From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #332 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 Thursday, April 16 1998 Volume 02 : Number 332 In this issue: - Re: Cecil Taylor questions Re: mori Re: Cecil Taylor questions Re: mori Re[2]: mori Re: mori more mori Theatre of musical optics Re: more mori Cobra Re: Theatre of musical optics Re:Cobra Re: Theatre of musical optics Re: more mori Re: more mori Re: more mori Sorry to spam..... Re: Theatre of musical optics Merzbow ---------------------------------------------------------------------- Date: Thu, 16 Apr 1998 11:28:16 -0800 From: George Grella Subject: Re: Cecil Taylor questions Jeff Schwartz writes: > Any recomendations on FMP's Cecil meets the European Free > Improvisers series? > If you mean the "In Berlin" series, then I would recommend ALL OF THEM! Absolutely. My personal favorite, FWIW, is the recording with Derek Bailey. gg - - ------------------------------ Date: Thu, 16 Apr 1998 14:38:12 -0400 From: Perfect Sound Forever Subject: Re: mori On Thu, 16 Apr 1998 11:06:06 -0400 (EDT), Brent Burton said: > i saw mori play with derek bailey and john zorn late last year @ the > knitting factory and was kind of underwhelmed by her drum machine avec > effects improvisations. although her style of volume swells was > pretty consistent with bailey's electric guitar playing, i just kept > wishing that she was playing a kit. > Gotta disagree here. I saw the same show and I was amazed at what she was able to do. Though she does sit there quietly and push buttons and turn knobs, the sounds that she's able to create are amazing- I think she outclassed some of the other people at that show (without trying). I also saw her do a great set with Kim Gordon of Sonic Youth at the Anchorage last year. Don't be fooled by her seemingly quiet demeanor- if you just listen, there's a lot going on. I think the work she's doing now is much better the playing she did on a drum kit with DNA. Jason - -- Perfect Sound Forever online music magazine perfect-sound@furious.com http://www.furious.com/perfect - - ------------------------------ Date: Thu, 16 Apr 1998 11:40:14 PDT From: "Scott Handley" Subject: Re: Cecil Taylor questions > >Any recomendations on FMP's Cecil meets the European Free >Improvisers series? >-- >Jeff Schwartz >jeffs@bgnet.bgsu.edu >http://www.bgsu.edu/~jeffs/main.html If for some INSANE REASON anyone is selling their box set, I'm buying! On that note, I really like the meetings with Tony Oxley and especially Paul Lovens: my favorite playing by Lovens on record (which I've heard). REGALIA (w/Lovens) is a super-awesome record. - --scott ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com - - ------------------------------ Date: Thu, 16 Apr 1998 14:58:29 -0400 (EDT) From: Brent Burton Subject: Re: mori nOn Thu, 16 Apr 1998, Perfect Sound Forever wrote: > Gotta disagree here. I saw the same show and I was amazed at what she > was able to do. Though she does sit there quietly and push buttons and > turn knobs, the sounds that she's able to create are amazing- I think > she outclassed some of the other people at that show (without trying). > Don't be fooled by her seemingly quiet demeanor- if you just listen, > there's a lot going on. I think the work she's doing now is much better > the playing she did on a drum kit with DNA. well it wasn't as if bailey's stage presence was that much more electric. i just didn't think she was sonically was adding that much. i mean you can *tell* me that there was a lot going on, but i just didn't *hear* it. i would've been just as happy if it had been just zorn and bailey. i mean, it's improv, so it's too much of an assumption for me to say that it didn't seem as if zorn or bailey were really feeding off mori, but that's what it sounded like from the front row. b - - ------------------------------ Date: Thu, 16 Apr 98 14:58:30 -0500 From: brian_olewnick@smtplink.mssm.edu Subject: Re[2]: mori >> i saw mori play with derek bailey and john zorn late last year @ the >> knitting factory and was kind of underwhelmed by her drum machine >>avec effects improvisations. although her style of volume swells was >> pretty consistent with bailey's electric guitar playing, i just >>kept wishing that she was playing a kit. > >Gotta disagree here. I saw the same show and I was amazed at what she >was able to do. Though she does sit there quietly and push buttons >and turn knobs, the sounds that she's able to create are amazing- I >think she outclassed some of the other people at that show (without >trying). I also saw her do a great set with Kim Gordon of Sonic Youth >at the Anchorage last year. Don't be fooled by her seemingly quiet >demeanor- if you just listen, there's a lot going on. I think the >work she's doing now is much better the playing she did on a drum kit >with DNA. Crikey! Was everyone on this last at that show?! We should probably wear name tags. Anyway, I'll second Jason; I thought Ikue was amazing and more than held her own in that crowd. I, too, get a kick out of someone with such a calm demeanor producing such wild and inspired sounds. Brian Olewnick - -- Perfect Sound Forever online music magazine perfect-sound@furious.com http://www.furious.com/perfect - - - - ------------------------------ Date: Thu, 16 Apr 1998 15:06:25 EDT From: JonAbbey2 Subject: Re: mori In a message dated 4/16/98 2:52:44 PM, bburton@CapAccess.org wrote: <<> Gotta disagree here. I saw the same show and I was amazed at what she > was able to do. Though she does sit there quietly and push buttons and > turn knobs, the sounds that she's able to create are amazing- I think > she outclassed some of the other people at that show (without trying). > Don't be fooled by her seemingly quiet demeanor- if you just listen, > there's a lot going on. I think the work she's doing now is much better > the playing she did on a drum kit with DNA. well it wasn't as if bailey's stage presence was that much more electric. i just didn't think she was sonically was adding that much. i mean you can *tell* me that there was a lot going on, but i just didn't *hear* it. i would've been just as happy if it had been just zorn and bailey. i mean, it's improv, so it's too much of an assumption for me to say that it didn't seem as if zorn or bailey were really feeding off mori, but that's what it sounded like from the front row. b>> well, I loved Mori during this concert. I thought Zorn was actually the odd person out. He seemed to be switching between his duck call mode and a very quiet, subdued mode without ever exploring the territory in between. I remember saying to the illustrious Steve Smith afterwards that I would like to hear a duet record between Mori and Bailey. What she does with textures is remarkable and not really captured fully on any record I've ever heard. She holds her own with any of the live "electronica" acts I've seen, from Autechre to Mouse On Mars. Jon - - ------------------------------ Date: Thu, 16 Apr 1998 15:37:29 -0400 (EDT) From: Brent Burton Subject: more mori On Thu, 16 Apr 1998, JonAbbey2 wrote: > well, I loved Mori during this concert. I thought Zorn was actually the odd > person out. He seemed to be switching between his duck call mode and a very > quiet, subdued mode without ever exploring the territory in between. I > remember saying to the illustrious Steve Smith afterwards that I would like to > hear a duet record between Mori and Bailey. What she does with textures is > remarkable and not really captured fully on any record I've ever heard. She > holds her own with any of the live "electronica" acts I've seen, from Autechre > to Mouse On Mars. i think i *really* must have been @ a different show! i grant you that a duo disc between mori and bailey would be cool to hear, but i thought zorn sounded really nice that night. and i think he responded well to the clashing between bailey's plaintive, floating harmonics and agressive, distorted assault of notes. maybe that's why his "switching" was so abrupt? i was sitting about three feet from his horn and i was loving every minute of it. as far as "electronica" goes, i don't think anything i've heard mori do on drum machines can touch autechre, who compose tracks that sound like computers dying rhythmically - shards of sound. i didn't feel mori did *enough* with the sampled drum sounds at that show or on the recent _painted desert_ - they just sounded like drum machines. stiff. but then again her approach seems completely different than autechre's. apples and oranges. love, b - - ------------------------------ Date: Thu, 16 Apr 1998 21:48:31 +0200 From: "Roger Langvik" Subject: Theatre of musical optics I have some questions abaout Zorns Thetre of musical optics.... I would be happy if any of you goys and gals could answer these...: 1. How was the objeckts highlighted on the grid....? (I have a theory abaout spotlights being used on each grid to light up th= e objects in piece......) 2. How did time get out of the music? 3. How does "Fidel" and "Caf=E9 wha?" help to point towards the answer of what remains after both time and sound is taken away from a musical performance? Anybody? Roger - - ------------------------------ Date: Thu, 16 Apr 1998 15:55:37 EDT From: JonAbbey2 Subject: Re: more mori In a message dated 4/16/98 3:35:50 PM, bburton@CapAccess.org wrote: <> I'm talking about live performances, not records. Both Autechre and Mouse On Mars, who have made a bunch of great records between them, are not especially interesting live, at least in my experience. It's much harder to create the sort of multi-layering effects that help to make many electronica albums good when you're performing live. Mori's very good at it. Very few electronica acts are. Jon - - ------------------------------ Date: Thu, 16 Apr 1998 12:00:27 -1000 From: sfunk@pop.adn.com (Stephen Funk) Subject: Cobra Digging back in memory a few years... I bought the 2LP "Cobra" on HatArt way back when it first came out. I don't think I ever listened all the way through. I recall there was a studio version and a live version. Pretty "cerebral" sounding stuff, and if you didn't know better you might think it was random. Of course the process used to compose the piece is interesting, but the results are often a bit tedious if I recall. I do remember the live version containing some amusing "breaks" where the band would suddenly start playing the "Beer Barrell Polka" or something... aparently this was built in to the composition in some way to keep it from getting too "boring". I think there were also a few of these moments in the studio version, where someone would randomly put a record on a turntable and let it play for a few seconds... I really can't remember details too well about this one. Someone else on the list can probably fill in the blanks a lot better than me. Personally, I have never been intersted in buying this piece on CD. I don't know if the CD is the same as the Hat Art LPs, or a new performance... I imagine the piece could sound totally different with different players and instrumentation. So, if you're into the more experimental, non-linear, process-music, improv side of Zorn, you may find it interesting. If you're more on the Naked City, Spillane, Big Gundown side of the fence, you may be bored. If you must have all things Zorn, it's a no brainer. One man's story. - - Steve *** *** *** Steve Funk (sfunk@pop.adn.com) Anchorage, AK USA - - ------------------------------ Date: Thu, 16 Apr 1998 15:01:09 -0500 (CDT) From: "Joseph S. Zitt" Subject: Re: Theatre of musical optics That's a fascinating bunch of questions -- but what are you asking about? Is the theatre of musical optics something other than just a publishing company? On Thu, 16 Apr 1998, Roger Langvik wrote: > I have some questions abaout Zorns Thetre of musical optics.... - - ---------1---------1---------1---------1---------1---------1---------- |||/ Joseph Zitt ===== jzitt@humansystems.com ===== Human Systems \||| ||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \|| |/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \| - - ------------------------------ Date: Thu, 16 Apr 1998 21:14:17 UT From: peter_risser@cinfin.com Subject: Re:Cobra I think Cobra as much theatre as it is music. I would not hesitate to ever see it live, if I got the chance again. Listening to a recording of cobra would be like listening to a recording of Stomp, as far as I'm concerned, maybe interesting, but you're only getting half the point. PeterR ____________________Reply Separator____________________ Subject: Cobra Author: owner-zorn-list@lists.xmission.com Date: 04/16/1998 5:00 PM Digging back in memory a few years... Personally, I have never been intersted in buying this piece on CD. I don't know if the CD is the same as the Hat Art LPs, or a new performance... I imagine the piece could sound totally different with different players and instrumentation. So, if you're into the more experimental, non-linear, process-music, improv side of Zorn, you may find it interesting. If you're more on the Naked City, Spillane, Big Gundown side of the fence, you may be bored. If you must have all things Zorn, it's a no brainer. - - ------------------------------ Date: Thu, 16 Apr 98 16:15:39 -0500 From: brian_olewnick@smtplink.mssm.edu Subject: Re: Theatre of musical optics 2. How did time get out of the music? Well, how _does_ time get out of the music? Hmmmm. Brian Olewnick ;^) - - ------------------------------ Date: Thu, 16 Apr 1998 16:46:51 -0400 (EDT) From: ia zha nah er vesen Subject: Re: more mori > I'm talking about live performances, not records. Both Autechre and Mouse On > Mars, who have made a bunch of great records between them, are not especially > interesting live, at least in my experience. It's much harder to create the Whoa...too bad you didn't have MY experience of an Autechre live show. (Autechre...Autechre...Autechre...) I'll spare the play-by-play account of what the set was like, but i did sneak a few peeks over the DJ table to see what they were up to. It looked like a whole bunch of synths connected to a Mac, running some sort of sequencer and they just ran the whole show to a MIDI clock whilst tweaking knobs. I'm not sure how 'preprogrammed' the set was, ie: if they were capable of 'improvising' or not, and how much the live knob tweaking and Mac-poking changed the course of events... It still blew me and everyone i talked to afterwards far far away. Perhaps the LSD helped. - -jascha - - ------------------------------ Date: Thu, 16 Apr 1998 15:54:32 -0500 (CDT) From: "Joseph S. Zitt" Subject: Re: more mori On Thu, 16 Apr 1998, ia zha nah er vesen wrote: > (Autechre...Autechre...Autechre...) BTW, how the bleep do you pronounce that? I've heard everything from "Ottiker" to "Oh Tekh Ra" to "Aw-Tesh(gurgle)". - - ---------1---------1---------1---------1---------1---------1---------- |||/ Joseph Zitt ===== jzitt@humansystems.com ===== Human Systems \||| ||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \|| |/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \| - - ------------------------------ Date: Thu, 16 Apr 1998 17:13:37 -0400 (EDT) From: Brent Burton Subject: Re: more mori On Thu, 16 Apr 1998, Joseph S. Zitt wrote: > On Thu, 16 Apr 1998, ia zha nah er vesen wrote: > > > (Autechre...Autechre...Autechre...) > > BTW, how the bleep do you pronounce that? I've heard everything from > "Ottiker" to "Oh Tekh Ra" to "Aw-Tesh(gurgle)". i have it from reliable sources that it's pronounced: aw-tek-er (the "techre" part is pronounced similar to occur) b - - ------------------------------ Date: Thu, 16 Apr 1998 17:16:10 EDT From: Tag Yr It Subject: Sorry to spam..... Hello list-eners..... I have about 75 CD's to get rid of cheap...everything from Debbie Gibson to Painkiller. Email me privately for a list..... Dale. - - ------------------------------ Date: Thu, 16 Apr 1998 15:26:15 -0700 From: "Patrice L. Roussel" Subject: Re: Theatre of musical optics On Thu, 16 Apr 1998 15:01:09 -0500 (CDT) "Joseph S. Zitt" wrote: > > That's a fascinating bunch of questions -- but what are you asking about? > Is the theatre of musical optics something other than just a publishing > company? It is much more than that! Zorn was involved in some kind of minimal theatre in the late '70s (a consequence, I guess, of frequenting artists like Foreman and Smith). I remember that during the Zorn month at the KF, he had a couple of late performances where he would just sit on the floor and spend the full time just moving little objects. Patrice. - - ------------------------------ Date: Thu, 16 Apr 1998 14:40:38 -0400 From: "Simon Thibaudeau" Subject: Merzbow Message en plusieurs parties et au format MIME. - ------=_NextPart_000_0034_01BD6945.9F468220 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Does anybody know where to start with Merzbow? There is so much and I = don't know where to start. Any suggestion If I'm too off subject please e-mail me personnally Simon Thibaudeau Personal: simon.thibaudeau@ift.ulaval.ca Mindspell: aag017@agora.ulaval.ca (418)658-6150 http://mindspell.home.ml.org http://mindspellzine.home.ml.org Mindspell "paper" 'zine out now! featuring: Devin Townsend, Sadus, Brutal Truth, Raison D'=EAtre, Solar Spine and more.... Send 2$ US and Canada 3$ World to: Mindspell=20 c/o Simon Thibaudeau 112 Ste-Marie Panet G0R 2J0 Canada "..and so this style of expression will depend largely on representation by sounds and gesture.."=20 - ------=_NextPart_000_0034_01BD6945.9F468220 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable
Does anybody know where to start with Merzbow? There = is so=20 much and I don't know where to start. Any suggestion
 
If I'm too off subject please e-mail me=20 personnally
 
 
Simon Thibaudeau
Personal: simon.thibaudeau@ift.ulava= l.ca
Mindspell:=20 aag017@agora.ulaval.ca
(418= )658-6150
 
http://mindspell.home.ml.orghttp://mindspellzine.home.ml.or= g
 
Mindspell "paper" 'zine = out=20 now!
featuring: Devin Townsend, Sadus, Brutal Truth,
Raison = D'être,=20 Solar Spine and more....
 
Send 2$ US and=20 Canada
         3$ = World
 
to: Mindspell
c/o Simon = Thibaudeau
112=20 Ste-Marie
Panet
G0R 2J0
Canada
 
"..and so this style of = expression will=20 depend
largely on representation by sounds and gesture.."=20
- ------=_NextPart_000_0034_01BD6945.9F468220-- - - ------------------------------ End of Zorn List Digest V2 #332 ******************************* 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. Problems? Email the list owner at zorn-list-owner@lists.xmission.com