DOCSLIB.ORG

Henry Cow Concerts Mp3, Flac, Wma

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Henry Cow Concerts Mp3, Flac, Wma Henry Cow Concerts mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz / Rock Album: Concerts Country: UK Style: Abstract, Experimental, Prog Rock, Free Improvisation, Art Rock MP3 version RAR size: 1220 mb FLAC version RAR size: 1279 mb WMA version RAR size: 1739 mb Rating: 4.3 Votes: 848 Other Formats: MP2 VQF AAC FLAC AA MMF ADX Tracklist Hide Credits Beautiful As The Moon: Terrible As An Army With Banners A1 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Cutler*, Frith* Nirvana For Mice A2 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Frith* Ottawa Song A3 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Cutler*, Frith* Gloria Gloom A4 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – MacCormick*, Wyatt* Beautiful As The Moon Reprise A5 Recorded By, Mixed By – Bob Conduct, Tony WilsonWritten-By – Cutler*, Frith* Bad Alchemy B1 Mixed By – Sarah GreavesPiano – John GreavesRecorded By – Norman Jön*Vocals – Robert WyattWritten-By – Greaves*, Blegvad* Little Red Riding Hood Hits The Road B2 Mixed By – Sarah GreavesPiano – John GreavesRecorded By – Norman Jön*Vocals – Robert WyattWritten-By – Wyatt* Ruins B3 Mixed By – Neil SandfordPiano – Dagmar KrauseRecorded By – Sandro PascoloWritten-By – Frith* Oslo C Piano – Chris CutlerRecorded By, Mixed By – Harold Clark, Jack BalchinRecorder – Lindsay CooperViolin, Xylophone – Fred FrithWritten-By – Henry Cow Groningen D1 Mixed By – Sarah GreavesWritten-By – Hodgkinson* Udine D2 Mixed By – Neil SandfordPiano – Lindsay CooperRecorded By – Sandro PascoloWritten-By – Henry Cow Groningen Again D3 Mixed By – Sarah GreavesWritten-By – Henry Cow Credits Bass, Voice, Celesta – John Greaves Bassoon, Flute, Oboe – Lindsay Cooper Drums – Chris Cutler Guitar, Piano – Fred Frith Mastered By – David Vorhaus Organ, Clarinet, Alto Saxophone – Tim Hodgkinson Voice – Dagmar Krause Notes Side A recorded 5th August 1975 at BBC Studios (Peel Session). Tracks B1 & B2 recorded 21st May 1975 at the New London Theatre. Tracks B3 & D2 recorded 13th October 1975 in Udine. Side C recorded 25th July 1975 at the Høvikodden Arts Centre, Oslo. Tracks D1 & D3 recorded 26th September 1974 at Vera, Groningen. Side A: Total time: 22:50 Side B: Total time: 25:36 Side C: Total time: 29:02 Side D: Total time: 26:15 Other versions Title Category Artist Label Category Country Year (Format) Henry Concerts Compendium FIDARDO 1 FIDARDO 1 Norway 1976 Cow (2xLP) Records Henry Concerts ReR VHC5 DLP ReR Megacorp ReR VHC5 DLP UK 2012 Cow (2xLP, Gat) Concerts Henry Broadcast BC2 (2xLP, RE, BC2 UK 1984 Cow Records Gat) Henry Concerts Caroline CAD 3002 CAD 3002 UK 1976 Cow (2xLP, Promo) Records Concerts Henry (2xCD, Album, COWCONCERTSJAP ReR Megacorp COWCONCERTSJAP UK 2006 Cow Ltd, RE, RM, Pap) Related Music albums to Concerts by Henry Cow Evil Conduct - Boot Boys Evil Conduct / The Old Firm Casuals - Oi! Rules...OK! Anile & Dakosa - Exclusion Zone / Code Of Conduct Chris Cutler / Lutz Glandien with Dagmar Krause, Fred Frith, Alfred Harth - Domestic Stories Robert Wyatt - Rock Bottom / Ruth Is Stranger Than Richard Robert Wyatt - Ruth Is Stranger Than Richard Evil Conduct - Rule O.K. Evil Conduct - A Way Of Life / Ultra - Violence Evil Conduct - A Way Of Life Henry Cow - In Praise Of Learning.
Load more

Recommended publications
  • Thinking Plague a History Of
    What the press has said about: THINKING PLAGUE A HISTORY OF MADNESS CUNEIFORM 2003 lineup: Mike Johnson (guitars & such), Deborah Perry (singing), Dave Willey (bass guitar & accordions), David Shamrock (drums & percussion), Mark Harris (saxes, clarinet, flute), Matt Mitchell (piano, harmonium, synths) - Guests: Kent McLagan (acoustic bass), Jean Harrison (fiddle), Ron Miles (trumpet), David Kerman (drums and percussion), Leslie Jordan (voice), Mark McCoin (samples and various exotica) “It has been 20 years since Rock In Opposition ceased to exist as a movement in any official sense… Nevertheless, at its best this music can be stimulating and vital. It’s only RIO, but I like it. Carrying the torch for these avant Progressive refuseniks are Thinking Plague, part of a stateside Cow-inspired contingent including 5uu’s and Motor Totemist Guild. These groups have…produced some extraordinary work… Their music eschews the salon woodwinds and cellos of the European groups for a more traditional electric palette, and its driving, whirlwind climaxes show a marked influence of King Crimson and Yes, names to make their RIO granddaddies run screaming from the room. …this new album finds the group’s main writer Mike Johnson in [an] apocalyptic mood, layering the pale vocals of Deborah Perry into a huge choir of doom, her exquisitely twisted harmonies spinning tales of war, despair and redemption as the music becomes audaciously, perhaps absurdly, complex. … Thinking Plague are exciting and ridiculous in equal measure, as good Prog rock should be.” - Keith Moliné, Wire, Issue 239, January 2004 “Thinking Plague formed in 1983…after guitarist and main composer Mike Johnson answered a notice posted by Bob Drake for a guitarist into “Henry Cow, Yes, etc.” …these initial influences are still prominent in the group’s sound - along with King Crimson, Stravinsky, Ligeti, Art Bears, and Univers Zero.
    [Show full text]
  • Here I Played with Various Rhythm Sections in Festivals, Concerts, Clubs, Film Scores, on Record Dates and So on - the List Is Too Long
    MICHAEL MANTLER RECORDINGS COMMUNICATION FONTANA 881 011 THE JAZZ COMPOSER'S ORCHESTRA Steve Lacy (soprano saxophone) Jimmy Lyons (alto saxophone) Robin Kenyatta (alto saxophone) Ken Mcintyre (alto saxophone) Bob Carducci (tenor saxophone) Fred Pirtle (baritone saxophone) Mike Mantler (trumpet) Ray Codrington (trumpet) Roswell Rudd (trombone) Paul Bley (piano) Steve Swallow (bass) Kent Carter (bass) Barry Altschul (drums) recorded live, April 10, 1965, New York TITLES Day (Communications No.4) / Communications No.5 (album also includes Roast by Carla Bley) FROM THE ALBUM LINER NOTES The Jazz Composer's Orchestra was formed in the fall of 1964 in New York City as one of the eight groups of the Jazz Composer's Guild. Mike Mantler and Carla Bley, being the only two non-leader members of the Guild, had decided to organize an orchestra made up of musicians both inside and outside the Guild. This group, then known as the Jazz Composer's Guild Orchestra and consisting of eleven musicians, began rehearsals in the downtown loft of painter Mike Snow for its premiere performance at the Guild's Judson Hall series of concerts in December 1964. The orchestra, set up in a large circle in the center of the hall, played "Communications no.3" by Mike Mantler and "Roast" by Carla Bley. The concert was so successful musically that the leaders decided to continue to write for the group and to give performances at the Guild's new headquarters, a triangular studio on top of the Village Vanguard, called the Contemporary Center. In early March 1965 at the first of these concerts, which were presented in a workshop style, the group had been enlarged to fifteen musicians and the pieces played were "Radio" by Carla Bley and "Communications no.4" (subtitled "Day") by Mike Mantler.
    [Show full text]
  • Veranstaltungsprogramm August 2008
    Veranstaltungsprogramm b – flat A P R I L 2010 b-flat Acoustic Music & Jazzclub, Rosenthaler Str. 13, 10119 Berlin-Mitte Do. 01.04.2010 ORIGAMI Quartet Modern Jazz 21.00 Uhr Keisuke Matsuno (g, comp.), Gregor Frei (sax, b-cl), Alex Binder (b), Matthew Jacobson (dr) Origami is the traditional Japanese art of paper-folding, based on square sheets of paper. The four international members of ORIGAMI Quartet, formed in Autumn 2008 in Lucerne, Switzerland, each represents one side of one of these sheets. The group have all studied at the world-renowned jazz department at Lucerne University, sharing teachers who are among the leading lights of contemporary jazz, such as trombonist Nils Wogram and guitarist Frank Möbus. The band members’ varied geographic and cultural backgrounds is mirrored in their vast array of influences, which range from Jimi Hendrix to contemporary classical composer Morton Feldman, and from Rage against the Machine to south Indian classical music. ORIGAMI Quartet aim to fold all these expansive influences together into something that sounds fresh and new, not bound to any specific genres or categories. Musicians: Keisuke Matsuno (guitar, electronics, compositions) was born in Berlin, Germany in 1985. He studied at the ‘Franz Liszt’ Hochschule für Musik in Weimar from 2005 – 2007 before moving to Switzerland to study at Lucerne University from 2007 – 2009. He has studied privately with Frank Möbus, Wolfgang Muthspiel, Nils Wogram, Rainer Tempel, Kurt Rosenwinkel and Jonathan Kreisberg among others, as well as attending masterclasses with Jim Black, Ed Neumeister, Jamey Haddad etc. Keisuke has performed with Nils Wogram, Michael Gibbs, Dave Liebman, Carsten Daerr and Kammerorchester der Berlin Philharmoniker in concerts in Germany, Switzerland, USA and Japan.
    [Show full text]
  • Galapagos Momentum Press Quotes
    Quotes from Upsilon Acrux’s Paul Lai, excerpted from Etan Rosenbloom’s “Mapping the path to obscurity” in Prefix Magazine, October 18, 2006: “We feel 7/4 the way that most people feel a 4/4 pocket. It's just a downbeat -- it's like you wanna rock, but so much shit is rocked in 4. And it's rad. But I can't do that shit again -- I'd like to hear something else. That's why I like Meshuggah and other bands that step out of the standard time signatures. “ “…we are a rock band, we just try not to do typical things. We listen to enough music, we're big enough music geeks, that we wouldn't want to play something cool that had already been done by ten thousand bands. It works in music and it works in art: If you have something to say, then say it in your own way. If you don't have anything to say, shut the fuck up, go home and be a consumer. … Most bands these days sound like they're working at Kinko's, just carbon copies of other bands. … … Ultimately, I'm looking for singularity. We strive for unprecedented music. …” “…I think Faust, especially, is one of the most creative bands ever: You can't really pinpoint what they exactly do. That's what all bands should strive for, creativity above genres or styles. It should be about trying to be as creative possible. … If you're not reaching out to someone, creating a personal bridge with lyrics and vocals,…then you should be insanely creative in a completely different way.
    [Show full text]
  • “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960S and 1970S by Kathryn B. C
    “What Happened to the Post-War Dream?”: Nostalgia, Trauma, and Affect in British Rock of the 1960s and 1970s by Kathryn B. Cox A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Musicology: History) in the University of Michigan 2018 Doctoral Committee: Professor Charles Hiroshi Garrett, Chair Professor James M. Borders Professor Walter T. Everett Professor Jane Fair Fulcher Associate Professor Kali A. K. Israel Kathryn B. Cox [email protected] ORCID iD: 0000-0002-6359-1835 © Kathryn B. Cox 2018 DEDICATION For Charles and Bené S. Cox, whose unwavering faith in me has always shone through, even in the hardest times. The world is a better place because you both are in it. And for Laura Ingram Ellis: as much as I wanted this dissertation to spring forth from my head fully formed, like Athena from Zeus’s forehead, it did not happen that way. It happened one sentence at a time, some more excruciatingly wrought than others, and you were there for every single sentence. So these sentences I have written especially for you, Laura, with my deepest and most profound gratitude. ii ACKNOWLEDGMENTS Although it sometimes felt like a solitary process, I wrote this dissertation with the help and support of several different people, all of whom I deeply appreciate. First and foremost on this list is Prof. Charles Hiroshi Garrett, whom I learned so much from and whose patience and wisdom helped shape this project. I am very grateful to committee members Prof. James Borders, Prof. Walter Everett, Prof.
    [Show full text]
  • Lindsay Cooper: Bassoonist with Henry Cow Advanced Search Article Archive Topics Who Who Went on to Write Film Music 100 NOW TRENDING
    THE INDEPENDENT MONDAY 22 SEPTEMBER 2014 Apps eBooks ijobs Dating Shop Sign in Register NEWS VIDEO PEOPLE VOICES SPORT TECH LIFE PROPERTY ARTS + ENTS TRAVEL MONEY INDYBEST STUDENT OFFERS UK World Business People Science Environment Media Technology Education Images Obituaries Diary Corrections Newsletter Appeals News Obituaries Search The Independent Lindsay Cooper: Bassoonist with Henry Cow Advanced search Article archive Topics who who went on to write film music 100 NOW TRENDING 1 Schadenfreudegasm The u ltim ate lis t o f M an ch ester -JW j » United internet jokes a : "W z The meaning of life J§ according to Virginia Woolf 3 Labour's promises and their m h azard s * 4 The Seth Rogen North Korea . V; / film tra ile r yo u secretly w a n t to w atch 5 No, Qatar has not been stripped o f th e W orld Cup Most Shared Most Viewed Most Commented Rihanna 'nude photos' claims emerge on 4Chan as hacking scandal continues Frank Lampard equalises for Manchester City against Her Cold War song cycle ‘ Oh Moscow’ , written with Sally Potter, was performed Chelsea: how Twitter reacted round the world Stamford Hill council removes 'unacceptable' posters telling PIERRE PERRONE Friday 04 October 2013 women which side of the road to walk down # TWEET m SHARE Shares: 51 Kim Kardashian 'nude photos' leaked on 4chan weeks after Jennifer Lawrence scandal In the belated rush to celebrate the 40 th anniversary of Virgin Records there has been a tendency to forget the groundbreaking Hitler’s former food taster acts who were signed to Richard Branson’s label in the mid- reveals the horrors of the W olf s Lair 1970s.
    [Show full text]
  • Fred Frith (Filmmusik)
    Fred Frith (Filmmusik) Geboren 1949 in Heathfield, East Sussex, England. Im Alter 5 Jahren begann Fred Frith mit dem Violinen-Spiel, später kamen das Klavierspiel, mit 13 Jahren die Gitarre hinzu. Während seines Studiums in Cambrige gründete er 1968 mit dem Saxophonisten Tim Hodgkinson die wegweisende Independent-Band Henry Cow, die u.a. mit Chris Cutler, John Greaves und Lindsay Cooper zusammen arbeitete. Nach der Auflösung von Henry Cow ging Frith 1979 nach New York, wo er mit Künst- lern der Downtown-Szene um Tom Cora, Bob Ostertag, Ikue Mori, John Zorn und anderen in Kontakt kam. Die Arbeit von Fred Frith ist seitdem ungewöhnlich vielfäl- tig. Er arbeitete u.a. zusammen mit Amy Denio, Brian Eno, Half Japanese, Material, The Residents, Robert Wyatt, Heiner Goebbels und Yo Yo Ma, produzierte Alben für The Orthotonics, David Moss, Tenko und V- Effec, war Bassist in John Zorns Band Naked City und gründete so unterschiedliche Formationen wie The Guitar Quartett, Massacre (mit Bill Laswell und Charles Hayward) und Skeleton Crew (mit Tom Cora und Zeena Parkins). "Nach mehr als 20 Jahren mit Aufnahmen und Perfor- mances ist Fred Frith so etwas wie die Ikone der Avant- garde Music geworden“ schrieb Die Zeit 1991. „Die Kri- tiker haben ihm Unrecht getan, indem sie ihn als impro- visierenden Cage-Jünger beschrieben... Bei der Anerken- nung der intellektuellen Aspekte seiner Musik dürfen aber nicht die unsterbliche Neugier, der bittere Witz, sein kindlicher Spieltrieb und die schleichende Melan- cholie übersehen werden." In den letzten Jahren verla- gerte sich der Schwerpunkt von Friths Arbeit von der Perfomance hin zur Komposition, dazu kamen zahlrei- che Arbeiten für Theater, Tanz, Film, Malerei und Video.
    [Show full text]
  • Matthew Edwards and the Unfortunates
    Matthew Edwards and the Unfortunates. ‘The Birmingham Poets’ is Matthew Edwards and the Unfortunates first release on the Paris-based December Square recordings. It was recorded in Leamington Spa, England by John A. Rivers (Felt, Dead Can Dance etc.) " The Birmingham Poets are amusing but unexpected guests who eventually ruin your dinner party…The Birmingham Poets graffiti the walls with romance languages. Their split personalities are no longer on speaking terms. They are constantly saying goodbye. I was born in Birmingham, and have both languished and thrived there. I left for California but returned… for this record I suppose? So, here I am still looking for the magic under the concrete." — MATTHEW EDWARDS Matthew Edwards is based in Birmingham, England and San Francisco CA. He has led the Unfortunates since 2013. Prior to then Edwards was the driving force in SF’s critical darlings The Music Lovers. At various times Matthew has been a bingo caller, an English Literature major, a park keeper, MC of a San Francisco cabaret, and of course a singer-songwriter of some distinction. The first Unfortunates album ‘The Fates” (2013) was produced by Eric Drew Feldman (PJ Harvey, Captain Beefheart) and recorded in Emeryville, California. It drew universal critical acclaim: **** Mojo, “Luxuriates in loss and the paradoxical beauty and romance of age, distance and decay” The Quietus "Blessed with understated charm, originality and pure lambent beauty" Shindig In 2014 Matthew relocated to his hometown of Birmingham, England and convened the UK version of the band. This group recorded the Unfortunates second album ‘Folklore’ which was released by Gare Du Nord records in June 2017.
    [Show full text]
  • Deutsche Nationalbibliografie 2016 T 04
    Deutsche Nationalbibliografie Reihe T Musiktonträgerverzeichnis Monatliches Verzeichnis Jahrgang: 2016 T 04 Stand: 20. April 2016 Deutsche Nationalbibliothek (Leipzig, Frankfurt am Main) 2016 ISSN 1613-8945 urn:nbn:de:101-201512111762 2 Hinweise Die Deutsche Nationalbibliografie erfasst eingesandte Pflichtexemplare in Deutschland veröffentlichter Medienwerke, aber auch im Ausland veröffentlichte deutschsprachige Medienwerke, Übersetzungen deutschsprachiger Medienwerke in andere Sprachen und fremdsprachige Medienwerke über Deutschland im Original. Grundlage für die Anzeige ist das Gesetz über die Deutsche Nationalbibliothek (DNBG) vom 22. Juni 2006 (BGBl. I, S. 1338). Monografien und Periodika (Zeitschriften, zeitschriftenartige Reihen und Loseblattausgaben) werden in ihren unterschiedlichen Erscheinungsformen (z.B. Papierausgabe, Mikroform, Diaserie, AV-Medium, elektronische Offline-Publikationen, Arbeitstransparentsammlung oder Tonträger) angezeigt. Alle verzeichneten Titel enthalten einen Link zur Anzeige im Portalkatalog der Deutschen Nationalbibliothek und alle vorhandenen URLs z.B. von Inhaltsverzeichnissen sind als Link hinterlegt. Die Titelanzeigen der Musiktonträger in Reihe T sind, wie sche Katalogisierung von Ausgaben musikalischer Wer- auf der Sachgruppenübersicht angegeben, entsprechend ke (RAK-Musik)“ unter Einbeziehung der „International der Dewey-Dezimalklassifikation (DDC) gegliedert, wo- Standard Bibliographic Description for Printed Music – bei tiefere Ebenen mit bis zu sechs Stellen berücksichtigt ISBD (PM)“ zugrunde.
    [Show full text]
  • Comicoperando
    Comicoperando RichardSinclair Comicoperando è un nonetto dedicato a Robert Bassista, chitarrista e cantante inglese, ha fonda- Lunedì 1 marzo ore 21 Wyatt, uno dei più amati cantanti/cantautori nella to negli anni Settanta storici gruppi della cosiddetta John Edwards storia della musica. La formazione è composta da scena di Canterbury come Caravan e Hatfield And eminenti musicisti europei, cinque dei quali hanno The North, ha militato nei Camel, ha suonato nel ca- collaborato con Robert Wyatt sia nel passato che re- polavoro Rock Bottom di Robert Wyatt e in nume- prima assoluta centemente. Nato come “dream team” di artisti vo- rosi progetti paralleli tra jazz-rock, progressive e mu- Fuori abbonamento tati alla causa della musica popolare e tuttora impe- sica acustica. gnati nella sfida di ridefinire la “musica progressive”, Comicoperando si propone di rivisitare e reinventa- Sono molto felice di essere stato invitato a prendere parte Comicoperando re il repertorio di Wyatt, pur rimanendo radicato alla a Comicoperando. Che bello cantare con questi eccellenti Gilad Atzmon tormentata inventiva del compositore e al suo spirito musicisti, lasciarsi ispirare dalla musica di Robert Wyatt, è il A Tribute to the Music caso di dire che abbiamo il pane e anche i denti! iconoclasta. Il gruppo crea una diversità di stili e re- Sinclair Richard of Robert Wyatt gistri (tutti i musicisti della band sono coinvolti – col- Richard Sinclair GiladAtzmon Alterna l’attività di musicista a quella di scrittore. Il lettivamente o individualmente – nella selezione dei suo album Exile ha vinto il premio della BBC come Dagmar Krause voce brani e negli arrangiamenti) e presenta brani fonda- miglior album jazz del 2003.
    [Show full text]
  • Constraints and Freedom: a Conversation with Georg Katzer
    Martin Supper Constraints and Freedom: Berlin University of the Arts UNI.K | Studio for Sonic Art and Sound Research A Conversation with Fasanenstraße 1B, 10595 Berlin, Germany [email protected] Georg Katzer Abstract: This interview sheds light both on a composer and on a hitherto overlooked field, the evolution of electroacoustic music in the former German Democratic Republic (GDR, commonly called East Germany). This latter focus is vital insofar as little of it, if anything at all, is included in established histories of electroacoustic music. These typically take Cologne, Paris, or New York, together with the associated institutions and composers, as starting points, with nary a word for the GDR or elsewhere. The composer Georg Katzer was a key personality in this era. In this conversation he discusses the genesis of electroacoustic music in the GDR, the influences of studios from other countries, the development of the electronic musical instrument known as the Subharchord, establishing a studio (under conditions which, despite adversity, also gave rise to results of a distinctive charm), formal affiliations with international organizations, and much more. Georg Katzer (see Figure 1) was born in 1935 in operas, two ballets, and electroacoustic works, Habelschwerdt, Silesia (then part of Germany, Katzer is involved with multimedia projects and now belonging to Poland). He studied composition improvised music. He has toured Europe playing with Rudolf Wagner-Regeny and Ruth Zechlin, with Johannes Bauer, Wolfgang Fuchs, Paul Lytten, as well as piano, at the Deutsche Hochschule fur¨ Radu Malfatti, Phil Wachsman, Phil Minton, and Musik in East Berlin (now the Hochschule fur¨ Tony Oxley among others.
    [Show full text]
  • Karen Mantler by Karen Mantler
    Karen Mantler by Karen Mantler I was conceived by Carla Bley and Michael Mantler at the Newport Jazz Festival in 1965. Born in 1966, I was immediately swept into the musician's life on the road. After having checked me at the coatroom of the Berlin Jazz Festival, to the horror of the press, my parents realized that I was going to have to learn to play an instrument in order to be useful. But since I was still just a baby and they couldn't leave me alone, they had to bring me on stage with them and keep me under the piano. This is probably why I feel most at home on the stage. In 1971, when I was four, my mother let me have a part in Escalator Over The Hill and the next year I sang on another of her records, Tropic Appetites. By 1977 I had learned to play the glockenspiel, and I joined the Carla Bley Band. I toured Europe and the States with her several times and played on her Musique Mecanique album. After playing at Carnegie Hall in 1980, where I tried to steal the show by pretending to be Carla Bley, my mother fired me, telling me "get your own band". I realized that I was going to have to learn a more complicated instrument. After trying drums, bass, and flute, which I always lost interest in, I settled on the clarinet. I joined my elementary school band and quickly rose to the head of the clarinet section. The band director let me take the first improvised solo in the history of the Phoenicia (a small town near Woodstock, NY) elementary school.
    [Show full text]