Bang on a Can turned 25! Thank you to all who shared your memories with us as we celebrated this milestone with the latest All-Stars CD Big Beautiful Dark and Scary. We were thrilled to hear from more than 5000 of you in stories from the sweet to the surreal, from the hysterical to the sublime. And most of all, we were honored to celebrate 25 years of wild and innovative music making- here's to 25 more!
If you missed the download window don't fear: Big Beautiful Dark and Scary will be available exclusively on iTunes starting January 31, with a bonus track entitled Closing, a work written and performed live by Philip Glass and the All-Stars.
The album will be physically released on Cantaloupe Music February 28, 2012 and includes four short films by Dutch video artist Marijke van Warmerdam. It is available for pre-order now on Amazon.
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My Dear Bang On A Can,
When we first met, I thought you were too uptown for me. That was before you blew my mind. And opened up a warm world of friends and colleagues.
Linda Fisher introduced us in 1990, when we performed at the Marathon on my Musical Shoes. (I miss Linda, who is now living in a Tibetan Buddhist monastery.)
You gave me Lincoln Center debut, my BAM debut, and the All-Stars took my headphone-driven pieces to Amsterdam, Israel, and I'm still not sure where else. I never intended this work for instrumental groups, but for hand-picked vocalists and performance artists. Yet after the All-Stars started doing it, Ethel knocked on my door. Through Ethel I met Todd Reynolds, with whom I am jamming still--and on those same shoes, now computerized.
Soon Alarm Will Sound, So Percussion, ICE and that amazing Grand Valley State U. ensemble came calling. Imagine me, the once and future solo electronic dance band, seeing my work in the list of the All-Stars repertoire right here in 2012. Bizarre. To you, the absurdity of my one-time-only rule (each performer can do a headphone-driven part only once to preserve the surprise element) wasn't absurd, merely another logistical problem to solve.
That felt real fine.
"It's a culture", Evan Ziporyn once said to me about Michael Gordon's musical ideas and his signature grouping of 4 eighth notes and 4 quarter-note triplets (not three--FOUR triplets). That pattern and that culture is what blew my mind (not your eclecticism--I worked at the Pyramid Club in the '80s after all). Here was a paradigm that literally busted out of the grid--yet kept the groove. Is that what Bang On A Can has aimed for all along?