day breaks the morning shapes we speak by woodworkings
Very pretty piano-cello-guitar-ambient.
Seems to me one weakness of the generally excellent bandcamp is the apparent absence of region-sensitive pricing. When artists price their digital albums on bandcamp at levels that are competitive for continental Europe, they come out significantly higher than the price for the same album on amazon.com, giving the purchaser a significant incentive to go buy from a source where the artist gets a smaller cut.
All That You Love Is All That You Are by Thom Carter: after the two NYOP albums under the name Menhirs of Er Grah, I decided to purchase this. really good country folk.
@GP: I think some artists don't "get it," and it's not confined to European artists. Almost all the busking bands (old time Jazz and Blues) price their albums at $10+, even though they are performing public domain material. IMO, few albums on BC can be justified over $8 (or 5 GBP).
Here is what I consider one of the most offensively priced albums at BC:
Emily Barker's Almanac -- £ 12, 50% higher than the average cost of a CD in the UK for just a download.
@BN, the Dwindlers are excellent...I have one of their releases on CD with the accompanying book of poems and artwork. Very nice stuff. @BT, I suspect you are right - I hesitated to blame artists in general. I see it most with continental releases in Euros. My charitable interpretation is that they are pricing at a level that makes sense in their home market. Another interpretation is that some artists think that "I can set my own price here, so I'll set it really high, where I think my music should be priced" makes sense in a market in which they are competing with other sellers selling the same music cheaper with the artist's permission.
Here is what I consider one of the most offensively priced albums at BC:
- How about this 2016 single from the Danish band Antenne:
- $1,000 USD or more - or 5,425.94 DKK. and it's not even the time travelling that makes it that expensive the #1, #2 and #3 is alo rather expensive (they were on Amie Street and are really excellent music, btw)
- $1,000 USD or more - or 5,425.94 DKK. and it's not even the time travelling that makes it that expensive the #1, #2 and #3 is alo rather expensive (they were on Amie Street and are really excellent music, btw)
I did think of that when I wrote about Barker. Nonetheless, Antenne's pricing is part of a jest. Barker intends to run a serious webstore, from which she sells albums in various forms, CDs and vinyl included.
Grateful Dead, 11-30-1980, Fox Theater, Atlanta, the audience recording version, not the Dave's Picks version. It is a very nice audience recording though.
- Matching Mole is a free translation of Soft Machine into French (Machine Molle).
Released in 1972 by Cuneiform and with:
Phil Miller; guitar: Bill MacCormick; bass: Dave McRae; electric piano: Robert Wyatt; drums & vocals.
- An absolute must for Soft Machine and Robert Wyatt fans. AAJ
- "Inner Cities are where you go to get debriefed, to dance a tarantella with Gurdjieff; to see Italo Calvino greet Giordano Bruno in Campo De Fiori; to play low C 78 times and low D-flat once for Giacinto Scelsis 79th birthday; to hear Louis Armstrong fuse time and space in Providence, and Ella, Peanuts Hucko, and Brubeck fill a Newport stadium unamplified; to watch Cage and Braxton play chess in Washington Square Park; to roll around in a pile of rags with Pistoletto and Simone Forti; to listen to Ezra Pounds silence by the Grand Canal; to hear Julian Beck say "Paradise Nooow....." and years later on film say "I wuz bawn in a garbage can"; to become a composer in the Coolidges apple tree; to hear Miles and Coltrane blow minds at Storyville (price, one coca-cola); to listen to Cy Twombly just back from the Gobi desert; to meet Diana in her temple on Lake Nemi; to hear Art Tatum play the whole world from memory; to record, for Perlinis "Otello", a tin can rolling through a Venetian church; to give an impromtu rams-horn concert for Palestinian shopkeepers; to ride with a New York cabbie nuts about Gubaidulina; to sit at Patience Grays table; to plant a Magnetic Garden in the Beat 72 theater; to make love with a Jewish Rhein-maiden; to help Giuseppe Chiari remix Palazzo Strozzi and Robert Ashley collect dust from the union-floor of Local 802; to hear fog-horns with the Narragansett Indians; to cook funghi porcini for Luigi Nono in Berlin-Friedenau; to meet Morty Feldman on Eighth Street; to make the Ligurian coast into watercolormusic with Edith Schloss; to hang with the Carrara anarchists and the Bertoluccis in Tellaro where DH Lawrence had his piano delivered by mules; to get booed off the floor staging Korean folk songs in Darmstadt; to listen for Messaien in Birdland; to hear Evan Parker play the Festa dell'Unita and George Lewis play the Tower of Pisa; to see and hear Annea Lockwoods astounding glass concert at the Middle Earth; to be sitting in a room with Alvin Lucier; to hear Thelonius Monk detune time at the Five-Spot; to observe Sartre and Beauvoir drinking Campari from a window on Piazza Navona; to accompany ventriloquists, hypnotists, sirtos dancers, and bouzouki players in the Catskills; to watch Lenny Michaels dance the mambo at Susans Piano-Bar and Grill; to see Steve Lacy play his soprano sax with his left leg; to blow shofar to Judith Malinas Shelley; to split the MEV door at the Obitorio; to copy for Cardew while he rolled the revolution on the banks of the Tiber; to play on a Holland American Ocean Liner which later catches fire and sinks; to wish that Meredith Monk, Diamanda Galas, Joan La Barbara, Billie Holiday would sing from the minarets five times a day; to play Dixieland in the Brussels Worlds Fair across from Varese and Xenakis Phillips Pavillion; to play "An American in Paris" in Dahomey with John Sebastian Sr. on harmonica; to witness real Balinese dance in trance; to accidentally step on Dietrich Fischer Dieskau's foot backstage at the Akademie der Kunste; to record an interview with King Hussein of Jordan; to watch Trisha Brown levitate on Bach in San Francisco; to help Cage squeeze lemons into his fresh taboule on 18th Street and watch David Tudor mix chili peppers and lasers at the Grand Hotel des Palmes; to play the Sydney Harbour like a bandoneon; to teach advanced-orchestration in the Greek Theater at Mills College with Pauline Oliveros and the ghost of Harry Partch; to shake Stravinsky's hand in the American Sector-Berlin and Vareses in New Haven; to watch Kosugi dance his electric violin around Marcus Aurelius; to get thrown off stage in London as a warmup act for the Pink Floyd; to meet Stockhausen at a strobe-light show in Düsseldorf; to open windows on Cages cue for adding real cold air to his Winter Music; to camp out with Teitelbaum and Rzewski for Antonionis Zabriskie Point; to hear Terry and LaMontes landmark concerts at the Attico in Rome; to help Charlotte Moorman and Nam June Paik get an introduction to the Pope; to nearly get sequestered along with Arnold Dreyblatts instruments at the Friedrichstrasse Bahnhof; to play the "Tennessee Waltz" with a banjo-band in Florence; to hear Maryanne Amacher make sound circle your head in her Boston harbor basement; to have tea and guffaws with Helen and Elliott; to play "Drumming" with Steve Reich in Pamplona; to bury 80 loudspeakers under Melissas Floor Plan in Linz and feed hay to a Diskklavier in Donaueschingen; to play with the original Scratch Orchestra; to make 300 people in 6 countries who cannot see or hear one another play together on the radio; to drink a Turka-Cola at the foot of Mt. Ararat; to hear Scelsis piano sonata on the car radio in central Anatolia; to make a concert of shiphorns in the "Golf of Poets"; to be 5 years old in Central Falls, Rhode Island, sitting next to my father in the trombone section at the Sunday afternoon Vaudeville show. . . . ." From the linernotes by Alvin Curran
Having a classical morning.
Then:
Versions of Concertos 3, 5, and 20 by different folk pasted together from various classical big box sets into a fictional album so that it worms its way into my album-only listening habits.
Doing a spot of listening from Nereffid's end of year list. Was not a fan of the Bach reinvented, but having navigated past "Vibration animal sex brain music" by Orchestra of the Spheres and some Mannnheim Steamroller in Guvera's lovely search engine, I am now enjoying this one.
Comments
Peter Broderick - "Music for Congregation"
I thought the tracks in the 70s were a pretty strong set, followed by a weak bunch from 84-89; quite enjoying track 90 now.
day breaks the morning shapes we speak by woodworkings
Very pretty piano-cello-guitar-ambient.
Seems to me one weakness of the generally excellent bandcamp is the apparent absence of region-sensitive pricing. When artists price their digital albums on bandcamp at levels that are competitive for continental Europe, they come out significantly higher than the price for the same album on amazon.com, giving the purchaser a significant incentive to go buy from a source where the artist gets a smaller cut.
All That You Love Is All That You Are by Thom Carter: after the two NYOP albums under the name Menhirs of Er Grah, I decided to purchase this. really good country folk.
@GP: I think some artists don't "get it," and it's not confined to European artists. Almost all the busking bands (old time Jazz and Blues) price their albums at $10+, even though they are performing public domain material. IMO, few albums on BC can be justified over $8 (or 5 GBP).
- Featuring Benjamin Dauer & Michelle Seaman - Very recommendable . . .
(Thanks for the Dauer tip, GP)
Emily Barker's Almanac -- £ 12, 50% higher than the average cost of a CD in the UK for just a download.
@BT, I suspect you are right - I hesitated to blame artists in general. I see it most with continental releases in Euros. My charitable interpretation is that they are pricing at a level that makes sense in their home market. Another interpretation is that some artists think that "I can set my own price here, so I'll set it really high, where I think my music should be priced" makes sense in a market in which they are competing with other sellers selling the same music cheaper with the artist's permission.
- $1,000 USD or more - or 5,425.94 DKK. and it's not even the time travelling that makes it that expensive the #1, #2 and #3 is alo rather expensive (they were on Amie Street and are really excellent music, btw)
ETA:
- Awesome !
DJ/rupture - Uproot
I did think of that when I wrote about Barker. Nonetheless, Antenne's pricing is part of a jest. Barker intends to run a serious webstore, from which she sells albums in various forms, CDs and vinyl included.
Rich Homie Quan - Still Goin in Reloaded
Craig
OK, not music, but I thoroughly admit that I enjoy "fan" films like these more than the current studio productions.
Oskar Schonning - "The Violin"
- Matching Mole is a free translation of Soft Machine into French (Machine Molle).
Released in 1972 by Cuneiform and with:
Phil Miller; guitar: Bill MacCormick; bass: Dave McRae; electric piano: Robert Wyatt; drums & vocals.
- An absolute must for Soft Machine and Robert Wyatt fans.
AAJ
ETA:
Thanks for the reminder GP. This is a digital copy made from my old LP, so I really must look out for the new version!
- "Inner Cities are where you go to get debriefed, to dance a tarantella with Gurdjieff; to see Italo Calvino greet Giordano Bruno in Campo De Fiori; to play low C 78 times and low D-flat once for Giacinto Scelsis 79th birthday; to hear Louis Armstrong fuse time and space in Providence, and Ella, Peanuts Hucko, and Brubeck fill a Newport stadium unamplified; to watch Cage and Braxton play chess in Washington Square Park; to roll around in a pile of rags with Pistoletto and Simone Forti; to listen to Ezra Pounds silence by the Grand Canal; to hear Julian Beck say "Paradise Nooow....." and years later on film say "I wuz bawn in a garbage can"; to become a composer in the Coolidges apple tree; to hear Miles and Coltrane blow minds at Storyville (price, one coca-cola); to listen to Cy Twombly just back from the Gobi desert; to meet Diana in her temple on Lake Nemi; to hear Art Tatum play the whole world from memory; to record, for Perlinis "Otello", a tin can rolling through a Venetian church; to give an impromtu rams-horn concert for Palestinian shopkeepers; to ride with a New York cabbie nuts about Gubaidulina; to sit at Patience Grays table; to plant a Magnetic Garden in the Beat 72 theater; to make love with a Jewish Rhein-maiden; to help Giuseppe Chiari remix Palazzo Strozzi and Robert Ashley collect dust from the union-floor of Local 802; to hear fog-horns with the Narragansett Indians; to cook funghi porcini for Luigi Nono in Berlin-Friedenau; to meet Morty Feldman on Eighth Street; to make the Ligurian coast into watercolormusic with Edith Schloss; to hang with the Carrara anarchists and the Bertoluccis in Tellaro where DH Lawrence had his piano delivered by mules; to get booed off the floor staging Korean folk songs in Darmstadt; to listen for Messaien in Birdland; to hear Evan Parker play the Festa dell'Unita and George Lewis play the Tower of Pisa; to see and hear Annea Lockwoods astounding glass concert at the Middle Earth; to be sitting in a room with Alvin Lucier; to hear Thelonius Monk detune time at the Five-Spot; to observe Sartre and Beauvoir drinking Campari from a window on Piazza Navona; to accompany ventriloquists, hypnotists, sirtos dancers, and bouzouki players in the Catskills; to watch Lenny Michaels dance the mambo at Susans Piano-Bar and Grill; to see Steve Lacy play his soprano sax with his left leg; to blow shofar to Judith Malinas Shelley; to split the MEV door at the Obitorio; to copy for Cardew while he rolled the revolution on the banks of the Tiber; to play on a Holland American Ocean Liner which later catches fire and sinks; to wish that Meredith Monk, Diamanda Galas, Joan La Barbara, Billie Holiday would sing from the minarets five times a day; to play Dixieland in the Brussels Worlds Fair across from Varese and Xenakis Phillips Pavillion; to play "An American in Paris" in Dahomey with John Sebastian Sr. on harmonica; to witness real Balinese dance in trance; to accidentally step on Dietrich Fischer Dieskau's foot backstage at the Akademie der Kunste; to record an interview with King Hussein of Jordan; to watch Trisha Brown levitate on Bach in San Francisco; to help Cage squeeze lemons into his fresh taboule on 18th Street and watch David Tudor mix chili peppers and lasers at the Grand Hotel des Palmes; to play the Sydney Harbour like a bandoneon; to teach advanced-orchestration in the Greek Theater at Mills College with Pauline Oliveros and the ghost of Harry Partch; to shake Stravinsky's hand in the American Sector-Berlin and Vareses in New Haven; to watch Kosugi dance his electric violin around Marcus Aurelius; to get thrown off stage in London as a warmup act for the Pink Floyd; to meet Stockhausen at a strobe-light show in Düsseldorf; to open windows on Cages cue for adding real cold air to his Winter Music; to camp out with Teitelbaum and Rzewski for Antonionis Zabriskie Point; to hear Terry and LaMontes landmark concerts at the Attico in Rome; to help Charlotte Moorman and Nam June Paik get an introduction to the Pope; to nearly get sequestered along with Arnold Dreyblatts instruments at the Friedrichstrasse Bahnhof; to play the "Tennessee Waltz" with a banjo-band in Florence; to hear Maryanne Amacher make sound circle your head in her Boston harbor basement; to have tea and guffaws with Helen and Elliott; to play "Drumming" with Steve Reich in Pamplona; to bury 80 loudspeakers under Melissas Floor Plan in Linz and feed hay to a Diskklavier in Donaueschingen; to play with the original Scratch Orchestra; to make 300 people in 6 countries who cannot see or hear one another play together on the radio; to drink a Turka-Cola at the foot of Mt. Ararat; to hear Scelsis piano sonata on the car radio in central Anatolia; to make a concert of shiphorns in the "Golf of Poets"; to be 5 years old in Central Falls, Rhode Island, sitting next to my father in the trombone section at the Sunday afternoon Vaudeville show. . . . ."
From the linernotes by Alvin Curran
Stealing Orchestra - Portfolio
*[/img]
ETA:
Kraig Grady, Brad Laner, Jim French, Petra Haden, Banaphshu, Josh Laner
Long time no listen.
Then:
Versions of Concertos 3, 5, and 20 by different folk pasted together from various classical big box sets into a fictional album so that it worms its way into my album-only listening habits.
Doing a spot of listening from Nereffid's end of year list. Was not a fan of the Bach reinvented, but having navigated past "Vibration animal sex brain music" by Orchestra of the Spheres and some Mannnheim Steamroller in Guvera's lovely search engine, I am now enjoying this one.