Adam

From a friend: Here's the exhibition catalog: http://www.press.uchicago.edu/presssite/me...;bookkey=227185 Another good book edited by Corbett: http://www.amazon.com/Wisdom-Sun-Polemical...r/dp/0945323077 Interesting symposium they had in connection w/the exhibit in Chicago http://www.hydeparkart.org/4833/symposium/ And a link to the ICA's Sun Ra info: http://www.icaphila.org/exhibitions/sunra.php

I've heard that he is not well. From pretty close sources. His son moved Horace out of his home in Malibu back to the New York area and he might be in a nursing care situation. The last time I saw him, at Catalina's a couple of years ago, he was in a wheelchair and lucid, but things have gotten worse.

I'm paying attention. Nice to joke now, but it is a real issue. Although they said that the person that Obama met didn't die of this, but had long-term health issues and died of pneumonia. But among the concerns: - People not extremely young or old are dying (like Spanish influenza) - Mexico City, a global hub city, is key distribution site - No known vaccine However, no one I believe has yet died in the US, indicating that more rapid medical attention to those who are sick can be effective. And flu prophylactics like Tamiflu.

Just received this: Dear Friend, April 24th release has left the CD-factory: hatOLOGY 683 Ellery Eskelin : On Great Night...Live ( n e w ) Ellery Eskelin –tenor saxophone Andrea Parkins –accordion, electric piano, organ, laptop sampler & grand piano Jim Black –drums & percussion Total Time DDD 69:13 Barcode 752156068327 A live concert recording at Towson University, Baltimore on December 9th, 2007. Throughout this set, Eskelin, Parkins, and Black are completely at ease with the core material… Over the years these three have grown into a unit that can bristle and wail; pick up on a melody and swing; or stretch out to whispering textures and scrubbed flutters. The magic is how they string this all together as a seamless whole with careful listening and poised reflexes. That’s been one of the ongoing joys of listening to this trio. Its all about hearing how they have worked together to forge an ensemble sound and then checking in during each ensuing tour or release to find out how they’ve built on that foundation. That dynamism is in full force here. We’re fortunate that the tapes were rolling this “one great evening…” – Michael Rosenstein Concert enregistré en direct à la Towson University de Baltimore le 9 décembre 2007. Tout au long de cet album, Eskelin, Parkins et Black se montrent totalement à l'aise avec le matériau de base... Au fil des ans, le trio s’est affirmé comme une formation capable d’opter pour un beat touffu et tonitruant ou de choisir une ligne mélodique qui se met à swinguer, ou encore d’étirer la matière sonore jusqu’à des dissonances et abstractions harmoniques. La magie réside dans la façon dont les musiciens, par leur écoute attentive et leurs réflexes pleins d’assurance, alignent ces séquences en un tout continu. Un plaisir qui ne se dément jamais à l’écoute de ce trio. Tout se résume à entendre la manière dont ils ont travaillé dés l’origine pour créer un son d’ensemble, puis à comprendre, à chaque tour ou sortie d’album qui s’ensuit, comment ils ont construit sur cette base. La dynamique fonctionne à plein ici. Une chance pour nous que les bandes tournaient durant cette «soirée de jazz exceptionnelle... » – Michael Rosenstein Live-Mitschnitt eines Konzertes in der Towson University, Baltimore, am 9. Dezember 2007. Während des ganzen Sets fühlen sich Eskelin, Parkins und Black überaus wohl mit dem musikalischen Ausgangsmaterial … Die drei sind über die Jahre zu einer Einheit zusammen- gewachsen, können sich widerspenstig geben und laut klagen, eine Melodie aufgreifen und swingen, ein klangliches Spektrum von zarten, filigranen Texturen bis zu flirrenden, klirrenden Sounds offerieren. Wie sie das alles durch achtsames Aufeinander-Hören und schnelles, souveränes Aufeinander-Reagieren zu einem nahtlosen Ganzen fügen, ist Magie und einer der Gründe, warum es immer wieder eine wahre Freude ist, diesem Trio zuzuhören. Also zu hören, wie sie miteinander einen Ensemble-Sound geformt haben, und bei jeder Tournee oder neuen Veröffentlichung herauszufinden, wie sie ihre Musik auf dieser Grundlage weiter- entwickelt haben. Auf dieser CD entfaltet sich die Musik in ihrer vollen Dynamik. Wir haben das Glück, dass die Bänder liefen an jenem „wunderbaren Abend“ … – Michael Rosenstein Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too!

http://www.gf.org/fellows/current/ http://www.gf.org/fellows/16533-billy-childs http://www.gf.org/fellows/16541-wadada-leo-smith

Don't you all worry about the market. They have sold over a million Beatles CDs this year alone. They will sell millions and millions of these. if someone has t 2 or 3 Beatles albums, they'll go out and buy a different one or two that they have been waiting on. Parents will buy them for their kids. You name it. Stop thinking in terms of weird geeky completists like all of us jazz collectors and extreme music lovers.

The main problem I have with Firefox is that after opening a page sometimes, I might enter text but it won't take the text. After a minute or two of waiting it works. But my computer is also running really slowly in general. But I have met someone else who has had the same problem.

Yeah, pretty much. It's a tough ride.

Just received: Dear Friend, Hat Hut Records enters today March 31st, 2009 in its 35th year of operation. Despite the label’s many successes and strong critical reputation, after all these years it has become increasingly more difficult to sell “the music of the future.” It is our hope to be able to continue on our path for many more than 35 years. There is more “music for the future” which waits to be discovered and released. Hat Hut Records entre aujourd'hui le 31 mars 2009 dans sa 35ème année d'activité. En dépit des succès nombreux remportés par le label, et de sa solide réputation de critique, il est devenu au terme de toutes ces années de plus en plus difficile de vendre «la musique du futur». Notre espoir est de pouvoir poursuivre sur notre chemin bien au delà des 35 années. Tant de «musiques pour le futur» attendent d’être découvertes et diffusées! Hat Hut Records tritt heute am 31. Maerz 2009 in sein 35jaehriges Bestehen. Trotz der vielen erfolgreichen Produktionen des Labels, die auch von der Kritik mit großem Lob bedacht worden sind, wird es immer schwieriger, "Musik für die Zukunft" zu verkaufen. Wir hoffen, unseren Weg noch weit ueber 35 Jahre fortsetzen zu koennen. Es gibt mehr "Musik für die Zukunft", die nur darauf wartet, entdeckt und veroeffentlicht zu werden. Best regards, Bien cordialement, Mit besten Grüssen, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 35th Year too: Since 1975, an ear to the future Depuis 1975, une oreille vers le futur Seit 1975, ein Ohr in die Zukunft Quite an achievement, isn't it, given the small audiences for this sort of work? Same as with Nessa Records.

Dear Friend, The sequence of the April to June releases: April 24th, 2009 release: hatOLOGY 683 Ellery Eskelin : On Great Night...Live ( n e w ) Ellery Eskelin –tenor saxophone Andrea Parkins –accordion, electric piano, organ, laptop sampler & grand piano Jim Black –drums & percussion A live concert recording at Towson University, Baltimore on December 9th, 2007. Throughout this set, Eskelin, Parkins, and Black are completely at ease with the core material… Over the years these three have grown into a unit that can bristle and wail; pick up on a melody and swing; or stretch out to whispering textures and scrubbed flutters. The magic is how they string this all together as a seamless whole with careful listening and poised reflexes. That’s been one of the ongoing joys of listening to this trio. Its all about hearing how they have worked together to forge an ensemble sound and then checking in during each ensuing tour or release to find out how they’ve built on that foundation. That dynamism is in full force here. We’re fortunate that the tapes were rolling this “one great evening…” – Michael Rosenstein May 15th, 2009 two more releases: hatOLOGY 672 Polwechsel & John Tilbury : Field ( n e w ) Burkhard Beins –drums, percussion Martin Brandlmayr –drums, percussion John Butcher –tenor & soprano saxophones Werner Dafeldecker –double bass Michael Moser –cello John Tilbury –piano Along the Polwechsel path towards a reflected reintegration of the once excluded musical parameters, the two composers for this CD, Michael Moser and Werner Dafeldecker, have gone one step further while also reflecting Polwechsel’s own history: traditional parameters are reintroduced into the original Polwechsel idiom as disturbances, refractions or inclusions. The invitation extended to guest soloist John Tilbury is also part of the reflected reintegration of traditional elements and the extension of Polwechsel’s concept, which they develop in their cautious and persistent approach: it is a reference to both the tradition of free improvisation and the reductionist currents in modern composition, for Tilbury is not only a proven Feldman specialist, but also long-time pianist for AMM. – Nina Polaschegg hatOLOGY 673 Gerry Hemingway Quintet : Demon Chaser (remastered reissue of hatART 6137) Michael Moore –alto saxophone, clarinet & bass clarinet Wolter Wierbos –trombone Mark Dresser –double bass Ernst Reijseger –cello Gerry Heminway –drums, steeldrums A live concert recording at Ottenbrucher Bahnhof, Wuppertal-Elberfeld on March 2nd, 1993. With Demon Chaser, Gerry Hemingway has written himself into the history of this great music with a script that fulfils both the requirements of complete contemporaneousness and absolute legibility. He has signed his name in the Big Book. – Brian Morton June 15th, 2009 release: hatOLOGY 668 Lee Konitz & Martial Solal: Star Eyes 1983 (remastered reissiue of hatOLOGY 518) Lee Konitz –alto saxophone Martial Solal –piano A live concert recording at New-Jazz-Festival Hamburg on November 11th, 1983. In their duo, Solal's gift to Konitz is a liberation from.....inherent restrictions. This in turn inspires Konitz to follow his own lyrical impulses to the extreme–listen to how olften he stretches his line to the breaking point. This is improvisation that goes far beyond merely altered chords or variations on a theme. Each performance walks an invisible tightrope of harmonic and rhythmic agreement–alll the more treacherous for beeing completely spontaneous. Art Lange Best regards, Werner X. Uehlinger Hat Hut Records LTD. Box 521 4020 Basel, Switzerland wxu.hathut.com@bluewin.ch Phone +41.61.373.0773 http://www.hathut.com The Journey Continues the 34/35th Year too!

There was an article in the LA Times today that the Jazz Bakery in Culver City CA has lost its lease and will be closing at the end of May, but intends to reopen in the Fall. http://www.latimes.com/entertainment/la-et...0,5709736.story This would be bad if it was gone forever. And stupid that they want to open yet another furniture place there. There is a huge furniture store going out of business in the same complex, right around the corner.

I know a decent amount about water in California, having researched it a while ago for a class with mike Davis, but I've forgotten a lot. Anyway, some elements: 1. Agriculture uses much more than lawns, but sometimes vast quantities of water are used to grow water-heavy crops such as rice & alfalfa in areas that are basically deserts. I think this is silly. But CA is the largest produce grower and has vast area of superior land for growing such things, and great climate for it as well. Not easy to just transfer all that production to other regions that have such things as cold winters. 2. Water rights go back to original claims to water, which are usually controlled by agricultural interests that go back 100 years or more. Much of what you get these days are cities charging their customers more to buy the water from the farmers. 3. Most of that city water for Southern California comes from the Colorado River. But the demands on the Colorado are so great now, due to the growth of Vegas, Phoenix, and so forth, that there isn't even water left for California to take all of the amounts that it used to take. and the Colorado is close to dry by the time it reaches Mexico, but it's a key source for northern Mexico as well. And it has nothing left by the time it reaches the Gulf of Mexico. And CA has signed a more recent treaty with other western states about water. but the treaty is based on expected Colorado River levels which are proving to be unrealistically high. Drought conditions are not really determined by the amount of rain, but by the snowpack in the Sierra Nevada. las Vegas really used far too much water for a place built in a desert. Lawns will be the first to go, then full swimming pools, then some farm lands. Ground water supplies are already toast, as in most of the USA. Climate change will probably make things worse. In the long term, we're probably screwed. :-) But more seriously, fresh water will be one of the key global issues of the 21st century. I'll think of more soon. The class was over a decade ago.

Did that book become the basis for the Joseph Losey-directed film of the same name? Also, the first violinist to me doesn't look like he's using a bow per se. It looks like it he lets go of the string after each pull, moves his hand up, gathers string higher up (closer to the strings), and pulls down again. This would seem feasible if there were something like a spool of string above the strings somewhere. It also sound metallic to me, but wire would make it harder to do what I just described.

Did that book become the basis for the Joseph Losey-directed film of the same name?

If it was a CC, then it has been reissued, when it was a CC. So you're asking why don't they reissue it again? My guess is that it didn't sell well the first time. And if it had, they would have reissued it again.

Hi, I think you totally mis-read Allen's original post, which came across to me as sincere, and I also fully believe his further statement that he was sincere in making it. I also think that Allen does make nice offers like Alec's (and Alec's was truly above and beyond...) - I've been the recipient of gifts from him. I also think that most of Allen's humorous posts and sarcasm comes across with the humor with which it is intended, and I laugh and don't take them seriously. And I think you over-react to many of his posts at this time, and should avoid taking the bait (as should everyone). And it doesn't feel to me like he is making this board his personal blog. If that accusation could be made of anyone, it's JSangry, and I don't even feel that it comes across that way from him. In short, I think youa nd Allen have gotten caught up in nastier bickering which makes both of you look bad, and you both have mostly been been better than that. So I hope that you will both please get past it real soon.

IIRC, the 3-camera technique was pioneered by DesiLu on "I Love Lucy", and remains pretty much the standard for sitcoms filmed/taped with an audience. I know that with more recent shows (Seinfeld), they would run each scene more than once to get reaction shots from characters, and get back and forth shots during conversations (you can see TONS of little continuity errors in the editing). What I don't know is, did they do a similar thing in the '60s and '70s? And that is exactly what three-camera means. Three cameras rolling, usually one down left, one down right, and one center, but all on wheels. Especially for shows done in front of live audiences. For shows without live audiences (MASH and others), they usually went back to standard one-camera shooting.

Yeah, I guess they will just put it all online, the latest update is 1.3, and it too has a note saying that it will be the last update. New Yorker DVD 1.3

Thanks! that looks like something I need to look into. Spent last night at Cal State LA at a concert featuring Mulatu Astake in his first appearance in Los Angeles. A pick-up band of high level LA-based jazz musicians mostly, including Bennie Maupin, Phil Ranelin, Azar Lawrence. Some messy transitions and unclear endings, as one might imagine from limited rehearsal, but overall a pretty marvelous concert! They really captured the moods of his music, and had good solos. Mulatu played vibes & occasional timbales, and had a nice vibe solo or two, but it was really about his songwriting & arranging I think.

Mark is having surgery this week. I was trying to book a screening with him. Give him a week or two. I can give you his email & phone number off list.

Oh, cool. Didn't know.

Not sure who listened to it, but Indie 103.1 went dark today, and moved to the web. Sadness - it was good radio. When I listened to commercial radio, it was the only station that I listened to. No more Jonesie's Jukebox http://www.usnews.com/blogs/risky-business...its-course.html http://latimesblogs.latimes.com/music_blog...die-1031-h.html http://www.indie1031.com/ http://idolator.com/5133238/the-demise-of-...ographics-fault

Not sure if there is one. Who is that in your signature? She's purty. Oh, what is wrong about Keroac? Did I misspell or something?

I can tell you lots about it. it shouldn't really be on You Tube; it isn't PD. It's a really entertaining experimental early "American Independent" film, featuring most of the leading "beat" figures, as is obvious. It is what it is. "Frank Robert" is incorrect. It was made by the photographer Robert Frank and Alfred Leslie, with text/narration by Jack Keroac as you can hear. Alfred Leslie & Robert Frank are both still alive, making films or photos and more. What else?

Montalban went to the same high school as I did - Fairfax High in Los Angeles.