Destroy: Songs From Liquid Days was probably the worst. Maybe I should just make it anything since the mid-70s.
I'm going to say classic for the early work despite his obvious faults. He was able to create a unique sound-world and approach to minimalism that was influential - probably more on pop than on the avant-garde actually. The mix of organ and reed timbres is appealing. The simple additive rhythmic patterns actually created interesting effects in a drone context. His collaborations with Ravi Shankar and pop stars were just appalling though.
― sundar subramanian, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
Destroy: Powanaquatsi (the film as a whole... the soundtrack is, eh, decent).
Search: His quartets.
Destroy: Solo piano works.
― Sterling Clover, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
you're combining it with reich's "music for eighteen musicians"
― Gage-o, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― Sean Carruthers, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― Jeff W, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― Curt, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
Hm, I didn't know Willis was at Juillard back in the day. But I know
what you mean. I have a ton of stuff by Glass, back when I was way
into him, but I don't find myself listening to it all that much,
except for Low Symphony, Glassworks, Koyaanisqatsi, and Music for 12
Musicians. The first three probably being more of his accessible
― Todd Burns, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― michael, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
I noticed the mistake in the earlier post, too, then made it myself.
Long day featuring Bio Midterm can be the blame for that one.
― philT, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― Clarke B., Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― A Nairn, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
Search: Glassworks, Dancepieces, North Star, Thin Blue Line,
remix of Aphex Twin's "Icct Hedral", his appearance with Mark Moore
and Paul Morley on The Late Show in 1989.
Destroy: 1000 Airplanes On The Roof (unlike North Star
this remains unredeemed in the neglected parental-home vinyl
collection), Powaqqatsi (strangely distressing to hear chunks
of this in The Truman Show) and all the other film work, 1990
― Michael Jones, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― Mr noodles, Thursday, 31 January 2002 01:00 (sixteen years ago) Permalink
― Andy M., Friday, 1 February 2002 01:00 (sixteen years ago) Permalink
― John Barrow, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― mark s, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― Andrew L, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― sundar subramanian, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― ethan, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― geeta, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― Mr. Barrow, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― Todd Burns, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
― helenfordsdale, Sunday, 3 March 2002 01:00 (sixteen years ago) Permalink
also you are fun to read, which it has been
proved enlarges the reader's brain even
when they actually want it ensmallened like
"...f______ paragraph breaks..."? Tossing naughty language hither
thither isn't very nice. For shame. Besides, I read a phonebook the
other day, and it didn't have very many paragraph breaks.
Yes, Mister Rogers is an actual composer, among other good things,
but whether or not HE'S a classic or a dud isn't really the issue at
hand (classic). This question answering and exploring forum is
supposedly about Glass in particular, and it just seemed to me that
the thickness of his praise was making the criticism lean towards the
thin, so I thought I'd make a few critical observations on behalf of
those of us who may believe that he's not overly remarkable. Now I
realize that I may be going out on a limb with such an edgy thesis,
but what's life without risk? Meaningless and not very fun to boot,
that's what. Sure, I could be waxing poetic on the subject of erotic
scrimshaw, and I often do, but that would be all too easy. As a
music lover and fighter, what I really had a hankerin' for was a
knock-down drag-out no-holds-barred Glass-tussle. So thank you very
much and may the debate rage on (or, as the case may be, drone
monotonously on and on and on not unlike Glass's music) ad
― j.b., Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
― Sterling Clover, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
― ethan, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
It would be an improvement, but only in the relative sense.
― Ned Raggett, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
"...stuck-up kids in highschool..."? The poeple who are the quickest
to accuse others of being arrogant are truly a dull and predictable
lot. And again, nothing to do with Glass. Although their are some
people who have not unreasonably observed that Glass's work tends to
be dull and predictable.
But anyway, the "you're stuck-up" finger pointing people's anti-
intellectual attitude and antics, um, how shall I put it, "belie"
their thin veneer of sophistication. Very thin. My guess is that
they tend to be 'Glass = classic' people more often than not, and, on
the whole are well educated in the well-certified and degreed sense
yet possessing only nominal measurable native intelligence. Near-do-
wells... Why else would such people immediately and aggressively
take the mere mention of the concept of intelligence so personally.
Their insecurity is painfully obvious.
Now there's an intriguing question. Is the music of Philip Glass
anti-intellectual in some way? Could be. It does seem to be
pretending to be intelligent, even though there are good reasons to
suspect that it isn't particularly. But than again, the folks who
make it painfully obvious that they are too emotional to engage in
reasonable discourse yet really REALLY want to pretend to be oh so
sophisticated would likely avoid that idea like bubonic plague.
Huh? What was the question? I CAN'T HEAR YOU. And the next
question is... It smells like religion. "Don't you be questionin'
MY God, you evil heathen..." Highly predictable indeed, and maybe
even a tad anti-intellectual.
And how could such a potentially interesting discussion be so
lacking? Perhaps there are too many little ponds with big fish and
too few big ponds with little fish. Oh well, maybe the situation
Why does glass need to be "intellectual" to be good? Can't he just make me happy, or calm, or produce things which are relaxing while I'm reading or working? What if he produced things that were good for screwing to? Wouldn't that be classic? Or what if he produced things that were great when you had something else to do/look at, ambient for operas? Because, in a way, he does. Cf. Einstein On The Beach & Au Revoir... (which I saw in the first run, and d-d-damn!)
― mark s, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
― Christine "Green Leafy Dragon" Indigo, Monday, 4 March 2002 01:00 (sixteen years ago) Permalink
I find some of his works to be quite pleasant. I would agree that
much of his material from the mid-seventies through the early
eighties has merit -- especially the works that ultimately let him
reach folks beyond the inner circles. And writing movie soundtracks
is a good choice for any composer who wouldn't mind expanding an
audience. For a while, his sound was somewhat novel, though there
were other folks doing similar things. But why did he appear to
purposefully arrest his own artistic development? What the heck
Here's a theory: Before his art was his living, he seemed to be
trying harder and having it pay off artistically, but after his art
became his living, I think he began to be less inventive. His
approach became more and more self-limiting. I mean, he began
writing music as if he were making clothing from only several or
possibly only two bolts of cloth. Want a 'new' composition? Maybe
an opera? Grab a bolt, pin the pattern down, and cut around the
pattern. Frankly, he's not really as prolific as he seems. It's not
that different from what many composers do, but he's drawing from
such narrow sources, it just seems overly and un-artistically
synthetic and contrived.
And this choice of artistic direction is suspiciously like that of
the 'stripe' painters of approximately the same period and their ilk,
or of various other one-trick pony types from many artistic
disciplines. Like so many others, in an age of briefer than ever
attention spans and soundbite mentalities (its a cliche, but its
true), he found that if he stuck to those peculiarly narrow 'bolts of
cloth', he could be accepted, and make a decent living.
It's not all that far-fetched. And, who knows, perhaps he'll create
some new material someday that defies those observations. I'm only
suggesting that success had a negative effect on his art. If it
hadn't, maybe Glass WOULD be a classic. But success never spoils
A certain amount of frission has been lost since then, as the landscape shifted under his feet -- I'd characterize Glass' career since roughly Einstein as trying to rediscover an alternate spiritualism outside of the western cannon, with varying degrees of success depending on both his incorporative ability and the extent to which that which he seeks to incorporate is total crap.
In some ways, the most important thing to recognize about glass IS his range, because it isn't restricted to the canon, but trying to redefine it -- witness his Bowie symphonies, his collabs with bryne and vega, the euro-12-tone touches which he treated with the SAME attitude in Les Infants... &c.
― Sterling Clover, Tuesday, 5 March 2002 01:00 (sixteen years ago) Permalink
But he's so astoundingly easy to imitate and even counterfit -- a
strange but useful and fun musical game often played by the musically
agile. All sneakiness and legal issues aside (he's a celeb, and this
was 'satire'), I once witnessed a 'premier' of 'his' work that was
entirely convincing, and the attending fans loved its pants off quite
gushingly. It was kind of sad. But it was a fascinating social
experiment if nothing else. Thus I can't help feeling that his style
is terribly lacking in true and subtle idiosyncracies. And that, to
varying degrees, his fans are strangely nondiscriminating. Is the
emperor wearing no clothes? I see it as a distinct possibility.
And does that lack of subtle idiosyncracies (ones that are not as
easy to parrot or extrapolate by people who have the ears to 'see'
EXACTLY what Glass is doing) put his music into the 'dehumanizing'
camp? Yes, quite. And that's a legitimate artistic motivation.
Many of the 12-tone composers coming out and away from the
pointlessness of world war I were exploring a similar creative
impulse. And whether one enjoys listening to 12-tone music or not,
it can be safely said that it was radical and not commercial. Glass
is not a radical. And I don't believe that he ever was. Well, not
lately anyway. Glass's music is extremely conservative.
― j.b., Tuesday, 5 March 2002 01:00 (sixteen years ago) Permalink
'Einstein' sure is remarkable though, the main themes are totally beautiful (far more angular and weird than the dippy schubert mode he went for later) and the shifting rhythms keep knocking you off guard, it's not background music, it demands active listening... I wonder what his reputation would be like these days if he'd stopped at that exact point, but hey then he'd probably still be a starving cab driver, wouldn't be fair to him.
There's still some rhythmic variation in 'Satyagraha' but a lot of it goes for straight toe-tapping pulsation. By 'Glassworks' the stacks of rhythm have gone entirely missing, it's nothing but those doodley doodley arpeggios, and bingo: commercial breakthrough, and no looking back. Since the 80's, less pounding, increasingly smoothed out, simple bland loveliness. Almost too easy to criticize.
No one should write off Glass entirely before hearing 'Einstein on the Beach', it's still incredible. The original '79 Sony recording is still better, the 90's re-recording has better production values and tighter, faster performances but loses too much, nothing can touch the farfisa organ arrangements or the vocal performances on the original. I think 'North Star' is still lovely. Of the 80's stuff, I still love the soundtrack to 'Mishima', especially the sections for string quartet. It was 'Solo Piano' that convinced me to stop buying the stuff and the few things I've heard since then make me kind of angry.
― Jon Leidecker, Wednesday, 5 February 2003 20:38 (fifteen years ago) Permalink
― mark s (mark s), Wednesday, 5 February 2003 20:42 (fifteen years ago) Permalink
― JasonD (JasonD), Wednesday, 5 February 2003 20:54 (fifteen years ago) Permalink
― mark s (mark s), Wednesday, 5 February 2003 22:28 (fifteen years ago) Permalink
― Juan (Juan), Wednesday, 5 February 2003 22:42 (fifteen years ago) Permalink
I rly like the 3rd Qatsi score too... can't remember if that's Naqoy or Powwa. Basically the first and third Qatsi scores are great and the middle one sucks.
The new Reggio one, Visitors, was interesting enough on first listen to warrant a second. Will say more later.
I def recognize that what he has to contribute at this stage is not unique or epoch making in the way he once was but it also just pleases me on an animal level.
― grape is the flavor of my true love's hair (Jon Lewis), Sunday, 23 February 2014 18:33 (four years ago) Permalink
This was new to me:
― my father will guide me up the stairs to bed (anagram), Tuesday, 25 February 2014 16:09 (four years ago) Permalink
Visitors: the album is about 2x too long but there is some really moving stuff here. Recommend paring it down to tracks 1,4,5 and 6.
― grape is the flavor of my true love's hair (Jon Lewis), Tuesday, 25 February 2014 16:38 (four years ago) Permalink
uh how come nobody mentioned that UCLA is putting on three days of Glass pieces in early May
5/2: Beauty and the Beast: http://cap.ucla.edu/calendar/event_detail.asp?id=3985/3: Music In Twelve Parts (!!!!!!!!!!!!!!!!): http://cap.ucla.edu/calendar/event_detail.asp?id=3995/4: some new thing called Etudes: http://cap.ucla.edu/calendar/event_detail.asp?id=400
I bought a ticket dead center for Twelve Parts. this means that in the last calendar year I will have seen Einstein on the Beach, Music In Twelve Parts, Music For 18 Musicians, and Drumming all performed live. now I just need to see performances of The Photographer and Bryars' Sinking of the Titanic and I can go ahead and leave the planet. hard to believe anything's going to top Drumming though.
― a duiving caTCH, a stuolllen bayeeeess (jamescobo), Wednesday, 2 April 2014 00:34 (four years ago) Permalink
sometimes i think part one of 12 parts is the most sublime ambient piece ever composed
― rhyme heals all goons (m bison), Wednesday, 2 April 2014 01:30 (four years ago) Permalink
it pisses me off so much that they're sticking an intermission in the middle of it. fuk the wusses who can't handle the whole thing in one go. then again I saw Einstein twice without ever getting up to go to the bathroom so maybe my kidneys just appreciate minimalism.
― a duiving caTCH, a stuolllen bayeeeess (jamescobo), Wednesday, 2 April 2014 01:53 (four years ago) Permalink
hahaha p glass should compose potty break music
― rhyme heals all goons (m bison), Wednesday, 2 April 2014 01:59 (four years ago) Permalink
just looking at Music in 12 Parts on iTunes and am confused. There are two releases, both on Orange Mountain Music, sort of. One is from 2013 and is a single 25 dollar release. The other is 12 separate 19 or so minute releases, each labeled by which part it is. I'm too lazy to preview now to see if they're the same. Anybody know if they're the same recording?
― dan selzer, Wednesday, 2 April 2014 02:32 (four years ago) Permalink
wait, it's more confusing than that.
Then there's this live version from 2008:
and I think the split up version comes from that.
― dan selzer, Wednesday, 2 April 2014 02:35 (four years ago) Permalink
Yes, the split up version comes from this one:
This one was recorded in 1993 and originally released on Nonesuch in 1996:
However, this 3-CD set from Virgin Records in 1989 was the first release of all 12 parts. Parts 1 - 6 were recorded in 1975 (1 & 2 released on a LP at the time), parts 7 - 12 recorded in 1987. This version isn't listed on the philipglass.com website, which probably means it's out of print:
― Hideous Lump, Wednesday, 2 April 2014 03:24 (four years ago) Permalink
Personally I would go for the Nonesuch version
I saw them do it in the Czech Republic last summer and was definitely glad of the intermission
Also saw it in London in 2007 with Leonard Cohen sitting in the row behind me
― my father will guide me up the stairs to bed (anagram), Wednesday, 2 April 2014 06:00 (four years ago) Permalink
I was trying to find a blog post by Nico Muhly where he recommends checking out the first version of 12 Parts because there's a bunch of mistakes and the organ sounds are a bit graunchy and seventies.
They factored in 2 intermissions in London last year and I was initially a bit 'Hey I sat through Einstein you wusses!!' But I can see why as it's much more overwhelming I guess because of the lack of visual stimulus. It becomes *so* relentless, especially 2/3 of the way in. It really feels superhuman, watching those blurry hands. But damn, it was so great.
― MaresNest, Wednesday, 2 April 2014 09:40 (four years ago) Permalink
there is also a box set released by Venture overseas in 1988
at the risk of being that guy this is the version I have. it's great! totally worth getting up all those times to flip the record (the element of the live performance I am looking forward to most [not having to walk like ten whole feet to the record player and back]), although admittedly I only do this the whole way through once a year or so. I will say that there are fewer facepalm-inducing moments in 12 Parts than in any of Glass' "I am dedicating some significant time to listening to this whole thing in one sitting" works; it contains fewer heart-wrenchingly gorgeous moments than, say, "Knee Play 5" or the Douglas Perry aria at the end of Satyagraha.
this is part of the reason why I love The Photographer above and beyond everything else in Glass' discography - it takes you on a truly glorious journey and you only have to get up once. the only comparable work in his discography is the OST to Mishima and the pieces that compose that work don't get enough space to sprawl out and explore every avenue the composition offers (which is literally the work's only flaw, both the soundtrack and the movie are utterly riveting in every other way. I love the 'Qatsi trilogy all-encompassingly too as both a film series and a set of scores, but Mishima absolutely slaughters it). I heard Glass & Riesman scored The Photogrpaher as a much longer piece; that, Bryars' The Sinking of the Titanic, and Budd's Pavilion of Dreams are the last three items on my contemporary composition bucket list.
― a duiving caTCH, a stuolllen bayeeeess (jamescobo), Wednesday, 2 April 2014 16:53 (four years ago) Permalink
I enjoy the graunchy imperfections of it; those are always the moments in the live performances of minimalist pieces where I'm most hyper-aware of the performance. the rest of the time I'm just locked in paying attention.
also I just watched Reich's Drumming performed last weekend without any visual stimulus and it was basically the greatest thing I've ever seen in my entire life so I remain part of the INTERMISSION BOO HISS crowd. I am unimaginably stoked to see this though; Glass is my favorite of the minimalists.
― a duiving caTCH, a stuolllen bayeeeess (jamescobo), Wednesday, 2 April 2014 16:56 (four years ago) Permalink
whenever I listen 12 Parts, it's the 1975/1987 Virgin CD set -- I had the 90's Nonesuch for a while and sold it. like the 90's rerecording of Einstein, the 90's version has impressively precise playing but also 90's digital synths in place of the cheesy farfisas. mileage may vary.
haven't heard the 2008 live recording but I imagine it's good. saw the Ensemble play parts 11 & 12 a few years ago and it was emotional.
― Milton Parker, Wednesday, 2 April 2014 17:35 (four years ago) Permalink
Anyone else think that the webcast of Einstein, illuminating as it is, doesn't quite have the live magic and is kind of a sterile experience?
― Call the Doctorb, the B is for Brownstein (Leee), Wednesday, 7 May 2014 20:43 (four years ago) Permalink
The recording of EOTB from Paris is getting repeated on Sky Arts quite a bit over the next few days.
― MaresNest, Wednesday, 18 February 2015 17:48 (three years ago) Permalink
A Brief History of Time score is finally getting a release (on Orange Mountain).
― a drug by the name of WORLD WITHOUT END (Jon Lewis), Wednesday, 18 February 2015 17:49 (three years ago) Permalink
Is there a download or a t0rrent of the Paris Einstein anywhere?
― anthony braxton diamond geezer (anagram), Tuesday, 19 May 2015 14:52 (three years ago) Permalink
I got mine off P1rat3bay, about a year back, there were two running, one big, one smaller.
― MaresNest, Tuesday, 19 May 2015 15:13 (three years ago) Permalink
look on youtube
I recently thought of his work "well shit, if he is going to write things like that, anyone can do anything!" kind of like cremaster cycle
― Brian Eno's Mother (Latham Green), Tuesday, 19 May 2015 15:21 (three years ago) Permalink
He's on his book tour now. Wife just saw him chatting onstage with NPR's Bob Boilen about his book, growing up in Baltimore, mutual love of bagels and some things that don't start with a "b"
― curmudgeon, Tuesday, 19 May 2015 15:48 (three years ago) Permalink
Anagram, had a quick peek on PB, they're both still going.
― MaresNest, Tuesday, 19 May 2015 16:27 (three years ago) Permalink
yeah thanks MN, I found them, loaded up the large one but it's d/ling at a crawl so could be a while
― anthony braxton diamond geezer (anagram), Tuesday, 19 May 2015 17:33 (three years ago) Permalink
I've just flicked through the book so far, main revelation is that he once picked up Salvador Dali when working as a cab driver.
― anthony braxton diamond geezer (anagram), Tuesday, 19 May 2015 17:51 (three years ago) Permalink
"I've just flicked through the book so far, main revelation is that he once picked up Salvador Dali when working as a cab driver."
I wonder who was in the glove box
― Brian Eno's Mother (Latham Green), Monday, 6 July 2015 16:25 (three years ago) Permalink
The book is great. Really chatty, interesting and full of insights. Definitely a memoir rather than a full-blown autobiography and very selective as to what he puts in and what he leaves out. But I love the stuff about him being a working musician who very quickly got to grips with the economics of survival in 1970s New York, not just with his day jobs but through touring with his ensemble, playing his own music just like a rock band.
― anthony braxton diamond geezer (anagram), Monday, 6 July 2015 16:57 (three years ago) Permalink
― MaresNest, Thursday, 11 February 2016 22:44 (two years ago) Permalink
And incase anybody missed it.
― MaresNest, Thursday, 11 February 2016 22:45 (two years ago) Permalink
anyone ever seen Akhnaten performed live? I just pulled the trigger on a ticket to see it in late November since seeing Einstein was a transformative event in my music-seeing life and I've owned and loved the LP set for years, but I have no idea what kind of experience to expect.
― thos beads (jamescobo), Wednesday, 19 October 2016 05:17 (two years ago) Permalink
Yeah I saw it in London earlier this year, the same production as the one you'll see in LA. Should have posted about it at the time, it was totally spectacular and wonderful. And the jugglers!
― heaven parker (anagram), Wednesday, 19 October 2016 07:27 (two years ago) Permalink
holy wow, Akhnaten was stupid great; I may have liked it more than Einstein. the juggling was indeed jaw-dropping but the coolest bit to me was the alligator people (possibly because I was sitting in the upper balcony looking down, which was probably the optimal perspective). I really regret only going once.
― thos beads (jamescobo), Sunday, 27 November 2016 06:51 (two years ago) Permalink
Should be noted that his score for the recent The Crucible Bway revival was amazing and made me wish more plays had that kind of constant background scoring.
― ヽ（´ー｀）┌ (CompuPost), Sunday, 27 November 2016 16:04 (two years ago) Permalink
So the score for Glass' Music In Eight Parts (1970) sold at Christie's recently, it was never recorded and was abandoned by Glass pretty much at once as he moved on to different systems of working that resulted in Music In Twelve Parts, it remained unseen until Christie's put scans of it up on their website for the auction and this (slightly crude) rendering has just appeared on Youtube.
― MaresNest, Sunday, 1 October 2017 10:05 (one year ago) Permalink
― MaresNest, Sunday, 1 October 2017 10:07 (one year ago) Permalink
"Music with changing parts" (1970) from Carnegie Hall last Friday. Available to watch until May 17.
― Hans Holbein (Chinchilla Volapük), Wednesday, 21 February 2018 19:06 (nine months ago) Permalink
Off to see Satyagraha at the ENO next week.
― the word dog doesn't bark (anagram), Wednesday, 21 February 2018 19:22 (nine months ago) Permalink
I saw that last weekend, I wasn't sure if three hours of Glass would work for me but both visually and musically it's never less than transfixing.
― Matt DC, Wednesday, 21 February 2018 21:26 (nine months ago) Permalink
This is probably a long shot but does someone out there have a rip of the Virgin Records 'Music In Twelve Parts' that I could have?
I think it's just the first couple of parts that actually are on the rekkid.
― MaresNest, Friday, 23 March 2018 21:13 (eight months ago) Permalink
Seconded. I only have the re-recording and have always wanted to hear the original. It’s definitely been on CD but not in print these days
― when worlds collide I'll see you again (Jon not Jon), Friday, 23 March 2018 23:19 (eight months ago) Permalink
Einstein touring Europe from Nov and into 2019, in a somewhat compressed format with no staging and Suzanne Vega reciting -
― MaresNest, Friday, 16 November 2018 22:26 (three weeks ago) Permalink
Saw him play solo a week ago and debut a new piece made for the Third Coast Percussion Ensemble (recording coming out in a few months).
During the onstage Q&A, he talked about how playing in and composing for his high-school marching band had a big effect on his work.
― ... (Eazy), Saturday, 17 November 2018 01:19 (three weeks ago) Permalink
XXP to myself and Jon - this went up on youtube today.
― MaresNest, Friday, 23 November 2018 00:04 (two weeks ago) Permalink
first two parts of 12 parts are some of my favorite pieces of music ever.
― 21st savagery fox (m bison), Friday, 23 November 2018 04:13 (two weeks ago) Permalink
damn i'm too late - removed by user.
― valet doberman (Jon not Jon), Tuesday, 4 December 2018 16:13 (one week ago) Permalink
But... there is a (complete for the time? About 2CD length) live 1981 performance out there which I downloaded and am listening to now and though the sound quality is definitely a B it slays
― valet doberman (Jon not Jon), Tuesday, 4 December 2018 23:45 (one week ago) Permalink
Anthony Roth Costanzo, "Liquid Days", dancer Ron "Myles Yachts" Myles
― niels, Wednesday, 5 December 2018 13:22 (one week ago) Permalink
another cool glass piece from NPR's 100 eoy trackshttps://www.youtube.com/watch?v=lmEpJh9u_0w
― niels, Thursday, 6 December 2018 16:57 (six days ago) Permalink
― ... (Eazy), Thursday, 6 December 2018 17:22 (six days ago) Permalink