Welcome to Don Peretz .com!!!! You'll find up to date info on me as well as my work! Listen to frequently updated tracks in the music sections, or chime in on the stream page. I hope you enjoy the site!!! -DP
Don Peretz endorses...
EVANS DRUMHEADS, HQ PADS
Follow Don Peretz on FACEBOOK & MYSPACE
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I just signed an endorsement deal with Evans Drumheads and HQ Practice Pads! Good to be a part of a company with great stuff! Evans Drumheads & HQ Pads
The AMbean EP is complete! 3 new tracks plus a bonus track up for downloading! Full release June 2010!
AMbean new tracks (listen & downloads)
3 new tracks up for downloading on the upcoming AMbean CD, due for full release April 2010!
AMbean new tracks (listen & downloads)
Listen to a loop track from the upcoming AMBean record!
"LOOP 7"
Ok... a much needed update! Shooting for a February release of the new AMBean Project. Sample tracks up soon! Other than that you can find me keeping busy in the studio, as well as my teaching schedule. Check out my blog under the stream section. Be well and live strong!
I'm currently working on a new record due to be out in late summer 2009. Other than that you can find me around town working on such Broadway shows as "Pal Joey" at Studio 54, "Wicked," "Mary Poppins," and "Chicago...." As well as runnin' around town doing anything from recording work to club gigs, and keeping up my teaching studio. Check out my blog under the stream section. Be well and live strong!
The long awaited second record for Don Peretz Foremen is ready to record! More details soon... we're all shooting for a late April release date! Look for sound samples in the coming weeks!!
Hey all, I'm currently blissfully consumed with the birth of my new daughter Mia Skye; the best thing I've ever created in collaboration! I'm currently working on a new record due to be out in late summer (hopefully). Other than that you can find me working on "Wicked" on Broadway some nights and just runnin' around town working! Happy joy love and all the best!
Purchase FOREMEN on iTunes!
New tracks from the July 55 Bar gig in the "listening live" music section!!! listen
I just signed an endorsement with Vic Firth! Great sticks and mallets! I've been using their products since I started playing drums.
Hey all. I'll be touring the Pacific Northwest this fall (dates and venues in the schedule section) with my group featuring Seattle saxophonist Mark Taylor.
Foremen released!!! (Freshsound Records FSNT-221)Available in the CD section...
Don Peretz is a native Californian born in Los Angeles. A classical violinist at first, then a move to percussion at age 10, Don was playing professionally at age 15. He attended Hamilton High School Academy of Music in Los Angeles. While growing up in Los Angeles Don studied under the tutelage of Joe Porcaro, Jeff Hamilton, and Vince Mendoza (composition) till his move to New York in 1997 where he attended and graduated from the Manhattan School of Music (BM). His academic awards include an A&M Records scholarship, as well as Presidents' scholarships to attend both the University of Southern California and the Manhattan School of Music.
Since living in New York Don has been a part of the progressive jazz scene. He has performed at such venues in New York as the Village Vanguard, 55 Bar, Smalls, The Knitting Factory, Cornelia Street Cafe, The Internet Cafe, and Detour. His tours include Europe and North America; playing in such Festivals as The Oslo Jazz Fest, Prague Jazz Festival, and the International Association of Jazz Educators Conventions. Don has performed with such artists as Tony Malaby, Drew Gress, Dave Binney, Donny McCaslin, Dave Kikoski, Mulgrew Miller, and Russell Ferrante. As a session musician around New York City Don can be found busy recording jingles and playing on such Broadway hit shows as Wicked, The Producers, Chicago, Mary Poppins, Finian's Rainbow, and Pal Joey at Studio 54.
Don's group FOREmen is a constant exploration of improvised music in an instrumental quartet format. Releasing his first record as a leader on the Freshsound label, the music is comprised of some pop songs along with Don's original compositions. "I wanted to create a group that dug into the depths of melody and improvisation to a point that would not only inspire the players, but touch listeners from all sorts of backgrounds."
Along with performing, education is a big part of Don's career, as he continues to maintain a private studio in New York. From group and private instruction to clinics and masterclasses internationally, Don's educational commitment is just as strong as his performance commitment.
Look for Don's release Don Peretz FOREmen on Freshsound Records.
Drums:
Yamaha Maple Custom
toms- 12x8, 14x12
snare- 14x5 1/2 (or Noble & Cooley SS Snare 14x5)
bass drum- 18x14 (or 20x14)
Cymbals:
22" Bosphorus Hammer Ride
20" Zildjian K Custom Medium Ride
21" Zildjian "A" (1950's)
18" Zildjian "K" Dark Thin Crash
12" Wuhan Trash
13" Zildjian K Hi Hats
Heads:
Evans EQ1 and G1 coated and clear heads.
Sticks
Vic Firth AJ3 (wood)
*Don Peretz endorses Vic Firth sticks, brushes, and mallets.
Evans Drumheads & HQ Practice Pads
"Drummer Don Peretz is onto something here as he pilots this New York City-based quartet through an expansive musical aura where improvisation and compositional structure attain a happy medium."
... "Peretz's compositions boast sustaining melody lines, often coated with prophetic musical statements. (A recommended pick for 2005...)"
-Glenn Astarita (All About Jazz.com)
"His music is full of likable melodies and energetic play."
..."the drummer's quartet fronts a friendlier, more accessible side, and Peretz brings a real pop sensibility to his music."
"Late on Foremen "A Theme" comes on like a blast of urban cacophony"...
- Jazz Times
"This group [Foremen] goes one step beyond groups..."
- Cadence Magazine
Foremen
Don Peretz | Fresh Sound New Talent
By Glenn Astarita (All About Jazz.com)
Drummer Don Peretz is onto something here as he pilots this New York City-based quartet through an expansive musical aura where improvisation and compositional structure attain a happy medium. Take for example, Russ Johnson's crybaby-like muted trumpet choruses on "Simple Man," as Perez and bassist Dave Ambrosio lay down a tight groove amid a tunefully, blues-oriented primary theme.
The simplistic connotations of the track's title summon up acute visual characteristics, but the band's makeover features a medley of programmatic horn choruses and loosely organized jazz grooves. Many of these pieces are stoked in wide-ranging mosaics of sound and style, spanning Ornette Coleman-style free bop, hard bop, and jazz-funk. However, the majority of Peretz's compositions boast sustaining melody lines, often coated with prophetic musical statements.
The quartet's rendition of Nirvana's "Smells Like Teen Spirit" looms as a solemn jazz dirge where teen spirit is branded with sorrow and remorse. However, the rhythm section subsequently ups the tempo for the coda, suggesting an air of optimism.
This unit's sovereign approach to jazz covers quite a bit of terrain, as Peretz's arrangements generally convey tangible storylines that are embedded within the soloists' improvisations. (A recommended pick for 2005...)
Foremen (Freshsound Records)
Cadence Magazine (December 2005)
Also subverts Jazz normalcy but through a different route. Don Peretz's group goes the way of the Bad Plus and rocks up its rhythms. They even go so far as to cover a rock tune the Bad Plus have already done, Nirvana's anthem, "Smells Like Teen Spirit."
This shows the difference in their approach. Where the Bad Plus' version of the song started out at full blast and stayed there, Peretz's group approaches the song gradually. Christof Knoche's bass clarinet and Russ Johnson's trumpet each quietly walk through a verse and the group doesn't get loud and fast until the final run through.
This measured and methodical approach carries on through the CD. The slow western lope of "Simple Man," the snappy R & B beat of "Retro Phlegm" and the James Brown funk of "Bacon Wrapped" all go somewhere specific, moved on by the leaders crashing drum rhythms and Dave Ambrosio's steady bass. Christof Knoche is excellent on his various reeds, making the bass clarinet sing and going all out with his soprano sax on "Peretz Syndrome" and "No Train Again." Trumpeter Russ Johnson is simply amazing. His melodicism, energy and tone make him sound like the best new trumpet voice since Dave Douglas. His buzzing, widescreen solo on Neil Young's "Old Man" is notable and his solo introducing "Son And Dad" is pure poetry. This group goes one step beyond groups like the Bad Plus and E.S.T. They underpin their work with rock rhythms, then spread beauty back on top with the front line.
- Jerome Wilson
listen/download
Produced by Don Peretz. featuring- Oz Noy, John Roggie, Nathan Eklund. (Deepdig Records DDR-101)(Release 2010)
Available now... Don Peretz Foremen (Freshsound Records FSNT-221) with Russ Johnson, Christof Knoche, and Dave Ambrosio. (Released 2005)
Listen to tracks...
Simple Man (Peretz)
No Train Again (Peretz)
Folk Song #2 (Peretz)
Retro Phlegm (Peretz)
Peretz Syndrome (Peretz)
Old Man (N. Young)
A Theme (Peretz)
with Jacob Sacks, Sam Sadigursky, & Eivind Opsvik. (Released 1999)
FOREmen are a drummer led quartet with a drummer-less focus in sound. Don Peretz FOREmen is an exploration of free improvised music through the roots of melody and song. The acoustic quartet captures a listener that might not normally be captured in listening to free jazz. Playing out of New York City's new music venues (Knitting Factory, 55 Bar, Detour), FOREmen have acquired a New York following of listeners. From original music to Nirvana covers to Ornette Coleman, FOREmen has keyed there own collective sound on improvised music.
(CD personnel) FOREmen are: Don Peretz - drums & cymbals, Russ Johnson - trumpet, Christof Knoche - reeds, Dave Ambrosio - bass
Click on sub-category to listen...
AMbean is a electronica/drums ambient solo recording project that I have been cultivating. I find it inspiring and challenging to work in a setting of solitude from start to finish. Here are some past tracks from the project...
(All tracks recorded at Beanpot Studio- New Jersey, USA)
AMbean (The new record!!!)
(click to listen)
Past AMbean 'project tracks'-------------
Draga in 4/4 (2005)
Live At Home (2005)
Ambiente in 13 (2004)
4am (2004)
SlinneyJ (2004)
July 24, 2006- The 55 Bar (New York, NY)
Loren Stillman- alto sax, Oz Noy- guitar, Chris Lightcap- electric bass, Don Peretz- drums & cymbals.
All Regions (Peretz)
Pockets (Peretz)
February 17, 2006- The 55 Bar (New York, NY)
Loren Stillman- alto sax, Oz Noy- guitar, Chris Lightcap- electric bass, Don Peretz- drums & cymbals.
Ultravisitor (Squarepusher)
Simple Man (Peretz)
Black Milk (Massive Attack)
A Theme (Peretz)
Available now... Don Peretz Foremen (Freshsound Records FSNT-221) with Russ Johnson, Christof Knoche, and Dave Ambrosio. (Released 2005)
Listen to tracks...
Simple Man (Peretz)
No Train Again (Peretz)
Folk Song #2 (Peretz)
Retro Phlegm (Peretz)
Peretz Syndrome (Peretz)
Old Man (N. Young)
A Theme (Peretz)
Don Peretz Group w/ Mark Taylor
9/28 WISE Hall- Vancouver, BC
1882 Adanac Street (at Victoria)
9/29 The Jam House- Seattle, WA
206-789-1621
9/30 Tula's- Seattle, WA
206-443-4221
10/1 New Orleans Creole Restaurant- Seattle, WA
114 1st Ave South
10/2 Triple Door Musicquarium- Seattle. WA
206-838-4333
w/ Loren Stillman, Oz Noy, & Chris Lightcap
55 Bar (New York, NY)
7:00-9:00pm
212-929-9883
w/ Loren Stillman, Oz Noy, & Chris Lightcap
55 Bar (New York, NY)
6:00-9:30pm
212-929-9883
w/ Donny McCaslin, Christof Knoche, & Dave Ambrosio
55 Bar (New York, NY)
6:00-9:30pm
212-929-9883
w/ Donny McCaslin, Dave Binney, Thomas Morgan
Detour (New York, NY)
9:30
212-533-6212
w/ Dave Binney, Thomas Morgan
Detour (New York, NY)
9:30
212-533-6212
Teaching Mission
"My objective is to focus on growth. Whether it be masterclasses, clinics, or private instruction, my drum method is fundamentally a tool to open up one's mind. I focus on the individual or group of individuals I am working with, using the mechanics of drumming as a blueprint to success in concentration, persistence, intellect, focus, patience, work ethic, and achievement! Things students use and need in all areas of their lives.
There is so much more to instrument study than just learning how to play that particular instrument. That is something appreciated by all ages and levels."
- Don Peretz
Contact Don for private instruction and/or clinic and masterclass topics.
Testimonials...
Don has enjoyed considerable professional success both as a player and as a teacher. I highly recommend Don for any musical situation. I have also had occasion to send students to Don, they have enjoyed working with Don and experienced rapid growth.
- John Riley (Associate Professor Manhattan School of Music)
Don Peretz is a passionate teacher. His enthusiasm for music is contagious. He creates a comfortable friendly environment to grow as a musician. Don cares about his students and is always interested to hear about what is going on in your life. Many times I find myself applying ideas Don presents during lessons to my everyday life.
- Geoffrey Healy (Student )
Overall, his students will accomplish their
playing goals and more, learning every aspect of the art
of percussion.
- Jeff Dobronyi (student)
[Don] is a gifted teacher and a wonderful person... whose skill and commitment are first rate. His teaching is quite effective and most every other music professional with whom my son comes in contact comments on the outstanding teaching that Don imparts.
Don has also served as a mentor and big brother to my son, and has played a valuable role in my life. Don has deftly discussed important issues with Danny and provided him with an outlet for sharing his feelings and thoughts. I have profound comfort knowing that Danny has someone to speak with at any time. He is invested in Danny's musical success and pushes him to excel beyond expectation. I feel fortunate to have him teach my son drums each week.
- Leslie Yalof Garfield (mother of student - Professor of Law Pace University)
"TCM"
Arts education is self-discovery and growth! Arts education is the passage to facilitate your abilities, your challenges, your goals, and your true world around you. "The Creative Method" private music instruction is about looking beneath the material to have every student achieve self-confidence, understanding, self-motivation, overcome challenges, enhance creativity, and construct individuality. Whether it a student with school subject challenges, social questions, learning complications, personal issues, or simply a student wanting to grow and succeed in musical study, "The Creative Method" is designed to accomplish just that. Sessions with each individual are specifically designed for each student's particular goals and objectives. No two sessions or programs are alike, enhancing each student's journey to be his/her own.
The musical study and development material becomes a model for the student to grow and realize their capabilities. Abilities such as self-reliance, attaining set goals, self-confidence, self awareness, problem solving, overcoming obstacles, and learning to learn are all the underlined basis of the music development that spills into all areas of the student's life.
Areas of study:
Study of drum set- styles (rock, funk, Afro-Cuban, Brazilian, jazz, odd meter, etc), technique, reading/sight-reading, improvisation, transcription, and beyond!
Songwriting, composition, and theory covers the study of music notation and rhythm, ear training, and music composition. Emphasis is on being creative as well as learning the building blocks of melody and harmony. Pieces are composed and played, and a keen ear is developed. Piano skills and improvisation plays a main role as well! Guitar can be used instead of as piano.
Contemporary Percussion study will cover most all of the percussive instruments from triangles to frame drums (no tympani). Rhythmic improvisation plays a strong roll in this category as well as proper instrument technique and piece composition.
Music therapy, listening and analysis deals with creative and deeper ways to hear and understand music. Both perspectives of mood, emotion, and imagery is used, as well as an analytical look at a piece- both rhythmic and theoretical.
Study of drum set- styles (rock, funk, Afro-Cuban, Brazilian, jazz, odd meter, etc), technique, reading/sight-reading, improvisation, transcription, and beyond!
Songwriting, composition, and theory covers the study of music notation and rhythm, ear training, and music composition. Emphasis is on being creative as well as learning the building blocks of melody and harmony. Pieces are composed and played, and a keen ear is developed. Piano skills and improvisation plays a main role as well! Guitar can be used instead of as piano.
Contemporary Percussion study will cover most all of the percussive instruments from triangles to frame drums (no tympani). Rhythmic improvisation plays a strong roll in this category as well as proper instrument technique and piece composition.
Music therapy, listening and analysis deals with creative and deeper ways to hear and understand music. Both perspectives of mood, emotion, and imagery is used, as well as an analytical look at a piece- both rhythmic and theoretical.
"The Creative Method" (partial recent and current) bibliography and resources-
Jung, C.G. Synchronicity. New York: Bollingen Foundation, 1960. Translation by R.F.C. Hull.
Maisel, Eric. Coaching the Artist Within. California: New World Library, 2005.
Resource on creative coaching and artists un-blockage exercises.
Erikson, Erik K. Childhood And Society. New York: W.W. Norton and Company Inc., 1950. Concepts on assessing society's effect on a child's development, both internally and externally created.
Stein, Murray. Jung's Map Of The Soul. Illinios: Open Court, 1998. An introduction of Carl Jung's theory as to the outline of human cognition.
Pennington, Bruce F. Diagnosing Learning Disorders: A Neuropsychological Framework. New York: The Guilford Press, 1991.
(writers- assorted work groups). DSM-IV TR (Diagnostic And Statistical Manual of Mental Disorders fourth edition) Virginia: American Psychiatric Association, 2000.
Campbell, Joseph. Thou Art That: Transforming Religious Metaphor. California: New World Library, 2001.
Thurman, Robert. Infinite Life: Seven Virtues For Living Well. New York: Riverhead Books, 2004.
Thurman, Robert. Inner Revolution: Life, Liberty, and the Pursuit of Real Happiness. New York: Riverhead Books, 1998.
Nietzsche, Friedrich (translated by Walter Kaufman and R.J. Hollingdale). The Will To Power. New York: Vintage Books, 1967. Drafted put together thoughts and ideas by Nietzsche.
Krishnamurti, J. The Book Of Life: Daily Meditaions With Krishnamurti. New York: Harper Collins, 1995.
Sun Tzu (translated by Samuel B. Griffith). The Art Of War. New York: Oxford Press, 1963.
Sekida, Katsuki. Zen Training: Methods and Philosophy. New York: Weatherhill Inc.1985.
Armstrong, Lance (with Sally Jenkins). It's Not About The Bike: My Journey Back to Life. New York: Berkley Publishing Group, 2000. Bike racing is one of my inspiring interests that translate to what we do in the real world. Lance's story is of course compelling. I am bias!
Lee, Bruce. Striking Thoughts: Wisdom For Daily Living. Massachusetts: Tuttle Publishing, 2000. Lee's thoughts on self reliance and determination.
The Balanced Artist Project is an individual exploration of holistic blocks and flows in our everyday life and journey as artists. The Project is an exploration of the things that block us from our true goals in our holistic and artistic output. Basically taking our heads out of our work and into ourselves to create our deepest journey. It is through ourselves that we are driven and inspired ultimately, and it is also through ourselves that we are betrayed and off balance from producing the life we seek and need. We find that through the understanding of the smallest pieces of our own daily life, work, and experiences can we then unlock what it is on the greater stream that we are truly searching for. It is that search that drives our output depth and will to become and create. Balance is the key. I quote the great Kurt Vonnegut The greatest thing about the human race is its will to become. The worst thing about the human race is its will to become. It is through our experiences, crafts, and conscious being that we find our individual path and greatest balance.
This section has several articles submitted to magazines, as well as lecture topics for masterclasses. (Click on an article on the left panel)
Competing To Lose
Is it really bad to lose? Should we fear competitive environments? As a teacher and mentor I constantly face these questions. Many parents see the notion of a child in a competitive environment to be detrimental if there is a loss. Most adults feel the same way about themselves. It is assumed by the parent that the despairs of failure will be too difficult or impossible to overcome. Truth is we face competitive environments daily. As a professional musician I deal with high pressure, competitive environments in anything from live performance situations to the recording studio. There is always pressure to make the curtain go up properly and there is always someone waiting in the wings to take your job. As professionals we must learn to put this all aside and focus on the music. When I was a young boy I was a competitive soccer player. So competitive that I was in the US Olympic development program at age 13. The pressure was high for a 13 year old, but fairly positive. During games the overwhelming expectations and parental intensity (not from my own mother and father) was unbearable at time. I simply quit. I regret quitting to this day. Why should we let others dictate what competing means to us? Why do we allow others to take away our bliss in an act like a sport, playing a musical instrument, etc? Why is it assumed that we must all feel the same way about every experience? We should not. As I got older (and fatter) I went back into the athletic trenches to explore this. I went from being a recreational cyclist trying to lose weight, to a competing racer. The race environments are quite intense, filled with all kinds of "vibes." I created this experience for myself to ask the question Is there a way to compete on an enlightened level? Is there a way to hold your bliss from being stolen from others? The answer is yes! We must all remember that our experiences are personal and individual. Two people may share an experience, but there are infinite ways to respond to that experience, hence our individuality. We must remember universal naturals truths, such as the need to grow and improve ourselves mentally, physically, and spiritually. That growth comes from experience. These notions are important. I found that competition is simply the realm in which we must dig deeper to grow. Remember, it is called the human race! In actuality I thank my competitors for making me so fit and fast. Without them I cannot grow at the rate I do. Without the competitors I would never know the possibilities realized by my achievements. That alone is the central focus to competing. I am not distracted by anyone elses path, views, or intimidation, but instead constantly internal, relaxed, and knowing it is part of a bigger picture. We should be looking to improve every aspect of our bodies and minds. If I am distracted, I learn from how I allowed myself to be distracted and detracted from my goal of growth. If I lose, I simply see the positives of my achievements thus far, and thus willed to improve and dig even deeper into myself. Remember, will is center to personal balance and happiness. Without drive we are stagnant and lack ease. All of these perceptions transfer to my everyday life making it possible to play music on the highest level. No one likes to lose, but we should never fear losing or be distraught losing. In short, those who do not fear losing, and cultivate positive emotional strength, are those who succeed in every area of their life! It is a power inside all of us!
The Whole View
How important is a balanced life as a musician? We seem to be so consumed with our playing or career that we think that simply encompasses our being. We must remember to look at everything holistically in order to have any success in our career. Something as simple as how we eat can affect our performance ability, but we never take the time to connect the dots. It is important for us to look at several aspects of our life. Starting with our physicality. How does my health, fitness, and eating habits affect my playing? Perhaps the foods I eat do not give me the proper energy and health I need to be performing at an optimal level. Maybe my level of fitness is affecting my energy thus my performance career.
Second is our personal life. Is my interaction with people positive? Do I relax and grow positively away from music so my mind may reset to be creative again? Do I need a “significant other?” What psychological blocks do I carry with me that may be hindering my success? All these questions are tough to ask and answer, but clearly can affect every aspect of our life, particularly the creative process.
Third is the question of what is it really I want to do in music? Do not confuse this question with the surface level question of “What gig do I want?” Ask yourself what is it that you really want to get out of music. Do I love just playing? Do I need to lead a group? Do I hate or love travel? Am I a teacher? Do I need to compose? Does technology play a roll in my creativity? What is it I need to express? In essence, what did I feel when I was a kid playing music? This child like desire needs to live with us throughout our career as a musician and we tend to lose it along the way.
All this work is imperative to get the most out of not just music but our lives. Remember, our life is always greater than our art and careers. We must never lose sight of that truth, and constantly work on bettering our whole existence to better our playing!
Empty to Fill
I believe the quality and depth of your performance is dependent on how well you can empty your mind before and during playing. I record myself playing/practicing, and while listening back I can attribute the depth of any idea to my un-focus at that moment. Not focus in the sense of thinking hard, but un-focus in the sense of not thinking at all. Having this perspective of improvising does get you to the "truth" faster, but also makes the process seem much more fragile. By fragile I mean the difference between your thought process shifting, or remaining empty. Rooting your playing process in this way will create greater highs and greater lows.
For example, while playing I try to empty my mind of anything but the sound that's being created- by my instrument and those around me. I create a blank slate in my mind and fill it with what I hear (from others and me). At any rate, that is truly where the bulk of your content should be coming from. As soon as anything more is being thought upon, i.e.- Is this good or bad? Is this making sense? Or indecisiveness, (even for a split second) You are now adding one more "thing" into a process that is already fully consumed, creating clutter. We're trained to have our mind chatter relentlessly, and now we have to spend our time untraining ourselves at the point of performance. Only then do we really get closer to the "nameless" thing we all should seek in playing. This may be the ultimate process beyond all else in learning and playing improvised music.
At the least it is definitely part of my process...
-DP
... of observation- I wanted to have a section of the site to share something of particular interest I'm reading, listening to, or generally observing. Chime in if you please...
1.2010
Film- Rage (dir. Sally Potter)
Film- Food Inc. (A must see if you eat food.)
Music- Thom Yorke: Eraser (life minus Radiohead)
8.26.07
Erykah Badu: LIVE!!!
7.12.06
Cycling- The Tour De France- (This bike race is as deep as anything!!!)
4.2.06
Movie- "Overcoming"- (Documentary following Cycling Team CSC)
01.24.06
Movie- "Annie Hall"- Woody Allen (It's always new to me...)
06.02.05
Read- Robert Thurman "Seven Virtues"
Listening- Peter Gabriel "Up"
Listening- Ornette Coleman "At the Golden Circle vol. 1"
4.17.05
Listening to "Quartet for the End of Time"
- Olivier Messiaen
Listening- Chris Clark (Warp Records)
3.29.05-
Read- anything by J. Krishnamurti.
Listening- any Wayne Krantz
See I (Heart) Huckabees (2004)
"Always take the long view!"
"How am I not myself..."
- Bernard Jaffe (Dustin Hoffman) www.jaffeandjaffe.com
lostonland
d&b
Oznoy
101
eklund
loop7