oak featured in the vermont cynic

read it here, and come to our show saturday night.

poster for our show made by turkey p

-

hello. lots of new things going on. i'm still moving up up up at my job at city market, my 3rd 'promotion' in 6 'months' to breakfast cook started this week. its early as hell but also cool and the people i work with are all awesome. still recording the 'solah' album with jay- its coming along nicely and there will even be a surprise guest or two on side b. my radio show is going strong wednesdays at 6pm- played some awesome don cherry & terry riley this week. this wed expect sun ra as well as maybe a special guest and a phone call from a semi-famous musician. maybe. havent seen a local show forever, man i've totally flaked on music so far this year. hopefully i'll update more frequently, we may be getting burlington telecom at the ol skin bunker soon; i still need to get an answer from tanner about whether he's going to give me that old computer or not. huh, tanner?

oak, a snake in the garden & the le duo are playing a show saturday march eighth at midnight at the radio bean. poster to come soon. not sure of the line up for the le duo yet but expect me on digi-drums. thats all for know.

year end/groundhogs day/my radio show

my best of 2007 music picks wraps up false 45th's annual survey. check it...

tomorrow is groundhog day!

this wednesday at 6pm make sure to catch my show 'flap shadowy sounds' on 105.9 the radiator where, for the real mardi gras, i feature 3 albums by dr. john the night tripper: gris gris, babylon & sun moon & herbs. freaky funky swampy icy hoodoo moon fun.

i've been fine, how've you been?

JB

new solah track

here is the new first track of our forthcoming lp, 'divot' (the tracks name, not the lp's name)

enjoy,

solah= jb ledoux & jay blanchard

merry new year

JB

flap shadowy sounds #1

humus: the life exploring force- don cherry- 'actions' w/penderecki
the shadow world- sun ra and his solar myth arkestra- 'the magic city'
what do you mean this is a dry county?- paul flaherty/chris corsano- 'the beloved music'
boreal gluts- no neck blues band- 'qvaris'
seven beat suite (three parts)- moondog- 'more moondog'
spirits- albert ayler- 'witches & devils'
pushing gravel- nest material- 'eastern horizon: a field guide'
peace on earth- john coltrane- 'live in japan'

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.

rip kriya

the show last night at kriya studio was a rousing success- very well attended by an appreciative and attentive audience, i think everyone walked away from kriya for the last time feeling enlightened. i especially liked the piece 'stones' by christian wolff- i'm not sure how much was 'composed' because it sounded and looked like an improvisation to me- maybe greg or toby could help us out with this one...

well, i still have a cold and am feeling run down- i'm going to miss my third show of the week tonight when i dont go see the engines, and i feel like an ass because the sweethearts at tick tick were good enough to put me on the half price list... but life goes on...

RIP

Karlheinz Stockhausen 8/22/1928-12/5/2007

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

radiation

*UPDATE*
my show 'flap shadowy sounds' is a go! wednesdays from 6-8pm...be there!


just had my first meeting tonight with lee and jim of 105.9 the radiator womm-lp about having my very own radio show! i'm pretty excited, i've always wanted to be on the air and have never gotten around to signing up for a wruv show (plus i heard that was kinda a pain in the ass anyway)

i expect my show to be called 'flap shadowy sounds' and feature free improv, free jazz, experimental, noise etc.

so maybe as early as next week you'll be able to listen to the le duo spin some wax (er ipods) for the people! stay tuned...

dr john, the night tripper- we have similar beards

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.
--

Vive La Voce Puppet Opera presents

Die Fledermaus

A Puppet Opera

November 17 &18 at 8pm

Featuring Beth Thompson as Rosalinda, Roxanne Vought as Adele, Joshua Pelkey as Alfredo and Bon Provenzano as Orlovsky

FlynnSpace, Flynn Center for the Performing Arts

Tickets Available at the Flynn Regional Box Office: $13 Advance / $15 Day of Show / $8 Children

In Person: 153 Main Street, By Phone: 802-86-FLYNN / 802-863-5966 — voice/relay calls welcome or Online: www.flynntix.org
Buying Tickets in person saves you money, buying tickets with cash or check saves us money. Thanks for your support!


FOR MORE INFORMATION: CALL 802.859.0344 or EMAIL roxanne.vought@uvm.edu

from the desk of (ryan) POWER!

I'm having a cd release party tomorrow at Pine St. Studios. If you live in the Burlington,Vermont area you should come on down.

Directions: Heading south on Pine St.-----take first right after Gregory's Supply----as you pull in it's behind the picket fence baby

ryan



Jenny Montana is going to start around 9:30!

solah

for the last few months its been my distinct pleasure to be playing in solah, a post-metal/noise/drone band with jay blanchard from spitting out teeth. our debut ep, darkcar, is available now free of charge at said blog. its basically two long tracks of loud, mangled guitar and synth with deep drum rolls and cymbal mayhem. being our first effort its rough in spots but pretty damn awesome if you'll allow me to say. in the next month or two expect some live shows, hopefully with a four piece band. also, a hard copy cd release. and, in early '08, a full length release. give it a listen and give feedback. word

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

also "party star" at club metronome in like 5 hours...

hope to post more soon...

jb

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