^ Beautiful, DAS. Agreed about single instruments not needing accompaniment, although not every piece works as well when played on another instrument. To that end... ... this is so haunting, Sath, I love it, although it's one of the few compositions that I actually prefer on classical guitar. Bach's Chaconne on classical guitar, as a comparison, sounds timid and flat and does not come near the fiery soul of a violin, but this Satie piece always brings to mind a Gypsy caravan once again methodically packing up and leaving a misty forest in the dusk, an image first set during a Youtube video of a young guy playing this on his guitar in a stairwell of all places, a space that created such depth the imagination could not help but run off. It's all a moot point at the moment since I can't seem to find said video, but speaking of spaces creating depth, the first ever album has been recorded in the Sistine Chapel, "Cantate Domino", new choral music by the Sistine Chapel Choir. Regardless of people's opinions about religion - this may range from resonating as ambient on the secular side to soul touching if one's feeling a bit more spiritually inclined - listeners can't help but be stilled by its contemplative beauty: http://www.deutschegrammophon.com/en/cat/4795300#product_video http://www.amazon.com/Cantate-Domino-Cappella-Sistina-musica/dp/B014DI9EH4

Quadrophenia fans, this summer's performance of Classic Quadrophenia at Royal Albert Hall is now available on DVD and Blu-ray: http://www.deutschegrammophon.com/en/cat/0735226?SearchString=classic+quadrophenia

Ok, using the Search Function, I found this thread. Seems to be working better today. Jason's got new JBLZE tour dates coming up in December. Check out his cool new website for a US show near you - jasonbonham.net

Love it. One interesting aspect is that, like theatre, there's a tradition of interpretation of works by composers (and playwrights) whereas in other genres, playing others' songs is likened on the positive end as a respectful tribute, on the negative as a pejorative copy, a thinly veiled cover band (think 'Kingdom Clone'). Sometimes this revives interest in a forgotten artist which is great, other times there's controversy about ripping someone else off. The focus is on ownership as proprietary whereas in classical music, the tradition is on interpretation, with a respectful nod to the composer. One of my all time favourite interpreters is Vladimir Horowitz, and Sony is releasing a gargantuan 50 CD compilation - FIFTY! - of unreleased live recordings and accompanying book later this month: Sony Classical Releases Vladimir Horowitz: The Unreleased Live Recordings 1966-1983 Collector's Edition Featuring 50 CDs with Hardcover Book Available October 23, 2015NEW YORK, Oct. 15, 2015 /PRNewswire/ -- After the overwhelming success of Vladimir Horowitz Live at Carnegie Hall, Sony Classical presents Vladimir Horowitz: The Unreleased Live Recordings 1966–1983. Available October 23, this 50-CD edition takes you on tour with the legendary pianist from his home town of New York to the great halls of the USA, from New Haven to Chicago, Washington D.C., Philadelphia, Boston and beyond. This special collector's set features 13 programs recorded at 25 solo recitals in 14 different concert halls. It comprises the complete live recordings made by Columbia Masterworks between 1966 and 1968, as well as the live recordings made by RCA Red Seal between 1975 and 1983. While a few extracts from these live recordings were selected for release as award-winning albums, the vast majority rested untouched in secure storage and has remained unreleased for more than 30 years – until today. This new edition presents Vladimir Horowitz's musical artistry, live and unedited in state-of-the-art mastering. The set contains an essay by Horowitz collector and scholar Bernard Horowitz (Horowitz: The Penultimate Chapter) and an interview with Horowitz's longtime producer Thomas Frost (both also in German and French translations), a selection of original program notes, reproductions of rare documents (for example, the standard checklist issued to promoters of a Horowitz recital), and complete recording data. The repertoire also includes works new to Horowitz's discography by composers for whom he had a strong affinity and understanding: Schumann's Carnaval op. 9, Chopin's Étude op. 25 no. 10 ("Octave") and Scriabin's Prélude for the Left Hand Alone op. 9 no. 1. 2015 marks a half-century since Vladimir Horowitz's return to the concert stage on May 9, 1965 after a twelve-year absence, reaffirming his status as an iconic pianist who mesmerized audiences and fellow musicians alike throughout his long and turbulent career. Every time Horowitz walked on stage, a palpable sense of anticipation and excitement filled the air. His singular virtuosity, bottomless palette of colors and nuances, and ability to gauge the acoustics of a hall for maximum impact created a communicative bond between himself and his public that made every performance unique from moment to moment, and he never played a piece the same way twice. Whenever possible, Columbia and RCA taped Horowitz in concert. The recordings provided the basis for commercial releases approved by the pianist during his lifetime. These recitals have now been painstakingly restored to their complete, unedited state from the best possible source material. Most of the original tapes were stored, untouched in Sony's Iron Mountain archives, and sound as vibrant and lifelike as they did to those lucky audience members fortunate enough to be present. The collection commences with nine 1966–1968 recitals recorded by Columbia in Philadelphia, Boston, Chicago, Washington D.C.and on the Yale University, Queens College and Brooklyn College campuses. Horowitz returned to RCA in 1975, and began his most extensive touring since the early 1950s. Between 1975 and 1983 RCA's recording team followed the pianist across the United States and to the UK. For the price of a highly coveted Horowitz recital ticket, one can travel back in time to follow the pianist on tour through some of the best concert venues in the United States and experience his constantly evolving interpretations in spontaneous flight, without a safety net, and always played from the heart. Sony Music Masterworks comprises Masterworks, Sony Classical, OKeh, Portrait, Masterworks Broadway and Flying Buddha imprints. For email updates and information please visit www.sonymusicmasterworks.com. The Columbia Live Recordings 1966–1968 CDs 1/2 Woolsey Hall, Yale University, School of Music, New Haven, November 13, 1966 CDs 3/4 Colden Auditorium, Queens College, New York City, October 22, 1967 CDs 5/6 Walt Whitman Auditorium, Brooklyn College, New York City, November 12, 1967 CDs 7/8 Constitution Hall, Washington D.C., December 10, 1967 CDs 9/10 Symphony Hall, Boston, April 7, 1968 CDs 11/12 Orchestra Hall, Chicago, May 12, 1968 CDs 13/14 Woolsey Hall, Yale University, School of Music, New Haven, November 3, 1968 CDs 15/16 Constitution Hall, Washington D.C., November 17, 1968 CDs 17/18 Academy of Music, Philadelphia, December 1, 1968 The RCA Live Recordings 1975–1983 CDs 19/20 Orchestra Hall, Chicago, November 2, 1975 CDs 21/22 Paramount Theatre, Oakland, February 15, 1976 CDs 23/24 Ambassador Auditorium, Pasadena, February 22, 1976 CDs 25/26 Ambassador Auditorium, Pasadena, February 29, 1976 CDs 27/28 Powell Hall, St. Louis, November 21, 1976 CD 29 The White House, Washington D.C., February 26, 1978 CDs 30/31 Orchestra Hall, Chicago, April 8, 1979 CDs 32/33 Orchestra Hall, Chicago, April 15, 1979 CDs 34/35 Constitution Hall, Washington D.C., April 22, 1979 CDs 36/37 Symphony Hall, Boston, April 13, 1980 CDs 38/39 Avery Fisher Hall, New York City, May 4, 1980 CDs 40/41 Avery Fisher Hall, New York City, May 11, 1980 CDs 42/43 Metropolitan Opera House, New York City, November 1, 1981 CDs 44/45 Royal Festival Hall, London, May 22, 1982 CDs 46/47 Symphony Hall, Boston, April 24, 1983 CDs 48/49 Metropolitan Opera House, New York City, May 15, 1983 CD 50 Avery Fisher Hall, New York City, September 24, 1978 Media Contacts:Angela Barkan / Larissa Slezak – Sony Music Masterworks Angela.Barkan@sonymusic.com Larissa.Slezak@sonymusic.com 212-833-8575 / 6075 Christina Jensen, Christina Jensen PRP: 646.536.7864 x1 | christina@christinajensenpr.com SOURCE Sony Classical http://www.prnewswire.com/news-releases/sony-classical-releases-vladimir-horowitz-the-unreleased-live-recordings-19661983-300160544.html

A couple of interesting articles in the ongoing e-book vs. print debate. Clearly, e-books entered the reading sphere with great fanfare and there was a lot of concern about the supposed death of the paper form of books. The first article is from a tech website and it explores the leveling off if not declining trend of e-books, while balancing the expansion and limitation of the tech format. There are surely conveniences, but the trade off is a sterile (proponents would say 'clean') relationship with the content, because the relationship with every book is the same: Future Reading: Will Digital Books Ever Replace Print? While the digital book industry is asking questions about its evolution, this is another source pointing to the growing confidence in the value and longevity of print: Science Has Great News for People Who Read Actual Books "...not all forms are created equal" and there is increasing evidence that the multi-sensory experience of print (linear reading, writing in books, earmarking, etc.) is better for stress reduction, comprehension, content retention, empathy and improved sleep. It's good that e-books may make more people read or make people read more than otherwise would, but print is providing a better quality reading experience.

John Berg, Art Director Who Made Album Covers Sing, Dies at 83

I miss them both... Sweet... Jesus...

^ It takes time to be ready for another pet. Hope it works out how it's supposed to for you, Deb. Good luck I've posted some thoughts and articles about trends in education, and here's another that is just bizarre, enforced coddling under the guise of not hurting students. Profs and fellow students now must be careful to not offend with 'microaggressions.' Yep, it now has its own term. From the article: "The list of offensive statements included: 'America is the land of opportunity' and 'I believe the most qualified person should get the job.'" No, this is not an Onion write-up. Hello, 1984! The Coddling of the American MindIn the name of emotional well-being, college students are increasingly demanding protection from words and ideas they don’t like. Here’s why that’s disastrous for education—and mental health. GREG LUKIANOFF AND JONATHAN HAIDT SEPTEMBER 2015 ISSUE A couple of highlight paragraphs: It's a very long Atlantic article, but well worth the read. A brief but insightful and articulate video interview as well. http://www.theatlantic.com/magazine/archive/2015/09/the-coddling-of-the-american-mind/399356/

Bonnie Raitt's sultry version of "Angel from Montgomery". Pithy lament of the lyrics wrapped in sad yet mellifluous melody. Just a beautiful song. And the angelic harmonies version (I wish there were a better quality of this performance. It screams for clarity): And speaking of beautiful live harmonies: The dobro player, Jerry Douglas, starting at around 4:25 and around 101:00:00 onwards -stunning! They're all exceptional musicians in their own right, and elevate the whole together, but different parts resonate with different listeners. This concert spoils you for choice of favourite moments.

I can't decide between versions, but that one line - "... in the crystalline knowledge of you..." - is perfection, right to the heart *siiigh*:

"Kashmir" towards the end, and it actually suits! Has anyone been watching this? I just discovered it by happy accident. Looks like something I could really get into!

Oh Not even close though I meant it as a metaphor ie/ what a trip... Here she comes with a heartsong about trouble:

DIDs as in e, Sean? It is exquisite and takes you down strange and winding roads not just musically, but lyrically as well. So beautiful, I can't get over them! And thanks for the head's up about the release later this month, I'll definitely be keeping an ear out for it. Appreciate the info! As Jeff Buckley covered the tune above, I segued into his music tonight. What I love about the whole of Grace is that, like Astral Weeks, the overall sound is captivating and layered; it has a concept and space within which is expands, but also, equally important, there are no annoying sounds in the layers, if people know what I mean. Sometimes it can be that one addition somewhere in the back left ear or wherever whose inclusion distracts from the whole song once you're aware of it. I'm not in love with the execution of every instrument on every song, but I love what's not there (I love lullaby and Unrepentant Geraldines as well for the same reason - sensitivity about what stays and what ought not to). So, very finally, some treats from Grace: "Lilac Wine" "Lover, You Should've Come Over" "Dream Brother" (love the drums on all three tracks, especially the build up from to the next...)

Well said, Kiwi. There's a sensory romance that books cast that no e-product can ever genuinely conjure. The mp3 comparison is interesting and one which book lovers and audiophiles would on the whole agree with. The curious issue with ebooks is their exorbitant cost to libraries, something I posted about in the 'what are you reading' thread. I don't recall whether the article there gets into these high charges being a means of recouping profits for decreased sales, but I wouldn't put it past industry powers that be to try to gouge wherever they can, even libraries, which I consider borderline sacrosanct, so a plague on ebook price thievery! I was pleasantly surprised on Record Day to see about a 50-50 mix of older folks and young people. In transit, many people spend the commute reading, and it's about 50-50 paper and some e-format. What people are listening to and reading is a whole other issue (I mean, who cares what format it is when readers fill their minds with that loser wolf-vampire drivel), but yes, long live the readily available vinyl and paper options!

A Van Morrison night: Can't pick between the versions... Acoustic one, though, highlights the melody more, which seems simple, but is actually a tricky one to get just right. Both are beautiful.... Really, the whole of Astral Weeks is a revelation.

^ Well that's great and welcome news, indeed! Hybrid is all right, I mean I can see why people would want the e-option (though I can't stand it for long), but who in the world reads novels on a smartphone?! Even tablets with a handy dictionary strain the eyes. I'll always prefer the look and touch of the paper option. It's a relief that print's imminent demise has been greatly exaggerated. And welcome back, Kiwi!

From the superb album Unrepentant Geraldines:

My Sentence Was a Thousand Years of Joy by Robert Bly (ghazals in English, interesting...) Mortality by the late great Christopher Hitchens

The fall issue of Craftsmanship Magazine is now available! - The King of Cake - The Soul of the Italian Shoe - The Art of Alcohol (three articles dedicated to various libations) - Printing with Love A couple of videos related to the printing article: one about Arion Press in general (similar to that found in the original post, but in greater detail), another about Arion printing Whitman's Leaves of Grass for its 100th book. In this video, part of a series on “Raw Craft” produced for Balvenie whiskey, Anthony Bourdain tours Arion and marvels at “some of the most beautiful books ever imagined.” (http://craftsmanship.net/the-art-of-letterpress-printing/) This short film follows Arion as it produces its 100th book, a re-issue of the first edition of Walt Whitman’s “Leaves of Grass.” (http://craftsmanship.net/the-art-of-letterpress-printing/) Eating, drinking and reading in style. A perfect day. Check out these and other articles at http://craftsmanship.net/ Thanks!

Thanks, Strider. It's basically a type of malware that can be of the hardware or software variety (the latter in my case) which isn't caught by an anti-virus and collects things like passwords in real time by capturing your keystrokes or by screen capturing whatever's on your monitor. But it becomes even more invasive if someone gets remote access to your credit card info, or banking info, or turns on your camera to spy on you without your knowing. Cool, eh? Just a vile invasion. Here's some more info in case people want to know more about it and about how to protect themselves: http://anti-keylogger-software-review.toptenreviews.com/ (scroll down below the reviews) The link below has a short video showing how it works: https://www.spyshelter.com/what-is-a-keylogger/

Someone I know keylogged their way into at least one of my emails, and perhaps some files. Considering reporting this...

There are no words for some situations... very sorry to hear this, DD.

I can't sign in anonymously (and yes, I did click the 'sign in anonymously' box)...