7/4

Works for me, thanks!

previous thread

Allen Lowe wrote, 7/4 wrote Varese wrote Graphs and Time, a sketch for Macero and the Mingus band. It gets performed occasionally by the American Festival of Microtonal Music.... and then Christiern wrote: Did he smile at all? Tell us a bit about him.

Wikipedia

I didn't know it was super rare! Everything must be cheap because the distributors are getting rid of their remaining stock. I saw a couple of titles on Amazon, DMG had a bunch of their cds on sale recently. I was checking and while DMG has titles by Montaigne, they're not on sale. Word on Montaigne is they are not releasing any new titles and not repressing anything when they sell out stock.

Might be interesting: Late 20th/21st Century Modern String Quartets

February 29, 2008 Music Review | Axiom Ensemble Painting Nature’s Grandeur With Music NYTimes The second week of December 1908 was a happy time for modern music. On Dec. 10 Olivier Messiaen was born in Paris. The next day Elliott Carter was born in New York. Miraculously, Mr. Carter remains alive and active. And though Messiaen died in 1992, his visionary work is being commemorated in concerts around the world. No anniversary program would have touched him more, I think, than the performance of “Des Canyons aux Étoiles” (“From the Canyons to the Stars”) on Wednesday night at the Peter Jay Sharp Theater by the Axiom Ensemble, founded by Juilliard School students in 2005. This is an exhilarating tone poem in 3 parts, divided into 12 movements, a daunting 100-minute score for more than 40 players, including soloists. The piece has orchestral sweep and richness. Yet Messiaen often gives each player an individual part, making the work seem like gargantuan chamber music. The Axiom players, current Juilliard students and recent graduates, gave an assured, glittering and rhapsodic performance, expertly conducted by Jeffrey Milarsky. And, as constituents of Lincoln Center, the musicians can make a special claim to the piece, which had its premiere at Alice Tully Hall in 1974, performed by the Musica Aeterna Orchestra. It took some doing, but the patron Alice Tully persuaded Messiaen to compose a work in anticipation of the American bicentennial. Intent on connecting with America’s natural heritage and spiritual essence, he went to Bryce Canyon and Cedar Breaks in Utah, where he hitchhiked with his wife, the pianist Yvonne Loriod, transcribed birdcalls (his lifelong passion) and stood in awe before rock formations and geological vistas. Messiaen, who had a mild form of synesthesia, a condition in which the neural sensors are a little crisscrossed, heard sounds when he saw colors, and the canyons were a riot of rusty, reddish and earthy colors. “Des Canyons aux Étoiles” is alive with Messiaen’s musical trademarks: leaping, spiky melodic lines; imperative themes proclaimed in astringent, thick-layered chords; restless rhythmic outbursts that alternate with celestial chorales for strings and winds. The score also abounds in exotic instrumental writing for congas, gongs, tam-tams and a wind machine. For long stretches the music evolves in halting phrases, almost as if Messiaen were sharing impressions through a series of statements. But in crucial places driving rhythms erupt, especially in the large central movement, “Bryce Canyon and the Red-Orange Rocks,” which is run through with a wildly skittish line played by the ensemble in unison octaves. The formidably difficult solo piano part, including two prolonged solo movements, was shared here by two pianists, both excellent: Conor Hanick (for the first seven movements) and Matthew Odell (for the rest). James Ferree (on French horn), Tomoya Aomori (glockenspiel) and Chihiro Shibayama (xylorimba) were the other impressive soloists. Messiaen would surely have been pleased to see all these skilled young musicians so immersed in his audacious, mystical and deeply personal work.

February 29, 2008 The Sound Is Rural, the Setting Urban BY NATE CHINEN, NYT “HOWDY, folks,” Chris Thile said one recent Tuesday night, as he twisted a peg on his mandolin. His audience, packed into the cozy Rockwood Music Hall on the Lower East Side, seemed to appreciate the salutation. Somebody voiced a request: “Over the Waterfall,” a bluegrass standard. “Second tune I ever learned,” he shot back, “after ‘Woody’s Rag.’ ” Mr. Thile, of Nickel Creek fame, was sitting in with his friend Michael Daves, a guitarist and fellow virtuoso who can be found at the Rockwood every week. At that same moment a less dazzling four-piece bluegrass band was playing just across the street, at a new bar called the National Underground. A few blocks away the guitarist and singer Tony Scherr was playing his gritty country-rock songs to a full house at the Living Room. And further uptown there was a gig by Citigrass, a band whose name is meant to suggest not a financial institution but a hybrid musical ideal. It was a roots music night in New York, with all the seeming incongruities such a phrase might suggest. Though more commonly associated with indie-rock upstarts, jazz improvisers and hip-hop survivors, New York has lately become remarkably hospitable to musicians upholding more rustic ideals. Of course there’s precedent for this sort of thing, stretching back at least as far as the Greenwich Village folk revival of some 50 years ago. There have been setbacks, like the closing of the Bottom Line in 2004. But there has also been help from a couple of fairly recent surprise hits in the pop mainstream: the Appalachian-steeped soundtrack to “O Brother, Where Art Thou?” and “Come Away With Me,” Norah Jones’s folk-pop debut. Both albums were game-changers, creating new opportunities and fan bases for bluegrass pickers and singer-songwriters. “There’s another generation of people who want to hear music that’s accessible, that’s not a prefab product, that’s lyric based but not preachy,” said Adam Levy, a guitarist and singer-songwriter who has played on all of Ms. Jones’s albums. “If there’s a roots movement in New York now, I think of it in those terms.” Earlier this month the Grammy Award for best pop collaboration with vocals went to Alison Krauss and Robert Plant for a song from their album “Raising Sand,” which, like the “O Brother” soundtrack, was produced by T Bone Burnett. There’s ample opportunity in New York to sample roots music at this level. Tickets for Ms. Krauss and Mr. Plant’s tour, which stops here in June, go on sale Monday. Ralph Stanley, who like Ms. Krauss was on the “O, Brother” soundtrack, is scheduled to perform with his Clinch Mountain Boys on March 16 at the B. B. King Blues Club & Grill. For bluegrass of the fast, finger-busting variety, there’s Tony Trischka’s Double Banjo Bluegrass Spectacular at the Cutting Room on March 13. And Levon Helm, the former drummer with the Band, will headline the Beacon Theater next weekend; his recent release, “Dirt Farmer” (Vanguard), just won the Grammy for best traditional folk album. But there’s also plenty of action closer to ground level, in bars and clubs. Saturday night, for instance, you could catch the East River String Band at the Teneleven Bar on Avenue C. Or you could see the M Shanghai String Band, which will be holding court at a space in Williamsburg; or Ben Arnold, an accomplished singer-songwriter, at the Living Room. You could also check out King Wilkie, a Virginia band that put out a well-received album, “Low Country Suite,” on Rounder last year: it will be making some noise at the Jalopy Theater in Red Hook, another new roots music hub. These artists and others underscore the big difference between plain and primitive, a point Mr. Thile hit on in an interview before his Rockwood appearance. He also voiced his qualms about the worship of authenticity, an occupational hazard. “There’s a perception we have to fight through as folk musicians,” he said. “Like, ‘Oh yeah, we’re going to go to this concert and get in touch with our roots.’ That’s totally valid, but it’s also like visiting a museum.” Mr. Thile was sipping a cappuccino at the same East Village cafe where he says he wrote most of the music for “The Blind Leaving the Blind,” a 40-minute, four-part suite inspired by classical composition. It appears on the new self-titled Nonesuch debut album by Punch Brothers, his current bluegrass-infused progressive chamber ensemble; last week they performed it under the auspices of Lincoln Center’s American Songbook series. (On Friday night they’re scheduled to appear on “The Tonight Show.”) Mr. Daves, the guitarist, is one of the key figures on the local bluegrass scene. He plays in Mr. Trischka’s band and teaches some 45 students in the New York area. Born in Atlanta, he moved to Brooklyn about five years ago and, he says, found the new setting liberating. “Bluegrass audiences in New York don’t have the same rigid expectations for the music that you find in the South,” Mr. Daves said. “People here don’t have those deeply ingrained perceptions of the music. I can say, ‘I think bluegrass is this iconoclastic, messy, raucous thing.’ And people are like: ‘O.K. Sure, sounds good.’ ” In addition to playing solo on Tuesday nights — an appointment so steady that his most recent album is called “Live at the Rockwood” — Mr. Daves leads a popular jam session at the Parkside Lounge on the first Monday of every month. On Tuesday you can either hear Mr. Daves again at the Rockwood or dash across the street for bluegrass night at the National Underground, which will feature a guitarist named Daniel Marcus, with a band that includes the banjoist Tuey Connell. On a recent Tuesday at the National Underground the owners, Gavin and Joey DeGraw, loitered on opposite ends of the bar. The DeGraw brothers, both singer-songwriters, opened the place a matter of weeks ago with a friend, Duggins King, who books the shows. “Originally I wanted a fiddle in here every night,” Mr. King said. Instead he ended up with an eclectic booking policy that also includes New Orleans jazz. This Tuesday, while there’s bluegrass upstairs, a separate band will play blues-rock downstairs, as an after-party for Gavin DeGraw’s sold-out Bowery Ballroom show. If there’s only one night to spare, reserve Wednesday, which offers a reliable abundance. On one recent Wednesday I started out at Banjo Jim’s on Avenue C, where Mr. Levy was performing along with a handpicked slate of other musicians. The night is called Adam Levy’s Wish List, and it reflects the bar’s newly adopted booking policy. “We wanted to build nights around the social connections among musicians,” Richard Ogust, one of the owners, said. I headed next to the Jalopy Theater, where Wednesdays are given over to Roots n Ruckus, an accurately named series run by the singer-songwriter Feral Foster. In addition to being a performance space, the Jalopy is a music school and instrument retail and repair shop — a good combination, considering the do-it-yourself ethos that still surrounds much folk music. “There are about five different business going on here, and they all feed each other,” said Geoffrey Wiley, who owns the place with his wife, Lynette. “We always call it not a nonprofit, but a low-profit organization.” Bluegrass and country share a home at the Jalopy with Gypsy swing, madcap ukulele music and even avant-garde jazz. (In that sense it might be considered a grittier cousin to Barbès, the eclectic bôite in Park Slope.) As Mr. Wiley spoke, a mustached banjoist named Curtis Eller serenaded his crowd from atop a folding chair. He’ll also be at Banjo Jim’s on Friday. From the Jalopy it was a reasonably quick cab ride across the Brooklyn Bridge back to the Village, where the best bluegrass jam session in town, by common consensus, was well under way. Usually presided over by Bob Saidenberg, a lanky dobro player known to all as Sheriff Uncle Bob, it was more of a free-for-all on this occasion: Mr. Daves appeared to be the most proficient player in the room, by a comfortable margin. Also in the room was Adam Nash, whose Web site, nycbluegrass.com, chronicles the many concerts and jam sessions on the local scene. Consult Mr. Nash’s site and you’ll see that Thursday is a strangely quiet night for bluegrass, perhaps because everyone is recovering from the night before. You’ll also see a couple of reliable Sunday jams, in Brooklyn (Boerum Hill) and Manhattan (Murray Hill). Curiously missing is the Saturday night jam at Sunny’s Bar, an old sailors’ joint in a remote section of Red Hook. Less curiously, there aren’t many listings for singer-songwriter gigs. You’ll find them listed in Acoustic Live!, a newsletter and Web site (acousticlive.com) maintained by Richard Cuccaro, the former director of the Fast Folk Cafe. Where the “O, Brother” soundtrack produced a surge of public interest in bluegrass, Ms. Jones’s success created something more like a ripple effect. Mr. Levy has certainly gained some recognition, as have singer-songwriters like Jesse Harris, who played Banjo Jim’s a couple of nights ago, and Mr. Scherr, who will play perform at Joe’s Pub on March 25 and has an excellent new album, “Twist in the Wind” (Smells Like). Both Mr. Harris and Mr. Scherr have appeared on all three of Ms. Jones’s studio albums. Another associate, Richard Julian, has reaped rewards; he’ll be at Joe’s Pub on March 8 to play from his new album, “Sunday Morning in Saturday’s Shoes” (Manhattan). Whatever distance exists between the mythic cry of Ralph Stanley and the mellow croon of Ms. Jones, it seems to vanish completely at the Midnight Ramble, a perennial musical gathering at Mr. Helm’s barnlike home studio in Woodstock, N.Y. At one such event this month Mr. Helm, 67, presided over his fine working group with an irrepressible exuberance. His high, tight Arkansas yowl — a spine-tingling sound, and not just because his bout with throat cancer had silenced it until a few years ago — was just as enthralling as his drumming. Mr. Helm played a few of the songs from “Dirt Farmer.” One was “Long Black Veil,” a standard that has been recorded by the Stanley Brothers and the bluegrass legend Bill Monroe, among countless others including the Band. On another tune from the new album, Mr. Helm played mandolin and sang lead while Amy Helm, his daughter, took over on drums. Ms. Helm is a member of Ollabelle, a five-piece band that draws heavily on traditional sources. Mr. Burnett featured the band on his Great High Mountain Tour in 2004, an “O, Brother” tie-in. But its sound also suggests 1970s folk-rock, with Fender Rhodes piano and a gentle wash of acoustic and electric guitars. The group originally formed through a series of jam sessions at a bar called 9C, which preceded Banjo Jim’s in the same space, and prepared for its last album with a stretch at Mr. Helm’s home studio. Next Friday and Saturday, Ollabelle will open for the Levon Helm Band at the Beacon Theater. The sparse integrity of “Dirt Farmer” will be a part of the night, but so will a few other things: roadhouse shuffles, rhythm and blues, and what Mr. Helm calls a “liberal dose of flat-out rock ’n’ roll.” Speaking recently by phone Mr. Helm acknowledged that there seemed to be a lot of younger musicians taking American roots music seriously, in New York and elsewhere. “There are groups out there who play in that — I don’t want to call it an old-fashioned way, but in a for-real way,” he said. “They still make it a musician’s game, rather than a producer’s game. The emphasis is on the playing of the instruments, the chops.”

I wonder Pete has any more material from that era...good shit man.

http://www.thesun.co.uk/sol/homepage/news/article857046.eceA 'Bird boy' found in Russia BOY can reportedly only communicate by 'chirping' - after living his life in a virtual aviary. According to reports from Russia, the 7-year-old 'bird boy' has spent his life in a flat filled with bird cages with a mum who treated him like one of her pets. Pravda said the boy's 31-year-old mum did not talk him and treated him like a bird, forcing him to learn avian language. Social worker Galina Volskaya said shocked authorities discovered the boy in a two-bedroom apartment with bird mess littering the floor. Volskaya said: “When you start talking to him, he chirps." And she added that the boy becomes frustrated at not being able to communicate and flaps his arms. Pravda reported that authorities believe the boy is suffering from Mowgli syndrome, after the Jungle Book character who is raised by wild animals. The boy has reportedly been released by authorities and put in a medical facility.

It's like sports. Everybody loves this kinda stuff.

The find also raises questions about what prompted 'civilizations to form throughout the planet at more or less the same time.

They still have it for 12.49.

I didn't know it was super rare! Everything must be cheap because the distributors are getting rid of their remaining stock. I saw a couple of titles on Amazon, DMG had a bunch of their cds on sale recently.

It's a shame that label folded. The Xenakis chamber music disk is essential: Iannis Xenakis 1: Musique de chamber 1955-1990 - Auvidis Montaigne 782005 (1992) (Claude Helffer - piano, Arditti String Quartet)

In that case, Cadenza on the Night Plain.

Maybe this previous thread can help: Post-Beethoven String Quartets, Other than Bartok and ShostakovichI'm not too sure I can help, since my tastes in recent classical music lean towards mayhem or minimalism. Maybe Terry Rileys string quartets? Cadenza on the Night Plain or Salome Dances for Peace for example. And there's always the Morton Feldman string quartets.

A private collection of radio broadcasts I found: IANNIS XENAKIS (1922-2001) A Stochastic Portrait, part 1 : Orchestral works 01 Metastasis (1953-4) (9:15) 02 Voile (1995) (4:47) 03 Aïs (1980) (17:30) 04 Horos (1986) (14:11) 05 Shaar (1982) (12:30) 06 Jonchaies (1977) (14:59) 07 Synaphaï (1969) (12:34) 08 Metastasis (1953-4) (8:08) 09 Ioolkos (1996) (7:03) 10 Empreintes (1975) (11:05) 11 Keqrops (1986) (19:17) 12 Jonchaies (1977) (14:49) 13 Metastasis (1953-4) (6:23) 14 Pithoprakta (1955-6) (10:24) 15 Dox-Orkh (1991) (16:10) 16 Kyania (1990)[excerpt](9:00) 17 Róaï (1991) (14:48) 18 Jonchaies (1977) (17:42) 19 Dammerschein (1993-4)(13:09) 20 Metastasis (1953-4) (8:18) 21 Pithoprakta (1955-6) (5:34) 22 Terretektorh (1965-6)(11:44) 23 Empreintes (1975) (15:30) 24 Jonchaies (1977) (16:01) 25 Sea Change (1997) (4:43) Total : 5hA Stochastic Portrait, part 2 : Chamber Works 01 Khal Perr (1983) (10:11) 02 Herma (1961) (6:47) 03 Palimpsest (1979) (10:51) 04 Waarg (1988) (17:09) 05 Charisma (1971) (5:53) 06 Thallein (1984) (17:12) 07 O-Mega (1997)(3:52) 08 Nuits (1967-8) (9:59) 09 Phlegra (1975) (12:53) 10 Echange (1989) (16:55) 11 Epeï (1976)(14:54) 12 N'Shima (1975) (16:45) 13 Psappha (1975) (10:18) 14 Eonta (1963-4) (19:59) 15 Anaktoria (1969)(10:47) 16 Phlegra (1975) (13:49) 17 Dmaathen (1976)(9:35) 18 Psappha (1975)(12:20) 19 Herma (1961) (5:49) 20 Mikka (1971)(3:16) 21 Mikka S. (1976)(3:00) 22 ST-4 (1956-62)(11:50) 23 Tetras (1983)(15:27) 24 Tetora (1990)(13:39) 25 Nomos Alpha (1965-66) (16:45) 26 Herma (1961) (7:26) 27 Nuits (1967-8)(9:28) 28 Medea (1967)(22:42) 29 Pu wijnuej we fip (1992)(9:01) 30 A Hélène (1977) (10:56) 31 Zyïa (1952)(10:57) 32 Nuits (1967-8)(9:40) Total : 6h b/c France Musique, 1992-2005 fm > cass (MC) > wav > flac Uploaded by Uncle Meat, 2008.

Oh, it's wesbed's birthday. He stops in occasionally, but never says hello. I hope wesbed has a happy birthday and many more!

Hey 7/4 meet me in the chatroom we'll have a good conversation. Eh...I don't know. How do you feel about William F. Buckley, Jr.?

have your brain detonated by leprechauns.

Never too young for that first pedicure.

uh huh...

I can't believe you would cave in to Dan on that Chuck.