[Dixielandjazz] Re: The Sneak
richard88jazz at att.net
richard88jazz at att.net
Thu Mar 3 20:25:59 PST 2005
Craig:
Do you need a copy of the music for "The Sneak"? Let me know.
Rich Skrika
Albany, NY
richard88jazz at att.net
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> Today's Topics:
>
> 1. Re: Astute observation of reality
> (LARRY'S Signs and Large Format Printing)
> 2. Re: Astute observation of reality (TCASHWIGG at aol.com)
> 3. The Sneak (Craig I. Johnson)
> 4. Re: OKOM in California (Jim Larson)
> 5. OKOM in the Great State of California (Jan Nichols)
> 6. Re: OKOM in the Great State of California (TCASHWIGG at aol.com)
> 7. Re: The Sneak (Bill Haesler)
> 8. Very unusual (Bob Romans)
> 9. digest (pcrums)
> 10. Where is the Music Going? -A Surprising Redux (Steve barbone)
> 11. Re: Where is the Music Going? -A Surprising Redux
> (Andy.Ling at Quantel.Com)
> 12. Re: Very unusual (G. William Oakley)
> 13. Re: Where is the Music Going? -A Surprising Redux (Don Kirkman)
> 14. Bye For a While (Jazzjerry at aol.com)
> 15. Re: Where is the Music Going? -A Surprising Redux
> (TCASHWIGG at aol.com)
>
>
> ----------------------------------------------------------------------
>
> Message: 1
> Date: Wed, 2 Mar 2005 14:59:57 -0600
> From: "LARRY'S Signs and Large Format Printing"
> Subject: Re: [Dixielandjazz] Astute observation of reality
> To: ,
> Message-ID: <003a01c51f6a$cc745e60$21e1d918 at gateway2000>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Some years ago the band played for a Japanese Construction firm. This was a
> very high end party at the St. Louis Club which is about the most posh place
> in town. There were about 100 guests, mostly Japanese. The president of
> the firm danced with every wife there and all the execs and most of the
> guests had taken dancing lessons at company expense. There were three
> professional photographers. One was a portrait photographer, one was doing
> large format and the third was taking 35 mm candids. Unfortunately they
> were all from different studios and the large format and the 35mm gal argued
> rather nastily all evening about who was stealing and getting in the way
> of whose shots. (who cares?)
>
> Every Japanese person there had a camera and proceeded to take photos of
> everybody and everything. The CEO had his picture taken dancing with
> everyone's wife. The band and singer were also a main attraction for their
> lenses.
>
> When I got out of there I was almost snow blind to say nothing of the blue
> spots that doubled as notes. (blue notes?)
> Larry
> ----- Original Message -----
> From:
> To:
> Sent: Wednesday, March 02, 2005 8:13 AM
> Subject: Re: [Dixielandjazz] Astute observation of reality
>
>
> > Tom,
> >
> > I'd have to agree with you there -- every night that I go out to hear
> OKOM, there will be at least one or two large groups of Asian tourists who
> are seriously into the music. Many of them tell us that they came to New
> Orleans specifically to hear our local bands (and I'm surprised at how many
> of them are musicians too).
> >
> > Sue
> >
> > _______________________________________________
> > Dixielandjazz mailing list
> > Dixielandjazz at ml.islandnet.com
> > http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
>
> ------------------------------
>
> Message: 2
> Date: Wed, 2 Mar 2005 17:25:10 EST
> From: TCASHWIGG at aol.com
> Subject: Re: [Dixielandjazz] Astute observation of reality
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <141.40c4fb72.2f579746 at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
>
> Yes, that can be a bit annoying, but it's all part of getting popular for
> musicians, just think how many folks they passed those photos around to and how
> many times a year they take them out and look at them and remember the good
> time they had and the music and the band. :))
>
> By the way Larry and those around the St. Louis Area,
>
> Saint Gabriel's Celestial Brass Band is the Featured Artist on WCH Radio out
> of St. Louis for the month of March. You can check them out at:
> www.wchradio.com
> www.thewave.i8.com
> www.nextstep.5u.com
>
> New Orleans at: IradioLa91.7FM
> Laginiappbroadcastingnetwork in New Orleans
> Dave Robinson's French Quarter show at XM70 6-9 on Fridays
>
> Fearlessradio in Chicago
>
> We are also being featured in Michigan on FlagAss Radio out of Frankenmuth.
> www.FlagAssRadio.com I will be doing a live on air interview with them on
> March 24 at about 8:00 p.m.
>
> down in Austin, Texas you can catch some of our tunes on:
> http://thefeveredbrainofradiomike.com
>
> In Australia you can catch five of our songs on the top 20 Jazz playlist at:
> www.ISONLiveRadio.com
> International Network "Cool Cats Jazz hour"
> Radio Cairns Fm89.1 Australia
> Bay FM Radio Australia
>
>
> In the UK
> Brian Healey at Music maker UK is playing us.
> www.Passionfmuk.com
>
> I am compiling a list with call letters of all the stations which I will post
> shortly.
>
> We are getting a lot of air play for OKOM in places you would never think of,
> If you send them the CDs and they are good music they will play them folks.
> And you can soon start to sell some too and get em off the garage shelf or out
> of the closet.
> If we don't shamelessly promote OKOM who the Hell will???
>
> Our list of stations playing St. Gabriel's CDs includes already:
>
> The UK At least three stations
> Australia About six stations so far:
> New Zealand
> Alaska
> Texas, Austin and El Paso
> Florida Miami Beach, Sunrise
> Missouri
> Ohio Zonetainment radio
> Louisiana At least three programs
> Chicago Two programs that I know of
> Japan Chiba, Kamagawa,
> Italy
> Taiwan
> Germany at least three stations.
> California Santa Cruz, Redway, Chico, Santa Monica, Sacramento, Covina,
> Los Angeles,
>
> And I have not included the stations or programs from my friends on the DJML
> who requested CDs for their shows, Thanks to all of you for your efforts. I
> would appreciate it if you guys would email me with your station and or program
> information so I can include it in my dossier.
>
> These programs have all requested us to send the CDs folks, they will play
> yours as well but you have to approach them they will never find you. Last week
> some member of the list asked me what my day gig was? :)) I told them it was
> booking my night and day gigs for my band and other full time working bands.
>
> I will shortly be sending out CDs to about five hundred other stations,
> anybody on the list serious about promotion contact me off list if you would
> like
> to find out how to be a part of it. This is how you generate Good Paying gigs
> folks. Self Promotion.
>
> Cheers,
>
> Tom Wiggins
>
>
> ------------------------------
>
> Message: 3
> Date: Wed, 2 Mar 2005 19:00:18 -0800
> From: "Craig I. Johnson"
> Subject: [Dixielandjazz] The Sneak
> To: "Dixieland Jazz Mailing List"
> Message-ID: <000a01c51f9d$22480940$6501a8c0 at satchmo>
> Content-Type: text/plain; charset="Windows-1252"
>
> Has anyone heard Nacio Herb Brown's "The Sneak" by any of the following:
> Isham Jones,
> Herb Weidoft
> or possibly, the best, Jimmy Blythe?
> -- Or possibly one of the current jazz bands?
> Thanks,
> Craig
>
>
> ------------------------------
>
> Message: 4
> Date: Wed, 02 Mar 2005 18:09:44 -0600
> From: "Jim Larson"
> Subject: [Dixielandjazz] Re: OKOM in California
> To: dixielandjazz at ml.islandnet.com
> Message-ID:
> Content-Type: text/plain; format=flowed
>
> Speaking of OKOM in California - I'm going to be in San Luis Obispo next
> week on the 7th, 8th and 9th.
>
> Any good live music in the area on these nights?
>
> Jim Larson
>
>
>
>
>
> ------------------------------
>
> Message: 5
> Date: Wed, 2 Mar 2005 17:08:46 -0800
> From: "Jan Nichols"
> Subject: [Dixielandjazz] OKOM in the Great State of California
> To: "DJML"
> Message-ID: <410-220053431846860 at earthlink.net>
> Content-Type: text/plain; charset=US-ASCII
>
> Okay, okay, I'm finally motivated to join in on this thread. Since I'm usually
> a lurker, I hold my tongue when it comes to banjo pedagogy, obscure chord
> changes and other IMPORTANT stuff on the DJML. However, when you start talking
> about the Left-Coast......well that's something else indeed.
>
> Here are my credentials: My family arrived in California when a German sailor
> jumped ship in Monterey somewhere around 1847. He married a beautiful Mexican
> girl who was a house maid for the Pico family (last Mexican Governor of
> California). Since that time, we have felt all of the earthquakes, dodged the
> mudslides and watched (from a distance) all of the brush fires.
> As already mentioned, so far no Tsunamis or hurricanes.
>
> Our band, the Old Town Jazz Band (blatant self-promotion) works as much as it
> needs to. We have averaged 40-50 gigs per year in the early days, but now are
> only taking those gigs that pay enough to turn a profit or a benefit for a group
> that is special for the band. No complaints from the band, so far. Steve
> Barbone, who has my unqualified admiration, seems to measure success by the
> number of decimal places on the check. Tomorrow, we begin another School
> Marathon where we will play for six schools in two days. We stand a chance of
> getting OKOM to 1,400 kids in the next 48 hours. Are we making a profit, yes.
> Are we getting rich, no. However, seeing the light in that many young eyes adds
> several 0's to the check.
>
> Perhaps, the demographics have something to do with this question. How many
> people have retired (in Chicago) and moved to California. I live near a
> community that is filled with retired folks, since the city has promoted Hemet,
> California as a great place to retire. We never run short of an audience for
> OKOM in this area. Perhaps there is more of an audience for OKOM festivals
> because of the number of seniors in the neighborhood. While we continue to work
> on building a more youthful audience, our retired folks are our bread and
> butter.
>
> We all have noticed the fact that audiences are declining (nobody lives
> forever), perhaps we should consider demographics.
>
> Jan Nichols
> Left Coast Cornetist
> Old Town Jazz Band
> San Jacinto, CA
>
> hotjazzcornet at earthlink.net
> Why Wait? Move to EarthLink.
>
> ------------------------------
>
> Message: 6
> Date: Wed, 2 Mar 2005 20:22:48 EST
> From: TCASHWIGG at aol.com
> Subject: Re: [Dixielandjazz] OKOM in the Great State of California
> To: Dixielandjazz at ml.islandnet.com
> Message-ID:
> Content-Type: text/plain; charset="US-ASCII"
>
> In a message dated 3/2/05 4:57:10 PM Pacific Standard Time,
> hotjazzcornet at earthlink.net writes:
>
> > Tomorrow, we begin another School Marathon where we will play for six
> > schools in two days. We stand a chance of getting OKOM to 1,400 kids in the
> next
> > 48 hours. Are we making a profit, yes. Are we getting rich, no. However,
> > seeing the light in that many young eyes adds several 0's to the check.
>
>
> Marvelous Jan,
>
> Go get them kids, they will someday be a paying audience or at least better
> for the exposure to OKOM rather than Chicken Pox or Heavy Metal. If more guys
> like you would not lurk and step up and tell the rest of us who are always
> shouting about getting the music to the kids etc. We would not have to keep
> preaching the same sermon over and over. Guys like Barbone and I just get
> frustrated when it seems nobody at all is paying attention.
>
> >
> > Perhaps, the demographics have something to do with this question. How many
> > people have retired (in Chicago) and moved to California. I live near a
> > community that is filled with retired folks, since the city has promoted
> Hemet,
> > California as a great place to retire. We never run short of an audience for
> > OKOM in this area. Perhaps there is more of an audience for OKOM festivals
> > because of the number of seniors in the neighborhood.
> >
> > Totally understandable:
>
> While we continue to work on building a more youthful audience, our retired
> folks are
> > our bread and butter.
>
>
> Also understandable, but there must be some non retired working folks all
> around you that are having all those kids in the schools, those are the ones who
> need to be cultivated, and the sure fire way to them is through one of two
> options l. Their Parents, or #2 Their Kids.
> Both if you can get their attention.
>
> We must remember that for many years in American culture anyway, kids grow up
> and leave the nest, many of them head straight for the Big cities to get away
> from dullsville at least as they consider it. Now many of the retired
> OKOMers did the same thing and just forgot about it. When they got fed up with
> the
> crime and hustle and bustle of everyday life in the big cities that had lost
> their lure that they moved there for earlier in life, not to mention getting
> the opportunity to sell out their expensive property in the cities and head for
> more economical places like Hemet and retire comfortably.
>
> Now many of the OKOM musicians lost an audience in the big cities, as
> happened to Lu Watters and Turk Murphy and Clancey Hayes that I specifically
> recall,
> as the older folks of their era retired and moved away, many no doubt back to
> the small towns they came form many years earlier, ( going back to their
> Roots) .
>
> Now many OKOM musicians have followed them to the smaller towns and the
> ongoing scene for lively OKOM in most major Cities just disappeared since nobody
> was cultivating the new kids in town or coming to town every day from the small
> cities to seek fame and fortune in the big cities or at least a good job.
>
> We all have noticed the fact that audiences are declining (nobody lives
> forever), perhaps we should consider demographics.
>
> Life is a Circle,
>
> Musical content:
>
> "May the Circle be unbroken"
>
>
> Cheers,
>
> Tom Wiggins
>
>
> ------------------------------
>
> Message: 7
> Date: Thu, 03 Mar 2005 13:19:15 +1100
> From: Bill Haesler
> Subject: [Dixielandjazz] Re: The Sneak
> To: "Craig I. Johnson" , dixieland jazz mail list
>
> Message-ID:
> Content-Type: text/plain; charset="US-ASCII"
>
> > Has anyone heard Nacio Herb Brown's "The Sneak"...<
> Dear Craig,
> What!
> Another trick question?
> You sneak. 8>)
> But it sure beats reading daily posts about California vs the rest of the
> USA!
> Just kidding.
> The piano roll version of "The Sneak" (played by Nacio Herb Brown) can be
> downloaded from the net. I have just done so.
> A copy of the sheet music cover can also be viewed on a net site. Just
> looked at it.
> I have never heard the Jimmy Blythe piano roll (Supertone 5245) but
> perhaps the currently-silent John Farrell has a copy. (I hope John is OK.)
> To my knowledge the Isham Jones' Brunswick 5171 (Nov 1922) has not been
> reissued.
> "The Sneak" was also recorded by The Club Royal Orchestra for Vic 18921 (27
> June 1922), but also not reissued - so far as I know.
> I can't locate a Herb Wiedoeft (note correct spelling) recording of it. But
> that is not to say that it does not exist.
> Nacio Herb Brown (1896-1964) grew up in LA and died in San Francisco (oh,
> not CA again!) and did a lot of composing for films from the early years of
> talkies.
> Most OKOMers will not have heard of "The Sneak" but they will know some of
> NH Brown's other tunes including: "Pagan Love Song", "When Buddha Smiles",
> "Rag Doll", "Wedding Of The Painted Doll" "You Were Meant For Me", "Singin'
> In The Rain", "Temptation" [yup! the one Red Ingle made even more famous],
> "You Are My Lucky Star", "I've Got A Feeling I'm Falling", "Smoke Dreams",
> and the hit for Donald O'Conner in the 1952 film 'Singin' In The Rain' -
> "Make 'Em Laugh".
> Kind regards,
> Bill.
>
>
>
>
>
>
> ------------------------------
>
> Message: 8
> Date: Wed, 2 Mar 2005 21:20:29 -0800
> From: "Bob Romans"
> Subject: [Dixielandjazz] Very unusual
> To:
> Message-ID: <00c401c51fb0$bb7cca70$5e0cb543 at Bob3000>
> Content-Type: text/plain; charset="iso-8859-1"
>
> Pete Main, clarinetist extraordinaire just talked to me on the phone and told me
> that last Saturday night in Martinez, he was playing with Ted Shafers band at La
> Beau's on Ferry Street, when Glen Calkins, trombonist, took out his opheclide,
> and Pete Main unleashed his recently purchased sarrusaphone, and they proceeded
> to play...probably the only jazz band in the world with that
> instrumentation...it will probably happen again this Saturday night, if anyone
> is interested! I wish I could be there! Jim Gammons on trumpet, Ted Shafer on
> banjo...
> Just FYI...
> Warm regards,
> Bob Romans
> Cell Block 7 Jazz Band
> 1617 Lakeshore Dr.
> Lodi, Ca. 95242
> 209-339-4676
> www.cellblockseven2002.net
> Cell 209-747-1148
> Because I play trumpet, I envy no one.
> """"""""""""""""""""""""""""""""""""""""
>
>
> ------------------------------
>
> Message: 9
> Date: Wed, 2 Mar 2005 21:31:51 -0800
> From: pcrums
> Subject: [Dixielandjazz] digest
> To: dixielandjazz at ml.islandnet.com
> Message-ID:
> Content-Type: text/plain; charset=US-ASCII
>
> digest
>
>
>
> ------------------------------
>
> Message: 10
> Date: Thu, 03 Mar 2005 10:00:59 -0500
> From: Steve barbone
> Subject: [Dixielandjazz] Where is the Music Going? -A Surprising Redux
> To: DJML
> Message-ID:
> Content-Type: text/plain; charset="ISO-8859-1"
>
> NOT OKOM, THOUGH THERE ARE REFERENCES TO ELLINGTON & STRAYHORN - BUT
> DEFINITELY JAZZ and an INTERESTING TAKE on the answer to this question.
> If you have broad musical tastes, and the resultant intellectual curiosity,
> you will love this article.
>
> Cheers,
> Steve
>
> PS. The "pipa" referred to in the article, is kind of like a wooden banjo.
> Probably would be a fantastic instrument for a "Dixieland" band. Beautiful
> picture of one in the original article.
>
> ------------------------------------------------------------------------
>
> March 3, 2005 - NEW YORK TIMES
>
> The Musical Odyssey of Min Xiao-Fen By JOSEPH HOROWITZ
>
> n his well-known Norton lectures at Harvard in 1973, "The Unanswered
> Question," Leonard Bernstein asked, "Whither music in our time?" The
> influences of Schoenberg and Stravinsky were duly pondered; the question
> remained unanswered. Today, at the beginning of the 21st century, the answer
> is all around us. The future is global. Non-European and popular music, not
> 12-tone rows and Neo-Classicism, are what have refreshed and expanded the
> musical traditions Bernstein held dear.
>
> Composers like Steve Reich, Philip Glass and John Adams, none of whom can be
> called classical musicians, are one part of "postclassical" music. And
> legions of young conductors and instrumentalists have broader, less
> Eurocentric worldviews than their elders.
>
> The Chinese, whose Cultural Revolution of 1966-76 sent Westernized musicians
> into the countryside, have carved a special place in this transitional
> moment. Steeped in their own traditional and folk music and equally schooled
> in Western practice, composers like Zhou Long and Bright Sheng have forged a
> hybrid idiom remarkable in expressive range and sophistication of timbre.
> And by finding new ways to write for pipa, erhu and zheng, they have
> catalyzed a generation of Chinese instrumentalists scarcely less remarkable.
>
> Min Xiao-Fen, who performs at the BAM Cafe tomorrow, is a pipa player like
> no other. When she speaks the language of Thelonious Monk, Duke Ellington or
> Miles Davis, the results are not ersatz but transformational. In her trio,
> Blue Pipa, with guitar and double bass, the lutelike pipa becomes a
> super-banjo. With orchestra, she performs concertos by Zhou Long, Tan Dun
> and Bun-Ching Lam in which a Western concert genre acquires new foreign
> accents.
>
> Ms. Min's fretted string instrument is itself unusually versatile. Its four
> strings and heavy rosewood body traditionally invite sharply contrasted
> "martial" and "lyric" performing styles. The martial, connecting with
> depictions of battle, is harsh, noisy and percussive. The lyric, connecting
> with nature, is fragrant: with quivering vibrato, the pipa here imitates the
> human voice.
>
> Ms. Min's rendition of Monk's "Ask Me Now" is a cross-cultural tour de
> force. The skittery repeated notes that bind and shape the long lines, the
> twanging sustained tones, the interpolated pentatonic riffs, the dry
> precision of every sound, all intended to connect equally with Monk's
> quirkiness and with centuries-old Chinese practice. The bent notes Monk
> idiosyncratically simulated on his piano are, on the pipa, truly and
> idiomatically bent. If jazz is America's most influential "classical music,"
> the Monk-Min idiom is a postclassical signpost to the future.
>
> Ms. Min also sings. In her performances, the cool, sauntering thirds of
> Miles Davis's "All Blues" are a pipa accompaniment to a breathy vocalise.
> Her "Satin Doll/Shanghai Doll" bilingually combines Duke Ellington and Billy
> Strayhorn's "Satin Doll" with the 1930's Chinese pop song "Night of
> Shanghai"; here the vocal embellishments variously derive from scat singing
> and Beijing opera. (This number, Ms. Min says, is especially appreciated in
> Taiwan, where audiences know both tunes.)
>
> Her bluegrass style, as in "The Red-Haired Boy," incorporates flicked
> inflections of timbre and melody that banjos, with their lower frets, cannot
> manage.
>
> At 43, Ms. Min has traversed a sweeping musical odyssey. She comes from a
> family of musicians and visual artists. Her father, a pipa master in
> Nanjing, was her first teacher. Her sister is a prominent virtuoso on the
> erhu (a two-stringed fiddle). Her brother conducts an orchestra in southeast
> China.
>
> "Of course we heard Bach, Mozart, Beethoven, all the famous European
> composers," she said in a recent interview. "Our neighbors played violin,
> cello, piano. Every day after dinner we all made music. The Cultural
> Revolution was not yet over. Everyone was a little afraid of being called to
> the countryside, and if you could play music, you could get a better job."
>
> Chinese universities were still closed - a legacy of the Cultural Revolution
> - when Ms. Min graduated from high school in 1979. At 18, she auditioned
> successfully for the Nanjing Traditional Music Orchestra, with which she
> performed as a soloist for more than a decade. The orchestra gave about 80
> concerts a year and toured widely in Europe.
>
> Meanwhile, Ms. Min began singing in Chinese clubs, backed by saxophone,
> electric guitar and drums. Sudden exposure to Michael Jackson, Whitney
> Houston and other American pop stars was ear-opening. Though Ms. Min had
> been trained by her father to sing Beijing opera, her voice proved adaptable
> to cooler Western styles. Some of her father's colleagues were not pleased.
>
> In 1992 she felt the need for something new and moved to San Francisco. It
> was in the Bay Area that she first encountered nontonal concert works by
> immigrant Chinese composers. "That was challenging," she said, "all kinds of
> new rhythms and meters. I had to practice a lot, sometimes eight hours on a
> couple of measures."
>
> Ms. Min moved to New York in 1996. (She now lives in Forest Hills.) Months
> after arriving, she played at the Knitting Factory. The composer-saxophonist
> John Zorn was there, and he invited her to make a recording with the
> guitarist Derek Bailey. The entire CD, produced by Mr. Zorn, was to be
> improvised.
>
> "I said, 'I don't know how to do it,' " she recalled. "In China that kind of
> individualism was not encouraged. I always needed someone to tell me what to
> do. In traditional music you could improvise some ornaments, and that was
> it. John said I should listen to Derek's recordings and decide.
>
> "Derek made guitar sounds I had never imagined. I felt sparks and colors -
> like a Dalí or Picasso painting. I even practiced by improvising along with
> his CD's. A week later I phoned John and said, 'O.K., I can do it.' "
>
> In 2003, Ms. Min was invited by Jazz at Lincoln Center to perform a
> 30-minute solo set of Thelonious Monk compositions.
>
> "At first, I thought he was actually a monk," she said. "Little by little, I
> started to like his music. It reminded me of different styles of Chinese
> calligraphy: standard script, clerical script, seal script and especially
> the running script, a very fast, very free style with a little improvisation
> involved. And my contact with his music felt physical. Even though I had a
> year to prepare, I honestly wasn't ready for this engagement. But the
> feedback was so positive that I wanted to continue."
>
> Moving on to works by Davis and Ellington, Ms. Min conceived a mission to
> build a bridge between American jazz classics and Chinese tradition. She
> also wants to explore the music of Mr. Zorn and of the venerable pianist and
> composer Randy Weston, whose explorations of African music she finds
> inspirational. And she is eager to expand the range of Blue Pipa, whose
> other members, the guitarist Stephen Salerno and the bassist Mark Helias,
> are practiced jazz and classical musicians.
>
> The variety of settings in which Ms. Min has performed, from clubs to
> concert halls, with the Brooklyn Philharmonic and other American orchestras,
> tells the story of her versatility. Her repertory with orchestra includes
> "Two Poems From Tang" by Zhou Long, whose unsurpassed gift for combining
> Chinese and Western instruments parallels Ms. Min's intermingling of Chinese
> and Western genres. She also toured Europe in Peter Sellars's version of the
> Chinese opera "The Peony Pavilion," with music by Tan Dun.
>
> Her concert tomorrow, with the cellist Okkyung Lee and the drummer Susie
> Ibarra, will include solo and ensemble versions of various Monk, Davis and
> bluegrass numbers.
>
> Central to all these activities is the pipa itself, which originated 2,000
> years ago. The body acquired its present pear shape in the fifth century,
> influenced by the Middle Eastern oud. Partly because of its considerable
> weight, it gradually evolved from a horizontally held instrument to one held
> vertically. Today, there are more than 70 playing techniques, many of which
> were devised only over the last century.
>
> "I want to show that this instrument, which so far not too many people know,
> has no limit," Ms. Min said. "I want to tell the world that there are no
> boundaries. I can say I'm an avant-garde musician, right? I'd like to go in
> this direction. I like this kind of feeling. I feel free."
>
>
> Min Xiao-Fen performs at the BAM Cafe, 30 Lafayette Avenue, at Ashland
> Place, Fort Greene, Brooklyn, tomorrow night at 9. (718) 636-4100.
>
>
>
>
> ------------------------------
>
> Message: 11
> Date: Thu, 3 Mar 2005 14:59:31 +0000
> From: Andy.Ling at Quantel.Com
> Subject: Re: [Dixielandjazz] Where is the Music Going? -A Surprising
> Redux
> To: dixielandjazz at ml.islandnet.com
> Message-ID:
> > tel>
>
> Content-Type: text/plain; charset="US-ASCII"
>
> Steve Barbone said :-
> > PS. The "pipa" referred to in the article, is kind of like a wooden
> banjo.
> > Probably would be a fantastic instrument for a "Dixieland" band.
> Beautiful
> > picture of one in the original article.
> >
>
> Well, it's got 4 strings, but hardly a banjo ;-)
>
> There are photos and sound clips from the lady herself here :-
>
> http://www.bluepipa.org/
>
> Have fun
>
> Andy Ling
>
>
>
> ------------------------------
>
> Message: 12
> Date: Thu, 3 Mar 2005 11:12:31 -0500
> From: "G. William Oakley"
> Subject: Re: [Dixielandjazz] Very unusual
> To: "Bob Romans"
> Cc: DJML
> Message-ID: <01c201c5200b$db18eca0$709ceb04 at yourkybtg65gxe>
> Content-Type: text/plain; format=flowed; charset="iso-8859-1";
> reply-type=original
>
> (snip)
> "Glen Calkins, trombonist, took out his opheclide"
>
> Dear Bob:
>
> In my hometown when one takes out his opheclide he is arrested for indecent
> exposure and I won't even discuss the purchase of sarrusaphones. Oh, my,
> no!
> Does Master Ringwald know you are speaking thusly?
>
> Best,
> Bill
> ----- Original Message -----
> From: "Bob Romans"
> To:
> Sent: Thursday, March 03, 2005 12:20 AM
> Subject: [Dixielandjazz] Very unusual
>
>
> Pete Main, clarinetist extraordinaire just talked to me on the phone and
> told me that last Saturday night in Martinez, he was playing with Ted
> Shafers band at La Beau's on Ferry Street, when Glen Calkins, trombonist,
> took out his opheclide, and Pete Main unleashed his recently purchased
> sarrusaphone, and they proceeded to play...probably the only jazz band in
> the world with that instrumentation...it will probably happen again this
> Saturday night, if anyone is interested! I wish I could be there! Jim
> Gammons on trumpet, Ted Shafer on banjo...
> Just FYI...
> Warm regards,
> Bob Romans
> Cell Block 7 Jazz Band
> 1617 Lakeshore Dr.
> Lodi, Ca. 95242
> 209-339-4676
> www.cellblockseven2002.net
> Cell 209-747-1148
> Because I play trumpet, I envy no one.
> """"""""""""""""""""""""""""""""""""""""
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
>
>
> ------------------------------
>
> Message: 13
> Date: Thu, 03 Mar 2005 09:38:53 -0800
> From: Don Kirkman
> Subject: Re: [Dixielandjazz] Where is the Music Going? -A Surprising
> Redux
> To: dixielandjazz at ml.islandnet.com
> Message-ID:
> Content-Type: text/plain; charset=us-ascii
>
> On Thu, 3 Mar 2005 14:59:31 +0000, Andy.Ling at Quantel.Com wrote:
>
> >Steve Barbone said :-
> >> PS. The "pipa" referred to in the article, is kind of like a wooden
> >banjo.
> >> Probably would be a fantastic instrument for a "Dixieland" band.
> >Beautiful
> >> picture of one in the original article.
> >>
> >>Well, it's got 4 strings, but hardly a banjo ;-)
>
> I think it's usually considered to fall into the lute family. The
> Japanese version is called a "biwa" [the same cognate word as pipa]. I
> don't know if the biwa has ever been used in Western jazz--maybe the
> group Hiroshima used one?
> --
> Don
> donkirk at covad.net
>
>
>
> ------------------------------
>
> Message: 14
> Date: Thu, 3 Mar 2005 13:17:27 EST
> From: Jazzjerry at aol.com
> Subject: [Dixielandjazz] Bye For a While
> To: dixielandjazz at ml.islandnet.com
> Message-ID: <159.4c07adda.2f58aeb7 at aol.com>
> Content-Type: text/plain; charset="US-ASCII"
>
> Signing of for a couple of weeks. Firstly off to a British jazz weekend at a
> hotel in Hayling Island (way down south in the UK!) then across the pond next
> Tuesdad for 10 days in New York and hoping to sample some of the musical
> delights of that city, OKOM and otherwise.
>
> As I don't wish to plough through hundreds of emails on my return I shall go
> into 'holiday' mode.
>
> Cheers,
>
> Jerry,
> Norwich,
> U.K.
>
>
> ------------------------------
>
> Message: 15
> Date: Thu, 3 Mar 2005 13:45:28 EST
> From: TCASHWIGG at aol.com
> Subject: Re: [Dixielandjazz] Where is the Music Going? -A Surprising
> Redux
> To: dixielandjazz at ml.islandnet.com
> Message-ID:
> Content-Type: text/plain; charset="US-ASCII"
>
> In a message dated 3/3/05 6:58:14 AM Pacific Standard Time,
> barbonestreet at earthlink.net writes:
>
> > The Musical Odyssey of Min Xiao-Fen
>
> She is "ALL THAT" and more, don't miss the chance to see and hear her if you
> can,
> I remember when she was struggling in San Francisco which simply was not
> ready for her or to embrace the great talent she and other fine Chinese
> instrumentalist in this market have.
>
> The musical education system in the Far East is so much better than ours it
> is frightening, however, it is also very hard on the students who are expected
> to become traditional virtuosos on their instruments.
>
> In many cases the very best ones are totally supported by the government and
> are expected to perform for them for life as National Treasures as a return
> for the investment in their training. It is indeed rare that a talent as fine
> as Min Xiao-Fen can get out of the country and make their way to the USA and
> get a taste of Western life.
>
> I hope she becomes as popular as Yo Yo Ma, she certainly deserves it.
>
> Cheers,
>
> Tom Wiggins
>
>
> ------------------------------
>
> _______________________________________________
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
> End of Dixielandjazz Digest, Vol 27, Issue 4
> ********************************************
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