From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #1006 Reply-To: zorn-list Sender: owner-zorn-list-digest@lists.xmission.com Errors-To: owner-zorn-list-digest@lists.xmission.com Precedence: bulk Zorn List Digest Tuesday, July 18 2000 Volume 02 : Number 1006 In this issue: - Re: Zorn practicing Re: Zorn Practicing Zorn practicing.... Re: Zorn Practicing Gaddis (was Re: Zorn Practicing) Re: Zorn Practicing New sale/exchange list (no subject) Re: Wadada Leo Smith Reflectativity Boulez guitarist question Re: guitarist question re : moral St. Germain RE: St. Germain Re: St. Germain Re: guitarist gilmore Re: new dream syndicate cd Re: Terry Riley Re: new dream syndicate cd Cobra ZRM[P] review [longish] Re: Cobra ---------------------------------------------------------------------- Date: Mon, 17 Jul 2000 09:17:40 -0700 From: "Mike Biffle" Subject: Re: Zorn practicing > ... terry bozzio (former frank zappa drummer), told me that because he = was the son of poor immigrants, he never had money to go out with his = friends or do anything much after school was over. so he spent most of his = spare time practicing the drums. he started off with about two hours in = the morning before (!) going to school, then again after lunch, and = continued right after coming back home in the afternoon. though, if i = remember correctly, he "only" practiced around eight hours... I find sitting in the house playing far more enjoyable than most other = activities... No logistics other than how to keep from driving the rest of = the household crazy! There's a LOT of time between getting off a day job = at 5:00pm and midnight!=20 > ... i think that a lot of those artists make their "main" money over = here in europe. i've read several interviews in which one or the other of = them said that they couldn't possibly survive doing this kind of music if = it wasn't for the european market.=20 Don't forget the Japanese market... many pretty wild improv artists = regularly tour there as well. Derek Bailey has mentioned the importance of = this market to his success. Best regards, - -Miko Biffle - - ------------------------------ Date: Mon, 17 Jul 2000 13:36:09 -0400 (EDT) From: James Graves Subject: Re: Zorn Practicing I think I read this in "Talking Music", but I believe that Zorn lived on a fixed income he inherited from his Grandmother's (maybe...?) estate when she passed away. It was just enough for rent and food in NYC at the time. I actually think this raises an interesting issue. In principle I find pouring over details of artists lives a little bit distasteful and voyeuristic, pulled back by a feeling that "only their work matters." The liner notes of the Jimi Hendrix rereleases are almost disgusting in their level of detail. The recording sessions are put in the context of Hendrix's entire life, saying how he broke up with this girlfriend so many days before going into the studio, that he stopped using rosewood necks on his guitar starting on this concert, and a host of other things that, while occasionally interesting, seem to be just a little too much. But there are so many great stories and fascinating figures within the scene that I'm always interested in more gossip or information. Stories like Charles Ive's holding down an Insurance company job while he explored his own highly individualized music on the weekends and Zorn bumming around the US and Japan as an outsider while developing a unique body of work always fascinate me. Who doesn't love that story about Zorn telling Madeline Albright to "shut the fuck up?" Much art in the 20th century has addressed and expanded the defining lines between artist and observer, but I still feel left in a strange position here. Anybody have any thoughts on this? Jamie - - ------------------------------ Date: Mon, 17 Jul 2000 10:42:46 -0700 (PDT) From: Theo Klaase Subject: Zorn practicing.... I've got a John Zorn book that's both English and Italian, and in it, Zorn states that he began playing saxophone at age 21!!! Imagine that! ===== - -That which is Theodorus "Good bye sober day, hello milky way..."www.freeyellow.com/members7/theodorus/index.html __________________________________________________ Do You Yahoo!? Get Yahoo! Mail – Free email you can access from anywhere! http://mail.yahoo.com/ - - ------------------------------ Date: Mon, 17 Jul 2000 10:44:57 -0700 From: "s~Z" Subject: Re: Zorn Practicing >>>In principle I find pouring over details of artists lives a little bit distasteful and voyeuristic, pulled back by a feeling that "only their work matters."<<< "What is it they want from a man that they didn't get from his work? What do they expect? What is there left of him when he's done his work? What's any artist, but the dregs of his work? the human shambles that follows it around. What's left of the man when the work's done but a shambles of apology?" -- the character Wyatt, in William Gaddis' _The Recognitions_, pp. 95-6. - - ------------------------------ Date: Mon, 17 Jul 2000 14:05:26 -0400 From: Maurice Rickard Subject: Gaddis (was Re: Zorn Practicing) At 10:44 AM -0700 7/17/00, s~Z wrote: > -- the character Wyatt, in William Gaddis' _The Recognitions_, pp. 95-6. > I don't have any substantial contributions to the discussion of Zorn's practicing schedule, but _The Recognitions_ is definitely one of the masterworks of the 20th century--a great cultural critique, and a very darkly funny take on Beat and pre-Beat-era NYC. Well worth taking a week off to read. _JR_ is another one (skewering modern--pre-Web--American capitalism), and what's astonishing about them is how drastically his style changed from the first book (_The Recognitions_) to his later career. (Well, there were 20 years between _The Recognitions_ and _JR_.) One wishes Gaddis were around to write the definitive .com mania book. To whoever asked the question about the _word_ strings: the ones I use in the above are meant to substitute for italics. - -- Maurice Rickard http://mauricerickard.com/ - - ------------------------------ Date: Mon, 17 Jul 2000 14:32:50 -0400 From: Dan Hewins Subject: Re: Zorn Practicing >I actually think this raises an interesting issue. In principle I find >pouring over details of artists lives a little bit distasteful and >voyeuristic, pulled back by a feeling that "only their work matters." >... Anybody have >any thoughts on this? Well, I suppose it's good information for people interested in trying to develop themselves as artists. Educationally, this information is helpful. Some artists have come up with some interesting ways to pay the bills. Dan Hewins - - ------------------------------ Date: Mon, 17 Jul 2000 20:17:00 +0100 From: Scott Subject: New sale/exchange list Hi I've just updated by sale/trade list with stuff by Merzbow, Paul Schutze, Pierre Henry and Ground Zero amongst others. You can find it at: http://www.burntweeny.freeserve.co.uk/list.html Scott - -- White Noise For experimental events in Scotland http://www.burntweeny.freeserve.co.uk - - ------------------------------ Date: Mon, 17 Jul 2000 16:59:16 EDT From: LostinmyDreamz@aol.com Subject: (no subject) Who doesn't love that story about Zorn telling Madeline Albright to "shut the fuck up?" I would love to hear the details of this story if anyone has them. Seth - - ------------------------------ Date: Mon, 17 Jul 2000 16:29:27 -0500 From: Herb Levy Subject: Re: Wadada Leo Smith Reflectativity "Rob Allaert" asked: >Can anyone review these releases? > >* Wadada Leo Smith: Reflectativity In general this is not as close to "jazz" as the Golden Quartet CD but it is closer to improvised music than most of the two previous CDs by Smith on Tzadik. I like it pretty well based on my limited listening so far. I should note that the CD includes new versions of BOTH pieces from the original 1975 LP Reflectativity, not just the title track, but also , originally recorded with that title, followed by a dedication to the fishermen of the world, here retitled: Fisherman t Wmukl-D. Since these both appear to be in part graphic scores with much room for improvisations, as well as some sections in something like standard notation, the overall shape of the new recordings is quite similar to the old vinyl sides, but only some parts seem to be literally repeated from the previous version. BTW, I recently heard Smith play in Vancouver BC with the New Orchestra Workshop and he sounded great. I've liked what I've heard of the Susie Ibarra disc, but I haven't given it enough attention to say much more than that. Bests, Herb - -- Herb Levy P O Box 9369 Forth Wort, TX 76147 817 377-2983 herb@eskimo.com - - ------------------------------ Date: Mon, 17 Jul 2000 19:44:38 -0700 (PDT) From: =?iso-8859-1?q?A?= Subject: Boulez Hi I just finished seeing a Pierre Boulez performance, conducting the Salzburg Philarmonic in 1992 and it blew me away...any good pointers on where to start exploring his music??? A np: Liquid Tension Experiment 2 __________________________________________________ Do You Yahoo!? Get Yahoo! Mail – Free email you can access from anywhere! http://mail.yahoo.com/ - - ------------------------------ Date: Tue, 18 Jul 2000 02:39:57 -0400 From: Matt Teichman Subject: guitarist question Is the David Gilmore that plays with Don Byron the same one that plays with Pink Floyd, or am I mixing up my Gilmores with my Gilmours? - - ------------------------------ Date: Tue, 18 Jul 2000 11:01:09 -0700 From: Arthur Rother Subject: Re: guitarist question Same guy, different name, eh... At 02:39 AM 7/18/00 -0400, you wrote: >Is the David Gilmore that plays with Don Byron the same one that plays with >Pink Floyd, or am I mixing up my Gilmores with my Gilmours? > >- > - - ------------------------------ Date: Tue, 18 Jul 2000 10:53:41 +0100 From: "Truyens" Subject: re : moral The question that popped in my head, and that Zorn is certainly challenging is "Is Art Moral?" I'm at a loss for what I think; so, I was wondering if you all have anything to say. ~Eriedell I'm always slightly missionary when I hear questions like Is art moral, Is love good. I've probably read too much Korzybski, so I think of these questions as noise. Unanswerable. There is nothing that can be called "Art" and also moral is a rather abstract term. Abstraction meaning so many levels away from actual experience, that it becomes almost void. There are people doing things and each and every one should be viewed separately. Me thinks. - - ------------------------------ Date: Tue, 18 Jul 2000 12:16:27 +0200 From: Stephen Fruitman Subject: St. Germain Anyone have any information on a French artist who trades under the name St. Germain, and who has just released an album on Blue Note entitled _Tourist_? Thanks in advance, Stephen - ------------- Bj=F6rn Olsson, Inst. f=F6r id=E9historia, Ume=E5 universitet 901 87 Ume=E5 tel. 090-7867982 fax 143374 e-post: bjorn.olsson@idehist.umu.se - - ------------------------------ Date: Tue, 18 Jul 2000 12:19:08 +0200 (CEST) From: Yves Dewulf Subject: RE: St. Germain St.Germain is an alias for the French house artist Ludovic Navarre, whose debut album "Boulevard" was released on Laurent Garnier's F-communications label some five years ago. His music is a combination of typical French deep house beats, very subtle jazz and blues samples (way before Moby and with much better results) AND adding exquisite jazz musicians. Boulevard is a great album, if only for the first track which mixes Dave Brubeck's Take five, samples of soul-diva Marlena Shaw (anyone knows if here albums are still available somewhere??) and cool-jazz trumpet/tenor duo's. Also live St.Germain is outstanding, having as much as ten live jazz-cats on stage and Navarre himself hidden behind mixing desks and computers. Both albums are definetely worth checking out, no avant-garde at all but probably the most funky and soulful jazzhouse around. Tourist should be the first buy however, as it shows a bit more variation. YVes - - ------------------------------ Date: Tue, 18 Jul 2000 12:25:05 +0200 From: "in.out" Subject: Re: St. Germain This guy real name is Ludovic Navare and he used to be find for the last 7 years filed under House music=2E St Germain was the first DJ from the "French touch" to be famous in Japan and USA=2E He alway work in the electronic music including a lo of jazz=2E I haven't listen his Blue note release yet but his former album "Boulevard" on F=2ECom was a success both in the jazz and electronic press=2E Mikl Carsenti np: Ronald shannon Jackson "Pulse" - ------------------------------------------- In-Out Cd Store 15 avenue N=F4tre Dame 06000 Nice Tel/Fax : +33 (0)4 93 80 54 54 e-mail : in=2Eout@wanadoo=2Efr - - ------------------------------ Date: Tue, 18 Jul 2000 07:04:36 EDT From: MorMovies@aol.com Subject: Re: guitarist gilmore David Gilmore is a young NYC-based player. He has worked with Cassandra Wilson, Steve Coleman, Don Byron, Lost Tribe, Graham Haynes, and others. - - ------------------------------ Date: Tue, 18 Jul 2000 08:54:06 -0400 From: David Beardsley Subject: Re: new dream syndicate cd Steve Berman writes: > >>>>> "David" == David Beardsley writes: > > David> And his name is spelled: La Monte - with a space. > > Does he pronounce it like 'la mont' or like 'la monty'? I've heard > both on the radio. > - --Steve Berman La Monte. - -- * D a v i d B e a r d s l e y * xouoxno@virtulink.com * * 49/32 R a d i o "all microtonal, all the time" * M E L A v i r t u a l d r e a m house monitor * * http://www.virtulink.com/immp/lookhere.htm - - ------------------------------ Date: Tue, 18 Jul 2000 09:00:50 -0400 From: David Beardsley Subject: Re: Terry Riley User384726@aol.com aka Aaron Solomon writes: > While In C is the essential Riley his new works are often overlooked. > "Chanting The Light Of Foresigh" is by far one of the best compositions in > recent time. This is a sax Quartet written with just intonation It's not all in JI. > (for more on > Just intonation I highly recommend "Harmonic Experience: Tonal Harmony from > Its Natural Origins to Its Modern Expression" -- W. A. Mathieu). Great book! - -- * D a v i d B e a r d s l e y * xouoxno@virtulink.com * * 49/32 R a d i o "all microtonal, all the time" * M E L A v i r t u a l d r e a m house monitor * * http://www.virtulink.com/immp/lookhere.htm - - ------------------------------ Date: Tue, 18 Jul 2000 15:14:46 +0200 (MET DST) From: Steve Berman Subject: Re: new dream syndicate cd >>>>> "David" == David Beardsley writes: David> Steve Berman writes: >> >>>>> "David" == David Beardsley >> writes: >> David> And his name is spelled: La Monte - with a space. >> Does he pronounce it like 'la mont' or like 'la monty'? I've >> heard both on the radio. - --Steve Berman David> La Monte. Ah, of course. Amazing I didn't realize that before. - --Steve Berman - - ------------------------------ Date: Tue, 18 Jul 2000 11:08:45 -0400 From: "&c." Subject: Cobra Does any one know where I can get a copy of Cobra Live 92. Most websites either have it on backorder or not at all. It's frustrating. Is the CD currently out of print or is it just hard to find? Zach - - ------------------------------ Date: Tue, 18 Jul 2000 08:12:13 -0700 (PDT) From: jason tors Subject: ZRM[P] review [longish] from ed zeizel [ed.zeizel@roilab.com] Roll out the seats for this one. A slammed Tonic night; sweaty sardined and most certainly standing room only. A pow-wow of chiefs; Medeski, Zorn, Ribot, and guest drummer Ben Perowsky meeting up for what is usually a structurally morphing fly-by–the-seat-of-your-pants affair. The early set last night had that quality, but heavier on the foundation, remnants of a rehearsal lingering, a tightness of set pacing that couldn’t have been more on the mark. An uncanny balance and blend to their transitions between groove, swing, out, and in-between. For those who missed: this was one of those nights; an energy soaked mind-reading chemistry that can be rare in such a high risk set. Four amazing players equally on; one of the best sets I’ve caught in some time, these guys pretty much mopped the floor with my ear wax. Judging by last night and the Symphony Space Masada, Zorn’s playing sounds fantastic, it’s very clear that’s been a recent focus for him. But surprisingly he was less in the cue role last night; downtowners have developed a twitch over the years, a twitch of the head to the Z when a transition comes around; last night four corners joined so smooth nobody got bogged down by the baton. Medeski ever consistent, but watch out now he’s in piano shape, right hand Hammond molesting with a speed he usually doesn’t whip out on that instrument. Lefty low end anchors putting the groove in, the swing in. Ribot is in Postizos shape, a great sound and time for him; aggressively melodic but hitting more on the outs then with his band, milking his strengths till the nipples are sore. Tone shining and sharp, ignoring the mess of wires at his feet just enough. Perowsky just might have to get a paragraph. This guy is starting to take charge in this town, and, especially recently, in some damn tough company. His sound could not be more perfect for a gig like this; ornery, reactionary, dense and aggressive as all hell. The man has got so many areas of his playing together; beyond together. Style-stamped and saucy. Perowsky makes everyone push whether its Douglas’ sextet, his own band, or this quartet of scene leaders. Structurally he take the helm often and without hesitation but instead of dragging the group kicking and screaming they follow suit with smiles. The connection between him and Medeski was one of the stronger bonds I’ve seen, they pushed each others buttons and limits; on one occasion they upped tempos notch by notch so much it got competitive, Ribot sweating a bit then dropping out, building to an orgasmic chaos crumble to end one of the set’s highlights. Watching the faces of the four there was no doubt how much they got caught up in this set. This configuration will pop up again. This brings me to my plea for the day. If anyone knows who was taping that set and could be troubled to divulge, it would mean a lot. Trades are available. Thanks. __________________________________________________ Do You Yahoo!? Get Yahoo! Mail – Free email you can access from anywhere! http://mail.yahoo.com/ - - ------------------------------ Date: Tue, 18 Jul 2000 08:28:13 -0700 From: "Patrice L. Roussel" Subject: Re: Cobra On Tue, 18 Jul 2000 11:08:45 -0400 "&c." wrote: > > Does any one know where I can get a copy of Cobra Live 92. Most websites > either have it on backorder or not at all. It's frustrating. Is the CD > currently out of print or is it just hard to find? It was my impression that the Tom Cora tribute (IT'S A BRAND NEW DAY) was produced by John Zorn at the condition that the COBRA would be deleted (I even thought that both would end up with the same catalog number). This as a result of Zorn not wanting to have anything to do anymore with the KF. Patrice. - - ------------------------------ End of Zorn List Digest V2 #1006 ******************************** To unsubscribe from zorn-list-digest, send an email to "majordomo@lists.xmission.com" with "unsubscribe zorn-list-digest" in the body of the message. For information on digests or retrieving files and old messages send "help" to the same address. Do not use quotes in your message. A non-digest (direct mail) version of this list is also available; to subscribe to that instead, replace all instances of "zorn-list-digest" in the commands above with "zorn-list". Back issues are available for anonymous FTP from ftp.xmission.com, in pub/lists/zorn-list/archive. These are organized by date. 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