From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #952 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 Saturday, June 3 2000 Volume 02 : Number 952 In this issue: - transmissions festival update Sex Mob Sex Mob sex mob bill frisell interview online Re: sex mob Re: Sex Mob Re: Sex Mob Re: webern box set Re[2]: Sex Mob artists and self-estimation (was re: webern box) Lurie brothers & Marc Ribot (fwd) Sex Mob Re: artists and self-estimation (was re: webern box) Re: artists and self-estimation (was re: webern box) ...and I don't even listen to Webern... ...and I don't even listen to Webern... ---------------------------------------------------------------------- Date: Fri, 2 Jun 2000 01:59:08 -0400 (EDT) From: Ethan Subject: transmissions festival update july 14-15 cats' cradle, carrboro, nc transmissions site http://transmit.org pita, fennesz, rafael toral, kim cascone, hazard, david grubbs, john fahey, marcus schmickler, alan licht, dean roberts, pelt, lucky kitchen, rhband, vote robot, idyll swords, zuerichten, keenan lawler, miss murgatroid + films & audio installations just a brief note to mention that the transmissions site ( transmit.org ) has been updated to include the schedule, accommodation information, and a map to the cat's cradle. we should be shortly announcing the film, video, and installation information, including specific works and location details. a limited number of tickets are still available through the website, and should also currently be aquarius records in san francisco, ear-xtacy, and ground zero in louisville, and cd alley and schoolkids records in chapel hill. tickets can also be mailordered; please contact info@transmit.org to notify us of how many tickets you would to reserve. please let us know if you have any other questions ( info@transmit.org ) thanks to everyone for the interest - keenan ________________________________________ k e e n a n mcdonald. t r a n s o o 3 post box 1816. west jefferson nc. 28694 k@transmit.org - - - - - transmit.org - - ------------------------------ Date: Fri, 02 Jun 2000 10:12:05 EDT From: "& c." Subject: Sex Mob Does any one know anything about the band Sex Mob. I just bought Solid Sender on a whim. Mainly because of the Knitting Factory connection. i just want to know the opinion of them in the avant garde scene. ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - - ------------------------------ Date: Fri, 2 Jun 2000 10:22:40 -0400 From: Jason Tors Subject: Sex Mob sex mob is a band you have to check out live to fully get into what they are doing. I am not a fan of solid sender, the first album is much better in my opinion. - - ------------------------------ Date: Fri, 2 Jun 2000 16:47:20 +0200 From: "dekater" Subject: sex mob I like Solid Sender a lot. There's much fun and great playing. Jan Luyben - - ------------------------------ Date: Fri, 2 Jun 2000 10:43:28 -0500 (CDT) From: Whit Schonbein Subject: bill frisell interview online stumbled onto this, if anyone is interested http://www.sonicnet.com/jazz/features/Frisell,_Bill/051500/ cheers, whit - - ------------------------------ Date: Fri, 02 Jun 2000 18:11:40 -0700 From: Arthur Rother Subject: Re: sex mob They play many songs live, that are on no album. I really liked all that J. Bond stuff. But notting on CD except Goldfinger. - - ------------------------------ Date: Fri, 2 Jun 2000 13:04:17 -0400 From: Peter Gannushkin Subject: Re: Sex Mob Hello &, Friday, June 02, 2000, you wrote to me: c> Does any one know anything about the band Sex Mob. I just bought Solid c> Sender on a whim. Mainly because of the Knitting Factory connection. i c> just want to know the opinion of them in the avant garde scene. Steven Bernstein has different own projects as well as he is playing as a member of other groups like Kamikaze Ground Crew. Sex Mob is the most joyful and bright quartet you have to check live. His Millenial Territory Orchestra is another very interesting collective where they are trying to play Ellington music. His CD Diaspora Soul on Tzadik is one of my favorites on the label too. And the last thing I want to add that he was a music director of Kansas City Band from Robert Altman's Kansas City movie so he is even more famous as an arranger. - -- Best regards, Peter Gannushkin e-mail: shkin@shkin.com - - ------------------------------ Date: Fri, 02 Jun 2000 19:46:55 +0200 From: "Francisco =?iso-8859-1?Q?Fonz=2DGarc=E9s?=" Subject: Re: Sex Mob Peter Gannushkin wrote: > Steven Bernstein has different own projects as well as he is playing > as a member of other groups like Kamikaze Ground Crew. Sex Mob is the > most joyful and bright quartet you have to check live. His Millenial > Territory Orchestra is another very interesting collective where they > are trying to play Ellington music. His CD Diaspora Soul on Tzadik is > one of my favorites on the label too. And the last thing I want to add > that he was a music director of Kansas City Band from Robert Altman's > Kansas City movie so he is even more famous as an arranger. Still musical director in Lurie's Loungue Lizards? Ciao Paco - -- ------------------------------------------
francisco fonz-garcés
po box 199 22080 huesca spain (europe)
pacofonz@teleline.es
http://teleline.terra.es/personal/pacofonz
gr_amano@yahoo.es
jazz_sp@egroups.com
------------------------------------------ - - ------------------------------ Date: Fri, 02 Jun 2000 10:49:34 -0700 From: "Patrice L. Roussel" Subject: Re: webern box set On Fri, 2 Jun 2000 00:35:17 EDT Nudeants@aol.com wrote: > > Also: if anyone exists that would admit that their last record sucked or was > sub-par, then they're not an artist, and thus they also would be outside the > crux of this particular biscuit. Yet, if an artist claims that he feels his > last work to be his finest, maybe we should take that into consideration when > assessing their work for ourselves. I have a different opinion here. Artists sometimes try new things that go nowhere. Through history, we tend to only remember the ones that really succeeded (the bins of art are quite full with failed attempts). All this to say that an artist can recognize that his last record is not up to what he expected because he tried something new and, finally, it ended up to be short on promise. I am just sad that I never read about artists acknowledging, once in a while, that their last record was lackluster (when there is sometimes a silence conspiracy indicating that the result was... so-so, to say the least). A typical situation on this list is the great expectections that upcoming records are producing. Then, when the record is released, you barely read anything really positive about it (I pass on the usual "interesting"). But people have already jumped on the next upcoming one (which should put the situation straight). Patrice. - - ------------------------------ Date: Fri, 2 Jun 2000 14:24:16 -0400 From: Peter Gannushkin Subject: Re[2]: Sex Mob Hello Francisco, Friday, June 02, 2000, you wrote to me: FFG> Peter Gannushkin wrote: >> Steven Bernstein has different own projects as well as he is playing >> as a member of other groups like Kamikaze Ground Crew. Sex Mob is the >> most joyful and bright quartet you have to check live. His Millenial >> Territory Orchestra is another very interesting collective where they >> are trying to play Ellington music. His CD Diaspora Soul on Tzadik is >> one of my favorites on the label too. And the last thing I want to add >> that he was a music director of Kansas City Band from Robert Altman's >> Kansas City movie so he is even more famous as an arranger. FFG> Still musical director in Lurie's Loungue Lizards? I'm not sure. He was musical director for several years but I don't think he still is. - -- Best regards, Peter Gannushkin e-mail: shkin@shkin.com - - ------------------------------ Date: Fri, 02 Jun 2000 13:47:35 CDT From: "Kristopher S. Handley" Subject: artists and self-estimation (was re: webern box) > > Also: if anyone exists that would admit that their last record sucked or >was > > sub-par, then they're not an artist.... What bothers me about this statement is that it seems to not make sense. If one must compulsively give pride of place to one's most recent work, then one is an egomaniac, not (necessarily) an artist. All that an artist _must_ do is PRODUCE, consciously (and even _that_ criterion is "iffy"). To stay interested in one's work, to maintain a livelihood, to maintain the hype, to deepen or insure one's enclave in the tumultuous annals of history....all _these_ are reasons to promote the current. And proximity, which is less cynical and more natural a reason: whatever's just finished is---assumedly---closest to who that producer is as a person RIGHT NOW; that person, not worried about the annals of history, is happy to be alive and productive, and here (i.e. here, the most recent fruits of his/her labours) is the proof of that persistence. But that doesn't mean we stop being critical consumers (ouch! did I say "consumers"? ouch!) >Yet, if an artist claims that he feels his >last work to be his finest, maybe we should take that into consideration >when >assessing their work for ourselves. If we follow the artist's bait, we no longer assess anything _for ourselves_. Patrice Roussel responded to the above quoted comments: >Through history, we tend to only remember the ones that really >succeeded (the bins of art are quite full with failed attempts)... 1. I'd be interested to know what constitutes a "real" success, outside the usual categories: platinum sales; "historical" "significance"; persistence of popularity, even if diffuse (i.e. cult followings, resurgences, massive subtle influence, critical acclaim amidst the ruins of popular ignorance, etc.), etc etc. I can intuitively agree with you: sometimes I feel that someone shot for something, missed, and failed to even accidentally hit anything interesting. But I also feel (ah! the avant-gardist in me!) that there may be new ways to look at old failures which makes the clarity of the success/failure dichotomy less, well, clear. Anyway, my question would be: do we remember the works because they succeeded, or did they succeed _because they WERE REMEMBERED_? This leads me to my third point, right after my next point... >I am just sad that I never read about artists acknowledging, once >in a while, that their last record was lackluster 2. Absolutely agreed! More refreshing and more edifying than humility, "modesty", or self-deprecation, would be the ability to shrug off a (perceived) failure and say, "The next go-around will be a lot more fun" or "Perhaps _someone_ will find it interesting" or take the John Coltrane (or, for that matter, Cornel West) route and just be tremendously excited about What's Next. >But >people have already jumped on the next upcoming one (which should put the >situation straight). The constant threat and promise of history---above and beyond the present pleasures of fame and even wealth and power---and the "speeding up" of history, the acceleration and exponential growth in mass quantity of information that one can/should/must consume, now means that we must promote with hyperbole, constantly. Which is why every new novel is the greatest of his/her generation, if not century; why Evan Parker is "the most innovative saxophonist since John Coltrane", etc etc, blah blah blah. It is the perfect way to cater to the needs of those who love substance and fear profusion, who flounder in the ocean of _information_ (which should not, as Caleb Carr has put it, be confused with _knowledge_); it is the perfect way not to even cynically dupe the masses into consuming a product in huge quanitities, but rather a survival mechanism designed to allow an artist/album/performance/utterance/idea to be noticed in the first place. A form of economic selection, of competition. So the survival instinct in an artist might move him/her to promote himself/herself basec on current work. - -----s ________________________________________________________________________ Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com - - ------------------------------ Date: Fri, 2 Jun 2000 18:22:56 -0400 (EDT) From: eric ong Subject: Lurie brothers & Marc Ribot (fwd) This was probably meant for the list... - ---------- Forwarded message ---------- Date: Fri, 2 Jun 2000 16:18:57 +0200 From: Viguier Benoit To: eso200@is5.nyu.edu Subject: Lurie brothers & Marc Ribot Hi, I know it's not very polite, but it's my last chance... I'm a french fan of the new-york jazz scene, and especially of John & Evan Lurie, Marc Ribot, Arto Lindsay, Ezter Balint... For many years I try to find some records of those people, but i really don't find them on the internet or in some french strores. Could you help me if you have those records (of course i could send you some money) or if you can tell me where i can find them : 1/ Live from drunken boat (LP, Europa 1983) : lounge lizards 2/ Big Heart live in tokyo (japanese version) : Lounge Lizards 3/ Banned from 93 countries : the terminators Many thanks Benoit - - ------------------------------ Date: Fri, 2 Jun 2000 20:20:22 -0400 From: "Neil H. Enet" Subject: Sex Mob I too own Solid Sender and love it very much. I just look at them as a Rock And Roll band played with "Jazz instruments" (if you know what I mean), and of course with that inevitable Jazz feeling. I love the drunken sound of the trumpet and the sax. I haven't seen them live and haven't heard the first album, but Solid Sender is very good. Their cover of ABBA's Fernando is very funny, it sounds like a drunk MARIACHI band, if you know what I mean. I understand the debut album has a cover of MACARENA, ... I have to hear that!!!! Neil H. Enet - ------------ - - ------------------------------ Date: Fri, 2 Jun 2000 22:50:47 EDT From: Nudeants@aol.com Subject: Re: artists and self-estimation (was re: webern box) In a message dated 6/2/00 2:48:58 PM Eastern Daylight Time, thesubtlebody@hotmail.com writes: << If we follow the artist's bait, we no longer assess anything _for ourselves_. >> Bait? You imply trickery or some such thing here. If an artist does something we don't like, then its bait? What is it if we like it? Or is it 'bait' no matter what, even if we like it? - - ------------------------------ Date: Sat, 3 Jun 2000 04:10:13 EDT From: Eisenbeil@aol.com Subject: Re: artists and self-estimation (was re: webern box) In a message dated 6/2/00 2:48:58 PM Eastern Daylight Time, thesubtlebody@hotmail.com writes: << >Yet, if an artist claims that he feels his >last work to be his finest, maybe we should take that into consideration >when >assessing their work for ourselves. If we follow the artist's bait, we no longer assess anything _for ourselves_. >> I think that this is a fascinating subject. A few years ago I had the opportunity to spend an afternoon visiting with composer George Rochberg, an 80 year old composer who has been part of the avant-garde his whole life. He told me that during Beethoven's time , old Ludwig Van was asked by an interviewer to state his favorite symphony. Beethoven replied that the Third symphony, Eroica, was his favorite. The interviewer was surprised because he expected him to state a more obvious choice, the 5th or the 9th. "Why do you suppose Ludwig chose the third?", Rochberg asked me. If anyone is interested I'll write back tomorrow with his answer. Peace, Bruce www.eisenbeil.com - - ------------------------------ Date: Sat, 03 Jun 2000 10:55:57 -0400 From: Taylor McLaren Subject: ...and I don't even listen to Webern... MEEP! thesubtlebody@hotmail.com wrote: >whatever's just finished >is---assumedly---closest to who that producer is as a person RIGHT NOW; that >person, not worried about the annals of history, is happy to be alive and >productive, and here (i.e. here, the most recent fruits of his/her labours) >is the proof of that persistence. But that doesn't mean we stop being >critical consumers (ouch! did I say "consumers"? ouch!) It's funny that you should apologize for being a consumer. You mentioned marketing hyperbole as being symptomatic of a mass of available information, and a way of trying to make a single recording or artist stand out in a sea of options. Isn't this sort of apology pretty much the same thing on the consumer's side of the transaction, ie. "I'm not like the other people here in this record store... I actually buy stuff because it *means* something to me"? This isn't meant as a way of singling out a particular comment for accusations of snobbery, either. Musicians on other mailing lists have managed to get awfully worked up about how their output is perceived or used by their audience, in some cases reaching the point of getting into shit-flinging matches with people who were "obviously just missing the point". Well, for multiple parties to reach the point of politely telling one another to go fuck a lawnmower, there are obviously some strongly-held convictions being trampled on or ignored. If we're all trying to establish unique identities for ourselves in the face of market research, browser cookies, and serial numbers, why not just assume that we're all just a tiny bit different from one another, and that blanket statements about artistic intent are always going to leave somebody out? C'mon, it's a nice day outside... doesn't a popsicle and a walk in the park sound better than sitting in front of a computer and getting all pasty-toned over generalizations? - -me - - ------------------------------ Date: Sat, 03 Jun 2000 09:47:43 -0400 From: Taylor McLaren Subject: ...and I don't even listen to Webern... MEEP! thesubtlebody@hotmail.com wrote: >whatever's just finished >is---assumedly---closest to who that producer is as a person RIGHT NOW; that >person, not worried about the annals of history, is happy to be alive and >productive, and here (i.e. here, the most recent fruits of his/her labours) >is the proof of that persistence. But that doesn't mean we stop being >critical consumers (ouch! did I say "consumers"? ouch!) It's funny that you should apologize for being a consumer. You mentioned marketing hyperbole as being symptomatic of a mass of available information, and a way of trying to make a single recording or artist stand out in a sea of options. Isn't this sort of apology pretty much the same thing on the consumer's side of the transaction, ie. "I'm not like the other people here in this record store... I actually buy stuff because it *means* something to me"? This isn't meant as a way of singling out a particular comment for accusations of snobbery, either. Musicians on other mailing lists have managed to get awfully worked up about how their output is perceived or used by their audience, in some cases reaching the point of getting into shit-flinging matches with people who were "obviously just missing the point". Well, for multiple parties to reach the point of politely telling one another to go fuck a lawnmower, there are obviously some strongly-held convictions being trampled on or ignored. If we're all trying to establish unique identities for ourselves in the face of market research, browser cookies, and serial numbers, why not just assume that we're all just a tiny bit different from one another, and that blanket statements about artistic intent are always going to leave somebody out? C'mon, it's a nice day outside... doesn't a popsicle and a walk in the park sound better than sitting in front of a computer and getting all pasty-toned over generalizations? - -me - - ------------------------------ End of Zorn List Digest V2 #952 ******************************* 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. 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