T.D.

I think Eddie Condon's was, too, but they may have been on 54th St. by then! I dimly remember going to both Ryan's and Condon's (at least one for sure ); they were practically next door to each other iirc. I definitely recall Max Kaminsky hawking his LPs at the back of one of the clubs. As a NYC tourist in the late '70s-early '80s, I might have been naive, but regarded the 54th St. survivors as the last of "52nd St.". I believe "52nd St. loosely interpreted" ended for good when a big new building went up in 1983 (?) and the (brownstone) bldgs housing the remaining clubs on 54th were demolished (as happened on 52nd in 1962, see Wiki citation below). [Added] Condon's opens @ 144 W 54 in 1975 1976 article on Ryan's, which moved to 154 W 54 in 1963. According to Wikipedia, "52nd St." proper seems to have ended in 1962, though I'm never 100% sure of Wiki assertions.

If you go the Berkshire route, I recommend avoiding the Joanna MacGregor recording. Back when I more actively explored modern classical music, I purchased several of her recordings (other composers, granted) and disliked them all...

I bought the Austbo when it was a newish release. Found it good enough to not pursue alternatives, but I'm not a Messiaen enthusiast (20 Regards... and Quartet for the End of Time are my favorite pieces of his, fwiw). Serkin's recording seems well-regarded and is probably very good. If I was to explore alternatives (not likely at present), I'd want to hear Loriod on Erato (for historical reasons) and Aimard on Teldec (I trust him in modern repertory). Steven Osborne on Hyperion got some excellent reviews, but I don't know enough about him to comment.

Liked their recording of #s 6,7 and 8 (OK, could have done without the short vocal addendum, but it was in memoriam Salvatore Martirano). Enjoyed the music, and the performances are (as far as I can ascertain) excellent, so decided to complete the set. Won't receive these for a while, as I ordered from European Amazon resellers.

Yeah, while I was typing I got an alert that you had replied, but didn't bother to read it. I can't see a way to delete my post.

RIP. I wonder if he was related to the Dutch electronic music composer (among other things) Dick_Raaymakers .

Bit late to the party with this. Reads somewhat like a collection of expanded magazine articles (which I think it is), but pretty darn good, though absolutely terrifying IMO. Further comments suppressed due to potential political content. Disclosure: I've read most of Lewis's books, and we worked at the same firm back in the Liar's Poker days.

Discs 1 and 2 so far. Surprised she's not more popular. I grant that she takes some interpretive liberties, but have always enjoyed her playing.

My collection is too heavy on EMI recordings with von Karajan ("Fluffy" as they used to call him on rec.music.classical.recordings ) and Schwarzkopf. Years ago I paid too much attention to Gramophone and the Penguin Guide. But I don't listen often enough to justify getting duplicate recordings...

The Paris Transatlantic and NewMusicBox interviews are great. I just spun the old Stanford Qt. recording of Johnston's SQ #9 and it's pretty darn good, much less "thorny" than I wrongly recalled.

https://www.economist.com/christmas-specials/2018/12/18/sacred-choral-music-touches-on-deep-religious-moral-and-political-questions

Ditto the on Henry. The Hazeltine Horace tribute looks interesting!

Long-time microtonal (just intonation) American composer. His string quartet cycle has waited a long time for a full recording, recently done by the Kepler Qt . on New World. There are a few recordings on other American labels. Best introduction is probably the disc "Ponder Nothing" of chamber music (my father loves this album(!), which is very "accessible"). The entire 9th quartet is on a Laurel disc by Stanford Qt. I haven't listened in a long time, but recall it as pretty thorny. The 4th "Amazing Grace" was recorded by Kronos on "White Man Sleeps"; I'm not a big Kronos fan so reserve judgment. A vocal piece "Letter from Calamity Jane..." on the CRI "Urban Diva" disc by Dora Ohrenstein. There's a "Microtonal Piano" disc by Phillip Bush on Koch which is interesting but sounds a bit "plink-plonk" in places (probably the serial Sonata) iirc. Not clear that I'll love the quartet cycle, but it's a "major event" in the microtonal sector, so I ought to give it a spin. Quite a few good interviews out there, for instance: http://www.paristransatlantic.com/magazine/interviews/johnston.html https://nmbx.newmusicusa.org/a-conversation-with-ben-johnston/ https://www.npr.org/sections/deceptivecadence/2016/12/31/507542859/ben-johnston-hears-the-notes-between-the-notes

Typing "haba" into the Berkshire search function yields 50 hits, two of which feature Alois's compositions. The vast majority involve "habanera".

Thanks. Meaning was clear enough from context. I'm curious about the etymology.

Interesting. I'm currently reading a book (Dameronia by Paul Combs) that frequently uses "contrafact". He's an academic and the book is published by U. of California Press. My dictionary (New Shorter OED) has "contrafactum" but not "contrafact", so I assume the latter is a relatively new term. I'd like to consult the OED, but don't own a copy and it's not available online. The Wiki entry says "not to be confused with contrafactum", so I have some doubt that the jazz term derives from the classical one.

Cool. I put the set in my Berkshire cart for future purchase, but it went out of stock. Really enjoyed the clips I sampled. There's a newer set (mentioned above) performed by the Haba Quartet, but I may instead try Ben Johnston's quartet cycle, 3 fairly recent CDs by the Kepler Quartet on New World. Johnston's quartets are (as I understand it) in "just intonation" and more "integrally" microtonal. I've heard a reasonable amount of Johnston's music, but only one quartet so far.

Only recording I have is the Karajan (going back to the days when I paid attention to Gramophone, the Penguin Guide and the like ) which I never cared for. If I were to pursue more recordings (which is unlikely in the near future), I'd consider Mackerras (great Mozartean conductor, don't know about the cast) on Telarc, used copies cheap at Amazon. Would also consider period instrument versions, but no names jump to mind (I never fully bought in to the Gardiner mystique, for instance).

Larry, it's all vague. p.10: "...I met ...Woody Shaw and we began a relationship. In 1978...[Woody III] was born...Woody Shaw and I lived together for a short time, but things didn't work out between us and we ended our relationship in 1983. Things had changed for Dexter around his [60th] birthday [2/23/83] that year [1983] when we had a big party at the Village Vanguard. We agreed to end the business relationship, live together, and as he again put it, try to have a 'normal life'." The later chapter Homecoming is promised to elaborate on "...how I met Dexter and how we planned his return together, opened an office, and began a life together", but furnishes few personal details. There is ample evidence that Dexter and Shaw had a good relationship at least through 1980: "Woody Shaw was the one who got the interest in Dexter's return going" (1975? 1976? p.170); "That was when Woody Shaw stepped in. He told Dexter not to worry; he would get a band for him...Woody and I started a relationship...and were living together by the time Dexter came back in 1976" (p.173); account of Dexter recording Sophisticated Giant with Shaw (1977; p. 183); Woody III born (10/12/78; p. 185); account of Dexter recording Gotham City with Shaw (1980; p. 186); reprise of the 2/23/83 birthday party decision (p. 188). Basically nothing on how/why the Shaw relationship ended and how the Dexter relationship moved from business to personal. Maxine must have moved in with Dexter very shortly after ending the relationship with Shaw, so I am inclined to agree with you that there's a story to be told. But Sophisticated Giant doesn't tell that particular story...I still like the book, though.