From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V3 #297 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 Wednesday, February 21 2001 Volume 03 : Number 297 In this issue: - drummers Victoriaville festival, Julien Temple microtonal mp3 spam 2/2001 Re: The Beach Boys Odp: drummers Re: Re: MORE new Tim Berne out Marty Ehrlich, Mike Nock -- cheap at Amazon!! Re:Barry Guy Avant mag/FMR Records Web sites? Re: mottomo otomo Re: drummers Re: mottomo otomo ordinary fanfares playlist #1 Handleman Co. Re: Barry Guy ---------------------------------------------------------------------- Date: Wed, 21 Feb 2001 07:12:18 -0500 From: Matt Teichman Subject: drummers I've always thought it would be really cool to see two drummers who were masters of an entirely different style collaborate on an album. For instance, Susie Ibarra and Ginger Baker, or Anders Johansson and Elvin Jones. Meditations is kind of an example (one drummer in the left channel, and another in the right!), although that was of course under the general rule of Coltrane, and from what I hear there was tension between Elvin Jones and Rashied Ali. Guitarists always seem to collaborate, but what about drummers? Has it ever happened to fruitful results? - - ------------------------------ Date: Wed, 21 Feb 2001 07:51:18 -0500 From: richard ladew Subject: Victoriaville festival, Julien Temple Greetings! I was wondering if anyone could tell me if there were specific dates for specific shows at the victoriaville performances in May. Also, Big thanks go out to Julien Temple. Julien, if you are still on this list could you please send me your e-mail address and contact info? I seem to have lost it.... Thanks, Rich - - ------------------------------ Date: Wed, 21 Feb 2001 08:30:16 -0500 From: David Beardsley Subject: microtonal mp3 spam 2/2001 I have two new pieces up, Blurry Day and After the Full Moon at: http://mp3.com/davidbeardsley 17 limit Just Intonation, kinda loopy...droney... - -- * D a v i d B e a r d s l e y * 49/32 R a d i o "all microtonal, all the time" * http://www.virtulink.com/immp/lookhere.htm * http://mp3.com/davidbeardsley - - ------------------------------ Date: Wed, 21 Feb 2001 10:26:16 -0500 From: Mark Saleski Subject: Re: The Beach Boys > Pet Sounds is a great album but there seems to praised too much - so I think lot of >first-time listeners will be turned-off or disappointed. I felt that way >when I first heard it - which was so hyped at the time. It took me a year >after that when the record settled in my brain. It is really a classic >album of 1966/1965 -L.A. vibe about it - yet it strikes me as a very >personal album by Wilson. after reading so much about Pet Sounds and then seeing one of those tv movies about Brian Wilson (vh-1?) i went out and picked up a copy. it was pretty interesting to listen to the orchestral ideas he had about music...and how those ideas were transformed into some great pop music. on the other hand, i don't really see Pet Sounds as the ultimate Beach Boys recording. it reminds me a little of all of the hype about Sgt. Pepper.....there are several others i like much more (such as Revolver, Rubber Soul, Magical Mystery Tour and the White Album). - -- Mark Saleski - marks@foliage.com "The music is a journey, the journey is endless." - Sun Ra - - ------------------------------ Date: Wed, 21 Feb 2001 16:27:52 +0100 From: "Marcin Gokieli" Subject: Odp: drummers From: Matt Teichman > Jones and Rashied Ali. Guitarists always seem to collaborate, but what > about drummers? Has it ever happened to fruitful results? On Previte's 'Claude's late morning' BP plays with Joey and someone who plays electronic drums. Quite interesting, although not fully satisfactory. The previous King Crimson lineup featured two drummers, Bruford and Mastelotto. In my opinion the only place where it really clicked was 'thrak' and 'when i say stop, continue' on the VROOOM EP. I'm glad that there's only Mastelotto left by now (although there's some, to put it mildely, disagreement on that topic). On Filmowrks IX, there's a very good duo by baptista and Wollesen. The first track of the duo is awesome. Marcin Gokieli marcin.gokieli@mospan.pl marcingokieli@go2.pl Generally speaking, if a philosopher offers to 'dissolve' the problem you are working on, tell him to go climb a tree - Jerry Fodor - - ------------------------------ Date: Wed, 21 Feb 2001 10:42:07 -0500 From: ssmith36@sprynet.com Subject: Re: Re: MORE new Tim Berne out 'Nice View' was released in 1994, you're correct. But it was recorded in August 1993, which is what I suspect Screwgun was actually referencing. Steve Smith ssmith36@sprynet.com (who saw Tim with Django Bates in the audience last night for Barry Guy, Myra Melford, Gerry Hemingway and Maya Homburger at Tonic...) NP - Jascha Heifetz, Tchaikovsky Violin Concerto in D (Naxos) - - ------------------------------ Date: Wed, 21 Feb 2001 10:49:22 EST From: Samerivertwice@aol.com Subject: Marty Ehrlich, Mike Nock -- cheap at Amazon!! Naxos Jazz has a cheap Marty Ehrlich disc available at Amzon.com: The Waiting Game Mike Nock, Marty Ehrlich Our Price: $5.97 Availability: This title usually ships within 2-3 days. Audio CD (February 15, 2000) Original Release Date: February 15, 2000 Number of Discs: 1 Naxos Jazz; ASIN: B00004HYO1 Amazon.com Sales Rank: 61,578 Tom ________________________________________________ The dignity of art appears to the greatest advantage perhaps in music, because that art contains no material to be deducted. It is wholly form and intrinsic value, and it elevates and ennobles everything which it expresses. --Johann Wolfgang Von Goethe - - ------------------------------ Date: Wed, 21 Feb 2001 10:59:29 -0500 (EST) From: Ken Waxman Subject: Re:Barry Guy And what can you tell us about the Guy double bill? Ken Waxman - --- ssmith36@sprynet.com wrote: > (who saw Tim with Django Bates in the audience last > night for Barry Guy, Myra Melford, Gerry Hemingway > and Maya Homburger at Tonic...) > > - > _______________________________________________________ Do You Yahoo!? Get your free @yahoo.ca address at http://mail.yahoo.ca - - ------------------------------ Date: Wed, 21 Feb 2001 10:19:39 -0600 From: Moudry Subject: Avant mag/FMR Records Web sites? Does anyone know when the Web sites for Avant Magazine (UK) and FMR Records (who still promised the ten CD Cecil box last week) disappeared from existence? Just got the Autumn 2000 issue in Birmingham (AL; not UK) yesterday and wanted to check the current subscription price for US$s. Thanks in advance. Saturnally, Joe Moudry Office of Academic Computing & Technology School of Education, The University of Alabama @ Birmingham Master of Saturn Web (Sun Ra, the Arkestra, & Free Jazz): Producer/Host of Classic Jazz & Creativ Improv on Alabama Public Radio: WUAL 91.5FM Tuscaloosa/Birmingham WQPR 88.7FM Muscle Shoals/NW Alabama WAPR 88.3FM Selma/Montgomery/Southern Alabama - - ------------------------------ Date: Wed, 21 Feb 2001 08:53:20 -0800 (PST) From: Scott Handley Subject: Re: mottomo otomo Otomo Yoshihide: "In contrast to new kinds of music it will not be easily recognized at first sight. It is the hard work of radically reconsidering the very nature of music, of listening and performing. In contrast to new musical styles of the past it will probably neither have a certain form no a name. During these three days of Music Unlimited 1999 we had the opportunity to witness this big change, which indeed might be called fundamental. I quietly support this new stream." This is such a refreshing alternative to the kind of bombast and self-consciously "epochal" rhetoric of high modernism, mirrored in so many of the "classic" texts of postmodern thought. Otomo seems sensitive to the multiplicity of new developments now, too sensitive to take it upon himself to invoke the Age of Aquarius or assemble around himself a unified "movement" of dubious (and dubiously desireable) uniformity (cf Ezra Pound). The following was written by Otomo in late October 1999, probably before the liner notes above; I hope nobody minds the length...I thought it would be interesting to some on the list: From: Otomo Yoshihide dear jerome thank you for your mail i am not good in english,so it is just quick answers jerome joy wrote: >Here is the preliminary axis of the forum. These questions are only points >of departures for the discussion and indicate some directions: >> Do you think that the contemporary musical field widened even moved >these ten last years? Which new investigations seem to you most innovative >and convincing? Maybe yes, but I'v just never think about the musical field, My musical filed is always my very small studio and a lot of gigs,that's it. always audience decided such a kind of things. Musican(like me) just keep to make music jerome joy wrote: >> Which are the new musical and sound practices for you which try out what >one could detect like limits of the fields of the contemporary music? In >your opinion, from which territories emerge these new practices and >which prospects announce these searches? I dont think any sound is new. someone already did it last 100years everythings is already on the records of course still we dont listen some new sounds but it is not so important I am not interested to make new field for new music or the contemporaly music for me most important things for making music is just I make music that I want to listen it. I think music is now very personal and indevisual everyone can make themown music categoly is just remains from 20century, but still almost music is in a remains of 20 century jerome joy wrote: >> Which are the changes and the mutations most significant today? Do >the established kinds of the contemporary musical "writing" and the >improvisation seem in full mutation? Is the concert form still >adequate with these mutations? most significant things is you can choice many way for making music now we know composer system is just one of the way for making music if you want to make writen music,no problem just doit if you want make music with your small computer without any music education oh yes no problem just do it of couse you can make music by improvisation you can make music with old records and turntables if you want to study classical music with violin,that's great,just do it. you can do anything with any way for making music something like that jerome joy wrote: >> Can one speak about sound art? Do the limits between the musical >practices and the sound practices seem to you permeable or not? I am sorry but I dont understand this question please give me question with another words or simple words? jerome joy wrote: >> The (new) technologies largely evolved/moved during this last decade, >do they seem to you an absolute must, inevitable, in the practices of the >contemporary languages? The evolution of technologies of network, >like Internet for example, allowed the creation of new contexts on the >conditions of exchanges between the composers and artists, on the >development of the personal homestudios, and on new logistics for the >concerts for example; does this appear to you as new supports and a new >space for musical and sound emergent practices? My style of tecnology is quite old, I am not specalist for internet or very new technology. anyway I am a not specalist of tecnology just I can use it like as typical middle age people I think most important things of new technology is simple and easy I mean everyone can use new tecnolosy without any big practice so I can use internet idea also you can use it as much you can and you should think about possibility of technolpgy and behind new technology then you should choice best way for the human's future dont make same mistake as 20century's technology histry that's alway conect with war anyway best point is new technology give everyone for possibility making music without any specal music education i am sorry but that is just quick answers and my english is quite bad, and maybe some answer i misunderstood from questions and i am sure i made a lot of mistake of speling please you take care of it especally wrong speling best regards otomo yoshihide source: http://homestudio.thing.net/forum/list/msg00057.html __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices! http://auctions.yahoo.com/ - - ------------------------------ Date: Wed, 21 Feb 2001 18:03:02 +0100 (CET) From: =?iso-8859-1?q?efr=E9n=20del=20valle?= Subject: Re: drummers Dear Matt, Well, as far as I remember the record, there was a good duo album by Susie Ibarra and Dennis Charles that sounded real good. I hope my memory doesn't betray. It would certainly feel good to hear more percussion-only albums by jazz drummers. Would love to hear Jim Black, Han Bennink, Cornell Rochester, Joey Baron, Susie Ibarra, Tony Williams and countless others in pure state. Greetings, Efrén del Valle _______________________________________________________________ Do You Yahoo!? Envía mensajes instantáneos y recibe alertas de correo con Yahoo! Messenger - http://messenger.yahoo.es - - ------------------------------ Date: Wed, 21 Feb 2001 12:05:55 EST From: JonAbbey2@aol.com Subject: Re: mottomo otomo In a message dated 2/21/01 11:54:34 AM, thesubtlebody@yahoo.com writes: << The following was written by Otomo in late October 1999, probably before the liner notes above >> yep, the liner notes are from October 2000. Jon www.erstwhilerecords.com - - ------------------------------ Date: Wed, 21 Feb 2001 09:28:44 -0800 (PST) From: Grey ElkGel Subject: ordinary fanfares playlist #1 ordinary fanfares playlist #1 - february 20, 2001 wmfo 91.5fm, medford massachussetts 1. kent tankred: ps 3 [ordinary things CD - fylkingen] 2. linda perhacs: parallelograms [parallelograms CD - the wild places] 3. the shadow ring: the wallet of wasps [the music of the shadow ring 7" - dry leaf discs] 4. ghedalia tazartes: part 2 [une eclipse totale de soleil CD - alga marghen] 5. black dice: track b1 [10" - troubleman unlimited] 6. angry hate: blinking blue lights [7"] 7. muddy waters: she's alright [electric mud CD - chess] 8. loren boyer: au peche mignon [des parasites risquent de se produire CD - intransitive] 9. jason lescalleet: part 1 [another example of parkinson's law 7" - freedom from] 10. sunn o))): richard [00 void CD - hh noise industries] 11. bhob rainey: part 2 [6 standing desert LP - fringes] 12. the frogs: the longing goes away [hopscotch lollipop sunday surprise CD - scratchie] 13. walter marchetti: coma vigile [antibarbarus CD - alga marghen] 14. heimir björgulfsson : track 2 [discreet journey digitalis CD - ritornell] 15. steve martin: funny comedy gags & closing [let's get small LP - warner bros.] 16. per svensson: cosmic trip circle & dirt [energy loop/element II CD - firework edition] __________________________________________________ Do You Yahoo!? Yahoo! Auctions - Buy the things you want at great prices! http://auctions.yahoo.com/ - - ------------------------------ Date: Wed, 21 Feb 2001 14:14:27 -0500 From: kurt_gottschalk@scni.com Subject: Handleman Co. an interesting piece of the music mass market puzzle, i thought. write me for the complete article. kg np: lead belly's last sessions, disc 1 By David Segal (c) 2001, The Washington Post TROY, Mich. - The rock band Train usually plays to packed halls in big cities, but three weeks ago the group performed on the ground floor of a light-gray office building in this Detroit suburb. Just 300 people watched the show. "We played four songs there," says Pat Monahan, the lead singer of Train. "We want to make fans and friends of these people." So do plenty of other acts. Hootie and the Blowfish have appeared there, as have Barenaked Ladies and Amy Grant, all playing brief shows before a tiny audience in an atrium. Other stars - Garth Brooks, 'N Sync - have stopped by just to sign autographs and say hello. This unlikely hub of superstar traffic is the building that houses Handleman Co., the recording industry's least-known powerhouse. Handleman manages the in- store music departments of 4,000 retailers, including every Kmart and more than one third of all Wal-Marts. Last year, one out of every 10 albums sold in the United States was bought at a Handleman-managed store, and for certain popular titles, like Tim McGraw's "Greatest Hits," the ratio was closer to one in four. As pop's heavyweights converge Wednesday on Los Angeles for the Grammy Awards, the clout of big music buyers like Handleman is changing the way albums are acquired in this country. Mass merchants like Kmart, along with electronics superstores such as Best Buy, are gobbling up an ever larger share of the $14.3 billion U.S. music market, offering CDs at bargain prices in the hopes of driving traffic to cavernous stores filled with more expensive merchandise. And that, say many in the business, is bad news for music lovers. The record store was once a place to stumble across albums by emerging artists and masterpieces by forgotten greats, or a place to get a hot tip from a local maven. But a typical Wal-Mart carries roughly 4,000 titles, a minuscule fraction of the more than quarter-million CD and cassette offerings on the market. Specialty chains, like Tower Records - which typically carry 20 times the inventory of Wal-Mart - are steadily losing market share, and many independent retailers say they are struggling. - - ------------------------------ Date: Wed, 21 Feb 2001 14:17:15 -0500 From: Brian Olewnick Subject: Re: Barry Guy Ken Waxman wrote: > > And what can you tell us about the Guy double bill? Well, 'til Steve gets around to it, I'll pitch in. It was in two sections, the first with Guy and Homberger (on violin--baroque violin to be precise, tuned a half-step from the bass), the second with Guy, Crispell & Hemingway. The duo featured pieces from the ECM release, "Ceremony". The first was a three part song beginning with a baroque piece, improv in the middle, a Guy-derived baroque work to end. OK, in an ECM-ish Bryars-y way. Guy then played a very nice solo (called "Still") that swung from quiet strumming to manic action, utilizing assorted sticks. (All throughout the concert Guy made frequent use of his volume pedal to pretty good effect). Homberger than performed a solo accompanied by tape of her seven times over which was meditative and, for me, way too long. Guy returned to perform his "Fizzles" which was the eye-popping highlight of the evening, utilizing multiple implements including scrub-brush and a bow-shaped piece of wood which, when scraped across the strings with the volume pedal fully depressed, produced some scarily thrilling sounds. A final duet again touching on baroque themes ended the set plesantly enough. The trio improv was one uninterrupted piece and actually not all improv as, on at least two occasions, written thematic material (presumably by Guy) was introduced; those were in fact my favorite parts. As much as I love Guy's playing, it's his composing that really does it for me. It may be because I'm listening to a lot of AMM and Erstwhilian improv lately, but this "type" of show is beginning to pale a little for me. On the one hand, it was a fine, engaging performance; on the other, I'm mentally exhorting the musicians to push it more, to lose some of the "routine" aspects I'm increasingly hearing. For example, there was a section where Crispell played a staccato pattern; this was quickly picked up by Guy and, in turn, by Hemingway. I found myself thinking: that's _exactly_ what AMM would never do. If Tilbury played a similar pattern, it would certainly register with the others, but instead of simply mimicking it, they'd use it as material for further, not necessarily obviously related, exploration. I realize I'm being overly critical, perhaps, but...well, it's an issue that I think is going to be coming up with increasing frequency. And, fwiw, I hasten to add that Guy's recent tentet recording, "Inscapes-Tableaux" is fabulous. So, who knows? It was also a pleasure to meet listers Rick Lopez and Dave Belkin (am I getting that last name right?). Hope to see you around town more often. We can take in a Yankee game! Brian Olewnick NP: Dave Holland - Conference of the Birds - - ------------------------------ End of Zorn List Digest V3 #297 ******************************* 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