Information and downloads from David Aaron's Short Memory

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Live gigs

David Aaron Live

 

A warm-up to Flip City.

David Aaron, Lukas Ligeti + Will McEvoy

Friday May 25th
at Uncanny Valley NYC
26-09 Jackson Avenue, L.I.C.

(G train to LIC-Court Sq/7 train to 45 Rd-Court House Sq/E or M train to 23 St-Ely Av)

Evening begins at 8pm, doors at 7pm, we go on around 10pm. $7 donation

David Aaron-tenor & soprano saxophone
Lukas Ligeti-drums & percussion
Will McEvoy-bass

www.lukasligeti.com myspace.com/willmcevoysmutasmwww.facebook.com/uncannyvalleynyc

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Get the hamper shirt

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cynical rat bastard

Buy Cynical Rat Bastard
on iTunes

i-tunes

david aaron

 

 

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Short Memory

Spencer Katzman-guitar Jon Frederick-bass David Aaron-tenor saxophone

check out the video page

 

words by david aaron

Quiet But Effective

eating my way through distractions
broken beyond failed returns
a small wronged sense, undecided
brilliant to see and to hide
forced, lost, crept into silence
last left felt and unclothed
fairly inept, unassumed
quiet, effective, I cried
splintered wood
pulling chords
bleached and summer, to start
forty four and so on
plus after drinks
a piped return
twice lost
first told
boardroom mirth
ninth let down
now no more
replaced with corn
almost there
but not such yet
eaten
broken
splintered
quiet
but effective

for more words

 

All About Jazz

Cynical Rat Bastard

By Budd Kopman - AllAboutJazz.com

David Aaron presents Cynical Rat Bastard as “a heavy dose of aural voyeurism [which] invites the listener to press an ear to the keyhole for this insomniac’s foray through an all-night carnival.” The pose of a quirky, gen-X, ultra-cynical slacker is reinforced by the CD notes crediting someone for “missing the point” and dedicating the release to “my dear cynical rat bastard, martha,” plus placing craigslist among the thank you's.

This would all just be funny (in a cynical way) but for the high quality of the writing by Aaron and the musicianship of his band. The thirteen tracks are meant to be listened to from beginning to end and can easily be thought of as a score to a (black and white?) movie, a dream sequence or a stream-of-consciousness collection of impressions.

Read the rest of Budd Kopman's the review.

 

 

 
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