[Dixielandjazz] so many minutes O'Silence
ROBERT R. CALDER
serapion at btinternet.com
Mon May 31 15:49:16 PDT 2010
It may have been the Chieftains, but I know one Irish folk ensemble appeared in Glasgow a number of years ago and did the John Cage, well, number.
Come to think of it, so did the audience. Simultaneously.
----- Original Message ----
From: "dixielandjazz-request at ml.islandnet.com" <dixielandjazz-request at ml.islandnet.com>
To: serapion at btinternet.com
Sent: Monday, 31 May, 2010 20:00:01
Subject: Dixielandjazz Digest, Vol 89, Issue 45
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Today's Topics:
1. Re: youth (Phil Wilking)
2. New Melbourne Jazz Band at The Royal Hotel (Ross Anderson)
3. The Silent Opera - Shades of John Cage (Stephen G Barbone)
4. New Orleans Trad Jazz Camp for Adults (Nita Hemeter)
5. Re: Loose Marbles (Marek Boym)
6. Re: New Orleans Trad Jazz Camp for Adults (Marek Boym)
7. Re: The Silent Opera - Shades of John Cage (Randy Fendrick)
8. Re: The Silent Opera - Shades of John Cage (M J (Mike) Logsdon)
9. Re: Loose Marbles (JBruno868 at aol.com)
----------------------------------------------------------------------
Message: 1
Date: Sun, 30 May 2010 14:53:23 -0500
From: "Phil Wilking" <philwilking at bellsouth.net>
To: "Mailing List DIXIELAND JAZZ" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] youth
Message-ID: <8E102A2E9F1F4F549AF40D1C1FA47547 at droolingidiot>
Content-Type: text/plain; format=flowed; charset="iso-8859-1";
reply-type=original
I have read that archaeologists have found mother-in-law jokes in ancient
Egyptian hierogliphics in the pyramids.
We have about 10,000 years of some kind of written history. In all those
records, there is not one indication that basic human nature has changed.
Why should children and parents today act in any substantially different way
toward each other (or any people toward each other) than they did 2,000,
4,000, or 8,000 years ago?
Phil Wilking
Those who would exchange freedom for
security deserve neither freedom nor security.
----- Original Message -----
From: "Jim Kashishian" <jim at kashprod.com>
>
> Years ago I read a story written about a parent complaining about his kids
> in general...staying out late at nite, not following rules, etc., etc.
> Turns out the story was written in Roman times. Nothing changes. The old
> see things differently than the young, who later become old & see things
> about the youth they don't like.
>
------------------------------
Message: 2
Date: Mon, 31 May 2010 12:16:31 +1000
From: "Ross Anderson" <rossanmjband at iprimus.com.au>
To: "'Dixieland Jazz Mailing List'" <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] New Melbourne Jazz Band at The Royal Hotel
Message-ID: <5E22E1E1041C45AAAF13EA311654B0F5 at RossPC>
Content-Type: text/plain; charset="us-ascii"
Dear Friends,
A reminder that the New Melbourne Jazz Quintet
will be at the Royal Hotel, next Sunday June 6th,
Note new time "1-30pm-till-4-30pm "
The great food available from mid-day.
To book a table please phone, 9758 2755.
Graeme Steele on Trumpet and Vocal,
Ron Trigg on Reeds,
Charley Farley on Banjo/Guitar and Vocal,
Ben Rushworth on Drums,
and me on Bass and Vocal.
We are going to be playing lots of
DIXIELAND JAZZ.
Cheers.
Ross
------------------------------
Message: 3
Date: Mon, 31 May 2010 09:40:33 -0400
From: Stephen G Barbone <barbonestreet at earthlink.net>
To: DJML <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] The Silent Opera - Shades of John Cage
Message-ID: <2973C4C1-E447-479B-88F0-732671B95052 at earthlink.net>
Content-Type: text/plain; charset=WINDOWS-1252; format=flowed;
delsp=yes
Silence is golden. Is it time to try a silent Dixieland performance in
the name of art? <grin>
Cheers,
Steve Barbone
www.myspace.com/barbonestreetjazzband
By HOLLAND COTTER - NY TIMES - May 31, 2010
700-Hour Silent Opera Reaches Finale at MoMA
At 5 p.m. Monday the longest piece of performance art on record, and
certainly the one with the largest audience, comes to an end. Since
her retrospective opened at the Museum of Modern Art on March 14, the
artist Marina Abramovic has been sitting, six days a week, seven hours
a day in a plain chair, under bright klieg lights, in MoMA?s towering
atrium. When she leaves that chair Monday for the last time, she will
have clocked 700 hours of sitting.
During that time her routine seldom varied. Every day she took her
place just before the museum doors opened and left it after they
closed. Her wardrobe was consistent: a sort of concert gown with a
long train, in one of three colors (red, blue and white).
Always her hair, in a braided plait, was pulled forward over her left
shoulder. Always her skin was an odd pasty white, as if the blood had
drained away. Her pose rarely changed: her body slightly bent forward,
she stared silently and intently straight ahead.
There was one variable, a big one: her audience.
Visitors to the museum were invited, first come first served, to sit
in a chair facing her and silently return her gaze. The chair has
rarely, if ever, been empty. Close to 1,400 people have occupied it,
some for only a minute or two, a few for an entire day.
Sitting with Ms. Abramovic has been the hot event of the spring art
season. Celebrities ? Bjork, Marisa Tomei, Isabella Rossellini, Lou
Reed, Rufus Wainwright ? did a stint. Young performance artists seized
a moment in the limelight. One appeared in his own version of an
Abramovic gown to propose marriage. Certain repeat sitters became mini-
celebrities, though long-time waiters on line stared daggers at those
who sat too long.
Thanks to the Internet many people saw all of this without being
there. A daily live feed on MoMA?s Web site, moma.org, has had close
to 800,000 hits. A Flickr site with head shots of every sitter has
been accessed close to 600,000 times. Yet foot traffic has been heavy.
By the museum?s estimate, half a million people have visited all or
part of the Abramovic retrospective, ?The Artist Is Present,? of which
the atrium piece is a small part. . . .
One of her lifelong heroes is the opera singer Maria Callas, to whom
she can bear a striking physical resemblance. Callas was a
disciplined, risk-oriented musician, made vulnerable by a voice that
began to disintegrate early. Increasingly, as she aged, every
performance became an ordeal, an invitation to failure. Her
willingness to face failure became the prevailing drama of her life.
It was a drama of survival, and her fans had a part in it: she needed
them to need her, so they did.
That?s that classic diva dynamic. And what we?re seeing in the MoMA
atrium is basically a 700-hour silent opera. Ms. Abramovic, with her
extravagant costume, her bent shoulders and her mournful gaze, is the
prima donna. Visitors are cast as rapt audience, commenting chorus,
supporting soloists. Unpredictability is in the air: Will she make it
through the day? Will she faint from pain? Will she cancel at the last
minute?
When I dropped by last week, one sitter, a repeater, sat across from
Ms. Abramovic with his hands clasped to his chest, like a tenor about
to burst into song or a worshiper transported in prayer. Perfect. That
Ms. Abramovic will be collaborating with Mr. Wilson, a once-radical
creator of epic experimental works and now best known for his
ritualistic productions of Puccini and Wagner, is also perfect. . .
I?m not a fan. But the atrium performance works because she is simply,
persistently, uncomfortably there. As of 5 p.m., she won?t be, though.
The klieg lights will dim. The audience will move on. Something big
will be gone, and being gone will be part of the bigness.
------------------------------
Message: 4
Date: Mon, 31 May 2010 09:04:49 -0500
From: Nita Hemeter <nhemeter at gmail.com>
To: dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: [Dixielandjazz] New Orleans Trad Jazz Camp for Adults
Message-ID:
<AANLkTiknxSnOMmvQI278-KKaZ44CJtrWxIgbJ0JYjz0Q at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
May 27, 2010
New Orleans Hosts Its First Traditional Jazz Band Camp
The acclaimed HBO series "Treme" has ignited a firestorm of interest in New
Orleans music. The music has emerged, according to one critic "as its
central character, the lone force capable of holding a shattered city
together." For another, the music is " a huge reason to keep watching." The
songs included each episode have become the subject of scores of print and
blog commentaries and at least one website dedicated to the soundtrack of
"Treme" -- MusicOfTreme.com. Much of the music featured in the series is
traditional jazz. Songs like "St. James Infirmary," "Li'l Liza Jane," and
"Basin Street Blues" are now being heard in living rooms across America.
But adults who wanted to learn how to play this kind of traditional New
Orleans Jazz used to have to attend band camps in Sacramento, San Diego or
other cities. Until now.
For the first time, "the birthplace of jazz" is hosting a traditional jazz
camp for adults. This summer, between August 1-6, 60 adults from across the
globe are coming to New Orleans to learn New Orleans music from New Orleans
musicians. The camp will feature individual and group classes, evening jam
sessions, a jazz club crawl, a birthday party for Louis Armstring at
Preservation Hall and the opportunity to sit in with jazz bands in the
French Quarter and the chance for some to perform at the Satchmo Summerfest.
This year is the start of an annual event that will capitalize on the
growing popularity of New Orleans music and attract people from around the
world to the city in early August. A shrinking number of slots are still
available. For more information about New Orleans' first traditional jazz
camp, go to www.neworleanstradjazzcamp.com. To interview the musicians
organizing the camp, contact info at neworleanstradjazzcamp.com
------------------------------
Message: 5
Date: Mon, 31 May 2010 17:38:57 +0300
From: Marek Boym <marekboym at gmail.com>
To: Stephen G Barbone <barbonestreet at earthlink.net>,
Dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] Loose Marbles
Message-ID:
<AANLkTimW_lKoeD3LYrsu_GHh0bArAGlt5bpHmwAhcCvm at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Hi,
I have not yet listened to the "outside the box OKOM," but the
Preservation Hall videos are present very well played jazz; actually,
I have over the years heard many a band not playing half as well and
still being regularly reivited to festivals.
And yes, there is young audience - just reach out to it! That might
even save the future of OKOM festivals - some of the kids will become
affluent, or at least - well to do, and if they get hooked, will
attend festivals. And the older people are going to die eventually,
even if, as we wish each other, they live to be 120! If there is any
future for OKOM festivals (I repat yet again - to me this includes
swing), it lies with the young players and young audiences.
Cheers
On 29 May 2010 23:10, Stephen G Barbone <barbonestreet at earthlink.net> wrote:
>
> On May 29, 2010, at 3:00 PM, dixielandjazz-request at ml.islandnet.com wrote:
>
>> Dave Richoux ?tubaman at tubatoast.com wrote (about Loose Marbles)
>>
>>
>> Listening to them right now at Sac Jazz - some great old tunes played just
>> right! I don't think anybody in the group is over 30, but they have the
>> collective soul of a timeless New Orleans Jazz band.
>
> You tell em Dave. For others who want to hear/see them go to:
>
> http://youtube.com/watch?v=bCffoeZzVEg
>
> http://youtube.com/watch?v=R6sYZBMISFg&feature=related
>
> http://youtube.com/watch?v=nyr7LDiprjA&feature=related
>
>
> Now, do folks still doubt this music is viable among the young? OK, go to:
>
>
> http://youtube.com/watch?v=2ICiOA-iFZk&feature=related
>
> http://youtube.com/watch?v=GHQ1UhWpl7I
>
> http://youtube.com/watch?v=5aSSUJDLBLI&feature=related
>
>
> In other words, you folks who think this music will die, should get out
> more. Go where the kids are instead of watching OKOM festivals who don't
> adapt slowly die. Note well that Sacramento has the Loose Marbles there this
> weekend. Thank Bob Ringwald for that.
>
> Still not convinced? OK, for some outside the box OKOM thinking go to:
>
>
> http://www.youtube.com/watch?v=fkVXENoTdNg
>
> http://www.youtube.com/watch?v=veZ7RKbiUB0
>
> http://www.primatefiasco.com/music.html
>
>
> Want more trad? OK, then hear Cangelosi Cards at:
>
>
> http://www.youtube.com/watch?v=nF_MCxA8szM
>
> http://www.youtube.com/watch?v=9LBfCPMK81U&feature=related
>
> This is the band that Ed Polcer busks around NYC in the subway, or at
> Washington Sq Park there. He'll tell you he makes more per hour doing that
> then he does at his Old Folks gigs in The Big Apple.
>
> Yes, OKOM festivals may die. Nothing lasts forever and those of us who
> played at, or went to OKOM festivals have an average age of dead. But, for
> those of us old folks who still get to nightclubs or street festivals and
> see these young bands are quite optimistic about the state of the genre. How
> many of the old guard knew about Loose Marbles? Those of us on the DJML
> should all know, as they have been the subject of numerous posts for about 5
> years now.
>
> And those like my band which plays 100 gigs a year in venues like these see
> the enthusiasm with which the music is accepted by audiences of all ages . .
> . IF IT IS PRESENTED WITH THAT AUDIENCE IN MIND. ?We're cutting back from
> 160+ ?gigs a year not because the music is dead, but because we are to damn
> old to play more than twice a week on average. And we welcome the young OKOM
> bands that are springing up in our area. Instead of lamenting the old folks
> perception that this music is dying, get out on the scene and hear what the
> young bands are doing with it.
>
> Go hear the kids, like Jonathan Russell, or Aaron Irwin or Drew Nugent, or
> the bands above, or all of the rest out there who making sure OKOM lives. We
> are dying off, not the music. THINK YOUNG.
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
>
>
>
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz
> Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
>
------------------------------
Message: 6
Date: Mon, 31 May 2010 18:00:13 +0300
From: Marek Boym <marekboym at gmail.com>
To: Nita Hemeter <nhemeter at gmail.com>, Dixielandjazz at ml.islandnet.com
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] New Orleans Trad Jazz Camp for Adults
Message-ID:
<AANLkTiksvz3kyDO-1t5_vzy7A7bQhK-TcuClppHb0T8L at mail.gmail.com>
Content-Type: text/plain; charset=ISO-8859-1
Television may be a blessing, after all!
>
> The acclaimed HBO series "Treme" has ignited a firestorm of interest in New
> Orleans music. ?The music has emerged, according to one critic "as its
> central character, the lone force capable of holding a shattered city
> together." For another, the music is " a huge reason to keep watching." The
> songs included each episode have become the subject of scores of print and
> blog commentaries and at least one website dedicated to the soundtrack of
> "Treme" -- MusicOfTreme.com. Much of the music featured in the series is
> traditional jazz. ? Songs like "St. James Infirmary," "Li'l Liza Jane," and
> "Basin Street Blues" are now being heard in living rooms across America.
Could this be the beginning of another revival? Coupled with the
rebewed interest in swing dancing, it could be just that, even if this
time the revivalists might not exclude everything else, especially
swing.
Cheers
>
> But adults who wanted to learn how to play this kind of traditional New
> Orleans Jazz used to have to attend band camps in Sacramento, San Diego or
> other cities. ?Until now.
>
> For the first time, "the birthplace of jazz" is hosting a traditional jazz
> camp for adults. ?This summer, between August 1-6, 60 adults from across the
> globe are coming to New Orleans to learn New Orleans music from New Orleans
> musicians. ?The camp will feature individual and group classes, evening jam
> sessions, a jazz club crawl, a birthday party for Louis Armstring at
> Preservation Hall and the opportunity to sit in with jazz bands in the
> French Quarter and the chance for some to perform at the Satchmo Summerfest.
>
> This year is the start of an annual event that will capitalize on the
> growing popularity of New Orleans music and attract people from around the
> world to the city in early August. A shrinking number of slots are still
> available. ?For more information about New Orleans' first traditional jazz
> camp, go to www.neworleanstradjazzcamp.com. ?To interview the musicians
> organizing the camp, contact info at neworleanstradjazzcamp.com
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
>
------------------------------
Message: 7
Date: Mon, 31 May 2010 08:08:39 -0700
From: Randy Fendrick <jfendrick at bak.rr.com>
To: Stephen G Barbone <barbonestreet at earthlink.net>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] The Silent Opera - Shades of John Cage
Message-ID: <EAF35E04-09E5-4C9B-89A0-BE5EAAC6E2A8 at bak.rr.com>
Content-Type: text/plain; charset=windows-1252
I saw the Titans at a festival we were playing, I believe that is their name, playing Sweet Georgia Brown and the band took an entire chorus without making a sound. The drummer was keeping time without hitting anything, the players were moving the valves and keys, the slide was moving in and out, but no sound, Then they came in on the last chorus and blew the house down. It was absolutely great! It just reinforces the old adage, you got to have a gimmick. You are right John Cage would have appreciated it,
later,
Randy Fendrick
Southside Chicago Seven
On May 31, 2010, at 6:40 AM, Stephen G Barbone wrote:
> Silence is golden. Is it time to try a silent Dixieland performance in the name of art? <grin>
>
> Cheers,
> Steve Barbone
> www.myspace.com/barbonestreetjazzband
>
>
> By HOLLAND COTTER - NY TIMES - May 31, 2010
>
> 700-Hour Silent Opera Reaches Finale at MoMA
>
> At 5 p.m. Monday the longest piece of performance art on record, and certainly the one with the largest audience, comes to an end. Since her retrospective opened at the Museum of Modern Art on March 14, the artist Marina Abramovic has been sitting, six days a week, seven hours a day in a plain chair, under bright klieg lights, in MoMA?s towering atrium. When she leaves that chair Monday for the last time, she will have clocked 700 hours of sitting.
>
> During that time her routine seldom varied. Every day she took her place just before the museum doors opened and left it after they closed. Her wardrobe was consistent: a sort of concert gown with a long train, in one of three colors (red, blue and white).
>
> Always her hair, in a braided plait, was pulled forward over her left shoulder. Always her skin was an odd pasty white, as if the blood had drained away. Her pose rarely changed: her body slightly bent forward, she stared silently and intently straight ahead.
>
> There was one variable, a big one: her audience.
>
> Visitors to the museum were invited, first come first served, to sit in a chair facing her and silently return her gaze. The chair has rarely, if ever, been empty. Close to 1,400 people have occupied it, some for only a minute or two, a few for an entire day.
>
> Sitting with Ms. Abramovic has been the hot event of the spring art season. Celebrities ? Bjork, Marisa Tomei, Isabella Rossellini, Lou Reed, Rufus Wainwright ? did a stint. Young performance artists seized a moment in the limelight. One appeared in his own version of an Abramovic gown to propose marriage. Certain repeat sitters became mini-celebrities, though long-time waiters on line stared daggers at those who sat too long.
>
> Thanks to the Internet many people saw all of this without being there. A daily live feed on MoMA?s Web site, moma.org, has had close to 800,000 hits. A Flickr site with head shots of every sitter has been accessed close to 600,000 times. Yet foot traffic has been heavy. By the museum?s estimate, half a million people have visited all or part of the Abramovic retrospective, ?The Artist Is Present,? of which the atrium piece is a small part. . . .
>
> One of her lifelong heroes is the opera singer Maria Callas, to whom she can bear a striking physical resemblance. Callas was a disciplined, risk-oriented musician, made vulnerable by a voice that began to disintegrate early. Increasingly, as she aged, every performance became an ordeal, an invitation to failure. Her willingness to face failure became the prevailing drama of her life. It was a drama of survival, and her fans had a part in it: she needed them to need her, so they did.
>
> That?s that classic diva dynamic. And what we?re seeing in the MoMA atrium is basically a 700-hour silent opera. Ms. Abramovic, with her extravagant costume, her bent shoulders and her mournful gaze, is the prima donna. Visitors are cast as rapt audience, commenting chorus, supporting soloists. Unpredictability is in the air: Will she make it through the day? Will she faint from pain? Will she cancel at the last minute?
>
> When I dropped by last week, one sitter, a repeater, sat across from Ms. Abramovic with his hands clasped to his chest, like a tenor about to burst into song or a worshiper transported in prayer. Perfect. That Ms. Abramovic will be collaborating with Mr. Wilson, a once-radical creator of epic experimental works and now best known for his ritualistic productions of Puccini and Wagner, is also perfect. . .
>
> I?m not a fan. But the atrium performance works because she is simply, persistently, uncomfortably there. As of 5 p.m., she won?t be, though. The klieg lights will dim. The audience will move on. Something big will be gone, and being gone will be part of the bigness.
>
>
> _______________________________________________
> To unsubscribe or change your e-mail preferences for the Dixieland Jazz Mailing list, or to find the online archives, please visit:
>
> http://ml.islandnet.com/mailman/listinfo/dixielandjazz
>
>
>
> Dixielandjazz mailing list
> Dixielandjazz at ml.islandnet.com
------------------------------
Message: 8
Date: Mon, 31 May 2010 10:07:33 -0700 (GMT-07:00)
From: "M J (Mike) Logsdon" <mjl at ix.netcom.com>
To: DJML <dixielandjazz at ml.islandnet.com>
Cc: Dixieland Jazz Mailing List <dixielandjazz at ml.islandnet.com>
Subject: Re: [Dixielandjazz] The Silent Opera - Shades of John Cage
Message-ID:
<25232144.1275325653632.JavaMail.root at elwamui-karabash.atl.sa.earthlink.net>
Content-Type: text/plain; charset=UTF-8
And let's not forget that Cage's 3000+-year organ piece is still going strong somewhere. (I could Google it, but I've got plenty of time before the brick gets moved from its current pedal to the next one. The rest of my life, no doubt, that is!)
------------------------------
Message: 9
Date: Mon, 31 May 2010 14:08:52 EDT
From: JBruno868 at aol.com
To: marekboym at gmail.com
Cc: dixielandjazz at ml.islandnet.com
Subject: Re: [Dixielandjazz] Loose Marbles
Message-ID: <80b33.5beede71.39355534 at aol.com>
Content-Type: text/plain; charset="US-ASCII"
In a message dated 5/31/2010 7:52:53 A.M. Pacific Daylight Time,
marekboym at gmail.com writes:
Listening to them right now at Sac Jazz - some great old tunes played just
>> right! I don't think anybody in the group is over 30, but they have the
>> collective soul of a timeless New Orleans Jazz band
Larry Wright played with them when he was back East and was touting their
collective talents and ages. They are really trying to be OKOM. I'm glad to
hear that they were invited to Sac. This way others can hear and see them.
He would call me on his cells phone so I could listen to the gigs. Not the
best way to hear it of course but it was good even over the phone.
Jazz Hugs
------------------------------
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