Regarding this Saturday's game.  I'm scheduled to do the
7:00-9:30 p.m. slot, but since I expect the game to run three hours
I'm hoping somebody from the Sports Department can carry on for the
last half hour until the Unsported women come in for their shift at
9:30.
          Let me know if this is a problem.  Thanks in advance and have
a great broadcast.


Not Dead Yet,

Bill Amutis
usbjazz@...
web.me.com/mredison
(Ol' Baggy Eyes)

Progress is not possible without deviation from the norm-Frank Zappa



On Sep 2, 2009, at 10:49 PM, jeffjet@... wrote:

> www.sbradiosports.blogspot.com
>
>
> DATE
>
> OPPONENT
>
> LOCATION
>
>
> PREGAME
>
> Sept. 5   at Hofstra
> (OPENING NIGHT!)
>
> Hempstead, N.Y.
>
> (Shuart Stadium, 13,000)
>
> 6:45 P.M. LISTEN LIVE
> Sept. 12  at Colgate
>
> Hamilton, N.Y. (Andy Kerr Stadium, 10,221)
>
> 5:45 P.M.
> Sept. 19  BROWN
> (LaValle Stadium -Opening-Night/ LONG ISLAND H.S. Night)
> LAVALLE STADIUM (8,136)
>
> 5:45 P.M.
> Sept. 26  at UMASS
> Amherst, Mass. (McGuirk Alumni Stadium, 17,000)
>
> 5:45 P.M.
> Oct. 3    PRESBYTERIAN*
> (HOMECOMING-WOLFSTOCK - 2009)
>
>
> LAVALLE STADIUM (8,136)
>
> 2:45 P.M.
> Oct. 10   at North Dakota
> Grand Forks, N.D. (Alerus Center, 12,283 – DOME)
>
> 1:45 P.M.
> Oct. 17   at VMI*
>
>
> Lexington, Va. (Alumni Memorial Field at Foster Stadium, 10,000)
>
> 1:15 P.M.
> Oct. 24   COASTAL CAROLINA*  (2009 EIGHTH ANNUAL RAY DOWNEY HEROES
> CLASSIC)
>
>
> LAVALLE STADIUM (8,136)
>
>
> 3:15 P.M.
> Oct. 31   at Gardner-Webb*
> Boiling Springs, N.C. (Ernest W. Spangler Stadium, 8,000)
>
> 1:15 P.M.
> Nov. 14   at Charleston Southern*
> Charleston, S.C. (CSU Stadium 4,000)
>
> 1:15 P.M.
> Nov. 21   LIBERTY*
> (FAN APPRECIATION/
> SENIOR DAY
> LAVALLE STADIUM (8,136)
>
> 12:45 P.M.


[Non-text portions of this message have been removed]

I have no idea how this was accidentally addressed to this
group.  My apologies to all for wasting your bandwidth.


Not Dead Yet,

Bill Amutis
usbjazz@...
web.me.com/mredison
(Ol' Baggy Eyes)

Progress is not possible without deviation from the norm-Frank Zappa



On Sep 8, 2009, at 1:30 PM, Bill Amutis wrote:

>         Regarding this Saturday's game.  I'm scheduled to do the
> 7:00-9:30 p.m. slot, but since I expect the game to run three hours
> I'm hoping somebody from the Sports Department can carry on for the
> last half hour until the Unsported women come in for their shift at
> 9:30.
>         Let me know if this is a problem.  Thanks in advance and have
> a great broadcast.
>
>
> Not Dead Yet,
>
> Bill Amutis
> usbjazz@...
> web.me.com/mredison
> (Ol' Baggy Eyes)
>
> Progress is not possible without deviation from the norm-Frank Zappa
>
>
>
> On Sep 2, 2009, at 10:49 PM, jeffjet@... wrote:
>
>> www.sbradiosports.blogspot.com
>>
>>
>> DATE
>>
>> OPPONENT
>>
>> LOCATION
>>
>>
>> PREGAME
>>
>> Sept. 5   at Hofstra
>> (OPENING NIGHT!)
>>
>> Hempstead, N.Y.
>>
>> (Shuart Stadium, 13,000)
>>
>> 6:45 P.M. LISTEN LIVE
>> Sept. 12  at Colgate
>>
>> Hamilton, N.Y. (Andy Kerr Stadium, 10,221)
>>
>> 5:45 P.M.
>> Sept. 19  BROWN
>> (LaValle Stadium -Opening-Night/ LONG ISLAND H.S. Night)
>> LAVALLE STADIUM (8,136)
>>
>> 5:45 P.M.
>> Sept. 26  at UMASS
>> Amherst, Mass. (McGuirk Alumni Stadium, 17,000)
>>
>> 5:45 P.M.
>> Oct. 3    PRESBYTERIAN*
>> (HOMECOMING-WOLFSTOCK - 2009)
>>
>>
>> LAVALLE STADIUM (8,136)
>>
>> 2:45 P.M.
>> Oct. 10   at North Dakota
>> Grand Forks, N.D. (Alerus Center, 12,283 – DOME)
>>
>> 1:45 P.M.
>> Oct. 17   at VMI*
>>
>>
>> Lexington, Va. (Alumni Memorial Field at Foster Stadium, 10,000)
>>
>> 1:15 P.M.
>> Oct. 24   COASTAL CAROLINA*  (2009 EIGHTH ANNUAL RAY DOWNEY HEROES
>> CLASSIC)
>>
>>
>> LAVALLE STADIUM (8,136)
>>
>>
>> 3:15 P.M.
>> Oct. 31   at Gardner-Webb*
>> Boiling Springs, N.C. (Ernest W. Spangler Stadium, 8,000)
>>
>> 1:15 P.M.
>> Nov. 14   at Charleston Southern*
>> Charleston, S.C. (CSU Stadium 4,000)
>>
>> 1:15 P.M.
>> Nov. 21   LIBERTY*
>> (FAN APPRECIATION/
>> SENIOR DAY
>> LAVALLE STADIUM (8,136)
>>
>> 12:45 P.M.
>
>
> [Non-text portions of this message have been removed]
>
>
>
> ------------------------------------
>
> Unsubscr.: Anthony_BRAXTON-unsubscribe@yahoogroups.com
> http://groups.yahoo.com/group/Anthony_BRAXTONYahoo! Groups Links
>
>
>

[Non-text portions of this message have been removed]

> I have no idea how this was accidentally addressed to this
> group.  My apologies to all for wasting your bandwidth.
>
> Not Dead Yet,
>
> Bill Amutis

No problem. That was fun :)

-- Jérôme

On Sep 8, 2009, at 10:38 AM, Bill Amutis wrote:
I have no idea how this was accidentally addressed to this
group. My apologies to all for wasting your bandwidth.

Progress is not possible without deviation from the norm-Frank Zappa

-----------------------------------------------------------


I saw it as progress

Something new!
http://www.newmusicbox.org/article.nmbx?id=6109

http://www.coastaljazz.ca/concert/anthony_braxton_12_1_tet_0

According to the Web site:

<< >> << >> <<>>

Anthony Braxton, composer, saxophonist, clarinetist, flautist, pianist, and
philosopher, is widely and critically acclaimed as a seminal figure in the music
of the late 20th century. He has created a vast body of highly complex work
ranging from solo saxophone performances to elaborate compositions for huge
ensembles such as his For Four Orchestras. One of the most prolific American
musician/composers in history, Braxton has released over 100 recordings since he
joined the Chicago-based AACM (Association for the Advancement of Creative
Musicians) back in 1966.
Over the next four decades he broke new conceptual and technical ground,
extending and expanding upon jazz and Euro/American classical music traditions
as defined by master improvisers such as John Coltrane, Paul Desmond, Warne
Marsh, and Ornette Coleman, and by composers such as Charles Ives, Harry Partch,
John Cage, Stockhausen, and Varese. His work has attracted wide-ranging
collaborators such as Chick Corea, Dave Holland, Max Roach, Evan Parker, Derek
Bailey, Pat Metheny, Richard Teitelbaum, Wolf Eyes, Robert Schumann String
Quartet, and countless others. His long list of awards and achievements includes
the 1994 MacArthur "Genius" Award.

With his 12-piece ensemble, the 12 + 1 tet, Braxton's music moves freely between
the performance of compositions and improvisations and between solos and
ensemble playing-and yet weaves magical and mysteriously integrated textures
full of sparks. Come and experience the enormously stimulating, sophisticated,
and passionate music of one of the world's most dynamic musical forces.

With Anthony Braxton reeds/composition, Taylor Ho Bynum
cornet/trumpet/flugelhorn/bass trumpet, Nicole Mitchell flutes, Andrew Raffo
Dewar, James Fei reeds, Steve Lehman saxophones, Sara Schoenbeck bassoon,
Jessica Pavone violin/alto viola, Mary Halvorson electric guitar, Reut Regev
trombone, Jay Rozen tuba, Carl Testa double bass/bass clarinet, Aaron Siegel
drums/percussion/vibes.

<< >> << >> <<>>
Also:

http://www.coastaljazz.ca/concert/anthony_braxtons_sonic_genome_project

According to the Web site:

<< >> << >> <<>>


The Sonic Genome is one of the most thrillingly ambitious experiments by musical
visionary/ saxophonist/ composer Anthony Braxton: less a concert than the
creation of an interactive musical environment. For eight continuous hours, 50+
performers use the compositions and improvisational languages developed by
Braxton through his 40 years of artistic investigation to create a living sound
world. Ensembles form and split apart like cells dividing and reforming into new
organisms; likewise, the members of the audience are invited to be active
participants, choosing who and what to listen to as they move about the space.
Braxton enlists the band members of the 12 + 1 tet as his musical lieutenants in
the endeavour, with each given the responsibility of leading sub ensembles of
the larger group. The rest of the performers are drawn from the surrounding
community, ranging from local professionals to college and high school students.

In addition to being a massive statement by a master artist, the Sonic Genome
also serves as a powerful tool for creating bonds in the local community. No
listener or performer emerges unmoved by the experience; participants describe
the event as "life-changing," resulting in new friendships, and lasting artistic
inspiration. And while Braxton conducted a Sonic Genome as a recording project
in 2003 (to be released as an interactive DVD in the next year), the Vancouver
performance will be the world premiere of the project as a public performance.

With Anthony Braxton reeds/composition, Taylor Ho Bynum
cornet/trumpet/flugelhorn/bass trumpet, Nicole Mitchell flutes, Andrew Raffo
Dewar, James Fei reeds, Steve Lehman saxophones, Sara Schoenbeck bassoon,
Jessica Pavone violin/alto viola, Mary Halvorson electric guitar, Reut Regev
trombone, Jay Rozen tuba, Carl Testa double bass/bass clarinet, Aaron Siegel
drums/percussion/vibes.

<< >> << >> <<>>

The Coastal Jazz "Looking Ahead Concert Season Program Guide" differs from the
Web site with regard to the venues:  The site shows Performance Works for both
dates, while the program guide shows Christ Church Cathedral for the 29th and
Roundhouse Community Centre for the 31st.  But I suppose it will all get sorted
out in time.

Tickets for the 29th cost $3O (those would be Canadian dollars) and go on sale
tomorrow, and admission is free for the 31st.
*
*
*
*
*
*
*

[Non-text portions of this message have been removed]

A lot of Braxton in November:

http://www.hcmf.co.uk/calendar/year/2009/4

Butcher with Elision group and Gratkowski are involved in this.

http://www.hcmf.co.uk/event/show/85

It should be a pretty darned amazing event. I was asked to give a bit of
feedback on the programming for the Butcher section, and I think Elision
will do a really interesting interpretation. If I was going to be in the UK
that week, I¹d get my butt up to Huddersfield, brave the cold weather, and
see this show...


[Non-text portions of this message have been removed]

Brian Morton discusses some related issues:

http://www.pointofdeparture.org/PoD25/PoD25FarCry.html


--- In Anthony_BRAXTON@yahoogroups.com, "twaits98" <timohoyer@...> wrote:
>
> A lot of Braxton in November:
>
> http://www.hcmf.co.uk/calendar/year/2009/4
>

Pretty quiet here on the AB news front. Does anyone know if there will
be the usual AB concerts this December at Wesleyan? I see nothing on the
schedule, nor have I heard news about why they shouldn't be happening
(unless AB is taking a sabbatical?).
And it's rather quiet on the cd release schedule. I guess we can't
always get our new cd of the month all the time. Anything? Anyone?
  C

Yes, AB is on sabbatical this semester.

Jason

On Tue, Oct 13, 2009 at 6:44 PM, Christopher <carville1@...> wrote:

>  ... (unless AB is taking a sabbatical?).
>


[Non-text portions of this message have been removed]

Hello:

Before I bug Anthony about this, I thought I'd post this request to the group. I
guess it's also a preview for an upcoming release I'm planning.

I'm going to be issuing recordings from the Pittsburgh Braxton mini-festival
from last May. The first planned release will be a large ensemble LP plus a CDR
of the unedited concert. It will be quite limited (210 copies +/-), and if it
comes out as I hope, will look really snazzy.

I need image files of the composition titles! The program was: Compositions 173,
100, 134, and 165. I have 165 covered from the original CD. I might have 100
covered from the Black Saint 4 Compositions CD. I don't have a copy of 173
though, and 134 is too small on the cover of the Eugene CD.

If you are able to help, send it directly to my email: opek.music@....
I'm not taking orders yet! I have to get a website happening as well. But I
thought some of you would definitely be interested.


Ben

Yes, you're right, I'm interested.



--- In Anthony_BRAXTON@yahoogroups.com, "benjaminopie" <opek.music@...> wrote:
>
> Hello:
>
> Before I bug Anthony about this, I thought I'd post this request to the group.
I guess it's also a preview for an upcoming release I'm planning.
>
> I'm going to be issuing recordings from the Pittsburgh Braxton mini-festival
from last May. The first planned release will be a large ensemble LP plus a CDR
of the unedited concert. It will be quite limited (210 copies +/-), and if it
comes out as I hope, will look really snazzy.
>
> I need image files of the composition titles! The program was: Compositions
173, 100, 134, and 165. I have 165 covered from the original CD. I might have
100 covered from the Black Saint 4 Compositions CD. I don't have a copy of 173
though, and 134 is too small on the cover of the Eugene CD.
>
> If you are able to help, send it directly to my email: opek.music@... I'm not
taking orders yet! I have to get a website happening as well. But I thought some
of you would definitely be interested.
>
>
> Ben
>

On Oct 17, 2009, at 9:03 PM, opieben wrote:

>> I'm not taking orders yet!

Could you let me know when you will be? Like a few days before you tell anyone
else?

210 copies... man, I want in on the ground floor. Maybe special pre-sale for
those of us who were there???

;-)

RL


Rick Lopez / rl "at" bb10k.com
---
http://www.bb10k.com/ = Music Research / Writing

On Sun, Oct 18, 2009 at 12:09 PM, ricklopez_sessions <ricklopez@...>wrote:

>
>
> On Oct 17, 2009, at 9:03 PM, opieben wrote:
>
> >> I'm not taking orders yet!
>
> Could you let me know when you will be? Like a few days before you tell
> anyone else?
>
> 210 copies... man, I want in on the ground floor. Maybe special pre-sale
> for those of us who were there???
>
> ;-)
>
> RL


I'm very interested as well. Count me in.

-- Jerome


[Non-text portions of this message have been removed]

>
> Could you let me know when you will be? Like a few days before you tell anyone
else?
>

No worries! I will alert this list before anyone else. If I was to sell (nearly)
every copy to just members on this list, I'd be perfectly happy with that.

While we're on the topic, after the LP I'll be releasing our two discs' worth of
duets on CD. Furthermore, I'm currently mixing the Braxton Septet performance at
Manchester Craftsmen's Guild for lessons I'm taking in Pro Tools. I'd have to
ask Anthony what to do with that once I'm done, but hopefully that will see
release as well. And I don't even have my hands on the Aviary performances....


Ben

Leo to the rescue!

CD LR 548/549
Anthony Braxton / Joelle Leandre
Duo (Heidelberg Loppem) 2007

This is the meeting of two giants of improvised music that music lovers have
been waiting for for a long time. The double CD documents this meeting in its
entirety. Anthony Braxton played sopranino, soprano and alto saxes, and
contra-bass clarinet. One can write volumes about this meeting, yet two words
would be sufficient to describe what happened in that Heidelberg Cafe on March
17, 2007 -- pure magic. Extensive notes by Stuart Broomer.

--- In Anthony_BRAXTON@yahoogroups.com, Christopher <carville1@...> wrote:
> And it's rather quiet on the cd release schedule.

On Wed, Oct 21, 2009 at 11:27 AM, guthartz <jguthartz@...> wrote:

> Leo to the rescue!
>
> CD LR 548/549
> Anthony Braxton / Joelle Leandre
> Duo (Heidelberg Loppem) 2007
>
> This is the meeting of two giants of improvised music that music lovers
> have been waiting for for a long time. The double CD documents this meeting
> in its entirety. Anthony Braxton played sopranino, soprano and alto saxes,
> and contra-bass clarinet. One can write volumes about this meeting, yet two
> words would be sufficient to describe what happened in that Heidelberg Cafe
> on March 17, 2007 -- pure magic. Extensive notes by Stuart Broomer.


Ahaaa! Thanks!

-- Jerome


[Non-text portions of this message have been removed]

interview of Timothy O’Dwyer, ELISION saxophonist and curator of *The
Braxton Project*:
http://www.hcmf.co.uk/page/show/98

--
Jason Guthartz
jguthartz@...


[Non-text portions of this message have been removed]

http://www.hcmf.co.uk/page/show/102

BBC Radio 3 will be including extensive highlights of this year's festival on
its contemporary music programme, `Hear and Now'.

Saturday 2 January
Geneviève Foccroulle: Anthony Braxton, Composition no 10

Saturday 23 January
Geneviève Foccroulle: Anthony Braxton, Composition No1 (UK premiere)


--- In Anthony_BRAXTON@yahoogroups.com, "twaits98" <timohoyer@...> wrote:
>
> A lot of Braxton in November:
>
> http://www.hcmf.co.uk/calendar/year/2009/4
>

Hi listers!

AB plays "Impressions" with Chick Corea:

http://www.youtube.com/watch?v=0o0AYFRFX7g&feature=related

-- Jérôme

While you're putting together your holiday wish list, don't forget this new
book by Stuart Broomer, "Time and Anthony Braxton":
http://www.themercurypress.ca/?q=books/time_and_anthony_braxton

Jason


[Non-text portions of this message have been removed]

excerpt here:
http://www.pointofdeparture.org/PoD26/PoD26BookCooks_Braxton.html


--- In Anthony_BRAXTON@yahoogroups.com, Jason Guthartz <jguthartz@...> wrote:
>
> While you're putting together your holiday wish list, don't forget this new
> book by Stuart Broomer, "Time and Anthony Braxton":
> http://www.themercurypress.ca/?q=books/time_and_anthony_braxton
>
> Jason
>

On Tue, Dec 8, 2009 at 7:09 PM, guthartz <jguthartz@...> wrote:

> excerpt here:
> http://www.pointofdeparture.org/PoD26/PoD26BookCooks_Braxton.html
>
>
> --- In Anthony_BRAXTON@yahoogroups.com, Jason Guthartz <jguthartz@...>
> wrote:
> >
> > While you're putting together your holiday wish list, don't forget this
> new
> > book by Stuart Broomer, "Time and Anthony Braxton":
> > http://www.themercurypress.ca/?q=books/time_and_anthony_braxton
> >
> > Jason


Thanks Jason!

-- Jérôme


[Non-text portions of this message have been removed]

Thanks Jason for putting up this video on vimeo.com!
I'm relaying this link in case some of the listers missed it:

http://www.vimeo.com/1649962

Anthony Braxton 12(+1)tet - a video where AB talks about Ghost Trance music.

-- Jérôme

For those a bit behind on their blog reading, you may have missed a
discussion which was developing, but has since been censored, on Ethan
Iverson's blog, "Do the Math".  I've posted the original uncensored version
here:

http://www.restructures.net/Iverson-AACM.htm

With the likes of Vijay Iyer participating in the discussion, there was an
opportunity for a very interesting discussion about a variety of issues
Iverson raised in his original post -- issues which may have been somewhat
tangential to the main purpose of his post, but issues Iverson raised
nonetheless.  Iverson does a lot of great work on that blog to help provide
real insights into various musics, so it's extremely unfortunate and
disappointing that he wasn't able or willing to tolerate a civil public
discussion (ignoring the comment by "James") on this particular issue.

cue: Ganelin Trio, "Who is Afraid of Anthony Braxton?"
http://www.discogs.com/Ganelin-Trio-Encores/release/509453

Jason
--
Jason Guthartz
jguthartz@...


[Non-text portions of this message have been removed]

Thanks for posting this.  I'm way behind on a lot of things and
blog reading is way way down on my to-do list so I appreciate this.
The times I have read Iverson's blog I've been impressed, even when
I've disagreed with the point he may be making.    I can understand
why he deleted the posts you've included,  I wouldn't exactly call it
"censorship" but more along the lines of editing.  I think he wanted
the post to be more about his rediscovery of AACM music but instead
became a bit too Braxton-centric for his taste. (I'm just guessing.)
Hopefully those comments will spark another post and the conversation
that was started about Braxton's standards playing, the use of
standards in a late twentieth century/twenty first century context,
etc... can blossom and bloom since I find it an intriguing
discussion.  (Personal preference, I love the Leo Piano Quartet
records to bits but can understand why somebody who has studied
masters of tonal piano improvisation (i.e. those who ride the changes)
would be more than a little miffed at what Braxton does with/to those
tunes.)


Not Dead Yet,

Bill Amutis
usbjazz@...
web.me.com/mredison
(Ol' Baggy Eyes)

Progress is not possible without deviation from the norm-Frank Zappa



On Dec 18, 2009, at 12:45 PM, Jason Guthartz wrote:

> For those a bit behind on their blog reading, you may have missed a
> discussion which was developing, but has since been censored, on Ethan
> Iverson's blog, "Do the Math". I've posted the original uncensored
> version
> here:
>
> http://www.restructures.net/Iverson-AACM.htm
>
> With the likes of Vijay Iyer participating in the discussion, there
> was an
> opportunity for a very interesting discussion about a variety of
> issues
> Iverson raised in his original post -- issues which may have been
> somewhat
> tangential to the main purpose of his post, but issues Iverson raised
> nonetheless. Iverson does a lot of great work on that blog to help
> provide
> real insights into various musics, so it's extremely unfortunate and
> disappointing that he wasn't able or willing to tolerate a civil
> public
> discussion (ignoring the comment by "James") on this particular issue.
>
> cue: Ganelin Trio, "Who is Afraid of Anthony Braxton?"
> http://www.discogs.com/Ganelin-Trio-Encores/release/509453
>
> Jason
> --
> Jason Guthartz
> jguthartz@...
>
> [Non-text portions of this message have been removed]
>
>
>


[Non-text portions of this message have been removed]

Iverson is well within his rights to do whatever he pleases on his blog. So,
no, it's not "censorship" in the sense of a government body suppressing
speech.  However, certain informal protocols exist in such situations where
one wishes to make corrections to a post, or to end or redirect a
discussion.  He could have simply closed the comments, ending the
discussion.  He could have applied a strike-through effect to words he
wished to delete or change (e.g., the paragraphs about Braxton's
standards-playing), and then moderated any additional comments to ensure
they related to the main topic, not the crossed-out portions. And I'm sure
there are a number of other alternatives which would have retained a sense
of transparency while allowing him to get back "on topic". But, for whatever
reason, instead of allowing his original post to stand as it was written,
and respecting the discussion as it developed in response, he simply chose
to use the 'delete' button.

Jason

On Fri, Dec 18, 2009 at 12:41 PM, Bill Amutis <usbjazz@...> wrote:

>      Thanks for posting this.  I'm way behind on a lot of things and
> blog reading is way way down on my to-do list so I appreciate this.
> The times I have read Iverson's blog I've been impressed, even when
> I've disagreed with the point he may be making.    I can understand
> why he deleted the posts you've included,  I wouldn't exactly call it
> "censorship" but more along the lines of editing.  I think he wanted
> the post to be more about his rediscovery of AACM music but instead
> became a bit too Braxton-centric for his taste. (I'm just guessing.)
> Hopefully those comments will spark another post and the conversation
> that was started about Braxton's standards playing, the use of
> standards in a late twentieth century/twenty first century context,
> etc... can blossom and bloom since I find it an intriguing
> discussion.  (Personal preference, I love the Leo Piano Quartet
> records to bits but can understand why somebody who has studied
> masters of tonal piano improvisation (i.e. those who ride the changes)
> would be more than a little miffed at what Braxton does with/to those
> tunes.)
>
>
> Not Dead Yet,
>
> Bill Amutis
> usbjazz@...
> web.me.com/mredison
> (Ol' Baggy Eyes)
>
> Progress is not possible without deviation from the norm-Frank Zappa
>
>
>
> On Dec 18, 2009, at 12:45 PM, Jason Guthartz wrote:
>
> > For those a bit behind on their blog reading, you may have missed a
> > discussion which was developing, but has since been censored, on Ethan
> > Iverson's blog, "Do the Math". I've posted the original uncensored
> > version
> > here:
> >
> > http://www.restructures.net/Iverson-AACM.htm
> >
> > With the likes of Vijay Iyer participating in the discussion, there
> > was an
> > opportunity for a very interesting discussion about a variety of
> > issues
> > Iverson raised in his original post -- issues which may have been
> > somewhat
> > tangential to the main purpose of his post, but issues Iverson raised
> > nonetheless. Iverson does a lot of great work on that blog to help
> > provide
> > real insights into various musics, so it's extremely unfortunate and
> > disappointing that he wasn't able or willing to tolerate a civil
> > public
> > discussion (ignoring the comment by "James") on this particular issue.
> >
> > cue: Ganelin Trio, "Who is Afraid of Anthony Braxton?"
> > http://www.discogs.com/Ganelin-Trio-Encores/release/509453
> >
> > Jason
> > --
> > Jason Guthartz
> > jguthartz@...
> >
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> >
> >
> >
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Maybe he wanted to keep things focussed on the music, maybe he had second
thoughts on what he posted or maybe he didn't like the one jerk comment. Other
than the latter, there were some interesting points raised in the comments and
I'm glad you saved them. I like Braxton doing standards, but it's not a crime to
not. Iverson's blog is a neat site. The interviews with Albert Tootie Heath and
Keith Jarrett are must-reads.



________________________________
From: Jason Guthartz <jguthartz@...>
To: Anthony_BRAXTON@yahoogroups.com
Sent: Fri, 18 December, 2009 14:37:59
Subject: Re: [Braxton] Iverson on Braxton


Iverson is well within his rights to do whatever he pleases on his blog. So,
no, it's not "censorship" in the sense of a government body suppressing
speech.  However, certain informal protocols exist in such situations where
one wishes to make corrections to a post, or to end or redirect a
discussion.  He could have simply closed the comments, ending the
discussion.  He could have applied a strike-through effect to words he
wished to delete or change (e.g., the paragraphs about Braxton's
standards-playing) , and then moderated any additional comments to ensure
they related to the main topic, not the crossed-out portions. And I'm sure
there are a number of other alternatives which would have retained a sense
of transparency while allowing him to get back "on topic". But, for whatever
reason, instead of allowing his original post to stand as it was written,
and respecting the discussion as it developed in response, he simply chose
to use the 'delete' button.

Jason

On Fri, Dec 18, 2009 at 12:41 PM, Bill Amutis <usbjazz@aol. com> wrote:

>      Thanks for posting this.  I'm way behind on a lot of things and
> blog reading is way way down on my to-do list so I appreciate this.
> The times I have read Iverson's blog I've been impressed, even when
> I've disagreed with the point he may be making.    I can understand
> why he deleted the posts you've included,  I wouldn't exactly call it
> "censorship" but more along the lines of editing.  I think he wanted
> the post to be more about his rediscovery of AACM music but instead
> became a bit too Braxton-centric for his taste. (I'm just guessing.)
> Hopefully those comments will spark another post and the conversation
> that was started about Braxton's standards playing, the use of
> standards in a late twentieth century/twenty first century context,
> etc... can blossom and bloom since I find it an intriguing
> discussion.  (Personal preference, I love the Leo Piano Quartet
> records to bits but can understand why somebody who has studied
> masters of tonal piano improvisation (i.e. those who ride the changes)
> would be more than a little miffed at what Braxton does with/to those
> tunes.)
>
>
> Not Dead Yet,
>
> Bill Amutis
> usbjazz@aol. com
> web.me.com/mredison
> (Ol' Baggy Eyes)
>
> Progress is not possible without deviation from the norm-Frank Zappa
>
>
>
> On Dec 18, 2009, at 12:45 PM, Jason Guthartz wrote:
>
> > For those a bit behind on their blog reading, you may have missed a
> > discussion which was developing, but has since been censored, on Ethan
> > Iverson's blog, "Do the Math". I've posted the original uncensored
> > version
> > here:
> >
> > http://www.restruct ures.net/ Iverson-AACM. htm
> >
> > With the likes of Vijay Iyer participating in the discussion, there
> > was an
> > opportunity for a very interesting discussion about a variety of
> > issues
> > Iverson raised in his original post -- issues which may have been
> > somewhat
> > tangential to the main purpose of his post, but issues Iverson raised
> > nonetheless. Iverson does a lot of great work on that blog to help
> > provide
> > real insights into various musics, so it's extremely unfortunate and
> > disappointing that he wasn't able or willing to tolerate a civil
> > public
> > discussion (ignoring the comment by "James") on this particular issue.
> >
> > cue: Ganelin Trio, "Who is Afraid of Anthony Braxton?"
> > http://www.discogs. com/Ganelin- Trio-Encores/ release/509453
> >
> > Jason
> > --
> > Jason Guthartz
> > jguthartz@gmail. com
> >
> > [Non-text portions of this message have been removed]
> >
> >
> >
>
>
> [Non-text portions of this message have been removed]
>
>
>
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>
> Unsubscr.: Anthony_BRAXTON- unsubscribe@ yahoogroups. com
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Jason,

Really enjoyed the back and forth of this discussion.  I liked that Iverson
started off with the Lewis book and then extrapolated his own feelings about the
music on the various discs.  I also thought he was a bit thin-skinned about the
criticism he received, especially as it relates to Anthony's interpretations of
so-called jazz standards.  Of note was the comment Anthony himself made about
the real tradition - "the tradition of creativity."  That is what I expect from
music... take me to places I've never been and show me around...  On this
score, Anthony is one of a handful of musicians who constantly tests the
parameters of musical definition and then punches great holes in these
parameters to get to the outside.  As a consequence, following Anthony's
trajectory is an on-going redefinition of the terms jazz, tradition, etc.  It
is as it should be... riding the surf of Anthony's genius.  Thanks for posting
this!

Don (near Lawrence, KS)




________________________________
From: Jason Guthartz <jguthartz@...>
To: Braxton List <Anthony_BRAXTON@yahoogroups.com>
Sent: Fri, December 18, 2009 11:45:17 AM
Subject: [Braxton] Iverson on Braxton

 
For those a bit behind on their blog reading, you may have missed a
discussion which was developing, but has since been censored, on Ethan
Iverson's blog, "Do the Math". I've posted the original uncensored version
here:

http://www.restruct ures.net/ Iverson-AACM. htm

With the likes of Vijay Iyer participating in the discussion, there was an
opportunity for a very interesting discussion about a variety of issues
Iverson raised in his original post -- issues which may have been somewhat
tangential to the main purpose of his post, but issues Iverson raised
nonetheless. Iverson does a lot of great work on that blog to help provide
real insights into various musics, so it's extremely unfortunate and
disappointing that he wasn't able or willing to tolerate a civil public
discussion (ignoring the comment by "James") on this particular issue.

cue: Ganelin Trio, "Who is Afraid of Anthony Braxton?"
http://www.discogs. com/Ganelin- Trio-Encores/ release/509453

Jason
--
Jason Guthartz
jguthartz@gmail. com

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