I’m not sure how it happened but we missed last months Point of Departure. So we’re making up for that now.
Bobby Bradford @ 75: an appreciation by James Newton
Page One: a column by Bill Shoemaker
What’s New?: The PoD Roundtable
The Book Cooks: Fear Of Music: Why People Get Rothko But Don’t Get Stockhausen
by David Stubbs & Wicked Theory, Naked Practice: A Fred Ho Reader, Edited by Diane C. Fujino
Far Cry: a column by Brian Morton
Moment’s Notice: Reviews of Recent Recordings
Ezz-thetics: a column by Stuart Broomer
Travellin’ Light: Ab Baars Ig Henneman
Future Shock: a column by Kevin Patton
Parisian Thoroughfare: curated by Alexandre Pierponte
Electronic Lovers turned us on to this Stockhausen clip.
Hathut is having a HUGE sale at the Jazz Loft, basically, at $3.50 per CD, to celebrate their 35 years in business.
In 1975, Werner X. Uehlinger founded HatHutRecords simply in order to document the artistry of a musician he heard through a chance encounter-saxophonist / trumpeter Joe McPhee. Today, over twenty-five years and more than 300 LP and CD releases later, HatHut stands as one of the most adventurous and important independent New Music labels
in the world. It has grown from an out-of-pocket venture to an established enterprise, from small press runs of black vinyl to a line of beautifully (and ecologically responsible) packaged CD-only releases. From the beginning, the label has shown a high regard for graphic design, cover art, and program notes, striving to create not just a musical artifact but a multifaceted work of art with each new release.
Though HatHut began as a label with undeniable jazz roots (although primarily of the avant-garde variety), its catalogue now boasts such recognized Classical / New Music names as Stockhausen, Cage, Scelsi, Haubenstock-Ramati, and Tenney, and the label has been widely acclaimed as one of the key reasons for the rediscovery and renewed popularity of Morton Feldman because of its many highly praised recordings of that composer’s music. But the label especially prides itself on the many musicians it has documented and grown with, who were lesser known or unknown at the time. Though in this regard HatHut has long been devoted to music far from the commercial mainstream-the jazz or classical mainstream-the label has more than survived, it has artistically flourished.
Blues in Space is a heavy avant-rock group from New York worth a listen or two. Luup is an experimental group from Greece. Pavonine has a new ambient release out for free download. Locrian is an experimental duo with influences including John Cage, Suffocation, Glen Branca, power tools, Brian Eno, Obituary, Stockhausen, broken records, sirens, empty buildings, television static, Throbbing Gristle, air through vents, mouth breathers, field recordings. Esa Pietila has a new release coming out soon.
New music in the San Fran area is reviewed.
In the ’60s and ’70s, the Bay Area was a new music mecca. Minimalism was forged there. East mingled with West. Electronic music came of age. Such European avant-garde composers as Luciano Berio, György Ligeti and Karlheinz Stockhausen joined the scene. After graduating from Harvard, John Adams hopped in a Volkswagen bus and headed for Northern California.
Our current century rejects headquarters. San Francisco is now but one of many centers in a multi-centered universe. But pick a good weekend and the Bay Area still hops. Last weekend was a good weekend — as well as something of a preview of upcoming concerts in Southern California — and here is a diary of a writer trying to get a handle on it all.