Blogger Updates

RSS Christian Carey

RSS Jay C. Batzner

RSS Lawrence Dillon

CD Reviews

Cast and Crew

Steve Layton

Managing Editor

Christian Carey

Contributing Editors:
Galen H. Brown

Chris Becker
Armando Bayolo
Garrett Schumann
Wes Flinn
Rob Deemer
Paul Bailey
Polly Moller
Ilona Oltuski
Elliot Cole
Ed Lawes
Scott Unrein
Iván Sparrow
James Holt
Lanier Sammons
Rodney Lister
Jerry Zinser

Jerry Bowles
(212) 582-3791

Founding Publisher:
Duane Harper Grant

Send Review CDs to:
Chrisitan Carey
218 Augusta Street
South Amboy NJ 08879

Featured Release

3 Disks
For Christian Wolff
Morton Feldman
California Ear Unit

Recent Comments

Recent Posts

Music Blogs


Listen Online:

RSS Scott Unrein’s Nonpop Podcast

Kalvos & Damian!
& Noizepunk and Das Krooner

The longest-running New & Nonpop music program on the web.

Counterstream Radio
Streaming radio from New Music USA.

Q2 Music - WQXR
New York-based online station devoted to the music of living composers.


The Apple doesn’t fall far from the Timber

Tonight at 7 PM at the Apple Store on Manhattan’s Upper West Side,  Mantra Percussion performs Michael Gordon’s Timber, a work for six percussionists playing 2″x4″s. The event celebrates Cantaloupe’s release of a CD of Slagwerk den Haag’s performance of Timber (which I reviewed yesterday on File Under ?).

Don’t you love the one pound wooden box they’ve packaged the CD in? Don’t you love saying Slagwerk den Haag three times fast?

Below is a video with more information about the piece, including interviews with performers and the composer. If you’re in NYC and want to beat the heat, check out an iPad, and hear six percussionists knock wood, amble on over to Apple tonight.



Comment from Garrett Schumann
Time: August 10, 2011, 6:13 pm

The following is such a stereotypically confrontational “internet comment”, but I really can’t help myself:

I was a little disappointed in Mr. Gordon when he presented “Timber” in a master class at UMich and said he didn’t care about the type of wood used the the performers.

To me, the coolest thing about the piece is the individual wood pieces’ overtones, which vary greatly depending on the hardness/softness of the given lumber.

As a listener, this element of the music (again, the overtones of the wood) made the piece work for me, and I didn’t appreciate Mr. Gordon’s indifference, though I suppose it made sense once he admitted that he didn’t – at all – conceive of the wood’s overtones as a factor in the music.

In the interest of full disclosure, I only care about this because of a Piano Technology class I took which taught me to appreciate the role of instrumental materials more than ever. Had I not taken the class, two things would be true: 1. I definitely wouldn’t be such a “lumber snob” 2. I probably wouldn’t have had as strong a reaction to the accidentally intriguing and brilliant sound of the wood.