From: owner-exotica-digest@lists.xmission.com (exotica-digest) To: exotica-digest@lists.xmission.com Subject: exotica-digest V2 #869 Reply-To: exotica-digest Sender: owner-exotica-digest@lists.xmission.com Errors-To: owner-exotica-digest@lists.xmission.com Precedence: bulk X-No-Archive: yes exotica-digest Friday, January 12 2001 Volume 02 : Number 869 In This Digest: Re: (exotica) Jazz Re: (exotica) Food Fw: (exotica) FOOD (again!) Re:(exotica) Re: you might want to keep an eye out for these records... (exotica) re:crouching tiger (exotica) tom Tyler (exotica) Jazz RE: (exotica) crouching tiger (exotica) No. Really. It's an Exotica post. From me. Well, mostly... Re: (exotica) Jazz Re: (exotica) No. Really. It's an Exotica post. From me. Well, mostly... RE: (exotica) Jazz Re: (exotica) please identify this sample RE: (exotica) FOOD (again!) (exotica) My 2¢ on the JAZZ thing... (exotica) [obits] Bryan Gregory Re: (exotica) Jazz Re: (exotica) My =?iso-8859-1?Q?2=A2_?= on the JAZZ thing... RE: (exotica) FOOD (again!) (exotica) Morricone in the UK ---------------------------------------------------------------------- Date: Thu, 11 Jan 2001 23:37:07 -0500 From: "m.ace" Subject: Re: (exotica) Jazz >Well, I'll give a contrary view and say that I am enjoying the Jazz >series. I think tonight's (Wed) episode was the best one so far. >So I'm watching this series to discover which sounds I like the best, to >get a better sense of the different genres of jazz.... If you're getting something good out of it, that's good. I can see that it might make a handy overview for a newbie. But please, please bear in the back of your mind that this is a slanted and exclusionary production. I know, I know. I'm supposed to be kicking the habit of this thread. But just this last one. Then I'll go cold turkey. Honest... When I thought they only *ignored* the avant garde, I was willing to give them a pass for the reason that they could give folks such as Vern an entry point. But now that I know they will actively *denigrate* progressive artists, phooey. That crosses the line into evil. And a pretty cheesy evil at that. The series is being promoted as the ultimate authoritative guide to jazz, and these smug characters are using it to drop bombs on other people's careers or denigrate the dead. One wishes Miles Davis were still around to fire back as only he could. Well, we can quote from his autobiography... Describing an incident where WM tried to horn in on a Miles performance and got chased off the stage: "...Because we were playing some set pieces and when he came up like that I was trying to give the band some cues. He wouldn't have fit in. Wynton can't play the kind of shit we were playing. He's not into that kind of style and so we would have had to make adjustments to the way he was going to be playing. "When Wynton did that to me, that showed me he didn't have no respect for his elders. First of all, I'm old enough to be his father and he had already talked real bad shit about me in the papers and on television and in magazines and shit. He never apologized for the shit he had said about me. We ain't tight friends, like me and Dizzy and Max and some other guys. As close as me and Dizzy are, I wouldn't ever do that to him or him to me. We would ask each other in front. Wynton thinks that music is about blowing people away up on stage. But music isn't about competition, but about cooperation, doing shit together and fitting in. It's definitely not about competition, at least not to me. That kind of attitude has no place in music as far as I'm concerned." A paragraph about jamming and cutting with respect and love, then: "But it's not like that with Wynton (at least I haven't seen that kind of respect out of him toward me) or with hardly any of the other younger musicians today. They all want to be stars right away. They all want to have what they call their own styles. But all these young guys are doing is playing somebody else's shit, copying all the runs and licks that other guys already laid down." [Wynton's been getting so much international airtime to talk about other people, I just thought it would be nice to hear someone else talk about him for a change.] And having been negative again, I will try to compensate with some constructive points. >When is the last time you saw a >Thelonius Monk LP in a thriftstore? I've never seen one myself, and I >haven't been willing yet to pay $15 for one of his CDs..... but I very >might well do so in about a month. A nice single CD "starter" comp would be "Jazz Profile: Thelonious Monk" on Blue Note (part of a series of "Jazz Profile" comps). It focuses on early recordings on Blue Note and includes a good helping of his standards... "'Round Midnight", "Straight No Chaser", "Epistrophy", more. An excellent film documentary is "Thelonious Monk: Straight, No Chaser" -- loaded with terrific performance footage, much of which runs unhindered. Including some amazing solo piano pieces. His dismantling of "Just A Gigolo" never fails to blow my mind. m.ace mace@ookworld.com http://ookworld.com # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Thu, 11 Jan 2001 23:39:17 -0500 From: "Risser Family" Subject: Re: (exotica) Food There's always Rapture by Blondie where the alien eats cars and bars and guitars. Also, Beck's new album has three or four food related tunes on it. And Cream by Prince. And any number of food-related double entendres in any number of old blues songs. And, hey, while we're at it, the Candy Bar song, with all the double entendres based on candy bars. Peter - ----- Original Message ----- I like food, food tastes good! I like food, food tastes good! Juicy burgers, greasy fries Turkey legs and raw fish eyes Teenage girls, with ketchup too! Get out of my way, or I'll eat you I like food, food tastes good! I like food, food tastes good! I'm going to turn dining back into eating. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Thu, 11 Jan 2001 23:40:15 -0500 From: "Risser Family" Subject: Fw: (exotica) FOOD (again!) Toast by Heywood Banks. Great tune. > ----- Original Message ----- > > Forgot one: "Toast and Marmalade For Tea--Tin Tin > > # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 00:03:06 -0500 From: Brian Karasick Subject: Re:(exotica) Re: you might want to keep an eye out for these records... Mr. Unlucky wrote: >Actually a lot of Nurse With Wound goes for big bucks on Ebay. I think >some of that has to do with Stapleton messing around with tracks when he's >reissued them in the past. To my knowledge the only way you can get the >original versions of Brained by Falling Masonry songs or the Gyllenskold >songs is on the original 12"s, for example. Plus a lot of the original >records had artwork inserts, and they're kind of just nice to have in a >larger format. Whitehouse I don't know. But I think ever since NWW did >songs with Stereolab, and Stereolab got big, a lot more people became >interested. Hand numbered editions, special inserts, and even handmade covers are things I can and did get into collecting, almost as art objects. Maybe one reason to get an original and pay a big price for it. The different mix gimmick reminds me all to much of the CD reissue game with extra tracks added to entice you to dump the vinyl or get both. I remember a few labels putting the extra tracks on the vinyl only as a form of protest. I think limiting the early NWW/Stereolab recordings to editions in the order of 200 was either a gross underestimation of real demand or a mean trick to play on fans of both groups. But few exotica records fall into this category so those high prices seem even stranger to me. The big exception is library/production music which was never made for public consumption but as art objects the originals still don't do it for me, especially if I can find a CD reissue. Brian (e-bay free but confused at the drawing the line between music and art) # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 14:59:34 +0800 From: "william" Subject: (exotica) re:crouching tiger >I missed digest #866, so am upset that I wasn't the first to rave about this >movie here. Region 3 DVD (asia only) is out now or in a week or so, with an >english dub option. Region 1 (US version) is set for June 5 release!! is it english dub or english subtitles? i saw it in the shops today and it said english subtitles as well as korean, thai, and chinese i think. it's selling here for about 18-20 u.s. i think. >Up to about 75 >HK DVD's now and counting, tho technically CTHD is a Taiwanese film. i think they conciously tried to make this more than a taiwanese film. i mean the director is taiwanese(unless he has since become a u.s. citizen i'm not sure) but the stars come from hk, malaysia, taiwan and china. so it's sort of a joint venture going on at least on the stars level. surprisingly this was a big hit here. movies of this sort have not been popular here in years apparently. not on this level at least. i used to be obsessed with hk action movies but it started to wane before i came to taiwan and rarely watch them anymore. at least not in the theater. here at almost any given time you can find 5 channels(or more!) on tv showing old hk movies with subtitles usually. sometimes even old soaps with the likes of maggie cheung, tony leung chiu-wai, etc. on tv. but those will not have english subtitles. one of my students complained that the chinese is weird in this movie and the accents are still not right. he felt that it was almost written more for foreigners than native chinese speakers. but i don't know as most of the people i know haven't bothered to see it or are not interested in it. >Recommended reading -Stefan Hammond's "Sex & Zen and A Bullet in the Head" >and Michael Weisser's "Asian Cult Cinema" for genre descriptions, lots of >capsule reviews and wonderful mangled subtitle quotes, each book around $14 >US. there's another really good book but the title escapes me. i think it came out of england. maybe from the people who coined the term "heroic bloodshed". i forget now. i opted not to bring it with me. still in storage at my parents. but it's bigger than the sex and zen book and the asian cult cinema books. closer to a coffee table book but with a soft cover. maybe it's out of print now. william in taipei. # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 09:43:51 -0000 From: G.R.Reader@bton.ac.uk Subject: (exotica) tom Tyler Tom Tyler has a number of releases on Depth Charge (an LP and 4 or 5 twelve's) Some of the 12's are quite good, but I find the beats a bit harsh and loud to play alongside much else I have. The LP is much mellower, almost ambient, I've only skim listened to that in a shop. But theres one 12 (Skye sessions maybe, something like that) that is basically 12 minutes of disco / funk breaks strung together. Quite irritating, and pretty pointless. If its a live mix then maybe I can see it as showing off, but it lacks the musicality of, say Wheels of Steel by grandmaster flash. In a similar vein to the Future Sound of Jazz stuff are some of the Breaks Beats and Bossa LP's, and also quite a chunk of the Ninja compilation Xen cuts (following Rob McKenna round both of those - thanks Rob!). Also I see that there are 4 or 5 new Bossa Compilations out very lurid covers, can't remember the names, does anyone have comments? Cleve? Cheers El Maestro Con Queso djcheesemaster@yahoo.com grr@brighton.ac.uk http://www.shitola.freeserve.co.uk/cheese/cheese.htm http://www.geocities.com/djcheesemaster/ Spunky Misunderstood Genius # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 11:07:21 +0100 From: Ton =?iso-8859-1?Q?R=FCckert?= Subject: (exotica) Jazz "Ursa Jazz Marketing is the trade name for the Dutch Jazz=20 Family Beeren, musicians who are fascinated by Jazz and=20 Swing music around the world. At the exit of Bill Clinton as the last Democrat President of the 20th century, who wants to be remembered as the man who turned the presidency back to the people, Ursa Jazz Marketing gives honor to this man with=20 the promotion of this rare CD (BC Live at the Reduta Jazz=20 Club, Prague 1994. T.). Everybody can now order this CD..." https://www.saxlife.net/main.html *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** Ton R=FCckert Mozartstraat 12 5914 RB Venlo The Netherlands *** *** mojoto@plex.nl http://www.plex.nl/~mojoto Ph 31/0 773545386 *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** *** ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ Members of our staff may be available ~~~ ~~~ ~~~ ~~~ ~~~ for private parties after the egg dishes. ~~~ ~~~ ~~~ http://www.geocities.com/BourbonStreet/4264/music/w34779.ram ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ ~~~ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 13:03:48 +0000 From: "Robbie Baldock" Subject: RE: (exotica) crouching tiger Benito Vergara : > And as for CTHD, it's worth all the hype. Go see it. (Aside to Jim > Gerwitz: > where do you buy your HK DVDs online? Is Poker Industries a good > place?) Does anyone know of a good UK/European importer of HK DVDs? Preferably online... Robbie - ------------------------------------------------------------------------ Spaced Out - the Enoch Light website http://www.rcb.easynet.co.uk/light/ - ------------------------------------------------------------------------ This message was sent by Easymail - http://www.easynet.co.uk/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 09:15:16 -0500 From: Brian Phillips Subject: (exotica) No. Really. It's an Exotica post. From me. Well, mostly... I'm about to burn my mp3s that I pulled down from the newsgroups, minding my own business, not bodderin' nobody when I noticed "Jezebel" by Frankie Laine, with Mitch Miller's backing. Very cool stuff and I heard it first, because of a '60s "garage band" remake by the Teddy Boys. Movie alert! For those of you with BET Movies, at 3:05 AM on Monday, Jan. 15, they will be showing The Duke is Tops, with Ralph Cooper, Lena Horne and, of course...not Duke Ellington (!). The title refers to Cooper's character, Duke Davis. There is no doubt in my mind that the filmmakers had NO intention of deceiving the public. :^) I caught the tail end of this movie and the music is great! For all of you New Yorkers out there (Hiya, Lou), I got a bit of a shock when I caught part of "Cool Hand Luke". This is the second time I have seen this film and while the convicts are working on the road, I heard an extremely familiar music cue. Lalo Schifrin's (I'm saying it like Schif-FREEN) music was used as the Eyewitness News theme. I'm Roger Grimsby, hear now the news, Brian Phillips # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 08:38:18 -0600 From: "Phil Ford" Subject: Re: (exotica) Jazz >When I thought they only *ignored* the avant garde, I was willing to give >them a pass for the reason that they could give folks such as Vern an entry >point. But now that I know they will actively *denigrate* progressive >artists, phooey. That crosses the line into evil. And a pretty cheesy evil >at that. The series is being promoted as the ultimate authoritative guide >to jazz, and these smug characters are using it to drop bombs on other >people's careers or denigrate the dead. Or the living. Crouch continues to embarrass people in public settings (parties, jazz clubs, etc.) by being pointedly obnoxious to avant-garde musicians (or, as he likes to put it, "the so-called avant-garde"). This is a little bit of the David Horowitz phenomenon -- Horowitz was a left-wing nut in the sixties (rabid Marxist, advocate of terrorist groups like Weatherman) who became a right-wing nut in the 1980s and who sees it as his life's work to war against the philosophies that he formerly espoused. In the 1960s, Crouch was a black nationalist and (according to his bio in the New Grove dictionary of jazz) a free-jazz drummer, although if that were true you'd think he would show more musical literacy in his comments on the show. But around 1980 he ditched all of his old friends (Amiri Baraka and David Murray especially) and began a sort of culture war against black nationalism and the black avant-garde, scripting Wynton as a sort of Parsifal figure in his latter-day crusade. The jazz pianist D.D. Jackson told me about a gig he was playing with free jazz violinist Billy Bang where Crouch sauntered into the club, walked up to Bang and said (with that smug self-satisfaction that comes of doing something you consider cutely "outrageous") "so, Billy, still playing that thing out of tune?" It was such a gratuitously disrespectful act towards an unassuming, gentle man (and a fine musician), everybody sort of stood around and didn't know what to say. Crouch does this kind of thing all the time -- this anecdote is not at all untypical. By the way, Crouch outed Taylor in the early 80s by alluding to Taylor's homosexuality in a newspaper column -- and this had formerly been something Taylor had carefully kept out of the news. So at this point, a little trash-talking on a TV show is nothing much. Phil Ford # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 09:54:06 -0500 From: Bump Subject: Re: (exotica) No. Really. It's an Exotica post. From me. Well, mostly... cool hand luke is floating around my house this week as well. i was told it makes the first "MULLET" reference, as too a hairdo (or hairdon't) it was one of my favorite movies when i was a kid but i fail to remember the mullet thing. i will check it out this weekend as well as listen for that SCHIFFREEN music. bump >For all of you New Yorkers out there (Hiya, Lou), I got a bit of a shock >when I caught part of "Cool Hand Luke". This is the second time I have >seen this film and while the convicts are working on the road, I heard an >extremely familiar music cue. Lalo Schifrin's (I'm saying it like >Schif-FREEN) music was used as the Eyewitness News theme. ****************************************************** ***************************** ************* DJ Bump "Primitive Rhythms for Evolved Minds" Defective Records-Executive Producer bump@defectiverecords.com http://www.defectiverecords.com "Music, Non-Stop" -- Ralf + Florian # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 07:39:53 -0800 From: "Benito Vergara" Subject: RE: (exotica) Jazz > -----Original Message----- > From: owner-exotica@lists.xmission.com > [mailto:owner-exotica@lists.xmission.com]On Behalf Of Phil Ford > Sent: Friday, January 12, 2001 6:38 AM [some stuff snipped] > Or the living. Crouch continues to embarrass people in public settings > (parties, jazz clubs, etc.) by being pointedly obnoxious to avant-garde > musicians (or, as he likes to put it, "the so-called > avant-garde"). > show. But around 1980 he ditched all of his old friends (Amiri Baraka and > David Murray especially) and began a sort of culture war against black > nationalism and the black avant-garde, scripting Wynton as a sort of > Parsifal figure in his latter-day crusade. Not entirely. Here are some Stanley Crouch snippets, from 1988, on one of those members of the black avant-garde: "----- - ---- [guess who it is; answer revealed at the end] is a man who understands the communicative powers of the saxophone, the sonic weight and the translucence to harsh textures that have made the instrument so fundamental to the idiom of Afro-American improvising. The substantial girth of his tone... separates him from those who have no more than a counterfeit connection to the music which evolved in the wake of Ornette Coleman's quartet..." "...there is always the audible proof of great skill. This man is no charlatan; charlatans never get their instruments to sound as he does, nor are they capable of the calling, keening, singing passages served on such a big invisible platter of tone. Everything one hears in ----'s playing is the result of long hours of practice, great diligence and care in the production of sound." "---- is clearly a man who has heard the sound of such masters as Coleman Hawkins, Sonny Rollins, John Coltrane... and the most ardent primitive of the '60s -- Albert Ayler." From the (long) liner notes to David S. Ware Trio's "Passage to Music" album, on Silkheart Records. Later, Ben http://www.bigfoot.com/~bvergara ICQ: 12832406 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 07:54:44 -0800 (PST) From: J o h n Subject: Re: (exotica) please identify this sample BTW I have identified an electronica genre that I > almost consistently like. > Some people probably call it "Future Jazz" but not > all the stuff in the > future jazz section fits in with this stuff. > I'd call it "Alice Coltrane-ica" or "slowjazz" or > "jazz dub fusion". I think I know what you mean. I picked up The Fez File Vol 1. on Schema Records. Some of the artists on it include The Karminsky Experience, Ursula 1000 , and Cinematic Orchestra. Can anyone on the list reccommend any Karminsky Experience stuff? __________________________________________________ Do You Yahoo!? Yahoo! Photos - Share your holiday photos online! http://photos.yahoo.com/ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 11:11:36 -0500 From: "Rajnai, Charles, NNAD" Subject: RE: (exotica) FOOD (again!) One more... Eldeberry Wine by Elton John. It was the original flipside for the Crocodile Rock single. =20 =A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA=B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=BA= =B0`=B0=BA=A4=F8,=B8=B8,=F8=A4=20 Charlieman=20 "Everything that can be invented, has been invented." =A0=A0=A0=A0=A0=A0=A0 - Charles H. Duell, 1899=A0 =A0=20 =20 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 09:01:20 -0800 From: "Wayno" Subject: (exotica) My 2¢ on the JAZZ thing... Vern's response to the "Jazz" controversy was thoughtful and well stated. Glad to hear you're digging (and digging into) some of this stuff. My take is that this highly hyped media event will spark a fad with the general public that will die out soon enough. The average viewer will, if anything, buy a couple of the tie-in compilation CDs and play them at parties. The discs (which to be fair, are pretty decent overviews of each artist's output) will be used as sonic wallpaper for a while and will then be forgotten. Vern, you are not the typical viewer, you're an explorer interested in learning about things that are new to you. Jazz music is rich and varied, and has many rewards to offer you. Unfortunately, this bloated documentary focuses on a few giants, officially sanctioned by the Marsalis/Crouch regime as fitting into "the tradition." Other innovators, who took the music down paths not coincident with what Marsalis views as legitimate, are glossed over or ignored. Members of this list would probably be interested in the music of Rahsaan Roland Kirk, but from what I understand he doesn't show up in the PBS series. Kirk had roots in tradition and eventually transcended them, creating his own wild (and very entertaining) vocabulary. Besides, a very large blind man playing three horns simultaneously would certainly be more interesting to look at than the same shots of the Chicago rail yards and grinning jitterbuggers that pad out Burns's film. Rahsaan's Atlantic albums "Blacknuss" (wherein he twists hit songs like "Never Can Say Goodbye," "Mercy Mercy Me," and "Ain't No Sunshine" into something completely "other") and "Natural Black Inventions: Root Strata" (Kirk plays an assortment of horns & percussion, many of his own design, without overdubs) are two of my personal favorites. Overall, Burns's film will do little to "revive" jazz beyond its meager 3% share of US music sales (except in the short run), and does a disservice to those who are truly interested in exploration. As Ken Tucker said in his review in "Entertainment Weekly" (not the hippest publication around, by the way) (I'm paraphrasing here): "All right! I get it! Armstrong and Ellington were great! Now let's see something else!" By the way, does anyone else think that Stanley Crouch looks like a Muppet? Wayno - ---------------- Sent from a WebBox - http://www.webbox.com FREE Web based Email, Files, Bookmarks, Calendar, People and Great Ways to Share them with Others! # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 12:08:58 -0500 From: nytab@pipeline.com Subject: (exotica) [obits] Bryan Gregory Bryan Gregory ANAHEIM, Calif. (AP) -- Shock-haired guitarist Bryan Gregory, an original member of The Cramps, whose trashy rock 'n' roll first gained notoriety during the late 1970s punk music heyday, died Wednesday. He was 46. Gregory, a native of Detroit, had recently suffered a heart attack and had been ill for several weeks, said his former wife, Robyn Hunt. The Cramps made their 1976 debut at New York's legendary punk club CBGB. The Cramps released two albums which feature Gregory on second guitar: the Alex Chilton-produced ``Gravest Hits'' in 1979 and ``Songs the Lord Taught Us'' in 1980. After Gregory's departure from the band in 1980, The Cramps founding duo -- singer Lux Interior (Erick Purkhiser) and guitarist Poison Ivy Rorschach (Kirsty Wallace) continued the band with various members. Gregory then performed with the band Beast until 1984, and with The Dials from 1992 to 1995. He had recently formed a new band named Shiver. Gregory, who was known for his wild stage antics and his distinctive lock of bleached hair hanging over his eye, also appeared with other Cramps members as ``punk thugs'' in the 1978 film ``The Foreigner.'' http://allmusic.com/cg/x.dll?p=amg&sql=1THE|CRAMPS' ======== Milan Hlavasa: http://elvispelvis.com/milanhlavsa.htm Jimmy Zambo http://news.bbc.co.uk/hi/english/entertainment/newsid_1098000/1098953.stm James Carr: http://www.sonicnet.com/news/archive/story.jhtml?id=1437838 # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 11:24:36 +0100 From: Phil Ford Subject: Re: (exotica) Jazz > > "----- - ---- [guess who it is; answer revealed at the end] is a man who > understands the communicative powers of the saxophone, the sonic weight and > the translucence to harsh textures that have made the instrument so > fundamental to the idiom of Afro-American improvising. The substantial girth > of his tone... separates him from those who have no more than a counterfeit > connection to the music which evolved in the wake of Ornette Coleman's > quartet..." > > "...there is always the audible proof of great skill. This man is no > charlatan; charlatans never get their instruments to sound as he does, nor > are they capable of the calling, keening, singing passages served on such a > big invisible platter of tone. Everything one hears in ----'s playing is the > result of long hours of practice, great diligence and care in the production > of sound." > > "---- is clearly a man who has heard the sound of such masters as Coleman > Hawkins, Sonny Rollins, John Coltrane... and the most ardent primitive of > the '60s -- Albert Ayler." > > >From the (long) liner notes to David S. Ware Trio's "Passage to Music" > album, on Silkheart Records. > Huh! Well, you learn something new every day. I guess I have to give Crouch more credit. But then again, maybe not. Crouch bothers me as much for the invariance of his perspective (and the limits of horizon revealed thereby) as for what that perspective actually is. He always winds up saying the same sorts of things when reviewing anything -- any music, any movie, any book, anything. He has his little agenda -- a perspective on race and culture forged, with much greater subtlety, by Albert Murray -- which he pushes at every opportunity. Crouch-isms fall heavily over everything he writes. Take the passage above: OK, so he makes an exception for David Ware, but he has to couch his praise in the same terms he uses to discuss *everything.* When he writes that Ware "is a man who understands the communicative powers of the saxophone, the sonic weight and the translucence to harsh textures that have made the instrument so fundamental to the idiom of Afro-American improvising" he is making one of his categorical statements about how something like a saxophone is *inherently* something -- something *inherently* communicative by virtue of its *inherent* sonic weight and *inherent* "translucence to harsh textures" (what does that even mean?), all of which is *inherently* suited to "the idiom of Afro-American improvising." Leaving aside the very dubious grounds for all these essentializing assumptions, you also have to ask, is there *one* idiom of Afro-American improvising? Crouch clearly thinks so, and his praise for David Ware is for a musician who he thinks falls within it. And he goes on at some length trying to make this clear -- his flagwaving about the Great Jazz Tradition (with all the associated Crouchy implications that all those avant-garde "charlatans" don't belong to it) and his patronizing remarks about how much David Ware practices (as if Cecil Taylor doesn't). And there is also the tacit assumption that the Great Tradition of Jazz is INHERENTLY African American, which I don't even want to get into. (Henry Louis Gates points out that although the Crouch/Murray line of thought gets slammed by Afrocentrists as "assimilationist," it is actually radically Afrocentric in its own way. In this sense, Crouch didn't depart from Amiri Baraka as much as it might appear.) I guess the point of all this is to say that Crouch, as a jazz and cultural critic, goes into every situation carrying a heavy load of dogma, and it prevents his criticism from ever doing what real criticism does: coming to terms with a piece of music in terms of its own unique expressive properties. (For an example of this kind of criticism, see Whitney Balliett or Gary Giddins.) I always get the sense that Crouch apprehends every piece of jazz music in terms of what he wants it to be -- and this notion of what he wants it to be is a function of an ideology that is not, at bottom, an aesthetic one. Phil Ford # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 14:48:31 -0500 From: alan zweig Subject: Re: (exotica) My =?iso-8859-1?Q?2=A2_?= on the JAZZ thing... I think I figured it out. Why Jazz focusses on what it focusses on. And the clue was in Wayno's reference to Roland Kirk. At 09:01 AM 1/12/01 -0800, Wayno wrote: > Besides, a very large blind man playing three horns >simultaneously would certainly be more interesting to look at >than the same shots of the Chicago rail yards and grinning jitterbuggers >that pad out Burns's film. I think that's the clue. The imagery associated with jazz from the sixties onward and the imagery from before the second world war are very different in many ways. If you were watching Jazz so far - with the SOUND OFF - you would be used to a certain look and a certain rhythm to the piece. If you've been following the series and you turn it in for parts four and five and six, your senses will not be upset by what you see. The look and the rhythm will continue. It will all be very consistent with what has come before. The music in the background will change somewhat but not so much. Not that your "average" music listener will hear. Or it'll be so gradual that they'll barely notice. This style of documentary using black and white archival photographs and little scratchy snippets of black and white film has become so familiar now that it's like a parallel universe. It's a place called "The Past". It's a very familiar and comfortable place. People love to visit this place. And I don't want to get all McLuhan-ish on you but the feel of the place is often more significant than the particular content that is being focussed on. Visiting "The Past" for episode two of Ken Burns' "Jazz" series or for "A&E looks at the life of Rudy Vallee" or for a piece about the Roaring Twenties are all virtually the same experience. Ken Burns makes docummentaries about "The Past". He's not very comfortable with anything else. Like "The Present" or "The Recent Past". He'll leave that to others. The final episode of "Jazz", which (finally) concentrates on the post-60's world of jazz will look completely different than the rest of the episodes. It will look like another world, another universe. Not the comfortable place we've been visiting for the rest of the series. And it will sound very different. No matter how much they avoid the avant garde, it will sound very different. I'm sure Ken Burns wasn't very comfortable making the final episode. But he felt like he had no choice. Still it's only one episode. That's not too bad. In these early episodes they may be talking about passionate - even angry - Negroes forcing their music on the world. They may be talking about music that seemed unfamiliar to folks at the time. Savage. "Jungle music". Blistering and angry even. But the truth is, to most people, the background music we've heard so far has been "HAPPY" music. Even the least sophisticated music listener has been able to "listen" so far without screwing up their faces and going "What is that noise?" And the musicians they've seen have been pretty unthreatening too. And most of them are reminded of the music played by Dixieland bands. White men in straw hats and suspenders. Or they're reminded of Louis Armstrong singing "Hello Dolly". Even if they don't like jazz - or even if they think they don't like jazz - almost anyone could watch the series so far and go "Oh I like this". My mother could tap her feet to this stuff. And one of the reasons so many of them like this stuff, even if they say they don't like jazz, is because this is the music they always hear when they visit "The Past". "Oh this is the kind of music I heard when we were watching that show about Baseball" (The Ken Burns series which inspired him to make this one; or so the story goes.) I don't know what Ken Burns is like. Specifically I don't know if he's a weak person and whether that's the explanation for Wynton Marsalis's agenda seemingly taking over the project. But this explanation makes more sense to me. They were made for each other. They both love "The Past". Wynton loves it so much that he thinks he lived in it. He's spent so much time living in "The Past" that he believes he lived in "the actual past". He's so successfully integrated the stories he's heard and read about that he now recounts them as if he'd been there. Sorry for the length of that but it just all came together in my head with the image of Roland Kirk. A modern man wearing colorful clothing and screeching into two horns at the same time does not fit into "The Past" AZ AZ # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 20:03:59 GMT From: pinwhiz@pop.ihug.co.nz Subject: RE: (exotica) FOOD (again!) > > One more... > > Eldeberry Wine by Elton John. It was the original flipside for the > Crocodile Rock single. One from me with a New Zealand Connection... Barbara Manning w/ Chris Knox(Tall Dwarfs): Her Pies (On Barbara Mannings "In New Zealand") cheers Michael # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ Date: Fri, 12 Jan 2001 21:44:42 +0100 From: "Arjan Plug" Subject: (exotica) Morricone in the UK ...ENNIO WILL KNOW US BY THE TRAIL OF SOUNDTRACKS Influential veteran soundtrack composer ENNIO MORRICONE is to make his first live UK performance at a film-related season at LONDON BARBICAN CENTRE in March. Members of Portishead, The Delgados, Asian Dub Foundation and Tortoise are also contributing to 'Only Connect', a live event where bands provide soundtracks to films and art. Organisers of the sessions, which commence on March 1 at the Barbican, claim the month long series of events to be a "kick back against the formulaic" offering "artists much needed space and perfect conditions for experimentation, collaboration and the creation of new work". As part of the series, Asian Dub Foundation will provide a live soundtrack to the French film set in the inner city of Paris, 'La Haine'. Elsewhere, Portishead's Adrian Utley provides the score to a new short film by Nicolas Roeg featuring supermodel Claudia Schiffer, The Delgados will provide music to the work of artist Joe Coleman, and Chicago post-rockers Tortoise form the backing band for Tom Ze, the Brazilian Tropicala founder. For many, however, the highlight of the programme is the Morricone event on March 10 and 11, which will feature a selection of his greatest film scores - which include archetypal Western themes such as 'The Good, The Bad And The Ugly' and 'Once Upon A Time In The West' - and two contemporary classical compositions. Two hundred musicians will perform on stage with Morricone conducting. The March 10 performance will be followed by a late-night screening of 'Once Upon A Time In The West' in the main hall. http://www.nme.com/NME/External/News/News_Story/0,1004,12942,00.html Arjan # Need help using (or leaving) this mailing list? # Send the command "info exotica" to majordomo@lists.xmission.com. # To post, email exotica@lists.xmission.com; replies go to original sender. ------------------------------ End of exotica-digest V2 #869 *****************************