Chalupa

http://www.philly.com/dailynews/obituaries...ng_barkeep.html I just saw him last week at the monthly Bobby Zankel gig. He looked fine. He was always a little "portly" but damn 40 is WAY too young for a heart attack.

Apparently the PayPal link is not working at the moment. I wrote to them and I got a reply saying that you can send payment via PayPal using "orders@boweavilrecordings.com" (minus the quotes). One small correction - they are only taking pre-orders right now. The CDs/LPs should ship in early May.

Is the listing up anywhere? http://www.boweavilrecordings.com/Weavil_24.html Apparently the PayPal link is not working at the moment. I wrote to them and I got a reply saying that if you can send payment via PayPal using "orders@boweavilrecordings.com" (minus the quotes). One small correction. They are taking pre-orders right now. The CDs/LPs should ship in early May.

Crap!! That's the same night as my son's 3rd birthday.

FYI - Black Ark has been re-issued.

Check it out!!!! http://www.boweavilrecordings.com/Weavil_24.html

Allen, the cd arrived safe and sound. Thanks.

1-6.

Phillies 1-5.

Yes, and I would add the Waltzes (Op.39). I've listened/played(badly) them so many times they are part of my DNA now. The Horn Trio and the Violin Sonatas are essential too.

I love "Girl Don't Tell Me".

The Phils are 0-3. Getting harder not to panic.

Today's Game Between Toronto And Detroit Has Been Postponed Due To Cold Weather. The Game Has Been Rescheduled For September 10th At 7:05 P.m. EDT. WTF??? How cold is it in Detroit today??

Try losing the first two at home. I'm trying not to panic. How about the defending world champs? 0-3 at home, and with their starting pitching even more iffy with the ace on the shelf for at least one start. That's bad, no doubt. However, the phrase "defending world champs" lessens the sting. The Phillies have one championship in 124 seasons. One. And that happened in 1980. This city hasn't had a championship celebration since the Sixers in 1983. So would I trade"0-3 at home, and with their starting pitching even more iffy with the ace on the shelf for at least one start" for "losing the first two at home"??? In a heartbeat.

Try losing the first two at home. I'm trying not to panic.

http://www.neatorama.com/2007/04/02/problem-solving/

Re:Tatum's hit. At the time it was a legal hit but I think if he did it today he would be getting a serious fine. Regardless, the thing that bugged me about the whole incident, besides Stingley's paralysis, was that Tatum never spoke to Stingley afterwards. I don't know if an apology was needed but I think he could have reached out, as one fellow human being to another, and tried to show some sympathy to Stingley. He never did. On the contrary he started referring to himself as "The Assassin".

That sounds like a great show. I have Jackie-O-Motherfucker's Flags of the Sacred Harp which I really like.

Something else to consider RE: My Space. It's owned by Rupert Murdoch's Fox corporation.

Anyone heard this??? Brotherhood Of Breath Philharmonie, Berlin, Germany November 04, 1971 Lineup: Harry Beckett Marc Charig Malcolm Griffith Nick Evans Dudu Pukwana Mike Osborne Alan Skidmore Gary Windo Chris McGregor Harry Miller Louis Moholo

Here's Friday night's schedule Vision Festival XII - Friday, June 22 7:00pm - 50 Violins for Leroy Jenkins 7:30pm - Matthew Shipp Solo Piano 8:30pm - Roy Campbell's Ahkenaten Suite 9:30pm - "A State of Mind" by Patricia Nicholson 10:15pm - Fred Anderson Trio 11:15pm - Leroy Jenkins Memorial Band

He's scheduled to close this year's Vision Fest on Sunday, June 24. http://www.brownpapertickets.com/event/10482

Just wondering the same thing

Giving this one a listen this afternoon.....

I got this in an email this morning.... Anthony Braxton lunch on March 31, 2007, at noon, at BenAsh Deli on 7th Avenue and 55th Street. by Don Phipps The following details the "no holds barred" discussion about music, culture, and events with Anthony Braxton on March 31, 2007 at a luncheon held in his honor by members of the Anthony Braxton Yahoo User Group at BenAsh Deli on 7th Avenue and 55th Street, New York City. The event was affiliated with Anthony's performance at the Iridium night club in the Times Square area of New York. In attendance were several members of the Anthony Braxton Yahoo User Group, including Jonathan Piper, Jason Guthartz, John Sharpe, and Timo Hoyer. He began by expressing his gratitude towards the many people on our group that are interested in and follow his music. As he discussed his music, his past, his thoughts on contemporary culture, and his plans for the future, Anthony spoke with grace and humility, especially given his stature as a musical genius. The group peppered him with a number of questions which he patiently answered, and were rewarded by a revelation of his future work, an interactive bringing together of multiple art disciplines, the Echo Echo Mirror House music and the reasons for it (discussed below). He responded to a question about his upcoming concerts with Cecil Taylor by saying he is playing three concerts (these have still NOT been confirmed) with Cecil, two in Bologna, Italy (October 11 and 13) - a duo and a quartet (Tony Oxley will be the drummer but he could not say with certainty who the bass player would be), and a single concert in London on July 8 - a quartet (Tony Oxley again the drummer, bass player yet to be determined). He also said that he and Cecil had never played together, even though they hung out together at Antioch College during the 70s. He spoke of his personal history. For example, in 1970, he said he left Chicago for New York, driving to the Big Apple with a small group of musicians, which included Amina Claudine Meyers, Ajaramu, and Billy Hart. When he arrived in New York, he said he stayed with Leroy Jenkins as he had only $50 in his pocket. He told the group that his influences included Stockhausen, of which he said, "even the pieces I don't like, I love!" He said he was overjoyed and insanely jealous to find that a friend had the complete recorded works of Stockhausen. He said Stockhausen will someday be honored in the same way many honor Wagner. He gushed about Wagner, who he said was "more significant than purely intellectual modeling." Wagner, he said, was "holistic," and Wagner's music "helped us to understand the music of the future." He admitted that as a young man he hated opera, but mentioned that he now considered the operas of Wagner and Shostakovich' s "The Nose" as significant works of art. He said he believes that Wagner is "the most important music I've ever listened to," and said it represented the beginning of the modern era of music. "I rejoice in Wagner," he stated unabashedly. In discussing musical systems, he pointed to Scriabin, who was on the verge of a composite system and Shostakovich, who he said was building an opera system with "The Nose" that rivaled Wagner. He said he recently played in Milan with Hamid Drake and William Parker. He also played last week with Barry Altschul at Wesleyan University. Of Hamid, he said he had known him for 20 years and was familiar with Hamid's work in Chicago (back then, Hamid primarily played the bongos), but the Milan concert was the first time he had played with him since then. He confessed that there were many others he would like to play with, citing Milford Graves, Bill Dixon, Sal Mosca and of course Cecil Taylor. But, he felt pressure given the finite time anyone has to enjoy life. "Time is running out," he said, and he needed to spend the majority of his time on his projects and his music. His major thrust in the future would be composing and performing his own music. He discussed his Ghost Trance Music (GTM), which he said requires 12 musicians to realize fully the quadrant potentials. He said that unlike his previous systems that were built on "abstract logic and the beauty of mathematics, " GTM had a spiritual component. Trance music, he explained, was about the relationship between music and spirituality and reached a "different plain of methodology, " beyond the 12 methodologies and syntax he had used previously. He said that the "ghost" in GTM represented known and unknown influences. Returning to Wagner, he said Wagner was a form of trance music, and he used the words "dream space time" to describe Wagner's version of ghost trance. He discussed his admiration for his student performers and looked for ways to get them to improvise within the GTM system, a system he said was "multi-hierarchical ." He said his role in GTM was to define the primary composition but that once the music was underway, there were options of reconfiguration open to the musicians. And he said he encouraged a kind of a healthy competition between segments of the septet by telling his youthful colleagues to take the music in new directions or he would. He said that this was not unlike Charles Mingus, who pushed his musicians to reach new heights. While he remained concerned about the wars in Iraq and Afghanistan (he believes the war in Iraq could be the single biggest mistake in the history of the United States), he said he does not write music that reacts to contemporary issues. He did agree that others had used music to react to their times, for example, Shostakovich and Xenakis to name two. He mentioned the civil rights movement as something that affected him personally but whose issues did not inspire his music. He said musically he was "not interested in ethnic affirmation" or a commentary on his time space. He believed that in the future, there would be a Wagnerian cross collaboration of artists of all disciplines (visual art, dance, and writing) with music and suggested that these cross disciplines would play a role in his new area of interest, the Echo Echo Mirror House music, which will use interactive video and electronics to create a holistic form of composition. He suggested again that this "goes back to Wagner." He surprised us with his list of early influences, which included Bill Haley and the Comets (as a kid, his reaction to this music was "it doesn't get any better than this") and the Dave Brubeck Quartet, specially the play of Paul Desmond, which he said "blew him away." He recalled the first time he played the Dave Brubeck Quartet and listened to Paul Desmond on the standard "All the Things You Are." In his youth, he said he was put off by John Coltrane's abstractions and wondered, "Why can't he play like Paul Desmond?" He also mentioned that he would argue with his childhood friend (and fellow musician) Thurman (T-bird) Barker over who was better, Paul Desmond, or Thurman's choice Eddie Harris. Going back to Cecil, he said that Cecil finally admitted to the influences of Lennie Tristano and Dave Brubeck on his playing. He said that Cecil's reluctance to admit these influences were the result of the nationalism that evolved in the African American community of the 60s and early 70s. He said that his music was "not black enough" for Cecil but that Cecil had changed his mind when he ran into musicians in New Orleans who said Cecil's music was not black enough for them. He admitted that there were culture wars in Black music today, especially as he discussed the attitudes of those like Wynton Marsalis, who control the agenda for Lincoln Center. He described these gatekeepers as "African American elites," who he said came to power in the "jazz purges" of African American musicians in the 1980s. As a result, he said, he was extremely grateful to the Europeans, who at that time, "took me in and gave me the opportunity to perform." Likewise, he said Max Roach saved him in the late 70s by agreeing to do the double album with him. He said at the time it was released his critics had basically written him off and it was Max that came to his rescue, i.e., stuck up for him against those musicians that were willing to turn their back on his efforts. He discussed the role of Albert Ayler and why he uses the phrase "post-Ayler" to describe music. He said "Albert Ayler's music summarized everything that was happening in the sixties," and that jazz's contribution to music at that time was "collective improvisation. " During the 80s though, he said that jazz was boxed into a narrow canyon of "swing.' "Doesn't swing" was a means of excluding him and other musicians from the American stage. He said that to the gatekeepers, Ayler was not jazz. He went on to say that it all fell back on cultural myths like "African people have more rhythm; Europeans have more brain power but they don't have rhythm." The "land of Black," he said, "starts there (with rhythm) and ends there (with rhythm)." And he said this affects music right up to the present day. He said the current music scene was stalled within the African American community itself. "Iconic devices (like rhythm) have become a trap to keep other influences out." He told how Bill Cosby, one of the gatekeepers, had emailed his agent to ask him to participate as a session musician in a band Cosby had organized for the Playboy Jazz Festival). He described how bitter he was towards Cosby's use of his name in his TV show. He said that on the show, the son Teo, was looking for drugs and the pusher was named Anthony Braxton. He (like anyone else) took great offense to this. He also suggested that the Lincoln Center crowd was nothing more than a cultural gatekeeper which filled the antebellum role of "house negro," the ones who would report the goings on of the "field negro" to the masters of the plantation. He said that while Wynton Marsalis and Stanley Crouch should be commended for their work in bringing Ellington to the schools of America, he said the AACM would've done likewise if they had had the funds. But, he said that these gatekeepers had used money and power to exclude music that "doesn't swing" or is "not black enough" and to, using a Noam Chomsky expression, "marginalize" musicians like him. He rejected outright any nationalist thinking that "African equals good; Europe equals bad." He cited his love of technology and encouraged its use in the music of the future. He jokingly blamed Yahoo group member Jason Guthartz for his exploration of "galactic pieces." He said he was in a good place now. And finally, he called his contrabass saxophone, "Big Mac." This was our afternoon lunch discussion with the master Anthony Braxton. There was more that he said, but my limitations as a journalist, especially without a tape player, are probably evident. But I did want to give the group a feeling for the scope of the discussion. I hope I've been able to do that. John Sharpe recorded some of the discussion and may post excerpts. and from the roval festival hall: Royal Festival Hall Cecil Taylor Quartet featuring Anthony Braxton plus support Sunday 8 July 2007, 7:30 P.M. Piano genius Cecil Taylor, alongside Ornette Coleman, is acknowledged as one of the major innovators of the 'Free Jazz' movement of the late 1950s. After nearly 50 years, this pianist, composer and poet remains one of the most controversial figures in jazz - continuing, in his 77th year, to compose, write and tour. At a time in his career when most artists of his stature could sustain themselves with a victory lap of regurgitating the past or to slip into silent retirement, Taylor continues to push new boundaries with his art. For this concert, Cecil Taylor will be reunited with percussionist Tony Oxley on drums, William Parker on bass, and will play, for the very first time, with master saxophonist Anthony Braxton.