as "Silver Cloud" and "Rheinita." "Together with many friends of his music I will remember Klaus for his creativity as an artist and I will think about him with gratitude for his wonderful contributions to our project Neu!," Rother said in a statement.

He was on a Stanley Clarke album with Jan Hammer and Tony Williams.