Favoriting destination: OUT with Jeff Golick: Playlist from April 27, 2015 Favoriting

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Three hours of adventurous jazz drawing on the Destination: Out archives and other planes of there.

Sunday 9am - Noon (EDT) | On WFMU's Give the Drummer Radio
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Favoriting April 27, 2015: ESP-Disk' > Dolphy > Drone

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Artist Track Album Label Year
Roscoe Mitchell  Tatas-Matoes   Favoriting Congliptious  Nessa  1968 

Music behind DJ:
Sun Ra 

The Perfect Man   Favoriting

The Singles 


Pearls Before Swine  Images of April   Favoriting Balaklava  ESP-Disk'  1968 
The Fugs  Kill for Peace   Favoriting The Fugs Second Album  ESP-Disk'  1968 
The Godz  Permanent Green Light   Favoriting Godz 2  ESP-Disk'  1967 
Bob James Trio  Untitled Mixes   Favoriting Explosions  ESP-Disk'  1965 
Lowell Davidson Trio  Strong Tears   Favoriting Lowell Davidson Trio  ESP-Disk'  1965 
The Byron Allen Trio  Decision for the Cole-Man   Favoriting The Byron Allen Trio  ESP-Disk'  1964 
Noah Howard Quartet  And About Love   Favoriting Noah Howard Quartet  ESP-Disk'  1966 
Patty Waters  Black Is the Color of My True Love's Hair   Favoriting Sings  ESP-Disk'  1965 
The Fugs  Nothing   Favoriting The Fugs First Album  ESP-Disk'  1965 

Music behind DJ:
Booker T. & the MG's 

Melting Pot   Favoriting



Potsa Lotsa Plus  Love Suite 1   Favoriting Potsa Lotsa Plus Plays Love Suite by Eric Dolphy  Jazzwerkstatt  2015 
Eric Dolphy  Come Sunday   Favoriting Iron Man  Douglas  1964/1969 
Double Trio [Trio De Clarinettes + Arcado String Trio]  Green Dolphy Suite   Favoriting Green Dolphy Suite  Enja  1994 
Aki Takase / Alexander von Schlippenbach  Miss Ann   Favoriting So Long, Eric! Homage to Eric Dolphy  Intakt  2014 

Music behind DJ:
John Cale & Terry Riley 

Church of Anthrax   Favoriting



Eric Dolphy w/ Booker Little  Bee Vamp   Favoriting At the Five Spot, vol. 1  Prestige  1961 
Sonny Simmons  Dolphy's Day   Favoriting Music from the Spheres  ESP-Disk'  1968 
Charles Mingus  All The Things You Could Be By Now If Sigmund Freud's Wife Was Your Mother   Favoriting Charles Mingus Presents Charles Mingus  Candid  1960 
Frank Zappa  The Eric Dolphy Memorial Barbecue   Favoriting Weasels Ripped My Flesh  Bizarre  1970 

Music behind DJ:
Mouse on Mars 

Fantastic Analysis   Favoriting



Phill Niblock  Winterbloom Too   Favoriting Four Full Flutes  Experimental Intermedia  1990 

Music behind DJ:
Dudu Pukwana & Spear 

Flute Music   Favoriting

Flute Music 



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Listener comments!

Avatar Swag For Life Member 12:03pm
Artie Haywire:

I call these the Yay-horns.
Avatar Swag For Life Member 12:04pm
Jeff Golick:

Yay! Artie!

You do realize that you are currently competing with the Boredcast stream featuring Kenny G's inventory of flatulence?
Avatar 🦀 Swag For Life Member 12:09pm
listener james from westwood:

Hmmm ... putzing around with D:O or farting around with Kenny G?
Avatar 12:09pm
Jeff J:

How am I sounding out there in radio land? Relatively clear? Or is there interference?
Avatar 12:10pm
Jeff J:

Hey Artie, Dean, and LJFW! You'll want to keep it tuned here, of course. We'll got some next-level putzing happening shortly.
Avatar Swag For Life Member 12:11pm
Doug Schulkind:

Jeff and Jeff, I send you chaps an email regarding sound quality.
Avatar 12:11pm

if jeff and jeff renamed themselves as thomas, they could be the d:outing thomases. just sayin'.
Avatar 🦀 Swag For Life Member 12:12pm
listener james from westwood:

I look forward to plotzing over your putzing.

This tune was updated by The Deadbeats as "Kill the Hippies."
Avatar Swag For Life Member 12:13pm
Jeff Golick:

Yah, we got toots from some flutes.

All I can say is Kenny G brings new meaning to "Destination, out!"
Avatar Swag For Life Member 12:15pm

I take it people have seen Peter Stampfel's comments about Bernard Stollman this past week?
Avatar Swag For Life Member 12:17pm
Jeff Golick:

Hey, @Polyus. Didn't see! You got a link?
Avatar 12:17pm

Always interesting when you know you have an album, but don't recognize the track.
Avatar Swag For Life Member 12:19pm
Doug Schulkind:


"bastard thief lying piece of shit bernard stollman is dead. i'd piss on his grave if was within walking distance. he stole my dead mom's tape of weber & me live in detroit, 1965,with weber's help, over my objections, and never paid us a penny. weber, sam, and i were sposed to get $150 each for indian war whoop. he stiffed sam, and wouldn't let him be on the cover because sam got a crew cut out of disgust for the bullshit summer of love. the contract, which i dint read, said he owns all the songs and will pay no royalties of any kind for them, and we will get no other royalties at all, ever, which we did not, despite release in several countries. but he did give me $180 for the fugs albums i was on in late sunner '66, which payed the 3 months rent we were behind. tha't all i ever got for the fugs albums. not a cent for fugs 4 rounders score."

This is the same Bob James who later recorded on CTI? Amazing.
Avatar Swag For Life Member 12:19pm

Thanks Doug, was just looking for it.
Avatar Swag For Life Member 12:20pm
Jeff Golick:

The very same, Dean. Here co-composing with Robert Ashley!

Stollman was an attorney.
Avatar Swag For Life Member 12:21pm
Jeff Golick:

Greetings, @ngh!

I'm stunned.
Avatar Swag For Life Member 12:24pm
Doug Schulkind:

There are those who try to portray Stollman as a music lover who was just trying to get the artists exposure. While that may be mostly true, he was also a lawyer who intentionally deceived and took advantage of the musicians he recorded. Many of the same artists were ripped off and worse by the thugs running the French label BYG/Actuel, but for some reason Stollman's thuggery got way less press than that of the French creeps.
Avatar 12:25pm
Jeff J:

We've got those issues with Stollman addressed musically at the end of the set, Doug.
Avatar 🦀 Swag For Life Member 12:26pm
listener james from westwood:

To hell w/ being paid in exposure. People die of exposure.
Avatar Swag For Life Member 12:26pm
Jeff Golick:

Also, to be clear, this is not meant as a celebration of Stollman, but his death was a spur to play some of great music that was released on ESP.

Wow, you know you suck when your post-mortem demands a qualification.
Avatar Swag For Life Member 12:29pm
Jeff Golick:

Davidson was a cool cat who studied biochem at Harvard. He apparently initiated a graphic score system that was largely unknown, unused, unstudied. I think Joe Morris has tried to work with them some.
Avatar Swag For Life Member 12:30pm
Jeff Golick:

Davidson with Gary Peacock and Milford Graves here, btw.
Avatar 🦀 12:31pm

Good stuff
Avatar Swag For Life Member 12:32pm
Doug Schulkind:

There is no denying the enormous importance of Stollman's contributions to the universe!
Avatar Swag For Life Member 12:32pm
Jeff Golick:

...and while we're clarifying, this Byron Allen is not the same guy who co-hosted Real People.
Avatar Swag For Life Member 12:36pm
Jeff Golick:

(Out of curiosity, does anyone out there remember the TV program Real People?)
Avatar Swag For Life Member 12:43pm
Jeff Golick:

Rare appearance from trumpeter Ric Colbeck on this Noah Howard cut.
Avatar Swag For Life Member 12:47pm
Doug Schulkind:

I remember exactly where I was on December 17, 2006 when destination: OUT shared two tracks from Ric Colbeck's "The Sun Is Coming Up." I immediately emailed you guys and pleaded for you to share the other two tracks from the album — which you did.

Bless you boys.

Can't remember what I never knew in the first place. But when I think Byron Allen, for some reason I think football.
Avatar Swag For Life Member 12:50pm
Jeff Golick:


It's bizarre that of all the albums that have been resuscitated over the last ten years, that one -- THE SUN IS COMING UP -- has eluded reissue.
Avatar Swag For Life Member 12:50pm
Doug Schulkind:

Nice bit of fill-in-the-holes info about the elusive Mr. Colbeck: galacticramble.blogspot.de...
Avatar Swag For Life Member 12:51pm
Jeff Golick:

It's unclear whether the jazz player Byron Allen still walks the Earth. Doug, any idea?

Take that, Bjork!

Didn't he go on to form The Cars?
Avatar Swag For Life Member 12:53pm
Jeff Golick:

Piano for Patty by Burton Greene, btw.
Avatar Swag For Life Member 12:54pm
Jeff Golick:

I thought that was Ric Holden.

Just picked up a Burton Greene disk, solo piano, on Cadence.
Avatar Swag For Life Member 12:56pm
Doug Schulkind:

No clue about Byron Allen. He released the one ESP recording in '64 then another on Interface in '79. And that is it.

Shakespeare is like, "Rein it in just a wee bit there, Patty."
Avatar 12:58pm
Jeff J:

Ha, Dean. Patty shall not be reined!
Avatar Swag For Life Member 12:58pm
Doug Schulkind:

Here is Down Beat review of a 1965 Town Hall concert I would have liked to have attended:

Town Hall, New York, 1 May 1965

Down Beat (Vol. 32, No. 15, 15 July, 1965, p. 12)


Reviews Of In-Person Performances

Bud Powell / Byron Allen /
Albert Ayler / Giuseppi Logan
Town Hall, New York City

Personnel: Powell, piano. Eddie Gales, trumpet; Allen, alto saxophone; Walter Booker, Larry Ridley, basses; Clarence Stroman, drums. Don Ayler, trumpet; Charles Tyler, alto saxophone; Albert Ayler, tenor saxophone; Louis Worrell, bass; Sonny Murray, drums. Logan, bass clarinet, flute; Don Pullen, piano; Reggie Johnson, bass; Milford Graves, drums, percussion.


To the supporters of the jazz avant-garde—musicians, critics, and fans—there seems to be no middle ground. One is either for or against the new music, and any expression of reservations is interpreted, in the manner of political or religious movements, as a species of treason.
Furthermore, the insistence of those supporting the avant-gardists that the music is a socio-political act, and their habit of attacking even sympathetic criticism with such semantic bludgeons as “racial prejudices,” “backwardness,” “white power structure,” and other ideological catch phrases of dubious relevance, hardly has served a climate of reasoned objectivity.
To this reviewer—and let the chips fall where they may from assorted shoulders—the sole relevant issue is the validity of the new music as music, at least within the confines of a review such as this.
To agree that there is room in jazz for radical innovation is not synonymous with the abandonment of all prior esthetic standards, and to be sympathetic to new things in jazz does not mean that all that is new must be received with unqualified approval simply because it is new.
This concert presented, in addition to an honored jazz veteran, three groups of widely varying quality and orientation, having little in common beyond their affiliation with ESP Disks, a newly founded record company that presented (and, in part, recorded) the event.
Alto saxophonist Allen’s group, which opened with a 25-minute set devoted to one piece, is rooted in Ornette Coleman’s approach to jazz. Allen employs some of Coleman’s speechlike phrases and some of his rhythmic and melodic patterns, but he does not as yet have a comparable sense of form and organization. A lyrical, rather gentle player, he still has to learn to edit himself, and his music now makes a rather unformed and tentative impression.
Allen’s rhythm section, despite the presence of two bassists, was fairly conventional; i.e., it swung. Ridley, a fine player not exclusively affiliated with the avant-garde, and Stroman, who also is primarily a modern-mainstream player, took good care of the timekeeping, while Booker played fills.
Powell followed, playing solo piano. Though in considerably better form than at his distressing appearance at the Charlie Parker Memorial Concert at Carnegie Hall in March, Powell was far from his peak. However, his final selection, I Remember Clifford, was extremely moving, and what had seemed to be faltering time on the faster pieces now became a nearly Monkish deliberateness, each phrase ringing out full and strong. What Powell hasn’t lost is his marvelous touch and sound, and everything he played revealed a sense of balance and proportion not much in evidence elsewhere on the program.
Next came Logan, a multi-instrumentalist who restricted himself to a mere two of the nine horns this reviewer has so far heard him play.
Of his two compositions, the first featured him on flute, which he plays with an attractive tone but a technique far from virtuosic.
Percussionist Graves was much in evidence, opening the proceedings on an array of instruments including a large gong, bells, gourds, rattles, and African types of drums. For the second part of the piece, Graves switched to a regular set of drums. Straight time is not his forte; he uses percussion to embellish and punctuate, setting up a continuous barrage of sound, which can be striking when it does not overwhelm the efforts of the other players.
The second piece featured Logan’s bass clarinet. The sounds he produced—shrieks, swoops, and gargles—brought to mind Eric Dolphy at his most extreme but lacked the latter’s technical brilliance, emotional force, and sense of contrast. With this kind of playing, it is sometimes hard to decide which notes are voluntary and which are accidental.
In spite of his occasional wildness, Logan appears to be a musical eclectic with romantic leanings and a flair for melodic invention that he might profitably explore. In addition, his music has a kind of theatricality (both he and Graves are “showmen” of a sort), and he could become the first popularizer of avant-garde music, or rather, its surface characteristics.
Bassist Johnson was often inaudible (through no fault of his own) but was effective in a duet between arco bass and percussion, during which Graves bent and twisted a cymbal while beating it with a mallet.
Pianist Pullen is a technician with great dexterity, but his improvisations are those of a classically oriented musician—chromatic runs (not unlike a random medley of Scriabin fragments) without a trace of swing or rhythmic definition.
The concert concluded with by far the strongest and most unusual music of the afternoon. Albert Ayler is certainly original. His tenor saxophone sound, on fast tempos, is harsh and guttural, with a pronounced vibrato and a multitude of what used to be called freak effects in King Oliver’s day. He plays with a vehemence that startles the listener, either repelling him or pulling him into the music with almost brute force. The effect can be oddly exhilarating.
On slow tempos, Ayler favors a vibrato so wide that it brings to mind Charlie Barnet’s old take-off on Freddy Martin. It is an archaic sound, and the phrasing that goes with it—drawn-out notes, glissandi, sentimental melodic emphasis—is quite in keeping.
Trumpeter Don Ayler plays like his brother plays fast tenor: loud, staccato, and broadly emphatic. But his fingering technique appears elementary. He did not solo at slow tempo. Altoist Tyler fits the brothers. His sound is not unlike Albert’s but more grating and less controlled—some of his overtones were involuntary, whereas the tenorist meant every note he played to be.
The music that goes with this definitive instrumental approach is no less personal. It resembles at times—in texture as well as voicings and melody—the music of a village brass band or a military drum-and-bugle corps. In spite of its abrasiveness, the music is quite gay and friendly—“country” might be the word for it. The harmonies are stark and almost primitive, with occasional forays into bagpipe effects.
Ayler’s group played two pieces. The first, quite brief, ended with a prolonged bombardment by the full ensemble; a flurry of repeated notes played strictly on the beat. The effect was not unlike a surrealistic parody of those famous Jazz at the Philharmonic finales, replete with screaming trumpet and honking saxophones. Or perhaps the image was of a rhythm-and-blues band gone berserk.
The second piece, though sprawling and too long, was nevertheless filled with exciting passages. A slow tenor solo was followed by a bass interlude and then a call to arms by the horns, a militaristic theme-statement, a fast tenor solo, ensemble interlude, solos by all the horns at very rapid tempo, a return to the theme, another call to arms, and a bansheelike concluding ensemble.
The horns—the leader especially—played with such rhythmic thrust that the role of the rhythm section was merely incidental. Murray seemed forever to be trying to catch up with the horns. Worrell was effective in solo, and his backing of Ayler’s slow improvisations was particularly apt.
To this listener, there seems to be a great deal of wild humor in Ayler’s music. Though often vehement, it is celebration rather than protest; much of it has the sheer “bad boy” joy of making sounds.
Whatever one’s reaction to this music, there can be little doubt that it contained the spirit of jazz. Some may dismiss it as untutored, primitive, or merely grotesque, but it certainly has the courage of its convictions and is anything but boring or pretentious.
If one thing was made clear by this concert, it is that the so-called new thing is really many things: very different approaches to innovation (or novelty?) in jazz, having in common only a predilection for radical means of expression. If there is a jazz revolution, it has already developed its Bolsheviks, Mensheviks, Social Revolutionaries, and Trotskyites (I don’t know of any musical Stalinists) and is definitely not a unilateral phenomenon. At its core, as always in jazz, lies the personal and individual.
Perhaps it is time to get away from the emphasis on categories and get back to the proper perspective—the individual one—which would eliminate the pointless and absurd debates about “modern” and “old-fashioned” music.
—Dan Morgenstern

Monday Nothing
Avatar Swag For Life Member 1:05pm
Jeff Golick:


This song is setting me straight today thanks!
Avatar Swag For Life Member 1:09pm

Shifty business practices aside, I have really been enjoying the ESP-Disk tributes I have been hearing from WFMU the last week - still kind of a neophyte outside a couple of artists, so I am learning a lot.
Avatar Swag For Life Member 1:23pm
Jeff Golick:

That's great to hear, @Polyus. This list by Phil Freeman is another good departure point, if needed: www.stereogum.com... (it's a slide show)
Avatar Swag For Life Member 1:27pm
Jeff Golick:

Believe this is Richard Davis on bass here.

A few years ago my wife and I were looking to rent in Berkeley. We met a landlord, a young guy who, it turns out, had graduated with my wife from the same midwestern liberal arts college with a strong music conservatory. We ended up not renting the place (no room for my records), but we did learn that the classmate was a bassist who had studied with Richard Davis.
Avatar 🦀 Swag For Life Member 1:32pm
listener james from westwood:

Absolutely with Polyus: much to learn, lots to hear, happy for this & other tributes. And that Bangs article was also my gateway to the label.

This is Reijseger, no? Hank Roberts played with Arcado, too.
Avatar Swag For Life Member 1:37pm
Doug Schulkind:

I went to a midwestern liberal arts college with a strong music conservatory!

Oberlin? My wife went to Lawrence, but she didn't study music.
Avatar 🦀 Swag For Life Member 1:40pm
listener james from westwood:

Clicky star for the "Green Dolphy Suite!"
Avatar Swag For Life Member 1:40pm
Doug Schulkind:

Yup, Oberlin.
Avatar Swag For Life Member 1:41pm
Jeff Golick:

Great ears, as usual, Dean. It is indeed Reijseger!
Avatar Swag For Life Member 1:41pm
Jeff Golick:

Also Marks Dresser and Feldman. Written by Louis Sclavis (who also plays).

You know who else went to Oberlin? Benjamin Bagby and Barbara Thornton (RIP), who later formed Sequentia, the marvelous medieval music ensemble. They alone accrue boundless credit to the school's reputation.
Avatar Swag For Life Member 1:51pm
Doug Schulkind:

Thornton died so damn young.

Don't get me started. To this day I miss her. A unique voice. Brilliant musicology. She and Ben were a gift to music lovers. She towered over him, literally. Sequentia remains one of the brightest musical sources of light.
Avatar Swag For Life Member 2:07pm
Jeff Golick:

Rhythm section here is Mal Waldron, p; Richard Davis again, b; Ed Blackwell, ds.
Avatar Swag For Life Member 2:11pm
Jeff Golick:

Add Booker Little to the gone too soon list.
Avatar Swag For Life Member 2:17pm
Doug Schulkind:

Sonny Simmons, Henry Grimes, Giuseppi Logan. All three artists in the ESP catalog had seemingly disappeared for decades. All are now blessedly back and making music. Miraculous.
Avatar Swag For Life Member 2:19pm
Jeff Golick:

Amen, Doug.
Avatar Swag For Life Member 2:20pm
Jeff Golick:

Btw, what's everybody reading? I just finished a book this morning that I can wholeheartedly recommend, particularly to fans of American history: THE WARMTH OF OTHER SUNS, by Isabel Wilkerson, on the Great Migration. Astonishingly, movingly wonderful.
Avatar Swag For Life Member 2:25pm
Doug Schulkind:

Avatar Swag For Life Member 2:25pm
Doug Schulkind:

Gotta run to work. Sorry I shouted.

Kenneth Burke, The Philosophy of Literary Form, in a pocket book abridged edition from 1957, the copy of which was owned by a high school English teacher with whom I never took a course, but who kindly worked with two friends and me to prepare for the AP English exam independent of formal course work. (No, he did not advise on run-on sentences.) I have owned the book since c. 1980. The English teacher, now long gone, I suspect, annotated it. This is my first reading of it. If the book weren't so yellowed, I'd easily assume it had been written last year. I'm in the chapter in which Burke reviews, no kidding, Mein Kampf.
Avatar Swag For Life Member 2:26pm
Jeff Golick:

Yowza, Dean.

Oh, and Ashbery's Quick Question.
Avatar Swag For Life Member 2:29pm
Jeff Golick:

I'm about to start Nicholson Baker's THE MEZZANINE.

Appropriately, the upcoming chapter in Burke's book is about...Freud!
Avatar Swag For Life Member 2:31pm
Jeff Golick:

Talk about your run-on sentences....
Avatar 🦀 Swag For Life Member 2:38pm
listener james from westwood:

I am starting "A Paradise Born in Hell" by Rebecca Solnit, as a thematically apropos follow-up to Emily St. John Mandel's luminous "Station Eleven."

Sometimes a Mingus title is just a Mingus title.
Avatar Swag For Life Member 2:44pm
Jeff Golick:

@ljfw: I read and enjoyed STATION ELEVEN, though I confess it hasn't really stayed with me.
Avatar Swag For Life Member 2:45pm
Jeff Golick:

The Solnit looks amazing.
Avatar Swag For Life Member 2:49pm
Webhamster Henry:

Much in the same vein as Niblock, I went to the 24 hour dronefest in Hudson this weekend for a few hours.

To clarify, Burke's book has plentiful evidence of the time, between the wars, when it was written. The Mein Kampf review appeared in 1939. But some of his ideas serve to remind me that the more things change, etc. For instance, he complains about the glut of information and our mistaken preference for it over more "resonant" verbal constructions. "Unawares, we have allowed ourselves to take it [mere semantically correct information] as the -norm-, thereby confusing a norm with an average." He wrote this almost sixty years before Google.
Avatar 2:51pm
Chris from DC:

This was my intro to Niblock, great stuff.
Avatar Swag For Life Member 2:52pm
Webhamster Henry:

.. and I'm pretty sure I heard this piece at one of his Solstice events.
Avatar Swag For Life Member 2:53pm

@Henry - as in several participants coming and going over the 24 hrs?
Avatar Swag For Life Member 2:54pm
Jeff Golick:

Hi, hi, @Chris from DC and @Webmaster Henry. Henry, that sounds like a wonderful event.
Avatar Swag For Life Member 2:55pm
Webhamster Henry:

There were a lot of drone artists and you could come and go and sleep over if you wanted to.
Avatar Swag For Life Member 2:55pm
Jeff Golick:

@Dean: Yes, that kind of very clear, thoughtful presentation of "same as it ever was" can really draw you up in your chair.
Avatar 2:56pm
Chris from DC:

Henry, really wish I'd known about that one. I might have made the trip.
Avatar 2:57pm

Nice Niblock! Thanks Jeffs!
Avatar Swag For Life Member 2:58pm
Webhamster Henry:

It was pretty well attended too! so maybe they'll do another. A drone fest in DC, on the other hand, might involve the other kind of drone.

Senators, you mean?
Avatar Swag For Life Member 2:59pm

There is an event here in Mpls, Drone Not Drones, that is the same idea, over 28 hrs. It's interesting to see the variety that the numerous participants bring to the idea, although some people do stray a bit from what one would consider a drone.
Avatar Swag For Life Member 2:59pm

Avatar Swag For Life Member 3:02pm
Webhamster Henry:

@Polypus true - some of it was not really drones, just unstructured , loud noise. OTOH, Greg Fox, just playing a drum solo for 45 minutes or so, was phenomenal.
Avatar 🦀 Swag For Life Member 3:02pm
listener james from westwood:

I could go a whole day on these sorts of drones.
Thanks, Jeff and Jeff!
Avatar Swag For Life Member 3:03pm
Webhamster Henry:

BTW,at EIF, during the four flutes piece, the musicians are walking around the room slowly as you sit in on your beat up couch or butterfly chair.
Avatar Swag For Life Member 3:04pm
Jeff Golick:

That sounds very cool, Henry!

Thanks, @ljfw!
Avatar Swag For Life Member 3:13pm
Jeff Golick:

Just realized WFMU dj Dave Mandl did a great ESP show last night, too. Some (accidental) overlap, but lots that's new, too: www.wfmu.org...
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