King
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Post by King on Mar 5, 2008 0:38:19 GMT -5
I'll be there on Saturday. Not sure if I'll be attending the 8 or 10pm show yet.
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Post by DISEman on Apr 15, 2008 20:31:21 GMT -5
Just ordered The Stone: Issue 3. I'm looking foward to hearing a bit of "Metal Machine Music meets The Classic Guide to Strategy meets Big Science" or should I be expecting something different?
DISE (Different Is Seeming Evident)
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Post by Offering on Apr 15, 2008 23:16:05 GMT -5
Just ordered The Stone: Issue 3. I'm looking foward to hearing a bit of "Metal Machine Music meets The Classic Guide to Strategy meets Big Science" or should I be expecting something different? DISE (Different Is Seeming Evident) Ha!Id say expect something different, but doesnt that mix sound great? |
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King
Full Member
Posts: 180
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Post by King on Apr 17, 2008 21:36:55 GMT -5
I'll be at the Stone on the 25th I think. Should be able to pick up Issue 3 there...
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Post by acephale on Apr 18, 2008 18:33:42 GMT -5
Has anyone bought it via tzadik.com yet ?
If so, has the third issue of the stone been shipped to you ?
I ordered mine on monday and nothing shipped yet ; usually, they tend to be super fast, so I'm wondering...
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Post by mikestack on Apr 18, 2008 22:34:13 GMT -5
I ordered via Downtown Music Gallery on Friday of last week, got my copy on Wednesday. If I'm not mistaken, Downtown fulfills orders for Tzadik, I'd expect you'll see it soon.
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Post by sarahv on Apr 18, 2008 23:28:17 GMT -5
The last order I put in for Tzadik... I ordered Sunday, got an e-mail on Thursday ("it will either ship in the next 12 to 48 hours, or it may have already shipped!") and then it arrived Saturday...
So I wouldn't worry about not getting a shipping confirmation e-mail. The e-mails are not closely related to the actual shipping date.
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Post by DISEman on Apr 23, 2008 0:44:36 GMT -5
I ordered through the Tzadik site (which means it will be sent via DMG). I've received confirmation of shipping. But the post sometimes takes a little while to get downunder. I'll let you know when it arrives.
DISE (Downunder It's Slowly Entreating)
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King
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Posts: 180
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Post by King on Apr 27, 2008 12:46:22 GMT -5
April 25th:
Featuring John Zorn (sax), Chris Speed (clarinet), Matt Welch (sax), Jim Black (drums), Ben Perowsky (drums), Shelley Burgon (harp), Peter Evans (trumpet), Oscar Noriega (bass clarinet,alto), Anthony Burr (bass clarinet), Jessica Pavone (violin), Curtis Hasselbring (trombone), Hilmar Jensson (guitar), Grey Gersten (guitar), and Ted Reichmann (accordion).
The evening opened with a large group wind-dominated ensemble of John Zorn, Chris speed, Peter Evans, Oscar Noriega, Anthony Burr, Curtis Hasselbring... and I'm not actually sure if Matt Welch was there or not. I didn't see him, and he's not one to not stand out... anyway, it was fucking immense. Loud, overblown, multiphonics covering the entire range of all instruments, rapid high pitch screams and runs from Peter Evans piccolo trumpet and the clarinets of Chris Speed and Oscar Noriega (I think) matched against shifting densities of harmonic tone clusters from the lower register instruments, interspersed with violent trombone rips and Zorn's idiomatic improv style. I was shivering by the end of this piece.
The other stand out pieces were the drum/guitar quartet... fucking loud and disjointed, angular improv. The addition of the accordion to a few of the ensembles was an interesting touch, and Peter Evans antics on piccolo trumpet provided plenty of inspiration. Zorn only played once more after the opening set, with Ted Reichmann and Anthony Burr. His improvisatory language is by far the one I am most familiar with out of all the musicians there, and to watch his thought process and its expression through his language react and attempt to blend with the breathy, waffling style of Anthony Burr and the short jabs of accordion tone-clusters was fascinating. He made great use of his leg.
The final set featured a number of people as well, but the two clarinetists stood out the most(this month was curated by Chris Speed... so it was to be expected). Incredible use of multiphonics, to the extent of imitating a kind of industrial noise normally only to be expected out of lower register saxophones.
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Post by Offering on Apr 27, 2008 14:31:17 GMT -5
April 25th: Featuring John Zorn (sax), Chris Speed (clarinet), Matt Welch (sax), Jim Black (drums), Ben Perowsky (drums), Shelley Burgon (harp), Peter Evans (trumpet), Oscar Noriega (bass clarinet,alto), Anthony Burr (bass clarinet), Jessica Pavone (violin), Curtis Hasselbring (trombone), Hilmar Jensson (guitar), Grey Gersten (guitar), and Ted Reichmann (accordion). The evening opened with a large group wind-dominated ensemble of John Zorn, Chris speed, Peter Evans, Oscar Noriega, Anthony Burr, Curtis Hasselbring... and I'm not actually sure if Matt Welch was there or not. I didn't see him, and he's not one to not stand out... anyway, it was fucking immense. Loud, overblown, multiphonics covering the entire range of all instruments, rapid high pitch screams and runs from Peter Evans piccolo trumpet and the clarinets of Chris Speed and Oscar Noriega (I think) matched against shifting densities of harmonic tone clusters from the lower register instruments, interspersed with violent trombone rips and Zorn's idiomatic improv style. I was shivering by the end of this piece. The other stand out pieces were the drum/guitar quartet... fucking loud and disjointed, angular improv. The addition of the accordion to a few of the ensembles was an interesting touch, and Peter Evans antics on piccolo trumpet provided plenty of inspiration. Zorn only played once more after the opening set, with Ted Reichmann and Anthony Burr. His improvisatory language is by far the one I am most familiar with out of all the musicians there, and to watch his thought process and its expression through his language react and attempt to blend with the breathy, waffling style of Anthony Burr and the short jabs of accordion tone-clusters was fascinating. He made great use of his leg. The final set featured a number of people as well, but the two clarinetists stood out the most(this month was curated by Chris Speed... so it was to be expected). Incredible use of multiphonics, to the extent of imitating a kind of industrial noise normally only to be expected out of lower register saxophones. It does all sound fucking incredible King.... |
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King
Full Member
Posts: 180
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Post by King on Apr 27, 2008 19:55:37 GMT -5
Seeing sets there is so exhilarating. Its a fucking small space... right up there with the improvisers instruments right in front of you. It was my second time. Can't wait until I can afford to head in again.
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Post by mikestack on May 10, 2008 14:57:54 GMT -5
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Post by HolgerregloH on May 11, 2008 17:51:43 GMT -5
Did anyone get to the "benefit performance" at the Stone tonight (Jan 10)? I'd bee interested to hear what a Zorn/Reed collaboration sounded/looked like. DISE (Downtown In Southern Emisphere) Less experimental but also really great, Zorn as Special Guest on a Lou Reed show in New York at the Highline Ballroom (the guy behind the laptop had a good time ;D): www.youtube.com/watch?v=LHHilA7RwR4 |
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