music clip of the day


Category: piccolo

Tuesday, September 17th

sounds of New York
day two

Sam Pluta (1979-), Broken Symmetries (2011-12); Wet Ink Ensemble (Sam Pluta, electronics; Joshua Modney, violin; Erin Lesser, piccolo; Alex Mincek, tenor saxophone; Eric Wubbels, piano; Ian Antonio, percussion), live, New York, 2016




random sights

other day, Bellwood, Ill.

Saturday, January 12th

This I could listen to all day.

Morton Feldman (1926-1987, MCOTD Hall of Fame), For Philip Guston (1984); Claire Chase (flute, alto flute, piccolo), Steven Schick (percussion), Sarah Rothenberg (piano, celesta), live, Houston (Rothko Chapel), 2013




random sights

today, Oak Park, Ill.

Monday, June 26th

what’s new

Here’s something from Roscoe Mitchell’s new album, Bells for the South Side (ECM), a 2-CD set recorded in 2015 at Chicago’s Museum of Contemporary Art.

“Spatial Aspects of the Sound,” Roscoe Mitchell (composition, piccolo), Craig Taborn (piano), Tyshawn Sorey (piano), William Winant (percussion), Kikanju Baku (wrist bells, ankle bells)




random sights

this morning, outside Chicago (Salt Creek Trail)

Thursday, May 14th

Whether you live for 50 years, 500 years, or 5,000 years, it makes no difference: always there are new things to hear.

Dieter Ammann (1962-), Violation (1999); Lemanic Modern Ensemble (William Blank, cond.) with Karolina Öhman, cello; live, Russia (St. Petersburg), 2014



reading table

The old pond—
a frog jumps in,
sound of water.

—Matsuo Basho (1644-1694; translated from Japanese by Robert Hass)

Monday, May 11th

career plans for the next life

Maybe, instead of those other things (tap dancer, rubboard player in a zydeco band, bass player in a reggae band, guitar player in a Malian band, cellist in a string quartet), I’ll be a bird.

John Luther Adams (1953-), songbirdsongs (1974-80), Callithumpian Consort (Stephen Drury, dir.), recording (2012)


art beat

Tony Fitzpatrick (1958-), Lunch Drawing #48: A Bird for Bruce Lee


Tuesday, March 10th

sounds of Chicago

Matthias Kranebitter (1980-), pack the box (with five dozen of my liquor jugs) (2013)
Mocrep, live, Chicago, 2014

[vimeo 111677932 w=560&h=315]



reading table


—Joseph Cornell, diary entry, 1964

Saturday, December 27th

Five hours?

As far as I’m concerned, this could go on forever.

Morton Feldman (1926-1987), For Philip Guston (1984); Claire Chase (flute, alto flute, piccolo), Steven Schick (percussion), Sarah Rothenberg (piano, celesta), live (3:50-), Houston (Rothko Chapel), 11/2/14



random thoughts: New Year’s resolution #1

Quit thinking other people should be more like me—if anything, be thankful they aren’t.

Saturday, December 6th

two takes

Need a lift?

Charles Ives (1874-1954), Ragtime Dance No. 4 (1904)

Alarm Will Sound, live, New York, 2013


Orchestra New England, recording, 1990



musical thoughts

As I remember some of the dances as a boy, and also from father’s description of some of the old dancing and fiddle playing, there was more variety of tempo than in the present-day dances. In some parts of the hall a group would be dancing in polka, while in another, a waltz. Some of the players in the band would, in an impromptu way, pick up with the polka, and some with the waltz, and some with a march. Often the piccolo or cornet would throw in asides. Sometimes a change in tempo, or a mixed rhythm would be caused by a fiddler who, after playing three or four hours steadily, was getting a little sleepy. Or maybe another player was seated too near the hard cider barrel. Whatever the reason for these changes and simultaneous playing of things, I remember distinctly catching a kind of music that was natural and interesting and which was decidedly missed when everybody came down ‘blimp’ on the same beat again.

—Charles Ives

Wednesday, October 2nd

love it or hate it

Anthony Braxton 12+1tet, Composition 355, live, Italy (Venice), 2012


Anthony, a MacArthur “genius” award winner (1994) and professor at Wesleyan University, talks about this and that:



musical thoughts

Music can take us places we’ve never been before, if we’re willing to listen to sounds we’ve never heard before.

Tuesday, 9/4/12

You don’t need to be asleep to be lost in a dream.

Maurice Ravel, Piano Concerto in G Major (1929-31); Martha Argerich, piano; Orchestre National de France (Charles Dutoit, cond.); live, Germany (Frankfurt), 1990

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