And speaking of drone, the only La Monte Young track on rdio is For Brass on an interesting recording, Roots of Drone. Young, John Cage, John Lee Hooker, Shostakovich, Sam Cooke, Muddy Waters, Ravi Shankar, Giacinto Scelsi, Bo Diddley, Howlin' Wolf, Miles Davis...
I used to think that the music of Young was as radical as could be but this recording is good at making the link to out-there drone music.
I'm headed to Amoeba/SF tomorrow but fortunately, will likely find other selections to add to my bricks and mortar legacy media shopping basket.
Interrupting my attempt at nobility, I'll speak a moment about guilty pleasures. Although I don't and won't ever subscribe to Showtime on cable, I watched Season 1 of Californication on Netflix streaming. Then, although not as instantly gratified since it was not available on my computer and involved frequent inbound and outbound post office transactions, I watched season 2 and 3 via Netflix DVD. And then I learned that Seasons 4 and 5 are not available at all on Netflix.
Not optimal but at least understandable. Hmm, maybe I'll buy my own copy of Season 4 tomorrow.
I haven't precisely zeroed in on it yet, but there's a lesson here about the abundance of interesting music versus the limited amount of video I care about versus the $112/month I continue to reliably shovel to Comcast. So, I'm still sorting through what I expect and what I will or will not pay for to satisfy the family's media consumption. There are bigger problems in life, of course.
It Is Time is also a new release and interesting. The composer:
It Is Time marshals the virtuosity of the individual members of So to speed, slow, warp, celebrate and mourn our perceptions of time. Each of the four sections of the piece is a mini concerto for one of the players.
I do wish more of the Cantaloupe catalog was streamable on rdio.
I'm listening to John Mackey's Turbine from an album Stravinsky & Friends. I'm not particularly a liker of Stravinsky so we'll see how the album goes. Ursula Oppens is one of the artists on the recording.
I'm also trying what appears to be the new music feature on the redesigned Facebook (I accidentlly just typed that as "resigned Facebook." Anyway...). So far, so meh. All I've seen is a Music link at the top of the Facebook page. If I click on that, I get a search box. If I enter John Mackey, I get to select a music service to use: YouTube, Rdio, or MP3s. Then I can click on a particular track and it creates a new Facebook post with the appropriate player. Presumably, tomorrow's official roll-out of Facebook's music integration will offer more features than just a shortcut for posting from a music site...
It should have all been very moving, but it wasn't. By stressing the story's uplifting qualities rather than the confusion and tragedy of 9/11, the creators left it bloodless and sanitized, which is a less than ideal condition for an opera. In contrast, John Adams's controversial "The Death of Klinghoffer," another opera about an act of terrorism, challenges its audience to engage with the material and the events it depicts. It seems clear that Rescorla was a remarkable hero. This opera does tell us something about how he got to be one. But what else do we learn, and how do we feel about it? "Heart of a Soldier" doesn't have much to add.
Nagoya Guitars is an interesting use on instrumentation i.e. Reich mallet music without the mallets:
Meerenai Shim points to a recent Old First Church concert where this was played as well, with an indication it's a transcription by David Tannenbaum. And I don't remember that I posted about it in 2007.
By the time the work reaches its climactic scene, the Sept. 11 attacks, it’s hard to feel invested in the characters, their losses or their sacrifices. Any effect the scene is able to muster relies not on the power of the work itself but on the ability of simple visual cues — spindly towers, radiant blue backdrop, falling paper — to jog the audience members’ own memories.