[Dixielandjazz] Where is the music going?

[LARRY'S Signs and Large Format Printing]

Since you brought up BIAB, I personally made $675 for two gigs on valentines
day and two gigs Fat Tuesday with BIAB.  Not bad for a total of 5 hours
playing.  While it's not as much fun as playing with a group it does pay.  I
have built a series of one hour "shows" that are really popular with the
seniors from Dixie to 40's and 50's.  I have about 600 tunes and add more
all the time.  Put it through a good amp and spkr system and it's a gold
mine.  It's about the only way a sax player can go out and work duo's and
singles.
----- Original Message ----- 
From: "Steve barbone" <barbonestreet at earthlink.net>
To: "DJML" <dixielandjazz at ml.islandnet.com>
Sent: Friday, February 18, 2005 8:11 AM
Subject: [Dixielandjazz] Where is the music going?


> It ain't only Jazz and pop music that are going in "odd" directions. Check
> out the below review, snipped for brevity.
>
> Hmmmmmm. Turn on the hum of an electric light, use Band in a Box to
> accompany your Alto, rattle some keys, and play avant-garde classical.
>
> The only thing missing is hitting the keyboard with a dead fish. But I
guess
> that's already been done so the above is evolutionary progress. :-) VBG.
>
> Yessir, Presentation rules!! Imagine this opposite 4:33 on a program. Hey,
> maybe the Boondockers could play the intermission? Bob, this would make a
> terrific act for the Sacto Jubilee, adding some class. :-) VBG
>
> Cheers,
> Steve Barbone
>
> MUSIC REVIEW | BRIAN SACAWA - NY TIMES - By ALLAN KOZINN
>
> Harmonizing With a Lamp and Some Rattling Keys
>
> start of snip..... you don't run into classical saxophonists often.
>
> Brian Sacawa, in his late 20's, is intent on following that path, however,
> and at his New York debut recital on Thursday night at the Miller Theater,
> he demonstrated one way it can be done. His solution was to focus on
> contemporary American composers - some resolutely formal, others
> self-consciously avant-garde, but just about all invitingly quirky.
>
> Certainly the most idiosyncratic was Alvin Lucier, whose "Spira Mirabilis"
> (1994) is for baritone saxophone and an amplified electric light. The
light
> - actually a desk lamp at one corner of the stage - produced a
> 120-cycle-per-second hum, which was the work's dominant sound. Beginning
in
> the wings, Mr. Sacawa walked slowly across the stage, playing a pianissimo
> descending figure that accelerated as he approached the lamp. The piece
> ended when he switched off the light and, consequently, the hum.
>
> Several of the scores required Mr. Sacawa to play against the backdrop of
an
> electronic tape. In Martin Bresnick's "Tent of Miracles" (1984), the tape
> presented three baritone saxophone lines, to which Mr. Sacawa added a
fourth
> live. Some of the work's chunky chordal figures called to mind the
> late-1990's rock band Morphine, which also relied heavily on baritone
saxes.
> But Mr. Bresnick composed his work long before Morphine came and went, and
> he moves in other directions as well. Kaleidoscopic bursts, multiphonics,
> vocalizations and a lengthy section in which the sound of rattling keys
> creates a hypnotic rhythm keep this changeable work fresh and surprising.
>
> A similar spirit, but very different textures, drove Derek Hurst's
> "Bacchanalia Skiapodorum" (2004), in which Mr. Sacawa's alto saxophone
> blended seamlessly with more traditional electronic sounds (that is, of
the
> beep and squeak variety). And Philip Glass was represented by an early
> rarity, "Piece in the Shape of a Square" (1968), originally for two
flutes.
> Mr. Sacawa transcribed it for alto saxophones, playing one line on tape
and
> the other live. .....end snip
>
>
>
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