I enjoyed this story and look forward to reading more in this series. What do they say Wow Derek fell In love with him from the word go! What a story loved every second of this story : Sweet, sassy , sexy , deadly just to name a few of the words to describe This book. Derek an brittanys book it has been long awaited,an it didn't disappoint I love these alpha blokes an sassy strong woman. I love the way LeAnn writes,an haven't read a book I haven't loved yet.
Love this series by Ms Asher and can't wait for the next one. This is the pairing that it has felt like a lifetime for, it has been building from the get go and am absolutely excited to finall get my hands on. LeAnn Ashers has definently built a following for Brittany and Derek and everyone has been dying to read the fireworks between them.
The chemistry between these two from day dot is worth reading about. I am not going to comment on what happens in this book as it needs to be read without spoilers or hints of what is happening. This author definetly did not disappoint, everything was perfect and she absolutely leaves you wanting more of everyone.
I honestly am dying with anticipation for the next book Leann Ashers puts out because it is guarenteed to meet all expectations. I hope you love this book as much as I have. Need customer service? Click here. Back to top. They were very co-operative, because it was no great profitable do for them. The downtown people in New York all know each other, so I thought that starting with five Britishers if you include Will Gaines in that and five downtowners would be good.
The same contrast that you get between Will and IST, which is what appealed to me about that. There is a thing about Will. He is a great tap dancer and he is quite remarkable to play with. There is something else about him that makes him virtually unique in the free playing area, and that is his relationship with the audience.
Will is show business. And you could say IST are definitely not show business. They are as far away from that. They always give the impression that whether the audience is there or not is not a serious matter to them. I'm not saying that is the case, but their music gives that impression sometimes.
Will always knows what you are doing but he has a large focus on the audience. And I thought that it would be nice to put them together, and I found it very enjoyable. Well Will and those guys had a similar sort of contrast with the downtown people. They can be more audience-conscious, that's for sure, but not like Will. The thing that really threw them the first night was Will's attempt to seduce the audience regularly.
It was a very good first night for Company. It is always promising if it is a rotten first night, if there are problems raised, because then there is somewhere to go. The problems came up because they couldn't handle Will at all. They didn't know what he was doing, if he was just pissing all over them or what. And by the last night they were all in love with him.
Everybody wanted to play with Will, which was great. So it is quite productive to have people who are a bit disturbing to other people, at least initially.
Anybody will play with everybody. So that method has become universal. It is much more difficult to make it confrontational. AAJ: But it was always about putting very disparate elements together, wasn't it? Company always encompassed something bigger than people from the improvising scene. DB: After the first two or three years, it was necessary to do that, starting with the Company before Epiphany , starting in The first Company concert was a single concert with a quartet who all knew each other, although they didn't play together regularly.
It wasn't easy to get one of the musicians to play with the other two. It wouldn't be their choice, which was OK. In the early stages, they were all single concerts but there was always some sort of overarching agenda to it, which culminated in the first Company Week. And the first two or three years, I only ever intended doing one Company Week. But the funding body was insistent. It took me so long to get the money for this kind of thing; the struggle to get it was ridiculous.
It would be an interesting study of their attitudes in those days. It might still be the same; I don't know. That's one of the reasons for not doing it, so that I don't have to deal with those bastards any more.
But I was quite persistent about getting the money for this purpose. It had to be. They would say, "Why don't you write a piece for them? It doesn't have to be anything, just some pieces.
We can fund pieces. But having found out that the first week was successful, they didn't want me to stop it. I had no intention of doing more than the first week.
And they were saying, "Well you'd better take this money; we don't know what else to do with it now. I found after about two or three years that it was necessary to start looking around for other people, outside of the usual area of free improvised music, because at that time the main way of organizing improvised music was to set up regular groups, something I was already somewhat disenchanted with.
I found that you couldn't use the same people anyway; there weren't that many people, so you'd be using the same ones over and over again. I've always liked the effect of having somebody in there who hadn't the faintest idea what was going on. Nowadays, it would be much more difficult to do that, I suppose. It seems to me that the general scene that free improvisers work in now is a kind of goulash of different musics; it is much better.
For instance, this All Tomorrow's Parties, which is quite a good gig, I can do on it what I like, except I'm supposed to play solo. I am getting an electronics guy in to play with, who I wanted to play with anyway. Gigs like that would never come up; you would always be working in the area of free improvised music, which was economically totally defunct - not defunct, it just never happened - or you were working on the fringes of jazz, which did not want to know about you, never did and doesn't now.
So this is a big improvement, this goulash where you suddenly find yourself one amongst a whole bunch of fringe type activities. So, there were at least two players, I think, who claim not to improvise in this last Company in New York. Jennifer Choi, a brilliant violin player, said to me when I invited her that she didn't improvise.
I said that was fine, by the second night she would be improvising. The thing is, now they all know about it; they know what it is. When I curated The Tonic last year, I thought that some of the most interesting groups weren't freely improvising but they were all playing in a way that assumed it existed. So, it was somehow built on that assumption. It is strange how this way of playing has become a basis of a lot of people relating to each other, as opposed to a strictly jazz way of relating or maybe even a rock way, although the rock thing is much more influential than it used to be.
So, it is not a strange situation to them now, not like inviting Ursula Oppens to come and play [to Company Week, ]. Although she knew what it was, she'd never done that kind of thing before.
And there were lots of people during that period, during the 80's, that I invited who I had to kind of introduce them to each other at the first gig. Well, that couldn't happen now; mainly the difference is that it's an accepted way of going on, so it's not something completely alien. AAJ: So, even if they're not used to it, they know what to expect?
They're not taken by surprise. DB: Personally, I've found one of the more stimulating ways of playing in recent times has been to kind of move outside the free improvised area and work with people who are probably improvisers but they have a particular way of working.
For instance, one of the people in this Company is a woman I've worked with occasionally, a Chinese pi'pa player called Min Xiao-Fen.
I asked her to do it, and she is very eager to do it; again, she claims she doesn't improvise but I think she's always improvising; she's a Chinese classical player and her performances are usually in that type of context although she sometimes works in Western classical situations; people write pieces for her. Before I played with her, she had worked in situations where she'd been required to improvise for a certain period; in somebody's piece there was a space and she'd do something in it.
But she'd never been expected to improvise all night and so she was a bit daunted, but she's a very good musician. So you can see there are two or three out of this bunch who are not primarily improvisers. Now, I don't think it matters in the way it would have done twenty years ago.
For instance, on Mark Wastell's website is a list of groups of which he is a member, including Company. DB: Oh no. None of those guys are in the LA Company. I don't know who's in it. I don't actually know any of them. I can't remember any names of them. AAJ: So Company isn't moving towards becoming a nucleus of musicians, an identifiable entity?
DB No, no. It was more like that when I started. DB: I've kind of done that before, kind of got a set thing and used it again. And that worked fine actually. But I always used to invite most people in pairs so they had somebody familiar to start with.
Sometimes I'd invite somebody and ask them to invite somebody, so they'd got some structure in the early stages. Now it doesn't matter. Even if none of these guys in LA know each other, it just doesn't matter because they'll know what it's all about. But no, there is no set There are certain people that I think of as Company type players. The one who stands out for me is Tristan Honsinger, who was in the first Company Week here, and the last one and one or two in between.
He is a certain type of player. If there was no such thing as free improvisation, you'd have to invent it so that he could do something; he couldn't do it any other way. Although, he is very interested in dance and theatre. Unplugged 2LP Gram Vinyl.
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Please try again later. Verified Purchase. A classic album ruined by engineers who clearly don't understand remastering beyond making things louder. Further proof that in music's digital age the term "remastered" doesn't always equate to "improved". Clearly mastered for playback on mobile devices, this mix is boomy, peaky, lacks most low-end, mid-range guitar action is muffled, and highs are thin and tinny. As with too many digital "remasterings" of analog material, it's clearly been remixed solely for improved playback on inferior devices, rather than superior playback on audiophile Hi-Fi systems or even studio headphones.
If you care at all about quality, skip this release. I love this album and couldn't wait to get a new gram version. Unfortunately, Amazon appears to have gotten a poorly made batch from Polydor. I was very disappointed in the sound quality and bad mix on the first copy I tried.
I used Amazon's easy replacement policy to order a second hoping the bad quality of the first was a fluke. The second was just as bad. As usual, Amazon makes getting a credit for defective product easy but wanted to warn other vinyl collectors that we may all need to wait until a new supply is available.
I hope Amazon is returning this batch. Shame on the label for poor quality control on a classic album. I was excited for this to arrive. Streaming and Download help. Report this album or account. Ozean by Ozean. Ozean - Fantastic early 90's CA shoegaze! The Gentle Cycle. Heron Oblivion by Heron Oblivion. Heron Oblivion - vocals that bring to mind Fairport Convention, dual guitar freakouts The stuff of legend and it's happening right now.
Day Of Light by Constantine.She glanced over at the double doors. Biting down on her lip, she turned back to the empty music stand and continued playing, her hands trembling as she drew her bow across the strings. Evaine gulped, her features shadowed in pain each time the ball thumped against the vinyl floor. Tentatively, she made her way towards the door, but dare not.