Showing posts with label other music. Show all posts
Showing posts with label other music. Show all posts
Monday, May 05, 2008
aether everywhere
aether everywhere is a new blog/online music label/forum dedicated to sound...including drone, ambient, psych, found sound, field recording, shoegaze, new age, experimental & free improv. featuring contributions from some of the finest local bloggers and musicians, AE strives to be a place where people who are sincerely interested in other musics can gather to read reviews, listen to music clips, learn about upcoming performances, trade gear & music, and eventually download exclusive releases. 2008 is the year of aether.
Friday, April 25, 2008
shows shows shows
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finally the local music landscape is geting all springy & there are several cool shows this next week.
tomorrow at noon sara-paule of oak is performing her senior composition recital at uvm's southwick hall (redstone campus) at noon. 'noon music' is free & open to the public. one of the pieces is for a large percussion ensemble & i'm playing on it!
thursday may first the cush returns to burlington with an all ages show at higher ground. with vitals and hezekiah jones and special guests throughout the night.
friday the second, megafaun, greg davis & oak play the monkey in winooski. i saw greg & megafaun last fall as part of akron/family and it freakin' rocked. psyched for this one.
coming soon, a silver mount zion & the burlington discover jazz festival
Monday, April 14, 2008
flap shadowy sounds #19
this week marks the first episode of my show that can be streamed online at theradiator.org.
this wednesday at 6pm expect music by the one and only cecil taylor.
Wednesday, April 09, 2008
discover jazz fest
this year burlingtons discover jazz festival is bringing two free-jazz shows i'm really excited about- ornette coleman on 6/7 at the flynn main stage & trio 3 (oliver lake, reggie workman & andrew cyrille) 6/2 at the flynn space. full schedule here. ornette coleman is a legend and i'm so glad to be able to see him live- in a band with three bassists and a drummer no less!
Sunday, December 09, 2007
greg davis interview
a great interview with greg davis from the canadian music website/magazine textura. greg talks about the music and recording processes of six of his albums. a fascinating read.
Saturday, December 08, 2007
Thursday, December 06, 2007
tick tick presents
Some Chicago free jazz coming up on Dec 9. It should be excellent! Some members of Vandermark 5, whom Greg booked last winter at the Firehouse, and they were awesome.
Tick Tick Presents:
THE ENGINES
Sunday, December 9th
The Firehouse Gallery
135 Church St, Burlington, VT
Doors at 7:30 pm
First set at 8pm, second set at 9:15
$7 advance tickets, $10 day of.
Call 802.540.0088 or email dale@ticktick.org for will call tickets.
THE ENGINES, one of Chicago's strongest improvising bands, announces a 13-date North American tour for December 2007, to coincide with the release of their self-titled debut on the Okkadisk imprint ( www.okkadisk.com). This collaborative band features four mainstays of the Chicago jazz and improvised music scene, with Jeb Bishop on trombone (Jeb Bishop Trio, Brotzmann Tentet, School Days), Dave Rempis on saxophones (Rempis Percussion Quartet, Triage, Vandermark Five), Nate McBride on bass (FME, Powerhouse Sound, Pandelis Karayorgis Trio), and Tim Daisy on drums (Festival Quartet, Dragons 1976, Vandermark Five).
The Engines started as a trio with a residency at Chicago's Empty Bottle in the summer of 2005. Bishop was added as a regular member after he joined them for one concert in May of 2006, since the dynamic of the group as a quartet worked so well. Since then, they've been working regularly in Chicago at many of the venues associated with creative music including The Hideout, Elastic, The Hungry Brain, and The Velvet Lounge.
All of these musicians have distinguished themselves as both leaders and sidemen, but formed this band as a collaborative meeting of minds and talents. Each member contributes original compositions, producing a wide set of expressive possibilities ranging from high-energy jousting over driving bass vamps to quieter moments of melodic exploration. With McBride on both acoustic and electric bass, the band can explore some of the sonic textures associated with the early AACM, or launch into hard-hitting Zeppelin-like grooves, and they use this range of possibilities to its fullest.
MORE INFORMATION ON THE ENGINES AND THEIR MUSIC IS ONLINE @ WWW.THEENGINES.NET
Tick Tick Presents:
THE ENGINES
Sunday, December 9th
The Firehouse Gallery
135 Church St, Burlington, VT
Doors at 7:30 pm
First set at 8pm, second set at 9:15
$7 advance tickets, $10 day of.
Call 802.540.0088 or email dale@ticktick.org for will call tickets.
THE ENGINES, one of Chicago's strongest improvising bands, announces a 13-date North American tour for December 2007, to coincide with the release of their self-titled debut on the Okkadisk imprint ( www.okkadisk.com). This collaborative band features four mainstays of the Chicago jazz and improvised music scene, with Jeb Bishop on trombone (Jeb Bishop Trio, Brotzmann Tentet, School Days), Dave Rempis on saxophones (Rempis Percussion Quartet, Triage, Vandermark Five), Nate McBride on bass (FME, Powerhouse Sound, Pandelis Karayorgis Trio), and Tim Daisy on drums (Festival Quartet, Dragons 1976, Vandermark Five).
The Engines started as a trio with a residency at Chicago's Empty Bottle in the summer of 2005. Bishop was added as a regular member after he joined them for one concert in May of 2006, since the dynamic of the group as a quartet worked so well. Since then, they've been working regularly in Chicago at many of the venues associated with creative music including The Hideout, Elastic, The Hungry Brain, and The Velvet Lounge.
All of these musicians have distinguished themselves as both leaders and sidemen, but formed this band as a collaborative meeting of minds and talents. Each member contributes original compositions, producing a wide set of expressive possibilities ranging from high-energy jousting over driving bass vamps to quieter moments of melodic exploration. With McBride on both acoustic and electric bass, the band can explore some of the sonic textures associated with the early AACM, or launch into hard-hitting Zeppelin-like grooves, and they use this range of possibilities to its fullest.
MORE INFORMATION ON THE ENGINES AND THEIR MUSIC IS ONLINE @ WWW.THEENGINES.NET
Thursday, November 29, 2007
greg davis, minister of the new new super heavy weird sez:
hi friends,
toby and i and ticktick are putting together a great concert of new
experimental music at kriya studio.
we are pleased to have duane pitre coming to burlington to present his
chamber ensemble piece 'The Ensemble Chord in Eb with a Minor 7th and
a Pump Organ Base". we will also be performing pieces by christian
wolff and james tenney. it should be a great night of music. come out
to listen, bring a friend and spread the word!
see you there,
greg
An Evening of Experimental Music:
Duane Pitre "The Ensemble Chord in Eb with a Minor 7th and a Pump
Organ Base"
Christian Wolff "Stones" (1969)
James Tenney "Swell Piece No. 2 (for Pauline Oliveros)" (1971)
kriya studio
333 n. winooski
burlington, vt
saturday, december 8th, 2007
7:30 p.m.
$7
Duane Pitre (with Ensemble)
The ensemble will consist Duane Pitre, Craig Colorusso, Greg Davis,
and UVM students, playing violin, cello, contra bass, oboe, alto
saxaphone, bowed guitars, electric tone generator, and organ.
"The Ensemble Chord in Eb with a Minor 7th and a Pump Organ Base" This
composition varies from the traditional sort as it is rule-based with
the score consisting of a set tonic, set pitch classes, playing
methods, technique restrictions, and spontaneous conduction. The score
is a structure for the performing ensemble to improvise on—order
spawning chaos producing order that is different on each occasion of a
performance or recording. Ensemble Drones is discipline and freedom,
both within each other, the first major focus of the work. Variance is
the second major focus of the composition; with instrumentation,
ensemble performers, tonic, pitch classes, and the physical space
varying from performance to performance, the results can never be the
same. One way to view Ensemble Drones is like a compositional "body,"
as in the composition taking human form. The score is the skeletal
structure that gives the "body" its general shape and feel. The pump
organ, for instance, could serve as the circulatory system, the bass
clarinet as the muscles, cello and saxophones as the internal organs,
the electrically generated tones as the nervous system, guitars as the
flesh, viola as the skin, violin as strands of hair, and the listener—
the listener acts as the eyes. Not in the sense of vision, though—each
listener will "view" the same compositional body differently, and, in
return, the body will view itself differently with each new set of
eyes. This helps to analogize the last major focus of the Ensemble
Drones score/composition, which is perception.
http://importantrecords.com/sounds/154_pilotram_1.mp3
http://importantrecords.com/sounds/154_pilotram_2.mp3
http://www.myspace.com/duanepitre
http://www.duanepitre.com
Christian Wolff
Wolff was born in Nice in France of German parentage. His family moved
to the United States in 1941, and he became an American citizen in
1946. He studied classics at Harvard University (he is a specialist in
the work of Euripides) and upon graduating took up a teaching post
there which he kept until 1970 when he began to teach classics,
comparative literature, and music at Dartmouth College until his
retirement in 1999. His early work includes a lot of silence and was
based initially on complicated rhythmic schema, and later on a system
of aural cues. Wolff innovated unique notational methods in his early
scores and found creative ways of dealing with improvisation within
his written music. Later pieces also often give a degree of freedom to
the performers such as the sequence of pieces entitled Exercises
(1973-). Some works, such as Changing the System (1973), Braverman
Music (1978, after Harry Braverman), and the series of pieces entitled
Peace March (1983-2005) have an explicit political dimension
responding to contemporary world events and broader political ideals.
At the age of sixteen Wolff was sent by his piano teacher Grete Sultan
for lessons in composition with the composer John Cage and quickly
became a close associate of Cage and his artistic circle which
included composers Earle Brown and Morton Feldman, pianist David
Tudor, and dancer and choreographer Merce Cunningham. During the 1960s
he developed associations with the composers Frederic Rzewski and
Cornelius Cardew who spurred each other on in their respective
explorations of experimental composition techniques and musical
improvisation, and then from the early 1970s in their respective
attempts to engage with political matters in their music. For Wolff
this often involved the use of music and texts associated with protest
and political movements such as the Wobblies. Wolff recently said of
his work that it is motivated by his desire, "To turn the making of
music into a collaborative and transforming activity (performer into
composer into listener into composer into performer, etc.), the
cooperative character of the activity to the exact source of the
music. To stir up, through the production of the music, a sense of
social conditions in which we live and of how these might be changed."
James Tenney
Tenney was born in Silver City, New Mexico, and grew up in Arizona and
Colorado. He attended the University of Denver, the Juilliard School
of Music, Bennington College (B.A., 1958) and the University of
Illinois (M.A., 1961). He studied piano with Eduard Steuermann and
composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry
Brant, Carl Ruggles, Kenneth Gaburo, Lejaren Hiller, John Cage, Harry
Partch, and Edgard Varèse. He also studied information theory under
Lejaren Hiller, and composed stochastic early computer music before
turning almost completely to writing for instruments with the
occasional tape delay, often using just intonation and alternative
tunings. Tenney's notable students include John Luther Adams, Larry
Polansky, and Peter Garland. He performed with John Cage, as well as
with the ensembles of Harry Partch, Steve Reich, and Philip Glass.
Tenney's work deals simply and artfully with perception (For Ann
(rising), see Shepard tone), just intonation (Clang, see gestalt),
stochastic elements (Music for Player Piano), information theory
(Ergodos, see Ergodic theory), and with what he calls 'swell' (Koan:
Having Never Written A Note For Percussion for John Bergamo), which is
basically arch form. His pieces are most often tributes and subtitled
as such. Tenney wrote the seminal Meta (+) Hodos (one of, if not the,
earliest applications of gestalt theory and cognitive science to
music), the later Hierarchical temporal gestalt perception in music :
a metric space model with Larry Polansky, and other works. Nearly a
quarter of a 657-page volume of the academic journal Perspectives of
New Music was devoted to Tenney's music (Polansky and Rosenboom 1987).
Tenney also wrote the in-depth liner notes to Wergo's edition of
Conlon Nancarrow's Studies for Player Piano. (Nancarrow, as a favor,
punched the roll for Tenney's Spectral Canon for Conlon Nancarrow). He
taught at the Polytechnic Institute of Brooklyn, the California
Institute of the Arts, the University of California, and York
University in Toronto. He died on 24 August 2006 of lung cancer in
Valencia, California.
--
toby and i and ticktick are putting together a great concert of new
experimental music at kriya studio.
we are pleased to have duane pitre coming to burlington to present his
chamber ensemble piece 'The Ensemble Chord in Eb with a Minor 7th and
a Pump Organ Base". we will also be performing pieces by christian
wolff and james tenney. it should be a great night of music. come out
to listen, bring a friend and spread the word!
see you there,
greg
An Evening of Experimental Music:
Duane Pitre "The Ensemble Chord in Eb with a Minor 7th and a Pump
Organ Base"
Christian Wolff "Stones" (1969)
James Tenney "Swell Piece No. 2 (for Pauline Oliveros)" (1971)
kriya studio
333 n. winooski
burlington, vt
saturday, december 8th, 2007
7:30 p.m.
$7
Duane Pitre (with Ensemble)
The ensemble will consist Duane Pitre, Craig Colorusso, Greg Davis,
and UVM students, playing violin, cello, contra bass, oboe, alto
saxaphone, bowed guitars, electric tone generator, and organ.
"The Ensemble Chord in Eb with a Minor 7th and a Pump Organ Base" This
composition varies from the traditional sort as it is rule-based with
the score consisting of a set tonic, set pitch classes, playing
methods, technique restrictions, and spontaneous conduction. The score
is a structure for the performing ensemble to improvise on—order
spawning chaos producing order that is different on each occasion of a
performance or recording. Ensemble Drones is discipline and freedom,
both within each other, the first major focus of the work. Variance is
the second major focus of the composition; with instrumentation,
ensemble performers, tonic, pitch classes, and the physical space
varying from performance to performance, the results can never be the
same. One way to view Ensemble Drones is like a compositional "body,"
as in the composition taking human form. The score is the skeletal
structure that gives the "body" its general shape and feel. The pump
organ, for instance, could serve as the circulatory system, the bass
clarinet as the muscles, cello and saxophones as the internal organs,
the electrically generated tones as the nervous system, guitars as the
flesh, viola as the skin, violin as strands of hair, and the listener—
the listener acts as the eyes. Not in the sense of vision, though—each
listener will "view" the same compositional body differently, and, in
return, the body will view itself differently with each new set of
eyes. This helps to analogize the last major focus of the Ensemble
Drones score/composition, which is perception.
http://importantrecords.com/sounds/154_pilotram_1.mp3
http://importantrecords.com/sounds/154_pilotram_2.mp3
http://www.myspace.com/duanepitre
http://www.duanepitre.com
Christian Wolff
Wolff was born in Nice in France of German parentage. His family moved
to the United States in 1941, and he became an American citizen in
1946. He studied classics at Harvard University (he is a specialist in
the work of Euripides) and upon graduating took up a teaching post
there which he kept until 1970 when he began to teach classics,
comparative literature, and music at Dartmouth College until his
retirement in 1999. His early work includes a lot of silence and was
based initially on complicated rhythmic schema, and later on a system
of aural cues. Wolff innovated unique notational methods in his early
scores and found creative ways of dealing with improvisation within
his written music. Later pieces also often give a degree of freedom to
the performers such as the sequence of pieces entitled Exercises
(1973-). Some works, such as Changing the System (1973), Braverman
Music (1978, after Harry Braverman), and the series of pieces entitled
Peace March (1983-2005) have an explicit political dimension
responding to contemporary world events and broader political ideals.
At the age of sixteen Wolff was sent by his piano teacher Grete Sultan
for lessons in composition with the composer John Cage and quickly
became a close associate of Cage and his artistic circle which
included composers Earle Brown and Morton Feldman, pianist David
Tudor, and dancer and choreographer Merce Cunningham. During the 1960s
he developed associations with the composers Frederic Rzewski and
Cornelius Cardew who spurred each other on in their respective
explorations of experimental composition techniques and musical
improvisation, and then from the early 1970s in their respective
attempts to engage with political matters in their music. For Wolff
this often involved the use of music and texts associated with protest
and political movements such as the Wobblies. Wolff recently said of
his work that it is motivated by his desire, "To turn the making of
music into a collaborative and transforming activity (performer into
composer into listener into composer into performer, etc.), the
cooperative character of the activity to the exact source of the
music. To stir up, through the production of the music, a sense of
social conditions in which we live and of how these might be changed."
James Tenney
Tenney was born in Silver City, New Mexico, and grew up in Arizona and
Colorado. He attended the University of Denver, the Juilliard School
of Music, Bennington College (B.A., 1958) and the University of
Illinois (M.A., 1961). He studied piano with Eduard Steuermann and
composition with Chou Wen-chung, Lionel Nowak, Paul Boepple, Henry
Brant, Carl Ruggles, Kenneth Gaburo, Lejaren Hiller, John Cage, Harry
Partch, and Edgard Varèse. He also studied information theory under
Lejaren Hiller, and composed stochastic early computer music before
turning almost completely to writing for instruments with the
occasional tape delay, often using just intonation and alternative
tunings. Tenney's notable students include John Luther Adams, Larry
Polansky, and Peter Garland. He performed with John Cage, as well as
with the ensembles of Harry Partch, Steve Reich, and Philip Glass.
Tenney's work deals simply and artfully with perception (For Ann
(rising), see Shepard tone), just intonation (Clang, see gestalt),
stochastic elements (Music for Player Piano), information theory
(Ergodos, see Ergodic theory), and with what he calls 'swell' (Koan:
Having Never Written A Note For Percussion for John Bergamo), which is
basically arch form. His pieces are most often tributes and subtitled
as such. Tenney wrote the seminal Meta (+) Hodos (one of, if not the,
earliest applications of gestalt theory and cognitive science to
music), the later Hierarchical temporal gestalt perception in music :
a metric space model with Larry Polansky, and other works. Nearly a
quarter of a 657-page volume of the academic journal Perspectives of
New Music was devoted to Tenney's music (Polansky and Rosenboom 1987).
Tenney also wrote the in-depth liner notes to Wergo's edition of
Conlon Nancarrow's Studies for Player Piano. (Nancarrow, as a favor,
punched the roll for Tenney's Spectral Canon for Conlon Nancarrow). He
taught at the Polytechnic Institute of Brooklyn, the California
Institute of the Arts, the University of California, and York
University in Toronto. He died on 24 August 2006 of lung cancer in
Valencia, California.
--
Sunday, October 21, 2007
burlington sounds
hi friends,
just a quick note to let you know about a show coming up.
tom, who played a couple months back in charalambides, is coming back
to burlington to play a solo set.
kurt and ruth are part the brattleboro band, feathers. theyll both be
playing solo sets as well.
should be a nice evening of music.
spread the word and bring a friend!
see you all soon.
love,
greg
---
tom carter (of charalambides)
kurt weisman (of feathers)
ruth garbus (of feathers)
firehouse gallery
149 church st.
burlington VT
friday, october 26th
8:30pm
$7
just a quick note to let you know about a show coming up.
tom, who played a couple months back in charalambides, is coming back
to burlington to play a solo set.
kurt and ruth are part the brattleboro band, feathers. theyll both be
playing solo sets as well.
should be a nice evening of music.
spread the word and bring a friend!
see you all soon.
love,
greg
---
tom carter (of charalambides)
kurt weisman (of feathers)
ruth garbus (of feathers)
firehouse gallery
149 church st.
burlington VT
friday, october 26th
8:30pm
$7
Monday, October 01, 2007
phil spector
so phil spector got a mistrial, huh? not surprised- and not because i subscribe to the 'celebreties get away with everything' way of thinking. i dont believe that- and this summers paris hilton thing proves that- they threw the book much harder at her than they would have me. anyway, i watched a lot of the spector trial this summer and even though it looks like phil is shithouse crazy and has probably waved guns at people before- i really dont think he did it, and if he did- not purposely. whether he will be found financially responsible for her death, like oj, has yet to be seen. but i'll always have a soft spot for phil spector and his wall of sound- the ronettes fucking rule!
Friday October 5th
@ The Monkey House, Winooski
Horse Feathers (Portland, OR)
Johanna Kunin (Seattle, Wash)
Farm (Enosburg, VT)
Doors 8pm Show 9pm
$6 21+ $9 Under age
Johanna Kunin
Seattle-based Johanna Kunin grew up and draws her inspiration from the 10,000-lake-land of Minnesota. She describes herself as: "Midnight tangos with ghosts, journeys into the minds of suicidal insects, childhood memories set off-kilter by bad dreams" Her self-released debut full-length, "Clouds Electric" came out last August, and since then she has been touring in support, earning high marks from radio stations such as KCRW and being described as an "extraordinarily gifted singer" (Seattle Times). Says Damien Jurado: "Johanna Kunin is a strong force and her confidence really comes through...Her arrangements and melodies are perfect. I would give anything for a sliver of her talents."
More info at www.johannakunin.com or www.myspace.com/johannakunin
Horsefeathers
Justin Ringle moved to Portland, Oregon in 2004, and began to play open mics regularly under the moniker Horse Feathers. In 2005 Peter Broderick heard two songs that Justin had recorded in a friend's basement, and proceeded to track Justin down via the internet. Shortly after that, the two started playing music together. For the most part, Justin writes the songs initially, and then Peter helps to arrange them with varying instrumentation. The resulting sound is music.
www.myspace.com/horsefeathersmusic or http://luckymadison.com/pagehorsefeathers.htm
Farm
Farm is the Enosburgh based folk-indie-experimental trio. The members of Farm constantly switch instruments so there is no permanent player of anything. If you don't like the way something sounds don't worry it will all change by the next song. They play a wide variety of instruments including, synthesizer, organ, wurlitzer electric piano, electric and acoustic guitars, bass, trumpet, harmonica, horsehead fiddle, and a somewhat strange looking drum kit. Their new album "gray birds" has just been released.
www.myspace.com/farmtheband
eclectic dub
earlier this summer i told you all about eclectic music productions and their failed liberate! music and arts festival- at the last minute they couldnt get the required permits or convince the right people it was a good idea. the show was looking to be an epic event and getting canceled must have been quite a blow. anyway, not to be discouraged emp is putting on a show this thursday 10/4 at club metronome. come enjoy the reggae / afro-beat / indie stylings of giant panda guerilla dub squad-roots reggae and experimental dub. north american international body music. dig it...dance it...
Friday, September 28, 2007
thanks
i'd like to thank greg davis and akron/family for an awesomely rockin' outrageous show last night. i havent seen a show with that much energy in years- maybe never: the whole band looked like they were having the time of their lives- and after being on the road for a month, that must be hard. seeing the rock star/guitar god side of greg was neat, too- i knew he had it in him this whole time...didnt fool me! also, i'd like to congratulate the band for being the 10,000th group to play a dead cover at nectars/metronome!
turning on your love light,
JB
(posted from work at city market)
turning on your love light,
JB
(posted from work at city market)
Wednesday, September 26, 2007
akron/family-greg davis-megafaun
this thursday (9/27) at club metronome
all the blogs are talking about this show and how their tour van was robbed etc etc. so all i'm going to say is everyone should go! i know the new akron/family album is kinda hippy but its cool and wonderful and the live show is going to rock i'll bet.
more here
and here
tick tick presents
Saturday Sept. 29th
@ The Monkey House, Winooski
Cuddle Magic (Boston)
Boca Chica (Pittsburgh)
The New Siberians (Burlington)
doors 8pm show 9pm
$5 21+ $8 under age
Cuddle Magic is a Boston-based nine-piece playing an amalgamated psycho-orchestral-indie rock. http://www.myspace.com/cuddlemagic
Boca Chica is the lovely voice of Hallie Pritts and a Pittsburgh, PA band of guitars, bass, violins, drums, wurlitzers, accordions, piano, and many vocals. Described by the McKeesport Daily News as "folk-tinged, [and] bluegrass-stained. Their second record "Transform Into Beasts" is so good, so great sounding, it deserves some national attention (come on, tastemaker Web sites!)
http://www.myspace.com/bocachica
The New Siberians
Ted Pappadopoulos, member of Americana forerunners Go To Blazes(Glitterhouse/East Side Digital) and Brendan Devitt, a founding member of Burlington's own legendary "Ninja Custodian" join forces with drummer extraordinaire and "gad about" Simon Plumpton to make up The New Siberians.
Their e-press kit is here:
http://www.sonicbids.com/epk/epk.asp?epk_id=107819
tick tick
Sunday, September 23, 2007
grizzly bear / beach house
tonight at higher ground. not familiar with either of these bands but everyone is telling me it will be rad. maybe i'll see ya there? if south burlington is too far out of your way, walk your bad self down to red square and see "party star"
Sunday, September 16, 2007
the cush/boston/burlington
the cush have two shows this week. first off, tomorrow monday the 17th they play upstairs at the middle east in boston at 10pm- not sure of a cover charge. wednesday they're at club metronome at 10pm sharp $5. if you havent heard the cush yet do yourself a favor and go to one of these shows! they are an amazing band in the psychedelic/experimental-rock vein and put on one of the best live shows in town.
Tuesday, September 11, 2007
Jazz legend Joe Zawinul dies at 75
i think his contributions to the 'in a silent way' & 'bitches brew' sessions are almost enough to forgive him for weather report. story here
Friday, September 07, 2007
luciano pavarotti 1935-2007
if this obituary doesnt bring a tear to your eye, this video of notorious p.a.v.a.r.o.t.t.i with mr. black cash money himself should:
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