7/4

As if 'diagnosing via satelitte' wasn't a dead giveaway. They must of been some really sweet-talking mofos. Maybe I can sell you one of these?

and they're real expensive too.

That's just strange. Most musicians put the score on a music stand. Very cool photo!

memorial program

December 7, 2007 Karlheinz Stockhausen, Composer, Is Dead at 79 By THE ASSOCIATED PRESS Filed at 2:55 p.m. ET BERLIN (AP) -- Karlheinz Stockhausen, whose innovative electronic works made him one of the most important composers of the postwar era, has died at age 79. Stockhausen, who gained fame through his avant-garde works in the 1960s and '70s and later moved into composing works for huge theaters and other projects, died Wednesday, Germany's Music Academy said, citing members of his family. No cause of death was given. He is known for his electronic compositions that are a radical departure from musical tradition and incorporate influences as varied as the visual arts, the acoustics of a particular concert hall, and psychology. Stockhausen was considered by some an eccentric member of the European musical elite and by others a courageous pioneer in the field of new music. Rock and pop musicians such as John Lennon, Frank Zappa and David Bowie have cited him as an influence, and he is also credited with having influenced techno music. Stockhausen sparked controversy in 2001, when he described the Sept. 11, 2001, attacks in the United States as ''the greatest work of art one can imagine'' during a news conference in the northern German city of Hamburg, where several of the suicide pilots had lived. The composer later apologized, but the city still canceled performances of his concerts. Stockhausen was born in the village of Moedrath near Cologne in western Germany on Aug. 22, 1928. His father was killed in World War II and his mother also died, leaving him orphaned as a teenager. After completing his studies in musicology, philosophy and German literature at the University of Cologne, he went on to study under composer Olivier Messiaen in Paris from 1952 to 1953, where he also met his French contemporary Pierre Boulez. Stockhausen wrote more than 280 works, including more than 140 pieces of electronic or electro-acoustic music and brought out more than 100 different albums. He was known for conducting nearly all of the premiere performances of his works. The composer is survived by six children from two marriages. Services were not immediately announced.

Same here, I've been doing a bit of that for a few months. So... listen to all those boots I downloaded. listen to more of my collection. once my work situation is more stable, hire a bass player to jam with, maybe possible gigs. write that next string quartet. There isn't anything I really want to check out. Maybe some more late 20th Century classical composers, more funny rat euro improv., more jazz gtr....maybe there is something I really want to check out!

dang...I should get this!

Sad news, caught me off guard. RIP.

7/4, do you always have to be such a pathetic asshole! I will also will miss your wisdom Brownie. edit: one minute you're posting a photo of a dead person, then you're calling me an asshole. you're too cool dude, rock on!

A great reason to go to the library this afternoon.

now there's a nice avatar for someDANone...

Another show I had to miss this season.

Yes to the Enclosures, book (1st edition), video. And I have a bunch of vinyl, but no Gate 5s. The first round of CRIs also. It's an interesting reference, but my tuning influence comes from more of a Hindustani and minimalism direction. I've heard NewBand & others perform Partch many times. I've thought about building a Harmonic Cannon, but I just don't have room for it now...

December 7, 2007 Music Review | Bill Frisell, Ron Carter and Paul Motian Three Stars Embracing One Sun-Warped Vision By NATE CHINEN, NY Times The problem with most all-star aggregations is a clash of competing egos or mismatched agendas. Not so with the trio appearing at the Blue Note this week. Composed of the guitarist Bill Frisell, the bassist Ron Carter and the drummer Paul Motian, this is an all-star group that inhabits an atmosphere of accord. Instead of sparks it emits a soft, warm glow. This reflects the aesthetic of Mr. Frisell, who functions here as the first among equals. In performance on Wednesday night, he coaxed themes forward with a gentle nudge. Several of his compositions turned up in the set list, including a calmly beautiful, deceptively simple étude called “Throughout.” Even the choice of nonoriginals hewed to his usual ideal: a sun-warped dream vision of the American heartland, with unostentatious jazz inflections. There’s a strategy of willful primitivism in modern jazz — or maybe it’s resourceful naïveté — that Mr. Frisell shares with Mr. Motian. (They have history together, notably in a longstanding trio with the tenor saxophonist Joe Lovano.) It’s not a model one associates with Mr. Carter, who exudes steadfast skill and erudition. So naturally there was some light tension in the set, notably on “Monroe,” a country waltz by Mr. Frisell. Approaching what amounted to a drone, Mr. Carter fashioned a row of nimble patterns and spidery runs. The only way this filigree would have been more impressive is if it had better suited the song. Elsewhere in the set, though, Mr. Carter sounded at home. Often he struck an alliance with Mr. Frisell, clamping down on a groove. Their coziness with the sauntering pace of “You Are My Sunshine” provoked Mr. Motian’s stubbornly contrarian side: using brushes, a hi-hat and an unrelated shadow tempo, he created the impression of an errant transistor radio playing softly in another part of the room. At other moments the group interaction was more conventional, with bass and drums advancing the action. “Eighty-One,” a piece by Mr. Carter dating to his tenure with Miles Davis (who shares a composer credit), conveyed this straightforward cohesion. So did a medium-brisk rendition of “On the Street Where You Live,” though Mr. Carter sat out the verses at first, letting his colleagues tease and peck their way through. Still, the general vibe was more respectful than playful, which made sense. The musicians were performing as a trio for the first time since they made “Bill Frisell, Ron Carter, Paul Motian,” an album issued last year on Nonesuch. The music on the album is handsome, well mannered and a bit sleepy, and those qualities are largely on display again this week. But on “Introduction,” a sparsely hazy tone poem by Mr. Motian, and then again on “Raise Four,” a tritone-oriented blues by Thelonious Monk, the trio flirted with a simmering intensity. Those were the last two numbers, and they carried the tantalizing suggestion that everything before them — the album along with the rest of the set — had merely been preparatory. With any luck, and some effort, the engagement can still bear that out. Bill Frisell, Ron Carter and Paul Motian continue through Sunday at the Blue Note, 131 West Third Street, West Village; (212) 475-8592, bluenote.net.

I think we voted that no a while back. I wouldn't mind...

They're invited to my place for the holidays.

Perhaps it's going to the dogs... Evelyn, a modified dog Viewed the quivering fringe of a special doily Draped across the piano, with some surprise In the darkened room Where the chairs dismayed And the horrible curtains Muffled the rain She could hardly believe her eyes A curious breeze A garlic breath Which sounded like a snore Somewhere near the Steinway (or even from within) Had caused the doily fringe to waft & tremble in the gloom Evelyn, a dog, having undergone Further modification Pondered the significance of short-person behavior In pedal-depressed panchromatic resonance And other highly ambient domains... Arf she said

Now it suddenly works.

Oldfield is looking a bit grey these days.

This post is too political for me. It's in the wrong forum.

Someone has to hold down the fort when they have better things to do with their time.

I knew it...can't take you anywhere.