http://www.irtmag.com The only music zine in New York that matters... Wed, 09 Jul 2008 02:34:04 +0000 http://wordpress.org/?v=2.0.4 http://www.irtmag.com/archives/256#comment-32 Fri, 25 Apr 2008 16:23:59 +0000 http://www.irtmag.com/archives/256#comment-32 [...] Cangrejero wrote an interesting post today onHere’s a quick excerptMimidokodesuka was recorded live at the Pit Inn in Tokyo during a 2005 residency that included sets with alto sax legend Akira Sakata (recordings of which have been released separately and elsewhere). The music appears here pretty much … [...] […] Cangrejero wrote an interesting post today onHere’s a quick excerptMimidokodesuka was recorded live at the Pit Inn in Tokyo during a 2005 residency that included sets with alto sax legend Akira Sakata (recordings of which have been released separately and elsewhere). The music appears here pretty much … […]

]]> http://www.irtmag.com/archives/243#comment-26 Wed, 30 Jan 2008 18:00:34 +0000 http://www.irtmag.com/archives/243#comment-26 [...] A fantastic new album entitled Diamond Hoo Ha, a brand new home on Astralwerks, and a sixth studio album showcasing the youthful energy and witty musical stylings o f these Britpop pioneers. … SUPERGRASS DIAMOND HOO HA TRACK LIST 1. Diamond Hoo Ha Man 2. Bad Blood 3. Rebel In You 4… source: SUPERGRASS WILL GROW THIS SPRING, IRT Magazine [...] […] A fantastic new album entitled Diamond Hoo Ha, a brand new home on Astralwerks, and a sixth studio album showcasing the youthful energy and witty musical stylings o f these Britpop pioneers. … SUPERGRASS DIAMOND HOO HA TRACK LIST 1. Diamond Hoo Ha Man 2. Bad Blood 3. Rebel In You 4… source: SUPERGRASS WILL GROW THIS SPRING, IRT Magazine […]

]]> http://www.irtmag.com/archives/211#comment-25 Fri, 25 Jan 2008 20:57:03 +0000 http://www.irtmag.com/archives/211#comment-25 [...] BOB DYLAN AT JONES BEACH Anyone who has ever seen Bob Dylan perform in concert over the last 20-odd years knows the rock icon only works in two speeds live: on or off. So it was with great trepidation that we took our seats for his first show there since a 1999 … [...] […] BOB DYLAN AT JONES BEACH Anyone who has ever seen Bob Dylan perform in concert over the last 20-odd years knows the rock icon only works in two speeds live: on or off. So it was with great trepidation that we took our seats for his first show there since a 1999 … […]

]]> http://www.irtmag.com/archives/107#comment-24 Tue, 01 Jan 2008 04:51:13 +0000 http://www.irtmag.com/archives/107#comment-24 [...] another review, this one by Brad Filicky torche : Stoner grove isis : nonstop art metal assault overall : uncompromising heavy music [...] […] another review, this one by Brad Filicky torche : Stoner grove isis : nonstop art metal assault overall : uncompromising heavy music […]

]]> http://www.irtmag.com/archives/235#comment-23 Tue, 11 Dec 2007 13:17:15 +0000 http://www.irtmag.com/archives/235#comment-23 [...] BLUE NOTE TO RELEASE HIP-HOP SOURCE SAMPLE COMPILATION IN FEBRUARY ... [...] […] BLUE NOTE TO RELEASE HIP-HOP SOURCE SAMPLE COMPILATION IN FEBRUARY … […]

]]> http://www.irtmag.com/archives/235#comment-22 Thu, 29 Nov 2007 23:09:28 +0000 http://www.irtmag.com/archives/235#comment-22 [...] IRT Magazine placed an observative post today on BLUE NOTE TO RELEASE HIP-HOP SOURCE SAMPLE COMPILATION IN FEBRUARY, 2008 [...] […] IRT Magazine placed an observative post today on BLUE NOTE TO RELEASE HIP-HOP SOURCE SAMPLE COMPILATION IN FEBRUARY, 2008 […]

]]> http://www.irtmag.com/archives/47#comment-21 Fri, 16 Nov 2007 18:30:18 +0000 http://www.irtmag.com/archives/47#comment-21 [...] linwe_eowyn’s journal wrote an interesting post today onHere’s a quick excerptOne more adventurous dude with a lot of music made by other people and the will to suspend pop m … 12 - clogs - lantern (brassland) — Some gorgeous stuff that I dread dubbing with any dash-classical. Truly captivating and unclassifiable…. [...] […] linwe_eowyn’s journal wrote an interesting post today onHere’s a quick excerptOne more adventurous dude with a lot of music made by other people and the will to suspend pop m … 12 - clogs - lantern (brassland) — Some gorgeous stuff that I dread dubbing with any dash-classical. Truly captivating and unclassifiable…. […]

]]> http://www.irtmag.com/archives/152#comment-20 Wed, 31 Oct 2007 05:37:22 +0000 http://www.irtmag.com/archives/152#comment-20 [...] Jazz Music News: Jazz music, “charlie mingus” - October 30 October 30th, 2007 Here’s a brief summary of an item from http://www.irtmag.com: IT IS WITH MUCH SADNESS THAT IRT REPORTS THE DEATH OF JAZZ LEGEND ANDREW HILL, PERHAPS THE GREATEST PIANO PLAYER TO EVER RECORD FOR BLUE NOTE RECORDS, WHO LOST HIS LONG, VALIANT BATTLE WITH LUNG CANCER AT THE AGE OF 75 THIS PAST FRIDAY (APRIL 20, 2007) IN HIS JERSEY CITY HOME. Andrew Hill: The IRT Interview By: Shawn Scheps Here at the IRT we’re dedicated to bringing our readers articles on music that we feel is authentic. AH: Well that was a different time, and you know, it’s amazing how much society has changed. Musicians played for the love of the music and you know, you’d do like four or five sessions a day. And most of the time people were playing with so many different bands that they were rewarding and refreshing and each one had a different approach, it hadn’t polarized itself to the point where it was just one sound, you know where it says “Coltrane sound.” But they had jazz then and that’s one thing where it’s sad, that old, you know either there’s white jazz or there’s black jazz and for white jazz the black jazz wasn’t in script because these places were owned by pimps and dope dealers and there was this whole part of society being phased out; The only thing that kept me away from fusion, I said, “if you hit, you know the world is yours for a moment, you know all this is opened, money, work.” But they were beginning to incorporate electronics into the music but that was after all these other places got lost because we were talking about the two places, and you know because the Village Vanguard is still there but Sugar Ray’s and Wells and all those other places across the country aren’t there anymore. You know, so who supported it was, then rock-jazz came and then the music almost disappeared because then you have a little more intellectual contingency, like AEC (Art Ensemble of Chicago). AH: Well, you know you think about it because no matter what one says, you’re conscious of money and the things that money will buy. So they always sound, it’s not always they can contrive me and say, well you know, “here I am playing fusion,” which went to another formula for putting a fusion band back then together, or you know a so called energy band. And then with the digitized music and music streaming, you know like people who never heard your music can get Yahoo.com for like five dollars and listen to things they wouldn’t have listened to; you know like Charlie Mingus, or anyone, and just listen and give themselves a music appreciation lesson and become familiar. Now they don’t want to give a genius award to anyone over 40 (laughing) and all this stuff..but actually that’s really terrible because for the first time in a long time the young can pull from the older artists and play for the people and can get this synergy, that they used to have with the people and move the music forward. And then you have these other companies that kind of involved with music by, artificial means I call it, you know, getting this “money”.but you know I think the music is good.sometimes I think that the future of the music is great. AH: I listen to it only because, if it’s in the way it was presented to me as the my music of my youth was, improvisation, or you know now many people say “this moment was documented” and the greatness and stuff which was really intended to just be a passing phrase and then, talking about technology, you can preserve that moment even though that moment is over and can’t come again. So you know it’s not just improvised music I’m playing now, I’m playing popular music because once people get that record I keep saying there’s just something there they don’t just listen to it once; But I always say that the involved audience is coming back, people are listening to music and you know, in any hard times what happened is people would become more involved with the arts again. AH: Yea, they’re all fairly recent because you know some people like to create their library and re-record. So it’s better for me, you know you can’t write music for musicians specifically, but to have it kind of current where you can connect into something now, instead of reaching for a past period that one wasn’t able to participate in, but you still have this as a memory for that day back then. AH: You know right up the street it used to be where they made the number two. AH: Well when we came in it turned out, we got the place for $300,000 to $400,000 and you know now the price is $900,000 and going up. I mean everything else is the same way, it’s terrible.you know some bad decisions that have taken over.You know so that’s why artists come up important globally and internationally because if the world can open itself back up to the artist’s way and not behave materialistic then that may give the world a few good moments before.and then they might find a way of salvaging what can be salvaged. AH: Yea, and in a seaport town like New Orleans, you know they’re basically gone. AH: Oh well they’re standing up, you know because they’re saying, “Oh our children. AH: Oh, they took the jobs away, so once you put the jobs elsewhere, everyone wants the Indian market, the Chinese market wherever, you know forget this poor people in the states. But musically it went to, as you call it, you know like music so loud you couldn’t hear, you know tone deaf. IRT: Some of the dumbest people I know are ones with higher level degrees. AH: I like them all even though some have been naturally accepted by society more than others, you know. You know there are societies here, you know visions, where everyone can scratch each others back but then when you look at it being destructive and all and degenerate; you know but music is supposed to fit into society, not because to be an outcast. You know, and that’s not why people do things, you do things no matter if you like the way the government is going, but still do things in a competitive manner to try to appease the people. You know being a call back at this point, you know, look how lucky I am. So you have all of these influences then when you get to a certain age you just follow them according to their form, you know but there are so many.you’re not just contained oneself to a small music called jazz. You know so I like the separation and not realizing where I am, you know even my thoughts about doing the string quartet. [...] […] Jazz Music News: Jazz music, “charlie mingus” - October 30 October 30th, 2007 Here’s a brief summary of an item from http://www.irtmag.com: IT IS WITH MUCH SADNESS THAT IRT REPORTS THE DEATH OF JAZZ LEGEND ANDREW HILL, PERHAPS THE GREATEST PIANO PLAYER TO EVER RECORD FOR BLUE NOTE RECORDS, WHO LOST HIS LONG, VALIANT BATTLE WITH LUNG CANCER AT THE AGE OF 75 THIS PAST FRIDAY (APRIL 20, 2007) IN HIS JERSEY CITY HOME. Andrew Hill: The IRT Interview By: Shawn Scheps Here at the IRT we’re dedicated to bringing our readers articles on music that we feel is authentic. AH: Well that was a different time, and you know, it’s amazing how much society has changed. Musicians played for the love of the music and you know, you’d do like four or five sessions a day. And most of the time people were playing with so many different bands that they were rewarding and refreshing and each one had a different approach, it hadn’t polarized itself to the point where it was just one sound, you know where it says “Coltrane sound.” But they had jazz then and that’s one thing where it’s sad, that old, you know either there’s white jazz or there’s black jazz and for white jazz the black jazz wasn’t in script because these places were owned by pimps and dope dealers and there was this whole part of society being phased out; The only thing that kept me away from fusion, I said, “if you hit, you know the world is yours for a moment, you know all this is opened, money, work.” But they were beginning to incorporate electronics into the music but that was after all these other places got lost because we were talking about the two places, and you know because the Village Vanguard is still there but Sugar Ray’s and Wells and all those other places across the country aren’t there anymore. You know, so who supported it was, then rock-jazz came and then the music almost disappeared because then you have a little more intellectual contingency, like AEC (Art Ensemble of Chicago). AH: Well, you know you think about it because no matter what one says, you’re conscious of money and the things that money will buy. So they always sound, it’s not always they can contrive me and say, well you know, “here I am playing fusion,” which went to another formula for putting a fusion band back then together, or you know a so called energy band. And then with the digitized music and music streaming, you know like people who never heard your music can get Yahoo.com for like five dollars and listen to things they wouldn’t have listened to; you know like Charlie Mingus, or anyone, and just listen and give themselves a music appreciation lesson and become familiar. Now they don’t want to give a genius award to anyone over 40 (laughing) and all this stuff..but actually that’s really terrible because for the first time in a long time the young can pull from the older artists and play for the people and can get this synergy, that they used to have with the people and move the music forward. And then you have these other companies that kind of involved with music by, artificial means I call it, you know, getting this “money”.but you know I think the music is good.sometimes I think that the future of the music is great. AH: I listen to it only because, if it’s in the way it was presented to me as the my music of my youth was, improvisation, or you know now many people say “this moment was documented” and the greatness and stuff which was really intended to just be a passing phrase and then, talking about technology, you can preserve that moment even though that moment is over and can’t come again. So you know it’s not just improvised music I’m playing now, I’m playing popular music because once people get that record I keep saying there’s just something there they don’t just listen to it once; But I always say that the involved audience is coming back, people are listening to music and you know, in any hard times what happened is people would become more involved with the arts again. AH: Yea, they’re all fairly recent because you know some people like to create their library and re-record. So it’s better for me, you know you can’t write music for musicians specifically, but to have it kind of current where you can connect into something now, instead of reaching for a past period that one wasn’t able to participate in, but you still have this as a memory for that day back then. AH: You know right up the street it used to be where they made the number two. AH: Well when we came in it turned out, we got the place for $300,000 to $400,000 and you know now the price is $900,000 and going up. I mean everything else is the same way, it’s terrible.you know some bad decisions that have taken over.You know so that’s why artists come up important globally and internationally because if the world can open itself back up to the artist’s way and not behave materialistic then that may give the world a few good moments before.and then they might find a way of salvaging what can be salvaged. AH: Yea, and in a seaport town like New Orleans, you know they’re basically gone. AH: Oh well they’re standing up, you know because they’re saying, “Oh our children. AH: Oh, they took the jobs away, so once you put the jobs elsewhere, everyone wants the Indian market, the Chinese market wherever, you know forget this poor people in the states. But musically it went to, as you call it, you know like music so loud you couldn’t hear, you know tone deaf. IRT: Some of the dumbest people I know are ones with higher level degrees. AH: I like them all even though some have been naturally accepted by society more than others, you know. You know there are societies here, you know visions, where everyone can scratch each others back but then when you look at it being destructive and all and degenerate; you know but music is supposed to fit into society, not because to be an outcast. You know, and that’s not why people do things, you do things no matter if you like the way the government is going, but still do things in a competitive manner to try to appease the people. You know being a call back at this point, you know, look how lucky I am. So you have all of these influences then when you get to a certain age you just follow them according to their form, you know but there are so many.you’re not just contained oneself to a small music called jazz. You know so I like the separation and not realizing where I am, you know even my thoughts about doing the string quartet. […]

]]> http://www.irtmag.com/archives/51#comment-16 Mon, 22 Jan 2007 14:48:18 +0000 http://www.irtmag.com/archives/51#comment-16 This article sucks. Die, hippie! Russell is sooooo cool and funny. I see a lot of myself in him. Why don't you read Blender and learn about REAL rock journalism! And when you are finished pulling your magazine from your dick, stick it right up your ARSE! This article sucks. Die, hippie! Russell is sooooo cool and funny. I see a lot of myself in him. Why don’t you read Blender and learn about REAL rock journalism! And when you are finished pulling your magazine from your dick, stick it right up your ARSE!

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