Music
The Fourth Annual Williamsburg Jazz Festival, September 10–17
By Fred CisternaWhen trumpeter Jesse Selengut first thought of putting on a jazz festival in Williamsburg, he almost gave up before he started. At first, he imagined an outdoor event, but he quickly realized that would mean dealing with liquor permits, stage rentals, possible rain delays, crowd control, and other hassles.
Stomp on the Floor and Go: Hootenanny Hijacks the Slope
By Stacey CookIf you happened to be walking along Fifth Avenue between Sterling Place and St. John’s on a recent evening, the shouts of “Ya-hoo!” resounding from the depths of a cavernous bar during a punk-rock rendition of “Hong Kong Collision” were not in your imagination.
The Rebirth of the Pool
By Katy HenriksenThere are four distinct views from within McCarren Pool. West through the giant archway stands the Russian Orthodox Church with its luminous domes.
Morton Feldman Says (Hyphen—Princeton Architectural Press)
By Richard KostelanetzThis is the third collection of American composer Morton Feldman’s words to appear in print. Valuable though it is, it suffers from the same general omission as its predecessors: It fails to reproduce Feldman’s monumental jokes.
Because We Said So
By Grant Moser and Scott DamellReviews of Roman Candle’s Wee Hours Review, Chatham County Line Speed of the Whippoorwill, Chris Stills’ When the Pain Dies Down: Live in Paris, The Rosewood Thieves’From the Decker House, and Trainwreck Riders’Lonely Road Revival.
Dimensions in Music: From Mambo to Salsa, Part Six: The Rhythm Sticks
By Alan LockwoodAfro-Cuban music’s polyrhythmic structures evolved from ceremonial African hand-drum ensembles; rumba, like Puerto Rican bomba, fused hand-drummers, singers, and dancers, while in a 1930s innovation on Havana’s band scene, Arsenio Rodriguez beefed up bongo-driven son with the conga’s deeper resonance.
Linz Report: A View into the World of Digital Music at Ars Electronica 2006
By Sergei TcherepninIn an age bored by concert halls, swamped with CDs, and constantly bombarded noise, there comes a need for critical rethinking of how to present music so that the audience is actively involved in the sound.
