From: owner-basia-digest@smoe.org (basia-digest) To: basia-digest@smoe.org Subject: basia-digest V3 #149 Reply-To: basia@smoe.org Sender: owner-basia-digest@smoe.org Errors-To: owner-basia-digest@smoe.org Precedence: bulk X-To-Unsubscribe: Send mail to "basia-digest-request@smoe.org" X-To-Unsubscribe: with "unsubscribe" as the body. basia-digest Tuesday, July 21 1998 Volume 03 : Number 149 Today's Subjects: ----------------- Re: basia-digest V3 #148 ["Diane F. Fisli" ] THE COPERNICAN CHRONICLES: Perpetual Motion at Grand Central ["Ashoke S. ] THE COPERNICAN CHRONICLES: Perpetual Motion at Grand Central ["Ashoke S. ] ---------------------------------------------------------------------- Date: Sun, 19 Jul 1998 23:36:40 -0700 From: "Diane F. Fisli" Subject: Re: basia-digest V3 #148 Denis (with one "N") wonders: >I am not sure but I was listening to CD 101.9 Smooth jazz in NYC and I heard a >new cut from Peter White's new CD. I believe it is called Madrid and I heard >the title cut from the set. It sounded good. I was surprised I did not hear >anything from Diane about this. Maybe I got the scoop as a listener. Well, Denis, ya probably heard Marc Antoine (he was in Basia's band during the Time & Tide years)'s new CD - which is called Madrid... And the cut you heard may have been one with Marc and Peter playing together (I think) (which explains the mistaken identity). I have the album here - just got it in the mail from his manager (who is also Peter's manager) - but have been rather busy and not able to listen to it thus far. Peter White's new CD is not ready yet - I think it *just* got done being mastered. Last I heard, he had changed the title again, so I'm not quite sure WHAT he's going to call it. We'll find out someday - I think the projected release date is sometime in the late summer or early fall... :) TTFN! --Di. ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ I have a successful home business on the Internet! If you know someone who needs RELIABLE, affordable internet access, or who wants to make some money with a terrific business of their own on the internet, LET ME KNOW! dfisli@flash.net - http://musicats.com/flash.htm - 213/381-6367 ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------ Date: Mon, 20 Jul 1998 12:49:26 -0400 From: "Ashoke S. Talukdar" Subject: THE COPERNICAN CHRONICLES: Perpetual Motion at Grand Central First of all, thanks Jeff! If I ever do right a book you will be the first to hear it. But don't hold your breath. I don't plan on writing one soon. _______________ I don't list these posts as necessarily off topic, leaving the decision up to the readers. I sincerely apologize if this is an inconvenience. I do this partly because, believe it or not, I actually THINK of these in the Basia context and try to find some relevance. It's not really that difficult to find some - often when one has a favorite artist, the "favorite" arises from the fact that there is some facet of their work that we identify with. This facet stays with us, always, whether we are actually listening to their work or just doing our daily things. And this influences what we think about and the way we think about them. The subtext of this post also comes from some mental snapshots after I read the following, also from Jeff Hamilton: > >The real tragedy is when you have have >incredibly skilled artists who are trying to make a living at art while >being overlooked in light of more popular (but less talented) artists... > Sometime back in 1993, I was in New York City, on my way to Astoria and found myself in the human zoo called Grand Central Station. But I was somewhat oblivious to the human content of this scene, being completely captivated by the presence of one person. He was standing in one corner of the main lobby, totally at one with his violin, playing "Perpetual Motion" (a violin work by Pagannini). I was also thinking of a certain scene from the "The Fisher King" where this exact same location transforms into a dance hall - surely one of the most powerful poetic statements made on celluloid. To return to Grand Central, the violinist in question turned out to be student from Juliard, who worked as a pressman by day, while he dreamed of joining the New York Philharmonic by night - a dream whose modesty far exceeds his talent. Chopin fell in love with Perpetual Motion and composed a piano section for the entire piece. Not too many people brave this composition. Fewer still have to courage to do so in public WITHOUT the piano support. I believe THIS is what Jeff was talking about. Because to my eyes, this one young artist, playing to an unknown audience at Grand Central, is no less worthy of artistic validation than Saresati. Last night I was listening to some CDs that I don't usually listen to. One of them was a tribute to Leonard Cohen that I have mentioned before - "Famous Blue Raincoat" - breathtakingly interpreted by Tori Amos. Regardless of the fame and recognition that we have bestowed on the talents of the likes of her and Basia, I am sure many of us often wonder about how fortunate these artists might or should feel, that they were the lucky ones. But it behooves us to think also, about how fortunate WE are that they were the lucky ones, and that, every now and then, we also get the opportunity to experience those that are not, most of whose works are lost forever. This is not just a loss for the artists to be, but perhaps a greater loss to us. Eric (the violinist) rarely plays in public anymore - he has found the love of his life restoring and refinishing old Stadivariuses and Steinways, which keeps him very busy. Although I think that in him, the world has lost a great opportunity, I take some joy in treasuring the thought that his undocumented "Perpetual Motion" had found some audience. May he thrive. Peace. Ashoke. ________________________________________________________________ Ashoke S. Talukdar | When the darkness takes you talukdar@morph.ebme.cwru.edu | with her hand across your face Home : 216-381-5872 | Don't give in too quickly Imaging Lab : 216-368-8812 | Find the things she's erased MetroHealth : 216-778-8987 | Find the line, find the face Pager : 216-670-5872 | Through the grain... Cellular : 216-317-7079 | Fax : 216-368-4969 | Suzanne Vega ------------------------------ Date: Mon, 20 Jul 1998 12:56:22 -0400 From: "Ashoke S. Talukdar" Subject: THE COPERNICAN CHRONICLES: Perpetual Motion at Grand Central Ooops. Hit "Send" by accident before the intro! Here's the correct one. ============ First of all, thanks Jeff! If I ever do right and put together a book you will be the first to hear it. But don't hold your breath. I don't plan on writing one soon. However, that having been said, I do read some of my stuff as well as those of some friends, at different places. But you'll have to come to Cleveland for that. :-) _______________ I don't list these posts as necessarily off topic, leaving the decision up to the readers. I sincerely apologize if this is an inconvenience. I do this partly because, believe it or not, I actually THINK of these in the Basia context and try to find some relevance. It's not really that difficult to find some - often when one has a favorite artist, the "favorite" arises from the fact that there is some facet of their work that we identify with. This facet stays with us, always, whether we are actually listening to their work or just doing our daily things. And this influences what we think about and the way we think about them. The subtext of this post also comes from some mental snapshots after I read the following, also from Jeff Hamilton: > >The real tragedy is when you have have >incredibly skilled artists who are trying to make a living at art while >being overlooked in light of more popular (but less talented) artists... > Sometime back in 1993, I was in New York City, on my way to Astoria and found myself in the human zoo called Grand Central Station. But I was somewhat oblivious to the human content of this scene, being completely captivated by the presence of one person. He was standing in one corner of the main lobby, totally at one with his violin, playing "Perpetual Motion" (a violin work by Pagannini). I was also thinking of a certain scene from the "The Fisher King" where this exact same location transforms into a dance hall - surely one of the most powerful poetic statements made on celluloid. To return to Grand Central, the violinist in question turned out to be student from Juliard, who worked as a pressman by day, while he dreamed of joining the New York Philharmonic by night - a dream whose modesty far exceeds his talent. Chopin fell in love with Perpetual Motion and composed a piano section for the entire piece. Not too many people brave this composition. Fewer still have to courage to do so in public WITHOUT the piano support. I believe THIS is what Jeff was talking about. Because to my eyes, this one young artist, playing to an unknown audience at Grand Central, is no less worthy of artistic validation than Saresati. Last night I was listening to some CDs that I don't usually listen to. One of them was a tribute to Leonard Cohen that I have mentioned before - "Famous Blue Raincoat" - breathtakingly interpreted by Tori Amos. Regardless of the fame and recognition that we have bestowed on the talents of the likes of her and Basia, I am sure many of us often wonder about how fortunate these artists might or should feel, that they were the lucky ones. But it behooves us to think also, about how fortunate WE are that they were the lucky ones, and that, every now and then, we also get the opportunity to experience those that are not, most of whose works are lost forever. This is not just a loss for the artists to be, but perhaps a greater loss to us. Eric (the violinist) rarely plays in public anymore - he has found the love of his life restoring and refinishing old Stadivariuses and Steinways, which keeps him very busy. Although I think that in him, the world has lost a great opportunity, I take some joy in treasuring the thought that his undocumented "Perpetual Motion" had found some audience. May he thrive. Peace. Ashoke. ________________________________________________________________ Ashoke S. Talukdar | When the darkness takes you talukdar@morph.ebme.cwru.edu | with her hand across your face Home : 216-381-5872 | Don't give in too quickly Imaging Lab : 216-368-8812 | Find the things she's erased MetroHealth : 216-778-8987 | Find the line, find the face Pager : 216-670-5872 | Through the grain... Cellular : 216-317-7079 | Fax : 216-368-4969 | Suzanne Vega ________________________________________________________________ Ashoke S. Talukdar | When the darkness takes you talukdar@morph.ebme.cwru.edu | with her hand across your face Home : 216-381-5872 | Don't give in too quickly Imaging Lab : 216-368-8812 | Find the things she's erased MetroHealth : 216-778-8987 | Find the line, find the face Pager : 216-670-5872 | Through the grain... Cellular : 216-317-7079 | Fax : 216-368-4969 | Suzanne Vega ------------------------------ End of basia-digest V3 #149 ***************************