I can now quite honestly say with conviction that others observe us in far different but still similar yet thought provoking, light-shedding manner. Wim Mertens, I believe, has done just that. Man oh man, I love nothing more than digging into a good chapter of this book. Always insightful, Mertens very colorfully relates the cause, themes, and application of "American 'minimalist' music" in a straight foward and entertaining way. A "way" that most American authors I believe have yet to go.

In Forest Green Glass, Philip L. Hopper has once again teamed up with photographer Bruce Walters to produce a well-researched and stunningly beautiful book on Anchor Hocking glassware. The documentation is meticulous, and includes copies of old factory sheets, batch formulas for Anchor Hocking's green glass, and a section on confusing similarities. Besides precise research, Hopper's captions clearly identify each piece of glassware, it's measurements or dimensions, the factory's stock number, and an estimated value for the piece. Since there are only a few items per picture, the reader gets an enlarged view of each and every piece of glassware, and doesn't have to flip back and forth to find out what it is. Combine the thorough research with Bruce Walter's creativity, and technique of underlighting colored glass, and you have one gorgeous publication. A 21 gun salute for the Colonel and his cohort!

Potter's book will be best appreciated by those with a much better understanding of music theory than I. However, I learned something about the personal and musical history of so-called "minimalism." (Potter falls prey to some extent to the problem of reifying an abstraction -- having first grouped some things together into a category, then searching for the true meaning of the category.) Is there a torch passed, so to speak, from Young to Riley to Reich to Glass? Glass is the only one to adamantly deny it, but Potter documents the basis for seeing it just that way (including Reich's influence on Glass). One aspect I am keen to know more about, but which Potter doesn't stress overly much, is the striking confluence of non-Western influences. Young and Riley are both disciples of the North Indian master singer, Pandit Pran Nath, who passed on in 1996. Reich studied both African drumming as well as the gamelan music of Bali. Glass studied Indian music, after being immersed in serialism if I've got the order correct. With the European "classical" tradition at an impasse at the turn of the millennium, it seems only natural that the future would lie in creative fusions and combinations with other traditions. (Not a very original idea, I realize, as evidenced by the recent emphasis of the Kronos Quartet among others.) Minimalism seems by now to be another style that passed into history and critical assessments -- is there an opening there that is being missed?

Finally there's a comprehensive book about Glass and his music, with a musicologist's approach.
I think it's exactly the book that was needed, because, even if traces mr.Glass's biography in very broad strokes, the book is more of anan analysis of his music in its different forms.
I think it's a terrific book because:
1- It's by an independent writer, so no hagiography, but a very objective and interesting analysis, all the more valuable for that.
For example, the author is not shy of talkingabout controversial issues, like the critics' attitude towards mr.Glass. (you know, those guys that sneer at his music because it does
not conform to the standards they already have pre-set in their minds)
2- The general tone is that of a vey well-researched and authoritative (if somewhat kinda too concise) book, aimed perhaps more to the informed listener than to the professional musician, which is just fine with me.
It is, actually, a very readable book, especially enlightening when explaining Glass's musical evolution. It really gives you the idea of how and why the music has evolved the way it did.
3- The descriptions of the pieces are great. They're just
like very well written but concise program notes, which is
nothing less than what this marvelous music deserves.
To give you an idea, it's so refreshing to read about the Low Symphony discussed in the same terms of a mainstream full-fledged classical symphony! (which is exactly what it is, in its peculiarly Glassian way)
4- The writer had mr.Glass's endorsement, so there are a few illuminating interviews and, above all,tantalizing descriptions of the pieces that aren't yet recorded , like symphony 6, cello and piano concertos, because the author could listen to the composers' tapes from the performances.
( as you will have gathered, this book is VERY up-to-date)
By the way, are you guys at Nonesuch sleeping? Where the hell are those cd's?? Just reading mr. Maycock's enthusiastic description of the 6th symphony gave me a glance at what we're missing. I know corporate guys don't really care about the music, but hey, Glass SELLS!!
A few minor quibbles: there are no photos and the chronological list of works that closes the book is a bit too concise ( usually in such lists you also get details like first performance, recordings etc.)
Strongly recommended, nonetheless.

Lovers of the African Kora, the 21-string traditional African harp, will enjoy the gentle sounds of this CD. This is mostly string music (kora, nyanyer, electric kora) supplemented by the balafon and drums of the area.

The music originates in West Africa - in the countries of Senegal, Guinea-Bissau, The Gambia, Mali, and showcases the Griots (or Jalis) of West Africa. Because it is the place where many of America's slaves come from, West African culture has strongly impacted life in the USA.

For 800 years - since the beginning of the great Malian empire - Griots have preserved their region's history and lore, passing them down orally through arduous apprenticeships, providing cultural cohesion that endured both colonialisation and its aftermath.

The names of the musicians on the album read like a who's who of the musicians caste of West Africa: Kuyateh, Suso, Jobarteh, and others. Featured on the album is Foday Musa Suso, who is well known in the West. To this, add some of the best Western names in the business, like 20th Century minimalist composer Philip Glass, Jazz saxophonist Pharoah Sanders and the production skills of Bill Laswell, and you end up with a very professional cross-over product, and certainly a very interesting mix.

Ellipsis Arts has a history of making beautiful music box sets. Like most of their products, Jali Kunda comes with a mid-format full-colour book of 96 pages, about the music, the people, the history, and the countries. Highly Recommended.

Finally, a glass book where you don't have to guess what the picture is!!!! Each illustration has a caption, telling what the item is, along with the vital statistics. No more flipping from page to page to find out what it is, or worse yet, a picture full of glass and no list or caption. The illustrations are incredible. Not only has the author researched his subject thoroughly, the photography will dazzle you. Thank you Philip Hopper for one of the best depression glass books I've seen yet!!!! I sincerely hope you will write more of these high quality glassware books!!

Biographical essays of well-known as well as fairly obscure musicians and industry types. Escott has made a career out of telling outrageous, sometimes salacious, tales -- he gets to the rawer, visceral side of the story pretty quickly, which is relatively easy when you're talking to folks who worked in the scraggly, scruffy early years of country, rock and blues. He's an engaging, consersational writer, and this latest collection is a delight. Includes essays on artists such as Dale Hawkins, Don Everly, Johnny Horton, Tim Hardin and a particularly cruel skewering of Pat Boone. In one of the most fascinating sections, Escott profiles the founders of record labels such as Decca, King, Starday and Hi -- a fascinating and very illuminating appoach to presenting the history of popular music. Beautifully laid out, well written and highly recommended.

This groundbreaking work offers the reader insight to the world of Stax in the sixties and seventies. It allows the reader to understand the forces behind the ascension and eventual decline of one of the greatest recording labels in the history of modern music. In the course of absorbing this wonderful book, the humble reader is able to gain an understanding of the societal, cultural, and racial catalysts for the music produced. In the latter part of the book, the reader sees the painful decline of Stax from their pinnacle to their nadir in the course of only a few short years.

Extremely highly recommended -- the best musical history book I have read.

Also recommended: The Complete Stax/Volt Singles, Volumes I, II, and III (box sets with excellent liner notes by Rob Bowman)

Also -- It Came from Memphis' for a good background on the lesser known, but nonetheless important musicians who originated in Memphis.

This Book was all that.Staxx is as Important as Motown.It's a Incredible Story.especially when A Black Label Blows up Down South in the 60's.you only ever here about Sun Records &Sam Phillips and his discovery of Elvis Presley.so this is Very Important on a Social Front.The Many Great Artists on Staxx.this Book is strong from start to Finish.

This book is the quintessential read for anyone interested in the composer be he the music lover realaxing to his recording of "Glassworks" or the avid "Glass-ite" with all five hours of "Einstein on the Beach" memorized (and I salute you). Whatever you wanted to know about Glass and especially the operas can be found here in the composer's own words. Like his music, Glass's book is fluid and encompassing. Seth Bedford (guiseppe@earthlink.net) Midland,TX.

Here is a spectacular explaination of Glass's Portrait Trilogy of operas (Einstein on the Beach, Satyagraha, and Akhnaten), including lots of great insight into the musical subtelties, staging, casting, performances, and production. It includes several excellent pictures (color and B&W) of Glass, his ensemble, and scenes from the three operas. Also, a rare explaination of the staging of Einstein! A good read for anyone interested in modern music

For anyone who has wanted to play Philip Glass piano music, this is the only thing I know of available. The music itself is excellent. Glass composed this music in his usual minimalist style, and this music offers the deceptively simple set of the Metamorphosis series, along with Mad Rush and Wichita Sutra Vortex. Some of the rhythms are reasonably challenging for many piano students, as is the repetition in the left hand (killer on the out of shape fingers, though!). My biggest complaint, however, is the book itself does not lend itself very well to easy page turning. The multitude of repeats throughout the music makes it necessary to go through a lot of page turning. To make a page stay open is nearly an impossible task. It's almost necessary to make a copy of the music just to have the music in a format where the pages can easily be turned.

ever since i saw philip glass play a mesmerising solo piano concert at the southbank centre in london, i've been keeping an eye out for any transcriptions of his work.
i have long been a fan of his soundtracks since the first time i saw koyaanasqatsi.
i play all the pieces in this book and i found the best way to deal with the frequent page turning is to memorise them.
it helps to listen to his recording of these works as well.
you don't need a formidable technique to play these pieces but watch out for rsi/oos with all those repetitive hand movements.

I feel that one of the primary gifts Lama Yeshe has brought to the "western" world as a Tibetian, is his ability to explore and describe Tantra in great depth but from a culturally independant perspective. Much of the really authentic, un-americanized, non-newage etc info and teachings on Tantra is essentially coming from various Tibetian Lamas and practitioners, but their perspective on Tantra is usualy always heavily overtoned by a great deal of cultural (Tibetian) views, beliefs etc that are quite independant from Tantra which is free from all cultural and social dynamics. Lama Yeshe has stepped right through all that, and goes into the essence of Tantra itself. Not Tibetian Tantra and not American tantra... but for the most part, just the essence. As an introduction to Tantra this book touches on a broad array of issues and aspects that are all key aspects of Tantra and the Tantric perspective. It was a pleasure to read, and higher recommendable.

I read Introduction to Tantra soon after its first publication. I was very
fortunate to see some video tapes of Lama Yeshe's teachings. He
had a very warm engaging style. I am in agreement with the thought that someone who is happy has learned their lessons well.
Anyway, the book and me parted ways. I was thrilled to see this new edition. I expect to discover and recover those insights
which help me daily. I will continue to highly recommend
this book.

This is an excellent introduction to Buddhist Tantra, Vajrayana. Lama Yeshe was one of the greatest teachers of the 20th century. Lama really understands the mind and especially the mind of the modern westerner making his teachings very accessible. I recommend this book to anyone interested in vajrayana or buddhism in general. My father loved the wisdom of this book so much he gave a copy to his mother!