7/4

That's mostly the market. Anything else is Manny's fault.

trendy cheesy bars.

Terry Riley list

JOHN ABERCROMBIE The Third Quartet (ECM) The guitarist John Abercrombie has explored a number of stylistic regions throughout his long association with the ECM label, but with one aesthetic constant: an open and uncluttered lyricism. In recent years he has carried that quality over to a quartet with the violinist Mark Feldman, the bassist Marc Johnson and the drummer Joey Baron. The group, which will be playing at Birdland in Manhattan from April 11 to 14, has now released three albums together, each one stronger than the last. Its new release, “The Third Quartet,” includes a waltz, a bossa nova and some bracing post-bop churners, along with ballad performances that convey both the intricacy of chamber music and the patient pliability of folk songs. All the music is Mr. Abercrombie’s, with the exception of a pair of obscurities from the jazz repertory — an exuberant “Round Trip” by Ornette Coleman, and an introverted “Epilogue” by Bill Evans — that suggest two divergent spheres of influence. Each musician in the band pulls his weight: Mr. Johnson and Mr. Baron are a powerfully intuitive rhythm team, and Mr. Feldman, with his plangent style, often commands attention. But the world they inhabit has been clearly defined by Mr. Abercrombie, who closes the album with “Fine,” an acoustic duet with an overdubbed version of himself. NATE CHINEN **************************************** Round Trip isn't exactly an obscure tune!

Sunday.

download my string quartet as beautiful as a crescent of a new moon on a cloudless spring evening as performed by Christina Fong from itunes. just enter my last name -> beardsley

collection? I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. Sale you say?

I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. I don't need to know this. No tax, eh?

See folks? I wasn't over doing it. If you do have to hold a conversation with Manny, be sure to tell him how ugly the pre-Y2K DMG web pages are and how it's about time he do something about how they look.

Because they seem to need marrage counseling? Bruce, the slender guy, is the owner. At some point, he gave Manny, the fat loud guy, a job and started calling him his partner. I have no idea how much a partner Manny is. If he talks when you're in the store, ignore him. If you see him on the street, cross and start running in the other direction. Homeland security keeps visiting and asking if I know him.

and we'd be home by now.

It deserves a spin here too. It's been a while since I watched it. It's a great video, but I wish they hadn't added the cheesy video effects - it looks like the producer was learning his editing program as he went along. That's exactly what happened. First day with a new camera. Whoops - were you the camera man? No, no, no. I know the owner of the store, so I know the story. You are the not the first one to complain.

It deserves a spin here too. It's been a while since I watched it. It's a great video, but I wish they hadn't added the cheesy video effects - it looks like the producer was learning his editing program as he went along. That's exactly what happened. First day with a new camera.

It deserves a spin here too. It's been a while since I watched it.

there's a lot of them around the Village. after all, it is the Village.

Laswell plays the A Love Supreme riff at the end... I make a similar cameo in the beginning of the Derek Bailey Playing for Friends on 5th Street DVD. edit: that's me on the left with the glasses.

maybe he had someone tied up in a back room.

The Wire 278, April 2007 Exclusive web only feature by Julian Cowley Photo: Steve Jaffe Terry Riley Happy Endings The minimalist composer discusses his film soundtracks. By Julian Cowley "I never did have a desire to write film music, says Californian minimalist composer Terry Riley. "But people approached me." The initial approach came in 1972. "I was living in India at that time," he recalls, "studying vocal music with Pandit Pran Nath. Director Joël Santoni called from Paris and said he was making a film and he thought my music would work well with it." Riley flew to France at the end of March that year and recorded the soundtrack for Les Yeux Fermés (The Eyes Closed) at Strawberry Studio, a converted chateau near Paris favoured during the early 1970s by fashionable figures such as Elton John and David Bowie. The vinyl release that transpired from that session was called Happy Ending. It's long been a sought-after rarity and now, following rediscovery of the original master tapes, it's being reissued on CD by Tom Welsh's Elision Fields label, together with Riley's soundtrack to Alexander Whitelaw's 1975 movie Le Secret De La Vie (Lifespan). In each case the director had been captivated by Riley's "A Rainbow In Curved Air" and "Poppy Nogood And The Phantom Band", paired in 1969 on a Columbia LP. In both instances a version of the film had been made using extracts from that pre-existing music and Riley had been shown those versions prior to entering the studio. "I wasn't involved in any other way in the production process but I knew what their atmosphere was," he recalls. Happy Ending comprises two side-long pieces: the title track and "Journey From A Death Of A Friend". Riley multi-tracked, played piano, electronic keyboard and soprano saxophone with delay. Less psychedelically brilliant and a little more homespun than A Rainbow In Curved Air, it's nonetheless cut from the same cloth, hypnotically repetitive yet energized by an improvisatory openness reminiscent of ragas and of modal jazz. Les Yeux Fermés has lapsed into cinematic obscurity. It involves a duel between friends, a suicide and a character who feigns blindness with unexpected consequences. "It's a very static film, with not a lot going on," Riley remarks. "The last 20 minutes or so is a single shot. But it's a very interesting film psychologically. I think if it were revived it would achieve cult status. Once when I played in Japan it was shown there and was very well received." Le Secret De La Vie has recently been resuscitated on DVD, generating interest in part because the cast includes legendary German actor Klaus Kinski. "It's another suicide film," Riley points out with an ironic laugh. The twist in this tale is that the victim is a scientist who claims he has discovered the secret of eternal life. He takes his life while attending a conference in Amsterdam and the story then investigates that paradoxical action. "It has a strange cartoon like quality," Riley observes. "All the actors' voices are dubbed - even though they were speaking English. Sandy Whitelaw had worked previously as an engineer dubbing soundtracks and voiceovers. It was made on a low budget; he filmed scenes of ordinary people in Amsterdam... with Kinski wandering amongst them." Riley flew from California to Holland to record the music for Whitelaw's film. As before he approached the project as essentially the making of a self-sufficient album - with more available studio time than he was accustomed to. Although his compositions were designed to enhance mood they were not tailored to the visual dimension in a narrowly programmatic way. The issued disc has six tracks, Riley playing keyboards and saxophone and singing too on the moody and mesmeric "In The Summer". There's also the solo original of his alluring "G. Song", which recurred with variations on Cadenza On The Night Plain (GRAMAVISION CD), a 1984 collaboration with The Kronos Quartet. In 1984, in Geneva on a concert tour, Riley and sitar player Krishna Bhatt were approached by Swiss director Alain Tanner who asked them to record versions of some of the music they were then performing as a creative starting point for a film he was planning. They provided the impetus and colouration Tanner required and the glistening, pulsating music for No Man's Land documents another stage in the flux of influence and invention that makes Riley's music so suggestive and exhilarating. At the end of the 1990s Gary Todd's Cortical Foundation retrieved some fascinating archival material of Riley music from the early 1960s, derived in part the composer confides from "stuff sitting out in the barn. The rats had eaten part of it and I was going to throw it away. I was sceptical at first but after Gary did it I felt it there was actually a case for it." Now after protracted research and negotiation Tom Welsh's re-issue shifts attention to Riley's 1970s output. Completists may have noted that Riley is credited with supplying music for Michel Polac's 1973 film La Chute D'Un Corps (The Fall Of A Body) but although selections from his earlier work were used he wasn't invited to contribute anything new to that project. There is, however, one more original soundtrack that remains tantalisingly unavailable at present. In 1958 a five minute long documentary called Polyester Moon celebrated the work of sculptor Claire Falkenstein. Photographed by Anthony Denny, its improvised soundtrack featured Riley playing piano, Pauline Oliveros on French horn and Loren Rush on koto. Nearly half a century later, Riley keeps his music current. In May 2007 he will be performing live at festivals in Scotland and Ireland. By Julian Cowley _____ This was an article published online only in addition to the cover feature on Terry Riley from issue #278 April 2007 © 2007 The Wire. http://www.thewire.co.uk/

... but that would be a topic for another thread. .as would pianoless piano trios ..and trios that are not trios.

Amen. Where's the donuts?

I can breathe now.

March 31, 2007 Avant-Garde Music Loses a Lower Manhattan Home By BEN SISARIO The New York music scene can usually absorb the loss of one club or another without too much difficulty. If one shuts down, another will open pretty soon. But when the Lower East Side club Tonic closes after a performance by John Zorn on April 13, it will be an especially hard blow. For nine years, this tiny room on Norfolk Street, in the former home of the Kedem kosher winery, has been the focal point of the downtown avant-garde scene, with an eclectic booking policy bridging jazz, noise-rock, folk and all sorts of unclassifiable styles. “Tonic was the last bastion in Manhattan of live, creative music,” said Steven Bernstein, a trumpeter whose bands Sex Mob and the Millennial Territory Orchestra have been fixtures there. As gentrification has spread through the Lower East Side, Tonic has felt the pinch. Gleaming new apartment high-rises have gone up on either side of the club, and recent raids by the authorities closed its downstairs bar, cutting off a critical source of revenue. “We just can’t make enough money there,” said Melissa Caruso-Scott, one of the owners. “We’re just looking to break even, and once it became clear that we couldn’t do that, it became obvious that we had to put an end to it.” Rent was about $10,000 a month but the club has not been able to pay it for months, she said. Tonic’s story is familiar. Last fall CBGB shut down after a longstanding dispute with its landlord, and tomorrow Sin-é, three blocks east of Tonic on Attorney Street and faced with similar real estate woes, will have its last concert. When it opened in March 1998, Tonic quickly became a favorite of musicians and a prestigious standout on any tour itinerary. Among the acts who have played there over the years are Cat Power, Sonic Youth, Yoko Ono, Cecil Taylor, Dave Douglas, Norah Jones and the band Medeski Martin & Wood. “It was always just the most comfortable, most artist-centric venue that we played,” said John Colpitts, a k a Kid Millions, the drummer of the Brooklyn band Oneida, which played Tonic last Saturday. Tonic will continue to present concerts elsewhere, including the Abrons Arts Center on Grand Street. And experimental music has other homes, including several new spots in Brooklyn as well as the Stone, an even tinier room on Avenue C and Second Street that Mr. Zorn opened two years ago. But the slow disappearance of such clubs in Lower Manhattan has not been lost on Mr. Bernstein. “My band closes some of the biggest festivals in Europe,” he said. “Meanwhile there’s only one club I can play in New York and it’s about to close.”

Y'all try that with a Cockney cabbie in London! [i did. First time I was in London, I got a cab and said "How much?", and I paid him the amount he said. "That's wivart the tip, Guv!", I was angrily told. Really, I had no idea that you had to tip a cab driver.] Don't you Americanz tip cab drivers? I was only in a taxi in America once, and I tipped him. MG We should...I do.