After that recent discussion of the origin for the
name Naked City, I figured people might be interested
to know that an exhibit of Weegee's photography is
open right now until July 23 at the Ubu Gallery in
NYC.
Just noticed it so I figured I should pass the word
along.
http://www.ubugallery.com/phpwcms/?current
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"Yesterday is history.
Tomorrow is a mystery.
And today? Today is a gift.
That's why we call it the present."
- Babatunde Olatunji -
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I'm sure it's not the same everywhere, but generally when there is a free
concert at a café, how do the musicians get paid?
For instance, in Paris, in both "free" concerts that I attended, le chapeau
(the hat) was passed around afterwards. I somehow assumed that any money
collected would go directly to the musicians. However, a friend of mine
said that the musicians were probably paid a flat fee by the establishment
and any money collected by donations goes directly to that establishment
(not the musicians) -- that's in case the place did not make enough money
from drink and snacks to pay for the musicians.
So, when donations are collected, generally who gets them -- the musicians
or the owners of the venue at which they played?
Jennifer
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Just listening to the recent Cornelius album and wondered: What's the best
version of the tune "Brazil"? Any suggestions?
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I just returned from Paris (and it was fabulous, as always) and saw two
great concerts. Especially compared to the vast majority of people who post
here, I simply dont have the experience or knowledge to give an educated
review of the concerts or the talent. But, but what its worth, here are my
impressions:
The first concert was Le Freylekh Trio at the Olympic Café in the 18th
arrondissement with Jacques Gandard on violin, Thomas Feterman on guitar,
and his brother David Feterman on double bass. Obviously, the music was
klezmer, and actually it was the first time Id ever experienced klezmer
music live! (I have dozens of recordings by various artists on CDs,
however) There was a group who played first (I have no idea who they were,
but they were decent). I really dont think the music could be labeled as
terribly innovative (though I dont have the experience to properly gauge),
but it was executed quite beautifully, in my humble opinion. The violin
could sing quite sweetly and eloquently, yet could dance as fast as the
fingers could fly, never missing a note, and sacrificing nothing in quality
for speed. They were new tunes (to me) yet traditional tunes. Vraiment,
the music was executed flawlessly. There is little doubt that the players
are quite accomplished. Personally, I loved the intimacy of a tiny cellar
deep inside Paris to hear this music. The ambiance, paired with the
wonderful music, penetrated the imagination with stories and images that are
with me still. Again, I simply dont have the experience to compare the
group with others, but I thoroughly enjoyed it and will absolutely look up
the group again when I return to Paris! Also, Ive heard that whenever Tim
Sparks is in town, he plays with them (and that is definitely something Id
love to experience).
There is more on the group here: http://www.mfvi.com/freylekhtrio/
(Personally, I dont think the music on their website does the group justice
at all)
The other group was La Caravane Passe, which played both klezmer and
Hungarian music. The concert I saw was at 3zarts in the 20th
arrondissement. Thomas Feterman was also in this group. This group was
larger, with brass, alto sax, and percussion. It was a great, rousing
concert in fact, only the comatose were still glued to their seats! I
really loved both groups, but if I had to choose my favorite, it would have
to be Le Freylekh Trio, which is odd since Im generally not particularly
enthusiastic about the violin (Im not saying I dont like it, but it isnt
a favorite instrument of mine).
The worst part of the concerts? They had to end.
Jennifer
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Got late word about this duo's tour. I'm stealing Michael Parker's
description from another list. And at the end are their show still upcoming. I caught
them on Saturday in Takoma Park and it was great.
Steve
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I wish I had sent this note to the list a few days earlier, because
there was a show in VA yesterday... But here is a schedule for the
duo tour of Raoul Bjorkenheim and Lukas Ligeti. I'm a fan of both
of these musicians, so let me say a few words of explanation about
why many people here are likely to find their performances *very*
enjoyable. I could really go on and on, but I want to be concise
(time issues!).
Basically, Lukas Ligeti is a great drummer, and that's what he does
in this duo. He is highly developed both as a "contemporary
classical" composer (he has a new CD coming out on Tzadik in a few
weeks with string quartets and such) and as drummer who can deal
(uniquely) with free improv and various points along continua from
jazz to rock, Morocco to Korea, etc. He typically plays exciting
complicated grooves. He does not play typical Euro-improv style
drumming or typical free jazz drumming, but he is definitely an
experimentalist in his own way, and has innovated a personal
vocabulary dealing with polytempo drumming, the sort of challenge
very few improvising drummers are willing to accept. Unique stuff.
Raoul Bjorkenheim is the guy from Krakatau, Scorch Trio, etc. The
Bjorkenheim/Ligeti duo album "Shadowglow" is pretty incredible, with
many twists you'd never expect from a guitar/drums duo, especially
because these are not the only instruments used! They are both very
heavy on various indigeneous musics from all over, especially from
various parts of Africa, where Ligeti has done much work. They
integrate these studies into their personal vocabularies; it is not
superficial mimicry. Anyone who hasn't heard the Scorch Trio must do
so immediately! It's about the hottest avant power trio electric
guitar "free jazz"/"free fusion" record you'll find.
But "Shadowglow" has a wider range of innovative ideas and it's a
perfect match of personalities, totally in that indefinable no-mans's
land between known genres. I've been playing this disc heavily. As
Krakatau fans know, this cat can go pretty far out with outrageous,
lethal electric guitar timbres.
-------------------------------
Tuesday, June 1: Savannah, GA, Starland Cultural Center
Wednesday, June 2: Chapel Hill, NC, Night Light, 102 Taylor St.
Thursday., June 3: Atlanta, GA, Eyedrum, Atlanta, GA, 290 MLK Jr.Drive, Suite
8, 9pm. www.eyedrum.org; http://tk-jk.net/euphonic/
Friday, June 4: Athens, GA, Flicker Theater, 263 W. Washington, 8:30pm
Saturday, June 5: Cincinnati, OH, The Mockbee, 603 West McMicken.
http://www.themockbee.org
Sunday, June 6: Bloomington, IN, Cinemat, 410 W 4th Bloomington
Monday, June 7: Louisville, KY, Artswatch, 2337 Frankfort Ave.
Tuesday, June 8: Lexington, KY, The Icehouse, 185 Richond Ave.
Friday, June 11: Philadelphia, PA, Ars Nova Series,
http://www.arsnovaworkshop.com
Saturday, June 12: Rochester, NY, The Rochester Int'l Jazz Festival, 6pm
Picked up Zorn's 50th Birthday disc, volume 4, Electric Masada, yesterday.
In the opinion of this Zorn-lister, this album is beautifully heavy and very
well done -- HIGHLY Recommended. Great players, awesome cuts. Needless to
say, I am stoked Zorn finally released something which features the Electric
Masada unit.
n.p. Electric Masada Vol. 4
David Byrne "The Catherine Wheel" Soundtrack
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>I just saw "Trembling before G-d"on a dvd in an local dvd store. Does
>anyone have any coments about this documentary?
Many! What did you have in mind? "Comments" is so general that you may not
hear what specifically you wanted to hear.
Jennifer
BTW, I woke up in Paris this morning and sadly am back in the US now. More
later about some wonderful music I experienced while there! But I've been
up ~40 hours and have the coherency of, well, a very non-coherent person at
the moment.....
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Hi, I've planned a travel in Berlin for this month of
june, I need some info about concerts, events, clubs,
record stores... and any other interesting thing to
enjoy.In short, some touristical advisement to confirm
the dates. Any information will be highly appreciated.
Thanks in advance. Regards, Ricardo.
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