From: Scott Russell Subject: Parachute Date: 01 Aug 1997 06:23:28 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear everyone, this just in from Cargo, distributors of Tzadik in the UK. The Parachute box is due in August. It will apparently be a six (or was it 7?) disc set comprising all the releases for Chadbourne's Parachute label together with 'hours' of extra material. There will also be extensive sleevenotes and annotations. Limited to 1000 worldwide. It checks in at a not-so-cheap 75 pounds; convert it to your local currency and weep... I've ordered mine! Scott Russell. -- ++++++++++++++++++++++ Scott Russell Information Systems Specialist Scottish Media Newspapers Email:Srussell@cims.co.uk Tel: 0141 552 6255 ext3628 ++++++++++++++++++++++ --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Laswell's "Asana" (was Re: Praxis Live) Date: 01 Aug 1997 04:13:31 -0400 "wesley@interaccess.com" wrote: >Also worth noting that _Asana_ was released in Europe this >week, also on Douglas Records. This is a brand new Laswell disc, correct? Has anyone heard it? or, does anyone 'know' what it sounds like, who (if anyone) it features etc.? If it's listed on the Axiom site, I haven't been there in a while ... Thanks -Patrick ------------------------------------------------------------------------------- From: MrBERWELL@aol.com Subject: Frisell on PBS Date: 01 Aug 1997 06:25:11 -0400 (EDT) Just wanted to make sure everyone knows Bill Frisell will be coming across the airwaves soon. There is a new series on PBS called "Sessions at West 54th", its on every Saturday at 11:00 pm, on channel 13 in the NJ/ NY area. It features two artists a show, a half hour each, with three or four tunes, and some interviews thrown in. August 9th is the date for Frisell (and Sonic Youth). I was at the Frisell taping, it was quite the show, with Jimmie Dale Gilmore, Jerry Douglas, Victor Krauss, Robin Holcomb, and Frisell's regular quartet. Other artists in the series are Wynton Marsalis, Suzanne Vega, Billy Brag, Bobby McFerrin, Keb Mo, Shawn Colvin, Richard Thompson, et al. Check out the web site: sessionsatwest54th.com. Jody McAllister ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Flying Mijinko Band Question Date: 01 Aug 1997 07:43:05 PDT I just received a copy of the Flying Mijinko Band CDs, and there's a violin player named Asuka Kaneko, who appears courtesy of BMG Victor. Does anyone know what else this person has released? Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Asana Date: 01 Aug 1997 12:00:02 PDT Does anyone know if the new Laswell project is called Asana, or if it's the album title. If it's the project name, does anyone know the name of the album? Thanks, Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Asana Date: 01 Aug 1997 11:59:22 PDT Does anyone know if the new Laswell project is called Asana, or if it's the album title. If it's the project name, does anyone know the name of the album? Thanks, Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: rladew@hopper.unh.edu (Rich Ladew) Subject: Re: Boston Madness Date: 01 Aug 1997 22:04:28 -0400 (EDT) Sorry for posting this here, but Scott G's e-mail address just didn't work when I posted it so here is Boston info I know of: >Hello, > >I am going to Boston next week for the MacWorld conference. Luckily I >get to stay there from this Saturday until Saturday. Can someone give >me a run down on the fun improv/noise/avant garde scene there (if there >is one). > >And hey, if anybody knows who Alien Skin is and/or if you're going to >MacWorld, stop by our booth (#5637). We'll have brightly colored hair, >and we might hit you with a rubber alien! Bonk!! > >Thanks! > >Scott Gilliam >CEO / Forklift Daddy >ALIEN SKIN SOFTWARE, LLC >Suite 101, 1100 Wake Forest Road >Raleigh, NC 287604-1354 >http://www.alienskin.com >V: 919 832 4124 x126 >F: 919 832 4065 > > Scott: Greetings from New Hampshire!!!! I live about an hour from Boston and try to go to any Avant Garde type stuff that comes. Unfortunately, I don't know of any shows the week you are going. You might want to check out a club in cambridge Mass (you can get there by taking the red line of Boston's subway called "The T". The Middle East has had Painkiller live, boredoms, and in general a lot of college/indie stuff. For Jazz, you could try Johnny D's in Cambridge (I once saw Frisell there) or Scullers (pricier , snobbier Jazz acts). As far as record stores are concerned, I'd take a look at stero Jack's in cambridge for choice used vinyl, and Twisted Village in Harvard Square (where I found Masada 7). If you have any Boston questions, e-mail me and I'll try and help you out. Happy hunting, rich Ladew rladew@hopper.unh.edu ------------------------------------------------------------------------------- From: AJSExec@aol.com Subject: Re: SF Bay Activities Date: 02 Aug 1997 13:18:06 -0400 (EDT) Fred Hodshon wrote: << I'll be travelling to the bay area every week (Monday & Tuesday) for the next few months. Anyone know of zornish activities or places that I can visit while I'm there? >> I'd recommend Beanbender's in Berkeley, myself. It's one of the best venues in the Bay Area for good improv, IMHO. I don't have a phone number offhand, but it's in the Berkeley Store Gallery Annex at 2295 Shattuck Avenue. - Todd S. Jenkins, American Jazz Symposium ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Re: Melvins Date: 02 Aug 1997 23:32:03 -0500 (CDT) > I'm with you on the new Melvins release. They've yet to cease amazing me. > Saw them play here in Seattle a month or so ago and after seeing them maybe > 15 times over the years, this show blew me all the way away. If you get a > chance to see them soon, they are in high gear and top form. Anyone care to enlighten me a bit about the Melvins? > I've heard excellent things about the Godflesh remix CD but have yet to > hear it myself. It's a great disc...I like the remixes much better then the songs that they are derived from (this rarely happens). Out 2 Lunch With Lunchmeat, Paul wesley@interaccess.com ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Re: Laswell's "Asana" (was Re: Praxis Live) Date: 02 Aug 1997 23:42:34 -0500 (CDT) On Fri, 1 Aug 1997, Patrick Carey wrote: > >Also worth noting that _Asana_ was released in Europe this > >week, also on Douglas Records. > > This is a brand new Laswell disc, correct? Has anyone heard it? or, > does anyone 'know' what it sounds like, who (if anyone) it features etc.? One database I saw listed it as featuring "Bill Laswell, Material, Jah" which I'm going to assume is Jah Wobble. Beyond that I don't know. I believe that the Axiom site metions something about 4 tracks of Indian derived ambience". Paul wesley@interaccess.com ------------------------------------------------------------------------------- From: "mcmullenm" Subject: re: love and hate re-mix Date: 02 Aug 1997 22:09:41 -0700 ---------- > From: wesley@interaccess.com > To: Todd Bramy > > > I've heard excellent things about the Godflesh remix CD but have yet to > > hear it myself. > > It's a great disc...I like the remixes much better then the songs that > they are derived from (this rarely happens). > > Out 2 Lunch With Lunchmeat, > > Paul just to keep with the theme of love and hate...i am the first person i have met who hated the re-mix...everyone seems to love it...i had it traded back to tower records as soon as possible...and i loved the original...and i usually love broadrick's remixes...go figure... i traded it for the most recent by Tony Oxley and the Celebration Orchestra featuring Bill Dixon...THE ENCHANTED ORCHESTRA...now there's some quality music... Schwitterz ------------------------------------------------------------------------------- From: molony@worldscope.co.uk (molony) Subject: asana Date: 03 Aug 1997 11:15:52 +0100 To all of you holding your (tantric)breath about asana on douglas i got a copy from rough trade london today.To precis the blurb,it appears that these four tracks were gathered at the behest of yoga and meditation classes who had variously contorted themselves or nodded out to these ryhthms. How this public demand manifested itself may be left dear reader to your own imagination, anyway the 4 tracks are :- DEVABANDHA BY MAKYO PROBABLY IDENTICAL TRACK AS ON SILENT'S RASA BHAVA OM NAMAH SHIVA JAH WOBBLE SAME AS ON HEAVEN AND EARTH MANTRA BY MATERIAL( "ONE OF THE MIXES") HEAR NO EVIL BY BILL LASWELL "A SLOWED DOWN AMBIENT PIECE INSPIRED BY THE ALBUM OF THE SAME NAME" WHAT WAS IT THAT THE LATE LAMENTED WILLIAM BURROUGHS SAID? NEVER TRUST A RELIGOUS SON OF A BITCH ??????? KICK OUT THE YOGA MATS BROTHERS AND SISTERS!!!!!!!! KEVIN M. ------------------------------------------------------------------------------- From: Matthew Ross Davis Subject: William S. Burroughs, dead at 83 Date: 03 Aug 1997 13:09:44 -0400 I thought everyone would like to know that William Burroughs died yesterday after being admitted to the Lawrence Memorial Hospital in Lawrence, Kansas. He had been admitted Friday after a heart attack. http://www.washingtonpost.com/wp-srv/WAPO/19970802/V000696-080297-idx.html | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | m-a-t-t-h-e-w r-o-s-s d-a-v-i-s university of maryland http://www.butterfly.net/mozart school of music | | S | O | H | C | 4 | # | 3 | 6 | 5 | 7 | 9 | C | B | 6 | 5 | 0 | | ------------------------------------------------------------------------------- From: "mcmullenm" Subject: pulitzer schmulitzer Date: 03 Aug 1997 10:14:46 -0700 too bad the quality of evaluation for literature is not parallelled in the evaluation of music by the pulitzer folks...they need to talk to the people who grant the macarthur genius awards...i am drowning myself in tony oxley's celebration orchestra to purge myself from the aftermath of having watched 10 or so minutes of Sir Wynton's opera last night on pbs...what a travesty...with true genius existing in the person of artists like anthony braxton and cecil taylor why must the stylist flatland musings of technique-ocrats like marsalis be rewarded with a pulitzer? Sz ------------------------------------------------------------------------------- From: Wlt4@aol.com Subject: Re: pulitzer schmulitzer Date: 03 Aug 1997 20:13:09 -0400 (EDT) Don't know if this kind of discussion belongs on the mailing list but: One of the main reasons Marsalis was awarded the Pulitizer over numerous more deserving jazz/etc composers is that Blood in the Fields is in a form that the Pulitizer committee is familiar with and understands, an oratorio (not an opera). That also means (a) a concert work and not something you hear in clubs or on albums and (b) a good portion is notated. With such a work, it's not hard to see why the committee grabbed the opportunity to finally recognize jazz and show how hip or multi-cultural or whatever they are even if the piece in question is atypical (which is after all the reason they noticed it to begin with). Gary Giddins has pointed out that the committee had to break their own eligibility requirements, otherwise Blood in the Fields would have been a couple of years too old to qualify. Lang Thompson http://members.aol.com/wlt4/index.htm ------------------------------------------------------------------------------- From: improv@peak.org (Dave Trenkel) Subject: Re: William S. Burroughs, dead at 83 Date: 03 Aug 1997 21:50:10 -0800 At 1:09 PM 8/3/97, Matthew Ross Davis wrote: >I thought everyone would like to know that William Burroughs died yesterday >after being admitted to the Lawrence Memorial Hospital in Lawrence, Kansas. >He had been admitted Friday after a heart attack. > > http://www.washingtonpost.com/wp-srv/WAPO/19970802/V000696-080297-idx.html > Geez, what a couple of days it's been, Fela Kuti died friday as well ________________________________________________________ Dave Trenkel : improv@peak.org : www.peak.org/~improv/ "...there will come a day when you won't have to use gasoline. You'd simply take a cassette and put it in your car, let it run. You'd have to have the proper type of music. Like you take two sticks, put 'em together, make fire. You take some notes and rub 'em together - dum, dum, dum, dum - fire, cosmic fire." -Sun Ra ________________________________________________________ ------------------------------------------------------------------------------- From: rizzi@netcom.com (m. rizzi) Subject: Re: William S. Burroughs, dead at 83 Date: 03 Aug 1997 22:33:29 -0700 (PDT) Dave Trenkel, demi-God and Icon sez: > >>I thought everyone would like to know that William Burroughs died yesterday >Geez, what a couple of days it's been, Fela Kuti died friday as well Whoa! Wasn't he pretty young? mike ------------------- rizzi@netcom.com ----------------------------------- www.browbeat.com "Another nerd with a soulpatch" www.grin.net/~rizzi/burma.html browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------------- ------------------------------------------------------------------------------- From: jihad7@juno.com (Nathan M Earixson) Subject: Re: Melvins Date: 04 Aug 1997 11:33:36 -0500 On Sat, 2 Aug 1997 23:32:03 -0500 (CDT) "wesley@interaccess.com" writes: > >Anyone care to enlighten me a bit about the Melvins? They are from Seattle, They have been called the first "Grunge " band, but this is misleading. Their basic idea was to play very slow. After they started getting attention, (post-Nirvana) they began to be even more inaccessible. Their album "Prick" is one of the most annoying things you can imagine. It's as annoying as any Residents album. IMHO one a f the few interesting rock bands left. Last time I was them they opened for themselves. Twice. I recommend hearing Gluey Porch Treatments (Early), and Stoner Witch (Late). ***************************************** "Have a good time... All the Time." -Viv Savage. ***************************************** ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Panthalassa/Dub Meltdown Date: 04 Aug 1997 11:49:24 PDT The New York Times from yesterday, as well as the new issue of Vibe both have articles on Miles Davis, in which they talk about the upcoming Laswell remixes (Vibe lists it as a good primer to Miles' electric period). The Times, however, mentions an October release, while the Sony page on Miles still has an August 12 release. I'm assuming that the Times has the correct date. Can anyone confirm this though? CD now also has the Laswell/Style Scott CD listed for the 12th as well, but I emailed WordSound and they informed me that it won't be out until September (in case anyone is interested!) Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Panthalassa/Dub Meltdown Date: 04 Aug 1997 12:10:19 -0700 At 11:49 AM 8/4/97 PDT, David Brunelle wrote: >The New York Times from yesterday, as well as the new issue of Vibe both >have articles on Miles Davis, in which they talk about the upcoming >Laswell remixes (Vibe lists it as a good primer to Miles' electric >period). The Times, however, mentions an October release, while the Sony >page on Miles still has an August 12 release. I'm assuming that the >Times has the correct date. Can anyone confirm this though? CD now also >has the Laswell/Style Scott CD listed for the 12th as well, but I >emailed WordSound and they informed me that it won't be out until >September (in case anyone is interested!) _Panthalassa_ will probably be out in October. The cover art has not been done yet and there are a few other things that need to be in place for release. There has also been a September date circulating that is incorrect. _Dub Meltdown_ hasn't even been mastered, so there is no release this month. Wordsound recordings have a tendency to be released when they are released. _Arcana 2_, with Tony Williams, Bill Laswell, Pharoah Sanders, Byard Lancaster, Graham Haynes, Nicky Skopelitis, and Buckethead will be released in October also on Axiom. I have been listening to this one non-stop for the last several weeks and it is intense. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Steve Smith Subject: I'm back, everyone... Date: 04 Aug 1997 17:09:55 -0400 Just as I threatened, I've returned to the Zornlist from the comfort of my own home. This is my new e-mail address: ssmith36@sprynet.com I've missed you all. (And Mike, now hopefully you won't get the gazillion returned messages you were seeing while I was at Das Knit. Best to one and all, Steve Smith ------------------------------------------------------------------------------- From: Wlt4@aol.com Subject: Charles Gayle Knitting Factory releases Date: 04 Aug 1997 17:49:03 -0400 (EDT) Does anybody know what's happened to the Gayle albums that KF was supposed to release? They're no longer listed on the website. Cancelled, delayed or what? Lang Thompson ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Charles Gayle Knitting Factory releases Date: 04 Aug 1997 18:12:21 -0400 Wlt4@aol.com wrote: > Does anybody know what's happened to the Gayle albums that KF was > supposed to > release? They're no longer listed on the website. Cancelled, delayed > or > what? > > Lang Thompson Lang - Most likely cancelled. The label has just undergone an complete change in management (Mark Perlson and Alan Schneider are gone, and Andreas Wurfel, formerly of Intuition Music, took Mark's place), and combining that with Charles' drastic change of modus operandi of late (Streets the Clown, you know) and the fact that, while he's an extremely polite and affable person, he can be peculiar to work with, I'm guessing that "Harlem Betrayed" and "By Any Means" probably are not going to happen. Which is a shame in regards to the By Any Means band (William Parker and Rashied Ali), but I'm sure that if Charles is interested, someone will be recording new Gayle material before long. He recently released a pretty straight instrumental gospel record on 2.13, but I'm sure you knew that. Steve Smith ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: voice mail Date: 04 Aug 1997 17:51:07 -0500 (CDT) Has Zorn ever worked with any American singers? Has he ever written any traditional 'songs?' ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Charles Gayle Knitting Factory releases Date: 04 Aug 1997 21:20:15 -0400 Patrice L. Roussel wrote: > > Wurfel, formerly of Intuition Music, took Mark's place), and > combining > ^^^^^^^^^ > You mean, the German label? That's our boy. > > that with Charles' drastic change of modus operandi of late (Streets > the > > ^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^^ > > Can you say more about that? I don't understand. Why Patrice, I'm amazed. Could it be that somehow you've missed all of the endless debates over Charles on r.m.b.? (Of course, if you have it means you've been spending your time more wisely than have I.) In recent shows Charles has taken to a new mime routine he calls Streets the Clown. Sometimes alone, sometimes with accompanying musicians, Charles comes out dressed as a clown-cum-streetbum, complete with Emmett Kelly-styled facepainted beard stubble, and proceeds to do pantomime for most of the set. If he pays it's often only the last 10-15 minutes of the set. This has, of course, been controversial to say the least, and it's just possible that Charles will back down from this. But I remember the first time I ever spoke with him in the capacity of my former job; he very seriously explained to me that his career was about to go in a new directions and that acting and mime would be involved. So even if I think he's wasting his time and talent, I have to respect his deeply-felt convictions and single-minded pursuit of his muse, whatever it is and where ever it leads him... Steve ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: Panthalassa/Dub Meltdown Date: 05 Aug 1997 11:03:36 +0200 (GMT+0200) On Mon, 4 Aug 1997, David Brunelle wrote: > The New York Times from yesterday, as well as the new issue of Vibe both > have articles on Miles Davis, in which they talk about the upcoming > Laswell remixes (Vibe lists it as a good primer to Miles' electric > period). i had the opportunity to hear this and it truly sounds great. i love the stuff miles put out from 65 to 75 so this disk is really a treat to me. the mixes sound quite subtle to me, thought. there's some added stuff but i haven't listened in a silent way or the disk (the name escapes me now...) from where 'rated x' comes from for a while so it's hard to be sure. sounds great anyway. interesting sidenote: some time ago i read from somewhere that 'on the corner' is one of the first records to have drum loops on it... what was it, 1968? teemu :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Panthalassa/Dub Meltdown Date: 05 Aug 1997 08:43:19 -0400 tkorpipa@siba.fi wrote: > On Mon, 4 Aug 1997, David Brunelle wrote: > > > The New York Times from yesterday, as well as the new issue of Vibe > both > > have articles on Miles Davis, in which they talk about the upcoming > > Laswell remixes (Vibe lists it as a good primer to Miles' electric > > period). > > i had the opportunity to hear this and it truly sounds great. i love > the > stuff miles put out from 65 to 75 so this disk is really a treat to > me. > the mixes sound quite subtle to me, thought. there's some added stuff > but > i haven't listened in a silent way or the disk (the name escapes me > now...) from where 'rated x' comes from for a while so it's hard to be > > sure. sounds great anyway. > > interesting sidenote: some time ago i read from somewhere that 'on the > > corner' is one of the first records to have drum loops on it... what > was > it, 1968? > > teemu > > :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: > :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: > 'You only got one finger left and it's pointing at the door' - beck - 'On the Corner' was recorded during June 1972. Among the drummers and percussionists used during the recordings were Jack DeJohnette, Billy Hart, Al Foster, Badal Roy, Don Alias, James Mtume. Alan E Kayser ------------------------------------------------------------------------------- From: "pjm" Subject: Naked City Notation? Date: 05 Aug 1997 06:24:39 -0700 My girlfriend plays piano/reads music and is wondering if/how Zorn notates Naked City Pieces. Any one have any clues? Thanks pjm ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Panthalassa/Dub Meltdown Date: 05 Aug 1997 07:11:06 -0700 At 11:03 AM 8/5/97 +0200, tkorpipa@siba.fi wrote: >i had the opportunity to hear this and it truly sounds great. i love the >stuff miles put out from 65 to 75 so this disk is really a treat to me. >the mixes sound quite subtle to me, thought. there's some added stuff but >i haven't listened in a silent way or the disk (the name escapes me >now...) from where 'rated x' comes from for a while so it's hard to be >sure. sounds great anyway. "Rated X" came from _Get Up With It_. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: Naked City Notation? Date: 05 Aug 1997 16:58:52 +0200 (GMT+0200) On Tue, 5 Aug 1997, pjm wrote: > My girlfriend plays piano/reads music and is wondering if/how Zorn notates > Naked City Pieces. Any one have any clues? Thanks > pjm at least on my lo-fi videotape of naked city on tampere jazz festival quite a few years ago they change sheets of music between every song. makes a great comical effect, as the changing takes more time than most of their songs... :) i don't think these have been published thought... i have seen copy of hilarious roadrunner-inspired score for accordion, thought. teemu :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: Naked City Notation? Date: 05 Aug 1997 08:18:50 PDT >My girlfriend plays piano/reads music and is wondering if/how Zorn notates >Naked City Pieces. Any one have any clues? Thanks > pjm I went to the same school that Frissell went to, and his friend, who teaches there still, gave my friend copies of sheet music for some of Naked City's songs from the first album (Igneous Ejaculation, Hammerhead, etc.). There's a mix of standard notation, as well as unorthodox. Needless to say, some of it, actually almost all of it is quite hard to play! Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Friedrich Feger Subject: new evidence on historical masada (no music content) Date: 05 Aug 1997 19:28:35 +0200 hi, Yesterday I read in the newspaper that on the 50th birthday party of the digging of the "masada-graves" (or something like that) new historical evidence was presented. Since Zorn apparently named a band after this, I thought it might be of interest to some of you. As I remember the article, in the sixities there were lifted some bones of 25 jews that were said to have killed themselves in order not to become slaves of the romans. And of course this was made a big symbol by the young Israel (some of you will know a lot better than I do...). Now one archeologist showed that the bones were of roman legionaires, which did not at all kill themselves. And it were only five. And he showed that the scientist who originally found and analyzed the bones knew all this. (I'm not there for one week, consequently there will be no answer on comments before say next Tuesday) Fritz. ------------------------------------------------------------------------------- From: BJOERN Subject: Krystof Komeda Date: 05 Aug 1997 20:55:10 +0200 (MESZ) i know this guy isnt really list related but hmmmmmmmmm maybe i can make him list related if i say that Naked city played a coverversion of his "rosemary`s baby"-theme......... anyway my question: i just could find out that he did the music for "rosemary`s baby" and "the fearless vampire killers (aka dance of the vampires)"............i remember that i saw the rosemary`s baby cd long time ago but couldnt find it since then..... are there any sources on the net where i can order it????? which other films have the music of komeda in it??? BJOERN ------------------------------------------------------------------------------- From: improv@peak.org (Dave Trenkel) Subject: Re: Naked City Notation? Date: 05 Aug 1997 12:12:24 -0800 At 6:24 AM 8/5/97, pjm wrote: >My girlfriend plays piano/reads music and is wondering if/how Zorn notates >Naked City Pieces. Any one have any clues? Thanks > pjm I've seen some of the scores, and they are for the most part conventionally notated. Fun to play also. Unfortunately, I don't think they're going to be published anytime soon. I saw them because a friend of mine plays with Wayne Horvitz and they were covering a couple of Naked City tunes. ________________________________________________________ Dave Trenkel : improv@peak.org : www.peak.org/~improv/ "...there will come a day when you won't have to use gasoline. You'd simply take a cassette and put it in your car, let it run. You'd have to have the proper type of music. Like you take two sticks, put 'em together, make fire. You take some notes and rub 'em together - dum, dum, dum, dum - fire, cosmic fire." -Sun Ra ________________________________________________________ ------------------------------------------------------------------------------- From: Wlt4@aol.com Subject: Re: new evidence on historical masada (no music content) Date: 05 Aug 1997 16:11:31 -0400 (EDT) Actually this isn't news so much as information that's never been widely known; at least the evidence, whether it's completely accurate or not is another question. A good account of the archaeological digs is included in the anthology "Experience of War" which I believe was excerpted from one of Neil Silberman's books. Briefly, the archaeologists found no good evidence to support the mass suicide that were supposed to have occured, in fact found almost nothing to indicate such an event. The article seems to indicate that the siege was misrepresented and the suicides invented for propoganda purposes shortly afterwards and was continued in the present day as a construction of Israeli and Jewish identity (though I might add that there seems to have been little reason for anybody in the present day to disbelieve the story until the digs). Though the report seemed quite reasonable, I would be interested in any conflicting intrepretations or responses. Lang Thompson ------------------------------------------------------------------------------- From: "Charles Gillett" Subject: I Dream of Zorno Date: 05 Aug 1997 16:44:58 +0000 I've never actually seen Zorn in person, nor have I seen any video or other motion footage of him. I've seen a few pictures. Nonetheless, a few days ago I had a dream which featured him prominantly. I was in a smallish rectangular club with the stage along one of the long walls. The band was Naked City. They were tuning up, preparing for the gig, and I was wandering around looking at the small piles of CDs they had brought. They all looked similar and seemed to be benefit albums of some sort. At some point Zorn said that they were for "his kids," in such a way that it was obvious that he didn't mean his biological children. The band played one song. I think it may have been the first track from Radio, but I can't recall for sure. After it was over, Zorn announced the sponsors for the concert. He had two bottles of what appeared to be shampoo, and he described the effects of each product in lewd, lecherous detail, as if they could boost a person's sexual appeal and ability. The crowd chuckled at this--"Oh, that Zorn, what a crazy guy"--but then the scene changed movie-style and I was seeing Zorn from the middle-chest up, lying in a large, round hot tub. He was drinking from the aforementioned bottles, making quite a mess, and babbling. "Ahhhhrhghgsexhmmmmm" and suchlike. Then I woke up. Comments, Mr. Freud? Back in the "real" world, can anyone point me toward a website or book dealing with Mauricio Kagel? I've heard "Der Schall" and I have one CD, "zwei akte/rrrrrrr...: 5 jazzstucke/blue's blue," both of which have some biographical liner notes. I'm not sure what I'm looking for. "More info." I think it's interesting that Kagel was an influence on Zorn as a youngster, and now they're essentially contemporaries as composers. I wonder if they're in contact with each other. While I'm at it, can anyone recommend any works by reed player Michael Riessler? I like his work on the Kagel CD and I see that he has at least one CD out on Enja. Thanks. -- Charles ------------------------------------------------------------------------------- From: Herb Levy Subject: Re: Naked City Notation Date: 05 Aug 1997 15:05:23 -0800 The Naked City things are all pretty much notated, though some of the stylistic shifts are just noted as such, without exact pitches. So much of these pieces have to do with the sound and repertoire for the instruments involved, playing them on piano might seem like watching a colorized movie. There IS a recent piece for solo piano, so far unreleased, but perhaps already recorded, called Carny, written for Stephen Drury, who has perfomed and recorded lots of John Cage's music, as well as many pieces by Zorn. & While I'm not sure what Teemu has seen, I'm willing to bet that what he describes as a >copy of >hilarious roadrunner-inspired score for accordion, is the actual score of the piece which has many cartoon's cut out & pasted on it, & lots of descriptive, non-strictly notated sections. Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: john shiurba Subject: Re: I Dream of Kagel Date: 05 Aug 1997 15:29:55 -0700 > Back in the "real" world, can anyone point me toward a website or > book dealing with Mauricio Kagel? I've heard "Der Schall" and > I have one CD, "zwei akte/rrrrrrr...: 5 jazzstucke/blue's blue," > both of which have some biographical liner notes. I'm not sure > what I'm looking for. "More info." I think it's interesting that > Kagel was an influence on Zorn as a youngster, and now they're > essentially contemporaries as composers. I kind of doubt that Kagel would agree. (nor do I, really) I don't know of any Kagel websites, but I can highly recommend any of his music up to about 1970, after that I've found it to be a bit spotty. the great DG lps have got to come back into print one of these days... Der Schall, Match, Ludwig Van are all great. There's a CD of his great sting quartets on Accord. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: new evidence on historical masada (no music content) Date: 05 Aug 1997 22:55:20 -0400 Friedrich Feger wrote: > hi, > > Yesterday I read in the newspaper that on the 50th birthday party of > the > digging of the "masada-graves" (or something like that) new historical > > evidence was presented. Since Zorn apparently named a band after this, > I > thought it might be of interest to some of you. As I remember the > article, > in the sixities there were lifted some bones of 25 jews that were said > to > have killed themselves in order not to become slaves of the romans. > And of > course this was made a big symbol by the young Israel (some of you > will > know a lot better than I do...). Now one archeologist showed that the > bones > were of roman legionaires, which did not at all kill themselves. And > it > were only five. And he showed that the scientist who originally found > and > analyzed the bones knew all this. > > (I'm not there for one week, consequently there will be no answer on > comments before say next Tuesday) > > Fritz. Masada was the final stronghold of the Jewish uprising against the Roman invaders. The defenders, numbering almost 1000 men, women, and children, committed suicide. There were only seven who survived. The rebellion was crushed and the Temple was not rebuilt, courtesy of the Romans. Fact, not fiction. As far as I know none of the survivors is around today to revise the facts. ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: Naked City Notation Date: 06 Aug 1997 09:45:08 +0200 (GMT+0200) On Tue, 5 Aug 1997, Herb Levy wrote: > & While I'm not sure what Teemu has seen, I'm willing to bet that what he > describes as a > > >copy of > >hilarious roadrunner-inspired score for accordion, > > is the actual score of the piece which has many cartoon's cut out & pasted > on it, & lots of descriptive, non-strictly notated sections. it is. screens and characters cut out from roadrunner, bugs bunny cartoons, etc... also has one of the hellist notated passages. one section consists of improvised dance style: little polka, tango, waltz... each lasting about one second... teemu :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: "mcbride/turner" Subject: masada liner notes (reprise) Date: 06 Aug 1997 12:19:59 -0400 hi! this is my second posting to zorn-list. it's identical to the first except i'm no longer nervous... sorry to be repetitive; maybe y'all can consider it creative looping: i recently bought masada alef (diw 888) and was taunted by some very thoughtful-looking liner notes, in japanese! does anyone know where i can find an english translation of these notes? thanks, robert turner ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: Krystof Komeda Date: 07 Aug 1997 16:11:03 +1000 (EST) On Tue, 5 Aug 1997, BJOERN wrote: > i know this guy isnt really list related but hmmmmmmmmm maybe i can make > him list related if i say that Naked city played a coverversion of his > "rosemary`s baby"-theme......... > are there any sources on the net where i can order it????? Dunno the answer to this one, but; > which other films have the music of komeda in it??? Remember reading about Komeda in Polanski's auto-bio (think its just called "Roman") - Komeda was a Polish jazz guy (a pianist? from memory), a hell-raising mate of Polanski's, who learned his riffs from Radio Free Europe and Voice of America. He scored all Polanski's early features (dunno for sure, but probably the shorts too): "Knife In The Water", "Cul De Sac" - but not "Repulsion", which has a great score by Chico Hamilton. I think he skipped Poland the same time as Polanski. Dunno anything else; sorry - I hope this is helpful. Cheers, Jim ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: William S. Burroughs, dead at 83 Date: 07 Aug 1997 16:19:04 +1000 (EST) On Sun, 3 Aug 1997, Dave Trenkel wrote: > > > Geez, what a couple of days it's been, Fela Kuti died friday as well Where did you hear this from? I read a (maybe apocryphal) reference to Fela in _The Wire_ last year - one of their hacks reckoned Fela was detained in a Nigerian prison. And while it wouldn't suprise me, I never could get any confirmation of it. But its a shocking thing if those fuckers have done him in while he's in custody. Anyways; I'd appreciate any other details that might be to hand somewhere. Cheers, Jim ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: new evidence on historical masada (no music content) Date: 07 Aug 1997 16:44:02 +1000 (EST) On Tue, 5 Aug 1997, ALAN E. KAYSER wrote: > > Masada was the final stronghold of the Jewish uprising against the Roman > invaders. The defenders, numbering almost 1000 men, women, and > children, committed suicide. There were only seven who survived. The > rebellion was crushed and the Temple was not rebuilt, courtesy of the > Romans. Fact, not fiction. Well, sorry; but "fact" is still the domain of empirical evidence - you zealots (of whatever persuasion) haven't annexed this territory just yet. And I don't seek to diminish the symbolic significance of the place, but y'know - it ain't necessarily so. > As far as I know none of the survivors is around today to revise the > facts. As far as I know you weren't alive in 54 AD - so you wouldn't have a fucking clue! Quasi-historical anecdote/political propaganda does not consitute "facts" - unless you are some bone-headed nazi. ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: new evidence on historical masada (no music content) Date: 07 Aug 1997 16:44:02 +1000 (EST) On Tue, 5 Aug 1997, ALAN E. KAYSER wrote: > > Masada was the final stronghold of the Jewish uprising against the Roman > invaders. The defenders, numbering almost 1000 men, women, and > children, committed suicide. There were only seven who survived. The > rebellion was crushed and the Temple was not rebuilt, courtesy of the > Romans. Fact, not fiction. Well, sorry; but "fact" is still the domain of empirical evidence - you zealots (of whatever persuasion) haven't annexed this territory just yet. And I don't seek to diminish the symbolic significance of the place, but y'know - it ain't necessarily so. > As far as I know none of the survivors is around today to revise the > facts. As far as I know you weren't alive in 54 AD - so you wouldn't have a fucking clue! Quasi-historical anecdote/political propaganda does not consitute "facts" - unless you are some bone-headed nazi. ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: new evidence on historical masada (no music content) Date: 07 Aug 1997 08:42:24 -0400 James Douglas Knox wrote: > On Tue, 5 Aug 1997, ALAN E. KAYSER wrote: > > > > Masada was the final stronghold of the Jewish uprising against the > Roman > > invaders. The defenders, numbering almost 1000 men, women, and > > children, committed suicide. There were only seven who survived. > The > > rebellion was crushed and the Temple was not rebuilt, courtesy of > the > > Romans. Fact, not fiction. > > Well, sorry; but "fact" is still the domain of empirical evidence - > you zealots (of whatever persuasion) haven't annexed this territory > just > yet. And I don't seek to diminish the symbolic significance of the > place, > but y'know - it ain't necessarily so. > > > As far as I know none of the survivors is around today to revise the > > > facts. > > As far as I know you weren't alive in 54 AD - so you wouldn't have > a fucking clue! Quasi-historical anecdote/political propaganda does > not > consitute "facts" - unless you are some bone-headed nazi. I'm amazed that your "brain" can work up enough energy to type. How do you get your knuckles to work after scraping on the ground all day. BTW, if you can read - buy a book. ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: William S. Burroughs, dead at 83 Date: 07 Aug 1997 16:19:04 +1000 (EST) On Sun, 3 Aug 1997, Dave Trenkel wrote: > > > Geez, what a couple of days it's been, Fela Kuti died friday as well Where did you hear this from? I read a (maybe apocryphal) reference to Fela in _The Wire_ last year - one of their hacks reckoned Fela was detained in a Nigerian prison. And while it wouldn't suprise me, I never could get any confirmation of it. But its a shocking thing if those fuckers have done him in while he's in custody. Anyways; I'd appreciate any other details that might be to hand somewhere. Cheers, Jim ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: Krystof Komeda Date: 07 Aug 1997 16:11:03 +1000 (EST) On Tue, 5 Aug 1997, BJOERN wrote: > i know this guy isnt really list related but hmmmmmmmmm maybe i can make > him list related if i say that Naked city played a coverversion of his > "rosemary`s baby"-theme......... > are there any sources on the net where i can order it????? Dunno the answer to this one, but; > which other films have the music of komeda in it??? Remember reading about Komeda in Polanski's auto-bio (think its just called "Roman") - Komeda was a Polish jazz guy (a pianist? from memory), a hell-raising mate of Polanski's, who learned his riffs from Radio Free Europe and Voice of America. He scored all Polanski's early features (dunno for sure, but probably the shorts too): "Knife In The Water", "Cul De Sac" - but not "Repulsion", which has a great score by Chico Hamilton. I think he skipped Poland the same time as Polanski. Dunno anything else; sorry - I hope this is helpful. Cheers, Jim ------------------------------------------------------------------------------- From: SlightAche@aol.com Subject: Re: William S. Burroughs, dead at 83 Date: 07 Aug 1997 09:04:50 -0400 (EDT) Long-time musician and Nigerian regime's bugbear Fela dead Augusr 2 1997 Agence France-Presse LAGOS (August 2, 1997 6:04 p.m. EDT) - Fela Anikulapo-Kuti, the popular musician who died Saturday, was also a political activist, would-be president, advocate of marijuana, and a long-standing thorn in the flesh of the Nigerian authorities. Fela, 58, who died peacefully in his sleep according to his brother Olikoye Ransome-Kuti, had been arrested, detained and imprisoned more than a dozen times in the past 20 years because of his criticism of the authorities. Only last April he was arrested and formally charged with possession of drugs. He was granted bail after two weeks in detention, and the charge was dropped last month. Fela's many feats include marrying a total of 27 wives on the same day in 1978, most of whom were dancers and singers in his band, which he formed in London in 1959. His first brush with the law dates back to 1974 when he released his famous album "Zombie," generally considered by the military authorities in power as a diatribe levelled at them. Nursing presidential ambitions, Fela launched a political association, the Movement of the People, after a ban on political activities was lifted in 1978. He envisaged standing for presidential elections in 1979 but failed to win approval from the authorities. In 1984, he was arrested and charged with currency trafficking and sentenced to 10 years imprisonment. He was released two years later following reports that the judge who sentenced him apologised when he visited the musician in prison. ------------------------------------------------------------------------------- From: "mcbride/turner" Subject: masada liner notes (reprise) Date: 06 Aug 1997 12:19:59 -0400 hi! this is my second posting to zorn-list. it's identical to the first except i'm no longer nervous... sorry to be repetitive; maybe y'all can consider it creative looping: i recently bought masada alef (diw 888) and was taunted by some very thoughtful-looking liner notes, in japanese! does anyone know where i can find an english translation of these notes? thanks, robert turner ------------------------------------------------------------------------------- From: M.Ho Subject: Re: William S. Burroughs, dead at 83 Date: 07 Aug 1997 9:37:39 EDT > > On Sun, 3 Aug 1997, Dave Trenkel wrote: > > > > > Geez, what a couple of days it's been, Fela Kuti died friday as well > > Where did you hear this from? I read a (maybe apocryphal) reference to > Fela in _The Wire_ last year - one of their hacks reckoned Fela was > detained in a Nigerian prison. And while it wouldn't suprise me, I > never could get any confirmation of it. But its a shocking thing if those > fuckers have done him in while he's in custody. > > Anyways; I'd appreciate any other details that might be to hand somewhere. > I had heard that he died from AIDS inflicted complications. ------------------------------------------------------------------------------- From: jihad7@juno.com (Nathan M Earixson) Subject: Re: I Dream of Zorno Date: 07 Aug 1997 11:42:41 -0500 YOu know, I;m in the same boat, as in not seeing live preformances, etc. But I also had a dream a bout John Zorn. I was in some sort of theater, and Zorn was sitting in between myself and Wayne Horvitz. I kept trying to ask wayne about aa album of his that I had seen recently, but John kept interrupting. That was it. I later went on to have a nightmare about unions. ***************************************** "Next stop...cool." -"Melville". ***************************************** ------------------------------------------------------------------------------- From: Marc Foster Subject: RE: Mick Harris Date: 07 Aug 1997 15:34:39 -0500 On Monday, July 28, Christopher Hamilton wrote If you're talking about _Somnific Flux_, it's the most minimal, darkest ambient I've heard. If that sounds appealing, you'll probably like it. Thanks, I'm buying it. Has anyone heard the Harris/Toop/Lilith/Locust = album that I can't remember how to spell, but is something like = L'Inacheve? I'm interested in it, but I'm not familiar with Locust and = Lilith. Any information/ opinions would be appreciated. Marc A. Foster =20 ------------------------------------------------------------------------------- From: rladew@hopper.unh.edu (Rich Ladew) Subject: Manners/Thread Labeling Date: 07 Aug 1997 17:01:56 -0400 (EDT) Dear revolutionary listeners: How About discussing music instead of political arguments about history? Also, I am beginning to become confused about labels of threads (ie: Burroughs) when they dont have anything to do with the subject. I think the whole line of this subject matter is very interesting, but I'm really into burroughs, and I keep thinking Im going to get more info on him or his unfortunate death. Much respect, rich rladew@hopper.unh.edu ------------------------------------------------------------------------------- From: "Charles Gillett" Subject: Re: I Dream of Kagel Date: 07 Aug 1997 17:09:36 +0000 On Tue, 05 Aug 1997 15:29:55 -0700, john shiurba wrote: >I wrote: >>I think it's interesting that Kagel was an influence on Zorn as >>a youngster, and now they're essentially contemporaries as >>composers. > > I kind of doubt that Kagel would agree. (nor do I, really) That they are contemporaries? I was using the word in a broad sense, I guess. The age difference between Zorn and Kagel is almost the same as that between Mozart and Haydn (22 vs. 24 years), and Mozart and Haydn are often spoken of together as composers of the Classical era. I suppose there are people would would put Haydn into a slightly older school, and I of course can't say that in 200 years people will see Zorn and Kagel as being of the same era. Then again, perhaps you were questioning whether or not that observation was interesting. I can only speak for myself. -- Charles ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: I Dream of Kagel Date: 07 Aug 1997 15:15:37 -0700 On Thu, 7 Aug 1997 17:09:36 +0000 "Charles Gillett" wrote: > > On Tue, 05 Aug 1997 15:29:55 -0700, john shiurba wrote: > >I wrote: > >>I think it's interesting that Kagel was an influence on Zorn as > >>a youngster, and now they're essentially contemporaries as > >>composers. > > > > I kind of doubt that Kagel would agree. (nor do I, really) > > That they are contemporaries? I was using the word in a broad > sense, I guess. The age difference between Zorn and Kagel is > almost the same as that between Mozart and Haydn (22 vs. 24 years), > and Mozart and Haydn are often spoken of together as composers of > the Classical era. I suppose there are people would would put > Haydn into a slightly older school, and I of course can't say that > in 200 years people will see Zorn and Kagel as being of the same > era. > > Then again, perhaps you were questioning whether or not that > observation was interesting. I can only speak for myself. Didn't John mean that Kagel might not accept Zorn as a pair in the clanish club of "modern composers"? Patrice. ------------------------------------------------------------------------------- From: mool@sirius.com (Allan) Subject: RE: Melvins Date: 07 Aug 1997 21:52:18 -0700 (PDT) (warning: subjective & unsupported opinions to follow) Re: Melvins To each his own, of course, but I thought it was interesting that one of the two Melvins albums that Marc Foster *doesn't* wholeheartedly recommend is by far my favorite: the two-on-one disc pairing of Ozma and Gluey Porch Treatments. That's two of their earliest, preceeded only by some singles, comp tracks, and the live set found on the excellent (and none-too-slow) 10 Songs CD. Ozma, after all, has the ultimate Melvins track: their cover version of "Candy-O" by the Cars! It's also the first Melvins I heard, and the one that made me fall in love with the band. And so, to me at least, it's the best representation of the Melvins "sound", that was if not the heaviest thing I'd ever heard (thank you Saint Vitus) was a type of heaviness previously unexperienced. Also, it's a great value since it has got 33 tracks! The other record highly recommended by someone else on this list, Eggnog, is quite good, but having only four songs, is hardly the ultimate Melvins statement. Buzz is at his most Ian Gillan-esque on the second track, though. Houdini is great, yes, but the albums since then (Prick, Stoner Witch, Stag, and Honky) all suffer from an apparent desire to, as Marc says, experiment...outside the realm of the style they had perfected. Previously, all Melvins stuff could be considered "experimental", within a framework that began with Black Flag and Black Sabbath. The slower, noiser stuff on Eggnog and Lysol (which is one long track, but *not* one song -- notice the Flipper and Alice Cooper covers on there?) are in keeping with that, as are some of the material on those solo discs. But the newer albums tend towards a lot of BS -- noise stuff, sampling stuff, indie-pop stuff -- that I don't buy a Melvins album hoping to hear. The worst offender, by far, was the Prick album, which was probably meant as a joke, yes, but still sucks if you have to pay money for it. (It came out *before* Stoner Witch, by the way.) Basically, I understand that the Melvins don't want to do the same slow heavy thing forever, even though that's what they're good at. But for the most part, they aren't that good at doing anything new. Marc: if you like Lysol, and the last track on Eggnog, you will likely like Naked City's L'eng T'che. It's very heavy, they thank the Melvins in the liner notes for a reason, I figure the album is Zorn's tribute to them. Also, not all of Torture Garden is on Grand Guignol, but I assume you also have the first self-titled Naked City album which has the rest of the tracks... So, *my* recommendation for the Melvins virgin is to pick up Ozma/Gluey Porch Treatments for the original, classic Melvins sound, to get Houdini for their big time debut, and then either Lysol or Eggnog to hear some further extremes of their sound. And then 10 Songs if you want to rock, and Bullhead which was the follow-up to Ozma. (and, by the way, if you really liked the beginning of Lysol, get the first couple of discs by the band Earth.) AVOID Prick. At this point you'll be a hopeless Melvins fan and will buy the rest of the albums to complete your collection, all of which have some (or a lot) of great stuff on 'em! (even Prick does, actually, there's about three good tracks - shoulda been a 7") --Allan (looking forward to the Melvins double disc singles series comp) PS I haven't listened to the solo discs in a long time, but remember that I liked the Joe Preston (former bassist) one best, it's similar to Earth (he's an ex-member) and also to his current project, the very heavy, very weird one-man-band Thrones. Dale's was my next favorite, it's not too Melvins-y but his pop side I can appreciate better when it's not in the middle of an "actual" Melvins album... whoo that's enuff Melvins talk for now ------------------------------------------------------------------------------- From: Marc Lambert Subject: Zorn's roadrunner Date: 08 Aug 1997 09:48:04 -0400 (EDT) Guy Klucesvek (accordion) has a cd "Manhattan Cascade" on CRI with a 1986 composition called "Road Runner" which is inspired by cartoons and based on Carl Stalling's "Looney Tunes." The whole cd is great but this track is worth the price of admission alone. ------------------------------------------------------------------------------- From: "pjm" Subject: Re: Naked City Notation Date: 07 Aug 1997 21:08:01 -0700 Thanks to everyone who had some answers! We'd love to see some copies of the notation for anything from Torture Garden! :} > There IS a recent piece for solo piano, so far > unreleased, but perhaps already recorded, called Carny, written for Stephen > Drury, who has perfomed and recorded lots of John Cage's music, as well as > many pieces by Zorn. Anyone have any information on this piece? Thanks! pjm ------------------------------------------------------------------------------- From: "pjm" Subject: Re: Naked City Notation Date: 07 Aug 1997 21:10:44 -0700 > > >copy of > > >hilarious roadrunner-inspired score for accordion, > > > > is the actual score of the piece which has many cartoon's cut out & pasted > > on it, & lots of descriptive, non-strictly notated sections. > > it is. screens and characters cut out from roadrunner, bugs bunny > cartoons, etc... > > also has one of the hellist notated passages. one section consists of > improvised dance style: little polka, tango, waltz... each lasting about > one second... Does anyone know where i could get this score or other Zorn scores? Thanks! pjm ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Naked City Notation Date: 08 Aug 1997 09:59:38 -0500 The latest BMG music club brochure lists "Naked City" as a selection... things are looking up, eh ? glenn ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Billboard Article Date: 08 Aug 1997 09:11:16 PDT For anyone interested, the August 9 issue of Billboard has an article on the forthcoming Laswell Bob Marley remix album. Dave Brunelle IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Billboard Article Date: 08 Aug 1997 09:32:50 -0700 At 09:11 AM 8/8/97 PDT, David Brunelle wrote: >For anyone interested, the August 9 issue of Billboard has an article on >the forthcoming Laswell Bob Marley remix album. The one-sheet copy will be at the Axiom Web Site next week, and hopefully the cover art also, as long as it gets finished. I'm not sure how relevant it is to this list, as it is very close to old-school reggae dub, with some ambient stuff over the top. Jeff Spirer Axiom Records: http://www.hyperreal.org/axiom/ Photos: http://www.hyperreal.org/~jeffs/gallery.html ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Re: I Dream of Zorno Date: 08 Aug 1997 13:30:14 -0500 (CDT) I once had a dream that I was attacked by Bill Laswell's killer attack dogs and some karate lady in a red spandex outfit had to come to my rescue and kick the dogs away. Sick, I know. Paul wesley@interaccess.com ------------------------------------------------------------------- GROOVE O(+> (the artist formerly known as Prince) <+)O ---------- e - m - a - n - c - i - p - a - t - i - o - n one nation The Exodus Has Concluded - Welcome 2 The Dawn ------------------------------------------------------------------- ------------------------------------------------------------------------------- From: "josh miller" Subject: Re: Melvins Date: 08 Aug 1997 11:40:37 -0700 >PS I haven't listened to the solo discs in a long time, but remember that I >liked the Joe Preston (former bassist) one best, it's similar to Earth >(he's an ex-member) and also to his current project, the very heavy, very >weird one-man-band Thrones i think i've seen him--i went to a show at my local library with a band called the thrones on the flyer...nobody at the show actually used the name to describe themseves, but there was one guy who did play all by himself, which i suppose would explain it. anyway, he had long hair and a long bushy beard, and looked kind of like an aging hippie gone bad. said he was the old man from the woods, or something to that effect. he had these huge amplifiers, and drum machines and samplers and no small number of pedals...basically everything you need to be a one man band. he played one of those double-neck guitarbass things, using mostly the bass part, distorted of course. the set was very loud, some of it sounded like bad heavy metal, some had a pretty good groove, the singing (when he did it) was awful, but for the most part it was very entertaining. plus, i have the utmost respect for anyone who can make that much noise all by themselves. of course, these idiots kept walking behind him during songs and tripping over the extension cord, unplugging everything, and then he'd have to spend a few minutes reprogramming everything. josh ------------------------------------------------------------------------------- From: Brian Whitman Subject: free-improv Internet Only performance Date: 08 Aug 1997 16:42:06 -0400 (EDT) Howdy all, I am part of Alfred Bizarro to be Exactly, a noisy free-improv / soundscape group that will be playing an Internet-Only performance on Saturday, August 9th at 7PM Eastern Time. If you'd like to drop by for some time and listen in, get the free RealPlayer at www.real.com and then head over to http://www.netspace.org/users/bwhitman/bizarro.shtml and listen in to us. This is our second time doing this, but we're still trying to finetune the process, so any feedback you can give while we're playing would be great. ABTBE is an all-free-improv band from the NJ/NYC area. We do a lot of looping / textural / loud ambient stuff. If you really dig us, we have 3 CDs available on independent LMDF records. That URL again is http://www.netspace.org/users/bwhitman/bizarro.shtml Thanks! If this is something your free-improv / experimental / whatever band would be interested in doing, please get in touch, we've got some ideas about using this technology stuff for the common good of our musics. Brian Whitman bwhitman@wpi.edu ------------------------------------------------------------------------------- From: john Subject: Masahiko Togashi Date: 08 Aug 1997 13:52:38 -0800 can anyone help me out with a brief description of the artist and his work Moon Dog. thanks, j ------------------------- john paczkowski watski@sirius.com ------------------------- can see no "purpose" in game. ------------------------------------------------------------------------------- From: john shiurba Subject: Re: I Dream of Kagel Date: 08 Aug 1997 14:44:31 -0700 me: > > I kind of doubt that Kagel would agree. (nor do I, really) charles g > That they are contemporaries? I was using the word in a broad > sense, I guess. The age difference between Zorn and Kagel is > almost the same as that between Mozart and Haydn (22 vs. 24 years), > and Mozart and Haydn are often spoken of together as composers of > the Classical era. I suppose there are people would would put > Haydn into a slightly older school, and I of course can't say that > in 200 years people will see Zorn and Kagel as being of the same > era. what i meant that was that: (my guess)--Kagel would undoubtedly squirm at being grouped (as a contemporary) with Zorn. (my opinion)-- I think that undoubtedly in 200 years people will (in spite of his S. American heritage) group Kagel with the movement of 50s-60s European avant garde composers that included Stockhausen, Maderna, Boulez etc. While Zorn will be seen as a postmodernist-- someone who-- in the wake of free jazz, modern classical (ie Kagel & his contemporaries), and rock-- developed a musical system that attempted to incorporate many or all of those things together. It seems that to call two composers contemporary when one's music _had to_ happen first, is inaccurate. As an example, consider Anthony Braxton and Charlie Parker, only about 30 years apart but no one would ever call them contemporaries, because Parker's work opened the door for developments in music that (along with other things) would eventually make possible the developments of Braxton. Your analogy of Mozart and Haydn is ill-conceived, due not only to the extreme compression of musical developments of the 20th century, but also because there's no antecedent relationship between the two-- as you say, they were essentially creating the same kind of music. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: "k. drudge" Subject: Re: Masahiko Togashi Date: 08 Aug 1997 18:01:06 -0400 (EDT) > can anyone help me out with a brief description of the artist and his work > Moon Dog. > I too would be interested in some information about Togashi; I can supply the following: I have a CD recorded sometime in the late seventies called `Song of soil: The paris session volume 1' or something like that, on take one records. (a japanese import). it features don cherry on bamboo flute and pocket trumpet and charlie haden on bass as well as togashi on percussion. it's great; very loose and free sounding, but at the same time with a lot of `progression'. togashi seems to be a very creative percussionist. keldon ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Masahiko Togashi Date: 08 Aug 1997 15:35:58 -0700 On Fri, 8 Aug 1997 18:01:06 -0400 (EDT) "k. drudge" wrote: > > > can anyone help me out with a brief description of the artist and his work > > Moon Dog. > > > I too would be interested in some information about Togashi; I can supply > the following: I have a CD recorded sometime in the late seventies called > `Song of soil: The paris session volume 1' or something like that, on take > one records. (a japanese import). > it features don cherry on bamboo flute and pocket trumpet > and charlie haden on bass as well as togashi on percussion. > it's great; very loose and free sounding, but at the same time with a lot > of `progression'. togashi seems to be a very creative percussionist. Togashi is a great drummer/percussionist. I know him specially because of Steve Lacy with whom he has played a lot. Following are all the records with him and Lacy that I am aware of: 054 - STALKS: Steve Lacy 1975 - Columbia (Japan), YQ-7507-N (LP) 068 - THE WIRE: Steve Lacy Sextet 1977 - Denon Jazz (Japan), YX 7553 (LP) 118 - SPIRITUAL MOMENTS: Masahiko Togashi 1982 - Paddle Wheel (Japan), K28P-6138 (LP) 121 - ETERNAL DUO: Masahiko Togashi, Steve Lacy 1983 - Paddle Wheel/King (Japan), K28P 6219 (LP) 137 - BURA-BURA: Masahiko Togashi 1986 - Presence/Pan Music (Japan), ALZ-28006 (LP) *** - BURA-BURA: Masahiko Togashi 1986 - Pan Music (Japan), 50XB-107~8 (2xCD) 170 - VOICES: Togashi, Lacy, Avenel 1989 - NEC AVENUE/Pan Music (Japan), A29C-1018 (CD) 191 - TWILIGHT: Masahiko Togashi, Steve Lacy 1992 - Nippon Crown (Japan), CRCJ-9104 (CD) 227 - ASSOCIATES: Steve Lacy 1996 - Musica Jazz (Italy), Femay FF 1001 (CD) 229 - ETERNAL DUO 95: Steve Lacy, Masahiko Togashi 1996 - Take One (Japan), TKOJ-1 (CD) Patrice. ------------------------------------------------------------------------------- From: "mcbride/turner" Subject: haydn->mozart->haydn Date: 09 Aug 1997 02:00:30 -0400 i have no real point in all this, but information is fun to throw about... > > That they are contemporaries? I was using the word in a broad > > sense, I guess. The age difference between Zorn and Kagel is > > almost the same as that between Mozart and Haydn (22 vs. 24 years), > > and Mozart and Haydn are often spoken of together as composers of > > the Classical era. I suppose there are people would would put > > Haydn into a slightly older school, and I of course can't say that > > in 200 years people will see Zorn and Kagel as being of the same > > era. [edited for brevity] > Your analogy of Mozart and Haydn is ill-conceived, due not only to the > extreme compression of musical developments of the 20th century, but > also because there's no antecedent relationship between the two-- as you > say, they were essentially creating the same kind of music. funny this choice of mozart and haydn as an example because (and i quote the oxford companion to music, tenth ed.).... 'in the history of music the mutual relation of mozart and haydn is probably unique. mozart's art was founded on that of haydn, as that of haydn had been on that of emmanuel bach. then, as mozart came to maturity, applying his gifts ever more and more triumphantly to the forms and style for which haydn was so largely responsible, in some refinements he surpassed his master, who in turn learnt from him and again strode forward.' so i guess to be picky there is an antecedent relationship between them, although you'd have to focus on some small periods of time to nail down precisely who was influencing who. interesting, no? cheers, robert turner ------------------------------------------------------------------------------- From: Caleb Deupree Subject: Carl Stalling & a Filmworks 3 question Date: 08 Aug 1997 21:29:52 -0400 (EDT) I've heard a couple of cartoon-related items lately, and (perhaps because I've been prepped by commentary) I hear a forerunner/influence which I've never noticed before. The main work in question is the Carl Stalling Project, produced by Hal Willner, which I picked up today in the local used CD store, thinking that it would have the cast of thousands typical to Willner releases like Weird Nightmare, Stay Awake, etc. But no, these were archival recordings of the original scores played by the original players, including some excerpts of Stalling's working sessions, but skillfully mixed together. Zorn is one of the producers. It's a long CD, over 77 minutes, and listening to the whole thing was as exhausting as listening to the more contemporary quick-jump CDs (Zorn, Shea...). I played it at the office, where it got very strange looks from the marketing/manager types ("is this all just cartoon music?!"). But it got more favorable reviews from the engineers; most of us recognized a fair amount of it (to be fair, I answered the marketer, "Which cartoons?" and he correctly responded "Warner Bros.", but the Looney Tunes soundtrack was kind of a giveaway). Fascinating and unique. Which brings me to a question. I passed by Filmworks 3, which included some cartoon related pieces and other very short pieces (new, not used). I have the first (unnumbered) and second (the untitled movie by Walter Hill), and the description makes this look like a very heterogenous collection of outtakes and miscellaneous unrelated pieces, perhaps less interesting. (Henry Silva: Truth? or Bullshit?) I'd be interested in opinions. -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: Steve Smith Subject: Frisell on TV tonight (Saturday 8/9) Date: 09 Aug 1997 01:04:34 -0400 Hi everyone - Sorry to be posting this at the last minute (and perhaps it was posted to the Zornlist while I was away) but Bill Frisell will be on the new PBS live music show Sessions on West 54th tonight (Saturday, August 9) at 11 pm Eastern time. That's when the show is broadcast on channel 13 here in Manhattan. But channel 21 broadcasts the same episode on Tuesday night at 11 pm Eastern. So, as the saying goes, check your local listings. Bill performs with his Quartet (Kang, Miles, Fowlkes), the Nashville band with which he recorded his latest (including Jerry Douglas and Victor Krauss), Jimmy Dale Gilmore and Robin Holcomb. The show lasts an hour; the other half of the show is given over to Sonic Youth. For more information and interview transcripts visit their website at http://www.sessionsatwest54th.com And again, sorry I'm getting this to you so damn late. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "Charles Gillett" Subject: Re: I Dream of Kagel Date: 09 Aug 1997 01:20:05 +0000 On Fri, 08 Aug 1997 14:44:31 -0700, john shiurba wrote: > (my guess)--Kagel would undoubtedly squirm at being grouped (as a > contemporary) with Zorn. Probably. What a mental picture. My original comment was totally offhand, and I didn't expect to have to defend my "position." I absolutely agree that Kagel is part of a different, earlier crowd than Zorn, and Kagel's influence on Zorn is such that they couldn't really be considered contemporaries in any useful sense. However, in a more ahistorical sense, they are both composing at this moment, and as such are "contemporaries." I shall pre- emptively agree that this is a pretty useless definition when applied to composers. > Your analogy of Mozart and Haydn is ill-conceived, A remarkable observation, as I was indeed suffering from a nasty cold at the time I conceived the analogy. I'm feeling better now, so no more get-well cards! -- Charles gill0042@tc.umn.edu http://umn.edu/~gill0042/ ------------------------------------------------------------------------------- From: cedric perrier Subject: Re: melvins Date: 10 Aug 1997 14:17:40 +0200 one for all, I know Melvins since their first extended single on c/z which I own I'd say their best recordings are definitely their most basic and abrupt heavy metal stuff so you must buy: first extended single on c/z which have been reissued whith more tracks, first album Gluey Porch Treatment which is totally great, Stoner Witch which is a great corporate come back to their debut, Goin' Blind cover on Lysol which is amazing, Rocket Reducer cover on Houdini which is cool, and especially catch em LIVE very cool also are 2 tracks on the early Seattle bands compilation called Deep Six on C/Z from 1986/87; Melvins play 2 tracks of very fierce speed metal punk and are the very best band on that record from very far (maybe the first recording ever from the Melvins); I 've got other records as well but I think it's good package for a start; Joe Preston is not their former bassplayer, former bassplayer is Matt Lukin, later in Mudhoney, and you can enjoy his subtle slo-mo motorhead style on both first single and first album; Otherwise, right, that's nice to hear Bill Frisell playing one single Melvins riff for over 40minutes on Leng'tché but it could have been early Swans as well (Melvins fans might appreciate early Swans records); I saw that piece in Paris with Eye and Mike Patton and it was great; by the way it's one of my favourite Naked City records. cheers cedric perrier ------------------------------------------------------------------------------- From: SiameseZero Subject: Tzadik site Date: 10 Aug 1997 10:09:07 -0700 Has anyone ordered from the new Tzadik site?...How long does it take for your orders to arrive and you can obviously order more than the three item blanks on their order form, right? just wodering as i need to order a bunch of cds that need to arrive fairly shortly. ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: songs Date: 10 Aug 1997 16:51:30 -0500 (CDT) Has Zorn ever worked with an American singer? Has he ever written a 'traditional' song? I'm interested in recorded examples of Zorn songs. ------------------------------------------------------------------------------- From: QUESOMALO@aol.com Subject: Papa Zorn Date: 11 Aug 1997 02:28:49 -0400 (EDT) Does anyone happen to know the name of Zorn's father? -nick ------------------------------------------------------------------------------- From: Marcin.Witkowski@wor.tvp.com.pl Subject: RE: Krzysztof Komeda Date: 11 Aug 1997 08:53:31 +0200 > I live in Warsaw (Poland). > There is a full dicography of Komeda available here. > I can trade with anybody interested in. > > Bye > Marcin > > > ------------------------------------------------------------------------------- From: Matthew Ross Davis Subject: Re: songs Date: 11 Aug 1997 10:46:37 -0400 (EDT) > Has Zorn ever worked with an American singer? Has he ever written a > 'traditional' song? I'm interested in recorded examples of Zorn songs. I don't know that he has, though several of his larger works (like FilmWorks music) contain folks who sound like they have trained voices. Now if you mean 'traditional' song in the Ned Rorem sense of an Art Song, then I'm fairly sure he has not, though I don't know why he wouldn't be open to the option. But I imagine his vocal works might be somewhat simiar to those of John Cage, where the vocalist would be called upon to use a variety of vocal styles. I've considered contacting Zorn about this issue in interest of a recital (myself being a trained singer), but just have never gotten around to it. MRD | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | m-a-t-t-h-e-w r-o-s-s d-a-v-i-s university of maryland http://www.butterfly.net/mozart school of music | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | ------------------------------------------------------------------------------- From: "mcmullenm" Subject: Zorn in Southern California? Date: 11 Aug 1997 11:02:28 -0700 Does anyone know if Zorn is playing So. California while on the west coast this month? ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Rakete, Sz Rinnzekete bee bee nnz krr muu? -- Kurt Schwitters ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------------------------------------------------------- From: Jason Caulfield Bivins Date: 11 Aug 1997 18:49:58 -0500 (EST) Hello List Friends, A small request. I'm going to be in NYC for the last week or 10 days of August, and I would relish any live music recommendations you could provide. I've checked the KFW pages, so I guess I'm asking about stuff I might be otherwise unaware of. Thanks a bunch. Jason Bivins ------------------------------------------------------------------------------- From: Phil Subject: Laswell Date: 12 Aug 1997 09:30:33 +0000 I'm fairly new to the list, so apologies if these questions have already come up. About 18 months ago there was an advert in UK magazine Straight No Chaser for a CD by The Menxperience called La Mancha Negra (The Black Stain). This was to have featured Menace, Bill Laswell, Keziah Jones, Donald Blackman, Bootsy, Bernie W & JC 001. The CD never seemed to appear. I called the record company 2 Kool several times, and all they seemed to know was that it was delayed. Since then, no news. Anyone know what happened to this? Also, does Laswell play any role in the running of the Interra or Wordsound labels? Any takers? Phil Clarkson ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Laswell Date: 12 Aug 1997 07:11:21 -0700 At 09:30 AM 8/12/97 +0000, Phil wrote: >Also, does Laswell play any role in the running of the Interra or Wordsound >labels? No. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Sean Terwilliger Subject: Re: Laswell Date: 12 Aug 1997 10:25:11 -0400 Jeff Spirer wrote: > > At 09:30 AM 8/12/97 +0000, Phil wrote: > > >Also, does Laswell play any role in the running of the Interra or Wordsound > >labels? > > No. > > Jeff Spirer > Axiom/Material > http://www.hyperreal.org/axiom/ What is the Interra label? What's on it? -Sean ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Laswell Date: 12 Aug 1997 07:45:18 -0700 At 10:25 AM 8/12/97 -0400, Sean Terwilliger wrote: >What is the Interra label? What's on it? It's "world" music, with an ambient bent. Some real interesting things on it, including a bizarre recording of Chinese nuns and some bells stuff that sounds like it might really be a synthesizer. The packages are really cheesy, the inserts are single page (not booklets) and look like they were xeroxed. I'm not sure that they are still releasing. It is owned by the guy that owns the rights to Subharmonic, Celluloid, and a few other labels. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: "mcmullenm" Subject: EgyptoFreeJazzBooglarization Date: 12 Aug 1997 20:04:27 -0700 Recently, in response to someone's query about the splatter trio, i recommended the work of the swiss trio koch/schutz/studer...yesterday i came upon a midnight clear...er...rather i came upon a new release by this trio in collaboration with the EL NIL TROUP from egypt--called HEAVY CAIRO TRAFFIC [Intakt 3175 2]...i cannot recommend this highly enough...a very unique "fusion" of traditional egyptian music and free jazz/creative improvised music...absolutely stunning...quite different than the sound i think of when confronted with the image of fusing jazz and "world music" a la Laswell and others...i would love to hear other reactions if anyone else gives it a listen... Rakete, Sz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Rinnzekete bee bee nnz krr muu? -- Kurt Schwitters ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: Papa Zorn Date: 13 Aug 1997 15:25:30 +1000 (EST) Unnh; think its Henry... On Mon, 11 Aug 1997 QUESOMALO@aol.com wrote: > Does anyone happen to know the name of Zorn's father? > > -nick > ------------------------------------------------------------------------------- From: David Newgarden Subject: re: Masahiko Togashi Date: 13 Aug 1997 01:25:38 -0400 (EDT) >I too would be interested in some information about Togashi; I can >supplythe following: I have a CD recor ded sometime in the late >seventies called `Song of soil: The paris session volume 1' or something >like that, on take one records. (a japanese import). it features don >cherry on bamboo flute and pocket trumpet and charlie haden on bass as >well as togashi on percussion. it's great; very loose and free sounding, >but at the same time with a lot of `progression'. togashi seems to be a >very creative percussionist. keldon Togashi is on an early 80s Steve Lacy duets album, a couple of early 70s Gil Evans (japan-only) releases, and I believe is still active. I have just one record of his: Masahiko Togashi Quartet "We Now Create" - Music for Strings, Winds and Percussions JVC 1972 release of 1969 recording 4 tracks- Variations on a Theme of Feedback Invitation To Corn Pipe Dance Artistry in Percussion Fantasy For Strings - the group includes the great guitarist Masayuki Takayanagi and Motaharu "Papa" Yoshizawa on bass & cello. (also Mototeru Takagi on sax and 'cornpipe'). It's improvisation much more like Takayanagi and Yoshisawa's PSF albums than jazz... - dn ------------------------------------------------------------------------------- From: David Newgarden Subject: re: Masahiko Togashi Date: 13 Aug 1997 01:25:38 -0400 (EDT) >I too would be interested in some information about Togashi; I can >supplythe following: I have a CD recor ded sometime in the late >seventies called `Song of soil: The paris session volume 1' or something >like that, on take one records. (a japanese import). it features don >cherry on bamboo flute and pocket trumpet and charlie haden on bass as >well as togashi on percussion. it's great; very loose and free sounding, >but at the same time with a lot of `progression'. togashi seems to be a >very creative percussionist. keldon Togashi is on an early 80s Steve Lacy duets album, a couple of early 70s Gil Evans (japan-only) releases, and I believe is still active. I have just one record of his: Masahiko Togashi Quartet "We Now Create" - Music for Strings, Winds and Percussions JVC 1972 release of 1969 recording 4 tracks- Variations on a Theme of Feedback Invitation To Corn Pipe Dance Artistry in Percussion Fantasy For Strings - the group includes the great guitarist Masayuki Takayanagi and Motaharu "Papa" Yoshizawa on bass & cello. (also Mototeru Takagi on sax and 'cornpipe'). It's improvisation much more like Takayanagi and Yoshisawa's PSF albums than jazz... - dn ------------------------------------------------------------------------------- From: thrax@uia.net Subject: Album questions from newbie Date: 13 Aug 1997 00:24:25 -0700 Ive just subscribed to this list so forgive these newbie questions. Ive recently gotten into Zorn's music mainly by way of Mr. Bungle and Mike Pattons solo albums. I got Naked City which I like, and I also just got Elegy which I've not completly gotten into. Does anyone have any recommendations about which other albums to check out? I think Elegy is going to take some time for me to appreciate, but Naked City blew me away at the first listen. ANyway I would appreciate it if you could give me a breakdown of his other albums and what to expect. Thanks a lot. Andy thrax@uia.net ------------------------------------------------------------------------------- From: "Jonas Thompson" Subject: masada 4 & 1 Date: 13 Aug 1997 00:51:46 PDT hello zorn fanatics! hey, am i the only guy who sees masada 4 in stores on a regular basis? and for $45 canadian and only three tunes, is it worth buying? also, i see all filmworks all the time. any news as to whether or not he will ever record more of the classic guide to strategy? take care, joe woohoo! ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Marcin.Witkowski@wor.tvp.com.pl Subject: Praxis CD Date: 13 Aug 1997 14:20:10 +0200 Praxis "Live in Poland" CD has been released in Poland. This is limited edition official CD. Anybody interested in trading please mail me personaly. marcin.witkowski@wor.tvp.com.pl ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: Album questions from newbie Date: 13 Aug 1997 15:25:39 +0200 (GMT+0200) On Wed, 13 Aug 1997 thrax@uia.net wrote: > Ive recently gotten into Zorn's music mainly by way of Mr. Bungle and > Mike Pattons solo albums. I got Naked City which I like, and I also just > got Elegy which I've not completly gotten into. Does anyone have any > recommendations about which other albums to check out? I think Elegy is > going to take some time for me to appreciate, but Naked City blew me > away at the first listen. ANyway I would appreciate it if you could give > me a breakdown of his other albums and what to expect. Thanks a lot. if you like naked city first offering (the one with the shot man on cover), you propably like the rest too, with possibly the exception of grand guidnor (sp?) what i haven't heard but should be a little different. one of my favourites is big gundown, zorns tribute to ennio morricone. while a little 'artier' than naked city's pop-culture-influenced material it's a very fine album has too many great players on it to list here... spillane is another favourite of mine, has three longer pieces, all very different. the title track is a 'soundtrack' in the classic har-boiled-detective mood. other tracks are a blues-continuum featuring albert collins put through some very bizarre bluescapes and a piece for string quartet, turntables and voice. like i said, all very different, but somehow reflect the composer perfectly. like big gundown, features too many great musicians to mention here... ok, time is running and i have to skip a number of great disks here but somebody else can continue... teemu :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Dave Douglas Date: 13 Aug 1997 10:24:42 -0400 Dave Douglas performed his work "Sanctuary" at the Knitting Factory last night (Aug 12). For those of us lucky enough to be there, we were treated to a stunning work. The band included Dave on trumpet and sound, Anthony Coleman sampler, Yuka Honda sampler, Mark Dresser and Hill Green bass, Chris Speed tenor and clarinet, Kenny Wollesen drums, Cuong Vu on second trumpet. The closest I can get to the sound is perhaps a cross between Ornette's Free Jazz and maybe Miles' Live-Evil. With some Coletrane thrown in for good measure. Played non-stop. Dave also was kind enough to bring along a few copies of the 2CD set, which he practically gave to those who bought it, including me. Another treat was that Dave played one song with the opening act - the first stage appearance of Sean Lennon and his new band. Yoko in da house. If you can find the Avant set, BUY IT! Alan E Kayser aek1@erols.com ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Praxis CD Date: 13 Aug 1997 08:34:24 -0700 On Wed, 13 Aug 1997 14:20:10 +0200 Marcin.Witkowski@wor.tvp.com.pl wrote: > > Praxis "Live in Poland" CD has been released in Poland. > This is limited edition official CD. Any more info such as: - label - lineup - recording date/location? Patrice. ------------------------------------------------------------------------------- From: Todd Bramy Subject: clearing up the Melvins Date: 13 Aug 1997 09:46:03 -0700 (PDT) Just to clear up a couple of Melvins comments: >very cool also are 2 tracks on the early Seattle bands compilation >called Deep Six on C/Z from 1986/87; Melvins play 2 tracks of very >fierce speed metal punk and are the very best band on that record from >very far (maybe the first recording ever from the Melvins); The tracks included on the Deep Six compilation are indeed the first released Melvins recordings. Just so there's no confusion, there are a total of 4 Melvins tracks included: Scared 2.17 Blessing The Operation .41 Grinding Process 2.07 (different than the later "10 Songs" version) She Waits .40 >Joe Preston is not their former bassplayer, former bassplayer is Matt >Lukin, later >in Mudhoney, and you can enjoy his subtle slo-mo motorhead style on both >first single and first album; Joe Preston was indeed a member of the Melvins, though admittedly for a very short time, only appearing on a few singles and the "Solo EP's" project. Joe went on to form the sludge/ambient band Earth. Another former player in the Melvins list of soldiers was King Buzzo's then girlie-friend, known as Lorax. Todd Bramy tbramy@oz.net ------------------------------------------------------------------------------- From: Robert Pleshar Subject: Re: clearing up the Melvins Date: 13 Aug 1997 12:15:13 -0500 (CDT) At 09:46 AM 8/13/97 -0700, Todd Bramy wrote: >Just to clear up a couple of Melvins comments: >Joe Preston was indeed a member of the Melvins, though admittedly for a >very short time, only appearing on a few singles and the "Solo EP's" >project. Joe went on to form the sludge/ambient band Earth. Another former >player in the Melvins list of soldiers was King Buzzo's then girlie-friend, >known as Lorax. I may be misremembering, but I think I remember hearing that she was Shirley Temple Black's daughter. Ralph ------------------------------------------------------------------------------- From: Ted Reichman Subject: non-Knit NYC music venue Date: 13 Aug 1997 17:04:36 -0400 (EDT) I will break my prolonged lurk to answer the request for info about NYC gigs beyond the Knitting Factory: Here's one you may not know about: alt.coffee 137 Avenue A (between St. Mark's & 9th) music every Monday night from 9:00 pm no cover past performers (Zorn-list related): Tim Berne, Eugene Chadbourne, Anthony Coleman, Eugene Chadbourne, Gisburg, David Krakauer, Saft/Vu, and many many more full disclosure: I am curator of the series and a frequent performer there. here's the schedule for August-October: > 8/18 Theo Bleckmann & Ben Monder > 8/25 Moran/Speed/Noriega > 9/1 Cuong Vu Jim Black, Curtis Hasselbring, Chris Speed, Stomu Takeishi, Cuong Vu > 9/8 Claudia Quintet Drew Gress, John Hollenbeck, Matt Moran, Ted Reichman, Chrie Speed > 9/15 Jim Black, Matt Moran, Andrea Parkins, Cuong Vu > 9/22 Peshko & friends Adam Good, Matt Moran, plus Balkan musicians from Toronto > 9/29 John Hollenbeck & Theo Bleckmann > 10/6 Ted Reichman "Viva Neurotica" Tom Chiu, Laura Cromwell, Ted Reichman > 10/13 Tom Christensen Quartet Tom Christensen, Charlie Pillow, Satoshi Takeishi, Doug Weiss > 10/20 Judy Dunaway Balloon Ensemble > 10/27 John Hollenbeck & Matt Moran ------------------------------------------------------------------------------- From: Steve Smith Subject: Ronald Shannon Jackson Complete Discography Date: 13 Aug 1997 17:17:04 -0400 Hi all - Pleased as punch to be able to announce the completion of a pet project I've been working on for the last couple of years. As of today my complete discography of the drummer Ronald Shannon Jackson is now posted on the WNUR Jazzweb, at http://www.nwu.edu/WNUR/jazz/artists/jackson.ronald.shannon/discog.html It includes Shannon's solo work as well as many items with Laswell, Last Exit, Cecil Taylor, Albert Ayler, Ornette Coleman, and even a Zorn entry. Please feel free to drop in and take a look if interested. I had a lot of fun putting this together. There are still a few holes and some work remaining to be done. Thanks to Patrice Roussel, Marcin Gokieli (please get in touch with me if you're still out there) and Jeff Spirer for filling in some vital gaps. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: non-Knit NYC music venue Date: 13 Aug 1997 17:44:39 -0400 Ted Reichman wrote: > alt.coffee > 137 Avenue A (between St. Mark's & 9th) > > music every Monday night from 9:00 pm > no cover Thanks for posting this, Ted. I've just caught on to the happenings at alt.coffee myself. There was a great article in last week's Village Voice, so hopefully people will really start making this a happening scene (New York NEEDS more than just the Knit). > > 9/1 Cuong Vu > Jim Black, Curtis Hasselbring, Chris Speed, Stomu Takeishi, Cuong Vu Minus Haselbring, this band just released a nice disc on Songlines under Chris Speed's name, "Yeah, No." > > 10/27 John Hollenbeck & Matt Moran Make every effort you can to see these two. John has been a consummate drummer's drummer on dates with (quoting from the alt.coffee website (http://www.altdotcoffee.com) Muhal Richard Abrams, Randy Brecker, Bob Brookmeyer, Greg Cohen, Anthony Coleman, Steve Coleman, Johnny Coles, Mark Dresser, Billy Drewes, Ellery Eskelin, John Hart, Dave Holland, Bill Holman, David Krakauer, Jimmy Knepper, Lee Konitz, David Liebman, Joe Lovano, Branford Marsalis, Bill Mays, Ben Monder, Gerry Mulligan, Hank Roberts, George Russell, Clark Terry, Kenny Werner, Kenny Wheeler, the WDR Big Band, and John Zorn. On his own he reminds me a lot of the European free percussionists like Tony Oxley and Jamie Muir. As for Matt, quoting here from Douglas Wolk in the Voice: "The vibraphone isn't commonly associated with spasmodic free-improv self-expression, either, but when Moran's short-fuse pauses ignite into four-malleted pyrotechnics, it's like hearing an angel have a seizure." I saw the two of them recently with Ellery Eskelin at the Internet Cafe (http://www.bigmagic.com), another up-and-coming alternative music space that has recently presented Tim Berne, Mark Helias, Barry Altschul, Mark Dresser, Marty Ehrlich, and an entire month of Ellery Eskelin Thursday night encounters with various improvisers. I was so blown away by their interplay ("play" being a key word, as Moran and Hollenbeck are both extraordinarily fond of junk, plastic toys and cheap noisemakers) that I sent a fax to Derek Bailey the next day, urging him to contact them for his mini-festival at the Knit at the end of October. And though HE'S not going to be the one to tell you this, our boy Ted's no slouch either. You may have heard him squeezing off sparks on accordion alongside Anthony Braxton or David Krakauer by now. He and Hollenbeck used to have a way-swell trio called Refuseniks that fell by the wayside when bassist Reuben Radding went back to school in the midwest. There's still a pretty nice Real Audio recording of the trio on the alt.coffee site that I listened to last night. The listings on the site are somewhat out of date, so hang on to the schedule Ted supplied. See you there! Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Panthalassa/Dub Meltdown Date: 13 Aug 1997 09:06:47 -0700 At 12:10 PM 8/4/97 -0700, Jeff Spirer wrote: >_Panthalassa_ will probably be out in October. The cover art has not been >done yet and there are a few other things that need to be in place for >release. There has also been a September date circulating that is incorrect. Well for those of you with enough good taste to not read r.m.b., _Panthalassa_ has been delayed until January. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Panthalassa/Dub Meltdown Date: 13 Aug 1997 15:09:36 -0700 On Wed, 13 Aug 1997 09:06:47 -0700 Jeff Spirer wrote: > > At 12:10 PM 8/4/97 -0700, Jeff Spirer wrote: > > >_Panthalassa_ will probably be out in October. The cover art has not been > >done yet and there are a few other things that need to be in place for > >release. There has also been a September date circulating that is incorrect. > > Well for those of you with enough good taste to not read r.m.b., > _Panthalassa_ has been delayed until January. Are you sure that this George Traynor is not an impersonator of Amos Omondi :-). Patrice. ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Raymond Scott concert (fwd) Date: 13 Aug 1997 17:22:43 -0500 (CDT) ---------- Forwarded message ---------- [please forward around the net] * * * * * * * * * * RECKLESS NIGHT ON BOARD THE BOTTOM LINE: A Live Music Tribute to RAYMOND SCOTT The spirit of Raymond Scott, the master of BUGS BUNNY-bent musical mosaics, returns to haunt New York's Bottom Line (SATURDAY, SEPTEMBER 27). Irwin Chusid, Director of the Scott Archives, is producing the 2nd annual live tribute featuring an eclectic group of musicians with a penchant for Scott's looney tunes & merry melodies. The RAYMOND SCOTT QUINTET's late '30s novelty jazz (especially "Powerhouse") has been immortalized in the last 50 years, having been adapted in 115 classic WARNER BROS. cartoons. It's also been featured in REN & STIMPY, THE SIMPSONS, Duckman, and Animaniacs; sampled twice by SOUL COUGHING, and recorded by DON BYRON and the KRONOS QUARTET. (The original RSQ recordings can be heard on "The Music of Raymond Scott: Reckless Nights and Turkish Twilights" - Columbia 53028.) Last year's first-ever Scott trib was a rousing success, and this year's show promises some rare treats. Players (below) will present slight or radical departures from the original cartoon-jazz arrangements. Along with RS Quintet favorites, the program will include rarely-heard Scott compositions from the '40s and '50s.=20 ROBERT MOOG, inventor of the Moog Synthesizer and a colleague of the late, great Scott, will be on hand to demonstrate the only existing model of the CLAVIVOX, a keyboard theremin Raymond invented in the 1950s. The KUSTARD KINGS (of Loser's Lounge fame)--who served as house band at last year's show--will return, as will WNYC's DAVID GARLAND, who will sing a medley of Scott songs.=20 Coffee, a band from Rochester, have arranged four little-known Scott numbers, and jazz accordionist Will Holshouser is arranging three RS Quintet titles. =95 VENUE: THE BOTTOM LINE, 15 West 4th St., NYC - 212-228-6300 =95 DATE: Saturday, SEPTEMBER 27 - two shows (7:30 / 10:30 PM) =95 TICKETS:=09$17.50 (at box office--advance sale or day of show) Lineup:=20 DAVE AMELS - Clavivox STEVEN BERNSTEIN - trumpet (Lounge Lizards, They Might Be Giants)=20 CHRIS BUTLER - guitar, bass (Waitresses) BRIAN DEWAN - piano, accordion DENNIS DIKEN - drums (Smithereens) KELLY FLINT - vocals (Dave's True Story) DAVID GARLAND - vocals (WNYC, Worlds of Love) ENRICO GRANAFEI - harmonica MIKE HASHIM - sax (Dizzy Gillespie, Cab Calloway) WILL HOLSHOUSER - accordion PHILLIP JOHNSTON - soprano sax (Microscopic Septet, Big Trouble) BIANCA "BOB" MILLER - keyboards (ex-Flystrip, Pianosaurus) R. STEVIE MOORE - guitar, bass CHRIS NAPPI - tuned percussion (Steve Reich, S.E.M. Ensemble) JANE SCARPANTONI - cello (Lounge Lizards, Indigo Girls) ROB THOMAS - violin (Jazz Passengers, Eddie Harris) The KUSTARD KINGS (David Terhune, Joe McGinty, George Rush, Clem Waldmann, Kris Woolsey) COFFEE (Phil Marshall, guitar; Tim Poland, bass; Dave Cross, drums) and others.... "Reckless Night" webpage link at: http://users.aol.com/DevilDrums/RNBL.htm Visit the Raymond Scott website at: http://users.aol.com/DevilDrums * * * * * * * * * *=20 Note: black & white photos are available for print and on-line media For further information, contact=20 IRWIN CHUSID ------------------------------------------------------------------------------- From: rizzi@netcom.com (m. rizzi) Subject: Re: Laswell Date: 13 Aug 1997 15:58:50 -0700 (PDT) >I'm not sure that they are still releasing. It is owned by the guy that >owns the rights to Subharmonic, Celluloid, and a few other labels. Really? Ug. Celluloid was such a sleazy label. Cheap packaging with no information, and a reputation for never paying their artists, ever. Why do people keep working with him? mike ------------------- rizzi@netcom.com ----------------------------------- ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Re: Laswell Date: 13 Aug 1997 18:51:23 -0500 (CDT) On Wed, 13 Aug 1997, m. rizzi wrote: > >I'm not sure that they are still releasing. It is owned by the guy that > >owns the rights to Subharmonic, Celluloid, and a few other labels. > > Really? Ug. Celluloid was such a sleazy label. > Cheap packaging with no information, and a > reputation for never paying their artists, ever. > > Why do people keep working with him? Mr. Matarazzo seems to be in a re-packaging phase these days, so buyers beware. He is also releasing albums on the labels Terrascape (which shares the same 26617 UPC prefix that Celluloid and Intera and Subharmonic had) and M.I.L. Multimedia. Some of his pillaging includes the 2CD Dark Massive/Disengage Laswell set, a 2CD Last Poets anthology that fails to mention Laswell's name anywhere (or that of Alan Douglas for that matter), the plundering of Fela Kuti's back catalog, and several Nursat Fatheh Ali Khan albums. Beware especially of M.I.L. I bought a Manu Dibango CD from them called _Bao Bao_ but didn't open it right away because some of the track titles seemed familiar. When I got it home, half of them were from Deadline's first album, but the others didn't match up with any tracks on _Electric Africa_, the only other album by Manu that I have. Fair enough, I thought so I opened it. Imagine my suprise to find out that the other half of the tracks were from _Electric Africa_ only they have been re-titled. Nusrat fans be aware as well - I'm almost positive that his three Intera discs have been repackaged under different names on M.I.L. Out 2 Lunch With Lunchmeat, Paul wesley@interaccess.com ------------------------------------------------------------------------------- From: Bob Boster Subject: Cultural Labyrinth 1 (fwd) Date: 13 Aug 1997 18:09:56 -0700 (PDT) Please forward to any potentially interested lists/individuals. Thanks very much in advance. ------------------------------------------ Cultural Labyrinth and 2779 present: Cultural Labyrinth 1: Baby Steps Space: 2779 (formerly known as Komotion) 2779 16th St. (at Folsom) SF, CA, USA Time: Tape Music Lounge at 8pm Performances at 9pm Cost: $4 donation requested in and out OK Info: Please call 510-763-0316 or email bobbost@orban.com for more details. featuring: Chris Brown (solo electronics) Wet Gate (16mm film collage) Phil Gelb (solo shakuhachi) bouche (voice & electronics) A.L. Dentel (performance art? new music?) (and perhaps some special surprises) Cultural Labyrinth is a monthly series of concerts at 2779, focusing on collapsing genre boundaries by drawing artists and audiences from the following styles together: electronica, improvisational music, noise, performance art, "new music", and traditional or traditional/hybrid forms from around the world. Details on the artists and the series below: Chris Brown, San Francisco based composer, pianist, and electronic instrument builder, studied composition with William Brooks, electronic music with Gordon Mumma at the Univ. of California/Santa Cruz, and computer music with David Rosenboom. He teaches Composition and Electronic Music at Mills College in Oakland, where he is Co-Director for the Center for Contemporary Music (CCM). His music includes pieces for solo instruments with interactive electronics, and improvisational ensemble works, many of them developed originally for the group Room, in which he performs with saxophonist/composer Larry Ochs and percussionist William Winant. He is also a member of the computer network band The Hub, and plays free-jazz with the Glenn Spearman Double Trio. He has received commissions from the Berkeley Symphony, the Rova Saxophone Quartet, and the Gerbode Foundation. His music is recorded on Artifact, Sound Aspects, Centaur, Music & Arts, and Tzadik labels. Wet Gate (Peter Conheim, Steven Dye, Owen O'Toole) is a highly acclaimed trio of appropriationists focusing on the use of 16mm films, with special attention to their sound component. Aside from the rich variety of images and sounds they achieve through plundering generations of ephemeral films and the like, Wet Gate expands their palette with self-adhesive patterns applied to the film "to create abstract optical sounds" and rhythmic loops created from found percussion fragments. In their Cultural Labyrinth performance, Wet Gate will debut a new piece they've been working on for "bulbless" projectors as well as their normal audio-visual assault. Philip Gelb has recently moved to the SF Bay Area and is becoming involved in the thriving experimental music community here. In the past few months Gelb has performed in Japan, Germany and the Netherlands and will return to Japan in October for another series of concerts, solo and with dancer, Eri Majima. Gelb has studied shakuhachi with Kurahshi Yoshoi-sensei and composition with Yuji Takahashi. His music has been released on Ryokan Recordings, Deep Listening Productions, Abray Productions and New World/Countercurrents. Gelb's current projects include a trio with Joe McPhee and Davey Williams and a duet with Chris Brown. "At komotion i will present, "Utsoroi" (at the moment of movement) for solo shakuhachi, composed in 1996 while in residence at the Atlantic Center for the Arts. This piece was composed for dancer, Eri Majima and is dedicated to the brilliant sculptor, Aiko Miyawaki." bouche is a vocal and electronics duet made up of kristi martel and Bob Boster. bouche works with extended voice source material to build a full and swirling sound phenomenon which both pushes audience members with edgy electronic aspects and soothes them with familiar vocal qualities. Members martel and Boster both set aside other projects to work in this duet: martel is an active composer, songwriter, and performance artist who has just finished a successful series of shows at Luna Sea this summer. Boster's solo pseudonym Mr. Meridies and electronics duet SignWave both perform throughout the Bay Area as well. This bouche performance represents a rare opportunity to catch this exciting meeting of worlds. A.L. Dentel's latest project, 365 will keep her performance schedule booked for years to come; completed in early 1997, Dentel wrote a piece of music each day for a year. The range of material in this series is impressive, but much of it can be described as topical, inventive, and revolutionary in it's attempt to bridge the gap between high and low art. Another 365 piece will be presented for Cultural Labyrinth 1. Tape Music Lounge: This will be an ongoing aspect of the Cultural Labyrinth series, providing a showcase for Bay Area composers of tape music (compositions of new music specifically designed for stereo playback) to have work presented in a public setting. As audience members arrive they can respond to it as either foreground or background; another attempt on our part to shift the traditional concert setting environment. On the Series: Cultural Labyrinth is a year's commitment to musical programming between 2779 (the space formerly known as Komotion) and CL's steering committee (currently Bob Boster and A.L. Dentel). This project follows on the heels of a series of successful shows at the space and marks this new chapter by formalizing the relationship with the venue as well as offering an SF venue with a regular weekend performance schedule for challenging musical work - currently once a month. The goal of Cultural Labyrinth is to continue to develop music in the following genres: electronica, improvisational music, traditional and current world musical practices, audio-oriented performance art, New Music (contemporary music in the classical tradition), sound art, and other hard-to-categorize musical expression. These genres are traditionally under-represented both within the mainstream venues in the Bay Area as well as within the "known" underground venues. While there are many "scenes" which attend to some of the needs of some of the genres above ("rave" culture, the Bay Area improvisational axis, the noise scene, etc.) there is no entity with the vision of trying to cross some of the imaginary boundaries between these styles. Our view is that this state of "division" between styles is manufactured by the profit-oriented, culture-selling industrial machine. Our vision is to make connections between musicians and audiences within these various communities to attempt to fill in this divide. Other foci of CL's efforts: providing opportunities for musicians who have struggled to find a performance opportunities, making efforts to represent women and other minority voices in the music community, to offer shows with both eclectic programming and unifying vision, and to use the series to promote the general agenda of overcoming genre limitations in music. All within a vigorous effort to build community and promote artmaking in general. Cultural Labyrinth is looking for volunteers to work on a variety of levels: promotion, engineering, documentation, and just making the shows work. We're also looking for ideas about people who should perform in our series. If you have any time to pitch in or suggestions about people who we should consider for a show, please contact Bob Boster at 510-763-0316 or bobbost@orban.com. And be sure to put yourself on our mailing list if you'd like to be kept informed about future events. We hope to see you at Cultural Labyrinth for this and all future events. ------------------------------------------------------------------------------- From: "Charles Gillett" Subject: Duras:Duchamp, etc. Date: 13 Aug 1997 23:30:25 +0000 Today I ventured out of my hole in the ground to do a little shopping. I was glad to find that "Sanctuary" was already out and available, along with a host of other Avants and Tzadiks. I was able to curb my ravenous impulses, and only picked up "Sanctuary" and "Duras:Duchamp." "Sanctuary" was immediately appealing, though I need to listen to it again--it's about two hours long, and I wasn't able to set aside that much "quality time" today. What struck me on my first listen was the effect the placement of players in the stereo field had on my perception of the piece--a bass/sampler/trumpet trio in each ear, with drums and saxophone in the middle. I tended to hear Chris Speed's playing as being like the glue between the melodies on the right and left sides. I listened to "Duras:Duchamp" through headphones, which I recommend if only because "Duras" is so quiet you have to crank up the volume and lie very still if you want to hear it all. I could have sworn I heard some organ playing on "epilogue," but I guess it was just the small fan I had running. I liked the piece overall, but it requires a specialized listening environment. Somewhat like "Redbird" or perhaps certain pieces from the more recent Filmworks collections. "Duchamp" is billed as being "noise trios." Mark Feldman, Erik Friedlander, and Jim Pugliese make noises for 13 minutes. It was pretty hard to get into, but maybe I should listen to it independently of "Duras" and see if that helps. It's pops, knocks, gurgles, and squeals in various combinations. I have a couple non-musical problems with "Duras:Duchamp," or rather one problem with two occurances. John Medeski is credited as "John Medesky," and "Duchamp" is subtitled "69 paroxyms for Marcel Duchamp." I don't believe Medeski has changed his name, and unless "paroxyms" is some Duchampian word that I'm unaware of, it should have another "s" in it--"paroxysms." These errors are printed on the back and inside the booklet as well. I know that typos are easy to make, but it doesn't seem like too much to expect that the name of a major work will be spelled correctly. I imagine the errors were noticed after the art was printed and it's too expensive to reprint all the artwork. Speaking of the artwork, there's a little secret surprise for all of you eagle-eyed knee-seers out there. Wink wink. -- Charles gill0042@tc.umn.edu http://umn.edu/~gill0042/ ------------------------------------------------------------------------------- From: rizzi@netcom.com (m. rizzi) Subject: Re: masada 4 & 1 Date: 13 Aug 1997 22:43:06 -0700 (PDT) >From: "Jonas Thompson" > >hey, am i the only guy who sees masada 4 in stores on a regular basis? There are plenty of copies at Amoeba Music in Berkeley for $20. >and for $45 canadian and only three tunes, is it worth buying? mike ------------------- rizzi@netcom.com ----------------------------------- www.browbeat.com "Another nerd with a soulpatch" www.grin.net/~rizzi/burma.html browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------------- ------------------------------------------------------------------------------- From: Marcin.Witkowski@wor.tvp.com.pl Subject: RE: Praxis CD Date: 14 Aug 1997 08:56:25 +0200 Concert was recorded live at Sala Kongresowa, Warsaw, Poland 30 June 1996. 1. Metatron 2. Sacrifist 3. Tarab 4. Crash Victim 5. The Hook/Giant Robot Laswell/Buckethead/Brain/DXT with 4 DJ's (DJ Q-Bert, DJ Disk, Short Cut, Mix Master Mike) 71 min. long Really great stuff. BTW: I found in a CD catalogue: Praxis "Metatron" Limited Edition. Could someone tell me what is the difference between "normal" edition. Marcin ------------------------------------------------------------------------------- From: =?iso-2022-jp?B?GyRCQEZGI0FvGyhK?= Subject: re: Masahiko Togashi Date: 14 Aug 1997 17:40:58 +0900 Masahiko Togashi is still active, and he often performs in "Shinjuku Pit-inn", which is one of the most popular live-spot of jazz in Japan. He plays percussion as the leader of his group "Masahiko Togashi and J.J.Spirits". This group plays standards and their originals, and the members are as follows: Masahiko Togashi (perc) Kosuke Mine (ts,ss) Masahiko Satoh (p) Nobuyoshi Ino (b) Masahiko Sato is very famous improvisor, and he recently plays with Kang Tae Fan (Korean tenor-sax player who plays with circular bleathing like Ned Rosenberg or Evan Parker). Nobuyoshi Ino played nice bass in "Schrippenbach Plays Monk"(Enja). Most of Masahiko Togashi's CDs are on sale only in Japan, I think, but some of good are out of Japan, such as "The Paris Session", "We Now Create", and recent "Triple Helix" in which he plays with Masabumi Kikuchi (p) and Terumasa Hino (tp). Besides "J.J.Spirits", he sometimes plays with improvisors like Masahiko Sato, Steve Lacy, Yosuke Yamashita, Gary Peacock, Masabumi Kikuchi, Motoharu Yoshizawa, and so on. I watched his performance this January in Shinjuku Pit-inn, duo with Masahiko Satoh, and it was splendid. Akira Saito $B!!!!!!!!!!!!!!!!(JE-Mail: saito@cyg.fuji-ric.co.jp$B!!!!!!(J $B!!!!!!!!!!!!!!!!!!!!!!!!(JQZP02427@niftyserve.or.jp$B!!!!(J ------------------------------------------------------------------------------- From: =?iso-2022-jp?B?GyRCQEZGI0FvGyhK?= Subject: re: Masahiko Togashi Date: 14 Aug 1997 17:40:58 +0900 Masahiko Togashi is still active, and he often performs in "Shinjuku Pit-inn", which is one of the most popular live-spot of jazz in Japan. He plays percussion as the leader of his group "Masahiko Togashi and J.J.Spirits". This group plays standards and their originals, and the members are as follows: Masahiko Togashi (perc) Kosuke Mine (ts,ss) Masahiko Satoh (p) Nobuyoshi Ino (b) Masahiko Sato is very famous improvisor, and he recently plays with Kang Tae Fan (Korean tenor-sax player who plays with circular bleathing like Ned Rosenberg or Evan Parker). Nobuyoshi Ino played nice bass in "Schrippenbach Plays Monk"(Enja). Most of Masahiko Togashi's CDs are on sale only in Japan, I think, but some of good are out of Japan, such as "The Paris Session", "We Now Create", and recent "Triple Helix" in which he plays with Masabumi Kikuchi (p) and Terumasa Hino (tp). Besides "J.J.Spirits", he sometimes plays with improvisors like Masahiko Sato, Steve Lacy, Yosuke Yamashita, Gary Peacock, Masabumi Kikuchi, Motoharu Yoshizawa, and so on. I watched his performance this January in Shinjuku Pit-inn, duo with Masahiko Satoh, and it was splendid. Akira Saito $B!!!!!!!!!!!!!!!!(JE-Mail: saito@cyg.fuji-ric.co.jp$B!!!!!!(J $B!!!!!!!!!!!!!!!!!!!!!!!!(JQZP02427@niftyserve.or.jp$B!!!!(J ------------------------------------------------------------------------------- From: "mcbride/turner" Subject: berlin and muenchen Date: 14 Aug 1997 11:33:37 -0400 hello. we'll be touring around germany in the next couple of weeks, and i wonder if anyone here can recommend good clubs and/or record shops in berlin and muenchen? any info would be greatly appreciated. thanks, robert turner ------------------------------------------------------------------------------- From: "Andy Marks" Subject: Re: Praxis CD Date: 14 Aug 1997 08:04:42 -0400 > BTW: I found in a CD catalogue: Praxis "Metatron" Limited Edition. > Could someone tell me what is the difference between "normal" edition. The limited edition has fancy packaging. The front (and back , I think) are covered with rubber spikes. ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Duras:Duchamp, etc. Date: 14 Aug 1997 08:32:47 -0400 Charles Gillett wrote: > "Sanctuary" was immediately appealing, though I need to listen > to it again--it's about two hours long, and I wasn't able to set > aside that much "quality time" today. What struck me on my first > listen was the effect the placement of players in the stereo field > had on my perception of the piece--a bass/sampler/trumpet trio in > each ear, with drums and saxophone in the middle. I tended to hear > Chris Speed's playing as being like the glue between the melodies > on the right and left sides. > > -- Charles > > This is pretty much the way they line up on stage. I saw them live > 8-12-97, with Coleman and Dresser on the right of the semi-circle and > Honda, Green on the left. In the middle stood from left to right > Douglas, Speed, and Vu. Kenny Wollesen squashed to the back. (BTW, I > heard some bad news on Doug Bowne???) Of course this was on the very > cramped Knitting Factory stage. I have the CDs, which Dave had at the > show, but have not listened to it. I will say that the audience sat > in rapt attention throughout. In fact, I think only one solo got > applause, it seemed that applause might break the flow of the music. > It was magical. However, on stage it was very much the two trumpets > that were the glue. I thought that Speed's sax and clarinet were > mixed a bit too low, so perhaps on the CD he stands out more. I spoke > to Vu between sets and he explained that though there is notation, the > solos and much of the palying is improvised. Alan E Kayseraek1@erols.com ------------------------------------------------------------------------------- From: Brent Burton Subject: Re: Bailey mini-fest Date: 14 Aug 1997 09:34:30 -0400 (EDT) On Wed, 13 Aug 1997, Steve Smith wrote: > I was so blown away by their > interplay ("play" being a key word, as Moran and Hollenbeck are both > extraordinarily fond of junk, plastic toys and cheap noisemakers) that I > sent a fax to Derek Bailey the next day, urging him to contact them for > his mini-festival at the Knit at the end of October. Hey! Does anyone have anymore info about the Bailey fest? Dates? Potential performers? B$ ------------------------------------------------------------------------------- From: M.Ho Subject: Re: Duras:Duchamp, etc. Date: 14 Aug 1997 9:48:59 EDT (BTW, I heard some bad news on Doug Bowne???) What's going on with Dougie and do you know what it is that he's been ill with? ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Duras:Duchamp, etc. Date: 14 Aug 1997 10:10:34 -0400 M.Ho wrote: > (BTW, I heard some bad news on Doug Bowne???) > > What's going on with Dougie and do you know what it is that he's been > ill with? The word I heard was that he is paralyzed, but I hesitate to spread a rumor. Can someone confirm this ?Alan ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: Panthalassa/Dub Meltdown Date: 14 Aug 1997 16:39:08 +0200 (GMT+0200) On Wed, 13 Aug 1997, Jeff Spirer wrote: > At 12:10 PM 8/4/97 -0700, Jeff Spirer wrote: > Well for those of you with enough good taste to not read r.m.b., > _Panthalassa_ has been delayed until January. r.m.b.? rec.mmmm.bob? rec.muso.bastards? rec.music.bhangra? teemu :) :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: dayna Subject: Re: Duras:Duchamp Date: 14 Aug 1997 08:26:50 -0700 The street-date for Duras-Duchamp (and FIlmworks 8) in the U.S. is NEXT week, August 19. Are some stores getting these early? One of the reasons I ask is that I work at a large music distribution company, and WE won't get these in to our warehouse until Friday. I also got the Koch Distribution one-sheet on the Parachute Years set. $99.98 list price and supposedly only 1000 made world-wide. Wasn't one of the reasons behind Tzadik to make a lot of these hard to find pieces widely available? -Mark ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Duras:Duchamp Date: 14 Aug 1997 08:29:36 -0700 On Thu, 14 Aug 1997 08:26:50 -0700 dayna wrote: > > The street-date for Duras-Duchamp (and FIlmworks 8) in the U.S. is NEXT > week, August 19. Are some stores getting these early? The record has been available in Europe for a month now. And yes, some stores/chains get it earlier. > One of the reasons I ask is that I work at a large music distribution > company, and WE won't get these in to our warehouse until Friday. > > I also got the Koch Distribution one-sheet on the Parachute Years set. > $99.98 list price and supposedly only 1000 made world-wide. Wasn't one > of the reasons behind Tzadik to make a lot of these hard to find pieces > widely available? In this case, the question would be: are there 1000 potential customers for such a set :-). This is not "easy-listening" stuff (if Zorn/Chadbourne ever did some). 1000 seems to me, based on the special nature of the reissue (a 6xCD (7?) set), a good number. Patrice. ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: Praxis CD Date: 14 Aug 1997 08:34:35 PDT >> BTW: I found in a CD catalogue: Praxis "Metatron" Limited Edition. >> Could someone tell me what is the difference between "normal" edition. > >The limited edition has fancy packaging. The front (and back , I think) >are covered with rubber spikes. I saw it in a catalog called the "Power Rubber Box". I've heard that it's actually the inside of a NYC body bag. Dave Brunelle IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Panthalassa/Dub Meltdown Date: 14 Aug 1997 08:45:14 -0700 (PDT) On Thu, 14 Aug 1997 tkorpipa@siba.fi wrote: > r.m.b.? rec.mmmm.bob? rec.muso.bastards? rec.music.bhangra? rec.music.bluenote hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: JoeJanecek@aol.com Subject: Re: zorn-list Digest V2 #94 Date: 14 Aug 1997 13:50:08 -0400 (EDT) In a message dated 8/14/97 12:41:47 AM, mcmullenm wrote: >Does anyone know if Zorn is playing So. California while on the west coast >this month? As far as I understand, Zorn does not like So. Cal. He did play Santa Barbara a few years back, but usually sticks to SF on his way to Japan. joe ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Bailey mini-fest Date: 14 Aug 1997 14:10:22 -0400 Brent Burton wrote: > Hey! Does anyone have anymore info about the Bailey fest? Dates? > Potential performers? Last I saw before leaving the Knit, the fest was tentatively scheduled for Oct. 30-31. There were no confirmed names as Derek will be choosing his partners himself, but those mentioned in the Knit's internal calendar included mostly the usual suspects - Zorn, Ikue Mori, DJ Soul Slinger. That's really why I sent the fax about Eskelin/Moran/Hollenbeck... I know Bailey enjoys meeting artists he has NOT already worked with. (Not that there's anything WRONG with those few names listed...) :-) I would also expect that he'll be paired with pipa player Min-Xiao Fen, since he recorded with her for Tzadik while he was here last December for the Bailey/Metheny/Bendian/Wertico sessions. This should be cool as I've heard only amazing things about her and was impressed mightily by a brief stretch of improv with her and Jim Staley I heard during a recent Zorn improv fest. BTW the next of these now semi-regular Zorn improv fests at the Knit will be held on August 30 (and remember that Masada is back at the Knit on September 25-28, and Joey Baron's new Down Home band with Bill Frisell, Arthur Blythe and Ron Carter is now evidently confirmed for October 15-16, with a record due around the same time on the Intuition label). Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "mcmullenm" Subject: We're Waking Up Out Here Date: 14 Aug 1997 11:40:29 -0700 | | As far as I understand, Zorn does not like So. Cal. He did play Santa Barbara | a few years back, but usually sticks to SF on his way to Japan. | | joe Most of the artists I love hate Southern California, but things are slowly changing...one recent East Coaster playing the Alligator Lounge in Santa Monica remarked afterward that the audience at that venue shocked him in terms of both numbers and sophistication...I have had the privilege of seeing Zorn only twice...once in a trio with E# and Mick Harris [people were leaving in groves as Zorn shouted, "I'M GOING TO MAKE YOU SUFFERRRRR!"] and once with Masada in Santa Barbara...I have heard that he plays here unannounced from time to time as well... A friend and I are in the process of creating a series of music weekends in Ventura beginning in November...we are going to start with the Alligator Lounge--San Francisco connection to book musicians and eventually hope to expand to getting artists from the East Coast as well...The first performance will be a one night performance in November...I'll post details as they become available...We have sponsored some stunning performances by Vinnie Golia, Nels Cline, Bonnie Barnett and others in the rotunda of City Hall which have been standing room only... Rakete, Sz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Rinnzekete bee bee nnz krr muu? -- Kurt Schwitters ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ | ------------------------------------------------------------------------------- From: Ted Reichman Subject: gigs at alt.coffee Date: 14 Aug 1997 17:11:34 -0400 (EDT) just to clarify my earlier post about music at alt.coffee: If you're looking to play a gig at alt.coffee, please keep in mind that they ONLY have music there on Monday nights (except for extremely rare exceptions which I am not involved with) and that it is completely booked up through October, as indicated in the schedule I posted yesterday. If you still want to try to book something for later in the fall or in the winter, you can feel free to send me a tape. I will not start booking gigs for November-December until late September at the earliest: Ted Reichman c.o. alt.coffee 139 Avenue A (n.b. THIS is the correct address, not 137 as I wrote yesterday) New York, NY 10009 I welcome any gig proposals you may have but please keep in mind that since it's only a weekly series there aren't very many slots to fill. There are already a lot of people trying to book a gig there who I have to turn down, so please understand that, unfortunately, very few of the people who contact me will get booked. Also, due to the contraints of the space and the people who live upstairs, extremely volume-oriented groups can't perform there. I sincerely appreciate your interest in the cafe, and I don't like having to be a hardass (I know what it's like to hunt for gigs) but that's the way it is, at least for the immediate future. Again, thanks for your interest, Ted R. p.s. my apologies for clogging the list with this business-oriented material... ------------------------------------------------------------------------------- From: Tom Benton Subject: Re: non-Knit NYC music venue Date: 14 Aug 1997 16:38:34 -0500 (CDT) On Wed, 13 Aug 1997, Steve Smith wrote: > > > 9/1 Cuong Vu > > Jim Black, Curtis Hasselbring, Chris Speed, Stomu Takeishi, Cuong Vu > > Minus Haselbring, this band just released a nice disc on Songlines under > Chris Speed's name, "Yeah, No." Yes, true. Very hip record. However, I just have to jump in here and say some about another new Songlines record whose creators were also on Ted's list, way up at the top. The record is 'No Boat' by guitarist Ben Monder and vocalist Theo Bleckmann. About half duo, half quartet with Jim Black (drums), and Skuli Sverrison (elec bass). Both Ben and Theo are immensely textural and expressive on their respective instruments; the album, to me at least, sort of runs together as one extended journey through ballads, wordless improvisations, and a great deal of other territory. I kind of feel stupid that I've started this being that this is sort of one of those magical records that I can't much about other than "it's really cool, go buy it", but oh well. Check it out for yourself. > As for Matt, quoting here from Douglas Wolk in the Voice: "The > vibraphone isn't commonly associated with spasmodic free-improv > self-expression, either, but when Moran's short-fuse pauses ignite into > four-malleted pyrotechnics, it's like hearing an angel have a seizure." Speaking of Mr. Moran, I'll add that he has an excellent record of his own out, with a sax/vibes/drums trio he leads called Larabok i. Some really wonderful composing tempered by "spasmodic free improv". I dig it. You can probably find out more about this on a web page about it, I'm not sure of the exact address, it's somewhere on his buddy Adam Good's page at . > And though HE'S not going to be the one to tell you this, our boy Ted's > no slouch either. You may have heard him squeezing off sparks on > accordion alongside Anthony Braxton or David Krakauer by now. Yep, and he writes pretty snappy liner notes to boot! By the way Ted, what's up with 'Metallurgy'? Is this still happening? --- All from me. Resume rocking on with your bad selves... ------------------------------------------------------------------------------- From: Marc Lambert Subject: Grand Guinore Date: 14 Aug 1997 21:13:54 -0400 (EDT) Can anyone tell me something about Naked City's Grand Guigore (sp?)? I just saw it in a used shop and am curious, tho' I have to admit that some of the hairy NC doesn't do it for me that much. Thanks. ------------------------------------------------------------------------------- From: David Newgarden Subject: Re: melvins Date: 15 Aug 1997 00:20:43 -0400 (EDT) >>Another former player in the Melvins list of soldiers was King Buzzo's >>then girlie-friend, known as Lorax. >I may be misremembering, but I think I remember hearing that she was >Shirley Temple Black's daughter. This Melvins discussion is finally getting interesting... ------------------------------------------------------------------------------- From: David Newgarden Subject: Re: melvins Date: 15 Aug 1997 00:20:43 -0400 (EDT) >>Another former player in the Melvins list of soldiers was King Buzzo's >>then girlie-friend, known as Lorax. >I may be misremembering, but I think I remember hearing that she was >Shirley Temple Black's daughter. This Melvins discussion is finally getting interesting... ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Panthalassa/Dub Meltdown Date: 14 Aug 1997 16:42:56 -0700 At 08:45 AM 8/14/97 -0700, SUGAR in their vitamins? wrote: >On Thu, 14 Aug 1997 tkorpipa@siba.fi wrote: > >> r.m.b.? rec.mmmm.bob? rec.muso.bastards? rec.music.bhangra? > >rec.music.bluenote I'm not so sure Dan, I think it has been renamed rec.music.bozo. This more recent exchange on r.m.b. follows one last year in which it was claimed by a supposed guitarist that he could teach any teenager to play like Sonny Sharrock. Unfortunately, my vows of r.m.b. abstinence were broken when I noticed an exchange on Miles when perusing dejanews. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Praxis CD Date: 14 Aug 1997 16:31:14 -0700 At 08:04 AM 8/14/97 -0400, Andy Marks wrote: > >> BTW: I found in a CD catalogue: Praxis "Metatron" Limited Edition. >> Could someone tell me what is the difference between "normal" edition. > >The limited edition has fancy packaging. The front (and back , I think) >are covered with rubber spikes. Andy is, as always, quite correct on this. This was from a series of limited edition packages designed by NY artist Rockit, although they should be just about impossible to find given the demise of Subharmonic, or at least the termination of Bill Laswell's connection with Subharmonic. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Jan-Wen Lu Subject: Christian Marclay CD Date: 15 Aug 1997 15:46:16 +0800 I've heard there's a CD of Christian Marclay's early works relesed by Atavistic Records this month. Is it available now? Hope someone can inform me. Thanks. -- Jan-Wen Lu E-Mail address: janwenlu@asiaonline.net.tw ------------------------------------------------------------------------------- From: max Subject: Burt Bacharach Date: 15 Aug 1997 09:17:01 -0400 Does anyone know if Zorn was the executive producer for the new 2cd Burt Bacharach tribute? Any thoughs on this disc? Max ------------------------------------------------------------------------------- From: "Andy Marks" Subject: Re: Burt Bacharach (Zorn Executive Producer) Date: 15 Aug 1997 09:37:15 -0400 > Does anyone know if Zorn was the executive producer for the new 2cd Burt > Bacharach tribute? Any thoughs on this disc? I think he might be executive producer for most, if not all, Tzadik releases. I know I have seen this on several of my Tzadik discs (I haven't actually checked them all to be sure). Anyway, I have wondered what exactly an "executive producer" does. Is Zorn actually involved with the recording of the material in some way, or is this just sort of his stamp of approval? I have always assumed it was the latter. Could someone set me straight here? ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Burt Bacharach Date: 15 Aug 1997 09:53:55 -0400 max wrote: > Does anyone know if Zorn was the executive producer for the new 2cd > Burt > Bacharach tribute? Any thoughs on this disc? > > Max John is listed as the executive producer on the BB collection, as he is on all Tzadik releases. He is also listed as EP on Avant releases, though I'm not sure if this applies to all Avant. Alan ------------------------------------------------------------------------------- From: "Alan M Gordon (MSc/NC)" Subject: Re: Burt Bacharach Date: 15 Aug 1997 15:24:06 +0100 (BST) max wrote: > Does anyone know if Zorn was the executive producer for the new 2cd > Burt > Bacharach tribute? Any thoughs on this disc? > > Max The tribute is a really good compilation. it achieves the aims of paying tribute to bacharach's composition, while also having a lot of inventiveness by the various contributors. also, it is very faithful to the spirit of bacharach, in that i keep finding myself walking down the street, whistling the tunes, to the point of irritation! I would say, definitely check it out. alan ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: masada 4 & 1 Date: 15 Aug 1997 10:56:39 -0400 (EDT) > hey, am i the only guy who sees masada 4 in stores on a regular basis? > and for $45 canadian and only three tunes, is it worth buying? > also, i see all filmworks all the time. any news as to whether or not he > will ever record more of the classic guide to strategy? Ack! Don't do it. Instead, spend only $15.00 american plus postage etc... and buy it from the Downtown Music Gallery. They have e-mail, so you can send them orders, i'm almost kind of sure. I don't know what thier address is, but someone here would (hint). -jascha ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: non-Knit NYC music venue Date: 15 Aug 1997 11:02:40 -0400 (EDT) And i was just in NYC for a spell and found out about... The Cooler: free music monday nights. I saw Ikue Mori, Eyvind Kang and someone else make a lot of noise for half an hour or so the first time i went; William Hooker and co. chased me out of the building the second monday (ouch, they play loud in there!). Tuesday nights at some bar on 200 Orchard street, DJ Spooky spins crazy stuff starting 10:30 or so. -jascha ------------------------------------------------------------------------------- From: stickman Subject: Who's on Drums? Date: 15 Aug 1997 09:59:25 -0700 Steve Smith Wrote: BTW the next of these now semi-regular Zorn improv fests at the Knit will be held on August 30 (and remember that Masada is back at the Knit on September 25-28, and Joey Baron's new Down Home band with Bill Frisell, Arthur Blythe and Ron Carter is now evidently confirmed for October 15-16, with a record due around the same time on the Intuition label). Steve, Will Joey Baron be on drums for the Masada gigs? And also, i've always found it strangely easy to find a parking spot outside the knit. Is it legal to park on both sides of the street? ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Grand Guinore Date: 15 Aug 1997 11:16:21 -0400 (EDT) > Can anyone tell me something about Naked City's Grand Guigore (sp?)? I > just saw it in a used shop and am curious, tho' I have to admit that some > of the hairy NC doesn't do it for me that much. Thanks. It's called "Grand Guignol" and it's a schizophrenic album. The first piece is a 17 minute spooky, lurking bit of ambience with bursts of noise. Very rumbly, sub-woofers recomended. The next few pieces are by composers such as Debussy, Scribin, Orlando de Lassus, and others. Very pretty. The next thirty-nine or so pieces are the rest of "torture garden" (the other few bits are on the guy-with-a-gun Naked City album on Elektra Nonesuch) - speed-jazz-core-pop-culture-vomit miniatures guaranteed to make you smile, if not howl with laughter (listen to "Speedfreaks"!) -jascha ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Christian Marclay CD Date: 15 Aug 1997 08:17:40 -0700 On Fri, 15 Aug 1997 15:46:16 +0800 Jan-Wen Lu wrote: > > I've heard there's a CD of Christian Marclay's early works relesed by > Atavistic Records this month. Is it available now? Hope someone can inform > me. Thanks. Many people got promo but I have not seen it yet. One that I am really looking forward to get!!! Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Burt Bacharach (Zorn Executive Producer) Date: 15 Aug 1997 08:22:04 -0700 On Fri, 15 Aug 1997 09:37:15 -0400 "Andy Marks" wrote: > > > Does anyone know if Zorn was the executive producer for the new 2cd Burt > > Bacharach tribute? Any thoughs on this disc? > > I think he might be executive producer for most, if > not all, Tzadik releases. I know I have seen this on several of my > Tzadik discs (I haven't actually checked them all to be sure). Anyway, > I have wondered what exactly an "executive producer" does. Is Zorn > actually involved with the recording of the material in some way, or > is this just sort of his stamp of approval? I have always assumed > it was the latter. Could someone set me straight here? Executive producer means, in most of the case, that you are the one who has the money :-). The realm of executive producer of more with logistic. When you are involved with the product from an artistic point of view, you become a producer (or associated producer). Patrice. ------------------------------------------------------------------------------- From: SlightAche@aol.com Subject: Re: masada 4 & 1 Date: 15 Aug 1997 11:31:08 -0400 (EDT) > Ack! Don't do it. Instead, spend only $15.00 american plus postage > etc... and buy it from the Downtown Music Gallery. They have e-mail, so > you can send them orders, i'm almost kind of sure. I don't know what > thier address is, but someone here would (hint). Easy -- dmg@panix.com Your Friend, PWKing ------------------------------------------------------------------------------- From: Knutboy@aol.com Subject: Masada 7 Date: 15 Aug 1997 12:53:05 -0400 (EDT) It's out and it's WONDERFUL. Tracks: "Schechem", "Elilah", "Kodashim", "Halom", "Ne'eman", "Abed-nego", "Tohorot", "Mochin", "Amarim", "Khebar". New York folks, pick it up at Downtown Music Gallery, only $16! ------------------------------------------------------------------------------- From: Todd Bramy Subject: Nicole Blackman Date: 15 Aug 1997 10:10:34 -0700 (PDT) The latest Golden Palominos cd called "Dead Inside" features the usual suspects, including Knox Chandler, Anton Fier, Bill Laswell, and Nicky Skopelitis; but is centered around the spoken word work of Nicole Blackman. I have noted Blackman's work on another cd I have, KMFDM's latest release "Xtort". Does anyone know of other releases she's featured on? Todd Bramy tbramy@oz.net ------------------------------------------------------------------------------- From: Broken Subject: Re: Masada 7 Date: 15 Aug 1997 13:02:37 -0400 (EDT) On Fri, 15 Aug 1997 Knutboy@aol.com wrote: > Date: Fri, 15 Aug 1997 12:53:05 -0400 (EDT) > From: Knutboy@aol.com > To: zorn-list@xmission.com > Subject: Masada 7 > > It's out and it's WONDERFUL. Tracks: "Schechem", "Elilah", "Kodashim", > "Halom", "Ne'eman", "Abed-nego", "Tohorot", "Mochin", "Amarim", "Khebar". > New York folks, pick it up at Downtown Music Gallery, only $16! Don't you mean Masada 8? I'm 99% sure Masada 7 (Zayin?) has a track called Bacharach on there. Howard ------------------------------------------------------------------------------- From: Steve Smith Subject: Knit Update (Masada, Derek Bailey) Date: 15 Aug 1997 13:21:51 -0400 Just checked the Knit's website for verification of the information I posted yesterday, and founf a few changes: - Masada, in addition to its run the following week, will be playing on a bill with Philip Glass and others on Friday, September 19 as part of a benefit concert for the Living Theater. It costs $20 and I don't imagine they'll have a very long set. - Masada's run the next week will include sets at 8 and 10 on Thursday the 25th , 9 and 11 on Friday the 26th and Saturday the 27th. Tickets are $12 in advance and $14 day of show, and as always you can try to check it out live broadcast over the Knit's website. And yes, Joey Baron (actually the site says "Joey Barn") will be on drums. - Derek Bailey's October run seems to have been moved to Monday the 27th through Wednesday the 29th, and will converge with a previously unscheduled Zorn Improv night on the 28th and at least the first night of a two-night Japanese fest on the 29th, where Bailey is listed alongside Akaten and Zubizuva-x. The next night, the 30th, features Tsuyama Atsushi and the Ruins, but Bailey is not listed. Stay tuned, as I suppose this stuff is still getting tweaked into shape... Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: Nicole Blackman Date: 15 Aug 1997 11:33:29 PDT >The latest Golden Palominos cd called "Dead Inside" features the usual >suspects, including Knox Chandler, Anton Fier, Bill Laswell, and Nicky >Skopelitis; but is centered around the spoken word work of Nicole Blackman. > >I have noted Blackman's work on another cd I have, KMFDM's latest release >"Xtort". Does anyone know of other releases she's featured on? > She's featured on one track of "Myths:Dreams of the World" that Laswell put together. It was my understanding that this was the track that Anton Fier first heard her on, before she joined the Palominos. Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Knutboy@aol.com Subject: Re: Masada 7 Date: 15 Aug 1997 14:47:53 -0400 (EDT) OOps, yes, I meant EIGHT. So many, many Masada's!!!!! ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Masada 7 Date: 15 Aug 1997 12:50:36 -0700 On Fri, 15 Aug 1997 13:02:37 -0400 (EDT) Broken wrote: > > On Fri, 15 Aug 1997 Knutboy@aol.com wrote: > > > Date: Fri, 15 Aug 1997 12:53:05 -0400 (EDT) > > From: Knutboy@aol.com > > To: zorn-list@xmission.com > > Subject: Masada 7 > > > > It's out and it's WONDERFUL. Tracks: "Schechem", "Elilah", "Kodashim", > > "Halom", "Ne'eman", "Abed-nego", "Tohorot", "Mochin", "Amarim", "Khebar". > > New York folks, pick it up at Downtown Music Gallery, only $16! > > Don't you mean Masada 8? > I'm 99% sure Masada 7 (Zayin?) has a track called Bacharach on there. BTW, what is the title of Masada 8? Patrice. ------------------------------------------------------------------------------- From: "pjm" Subject: a few short Zorn samples Date: 15 Aug 1997 14:42:07 -0700 i put a few Zorn samples on my web page a few months back.... if you're interested: http://www.memes.com/~pjm/zorn.html i'll probably add samples from Spillane and Leng Tch'e this weekend.. been slackin on the web biz... cheers pjm p.s. anyone been checking out the Zony Mash shows @ the O.K. Hotel in Seattle? ------------------------------------------------------------------------------- From: jihad7@juno.com (Nathan M Earixson) Subject: Bacharach and stuff Date: 15 Aug 1997 16:35:00 -0500 Pardon my ingnorance, but who is Burt Bacharach? Also, I have seen a whole slew of new Avant releases at The local record stores. Where can I get information on these? ***************************************** "Next stop...cool." -"Melville". ***************************************** ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Masada 7 Date: 15 Aug 1997 18:20:28 -0400 (EDT) > It's out and it's WONDERFUL. Tracks: "Schechem", "Elilah", "Kodashim", > "Halom", "Ne'eman", "Abed-nego", "Tohorot", "Mochin", "Amarim", "Khebar". > New York folks, pick it up at Downtown Music Gallery, only $16! are you sure you don't mean number eight? -jascha ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Masada 7 Date: 15 Aug 1997 18:23:49 -0400 (EDT) > > It's out and it's WONDERFUL. Tracks: "Schechem", "Elilah", "Kodashim", > > "Halom", "Ne'eman", "Abed-nego", "Tohorot", "Mochin", "Amarim", "Khebar". > > New York folks, pick it up at Downtown Music Gallery, only $16! > > Don't you mean Masada 8? > I'm 99% sure Masada 7 (Zayin?) has a track called Bacharach on there. True. I guess this post really means Masada 8, which is super cool...i can bid adieu to another thirty bucks. -jascha ------------------------------------------------------------------------------- From: "Julian" Subject: Re: Grand Guinore Date: 16 Aug 1997 12:41:24 +1000 > It's called "Grand Guignol" and it's a schizophrenic album. The first > piece is a 17 minute spooky, lurking bit of ambience with bursts of > noise. Very rumbly, sub-woofers recomended. > > The next few pieces are by composers such as Debussy, Scribin, Orlando de > Lassus, and others. Very pretty. > > The next thirty-nine or so pieces are the rest of "torture garden" (the > other few bits are on the guy-with-a-gun Naked City album on Elektra > Nonesuch) - speed-jazz-core-pop-culture-vomit miniatures guaranteed to > make you smile, if not howl with laughter (listen to "Speedfreaks"!) I've been wondering...if I already own "Naked City" and "Torture Garden" is it worth it to buy "Grand Guignol" for the few extra songs? Also, can someone describe "Heretic" and "Absinthe"? ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Nicole Blackman Date: 15 Aug 1997 15:30:35 -0700 She is on _Myths_ (a spoken word CD produced by Bill Laswell) and on the unreleased _Assassins_ recording, also spoken word produced by Bill Laswell. At 10:10 AM 8/15/97 -0700, Todd Bramy wrote: >The latest Golden Palominos cd called "Dead Inside" features the usual >suspects, including Knox Chandler, Anton Fier, Bill Laswell, and Nicky >Skopelitis; but is centered around the spoken word work of Nicole Blackman. > >I have noted Blackman's work on another cd I have, KMFDM's latest release >"Xtort". Does anyone know of other releases she's featured on? Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Masada 7 Date: 15 Aug 1997 15:33:23 -0700 By the way, I saw that Masada 8 was in at Downtown Music Gallery (dmg@panix.com) as I was running (no time to shop) through the store yesterday. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Nicole Blackman Date: 15 Aug 1997 15:32:10 -0700 At 11:33 AM 8/15/97 PDT, David Brunelle wrote: >She's featured on one track of "Myths:Dreams of the World" that Laswell >put together. It was my understanding that this was the track that Anton >Fier first heard her on, before she joined the Palominos. She appeared on the last (and it is permanently the last) Golden Palominos release. The Palominos are no more. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Nicole Blackman Date: 15 Aug 1997 22:09:54 -0500 I believe she is also on the new Laswell release "City of Light"... glenn ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Blackman/Carson Date: 15 Aug 1997 22:14:09 -0500 My post about Blackman is incorrect.......Lori Carson does the spoken word on Laswell's "City of Light" cd....sorry... glenn ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Grand Guinore Date: 16 Aug 1997 01:17:56 -0400 Julian wrote: > > It's called "Grand Guignol" and it's a schizophrenic album. The > first > > piece is a 17 minute spooky, lurking bit of ambience with bursts of > > noise. Very rumbly, sub-woofers recomended. > > > > The next few pieces are by composers such as Debussy, Scribin, > Orlando de > > Lassus, and others. Very pretty. > > I've been wondering...if I already own "Naked City" and "Torture > Garden" is > it worth it to buy "Grand Guignol" for the few extra songs? Also, can > someone describe "Heretic" and "Absinthe"? The above does a very fine job of describing the extra material on "Grand Guignol," so judge by how appealing that sounds. Personally once I bought "Guignol" (which I would NOT be without if only for the opportunity to hear Bob Dorough (that marvellous quirky jazz singer most people in the Zorn generation -- I include myself in that description -- know from "Schoolhouse Rock") singing an art song by Charles Ives), I got rid of "Torture Garden." Put it this way... if you REALLY want to know Naked City's complete range you really ought to have the classical interpretations on "Guignol" in your collection. "Heretic" is nice but very episodic... and none of the tracks features the complete band, if that makes a difference. And "Absinthe" is probably the most difficult of the Naked City releases... it has a lot more to do with Morton Feldman, Giacinto Scelsi and the other abstract minimalist 20th century composers by whom Zorn was influenced... and perhaps Mick Harris's Lull figures into it somewhere as well since he's thanked in the liners. Don't come to this one looking for speed freak drums solos or wailing guitar noise, but if any of the names mentioned above (or perhaps the name John Cage) appeals, then go for it. Steve ------------------------------------------------------------------------------- From: max Subject: Re: Nicole Blackman Date: 16 Aug 1997 09:33:09 -0400 I work occasionally at a used cd store and I think I saw a solo cd by Nicole Blackman (maybe I'm remembering incorrectly). Does this exist? Also, we have a bunch of Subharmonic/Laswell/Celluloid/Material cutouts and used cds, generally around $8 a disc - if anyone is looking for something specific, e-mail me privately. Max ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Grand Guinore Date: 16 Aug 1997 06:40:57 -0700 At 01:17 AM 8/16/97 -0400, Steve Smith wrote: >The above does a very fine job of describing the extra material on >"Grand Guignol," so judge by how appealing that sounds. Personally once >I bought "Guignol" (which I would NOT be without if only for the >opportunity to hear Bob Dorough (that marvellous quirky jazz singer most >people in the Zorn generation -- I include myself in that description -- >know from "Schoolhouse Rock") singing an art song by Charles Ives), I >got rid of "Torture Garden." I could never do this myself. _Torture Garden_ is worth having for the art alone. And for straight-through listening, I find that _TG_ works better. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: louie Subject: Re: zorn-list Digest V2 #97 Date: 16 Aug 1997 08:11:47 -0600 >Can anyone tell me something about Naked City's Grand Guigore (sp?)? I >just saw it in a used shop and am curious, tho' I have to admit that >some of the hairy NC doesn't do it for me that much. Thanks. as most zorn fans know, it's "grand guignol" (pronounced geen-yol) it's what was known as the theatre of horror back at the turn of the century in france where they actually operated on (disected?) people in front of an audience. (can anyone back me up on this?) the title track is 18 minutes of pure zorn, very heavy and somewhat disturbing (but isn't that why we like zorn?) the next three to four songs are very straight forward covers of jazz/orchestra compositions. the last 32 songs are the hardcore snippets that were later found on torture garden. it's worth buying for these if you don't have torture garden. like most zorn produced stuff, initially you will wonder why you bought it, but it grows on you, and you'll add to your collection whenever you can... aren't we a strange bunch... ps anyone who has or knows where i can get some new or used painkiller please respond-that stuff is impossible to find! isn't tzadik supposed to re-release some? i've got execution ground...good stuff... -louie ------------------------------------------------------------------------------- From: stickman Subject: Lori Carson (was:Re: Nicole Blackman) Date: 16 Aug 1997 09:05:05 -0700 Jeff Spirer wrote: >> > She appeared on the last (and it is permanently the last) Golden Palominos > release. The Palominos are no more. Jeff & all, What is the status of Lori Carson? I must say that one of my favorite CDs this year is her recent, "everything I touch runs wild", do you know if she's touring or will be touring? Any good web links for info on her? I read a couple really positive reviews of her CD. Also Laswell and Fier do appear on at least one track. For those of you that enjoyed, "PURE", i think you'll like this one also. Regards. Stickman ------------------------------------------------------------------------------- From: dayna Subject: Parachute Box CHEAP! well, relatively... Date: 16 Aug 1997 10:59:01 -0700 I am definitely going to buy this from where I work. (Abbey Road Distribution.) I checked and my cost will be $81. The list price is $100. $81 is what a small independent store would have to pay to get it from us. So my question is, would anyone else want me to get them a copy of this at that price? It would be $84 total; $3 for the Priority Mail stamp. I would order the pieces on the street date (but reserve as many copies as I need ahead of time) Sept 9, pick them up on the 10th; and mail them on the morning of the 11th. A couple advantages to this; 1. I can let you know well ahead of time if we are going to get these; because despite Patrice saying 1000 is enough for the world, I have my doubts and don't want to spend the next 6 years scouring stores and flea markets for it the way I did with the Having Fun on Stage With Elvis LP. Second; $19 bucks off list is pretty substantial; I doubt if it will be "on sale" in many places. Third, I don't get charged sales tax for my purchases; so that's an extra $6 - $9 off, depending on where you live. Anyone interested in this? The sooner I know; the sooner I can let the buyer know how many of these to bring in. Even Abbey Road won't be ordering half a dozen box lots of this monster... Mark M. ------------------------------------------------------------------------------- From: WINRECORDS@aol.com Subject: Re: zorn-list Digest V2 #98 Date: 16 Aug 1997 15:21:48 -0400 (EDT) RE: Masada 7/8 Having trouble locating these in the L.A. area (especially #7...i know it's been out for a bit but i have yet to see a copy here.) This is odd, because the Masada releases have never been that difficult to come by here. Is their distribution different now? Anyway, wondering if there are there any mail order companies that carry these titles?? ------------------------------------------------------------------------------- From: "Marc A.Foster" Subject: Re: Grand Guinore Date: 16 Aug 1997 15:11:14 +0000 Steve Smith wrote: > > "Heretic" is nice but very episodic... and none of the tracks features > the complete band, if that makes a difference. And "Absinthe" is > probably the most difficult of the Naked City releases... For the record: "Absinthe" is big departure from the standard Naked City sound, but for me, it is much less difficult than "Heretic". In fact, I think "Heretic" is one of the most difficult albums I own. You probably won't be walking down the street whistling "Absinthe", but most of Heretic makes me feel like I'm going to throw up. But then maybe that's what makes it good. I'd still pick "Absinthe" as one of my favorite Zorn albums and "Heretic" as one of my least favorite. Marc A. Foster ------------------------------------------------------------------------------- From: "mcmullenm" Subject: Re: Masada Cds In Los Angeles Area Date: 16 Aug 1997 13:02:40 -0700 Dear Winrecords-- Have you checked PooBah Records in Pasadena? They will order it for you if they don't have it in stock...626-449-3359...[use 818 area code if 626 doesn't work, but i'm pretty sure they are in the new 626 area]...PooBah has found me every CD i have ever searched for...they will do it by mail if you live too far to drive there... Rakete, Sz ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ Rinnzekete bee bee nnz krr muu? -- Kurt Schwitters ~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ ------------------------------------------------------------------------------- From: Phil Subject: Lori Carson Date: 16 Aug 1997 23:00:51 +0000 Stickman wrote: >>What is the status of Lori Carson? Any good web links for info on her? Try http://www.specialoperations.com/lori.html. It's an unofficial site & will link you to the Golden Palominos site too. Phil Clarkson phil@clarksonp.demon.co.uk ------------------------------------------------------------------------------- From: Phil Subject: Laswell/Ulmer Power Trio Date: 16 Aug 1997 23:11:58 +0000 I know it's been months since you were discussing whether Bill Laswell had played in a power trio with James "Blood" Ulmer, but a quick trawl through Ulmer's discography at http://www.nwu.edu/WNUR/jazz/artists revealed the following: JAMES BLOOD ULMER "Wings" JAZZ FILE JF1006 1) Lady Blue (Ulmer) ( 9:17) 2) After Dark (Ulmer) (13:08) 3) Black Sheep (Ulmer) ( 8:59) 4) Wings/Drum Solo (Ulmer) (12:53) 5) Show Me Your Love America (Ulmer) (10:33) 6) I Belong In The USA (Ulmer) (13:07) James Blood Ulmer: g,voc Bill Laswell: b Ronald Shannon Jackson: dr rec. Zurich, 4.11.1988 I guess this is it. Looks good - has anyone heard it? Phil phil@clarksonp.demon.co.uk. ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Lori Carson (was:Re: Nicole Blackman) Date: 16 Aug 1997 20:49:52 -0700 At 09:05 AM 8/16/97 -0700, stickman wrote: >Jeff & all, > What is the status of Lori Carson? I must say that one of my >favorite CDs this year is her recent, "everything I touch runs wild", do >you know if she's touring or will be touring? Any good web links for info >on her? Bill and Anton have no current projects together, especially since Anton killed the Palominos. Bill may use Lori on some more spoken word projects but I have heard about nothing new. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: "Charles Gillett" Subject: Masada 8; Parachute? Date: 17 Aug 1997 02:03:06 +0000 On Fri, 15 Aug 1997 12:50:36 -0700, Patrice L. Roussel wrote: > > BTW, what is the title of Masada 8? It should be Het or some variant spelling thereof (Xet, Cheth, Hchet). Can anyone enlighten me as to what exactly will be on the Parachute Box CDs? It'll just be the Parachute albums that feature Zorn, right? I looked at the Zorn discography and couldn't figure out how that material could fill up 6 CDs. There are 5 Parachute albums listed in the discography. Each one gets a CD, plus a CD of oddities? Then again, "Archery" doesn't look like it could fit on one CD.... -- Charles ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: Masada 8; Parachute? Date: 17 Aug 1997 16:28:28 -0400 (EDT) In a message dated 97-08-17 04:30:43 EDT, gill0042@gold.tc.umn.edu (Charles Gillett) writes: > Can anyone enlighten me as to what exactly will be on the > Parachute Box CDs? It'll just be the Parachute albums that > feature Zorn, right? I looked at the Zorn discography and > couldn't figure out how that material could fill up 6 CDs. > There are 5 Parachute albums listed in the discography. Each > one gets a CD, plus a CD of oddities? Then again, "Archery" > doesn't look like it could fit on one CD.... I hear there is about 2 hours worth of unreleased stuff, which makes it worth buying. And if there's only 1000 being made, I think it will be highly sought after once they are all gone. ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: Grand Guinore Date: 17 Aug 1997 16:42:40 -0400 (EDT) In a message dated 97-08-16 22:12:25 EDT, you write: > "Absinthe" is big departure from the standard Naked City sound, but for > me, it is much less difficult than "Heretic". In fact, I think "Heretic" > is one of the most difficult albums I own. You probably won't be walking > down the street whistling "Absinthe", but most of Heretic makes me feel > like I'm going to throw up. But then maybe that's what makes it good. > > I'd still pick "Absinthe" as one of my favorite Zorn albums and > "Heretic" as one of my least favorite. > I'll just go on record and say that "Heretic" is my favorite NC release, except for maybe the first one, or "Radio". I especially like hearing Frisell in duo or trio settings really reaming; this recording is really like no other, although I cant say Ive ever felt the need to vomit while listening to it. :) ------------------------------------------------------------------------------- From: louie Subject: re: heretic, absinthe Date: 17 Aug 1997 14:52:32 -0600 > Also, can someone describe "Heretic" and "Absinthe"? heretic: cut and paste jazz, almost cartoon music(reminds me of locus solus at times) with each track featuring either frith/zorn or frisell/frith/baron or zorn/eye, etc. each track being an individual improv for the individual artists of naked city. typical NC nervousness, but hey... (cool art too, as usual) absnithe: dark abient sound loops. something i disliked at first and now i find fantastic. one track is just a low hum for like six minutes. very experimental. look absinthe up in the dictionary, the music describes it (or it describes the music) very well. the artwork is typical zorn; extremely high quality printing. and like the music, repetitious.(anyone know what it is in the photo?) (if you like absinthe, you'll like some of the tracks from the zorn/eye release "nani nani". one track is 18 minutes of eye's screaming, looped.) -louie ------------------------------------------------------------------------------- From: Stephane Vuilleumier Subject: Absinthe pics Date: 17 Aug 1997 22:56:38 +0200 Louie wrote: >look absinthe up in the dictionary, the music describes it >(or it describes the music) very well. the artwork is typical zorn; >extremely high quality printing. and like the music, repetitious.(anyone >know what it is in the photo?) I don't know about the inflated pustulous legs typical of zorn's "high quality artwork", but the record itself (on the avant pressing) has a photograph of french poet Paul Verlaine sitting in front of a glass of absinthe (or is it the glass sitting in front of him?) Stephane ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: re: heretic, absinthe Date: 17 Aug 1997 14:10:15 -0700 (PDT) On Sun, 17 Aug 1997, louie wrote: > heretic: cut and paste jazz, almost cartoon music(reminds me of locus this album is meant to be a film soundtrack, but i think perhaps it's a soundtrack for an imaginary film. regardless, i like the way the tracks flow. and if you liked the artwork, check out the book "Jeux des Dames Cruelles" which all of the photos are lifted from. i actually found a copy of the book at a local comic book shop (of all places). > experimental. look absinthe up in the dictionary, the music describes it > (or it describes the music) very well. speaking from experience, the music describes the *experience* of drinking absinthe extremely well. better than i could ever with words. there's an excellent book on the history of absinthe called "Absinthe: History In A Bottle" by Barnaby Conrad III (Chronicle Books). there are also numerous web sites with the absinthe FAQ (including recipes). > the artwork is typical zorn; > extremely high quality printing. and like the music, repetitious.(anyone > know what it is in the photo?) the outside photo is a piece by surealist artist, Hans Bellmer. he constructed/painted many "dolls" like these. the liner notes credit the piece as "Les Jeux de la Poupee". the photo on the CD itself, however, is that of Paul Verlaine in an absinthe stupor. note the glass of his "humble ephemeral absinthe" next to the inkwell on the table. and i love the way they did the photo in that murky green color that absinthe is. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Caleb Deupree Subject: Re: Grand Guignol & Absinthe Date: 17 Aug 1997 18:00:17 -0400 (EDT) A few more opinions on the Naked City albums Grand Guignol and Absinthe. I find the short thrash pieces to be the most difficult of NC's varied output, but what keeps me fascinated by the group is the sheer diversity of their output. The pieces by the likes of Debussy, Messaien, and Ives (and then juxtaposed with Torture Garden) form a core part of this impression, and for me the first half of GG is therefore essential. This goes doubly for the entire Absinthe album; if you like them for the variety in their repertoire, this also is essential. Redbird would be another possible point of reference in addition to those already mentioned, but Feldman is definitely the closest in my experience. My companion dislikes Naked City more than almost any other music in our collection, but is remarkably open to other forms of strange electronica (musique concrete, even Xenakis Legends of Eer was ok, etc.). The look I got when I identified Absinthe as Naked City was extremely gratifying. NP: Asmus Tietchens & Arcane Device -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: rizzi@netcom.com (m. rizzi) Subject: Re: heretic, absinthe Date: 17 Aug 1997 15:56:30 -0700 (PDT) SUGAR in their vitamins?, demi-God and Icon sez: > >artwork, check out the >book "Jeux des Dames Cruelles" >which all of the photos >are lifted from. i actually >found a copy of the book >at a local comic book >shop (of all places). It's fairly easy to find here in the States. A good source is the store/mail-order collective Good Vibrations who also have a web presence at http://www.goodvibes.com/ A quick search showed that they have it listed on their website for $15. cheers, mike rizzi ------------------- rizzi@netcom.com ----------------------------------- www.browbeat.com "Another nerd with a soulpatch" www.grin.net/~rizzi/burma.html browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------------- ------------------------------------------------------------------------------- From: "Matthew S. Cramer" Subject: Re: zorn-list Digest V2 #98 Date: 17 Aug 1997 21:43:00 -0400 On Sat, Aug 16, 1997 1:55 PM, dayna wrote: Anyone interested in this? The sooner I know; the sooner I can let the buyer know how many of these to bring in. Even Abbey Road won't be ordering half a dozen box lots of this monster... Is this a Zorn box set? Is it the one that has been being dicussed on the list over the last 6 months or so? Thanks, Matt ------------------------------------------------------------------------------- From: stickman Subject: Re: Grand Guinore Date: 17 Aug 1997 22:13:56 -0700 By the way, what is the exact chronology of the Naked City releases (by year)? is it: Naked City Grand Guignol Torture Garden Heretic Leng T'che Radio Absinthe Also i applaud the listener that can listen to Absinthe. I think the crackly thing at the end really pushed me over the edge. By the way, i recall a joey baron interview somewhere on the web in which he spoke a little about the Absinthe recording and he said something like that Zorn didn't want any identifiable sounds for that recording. I think he succeeded. ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: Absinthe/SPK Date: 18 Aug 1997 13:44:28 +1000 (EST) On Sun, 17 Aug 1997, stickman wrote: > > Also i applaud the listener that can listen to Absinthe. I think the > crackly thing at the end really pushed me over the edge. By the way, i > recall a joey baron interview somewhere on the web in which he spoke a > little about the Absinthe recording and he said something like that Zorn > didn't want any identifiable sounds for that recording. I think he > succeeded. > Unnh; I think I could maybe hazard reasonable guesses at a few of the sounds on this disc. There's one track on Absinthe (dunno - offhand - exactly which) built around samples off of SPK's excellent and *rocking* first album, Information Overload Unit. Same record gets plundered by Zorn and Eye on their Nanni Nanni collab - for the track Propollution, from memory. And just this weekend I think I recognised a fragment of this same record in Ground Zero's swansong, Consume Red. Cheers, Jim ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: The Grand Guignol Date: 18 Aug 1997 13:55:05 +1000 (EST) On Sat, 16 Aug 1997, louie wrote: > >Can anyone tell me something about Naked City's Grand Guigore (sp?)? I > >just saw it in a used shop and am curious, tho' I have to admit that >some of the hairy NC doesn't do it for me that much. Thanks. > > as most zorn fans know, it's "grand guignol" (pronounced geen-yol) it's > what was known as the theatre of horror back at the turn of the century > in france where they actually operated on (disected?) people in front of > an audience. (can anyone back me up on this?) No actual operations, but a lot of psychodramas enhanced with animal offal and pig's blood. A bit like the late-nineteenth century equivalent of a Gwar concert, maybe. There's a book came out a few years back about the whole thing, but I can't recall any other details off-hand. But I think the ideas of the Grand Guignol were in some part inspiration for the early gore films of HG Lewis. There was also a Chicago rep theatre company operating along similar lines late 70s/early 80s; Stuart Gordon and Jeffrey Coombs (Reanimator) were ex-alumni. Cheers, Jim ------------------------------------------------------------------------------- From: Jack D Blanton Subject: masada: general question Date: 18 Aug 1997 00:38:44 -0400 (EDT) Hi, I was hoping someone could answer a question about the Masada discs. I have 1 and 6 as well as Bar Khoda (sp?). I really like 1 and Bar Khoda but am not as fond of 6. Can anyone tell me what the other discs are like? Do they tend to run toward a the "Jewish" sound (for lack of a better term) of 1 and Bar Khoda or toward the "Ornetteishness" of 6? Also can anyone suggest other discs that might appeal to me based on the above (ex. how is the New Klezmer Trio, etc.). Finally, what does the parachutte years stuff sound like? Thanks in advance for any help you all might give. JACK ------------------------------------------------------------------------------- From: cmmildren@rubens.its.unimelb.edu.au Subject: Re: grand guignol and carny Date: 18 Aug 1997 15:34:02 +1100 In regards to the nature of the grand guignol theatre tradition, I'm sure it has more to do wiith just grotesque transgressive subject matter that gave a low-art thrill to the masses of 19th century Paris, and definitely not actual dissections! The term now refers to high melodrama, anything with extreme and passionate violence and taboo sexuality. I have both a tape and a score of Zorn's Carny. It is a mgnificent virtuoso piece in the almost archetypal Zorn manner, a cut and paste of every possible style all interpreted frenetically into pianistic idioms. Direct qoutes from major piano composers appear, often backward or upside down. Stephen Drury sent me a tape and a score here to australia after I found his article on the piece in Perspectives On New Music, an academic journal, Summer 1995 or 1994 i think. His performance is exemplary as you would expect from the dedicatee. He mentioned that he would be recording this piece for Tzadik in 1997 to be released with a cut of Zorn's piano concerto! A Zorn orchestral piece! The mouth waters. I don't remeber the address of stephen but it can be found in the journal I mentioned above. Probably available at a university library or the like. ------------------------------------------------------------------------------- From: Yves Dewulf Subject: Bible Launcher Date: 18 Aug 1997 11:08:41 +0200 I recently bought the Bible-Launcher Tzadik-CD. There are some very funny 'songs' on it, although it becomes a bit boring after half an hour of listening. I was wondering what happened to this record, since it is no the Tzadik-website. Why was it removed from the catalog? Yves ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: melvins Date: 18 Aug 1997 11:58:24 +0200 (GMT+0200) On Fri, 15 Aug 1997, David Newgarden wrote: > >>Another former player in the Melvins list of soldiers was King Buzzo's > >>then girlie-friend, known as Lorax. > > >I may be misremembering, but I think I remember hearing that she was > >Shirley Temple Black's daughter. > > This Melvins discussion is finally getting interesting... i just read a recent melvins interview, and while i can't remember the exact name, one former bandmember's mother really is temple. she/he (can't remember) was fired 'cause of his/hers heroin problems... teemu :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: "Julian" Subject: Re: masada: general question Date: 18 Aug 1997 20:08:04 +1000 > I was hoping someone could answer a question about the Masada discs. > I have 1 and 6 as well as Bar Khoda (sp?). I really like 1 and Bar > Khoda but am not as fond of 6. Can anyone tell me what the other > discs are like? Do they tend to run toward a the "Jewish" sound (for > lack of a better term) of 1 and Bar Khoda or toward the > "Ornetteishness" of 6? I think it is a general idea in Masada discs for Zorn to have this "Jewish" sound mixed into some jazz, sometimes with a traditional sound and sometimes a bit more modern. That Jewish sound is pretty constant throughout the discs, but Masada 1 has some less jazzy, maybe a bit more fusion-y tracks on it. I would recommened Masada 2, and then perhaps you could look for the original Masada versions of tracks you like from Bar Kokhba. For example the simple but great Abidan from both discs of Bar Kokhba is on Masada 3. > Also can anyone suggest other discs that might appeal to me based on > the above (ex. how is the New Klezmer Trio, etc.). Haven't heard the NKT, but David Krakauer's "Klezmer Madness!" is an excellent addition to your Klezmer collection (he plays clarinet on "Bar Kokhba"). Julian ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: Grand Guinore Date: 18 Aug 1997 08:59:55 -0400 stickman wrote: >what is the exact chronology of the Naked City releases (by year)? >is it: >Naked City >Grand Guignol >Torture Garden >Heretic >Leng T'che >Radio >Absinthe I believe it's: Naked City (1989 - Elektra/Nonesuch) Torture Garden (1990 - Shimmy-Disc) Leng Tch'e (1992 - Toy's Factory) Heretic (1992 - Avant 001) Grand Guignol (1992 - Avant 002) Radio (1993 - Avant 003) Absinthe (1993 - Avant 004) but I'm not _exactly_ sure when in 1992 "Leng Tch'e" came out, so it could either be before H & GG, in between them, or after them. -Patrick ------------------------------------------------------------------------------- From: Tom Benton Subject: Re: masada: general question Date: 18 Aug 1997 08:17:34 -0500 (CDT) On Mon, 18 Aug 1997, Julian wrote: > > Also can anyone suggest other discs that might appeal to me based on > > the above (ex. how is the New Klezmer Trio, etc.). The New Klezmer Trio are totally amazing; pick up either of their records on Tzadik. Their 1st one, 'Masks and Faces' is a lot more traditional than 'Melt Zonk Rewire', though both are pretty out and all the better for it. Unlike Masada, a lot of the tunes are traditional klezmer melodies that the group pretty much kicks up side the head. And even when they go especially "out", it's totally free from any kind of "jazz" stream of thought as I see it (in contrast to the Masada/Ornette reference you made), it seems to me that they're drawing from a much older tradition, hypnotic trance singing or something. It's really like nothing I've ever heard before. Someone else mentioned David Krakauer, 'Klezmer Madness' is a great record as far as klezmer playing meeting up with something of a "downtown" sensibility. Apparently a klezmer tribute to Sidney Bechet is in the works with this group, should be be nothing but fun... ------------------------------------------------------------------------------- From: Richard C Williams Subject: Re: Laswell/Ulmer Power Trio Date: 18 Aug 1997 10:34:14 -0500 Phil wrote: > > I know it's been months since you were discussing whether Bill Laswell had > played in a power trio with James "Blood" Ulmer, but a quick trawl through > Ulmer's discography at http://www.nwu.edu/WNUR/jazz/artists revealed the > following: > > JAMES BLOOD ULMER "Wings" > JAZZ FILE JF1006 > > > James Blood Ulmer: g,voc > Bill Laswell: b > Ronald Shannon Jackson: dr > > rec. Zurich, 4.11.1988 > > I guess this is it. Looks good - has anyone heard it? I wasn't aware this had been released on CD! I've got it on tape(fromFM), and it sounds great(assuming you can get past Blood's singing). Sort of like the bluesy stuff Last Exit used to do, but a bit less frenetic. They also recorded a studio album with this line-up, but I believe it's out of print. Sonny Sharrock once described this band as "one long version of Blind Willie". A bit harsh, but not entirely untrue. ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: masada: general question Date: 18 Aug 1997 10:54:28 -0400 Tom Benton wrote: > On Mon, 18 Aug 1997, Julian wrote: > > > > Also can anyone suggest other discs that might appeal to me based > on > > > the above (ex. how is the New Klezmer Trio, etc.). > > Someone else mentioned David Krakauer, 'Klezmer Madness' is a great > record > as far as klezmer playing meeting up with something of a "downtown" > sensibility. Apparently a klezmer tribute to Sidney Bechet is in the > works with this group, should be be nothing but fun... Also along these lines, and not to be missed, is the new Andy Statman "Music of the Jewish Mystics." Klezmer meets Coltrane ?! And, let's not forget the two excellent Itzhak Perlman "Fiddler in the House." Both feature the bands of Statman, the Klezmatics, et al. All out fun. Another good one is Hasidic New Wave's "Jews and the Abstract Truth" (great title). And Kronos Quartet has a new CD which features Krakauer, "Isaac the Blind." Another good one is "Song of Our Fathers" which is an Andy Statman & David Grisman collaboration. These, perhaps with the exception of the Hasidic NW, are much less influenced by "jazz" than Masada. Perhaps closer to Eastern European klezmer roots than Zorn tries to be. Masada really has it's own niche. Alan E Kayser ------------------------------------------------------------------------------- From: Scott Russell Subject: Metatron Date: 18 Aug 1997 16:47:12 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear all Further to last week's posting re Praxis' Metatron special edition, I find myself in the position of having one to trade. I also have a vinyl copy of Wayne Horvitz's This New Generation going spare. Mail me with your suggestions for swaps, bribes and other incentives. Scott Russell -- ++++++++++++++++++++++ Scott Russell Information Systems Specialist Scottish Media Newspapers Email:Srussell@cims.co.uk Tel: 0141 552 6255 ext3628 ++++++++++++++++++++++ --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: Richard C Williams Subject: Re: masada: general question Date: 18 Aug 1997 11:55:39 -0500 ALAN E. KAYSER wrote: > Perhaps closer to Eastern European klezmer roots than Zorn > tries to be. Masada really has it's own niche. Speaking of Eastern European Klezmer roots, Check out: Ivo Papasov and his Orchestra Balkanology Ryko/Hannibal HNCD-1363 This is more zany wedding band stuff, from Bulgaria, and not dissimilar to what's been described in this thread. ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Bible Launcher Date: 18 Aug 1997 09:43:17 -0700 (PDT) On Mon, 18 Aug 1997, Yves Dewulf wrote: > Why was it removed from the catalog? my understanding is that there was some concern over the use of the christian samples and the possibility of being sued by Fundamentalists. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: "pjm" Subject: Re: Grand Guinore Date: 18 Aug 1997 10:00:32 -0700 Marc A. Foster Said: > In fact, I think "Heretic" > is one of the most difficult albums I own. You probably won't be walking > down the street whistling "Absinthe", but most of Heretic makes me feel > like I'm going to throw up. But then maybe that's what makes it good. Pjm says: I agree whole heartedly. "Heretic" seems to make very little sense to my ears and leaves me very disoriented. The pieces seem way too long to me. The only way I can listen to it is to put it in the CD player w/ "torture garden" and a few powerviolence and/grindcore CDs and hit random and hope it gets mixed real well. I've only been able to sit all the way through it 3 or 4 times. I had the same problem with "Nani Nani". For what it's worth, pjm ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: zorn/mori/patton Date: 18 Aug 1997 10:37:51 -0700 (PDT) so, did anyone see this at Slime's (8/12)? how was it? hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Marlene McMullen Subject: RE: Grand Guinore Date: 18 Aug 1997 10:31:21 -0700 ---------- Sent: Monday, August 18, 1997 10:00 AM Marc A. Foster Said: > In fact, I think "Heretic" > is one of the most difficult albums I own. You probably won't be walking > down the street whistling "Absinthe", but most of Heretic makes me feel > like I'm going to throw up. But then maybe that's what makes it good. Pjm says: I agree whole heartedly. "Heretic" seems to make very little sense to my ears and leaves me very disoriented. The pieces seem way too long to me. The only way I can listen to it is to put it in the CD player w/ "torture garden" and a few powerviolence and/grindcore CDs and hit random and hope it gets mixed real well. I've only been able to sit all the way through it 3 or 4 times. I had the same problem with "Nani Nani". For what it's worth, pjm I wasn't going to buy HERETIC, but now it is on the top of my list...i'll let you know... binge & purge, schwitterz ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: reissue of 1st Golden Palominos? Date: 18 Aug 1997 11:00:48 -0700 I saw in a store the following: *** - GOLDEN PALOMINOS 1997 (?) - Celluloid (USA), CPCD 8198 (CD) Does anybody know if it is a recent reissue? Patrice. ------------------------------------------------------------------------------- From: Brian Holmes Subject: Re: zorn/mori/patton Date: 18 Aug 1997 11:01:33 -0700 (PDT) The first set was awesome, Patton/Zorn vocaly terrozing the crowd, over intense drum loops by Mori. Zorn played an amazing solo piece for about ten minutes with Patton and Mori providing ambience. Then Mori played an astounding drum piece, mixing about six different loops, and they meshed beautifully. The set ended with some rap-type beat song, and Zorn introducing everyone with small solos. Unfortunately the terrible Slim's (Slime'S) experience of 100 degree heat, unventilated smoke and ovecrowded area, got me too sick to stay for the second set. I have complained incesantly about the concept of open windows and ceiling fans, but Slim's amazingly continues to pack 'em in without a modicum of change. I just wish Zorn would go back to playing at the Great Amaerican Music Hall. The shows there were ten million times better, and half the price. End Music Venue Rant. Ciao, BLH On Mon, 18 Aug 1997, SUGAR in their vitamins? wrote: > > so, did anyone see this at Slime's (8/12)? > how was it? > > hasta. > > Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. > > > ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: reissue of 1st Golden Palominos? Date: 18 Aug 1997 11:20:06 -0700 At 11:00 AM 8/18/97 -0700, Patrice L. Roussel wrote: > > I saw in a store the following: > >--------------------------------------------------------------------------- --- > >*** - GOLDEN PALOMINOS > > 1997 (?) - Celluloid (USA), CPCD 8198 (CD) > >--------------------------------------------------------------------------- --- > >Does anybody know if it is a recent reissue? Could be, but I have an older reissue of it on Celluloid. The person who owns the rights to this has been reissuing stuff and relicensing stuff constantly. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: reissue of 1st Golden Palominos? Date: 18 Aug 1997 11:48:17 -0700 On Mon, 18 Aug 1997 11:20:06 -0700 Jeff Spirer wrote: > > At 11:00 AM 8/18/97 -0700, Patrice L. Roussel wrote: > > > > I saw in a store the following: > > > >--------------------------------------------------------------------------- > --- > > > >*** - GOLDEN PALOMINOS > > > > 1997 (?) - Celluloid (USA), CPCD 8198 (CD) > > > >--------------------------------------------------------------------------- > --- > > > >Does anybody know if it is a recent reissue? > > Could be, but I have an older reissue of it on Celluloid. The person who > owns the rights to this has been reissuing stuff and relicensing stuff > constantly. There are all the pressings that I am aware of: 1983 - Celluloid/OAO, CEL 6662 (LP) 1983 - OAO Record, OAO (UK) 001 (LP) ???? - Celluloid/OAO, CELCD 5002 (CD) ???? - Celluloid/OAO, CELC 5002 (CT) 1997 (?) - Celluloid (USA), CPCD 8198 (CD) BTW, would anybody know also when the first CD version was released? Patrice. ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: GradGrindCore Date: 18 Aug 1997 15:16:19 -0400 for what it's worth (sorry), heretic is one of my favourite naked city albums, perhaps for the very reasons below (nostalgia, knuckles white as the porcelain lurching now this way, now that -- crapulous sunrise lav getaway); a friend once felicitously described it as chamber naked city. -b ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: GradGrindCore Date: 18 Aug 1997 15:26:39 -0400 sorry, `below' was intended to indicate the inadvertently elided messages of pjm and mfoster. -b ------------------------------------------------------------------------------- From: Matthew Ross Davis Subject: Re: GradGrindCore Date: 18 Aug 1997 15:38:49 -0400 (EDT) > a friend once felicitously described it as chamber naked city. Zorn himself has compared Torture Garden to Anton Webern's bagatelles. | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | m-a-t-t-h-e-w r-o-s-s d-a-v-i-s university of maryland http://www.butterfly.net/mozart school of music | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Duras:Duchamp Date: 18 Aug 1997 15:42:50 -0500 (CDT) I bought Cynical Hysterie two days ago (Aug. 16). Duras was there too, as was the first filmworks. On Thu, 14 Aug 1997, dayna wrote: > The street-date for Duras-Duchamp (and FIlmworks 8) in the U.S. is NEXT > week, August 19. Are some stores getting these early? > > One of the reasons I ask is that I work at a large music distribution > company, and WE won't get these in to our warehouse until Friday. > > I also got the Koch Distribution one-sheet on the Parachute Years set. > $99.98 list price and supposedly only 1000 made world-wide. Wasn't one > of the reasons behind Tzadik to make a lot of these hard to find pieces > widely available? > > -Mark > > > ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Masada 7 Date: 18 Aug 1997 15:49:04 -0500 (CDT) Is it 9? Bar Kokbva has an 8 on the side of it. On Fri, 15 Aug 1997 Knutboy@aol.com wrote: > OOps, yes, I meant EIGHT. So many, many Masada's!!!!! > > ------------------------------------------------------------------------------- From: Tom Benton Subject: Re: Masada 7 Date: 18 Aug 1997 16:11:37 -0500 (CDT) On Mon, 18 Aug 1997 y9d62@ttacs1.ttu.edu wrote: > Is it 9? Bar Kokbva has an 8 on the side of it. > I think this means that it's release No. 8 in the Radical Jewish Culture Series on Tzadik. I don't think Bar Kohkba figures into the standard Masada chronology. -tom ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Masada 7 Date: 18 Aug 1997 17:11:36 -0400 y9d62@ttacs1.ttu.edu wrote: > Is it 9? Bar Kokbva has an 8 on the side of it. No, it's Masada 8. The "8" on the spine of "Bar Kokhba" refers to its being the eighth release in the Radical Jewish Culture series on Tzadik. Steve ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Caleb Deupree Subject: Re: Parachute? Date: 18 Aug 1997 19:47:13 -0400 (EDT) >Date: Sun, 17 Aug 1997 02:03:06 +0000 >From: "Charles Gillett" >Subject: Masada 8; Parachute? > > Can anyone enlighten me as to what exactly will be on the >Parachute Box CDs? It'll just be the Parachute albums that >feature Zorn, right? I looked at the Zorn discography and >couldn't figure out how that material could fill up 6 CDs. >There are 5 Parachute albums listed in the discography. Each >one gets a CD, plus a CD of oddities? Then again, "Archery" >doesn't look like it could fit on one CD.... > I haven't seen a detailed listing of the Parachute box, but at least two of the Parachute albums, Archery and maybe Pool (I lost the outside boxes years ago, and the labels for the one I'm calling Pool have billiard balls on them, and nothing else) were two record sets. -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Om Namah Shiva (Transformation Of The Heart Mix) Date: 18 Aug 1997 21:03:21 -0500 (CDT) As promised... -------------------- JAH WOBBLE'S INVADERS OF THE HEART - The Sun Does Rise EP 1) The Sun Does Rise (Radio Edit) 3:07 2) Yalili Ya Aini 2:47 3) Om Namah Shiva (Transformation Of The Heart Mix) 14:08 4) Raga 4:43 Tracks 1 & 4 taken from the album _Take Me To God_ Track 3 : Mix translation and additional production by Bill Laswell. Engineering and programming by Robert Musso. Mix assistance and editing by Layng Martine. Recorded at Greenpoint Studio, Brooklyn. 1994 - Island UK #CID 587/854 037-2 -------------------- Interesting that this remix appeared before the original did (1995 in Europe, 1996 in the States). If anyone really wants a copy of this, I might be able to get ahold of another one. Out 2 Lunch With Lunchmeat, Paul wesley@interaccess.com ------------------------------------------------------------------- GROOVE O(+> (the artist formerly known as Prince) <+)O ---------- e - m - a - n - c - i - p - a - t - i - o - n one nation The Exodus Has Concluded - Welcome 2 The Dawn ------------------------------------------------------------------- ------------------------------------------------------------------------------- From: cmmildren@rubens.its.unimelb.edu.au Subject: Re: heretic/cobra scores Date: 19 Aug 1997 14:40:05 +1100 Heretic has always seemed to me to be one of the meatiest and most fascinating NC rcords, mainly because of the sheer beauty of much of the quiter more gamelan influenced and atmospheric pieces. I think true enough its up there with the more esoteric and less rhtymically driven zorn projects but I find its pieces to be far more structured and dramatic than some are giving them credit. The trio pieces with Baron, Frith and frisell are almost the last word on trying to do a truly "art" music interpretation of classic rock instrumentation. The trhree title tracks are really quite exciting from a musicaly dramatic perspective as well. I find it has the widest range of actual "sounds" and timbre than any other Zorn release that I'm familiar with. On an entirely different note, can anyone help me regarding finding the performance "score" for Cobra? Or indeed if any scores of Zorn's works have been issued (apart from the Carny one)? ------------------------------------------------------------------------------- From: "pjm" Subject: Praxis Date: 18 Aug 1997 22:33:43 -0700 > Unnh; I think I could maybe hazard reasonable guesses at a few of the > sounds on this disc. There's one track on Absinthe (dunno - offhand - > exactly which) built around samples off of SPK's excellent and *rocking* > first album, Information Overload Unit. Same record gets plundered by Zorn > and Eye on their Nanni Nanni collab - for the track Propollution, from > memory. And just this weekend I think I recognised a fragment of this same > record in Ground Zero's swansong, Consume Red. This has reminded me: While listening to Entombed's LEFT HAND PATH lp, i realized that the begining of Praxis' STRONGHOLD on "Sacrafist" CD is sampled from the begining of the first song od the second side...or first side... its recorded on a tape actually..... It was quite a pleasant discovery.. I love finding that stuff... pjm ------------------------------------------------------------------------------- From: Dan Kuehn Subject: Re: Masada 7 Date: 18 Aug 1997 20:48:47 +0000 This is a multi-part message in MIME format. --------------57D1E91D15F2DA74C6FCB0EA Content-Type: text/plain; charset=us-ascii; x-mac-type="54455854"; x-mac-creator="4D4F5353" Content-Transfer-Encoding: 7bit just to fan the flames, on bar kokhba, as well as the number eight, there's also the hebrew symbol for eight, "chet". this isn't masada 8? -- Dan Kuehn resident manager Kailua Maui Gardens --------------57D1E91D15F2DA74C6FCB0EA Content-Type: text/x-vcard; charset=us-ascii; name="vcard.vcf" Content-Transfer-Encoding: 7bit Content-Description: Card for Dan Kuehn Content-Disposition: attachment; filename="vcard.vcf" begin: vcard fn: Dan Kuehn n: Kuehn;Dan email;internet: smokey@maui.net x-mozilla-cpt: ;0 x-mozilla-html: FALSE end: vcard --------------57D1E91D15F2DA74C6FCB0EA-- ------------------------------------------------------------------------------- From: BJOERN Subject: Scott Bradley/Nino Rota Date: 18 Aug 1997 19:01:26 +0200 (MESZ) wellll someone mentioned Carl Stalling Project some days ago........ great CDs...... hmm can anyone tell me if there is any recording of Scott Bradley`s (MGM cartoons like Tom & Jerry) music except for the Tex Avery CD????? Personally I think that his stuff is even better than the Stalling music... (well just listen what David Shea did with parts of the Bradley stuff on "Cartoon for Scott Bradley" of the Shock Corridor CD) other question is: where can i find the Godfather pt 1 soundtrack by Nino Rota?? BJOERN ------------------------------------------------------------------------------- From: Todd Bramy Subject: Zony Mash tapes Date: 19 Aug 1997 01:23:48 -0700 (PDT) All right, I know you're out there. Come on out. I saw the Frisell night as well as the Torture Garden night of the Zony Mash shows last week at the OK Hotel in Seattle and I saw lots of microphones in the back of the room. My buddy Chris, who was running the board estimates 4 or 5 direct to DAT tapers each night. I'd really love to get copies of at least these two nights. Please email me for trade possibilities. Thanks Todd Bramy tbramy@oz.net ------------------------------------------------------------------------------- From: DR S WILKIE Subject: scherer Date: 19 Aug 1997 10:41:42 GMT0BST does anyone have info. on Peter Scherer's "very neon pet" cd (mgb9401)? thanks... ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Daevid Allen/Palominos Date: 19 Aug 1997 07:28:50 PDT I just got a copy of Dividedalienplaybax80, but there's no info on it other than song titles. Does anyone know when and where it was recorded and who the players are? It was my understanding that it was (as with New York Gong's "New York Now:) that the original Material players were on this. Also, does anyone know why Anton Fier disbanded the Golden Palominos? Dave Brunelle IHVH@hotmail.com ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: dayna Subject: Parachute Box Date: 19 Aug 1997 08:17:39 -0700 Ok. So there was a larger than expected response for me to pick up a couple of Zorn's Parachute Years Box Sets from work. And seemingly a lot more people read this list than post to it. I will try to get in touch with the Koch Dist. buyer today to let him know that there are X number of sets I need. There may be a chance that these pieces had to be ordered very early b/c of the limited nature of the set; and also cautious buying because of the price. Some people asked me about shipping to Europe; The postage will be considerably higher; it's a heavy set. I'm guessing $90 U.S. to get it to you air mail. I wouldn't want to chance surface mail for this. Again; I'm only doing this because I have (hopefully) access to these sets at work at a lower cost. I wasn't sure how to do it, but I am going to need the checks ahead of time simply because if 12 of the people who wrote me are serious, I'll have to bring about $1000 cash to work to pick these up. As for the people who want to know WHAT the box is; be advised I'm NOT liable for taste; if you LIKE this music or not. I've had a tape of Archery (one of the albums to be re-released on Parachute) for years that frankly I almost never listen to it. In fact it is probably my LEAST favorite Zorn piece. This set will certainly be a Difficult Listening (7) Hours. More details to follow as I get them. Mark M. ------------------------------------------------------------------------------- From: PETSITTER Subject: Parachute years or Masada? Date: 19 Aug 1997 11:14:37 -0500 Hi, this is my first time writting to this list. I have only been listening to Zorn for about 3 years, but am as enthusiastic as some one who has been listening for longer. As soon as I first heard Zorn I wanted to try and collect every thing he has. The only Masada CD I have is number 6. I would like to purchase the others. I have been hearing a lot of talk about the Parachute set. I fear if I do not purchase it I will never find it easily. I have found a place where I can aquire all the Masada's. My question is, as a collector, would it be wiser to order the parachute set or first get the Masada CD's? Jeff Schuth ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 09:27:24 -0700 On Tue, 19 Aug 1997 11:14:37 -0500 PETSITTER wrote: > > Hi, this is my first time writting to this list. I have only been > listening to Zorn for about 3 years, but am as enthusiastic as some one > who has been listening for longer. As soon as I first heard Zorn I > wanted to try and collect every thing he has. > The only Masada CD I have is number 6. I would like to purchase the > others. I have been hearing a lot of talk about the Parachute set. I > fear if I do not purchase it I will never find it easily. > I have found a place where I can aquire all the Masada's. My question > is, as a collector, would it be wiser to order the parachute set or > first get the Masada CD's? If you like Masada, I would stick to it. The music on Parachute is extremely important from an historic point of view (than from a pleasurable one :-). Chadbourne, Cora, Zorn, etc were very influenced initially by the English school of free improv (Bailey, Parker, etc). But the music of the Parachute years already shows that they had took their distance from it and that they were defining a new genre of improv (Zorn's first game pieces, for example). There is a very interesting article by Fred Frith where he gives his impressions of the music Zorn, Chadbourne, etc were creating in the late '70s. If people are interested, I can post it. Patrice. ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: Parachute years or Masada? Date: 19 Aug 1997 12:29:41 -0400 yes, please do. -b There is a very interesting article by Fred Frith where he gives his impressions of the music Zorn, Chadbourne, etc were creating in the late '70s. If people are interested, I can post it. Patrice. ------------------------------------------------------------------------------- From: dtapia@unoco.edu (Douglas Tapia) Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 10:38:19 -0700 >There is a very interesting article by Fred Frith where he gives his >impressions of the music Zorn, Chadbourne, etc were creating in the >late '70s. If people are interested, I can post it. > > Patrice. That would be great! Please post it. Doug Tapia General Manager, MTP UNC Music Tech Press University of Northern Colorado Fraiser 108 Greeley, CO 80639 Voice: 970-351-2614 Fax: 970-351-1923 Email: mtp@unoco.edu http://arts.univnorthco.edu/mtp ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 17:43:50 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Patrice L. Roussel wrote: > would it be wiser to order the parachute set or > > first get the Masada CD's? > > If you like Masada, I would stick to it. > > The music on Parachute is extremely important from an historic point of > view (than from a pleasurable one :-). Chadbourne, Cora, Zorn, etc were > very influenced initially by the English school of free improv (Bailey, > Parker, etc). But the music of the Parachute years already shows that > they had took their distance from it and that they were defining a new > genre of improv (Zorn's first game pieces, for example). > > There is a very interesting article by Fred Frith where he gives his > impressions of the music Zorn, Chadbourne, etc were creating in the > late '70s. If people are interested, I can post it. > Patrice I, for one, would be interested to read anything Fred Frith has written about music, especially Zorn. Regarding the parachute box, this thread is in danger of getting hysterical. Many of us who would like this set haven't actually heard much, or any of this period Zorn. Perhaps it would be useful if someone in the know could advise us of exact nature of the material. For example, you mention British improv as an influence on these discs. Does that mean extended bouts of skronking and scraping a la Derek Bailey and AMM? If so is it any more difficult than 'Yankees' for instance (which is curious but interesting)? On the other hand is the music anything like Cobra (which I find very entertaining indeed)? Or is it further away from either? Scott Russell ++++++++++++++++++++++ Scott Russell Information Systems Specialist Scottish Media Newspapers Email:Srussell@cims.co.uk Tel: 0141 552 6255 ext3628 ++++++++++++++++++++++ --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Fred Frith article from MUSICS Date: 19 Aug 1997 09:47:10 -0700 From MUSICS, No.23, November 1979 2000 STATUES AND ZU MINI-STATUES, by Fred Frith New York, 5-9 June, 1979. The Zu-place -- 3 small lofts and a basement full of junk in W.24th St. On the top floor Giorgio Gomelski is picking up the pieces in the final stages of a 34-date tour by GONG, MOTHER GONG, YOCH'KO SEFFER and the ZU BAND; economically disastrous and unthinkably chaotic, but nonetheless the first attempt to bring 'European' rock music to America on a co-ordinated 'alternative' basis and as such worthy of admiration. Actually he is asleep and remains so throughout most of the day. On the middle floor his deprived dog stalks around, no doubt contemplating the final solution. Below, a large orchestra of improvisors, assembled by guitarist Eugene Chadbourne to play two of his pieces and one by reed-player John Zorn, limber up for the first time. The Orchestra consists of some students and alumni of Karl Berger's Creative Music Studio in Woodstock -- 'cellist Tom Cora, Chuck ver Stracton (trombone) and Mark Kramer (trombone and organ) -- plus Bob Ostertag (synthesizer) and Jim Katzin (violin) of Fall Mountain, Evan Gallagher, a percussionist from Mississippi, Davey Williams (guitar, banjo, mandolin) and LaDonna Smith (viola) from Alabama, John Zorn and Polly Bradfield (violin), Andrea Centazzo (drums), Toshinori Kondo and Lesli Dalaba (trumpet), Wayne Horvitz (piano and double bass), Mark Miller (percussion), myself, Steve Beresford and Chadbourne, presiding with his usual manic enthusiasm, jovial insults and energetic vagueness. The excitement in the air verges at times towards the atmosphere of a Boys Brigade Summer Camp. The Schedule is 4 days rehearsal, with 3 concerts in the evenings at ZU. These will consist of small groups and solos in which nearly all the orchestra members are featured (why not all?). Finally a day in a recording studio to put down Eugene's 'English Channel', and a concert at Columbia University of the fruits of our work. Rehearsals The Three Pieces: The English Channel. The players are numbered. The score consists of boxes with appropriate numbers in them. The boxes themselves are numbered and one proceeds in a relatively orderly fashion from box to box until the end of the piece, which is in 3 sections. Contained in this structure are solos of almost everyone, some seen as final events in a box, others as whole boxes. It's difficult to make out if there is supposed to be a quantitative or qualitative difference between these two types of solo, but it's scarcely important. The only other written instructions are directions as to which instrument to play (for those with more than one) and hints as to ambience -- 'Texas Chain Massacre', 'I Walk The Line', 'An imitation of Anthony Braxton', 'Swing', 'R & B Trades', 'Noodling', etc. There are 3 more or less set pieces -- a fragment of West Coast jazz, a loony calypso entitled 'I am the Dentist' which Eugene sings inaudibly into a contact microphone, and the inevitable Disco section. Oh yes, and an Incus Records takeoff. In the last 'movement', the idea is that a melody line moves around from instrument to instrument, but a melody line generated spontaneously by the musicians themselves. When the piece was performed by an orchestra of students at Woodstock, this was apparently very successful; here it remains unclear and Eugene decides to cut it from both the record and the concert. There are some inevitable contradictions at work, especially the old favorite of the composer saying that fundamentally he'd like us to do what we want in the improvised sections, only later to reveal that he has quite specific ideas about what it should sound like. Why not write them down? Attempts to discuss this and related issues during and after rehearsals were generally unsuccessful. A popular response was to questions about structure and improvisation seems to be 'This is the way I work'. Frustrating. The most helpful description of the piece for me was when Eugene said that what he was really after was for it to sound like him if he happened to be an orchestra. As such, it sounds pretty good in the end. Psychology This appears to be based on the idea of strip comics, and presents words or phrases for players to interpret freely, like 'plumbing', 'Miami', 'domesticity', 'Only one-horrible!', 'escape', 'dressing-up'. The orchestra is divided into 3 simultaneously unravelling strands, a Song Band, the Brass Section and Andrea Centazzo (Everything Italian). For me, this piece contained both too many instructions and too few. I mean I'd rather have had more specific things to do as in 'Stripsody' or just completely improvised a strip comic, which I've also seen done successfully. Anyway, we got bogged down and Eugene withdrew the piece after one rehearsal. Archery (John Zorn) 'Archery' is a complex set of instructions with a tendency towards the mathematical. We only barely had time to rehearse it with any degree of success, and it would take several performances for it to achieve any real coherence in my opinion. Players are identified by their initials. The 3 basic strands of the piece are clock events, duos-and-trios and solos. Every time the clock reaches zero, any number of players can 'improvise', in however sparse or dense a manner they please, for up to 60 seconds (in practice, it was usually between 5 and 20). These events take place during the first and last thirds of the piece, but not the middle third. Duos-and-trios occur in order, by sections. The sections are labelled A to O and each is divided into 14 sub-sections (O has 12). Each sub-section corresponds to a specific duo or trio combination from the Orchestra. The duos-and-trios proceed in strict consequence, but they can overlap and be of any duration (in practice, mostly pretty short). They can also consist of, or end with 'fixed points' or 'help points'. Solos can be taken up at any moment in the piece, but only one at a time -- the soloist stands up or indicates to the 'prompter' that s/he is taking a solo. That's the basic structure; there's a lot more, to do with 'divisi' -- other sections of 'clock events' (variously timed free sections), or other duos-and-trios, or events which divide the orchestra into different equal numbers of musicians who then improvise as a sequence of soloists (one at a time, each cuing the next). These 'divisi' are cued to the 'prompter' by specific players holding up cards; they override the basic structure (Archery), which has to stop at the next clock-zero to allow the cued section to happen; they are in turn overridden by any breaking of the rules (but in practice usually by a soloist standing up to signal a return to 'Archery' which happens, in theory, at once). Since durations of duos-and-trios, cues of divisi, solos and choice of whether or not to play 'clock events' are all in the hands of the musicians, there are inevitable struggles; we only begin to touch on the possibilities. During rehearsals there's a nagging feeling in the back of my mind that this could be a lot more fun to play than to listen to; plus incomprehension at some of the claims John makes for his piece in his notes to us on improvisation. Can it be said, for example, that this piece constitutes 'an analysis of an improvisation' anymore that an improvisation constitutes an analysis of an improvisation? And shouldn't any improvised piece require the same alertness and care in making choices as we were required to exercise in 'Archery'? The rehearsals are good-humoured but concentrated, intense; they have to be to enable us to play the thing at all. I think this concentration has a tangible effect on the concerts at Zu -- I've seldom seen such consistently good, diverse, surprising improvised music as there was over those three nights. It was as if we all felt the constraints of the days lifted, a sense of release. The concerts I can't review the Zu concerts properly; it would be difficult as I was involved to some extent each night, and not having intended to write all this, I didn't make notes. However, I'll try and pick out some details. For example, the solo performance by John Zorn. He used silence effectively and often, but it was not one of those tense, cerebral affairs. The tension has its element of wit, the technique, rather than hingeing on simultaneity of sound was linear, consisting of a rapid succession of quite different timbres and variations of dynamics, crammed into short moment's and interspersed with pauses, shuffling noises, quick changes from mouthpiece to mouthpiece. Rivetting. I also really liked Davey Williams and LaDonna Smith's duo. They've reached a rare degree of telepathy and manage to be fiery without being aggressive, delicate without being ephemeral. LaDonna also manages beautifully to suggest the tension between the degree to which she is in command of her instrument and the degree to which it wilfully carries her off to some other planet. Polly Bradfield's solo playing was quite different -- harder, less lyrical and treading a tightrope between controlled and contrived. I thought she had a lot of bottle actually, because she's chosen a difficult path; her playing is austere and uncompromising, a little stiff; she takes chances; her use of silence is similar to John Zorn's, though her humour's dryer (it's there though). After she'd played I felt mentally excited but earthbound. Chadbourne, Centazzo and Kondo cropped up together and in various combinations with those already mentioned at Zu. The three of them fit together in my mind, seem to represent a particular side of what was going on, inseparable from each other. Chadbourne and Centazzo in particular rest in my memory of that week as a kind of joint venture in bad taste, colossal and hilarious, refined in the former case and crude in the latter, energetically imposing their obsessive and quite singular ideas on whatever context they found themselves in, playing jokes and insulting at least each other and simultaneously carrying the music headlong and head-on. Kondo perfectly suited their schemes in his sensitive, extrovert way and managed to hold the balance, preventing them from ever sinking into meaningless jive by his timing and talent, while appearing on the contrary to encourage their excesses. His performances were real tours de force. The sextet with these three, Zorn, Bradfield and Tom Cora was particularly good I thought. Steve Beresford sat in with various groups. I like his playing very much when it's in shord burst like that, it becomes more concentrated and he doesn't have so much opportunity to get bored, an important factor in his longer concerts I always think. In the recording and at the final concert he played two great piano solos which gave me as much pleasure as anything that happened during the rest of the week. Bob Ostertag is the first synthesizer player I've heard (Sun Ra always excepted) with any kind of an interesting approach to the instrument. He derives a lot of his raw material from the radio, and is careful and discriminating. (It's clear that in remembering the concerts I've concentrated pretty much on personalities; but that's because for me, the concerts came across more sharply on that level than any other. Or is it a function of my memory? Of not having made notes about precise musical occurences at the time?) The recording A very strange experience, engineered with great skill in a small professional studio by the genial Les Paul Jnr. A whole album in a day, with a 17 piece band; problems like the brass sitting next to the strings in the same room, acoustic and electric guitars playing at the same time, three percussionists... the mixing was never likely to be anything less than erratic, but Les did a remarkable job. Eugene entered into his mad genius persona ("That's really awful -- fantastic!"), pressing on in the face of our murmuring voices wanting to do things again. In the end there were no 2nd takes of anything at all. It probably wouldn't have made much difference under the circumstances. Lesli Dalaba played two fined trumpet solos, quiet, slow, subtle, sure; in fact all the solos went much better than the ensemble improvisations, which was entirely predictable as a lot of us couldn't hear what half of us were doing! On leaving the studio I inadvertently broke a door. It cost us $100. I could have mended it myself for 2... The concert Eugene's piece in the first half, John's in the second. On the way to the theatre Tom Cora and I walk out of the subway and find ourselves in the middle of Harlem. A mistake. Thirty seconds of another world. We are firmly directed into the subway again by an amused local. 100 people in the audiences (it is a 1000 seater). There's a week-long festival of new music downtown, pretentiously packaged and extensively covered in the press, which has no doubt diverted many of the potentially curious. It's hard not to be inhibited by the structure of the music. We have fun, there are stirring moments, but the contrast with the energy of the first night and now is clear. It never quite takes off. Eugene's piece seems entertaining but lightweight. Is this a criticism? What most strikes me about John's magnum opus in its 1 1/4 hour performance is on the one hand the importance of the visual element, constant patterns of hand-gestures, holding-up of cards, eye-contact, concentration on the clock; and on the other, the degree to which the bones of the game dominate the flesh, players hurrying to exercise control, to counteract each others' cues, with little apparent thought as to the intended effect, what it will sound like. Not that that mattered -- in fact it led to a few moments of hair-line humour when the prompter found himself desperately juggling pieces of card and paper while simultaneously trying to keep an eye on the clock, to the accompaniment of a strained and puzzled silence from the musicians and giggles from the audience. I enjoyed that bit! By the end, when we all tiring, I felt that there was a tendency to respond to cues by making a noise, any noise, just to fulfil our obligations to the score on a minimal level, to bring it to a close. It was as if we were trapped inside the piece with a long slog ahead to get out of it. This was an obvious drawback, though a surmountable one -- provisions for ending could be much clearer. I'm looking forward to hearing the tape. Reactions varied. A critic friend found it over-weight, old-fashioned and boring but enjoyed individual performances. Others thought it visually compelling, often startling to listen to, but much too long. It needs to be played some more. I can't make up my mind, not only about the piece but about the philosophy of this approach to improvising. Should we merely be 'open' to all different kinds of improvisation, or should we at least develop some kind of critique to discover what processes are at work and to discuss them? Is this imposition of structure an anachronism? A contradiction in terms? Are restrictions placed on improvisors legitimate means to specific ends or are they just interfering with a richer creative process? Does free improvisation relate to anarchy in the same way that structured improvisation relates, say, to democracy? These are other questions... ------------------------------------------------------------------------------- From: Richard C Williams Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 14:23:01 -0500 Scott Russell wrote: > > I, for one, would be interested to read anything Fred Frith has written > about music, especially Zorn. Regarding the parachute box, this thread > is in danger of getting hysterical. Many of us who would like this set > haven't actually heard much, or any of this period Zorn. Perhaps it > would be useful if someone in the know could advise us of exact nature > of the material. For example, you mention British improv as an influence > on these discs. Does that mean extended bouts of skronking and scraping > a la Derek Bailey and AMM? If so is it any more difficult than 'Yankees' > for instance (which is curious but interesting)? On the other hand is > the music anything like Cobra (which I find very entertaining indeed)? > Or is it further away from either? I own School (Parachute 4/6), Archery (Parachute 17/18) and 200 Statues/The English Channel (dont have this one nearby, not sure if it was a parachute release) and I attended many of the gigs of that period. If extended bouts of skronking and scraping, are not your cup of tea I would suggest you save your money. The early game pieces were about stucturing free improv, and feature none of the genre-hopping stuff of the recent years. The parachute releases(excluding Archery), suffered from poor production values, and more importantly, they never really captured what the early game pieces were all about. It was the interaction of the players, both musical, and visual that defined these pieces, and yes, Yankees would be a reasonable comparison. IMHO, Zorn's best piece from this period was Track and Field, which I dont believe was ever released?. It's probably the closest thing to Cobra from those days. I will be picking up the box(if I can find it), if only for Archery, which was recorded by Martin Bisi & Michael Lytle at OAO, and does a fairly good job of documenting this period. Hopefully they will find some way of including the great artwork, and copies of the score that were included in the box. And maybe if were lucky they'll include one of the Track and Field gigs. ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Masada 7 Date: 19 Aug 1997 11:04:07 -0700 (PDT) On Mon, 18 Aug 1997, Dan Kuehn wrote: > just to fan the flames, on bar kokhba, as well as the number > eight, there's also the hebrew symbol for eight, "chet". this > isn't masada 8? no, the Bar Kokhba is not part of the Masada (DIW) series. as mentioned before, the 8 refers to the number in the sequence of releases in the Tzadik Radical Jewish Culture series. hasta. --dk Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: john shiurba Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 13:07:44 -0700 > Regarding the parachute box, this thread > is in danger of getting hysterical. Many of us who would like this set > haven't actually heard much, or any of this period Zorn. Perhaps it > would be useful if someone in the know could advise us of exact nature > of the material. For example, you mention British improv as an influence > on these discs. Does that mean extended bouts of skronking and scraping > a la Derek Bailey and AMM? If so is it any more difficult than 'Yankees' > for instance (which is curious but interesting)? On the other hand is > the music anything like Cobra (which I find very entertaining indeed)? > Or is it further away from either? I've heard this material, and consider it to be among Zorn's most important, and most beautiful music. However I detect a wariness in your tone when speaking of the British free improv stuff, and 'Yankees'-- in which case I would advise you to steer clear of this stuff. If your tastes in Zorn's music include Masada/Naked City/Painkiller but NOT Yankees/ Art of Memory/ Classic Guide to Strategy then this will probably be 7 CDs of stuff you will not enjoy. The Parachute music is extremely fragmented, Zorn was obsessed with the most miniscule of details during this period. Each sound is exploited for its own momentary value, and then the focus moves on... and in that way the music is rather similar to Naked City. But rest assured the music sounds nothing like Naked City, or any other contemporary Zorn stuff. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 13:35:19 -0700 On Tue, 19 Aug 1997 13:07:44 -0700 john shiurba wrote: > > > Regarding the parachute box, this thread > > is in danger of getting hysterical. Many of us who would like this set > > haven't actually heard much, or any of this period Zorn. Perhaps it > > would be useful if someone in the know could advise us of exact nature > > of the material. For example, you mention British improv as an influence > > on these discs. Does that mean extended bouts of skronking and scraping > > a la Derek Bailey and AMM? If so is it any more difficult than 'Yankees' > > for instance (which is curious but interesting)? On the other hand is > > the music anything like Cobra (which I find very entertaining indeed)? > > Or is it further away from either? > > I've heard this material, and consider it to be among Zorn's most > important, and most beautiful music. However I detect a wariness in your ^^^^^^^^^^^^^^^ Beautiful? Hum... Intellectually challenging? yes. Intriguing? yes. Exciting and demanding? yes. But beautiful, really? :-). > tone when speaking of the British free improv stuff, and 'Yankees'-- in > which case I would advise you to steer clear of this stuff. If your tastes in > Zorn's music include Masada/Naked City/Painkiller > but NOT Yankees/ Art of Memory/ Classic Guide to Strategy > then this will probably be 7 CDs of stuff you will not enjoy. I agree. These two sets of records is like a frontier between two different countries and without a nomansland. > The Parachute music is extremely fragmented, Zorn was obsessed with the > most miniscule of details during this period. Each sound is exploited for its > own momentary value, and then the focus moves on... and in that way the > music is rather similar to Naked City. But rest assured the music sounds > nothing like Naked City, or any other contemporary Zorn stuff. Patrice. ------------------------------------------------------------------------------- From: "Allen Gittelson" Subject: Leng T'che date, Slim's in SF, etc. Date: 19 Aug 1997 14:18:09 -0700 >Greetings all. > >The Toy's Factory CD seems to say 92 11 1 on the back, and I presume >this is the date. So, I guess November 11, 1992 was the date. I don't >have the others with me at the moment, but I'll guess that this makes >this the last one from 1992. Also, I believe in the notes from the >Month of Zorn, the releases are listed in order. I'll check if you >specifically ask me to see what order they are in in the booklet. > >Secondly, I heard Zorn/Mori/Patton at Slim's in SF last week. Noisy. >Previous description was fairly accurate. I don't think it was really >that hot, but I've been in a different climate for the past 10 years or >so, so it doesn't really get very hot in the Bay area anyway. People >here seem to think it's hot when it gets to be 80 degrees Fahrenheit. >Temperature certainly is relative. The performance was very good. I >enjoyed the raping introductions of the band members. The solo piece by >Mori was great. Hypnotic drums and magical chimes. > >This show was quite a contrast to the other times I've seen Zorn. 1st >was in Columbus, Ohio on OSU campus for Naked City (without Eye). Show >was phenomenal. A full run of the range of the band in a non bar venue, >so I loved it. No nasty smoke. Plus the band was in great form. I was >also very entertained by the little bits that the musicians were doing >to amuse themselves with their instruments between pieces. Just little >noodling around for lack of a better term and because that's what they >were doing. One of the single most amazing musical experiences of my >life. > >2nd was Naked City (with Eye) this time in NY at the KF during the month >of Zorn. So, according to the liner notes in the previously mentioned >booklet (and I was at the earlier of the 2 Saturday performances), I saw >the 2nd to last ever Naked City performance. It was not as great as the >previous. The band played very well, but I don't feel that it was as >good as the Columbus show. I will say that it was hard to pay attention >to the music sometimes as the place was packed. I didn't see the >crowbar that they must have used to get the last 100 folks in the door, >but it was extremely full. A friend of mine who was with me was >physically ill from the bad air and crowdedness (if that's a word). > >3rd time was at Oberlin College about 3 years ago (I think). Zorn was >the rule conductor of a performance of Cobra. Good venue. Low on >smoke, so much easier to enjoy the music. Fascinating to watch. I've >been trying to figure out some of the rules of the game by listening >(which is hard enough), but watching helps and listening was a joy. I >barely remember any of the players by now, but I think a few were: >Anthony Coleman, Mark Ribot, Christian Marclay. I could be wrong on the >lineup. There were 13 players as I recall. > >Let's see... 2 other somewhat related Zorn tales as l write to this >group, which I read, but have not really posted to previously: >When Anthony Coleman & Roy Nathanson + Amy Denio + Negativland toured >together a few years back. I was supposed to brind Negativland (or >Coleman or Nathanson) back to WRUW-FM 91.1 in Cleveland to interview >them and/or have Negativland do a live improv show. I ended up driving >Mr. Coleman and Mr. Nathanson back to the station for an interview >(conducted by another person who was more well versed in their idiom [as >I was extremely prepared for the Negativland bit as I'm a big fan]). >I'll leave the entirety of the performance that I received to your >collective imagination, but let it suffice to say that these are too >kooky guys. A bit off. Definitely from New York. One of their dad's >was from Cleveland and was giving us a jazz history of Cleveland as we >drove through it, even pointing out places where jazz clubs used to be. >I think Coleman was the one from Cleveland, but I honestly don't really >recall. Anyway, between finding them some aspirin for a headache and >finding deli sandwiches I had a fun time being a chaperone. If you're >in Cleveland and are interested, perhaps a Jazzbo at WRUW will be able >to dig up a tape of the interview to play, if you ask nicely enough and >they remember where it is. > >The other somewhat offshoot experience is that the Boredoms once stayed >in my apartment for about 4 days. They are about the most quiet >peaceful people I ever met in my life. I thought they'd be very loud. >Yoshimi had a cute little Guinea Pig. Eye sleeps about 18 hours a day, >so I hardly got to even say hello to him. They were opening for Sonic >Youth in Cleveland, and Sonic Youth was headed up to Canada and the >Boredoms were not. By the way, 1 member was not with them (a guitar >player), he had visa trouble of some sort and Tim Foljahn (spelling?) of >Half Japanese was the temporary replacement. They didn't speak much >English and we spoke little Japanese but we all had a good time. I wish >I could say I got to see their show w/Sonic Youth, but I was working >that night. I did see them another time in Cleveland and I don't think >I've ever seen a more energetic band in my life. Quiet a contrast with >their behavior off stage. > >I'll go back to being quiet for now, and if you have any questions about >anything I might be able to help with, just jot me an email. > >By the way, I talked to Dave at the Knitting Factory yesterday (guy who >handles the web orders for Tzadik) and he didn't know anything about the >Parachute box set. He guessed that they will not have any for >distribution. I found the release date to be September 16, 1997, for >the set, but the people I talked to did not believe the price was set in >stone, but believed the $100 price is probably the retail price. > >Keep on listening, > >Allen ------------------------------------------------------------------------------- From: john shiurba Subject: Re: Parachute years or Masada? Date: 19 Aug 1997 13:47:48 -0700 me: > > I've heard this material, and consider it to be among Zorn's most > > important, and most beautiful music. > ^^^^^^^^^^^^^^^ patrice: > Beautiful? Hum... Intellectually challenging? yes. Intriguing? yes. Exciting > and demanding? yes. But beautiful, really? :-). really. i've noticed that some people look at me funny when i say it, but this is some of my favorite music ever, it's strange and demanding but it's also moving and beautiful, really. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: matthew.colonnese@yale.edu (Matt Colonnese) Subject: Re: Ground Zero Date: 19 Aug 1997 19:48:18 -0400 (EDT) try #2: the > are not quotes, actual message.... > > I missed this the first time around: > >>> record in Ground Zero's swansong, Consume Red. > ^^^^^^^^^ > >Is this really the last? Does anyone know this for sure? Say it ain't so. > >Also related, has anyone seen Ground Zero _Plays Classics_ everyone in New >York looks at me like I'm crazy when I mention this, but I have seen >references to it's existence. Haven't I? > >matt > > >------ >"Finally, something that would bring people together...even if it kept them >apart, spatially." ------ "Finally, something that would bring people together...even if it kept them apart, spatially." ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Scott Bradley/Nino Rota Date: 19 Aug 1997 16:15:50 -0500 (CDT) And where can I find the 8 1/2 soundtrack, also by Rota? On Mon, 18 Aug 1997, BJOERN wrote: > wellll someone mentioned Carl Stalling Project some days ago........ > great CDs...... > hmm can anyone tell me if there is any recording of Scott Bradley`s (MGM > cartoons like Tom & Jerry) music except for the Tex Avery CD????? > Personally I think that his stuff is even better than the Stalling music... > (well just listen what David Shea did with parts of the Bradley stuff on > "Cartoon for Scott Bradley" of the Shock Corridor CD) > > other question is: where can i find the Godfather pt 1 soundtrack by Nino > Rota?? > > BJOERN > > ------------------------------------------------------------------------------- From: stickman Subject: Phat Dub #2 Date: 19 Aug 1997 19:19:16 -0700 Jeff the resident laswell scholar, This may have been previously discussed: I picked up the import Phat Dub #2. It says its a limited edition, and the case says its "APC Tracks Vol. 2". My copy did not have an insert front cover booklet/page, but it did look to be factory sealed with the "Limited edition" sticker. Is there a front cover for this CD, or is this the way they're packaged? ------------------------------------------------------------------------------- From: Brian & Sharon Beuchaw Subject: Re: Phat Dub #2 Date: 19 Aug 1997 22:02:33 -0500 (CDT) On Tue, 19 Aug 1997, stickman wrote: > Jeff the resident laswell scholar, > > This may have been previously discussed: > > I picked up the import Phat Dub #2. It says its a limited edition, and > the case says its "APC Tracks Vol. 2". > > My copy did not have an insert front cover booklet/page, but it > did look to be factory sealed with the "Limited edition" sticker. > > Is there a front cover for this CD, or is this the way they're > packaged? It's the way that the ones at my local store look, so I'd guess that you're not missing any inserts, etc. cya brian ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Phat Dub #2 Date: 19 Aug 1997 20:25:09 -0700 At 07:19 PM 8/19/97 -0700, stickman wrote: >Jeff the resident laswell scholar, Hardly a scholar, but I do have a good line to information. > > This may have been previously discussed: > >I picked up the import Phat Dub #2. It says its a limited edition, and >the case says its "APC Tracks Vol. 2". > > My copy did not have an insert front cover booklet/page, but it >did look to be factory sealed with the "Limited edition" sticker. > > Is there a front cover for this CD, or is this the way they're >packaged? That's the way it comes. It is supposed to look like a CD-R, with the title in handwriting on the CD itself. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: Ground Zero Date: 20 Aug 1997 01:20:45 -0400 >I missed this the first time around: >>record in Ground Zero's swansong, Consume Red. ^^^^^^^^ >Is this really the last? Does anyone know this for sure? Say it ain't so. As far as I know it's not. I have a feeling the person who wrote this didn't mean it in this way, but then again, I can't speak for him/her. Ground Zero is in the process of releasing 3 discs in a series on Otomo's label Creativeman. The first two, "Consume Red", and "Conflagration Red", are out, and the third, title TBA, is on its way. "Conflagration" is a remix of "Consume", Ground Zero's first ambient recording based upon samples of Korean hojok player Kim Suk Chul (sp?). Remixes are by the following (there may be others): Gastr Del Sol, DJ Mao, Stock Hausen and Walkman, Bob Ostertag, Dicson Dee, and Violent Onshen Geisha. >Also related, has anyone seen Ground Zero _Plays Classics_ everyone in New >York looks at me like I'm crazy when I mention this, but I have seen >references to it's existence. Haven't I? It's actually "Plays Standards", and I was wondering the same thing. I haven't attempted to hunt it down yet, but I haven't seen it in any stores or seen any mail order places carrying it. It's on Nani Records (NCD 201 CD) and is distributed through Harmonia Mundi (in the UK at least). The Wire (June '97) reviewed it on p. 60. -Patrick ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Ground Zero Date: 20 Aug 1997 01:16:52 -0400 Patrick Carey wrote: > >Also related, has anyone seen Ground Zero _Plays Classics_ everyone > in New > >York looks at me like I'm crazy when I mention this, but I have seen > >references to it's existence. Haven't I? > > It's actually "Plays Standards", and I was wondering the same thing. > I haven't attempted to hunt it down yet, but I haven't seen it in any > stores or seen any mail order places carrying it. It's on Nani > Records > (NCD 201 CD) and is distributed through Harmonia Mundi (in the UK at > least). > The Wire (June '97) reviewed it on p. 60. I'm positive I saw this in a Japanese DIW brochure immediately prior to leaving the Knitting Factory - for a while we were the only ones in the U.S. buying directly from DIW for the Knit Store -- now Downtown Music Gallery is the exclusive pipeline. Distribution in the UK by Harmonia Mundi is also a characteristic of DIW, so perhaps Nani is having the same distribution woes as DIW (while Avant slides through at Koch). I suspect if you send a request for more information to Downtown Music Gallery (once again that's dmg@panix.com, no web site yet) Bruce or Emperor Mike might be able to give you the skinny. Be sure to request a subscription to their e-mail newsletter, which is always fun even if you're not in New York. They also have specialized sub-lists for Zorn fans, Laswell fans, E-Sharp fans and klezmer fans so you get first alert whem new releases (such as Masada 8, Phat Dub or that new Japanese disc by Elliott of which only three-hundred copies were made and hand-packaged and which is ONLY available through DMG) become available. They're great and they love the music, so support them! Steve "not a DMG employee" Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Ronald Shannon Jackson Complete Discography Date: 20 Aug 1997 01:27:01 -0400 (EDT) Steve-- Great work on the discography! It's ... short. Seriously, I'm shocked at how little Jackson's recorded for a drummer of his stature. I'm particularly struck by the fact that _Dancing in Your Head_ was his first record after his brief tenure with Ayler. Does anyone know why he took such a long break from recording? Chris Hamilton ------------------------------------------------------------------------------- From: Herb Levy Subject: Consume Red - Ground Zero Date: 19 Aug 1997 22:29:48 -0800 Patrick Carey wrote: >>I missed this the first time around: > >>>record in Ground Zero's swansong, Consume Red. > ^^^^^^^^ > >>Is this really the last? Does anyone know this for sure? Say it ain't so. > >As far as I know it's not. I have a feeling the person who wrote this >didn't mean it in this way, but then again, I can't speak for him/her. > >Ground Zero is in the process of releasing 3 discs in a series on >Otomo's label Creativeman. The first two, "Consume Red", and >"Conflagration Red", are out, and the third, title TBA, is on its way. > >"Conflagration" is a remix of "Consume", Ground Zero's first ambient >recording based upon samples of Korean hojok player Kim Suk Chul (sp?). >Remixes are by >the following (there may be others): Gastr Del Sol, DJ Mao, Stock Hausen >and Walkman, Bob Ostertag, Dicson Dee, and Violent Onshen Geisha. I can't say that Consume Red is definitively the last Ground Zero disc, but the group has officially broken up as of May 1997 (see the Ground Zero history at the Otome Yoshihide Web pages ). According to the material that comes with Consume Red, there's no NEW Ground Zero material on either Conflagration or Consummation. Whether there will in fact be other discs released subsequently I don't know. Bests, Herb Herb Levy herb@eskimo.com ------------------------------------------------------------------------------- From: "Wilson, King of Prussia" Subject: gastr del sol Date: 20 Aug 1997 00:56:54 -0600 >"Conflagration" is a remix of "Consume", Ground Zero's first ambient >recording based upon samples of Korean hojok player Kim Suk Chul (sp?). >Remixes are by >the following (there may be others): Gastr Del Sol, DJ Mao, Stock Hausen >and Walkman, Bob Ostertag, Dicson Dee, and Violent Onshen Geisha. I don't know if this was brought up here, but some of you may be interested to know that a local chicago paper reported that Jim O'Rourke left Gastr Del Sol........ read icculus ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Panthalassa/Dub Meltdown Date: 20 Aug 1997 01:54:39 -0400 (EDT) On Thu, 14 Aug 1997, Jeff Spirer wrote: > I'm not so sure Dan, I think it has been renamed rec.music.bozo. Aw, c'mon Jeff, not everyone on r.m.b. is a bozo. It's just that all the bozos are drawn to mentions of Laswell like moths to a flame(war). Actually, the whole thing made me wish that Laswell really were doing a radical dub of Miles' work. As long as the purists are kvetching, we might as well get to enjoy the ghostly sound of Miles' trumpet floating over thundering bass. Ah well, I can dream. Chris Hamilton ------------------------------------------------------------------------------- From: flamerik@best.ms.philips.com Subject: Re: Scott Bradley/Nino Rota Date: 20 Aug 1997 08:03:52 +0200 > And where can I find the 8 1/2 soundtrack, also by Rota? > > other question is: where can i find the Godfather pt 1 soundtrack by Nino > > Rota?? It shouldn't be hard to find either of these. The Godfather soundtrack is released on MCA and is available at mid-price here in Holland. I played some of it yesterday and it is still really moving music. The 8 1/2 soundtrack might have a release on CAM, an Italian label that has put out some soundtracks to Italian movies. I'm pretty sure I saw it not too long ago, but I don't remember whether it was on CAM. Frankco. ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: Ground Zero Date: 20 Aug 1997 16:22:44 +1000 (EST) On Wed, 20 Aug 1997, Patrick Carey wrote: > >I missed this the first time around: > > >>record in Ground Zero's swansong, Consume Red. > ^^^^^^^^ > >Is this really the last? Does anyone know this for sure? Say it ain't so. > > As far as I know it's not. I have a feeling the person who wrote this > didn't mean it in this way, but then again, I can't speak for him/her. > Err; I'd be as pleased as anyone if I'm wrong about this, but so far as I know Otomo put the kibbosh to Ground Zero at the end of their European tour in May. Unless there are some archival gems stowed away somewhere fingers crossed), "Consume Red" will be their last release (discounting the two remix discs). > Ground Zero is in the process of releasing 3 discs in a series on > Otomo's label Creativeman. The first two, "Consume Red", and > "Conflagration Red", are out, and the third, title TBA, is on its way. > Third disc will be called "Consumation". > "Conflagration" is a remix of "Consume", Ground Zero's first ambient > recording based upon samples of Korean hojok player Kim Suk Chul (sp?). > Remixes are by > the following (there may be others): Gastr Del Sol, DJ Mao, Stock Hausen > and Walkman, Bob Ostertag, Dicson Dee, and Violent Onshen Geisha. Cheers, Jim ------------------------------------------------------------------------------- From: Jason Edward Kocol Subject: Beauty Date: 20 Aug 1997 01:34:47 -0700 > > I've heard this material, and consider it to be among Zorn's most > > important, and most beautiful music. However I detect a wariness in your > ^^^^^^^^^^^^^^^ > > Beautiful? Hum... Intellectually challenging? yes. Intriguing? yes. > Exciting > and demanding? yes. But beautiful, really? :-). Beauty is, and always will be, in the eye of the beholder. I have yet to hear this stuff, but am looking forward to. -Jason http://www.geocities.com/SunsetStrip/2569/Suburban.html http://members.tripod.com/~misterlazy ------------------------------------------------------------------------------- From: Jason Edward Kocol Subject: Naked City live videos Date: 20 Aug 1997 01:41:50 -0700 Hello, Yes, I am intersted in obtaining (or any information regards to) any Naked City live videos that may exist. I don't really have much of a trade list (if one at all), but maybe we can work out a deal, like, um, clean your house, manual labor, assassinate someone, give my first born, etc. Whatever. Thanks, Jason http://www.geocities.com/SunsetStrip/2569/Suburban.html http://members.tripod.com/~misterlazy ------------------------------------------------------------------------------- From: "Andy Marks" Subject: Re: Ground Zero Date: 20 Aug 1997 08:15:10 -0400 > >Also related, has anyone seen Ground Zero _Plays Classics_ everyone in New > >York looks at me like I'm crazy when I mention this, but I have seen > >references to it's existence. Haven't I? Yeah, I've heard about it too. However, after looking into obtaining it for a little bit I was stymied. The last I heard was that it was only available in Japan and it was pratically impossible to import. Something to do with the company releasing it not exporting to the US. If anyone knows where to get this release (from the US) I would really like to know. ------------------------------------------------------------------------------- From: c9609238@mn.waseda.ac.jp (=?ISO-2022-JP?B?GyRCQWE6ZDluOSgbKEo=?=) Subject: Parachute Years Date: 20 Aug 1997 23:56:43 +0900 Does anyone know the release date of "Parachte Years"in Japan. And how much will it cost? thanks. -- katsuhiro hayasaka c9609238@mn.waseda.ac.jp ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: gastr del sol Date: 20 Aug 1997 12:20:00 -0400 Wilson, King of Prussia wrote: > >"Conflagration" is a remix of "Consume", Ground Zero's first ambient > >recording based upon samples of Korean hojok player Kim Suk Chul > (sp?). > >Remixes are by > >the following (there may be others): Gastr Del Sol, DJ Mao, Stock > Hausen > >and Walkman, Bob Ostertag, Dicson Dee, and Violent Onshen Geisha. > > I don't know if this was brought up here, but some of you may be > interested to know that a local chicago paper reported that Jim > O'Rourke > left Gastr Del Sol........ Yes, that one is definitely true, Jim told me so himself a few weeks ago. Too bad... they made some interesting records and it certainly brought Jim to the attention of lots of folks who might otherwise never have heard him. But he said it was due to irreconcilable personal differences. I believe he said there's one last release in the can, but he is supremely unattached to any of his own recordings so who knows whether this will ever actually be released? Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: gastr del sol Date: 20 Aug 1997 18:58:21 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Steve Smith wrote: > > Wilson, King of Prussia wrote: > > > >"Conflagration" is a remix of "Consume", Ground Zero's first ambient > > >recording based upon samples of Korean hojok player Kim Suk Chul I was present at one of the last European gigs of Ground Zero, in Stirling (which is near Edinburgh, Scotland). They sounded like what the Mothers of Invention would be like if they had been reborn in 90's Tokyo! There were at least 8 players and Otomo conducted them much like Zappa. The sound they made was very like Naked City- they played a variety of material including a shortened version of Consume Red (ie only about 15 minutes), a section of Revolutionary Pekinese Opera, a Fred Frith track and a number of 'standards'. The latter were, of course, played in a hell-for-leather, post-jazz, deconstructionist fashion that was both hilarious and exhilarating. It's a real shame that Otomo is splitting the band up, apparently it's because they all have so many other commitments. I have heard Consume Red and, while I think it's an amazing piece (comparable in some ways to Leng T'che) I did find the 'standards' more enjoyable. It may be the closest I ever get to experiencing Naked City live. > > > > I don't know if this was brought up here, but some of you may be > > interested to know that a local chicago paper reported that Jim > > O'Rourke > > left Gastr Del Sol........ But he said it was due to irreconcilable personal > differences. I believe he said there's one last release in the can, but > he is supremely unattached to any of his own recordings so who knows > whether this will ever actually be released? I was quite dissapointed to hear this. Gastr del Sol produced some really fascinating sounds and I thought that David Grubbs fractured songs were a perfect foil for O'Rourke's avant garde leanings. Apparently there is a Grubbs solo album out on Table of Elements though I have heard that it will not be available in Europe until next year. Also there is a new O'Rourke disc out on John Fahey's revenant label. Scott Russell > -- ++++++++++++++++++++++ Scott Russell Information Systems Specialist Scottish Media Newspapers Email:Srussell@cims.co.uk Tel: 0141 552 6255 ext3628 ++++++++++++++++++++++ --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: max Subject: Torture Garden Date: 20 Aug 1997 16:48:15 -0400 Hey all... Is Torture Garden out of print? I found an extra copy used for $11 with a sticker saying it was rare - if anyone's interested write me. max ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Torture Garden Date: 20 Aug 1997 14:13:03 -0700 On Wed, 20 Aug 1997 16:48:15 -0400 max wrote: > > Hey all... > Is Torture Garden out of print? I found an extra copy used for $11 with > a sticker saying it was rare - if anyone's interested write me. When Zorn had problems with CAAAV, he asked Shimmy to stop selling the record. I don't know why (or maybe I know too well...), but Shimmy decided to sell it again last October... Yes, knowing that Tzadik was planning a reissue with a politically correct design to please the CAAAV... To answer your question? Yes, TORTURE GARDEN should have been out of print from 1993 until now. With the issue of the BLACK BOX (containing both TG and LENG T'CHE), this is just history :-). Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Ground Zero Date: 20 Aug 1997 14:18:21 -0700 On Wed, 20 Aug 1997 01:16:52 -0400 Steve Smith wrote: > > Patrick Carey wrote: > > > >Also related, has anyone seen Ground Zero _Plays Classics_ everyone > > in New > > >York looks at me like I'm crazy when I mention this, but I have seen > > >references to it's existence. Haven't I? > > > > It's actually "Plays Standards", and I was wondering the same thing. > > I haven't attempted to hunt it down yet, but I haven't seen it in any > > stores or seen any mail order places carrying it. It's on Nani > > Records > > (NCD 201 CD) and is distributed through Harmonia Mundi (in the UK at > > least). > > The Wire (June '97) reviewed it on p. 60. > > I'm positive I saw this in a Japanese DIW brochure immediately prior to Not surprising because Nani is a label owned by DIW. 088 - PLAYS STANDARDS: Ground Zero 1/ El Derecho De Vivir En Paz + Shinoshin 3/4 2/ Ultra Q 3/ Those Were the Days 4/ Folhas Secas 5/ Washington Post March + Japan Dissolution 6/ Akashia no Ame ga Yamu Toki 7/ Bones 8/ Where Is The Police? + The Bath of Surprise 9/ Miagetegoran, Yoru no Hoshi wo 10/ Yume no Hanshu 11/ Die Pappel vom Karlsplatz 12/ A Better Tommorow + I Say a Little Prayer Recorded at Gok Sound, Kichijoji, Tokyo on January 6-9, 1997 (8) recorded at Fuji Height #103, Hoya, Tokyo on January 4, 1997 Produced by Noda Shigenori and Otomo Yoshihide Otomo Yoshihide: turntables, guitar, surdo, agogo bell, voice; Uchihashi Kazuhisa: guitar, effect; Matsubara Sachiko: sampler; Kikuchi Naruyoshi: saxophone; Tanaka Yumiko: shamisen, taisho-koto, koto, voice; Nasuno Mitsuru: bass; Yoshigaki Yasuhiro: drums, percussion; Uemura Masahiro: drums. 1997 - Nani Record/DIW (Japan), NCD-201 (CD) Where is the Police is a hilarious composition by Misha Mengelberg. Curious to hear it! Also Bones from Skeleton Crew. Patrice. ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: N.O.R.M.A Date: 20 Aug 1997 16:47:19 -0500 ---------- Just picked up a fantastic new cd by an Italian band called N.O.R.M.A...features Chris Cutler on drums and various instruments. If you like Zorn this would be worth checking out....I found it at Tower records in the jazz section.... Very theatric ensemble work with plenty of humor, brilliant brass arrangements and so forth. Everything is in Italian but it seems that they take some Erik Satie compositions and re-arrange >>(I mean deconstruct) them ! Extremely creative, humorous and enticing ! A bit pricey at $18.99 but well worth the investment....oh yeah, vocalist Phil Minton contributes on 2 tracks. Finally, this set invokes thoughts of Zorn's Filmworks stuff....perhaps not quite as brief in nature....??!! Also similar to some of Canadian guitarist Rene' Lussier's recent large ensemble work.... hard to describe but definitely worth checking into especially for the Zorn enthusiast... Glenn ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: gastr del sol Date: 20 Aug 1997 15:49:09 -0700 (PDT) On Wed, 20 Aug 1997, Scott Russell wrote: > I was quite dissapointed to hear this. Gastr del Sol produced some > really fascinating sounds and I thought that David Grubbs fractured > songs were a perfect foil for O'Rourke's avant garde leanings. i couldn't agree more. what a shame. > Apparently there is a Grubbs solo album out on Table of Elements though yes, and it's quite good if not a little melancholy. > Also there is a new O'Rourke disc out on John Fahey's revenant label. true again. i'm not sure how many people may like the O'Rourke recording, but i personally thought it was amazing. acoustic guitars and hurdy-gurdy drones. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: Alain Potvin Subject: Rene Lussier Date: 20 Aug 1997 19:03:57 -0400 At 16:47 20/08/97 -0500, you wrote: > > >---------- >Just picked up a fantastic new cd by an Italian band called >N.O.R.M.A...features Chris Cutler on drums and various instruments. If you >like Zorn this would be worth checking out....I found it at Tower records >in the jazz section.... Very theatric ensemble work with plenty of humor, >brilliant brass arrangements and so forth. Everything is in Italian but it >seems that they take some Erik Satie compositions and re-arrange >>(I mean >deconstruct) them ! Extremely creative, humorous and enticing ! A bit >pricey at $18.99 but well worth the investment....oh yeah, vocalist Phil >Minton contributes on 2 tracks. Finally, this set invokes thoughts of >Zorn's Filmworks stuff....perhaps not quite as brief in nature....??!!=20 >Also similar to some of Canadian guitarist Rene' Lussier's recent large >ensemble work.... hard to describe but definitely worth checking into >especially for the Zorn enthusiast... I did'nt heard the recent large ensemble work by Lussier.(probably on Ambiance Magnetique label?), but his work with the Fred Frith Guitar Quartet is really great. The members are:Fred Frith, Ren=E9 Lussier, Nick Didkowsky (Doctor Nerve), Mark Stewart. FFGQ "Ayaya Moses" Ambiances magn=E9tiques-Am051cd Frith is suppose to play again with Ren=E9 and others fine Quebecers musicia= n in the futur. =20 ------------------------------------------------------------------------------- From: Caleb Deupree Subject: Re: Ground Zero Date: 20 Aug 1997 21:17:09 -0400 (EDT) >Date: Wed, 20 Aug 1997 01:20:45 -0400 >Subject: Re: Ground Zero > >Ground Zero is in the process of releasing 3 discs in a series on >Otomo's label Creativeman. The first two, "Consume Red"... I ordered Consume Red from Forced Exposure, and they informed me that it is being released 'domestically' on ReR. -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Rene Lussier Date: 20 Aug 1997 21:04:56 -0500 ---------- TI did'nt heard the recent large ensemble work by Lussier.(probably on Ambiance Magnetique label?), but his work with the Fred Frith Guitar Quartet is really great. The members are:Fred Frith, Ren=E9 Lussier, Nick Didkowsky (Doctor Nerve), Mark Stewart. FFGQ "Ayaya Moses" Ambiances magn=E9tiques-Am051cd Frith is suppose to play again with Ren=E9 and others fine Quebecers musi= cian in the futur. =20 Its on the Victo label.....Rene' Lussier and Now Orchestra...."Le Tour Du Bloc".... glenn ---------- ------------------------------------------------------------------------------- From: "cmurat" Subject: RV: N.O.R.M.A Date: 20 Aug 1997 23:10:59 -0300 Yes, I have an 1992 edition of a Norma´s CD. It´s just wonderful. It had an original version of Psycho (Bernard Herrmann) and a tribute to Nino Rota´s music (Circus Music). Norma: Giorgio Fabbri Casadei: electric guitar, prepared guitar, percussion Gerard Antonio Coatti: trombone Paola Garavaldi: violin, voice Paolo Grandi: cello, bass Roberto Monari: sonic director Tiziano Popoli: samplers Massimo Semprini: alto sax Massimo Simonini: cd, percussion, casio sk1, voice CACAI MUSIC - 1992 PIERROT LUNAIRE ---------- > De: Glenn Astarita > A: zorn-list@xmission.com > Asunto: N.O.R.M.A > Fecha: Miércoles 20 de Agosto de 1997 18:47 > > > > ---------- > Just picked up a fantastic new cd by an Italian band called > N.O.R.M.A...features Chris Cutler on drums and various instruments. If you > like Zorn this would be worth checking out....I found it at Tower records > in the jazz section.... Very theatric ensemble work with plenty of humor, > brilliant brass arrangements and so forth. Everything is in Italian but it > seems that they take some Erik Satie compositions and re-arrange >>(I mean > deconstruct) them ! Extremely creative, humorous and enticing ! A bit > pricey at $18.99 but well worth the investment....oh yeah, vocalist Phil > Minton contributes on 2 tracks. Finally, this set invokes thoughts of > Zorn's Filmworks stuff....perhaps not quite as brief in nature....??!! > Also similar to some of Canadian guitarist Rene' Lussier's recent large > ensemble work.... hard to describe but definitely worth checking into > especially for the Zorn enthusiast... > > Glenn > ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: gastr del sol redux Date: 20 Aug 1997 21:26:39 -0700 (PDT) out of curiosity, in light of the reason O'Rourke gave for leaving Gastr, what happens to the Dexter's Cigar label which he supposedly is co-running with Grubbs? hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: gsg@juno.com Subject: zorn-list Digest V2 #95 Date: 13 Aug 1997 17:57:08 -0600 zorn-list Digest Wednesday, August 13 1997 Volume 02 : Number 095 In this issue: Album questions from newbie masada 4 & 1 Praxis CD Re: Album questions from newbie Dave Douglas Re: Praxis CDFrom gsg References: <19978134160441@> X-Status: Unsent X-Mailer: Juno 1.00 Kenaya, hey, whats up? how are you?? sorry i havent responded sooner....but things have been pretty hectic this week, ive been working later than usual....end of the summer is always hectic at this place, so i dont think i'll have time this week to hang out. maybe when your home from school on a break we can meet up......let me know so, stay well, good luck with school...and talk to ya soon Geoff :) ------------------------------------------------------------------------------- From: James Douglas Knox Subject: Re: CAAAV? Date: 21 Aug 1997 16:34:45 +1000 (EST) Hi, On Wed, 20 Aug 1997, Patrice L. Roussel wrote: > > When Zorn had problems with CAAAV, he asked Shimmy to stop selling the record. > I don't know why (or maybe I know too well...), but Shimmy decided to sell it > again last October... Yes, knowing that Tzadik was planning a reissue with a > politically correct design to please the CAAAV... Err; excuse my ignorance - but what in the hell is a CAAAV? Can't see as how anything good can come of an acronym like that. I'd be muchly obliged if someone doesn't mind to clue me up. Cheers, Jim ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: gastr del sol Date: 21 Aug 1997 08:48:00 -0400 >> Also there is a new O'Rourke disc out on John Fahey's revenant label. >true again. i'm not sure how >many people may like the >O'Rourke recording, but i personally >thought it was amazing. >acoustic guitars and hurdy-gurdy drones. Yes, great stuff. Similar, I'm told, to the set he played at last year's Yttrium Festival (TotE) in Chicago. Jim also has an even more recent release than this called "Bad Timing" on Drag City. If it's not actually out yet, it should be very soon. It's been called his "pop opera", for whatever that's worth ....... -Patrick ------------------------------------------------------------------------------- From: Geert Buelens Subject: Re: masada liner notes (reprise) Date: 21 Aug 1997 17:10:37 +0200 (MET DST) On Wed, 6 Aug 1997, mcbride/turner wrote: > i recently bought masada alef (diw 888) and was taunted by some very > thoughtful-looking liner notes, in japanese! does anyone know where i can > find an english translation of these notes? > Same question here. Maybe this is an old issue for all you die-hards, but there must be someone out there how either knows some Japanese, or knows where (in the list-archive?) a translation is to be found. Thanks, geert ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: gastr del sol redux Date: 21 Aug 1997 11:48:33 -0400 SUGAR in their vitamins? wrote: > out of curiosity, in light > of the reason O'Rourke gave > for leaving Gastr, what > happens to the Dexter's Cigar > label which he supposedly > is co-running with Grubbs? > > hasta. > > Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. > natURE. Jim didn't say, but I'll ask.BTW I've always enjoy your sig... where's it from, if I might ask? Steve ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Ronald Shannon Jackson Complete Discography Date: 21 Aug 1997 12:46:29 -0400 Christopher Hamilton wrote: > Steve-- > > Great work on the discography! It's ... short. Seriously, I'm > shocked at how little Jackson's recorded for a drummer of his stature. > > I'm particularly struck by the fact that _Dancing in Your Head_ was > his > first record after his brief tenure with Ayler. Does anyone know why > he > took such a long break from recording? Gary Giddins, in an essay reprinted in his book "Rhythm-a-ning," wrote, "Alll the pieces seemed to be falling into place. When Ayler wasn't working, there were gigs with Betty Carter. Even Charles Mingus was willing to take him on as a second drummer concentrating on timpani. Yet a combination of bad habits and economic considerations prompted Jackson's decision to move to Queens, where he buried himself in lucrative socials - weddings, bar mitzvahs, local bars. Jackson was in his early thirties and, despite all his experience, uteerly unknown except to a small nucleus of musicians when, in 1974, pianist Onaje Allan Gumbs initiated him into Buddhist chanting: the phrase nam myoho renge kyo, repeated for an hour at a stretch. A year later Shannon was having breakfast in a Greenwich Village restaurant when who should wallk in but Ornette Coleman - in search of a drummer." The essay then goes on to describe how the tenures with Coleman and Taylor made Jackson realize the value of organization of musicians and musical materials (as opposed to the free-for-all bash of Ayler), which, in combination with the funk he played with Ulmer shortly thereafter, brought him to the conception of his Decoding Society. Interestingly enough, prior to the Ayler gig, Jackson played with (according to the New Grove Dictionary of Jazz) Mingus, Carter, Stanley Turrentine, Jackie McLean, McCoy Tyner, Kenny Dorham, and Joe Henderson's big band. And you may already know this, but Shannon's debut recording with Charles Tyler was also brought about by Ornette, who refused to allow his own drummer Charles Moffett to play the date. Moffett did make that record with Tyler, but on vibraphone while Shannon, billed as "Ron Jackson" I believe, played drums. Steve "doin' my homework" Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: CAAAV? Date: 21 Aug 1997 09:49:20 -0700 On Thu, 21 Aug 1997 16:34:45 +1000 (EST) James Douglas Knox wrote: > > Hi, > > On Wed, 20 Aug 1997, Patrice L. Roussel wrote: > > > > When Zorn had problems with CAAAV, he asked Shimmy to stop selling the record. > > I don't know why (or maybe I know too well...), but Shimmy decided to sell it > > again last October... Yes, knowing that Tzadik was planning a reissue with a > > politically correct design to please the CAAAV... > > Err; excuse my ignorance - but what in the hell is a CAAAV? Can't see as > how anything good can come of an acronym like that. I'd be muchly obliged > if someone doesn't mind to clue me up. CAAAV: Commitee Against Anti-Asian Violence. Patrice. ------------------------------------------------------------------------------- From: "Marc A. Foster" Subject: RE: masada liner notes (reprise) Date: 21 Aug 1997 11:55:41 -0500 On Thursday, August 21, 1997 10:11 AM Geert Buelens wrote: On Wed, 6 Aug 1997, mcbride/turner wrote: > i recently bought masada alef (diw 888) and was taunted by some very > thoughtful-looking liner notes, in japanese! does anyone know where i = can > find an english translation of these notes? >=20 Same question here. Maybe this is an old issue for all you die-hards, but there must be someone out there how either knows some Japanese, or knows where (in the list-archive?) a translation is to be found. Thanks, geert I have the same thing from Heretic. It seems to be an Avant catalog with = some fairly extensive notes. I'd be glad to send it to anyone who reads = Japanese in exchange for a translation. Marc Foster ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: Parachute years or Masada? Date: 21 Aug 1997 18:51:35 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit john shiurba wrote: > > > Regarding the parachute box, extended bouts of skronking and scraping > > a la Derek Bailey and AMM? If so is it any more difficult than 'Yankees' > > for instance (which is curious but interesting)? On the other hand is > > the music anything like Cobra (which I find very entertaining indeed)? > > Or is it further away from either? > > I've heard this material, and consider it to be among Zorn's most > important, and most beautiful music. However I detect a wariness in your > tone when speaking of the British free improv stuff, and 'Yankees'-- in > which case I would advise you to steer clear of this stuff. If your tastes in > Zorn's music include Masada/Naked City/Painkiller > but NOT Yankees/ Art of Memory/ Classic Guide to Strategy > then this will probably be 7 CDs of stuff you will not enjoy. Actually I do enjoy British improv very much and I do have Art of Memory, Strategy and Yankees. I also have a tape of Zorn and 'company' doing some free improv which reminds me a whole lot of Derek Bailey's Company and is presumably based upon it. My reason for asking for a description of this material was to clarify exactly what to expect. I'm sure there's no one on this list who wouldn't welcome a 6 or 7 disc set of unreleased NC, Painkiller, Big Gundown or Masada type Zorn but I suspected that the Parachute stuff would be a bit more difficult. Having said that, who listens to Zorn because it's easy? > > The Parachute music is extremely fragmented, Zorn was obsessed with the > most miniscule of details during this period. Each sound is exploited for its > own momentary value, and then the focus moves on... and in that way the > music is rather similar to Naked City. But rest assured the music sounds > nothing like Naked City, or any other contemporary Zorn stuff. Patrice said the following about John's comment: Beautiful? Hum... Intellectually challenging? yes. Intriguing? yes. Exciting and demanding? yes. But beautiful, really? :-). I have to wonder why free improv can't be 'beautiful' in the conventional sense? I have a double album of Anthony Braxton and Derek Bailey which has a passage on it I find extremely beautiful, where they both engage in extended droning (Bailey using controlled feedback and Braxton doing a kind of circular breathing extended skronk) and I confess I find it oddly affecting. Finally I though the following comment from Frith re Archery was especially insightful: Can it be said, for example, that this piece constitutes 'an analysis of an improvisation' anymore that an improvisation constitutes an analysis of an improvisation? And shouldn't any improvised piece require the same alertness and care in making choices as we were required to exercise in 'Archery'? Scott Russell -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: BJOERN Subject: videos Date: 21 Aug 1997 19:53:49 +0200 (MESZ) can anyone name a good source for PAL videos (music and others) on the net... i searched the net for hours and didnt find anything good BJOERN ------------------------------------------------------------------------------- From: Marlene McMullen Subject: Beauty Date: 21 Aug 1997 11:29:46 -0700 I have to wonder why free improv can't be 'beautiful' in the conventional sense? I have a double album of Anthony Braxton and Derek Bailey which has a passage on it I find extremely beautiful, where they both engage in extended droning (Bailey using controlled feedback and Braxton doing a kind of circular breathing extended skronk) and I confess I find it oddly affecting. Hendrix was once a guest on the Dick Cavett Show. Dick asked him about = the weird way he played the national anthem at Woodstock and how he felt = about people thinking it was disrespectful. Jimi looked puzzled and = said, "Weird and disrespectful? I thought it was beautiful." [The years have distorted the details of that exchange, but that conveys = the meaning]. I find the genre we are discussing extremely beautiful, and extremely = lasting. It rewards repeated listenings more than many other genres. = And this is paradoxical because a purist might say free-improv is only = for the immediate moment. The beauty of it for me is that it requires a = transformation of the usual ways of listening to hear the beauty of it. BINAURALITY by the King Ubu Orchestra remains one of my lasting = favorites in this genre...highly recommended. Sz ~~~~~to strengthen what is right in a fool is a holy task~~~~~ I Ching...Hexagram 4...Meng [Youthful Folly] ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Beauty Date: 21 Aug 1997 11:58:43 -0700 A precision before this thread degenerates to: WHY CAN'T MUSIC BE BEAUTIFUL? On Thu, 21 Aug 1997 11:29:46 -0700 Marlene McMullen wrote: > > I have to wonder why free improv can't be 'beautiful' in the ^^^^^^^^^^^^^^^^^^^^^^^ I think people are riding their favorite horse... My question to John Shiuarba about his use of the qualifier "beautiful" was targetting early Zorn/Parachute stuff. Somebody later transformed my well-defined statement to a one emcompassing all free improv. This is not what I said. Patrice. ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: Beauty Date: 21 Aug 1997 20:23:13 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Patrice L. Roussel wrote: > > A precision before this thread degenerates to: > > WHY CAN'T MUSIC BE BEAUTIFUL? Please, we don't want to go down this path! > > On Thu, 21 Aug 1997 11:29:46 -0700 Marlene McMullen wrote: > > > > I have to wonder why free improv can't be 'beautiful' in the > ^^^^^^^^^^^^^^^^^^^^^^^ > > I think people are riding their favorite horse... > > My question to John Shiuarba about his use of the qualifier "beautiful" > was targetting early Zorn/Parachute stuff. This was my point, why does 'beautiful' have to be a qualifier? > > Somebody later transformed my well-defined statement to a one emcompassing > all free improv. This is not what I said. > OK, I made a generalisation based on your comment, if I had asked why the 'parachute stuff' couldn't be beautiful, would that have been any different? I have no axe to grind here and I certainly don't want to start us all off on a thread we'd rather avoid, after all once we've gotten to where the beauty is in Merzbow there ain't really any place left to go. Scott Russell. -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: Beauty Date: 21 Aug 1997 12:21:53 -0700 Patrice L. Roussel wrote: > A precision before this thread degenerates to: > > WHY CAN'T MUSIC BE BEAUTIFUL? > > On Thu, 21 Aug 1997 11:29:46 -0700 Marlene McMullen wrote: > > > > I have to wonder why free improv can't be 'beautiful' in the > ^^^^^^^^^^^^^^^^^^^^^^^ > > I think people are riding their favorite horse... > > My question to John Shiuarba about his use of the qualifier > "beautiful" > was targetting early Zorn/Parachute stuff. > > Somebody later transformed my well-defined statement to a one > emcompassing > all free improv. This is not what I said. > > Patrice. I find the discussion of what people find beautiful very enjoyable even when it gets twisted around by the nature of cyberlistmiscommunication. Sz -- =D0=CF=11=E0=A1=B1=1A=E1 ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: beating (was: Beauty) Date: 21 Aug 1997 15:33:16 -0400 A precision before this thread degenerates to: WHY CAN'T MUSIC BE BEAUTIFUL? On Thu, 21 Aug 1997 11:29:46 -0700 Marlene McMullen wrote: > > I have to wonder why free improv can't be 'beautiful' in the ^^^^^^^^^^^^^^^^^^^^^^^ I think people are riding their favorite horse... i think someone is. My question to John Shiuarba about his use of the qualifier "beautiful" was targetting early Zorn/Parachute stuff. the comments at hand were largely aimed at this sort of free improv. Somebody later transformed my well-defined statement to a one emcompassing all free improv. somewhat in the spirit of your vituperative response to a moderate position in an earlier post regarding einstein's role in qm. This is not what I said. not that anyone begrudges your hurling bolders from that pile o shards. then again, perhaps you know something we don't (like rizzi's on vacation or something). -b Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Beauty Date: 21 Aug 1997 12:50:50 -0700 On Thu, 21 Aug 1997 20:23:13 +0000 Scott Russell wrote: > > --MimeMultipartBoundary > > Patrice L. Roussel wrote: > > > > A precision before this thread degenerates to: > > > > WHY CAN'T MUSIC BE BEAUTIFUL? > > Please, we don't want to go down this path! > > > > On Thu, 21 Aug 1997 11:29:46 -0700 Marlene McMullen wrote: > > > > > > I have to wonder why free improv can't be 'beautiful' in the > > ^^^^^^^^^^^^^^^^^^^^^^^ > > > > I think people are riding their favorite horse... > > > > My question to John Shiuarba about his use of the qualifier "beautiful" > > was targetting early Zorn/Parachute stuff. > > This was my point, why does 'beautiful' have to be a qualifier? I am not sure that I understand you. By qualifier I mean an adjective, a word intended to affect the word it preceeds ("music"). Maybe I am missing some subtleties, having still a fairly broken English... > > Somebody later transformed my well-defined statement to a one emcompassing > > all free improv. This is not what I said. > > > OK, I made a generalisation based on your comment, if I had asked why > the 'parachute stuff' couldn't be beautiful, would that have been any > different? Again, I did not say that the Parachute stuff couldn't be beautiful, I was just surprised that John used "beautiful" as a way of describing it. I would have never thought of describing it that way, that's all. And because I share many of John's tastes, I was a little bit puzzled. > I have no axe to grind here and I certainly don't want to start us all > off on a thread we'd rather avoid, after all once we've gotten to where > the beauty is in Merzbow there ain't really any place left to go. It is just that by stretching too much the meaning of words (assuming words are still used for communication, and communication with a willingful person, not a die hard specialist part of a group which can count itself on the ten fingers of their hand :-), you might reach a point where they become useless, and I do not see that as a good thing (always in my boring view of seeing words as a way to communicate with a willingful, but not expert, audience). Personally, I still believe in the use of words and try to use them with moderation and as close as I can to their general accepted meaning. Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: beating (was: Beauty) Date: 21 Aug 1997 12:58:03 -0700 On Thu, 21 Aug 1997 15:33:16 -0400 "Ockham's stubble" wrote: > > > A precision before this thread degenerates to: > > WHY CAN'T MUSIC BE BEAUTIFUL? > > On Thu, 21 Aug 1997 11:29:46 -0700 Marlene McMullen wrote: > > > > I have to wonder why free improv can't be 'beautiful' in the > ^^^^^^^^^^^^^^^^^^^^^^^ > > I think people are riding their favorite horse... > > i think someone is. You might be right :-). > My question to John Shiuarba about his use of the qualifier "beautiful" > was targetting early Zorn/Parachute stuff. > > the comments at hand were largely aimed at this sort of free improv. > > Somebody later transformed my well-defined statement to a one emcompassing > all free improv. > > somewhat in the spirit of your vituperative response to a moderate > position in an earlier post regarding einstein's role in qm. Wow! You still remember that? Did it really traumatize you :-). > This is not what I said. > > not that anyone begrudges your hurling bolders from that pile o > shards. then again, perhaps you know something we don't (like rizzi's > on vacation or something). Oups! What do you mean by that ("begrudges your hurling bolders from that pile o shards)? Patrice. ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: Beauty Date: 21 Aug 1997 21:25:48 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Patrice L. Roussel wrote: > > > > > > Again, I did not say that the Parachute stuff couldn't be beautiful, I was > just surprised that John used "beautiful" as a way of describing it. I > would have never thought of describing it that way, that's all. This is what I was getting at! You reckon using beautiful in this context is unusual, my query was why should this be? Why would beautiful be a puzzling word to use here? > > It is just that by stretching too much the meaning of words (assuming words are still used for communication, and communication with a willingful person,not a die hard specialist part of a group which can count itself on the ten fingers of their hand :-), not sure what you are trying to tell me here... > you might reach a point where they become useless, and I do not see >that as a good thing (always in my boring view of seeing words as a way >to communicate with a willingful, but not expert, audience). My point was just that in singling out beautiful as an unusual word to describe something like free improv, you are implying that conventional adjectives do not apply, that perhaps another set of words may be more appropriate. I was just suggesting that this need not be the case. > > Personally, I still believe in the use of words and try to use them with > moderation and as close as I can to their general accepted meaning. > As do we all. Scott Russell. -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: john shiurba Subject: Re: Beauty Date: 21 Aug 1997 13:34:17 -0700 patrice: > Again, I did not say that the Parachute stuff couldn't be beautiful, I was > just surprised that John used "beautiful" as a way of describing it. I > would have never thought of describing it that way, that's all. And because > I share many of John's tastes, I was a little bit puzzled. ... > It is just that by stretching too much the meaning of words (assuming words > are still used for communication, and communication with a willingful person, > not a die hard specialist part of a group which can count itself on the ten > fingers of their hand :-), you might reach a point where they become > useless, and I do not see that as a good thing words are certainly important, but i do not think that i chose the wrong one. the word beautiful to me, means something quite different than pretty. i would never describe the Parachute material as pretty. beautiful means 'having beauty' and beauty is defined in my websters dictionary as: that quality present in a thing or person that gives intense pleasure or deep satisfaction to the mind, whether arising from sensory manifestations (as shape, color, sound, etc.), a meaningful design or pattern, or something else (as a personality in which high spiritual qualities are manifest). that seems to me to be exactly what this music is (to me). -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: Juno-Temp1 Subject: Dave Douglas/Chris Speed Date: 21 Aug 1997 16:35:18 -0400 (EDT) Any one heard the new CD's by these guys? Each of them have a new CD out and I've heard that their great. Particularly Chris's. John Waters ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: Beauty Date: 21 Aug 1997 21:39:55 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit john shiurba wrote: > > > words are certainly important, but i do not think that i chose the wrong > one. the word beautiful to me, means something quite different than > pretty. i would never describe the Parachute material as pretty. beautiful > means 'having beauty' and beauty is defined in my websters dictionary as: > > that quality present in a thing or person that gives intense pleasure or > deep satisfaction to the mind, whether arising from sensory manifestations > (as shape, color, sound, etc.), a meaningful design or pattern, or > something else (as a personality in which high spiritual qualities are > manifest). > > that seems to me to be exactly what this music is (to me). > -- John I think you've Scott Russell -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: stevenj@aumfidelity.com Subject: DAVID S. WARE Quartet Date: 21 Aug 1997 17:01:58 +0100 The DAVID S. WARE Quartet featuring David's tenor, Matthew Shipp/piano, William Parker/bass, and Susie Ibarra/drums will be performing two rare (at this point...) shows outside of NYC. THU SEPT 4 CHAPEL HILL, NC Cat's Cradle (club is in Carrboro actually) FRI SEPT 5 WASHINGTON, DC Washington Ethical Society (7750 16 St NW) This performance is the group's debut in our Capitol (will be version of earth atone shake down). Both showtimes are at 9pm. This is one of the most powerful musical outfits in the world, and you would be remiss to miss either of these if you are within 200 miles - no joke. Regards, Steven J oh, any questions, feel free to E. direct... ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: DAVID S. WARE Quartet Date: 21 Aug 1997 14:01:53 -0700 stevenj@aumfidelity.com wrote: > The DAVID S. WARE Quartet featuring David's tenor, Matthew > Shipp/piano, > William Parker/bass, and Susie Ibarra/drums will be performing two > rare > (at this point...) shows outside of NYC. > > They are also at the Knitting Factory tonight along with Wm Hooker and > Joe Morris 4tet...live on the internet... Sz ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Zorn's 7" LIVE AT PECCI MUSEUM Date: 21 Aug 1997 14:22:54 -0700 Joshua Herrin mailed me that the following rare 7" was alos available from Relapse Records (and that they still have copies of it). 045 - JOHN ZORN: LIVE AT THE PECCI MUSEUM: John Zorn 1/ untitled 2/ untitled 3/ untitled 4/ untitled Recorded live at Pecci Museum, Italy on March 7, 1995 Dave Douglas: trumpet; John Zorn: alto; Yamatsuka Eye: vocals. 1996 (?) - ??? (Italy), ??? (opaque orange vinyl 7") 1996 - Relapse Records (USA), ??? (orange vinyl 7") Note: limited Italian edition of 1000. Note: limited US edition of 1000 (or 1500?). Thought some of you might be interested. Patrice. PS: Relapse e-mail: Relapse@relapse.com, www: www.Relapse.com, tel: 1(800)303-0606 ------------------------------------------------------------------------------- From: Tom Benton Subject: Re: Dave Douglas/Chris Speed Date: 21 Aug 1997 16:36:27 -0500 (CDT) On Thu, 21 Aug 1997, Juno-Temp1 wrote: > Any one heard the new CD's by these guys? Each of them have a new CD out > and I've heard that their great. Particularly Chris's. I've got both of these and they are indeed great. Some specifics on them if you're interested: Chris Speed - 'Yeah No'. Speed (reeds); Cuong Vu (trumpet); Skuli Sverrison (elec. bass); Jim Black (drums). If you've ever heard Chris' compositions with Human Feel I would call this along those same lines, excepting the obvious difference in ensemble as well as they fact that they don't play together with quite the same synergy as HF. But I think in this case it's a good thing, everything sounds kind of fresh and impromtu (not they don't barrel into everything headfirst anyways), wheras I would guess Human Feel could play just about anything and it would sound like something they'd been working on day and night without sleep (a combination of how tight they are as well as this group vibe they just plain exhude, in my opinion). But enough of this rambling, it's a really cool record, they cover a lot of ground - totally composed pieces, a really smashing avant-Balkan jam, and plenty of other stuff. Cuong Vu is a trumpet player to watch out for. His solos are so totally melodic, they keep my interest every note. The electric bass on this record is really starting to grow on me...I wasn't enjoying it so much when I 1st got the CD but now I'm really diggin' it. In fact, it inspired me to pull my electric out after an extended stay of playing just my upright. It was pretty fun. Now as cool as 'Yeah No' is, I have to say that Dave Douglas' 'Sanctuary' is the sort of incredible epic of a record that pretty much stomps mercilessly all over anything in it's path. Dave Douglas, Cuong Vu (trumpets); Yuka Honda, Anthony Coleman (samplers); Mark Dresser, Hillard Greene (basses); Chris Speed (reeds); Dougie Bowne (drums). 2 CDs, 1 Piece per CD (don't worry, there are track divisions for your convenience). This is really a monster. 2 hours of...everything. I can't begin to describe how much goes on within the walls of this record. Blistering improv, slamming beats, spooky samples, furious soloing. Perhaps someone else who's heard this might care to say some more, I'm falling over myself in fascination just thinking about it. Regardless, pick it up and make sure you have like 2 hours to spare when you get home. I'm gonna shut up now. ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Dave Douglas/Chris Speed Date: 21 Aug 1997 18:20:42 -0400 Juno-Temp1 wrote: > Any one heard the new CD's by these guys? Each of them have a new CD > out > and I've heard that their great. Particularly Chris's. > > John Waters I have not heard the Chris Speed, but in conversation with Cuong Vu (trumpet) he told me he thought it was his best work. Cuong also happens to be on the Dave Douglas "Sanctuary." It is excellent, but quite different from anything else Dave has done thus far. Each CD is of a piece, with shifting motifs. Solos pop up within the structure of the piece, somewhat similar to Zorn. I saw this performed on stage, where the double trio concept was difficult to understand. The two samplers made little sense from the small Knitting factory stage. The separation was just not there. Chris Speed also seemed a bit under miced, though he is always excellent. That said, it was quite a musical experience, and one in which the usual KF chatter was absent. The audience seemed quite captured by the piece, which was played without interuption. On the recording the whole program makes more sense, as far as the "sound" of it. The separation offered on the recording places each player properly in the mix. As to what it actually sounds like, I was reminded, during the live performance, of Ornette's "Free Jazz" and Miles' "Live -Evil." Also much indebted to Coltrane, in fact quite a bit centers on Speed's sax. Dave sites the Ornette as an influence in the liner notes. So, if you are expecting a Tiny Bell Trio, DD 5, or even "In Our Lifetime" well...don't. But if somewhat free playing and exotic sound structures are of interest then you will be pleased. It really has to be heard, not talked about. Buy it! Alan ------------------------------------------------------------------------------- From: "k. drudge" Subject: Re: Beauty Date: 21 Aug 1997 18:24:04 -0400 (EDT) > It is just that by stretching too much the meaning of words (assuming words > are still used for communication, and communication with a willingful person, > not a die hard specialist part of a group which can count itself on the ten > fingers of their hand :-), you might reach a point where they become > useless, and I do not see that as a good thing (always in my boring view > of seeing words as a way to communicate with a willingful, but not expert, > audience). how can one `stretch' the meaning of the word beauty when it is defined by reference to the beholder? ------------------------------------------------------------------------------- From: rbisson@courrier.usherb.ca ( =?iso-8859-1?Q?R=E9mi?= Bissonnette) Subject: Pieces Date: 21 Aug 1997 18:30:44 -0400 I'd like to know if anybody has heard and/or knows where to obtain the Avant release "I need five minutes alone" by Pieces (a duet featuring Buckethead and Brain). Also, is the Avant recording "Buckethead plays Disney" still in limbo, or will it ever be released? (has it even been recorded?) =46inally, does anybody know what's been going on with Blind Idiot God since "Cyclotron"? BTW, besides that all these bands are featured on Avant, sorry for the absence of more Zorn-related content in this post. Bruno Bissonnette R=E9mi Bissonnette Ph.D. Professeur titulaire =46acult=E9 d'=C9ducation physique et sportive Universit=E9 de Sherbrooke Sherbrooke, Qu=E9bec J1K 2R1 =20 ------------------------------------------------------------------------------- From: Juno-Temp1 Subject: Re: Dave Douglas/Chris Speed Date: 21 Aug 1997 18:45:28 -0400 (EDT) Speaking of Skuli Sverrison, I have his latest CD. Everything on the CD is done by Skuli. I have to say that it is one of the most intense CDs ever. You'd never expect this kind of thing from hearing Skuli play in other people's bands. The CD is called "Seremonie" on extreme records. I highly recommend getting it. It'll scare the hell out of you while stripping the paint off of your walls. Funny thing is, the record is also full of joy (as corny as that may sound). -JW ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Beauty Date: 21 Aug 1997 16:02:36 -0700 On Thu, 21 Aug 1997 18:24:04 -0400 (EDT) "k. drudge" wrote: > > > It is just that by stretching too much the meaning of words (assuming words > > are still used for communication, and communication with a willingful person, > > not a die hard specialist part of a group which can count itself on the ten > > fingers of their hand :-), you might reach a point where they become > > useless, and I do not see that as a good thing (always in my boring view > > of seeing words as a way to communicate with a willingful, but not expert, > > audience). > > how can one `stretch' the meaning of the word beauty when it is > defined by reference to the beholder? Yes, you are right. I even know people who claim that Kenny G's music is beautiful. Do you have a list of all the words that are "defined by reference to the beholder". Or maybe, it might be easier, the list of the ones that are not defined by the beholder (if any...)? As you can see, I am fairly short on this topic of what is and what is not. Patrice. ------------------------------------------------------------------------------- From: "Alan M Gordon (MSc/NC)" Subject: Re: Dave Douglas/Chris Speed Date: 22 Aug 1997 00:24:45 +0100 (BST) >Speaking of Skuli Sverrison, I have his latest CD. Everything on the CD >is done by Skuli. I have to say that it is one of the most intense CDs >ever. You'd never expect this kind of thing from hearing Skuli play in >other people's bands. > >The CD is called "Seremonie" on extreme records. I highly recommend >getting it. It'll scare the hell out of you while stripping the paint >off of your walls. Funny thing is, the record is also full of joy (as >corny as that may sound). > >-JW Perhaps you could give some more hints as to what it sounds like, to those of us who've never heard of this guy. In general i expect kind of quiet but subtle scary/atmospheric noises from extreme (eg.pablos eye, merzbow, land, hideki kato) -- does this fit in with them? alan ------------------------------------------------------------------------------- From: "k. drudge" Subject: Re: Beauty Date: 21 Aug 1997 19:43:04 -0400 (EDT) > > how can one `stretch' the meaning of the word beauty when it is > > defined by reference to the beholder? > > Yes, you are right. I even know people who claim that Kenny G's music > is beautiful. > > Do you have a list of all the words that are "defined by reference > to the beholder". Or maybe, it might be easier, the list of the ones > that are not defined by the beholder (if any...)? As you can see, I > am fairly short on this topic of what is and what is not. > > Patrice. i think you're right that all words are defined by the speaker, but the degree to which this matters much tends to vary directly as the `degree of abstractness' in the concept being denoted. in other words, you (usually) don't see people arguing about what a shoe is. keldon ------------------------------------------------------------------------------- From: Caleb Deupree Subject: b[e|in]au[rali]ty (was just Beauty) Date: 21 Aug 1997 20:38:13 -0400 (EDT) >Date: Thu, 21 Aug 1997 11:29:46 -0700 >From: Marlene McMullen >Subject: Beauty > >I find the genre we are discussing extremely beautiful, and extremely = >lasting. It rewards repeated listenings more than many other genres. = >And this is paradoxical because a purist might say free-improv is only = >for the immediate moment. The beauty of it for me is that it requires a = >transformation of the usual ways of listening to hear the beauty of it. > >BINAURALITY by the King Ubu Orchestra remains one of my lasting = >favorites in this genre...highly recommended. > Binaurality is one of my favorites as well, albeit one I have not been able to share with too many others. Putting KUO in the context of Parachute has made me have another listen to Archery, which I remembered as being dry, unfocussed, and rather difficult. But after today's listening, in the light of Naked City and so much of what this group of musicians has done since, I have to revise my opinion. The most prevalent musical quality on both these albums (Binaurality and Archery) is texture, to the exclusion of almost everything else (melody, beats, individual virtuosity, etc.), and the fact that the music is improvised with a group of musicians (as opposed to, say, musique concrete, which often emphasizes texture as well, but which is composed and refined in a studio) leaves me in awe. The sounds that these groups bring out of the diverse but traditional instruments (although KUO has Georg Katzer on electronics in addition to nine other players) is nothing short of amazing. Archery seemed to have more small combinations, achieving a wide variety of textures by varying the combinations in which the twelve instrumentalists worked together, whereas KUO plays more as an emsemble. In both cases it's fun to guess what instruments are playing, as the techniques are so unorthodox that sometimes you can't tell. Binaurality is an excellent reference point if you're looking for a musical comparison for Archery; I cannot imagine liking one and not liking the other. Further information on KUO is linked to the Radu Malfatti (he plays in KUO) page at http://www.shef.ac.uk/misc/rec/ps/efi/mmalfatt.html, which is in turn part of an excellent site on mostly European independent labels specializing in improvised music. Malfatti also plays on the Random Acoustics album Polwechsel, which I would also recommend to fans of this genre. -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Pieces Date: 21 Aug 1997 18:16:56 -0700 At 06:30 PM 8/21/97 -0400, R=E9mi Bissonnette wrote: >Also, is the Avant recording "Buckethead plays Disney" still in limbo, or >will it ever be released? (has it even been recorded?) I asked Bucket about this a while ago and got a non-commital answer. He was much more interested in talking about horror movies. > >Finally, does anybody know what's been going on with Blind Idiot God since >"Cyclotron"? They haven't been doing much as a group lately. I think Bill moving the studio out of Brooklyn will probably affect who records with him (he produced all the BIG albums and some of the individual stuff they did.) =20 Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: b[e|in]au[rali]ty (was just Beauty) Date: 21 Aug 1997 18:25:43 -0700 Caleb Deupree wrote: > > Binaurality is one of my favorites as well, albeit one I have not been > able > to share with too many others. Further information on KUO is linked to > the Radu Malfatti (he plays in KUO) > page at http://www.shef.ac.uk/misc/rec/ps/efi/mmalfatt.html, which is > in > turn part of an excellent site on mostly European independent labels > specializing in improvised music. Malfatti also plays on the Random > Acoustics album Polwechsel, which I would also recommend to fans of > this genre. You are the first human being I have ever interacted with who knows and likes BINAURALITY...I purchased it around the same time as I got Brotzmann's MARZ COMBO and Borah Bergman/Evan Parker's FIRE TALE...All three of those Cds remain in my pantheon of stunning listening experiences...Tony Oxley's Celebration Orchestra's THE ENCHANTED MESSENGER is a more recent entry...multi-layered textures of extremely empathic interaction...excuse me...I'm drooling on my keyboard...oh, and thanks for the link...hadn't run across that one yet... Sz ~~~~~to strengthen what is right in a fool is a holy task~~~~~ I Ching...Hexagram 4...Meng [Youthful Folly] <<<<<<<<<<<<<<<<<<<<<>>>>>>>>>>>>>>>>>>>>> ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: Pieces Date: 21 Aug 1997 18:32:28 -0700 Jeff Spirer wrote: > I asked Bucket about this a while ago and got a non-commital answer. > He > was much more interested in talking about horror movies. I got all excited about Buckethead after hearing him on a Company CD with Derek Bailey and reading quite a bit about him. Then he made a surprise appearance at a tiny club in the outskirts of Santa Barbara, CA, and I was hugely disappointed. It was more like Eddie Van Halen in disguise than anything I would associate with Zorn or Bailey. How does he sound on recordings under his own name? Sz ------------------------------------------------------------------------------- From: chad edwards Subject: Zorn's Interviews Date: 21 Aug 1997 19:13:39 -0700 (PDT) I have have been looking for interviews with J.Z. but have had little luck finding any. any suggestions? _____________________________________________________________________ Sent by RocketMail. Get your free e-mail at http://www.rocketmail.com ------------------------------------------------------------------------------- From: Mark Corroto Subject: trades wanted Date: 21 Aug 1997 22:24:30 -0500 I own a few LPs that some of you Z-sters might covet since i no longer pray to the turntable , I'd be happy to swap them my list: John Zorn - The Classic Guide To Strategy Volume One (Lumnia L004) Mark Bingham - I Passed For Human (Dog Gone 0006) Naked City - Torture Garden ShimmyDisc (000000039) Rochester/Veasley Band - One Minute of Love (Grammavison 18 8505-1) cut out JimStaley - Mumbo Jumbo (rift 12) Beresford /Toop... - Deadly Weapons(Nato950) Ambitious lovers - Greed (Virgin 7 90903-1) Sonny Clark Memorial Qt - Voodoo (BS 0109) Among the things I'm looking for are the following on CD: Zorn -Deadly Weapons Mark Bingham - I Passed For Human mark ------------------------------------------------------------------------------- From: Brian & Sharon Beuchaw Subject: Re: gastr del sol redux Date: 21 Aug 1997 21:34:20 -0500 (CDT) On Wed, 20 Aug 1997, SUGAR in their vitamins? wrote: > > out of curiosity, in light > of the reason O'Rourke gave > for leaving Gastr, what > happens to the Dexter's Cigar > label which he supposedly > is co-running with Grubbs? From some info over on the droneon list (which went thru this thread a few weeks ago), the label is still going to be jointly run. I think this is good info as it came from someone who actually talked to O'Rourke or Grubbs. cya brian ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Re: Pieces Date: 21 Aug 1997 23:17:09 -0500 (CDT) > They haven't been doing much as a group lately. I think Bill moving the > studio out of Brooklyn will probably affect who records with him (he > produced all the BIG albums and some of the individual stuff they did.) Just out of curiosity, what is the name of the new studio? Is it still in NYC? Out 2 Lunch With Lunchmeat, Paul wesley@interaccess.com ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Pieces Date: 21 Aug 1997 22:29:34 -0700 At 06:32 PM 8/21/97 -0700, Schwitterz wrote: >Jeff Spirer wrote: > >> I asked Bucket about this a while ago and got a non-commital answer. >> He >> was much more interested in talking about horror movies. > >I got all excited about Buckethead after hearing him on a Company CD >with Derek Bailey and reading quite a bit about him. Then he made a >surprise appearance at a tiny club in the outskirts of Santa Barbara, >CA, and I was hugely disappointed. It was more like Eddie Van Halen in >disguise than anything I would associate with Zorn or Bailey. How does >he sound on recordings under his own name? He has an incredible range of interests and styles. With Praxis, he plays in sort of a fractured heavy metal way that I think is pretty cool. He plays amazing acoustic stuff on _Octave of the Holy Innocents_ with Jonas Hellborg and Michael Shrieve. He plays neo-Hendrix power jazz on the upcoming Arcana 2 (with Tony Williams.) He plays metal with Giant Robot (the band, not the CD) and with the Deli Creeps. He plays ambient death guitar under the name Death Cube K (new release just out.) He has three releases under his own name. The first, on Avant, is _Bucketheadland_, and is goofy and masturbatory. The second, on Sony Japan (no domestic release ever), is _Giant Robot_, and is quite a bit more interesting. It is still a little goofy but it is also much better together. The third is _Day of the Robot_, much of which is DJ Ninj doing drum 'n' bass stuff, but when Bucket does play, it is quite good. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: Pieces Date: 21 Aug 1997 22:56:03 -0700 Jeff Spirer wrote: > He has three releases under his own name. The first, on Avant, is > _Bucketheadland_, and is goofy and masturbatory. When I read the words "goofy and maturbatory" I knew you understood. Those words capture his performance, both in terms of the music and the performance. Some of the recordings you describe sound appealing ["beautiful..heh heh"] nonetheless...thanks. Sz ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Beauty Date: 22 Aug 1997 02:33:31 -0400 (EDT) On Thu, 21 Aug 1997, k. drudge wrote: > how can one `stretch' the meaning of the word beauty when it is > defined by reference to the beholder? Well, it's not obvious to me what this means, but, supposing it's true, wouldn't we be stretching the meaning by using it in a way not indexed to a beholder (e.g. "The Parachute material is beautiful, no matter what anyone thinks, including me."). Chris Hamilton Riding His Own Favorite Horse... P.S. Keep in mind that not everyone thinks judgments of beauty come down to individual taste. P.P.S. I promise not to get in an argument about this on the list. ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Beauty Date: 22 Aug 1997 02:42:22 -0400 (EDT) On Thu, 21 Aug 1997, Scott Russell wrote: > My point was just that in singling out beautiful as an unusual word to > describe something like free improv, you are implying that conventional > adjectives do not apply, that perhaps another set of words may be more > appropriate. I was just suggesting that this need not be the case. Er, Patrice didn't question the use of conventional adjectives, just the use of 'beautiful'. Now, since neither Scott nor I have heard this material, we aren't in a very good position to side with Patrice or John here, but one could appreciate the material and not find it beautiful. For example, I admire Diamanda Galas's Masque of the Red Death material greatly, but it's not beautiful. It's both unpleasant and unsatisfying in the best sense. 'Sublime' might be a better word here, and people should use it more :^). Whether the Parachute material is either I don't know, but I look forward to finding out. Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Ronald Shannon Jackson Complete Discography Date: 22 Aug 1997 02:56:10 -0400 (EDT) On Thu, 21 Aug 1997, Steve Smith wrote: Thanks for the info, Steve. > And you may already know this, but Shannon's > debut recording with Charles Tyler was also brought about by Ornette, > who refused to allow his own drummer Charles Moffett to play the date. > Moffett did make that record with Tyler, but on vibraphone while > Shannon, billed as "Ron Jackson" I believe, played drums. Is this from Giddins or Grove? Moffett talks about this session in the February 1997 issue of _Cadence_, and, while his story's not logically inconsistent with the above, he doesn't mention Ornette's role: "Charles wanted me to play drums. But by that time 'Roundhouse,' a guy named Ronald Jackson, had made it up to New York City. I was trying to help him get started, so I told him to play drums. I didn't even tell Charles. I came to the record date and played orchestral bells. I told Charles, 'Meet Ronald Jackson from Texas. He just got here, man, and what's going to happen Charles, is, he's going to play drums and I'll play orchestral bells.' And Charles said, 'Whatever you got in mind is all right.'" Ah, those wacky ESP days... Chris Hamilton ------------------------------------------------------------------------------- From: katsuhiro hayasaka Subject: RE: masada liner notes (reprise) Date: 22 Aug 1997 18:14:26 +0900 "Marc A. Foster" > > >On Thursday, August 21, 1997 10:11 AM Geert Buelens wrote: > >On Wed, 6 Aug 1997, mcbride/turner wrote: > >> i recently bought masada alef (diw 888) and was taunted by some very >> thoughtful-looking liner notes, in japanese! does anyone know where i can >> find an english translation of these notes? >> > Same question here. Maybe this is an old issue for all you die-hards, >but there must be someone out there how either knows some Japanese, or >knows where (in the list-archive?) a translation is to be found. >Thanks, > >geert > >I have the same thing from Heretic. It seems to be an Avant catalog with some fairly extensive notes. I'd be glad to send it to anyone who reads Japanese in exchange for a translation. > >Marc Foster > > > I am a Japanese.So I can read Japanese.But I am not good at English,and those two very extensive notes are difficult to understand for me at once. I can translate in part.But I don`t assure you that these are correct^_^;. Following lists are noted "masada alef"`s liner notes.These liner notes are written by Hirotaka Kondou(I don`t know who he is). MASADA : (Alef)1 JAIR=Eliezel Ben Jair(sp?) who commands the "Masada" rebellion. BITH ANETH=the house of an anguish TZOFEH=an observer,a prophet ASHNAH=a darkness TAHAH=confused(adj) KANAH=a ruler DELIN=a big pot JANOHAH=the depths ZWBDI=a gift IDALAH-ABAL=a place of grief ZELAH=the ribs (Beit)2 PIRAM=the rays of the sun HADASHA=a new moon LACHISH=a blaze,a passion RACHAB=latitude,an area PELIYOT=mystery ACHSHAPH=Sorry ! I can`t translate. SANSANAH=Sorry ! I can`t translate. RAVAYAH=abundant SAHAR=the moon TIRZAH=a queen of the moon SHILHIM=a messenger who holds a sword (Gimel)3 ZIPHIM=the plague,??? ABIDAN=God`s judgement(or destruction) KATZATZ=cut off,remove HAZOR=the inside NETIVOT=a path KARAIM=people of KARAI group? HEKHAL=a hall of Palace SHELOSHIM=30 rewards(or retributions?) for grief LEBAOTH=a lion TANNAIM=the wise and the rabbi of Judaism in BC2-AD3 (Daled)4 MIDBAR=a desert MAHLAH=a dark place of the moon ZENAN=a spine(or a thorn),a pain,an irony Does anyone know the meaning of tunes Masada 5,6,7,8 `s ? "Heretic" liner notes are very outstanding and important.These liner notes are written by Toshihiko Shimizu who is a great critic and poet.I am influenced by him a great deal.He is a rare critic who gets a confidence by Zorn. I`m sorry,but I don`t have the ability to translate theses."Heretic"liner notes are appeared in "Jazz Alternative" too.This book is a Toshihiko Shimizu`s critic notes.To my regret,an English translation does`nt exist. BTW,is Zorn still a long hair ? If so, why does he lets his hair long ? Sorry for my bad English. thanks. -- katsuhiro hayasaka c9609238@mn.waseda.ac.jp ------------------------------------------------------------------------------- From: max Subject: Back on Bacharach Date: 22 Aug 1997 09:07:13 -0400 I've been listening to the tribute cd quite a bit lately and was wondering if someone could give me some info. on a few of the players I hadn't heard before. I was most impressed with the arrangements by Erik Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what else these fine musicians have done? Yuka Honda and Guy Klucevsek are also great and I would like to know more about. Any help would be much appreciated... Max ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: beating (was: Beauty) Date: 22 Aug 1997 09:19:29 -0400 Oups! What do you mean by that ("begrudges your hurling bolders from that pile o shards)? think of it as my being nice -- less time spent casting about for something to conveniently refuse to understand. > > how can one `stretch' the meaning of the word beauty when it is > > defined by reference to the beholder? > > Yes, you are right. I even know people who claim that Kenny G's music > is beautiful. > > Do you have a list of all the words that are "defined by reference > to the beholder". Or maybe, it might be easier, the list of the ones > that are not defined by the beholder (if any...)? As you can see, I > am fairly short on this topic of what is and what is not. > > Patrice. i think you're right that all words are defined by the speaker, but the degree to which this matters much tends to vary directly as the `degree of abstractness' in the concept being denoted. in other words, you (usually) don't see people arguing about what a shoe is. mmmm, commitment to the idea of words being actually defined, even in a instance, by a single speaker (willfully?), sheds some light on the delightfully harmless confessions made of not understanding derrida. -b (who couldn't define shoe to save his mother) ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Back on Bacharach Date: 22 Aug 1997 09:40:27 -0400 max wrote: > I've been listening to the tribute cd quite a bit lately and was > wondering if someone could give me some info. on a few of the players > I > hadn't heard before. I was most impressed with the arrangements by > Erik > Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what > > else these fine musicians have done? Yuka Honda and Guy Klucevsek are > also great and I would like to know more about. Any help would be much > > appreciated... > > Max Erik Friedlander has two excellent CDs with the same group of musicians used on the Bacharach. They are: The Watchman (Tzadik) and Chimera (Avant). I think the Friedlander is the best thing on the Bacharach, and if you like "Promises" then I can promise you that his solo work will please you. He has also appeared on many other recordings, including the Dave Douglas string group, Myra Melford's Same River Twice, Ned Rothenberg's Power Lines, John Zorn's Masada String Group. Eyvind Kang appears on Bill Frisell's Quartet and has a solo CD on Tzadik. Yuka Honda is on the new Dave Douglas "Sanctuary" 2CD set and plays in Sean Lennon's band. ------------------------------------------------------------------------------- From: Tom Benton Subject: Re: Back on Bacharach Date: 22 Aug 1997 08:45:00 -0500 (CDT) On Fri, 22 Aug 1997, max wrote: > I've been listening to the tribute cd quite a bit lately and was > wondering if someone could give me some info. on a few of the players I > hadn't heard before. I was most impressed with the arrangements by Erik > Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what > else these fine musicians have done? Well, Erik Friedlander has released 2 CDs with his Chimera group, the one heard on the Bacharach record. The 1st, "Chimera", is good, but I can't say enough about the second one "The Watchman". It's part of the Radical Jewish Culture series on Tzadik, and explores a great variety of what I might call "improvised chamber music" based on Jewish themes. Totally incredible compositions and ensemble playing. Look for it. Find out all you ever wanted to know about Erik and his projects at . Eyvind Kang is a member of Bill Frisell's semi-new quartet, I know he's released a couple of things under his own name, including one as part of the Tzadik composer series. Anybody out there heard any of his stuff? > Yuka Honda and Guy Klucevsek are also great and I would like to know > more about. Yuka Honda plays sampler in the excellent group Cibo Matto. Crazy noisy Japanese hiphop. A pretty pathetic description really, let it suffice to say that they're very cool. She's also on Dave Douglas' new record "Sanctuary". Guy Klucevsek is pretty much the man. He's all over everywhere. Look for "Transylvanian Software", a wonderful CD of solo-accordian pieces (including tunes by our men Zorn and Frith). I've also heard him with Bill Frisell and Anthony Braxton, he seems to be in his element pretty much anywhere really. He's got a number of other recording under his own name in addition to the one mentioned above, what I've heard of them is very good, but "Transylvanian Software" really blows me away... ------------------------------------------------------------------------------- From: SlightAche@aol.com Subject: Re: Back on Bacharach Date: 22 Aug 1997 10:01:41 -0400 (EDT) --------------------- Forwarded message: Subj: Re: Back on Bacharach CC: Mmottel,Dymaxus CC: aabrams@springer-ny.com In a message dated 97-08-22 09:50:04 EDT, you write: > > I've been listening to the tribute cd quite a bit lately and was > > wondering if someone could give me some info. on a few of the players I > > hadn't heard before. I was most impressed with the arrangements by Erik > > Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what > > else these fine musicians have done? Have begun to hear some rumblings about an upcoming gig @ the Merkin Hall, NYC: two sets put together by Zorn, including Friedlander, Anthony Coleman, John Medeski, Billy Martin, Chris Wood, Ikue Mori, Marc Ribot, etc. More info to follow (like date, etc.), but it's smelling like a little Bacharach tribute gig, don't you think? PWK (ppoc) ------------------------------------------------------------------------------- From: matthew.colonnese@yale.edu (Matt Colonnese) Subject: G.zero/E. Kang reviews Date: 22 Aug 1997 10:47:26 -0400 (EDT) With appologies to those also on droneon, I figured I'd post these relevant reviews here also: Ground Zero _Conflagration_ Creative man disks. A remix on _Consume: Red_ which i really like (a long droning hojok sample with noise burst which builds into metal stomp then noise), this is (of course) inconsistent. Stock, hausen and walkman do four nice mixes, one a summary of the whole piece, and other stretches and investigations of it, Gastr del Sol (I think just Jim?)does the usual reduction to bare audibility and adds a few noises and cd skips, Violent Onsen Geisha seems to forget there is an original piece involved so make their own track which is typical (and boring), and Bob Osterang goes for the big noise fest, pretty indistinguished, but I've only listened to it once. Eyvind Kang _Sweetnes of Sickness_ Rabid God Inoculator. More single minded than his Tzadik disk, this one focus on the noise monger in Eyvind. Most tracks consist of blaring noise in the background and some degraded take on an easy listening tune in the foreground, or an easy listening background with noisey violin in the foreground. It started off strong for me, but the lack of variety was tiring, none of the nice symphony stuff from the Tzadik disk for breaks. Scott Colburn produced and played on a track, but I was hard pressed to hear anyone other than Eyvinds squeaky hinged violin. ------ "Finally, something that would bring people together...even if it kept them apart, spatially." ------------------------------------------------------------------------------- From: "k. drudge" Subject: Re: Back on Bacharach Date: 22 Aug 1997 11:13:44 -0400 (EDT) > "Transylvanian Software", a wonderful CD of solo-accordian pieces (including actually, it's `softwear' unimportant, yes; irrelevant, perhaps. i agree that it's great. in particular, the recording of zorn's `roadrunner' on this disc is an incredible feat (if i understand the liner notes correctly, it's actually recorded in one go, unlike the version on manhattan cascade). kluscevsek also plays on a bunch of bill frisell discs from the days when he was recording with don byron, joey baron etc. i know that `have a little faith' and `this land' fall into this category, and i think that there is at least one more. keldon ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: Back on Bacharach Date: 22 Aug 1997 08:30:30 -0700 > kluscevsek also plays on a bunch of bill frisell discs One day I was watching Mr. Rogers with my kids and the guest that day was Guy Kluscevsek! Mr. Rogers had him play a bit, then asked him to play music that sounded like various emotions. It was hilarious. Sz -- =D0=CF=11=E0=A1=B1=1A=E1 ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Back on Bacharach Date: 22 Aug 1997 12:29:17 -0400 k. drudge wrote: > > "Transylvanian Software", a wonderful CD of solo-accordian pieces > kluscevsek also plays on a bunch of bill frisell discs from the days > when > he was recording with don byron, joey baron etc. > i know that `have a little faith' and `this land' fall into this > category, > and i think that there is at least one more. > He does not play on "This Land." He does play on Anthony Braxton's "Four (Ensemble)Compositions", Zorn's "Big Gundown", and Bobby Previte's "Claude's Late Morning." I don't know if Kluscevsek has much to do with it, but these are all, including the Frisell, worth hearing. Of course, just about anything these guys do is worth hearing. He is pretty much a bit player on the Braxton, Zorn, and Previte works, but is prominent on the Frisell. Alan ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Back on Bacharach Date: 22 Aug 1997 09:30:40 -0700 On Fri, 22 Aug 1997 09:40:27 -0400 "ALAN E. KAYSER" wrote: > > max wrote: > > > I've been listening to the tribute cd quite a bit lately and was > > wondering if someone could give me some info. on a few of the players > > I > > hadn't heard before. I was most impressed with the arrangements by > > Erik > > Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what > > > > else these fine musicians have done? Yuka Honda and Guy Klucevsek are > > also great and I would like to know more about. Any help would be much > > > > appreciated... > > > > Max > > Erik Friedlander has two excellent CDs with the same group of > musicians used on the Bacharach. They are: The Watchman (Tzadik) and > Chimera (Avant). I think the Friedlander is the best thing on the > Bacharach, and if you like "Promises" then I can promise you that his > solo work will please you. He has also appeared on many other > recordings, including the Dave Douglas string group, Myra Melford's Same > River Twice, Ned Rothenberg's Power Lines, John Zorn's Masada String > Group. Eyvind Kang appears on Bill Frisell's Quartet and has a solo CD > on Tzadik. Yuka Honda is on the new Dave Douglas "Sanctuary" 2CD set > and plays in Sean Lennon's band. Yuka Honda is before everything else 50% of Cibo Matto, a fairly enjoyable and catchy rock band. Patrice. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: beating (was: Beauty) Date: 22 Aug 1997 09:40:21 -0700 On Fri, 22 Aug 1997 09:19:29 -0400 "Ockham's stubble" wrote: > > mmmm, commitment to the idea of words being actually defined, even in > a instance, by a single speaker (willfully?), sheds some light on the > delightfully harmless confessions made of not understanding derrida. Understanding Derrida? You might be joking, right? Patrice (who forgot the last time somebody in France raised the issue of "undertanding Derrida") ------------------------------------------------------------------------------- From: JonAbbey2@aol.com Subject: Re: Parachute years or Masada? Date: 22 Aug 1997 13:01:30 -0400 (EDT) In a message dated 8/22/97 7:23:55 AM, srussell@cims.co.uk (Scott Russell) wrote: <> Well, I for one wouldn't. I feel like the nine Masada records I have (including the boot on Jazz Door) is plenty, quite frankly. I'm way more interested in hearing Zorn's early period stuff. Records like Yankees and Harras are way more interesting and unique for me than the umpteenth Masada record. Quite honestly, I'm surprised Zorn has continued the Masada project this long considering his past history of exploring concepts for a few years and abandoning them. If the AMM and King Ubu comparisons for the Parachute material are legit, I'm even more psyched for this box than I was before. What I'm curious about is how many of the 1000 boxes will be bought by people on this list. Cynical Hysterie Hour lives up to the hype, by the way. Only 25 minutes but highly recommended. Jon ------------------------------------------------------------------------------- From: Scott Russell Subject: Re: Parachute years or Masada? Date: 22 Aug 1997 18:24:00 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit JonAbbey2@aol.com wrote: > > In a message dated 8/22/97 7:23:55 AM, srussell@cims.co.uk (Scott Russell) > wrote: > > < wouldn't welcome a 6 or 7 disc set of unreleased NC, Painkiller, Big > Gundown or Masada type Zorn>> > > Well, I for one wouldn't. I feel like the nine Masada records I have > (including the boot on Jazz Door) is plenty, I was actually meaning a combined box not one for each band, god forbid... quite frankly. I'm way more > interested in hearing Zorn's early period stuff. Records like Yankees and > Harras are way more interesting and unique for me than the umpteenth Masada > record. Quite honestly, I'm surprised Zorn has continued the Masada project > this long considering his past history of exploring concepts for a few years > and abandoning them. Perhaps he's documenting the rest of those 100 tunes that the Masada project was supposed to consist of. > > If the AMM and King Ubu comparisons for the Parachute material are legit, I'm > even more psyched for this box than I was before. What I'm curious about is > how many of the 1000 boxes will be bought by people on this list. Well there's me for one. > > Cynical Hysterie Hour lives up to the hype, by the way. Only 25 minutes but > highly recommended. > I'd have to agree, it's a worthy investment even though it is short. Which brings me to another point, does anybody else feel a little aggrieved every time they buy an Avant or Tzadik disc and find it's less than 30 mins long? I don't mean to say all discs must be a full 74 minutes or that quantity is the only criteria but when you have to shell out for expensive Japanese imports it would be nice to be warned that they are perhaps a tad short. Shock Corridor, Mystic Fugu Orchestra, Filmworks 2 (or is it 3?) and Plexure spring to mind immediately. Scott Russell. -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: "Alan M Gordon (MSc/NC)" Subject: short albums a rip-off? (was:Re: Parachute years or Masada?) Date: 22 Aug 1997 18:41:11 +0100 (BST) >> Cynical Hysterie Hour lives up to the hype, by the way. Only 25 minutes >but >> highly recommended. >> >I'd have to agree, it's a worthy investment even though it is short. >Which brings me to another point, does anybody else feel a little >aggrieved every time they buy an Avant or Tzadik disc and find it's less >than 30 mins long? I don't mean to say all discs must be a full 74 >minutes or that quantity is the only criteria but when you have to shell >out for expensive Japanese imports it would be nice to be warned that >they are perhaps a tad short. Shock Corridor, Mystic Fugu Orchestra, >Filmworks 2 (or is it 3?) and Plexure spring to mind immediately. I'd have to disagree, actually. Is a big painting better than a small one? I've never felt dissatisfaction with the length of, say, mike patton's pranzo oltranzista (30 mins), or painkiller (what was it, 22 mins?). On the other hand, many's the time i've felt an album to be too long. The only one i felt slightly aggrieved about was Masada IV, but of course that was meant to be a free giveaway in any case. alan ------------------------------------------------------------------------------- From: JonAbbey2@aol.com Subject: Oswald (was: Re: Parachute years or Masada?) Date: 22 Aug 1997 13:43:02 -0400 (EDT) In a message dated 8/22/97 1:30:17 PM, srussell@cims.co.uk wrote: <> Well, I've always thought of Plexure as a full-length record JPEGed down to the twenty or so minutes that it actually is. There are more ideas on that record than there are on most 70 minute CDs, if you ask me. Anyone know what John Oswald has been up to since the Grateful Dead project? Jon ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Zorn's Interviews Date: 22 Aug 1997 11:22:58 -0700 On Thu, 21 Aug 1997 19:13:39 -0700 (PDT) chad edwards wrote: > > I have have been looking for interviews with J.Z. > but have had little luck finding any. any suggestions? Did you really look hard? Few should be fairly easy to find: * American Composers - Dialogues on Contemporary Music, by Edward Strickland Contains an interview of John Zorn by Edward Strickland (pp. 124-140) Indiana University Press, 1991 (ISBN 0-253-35498-6) * Soundpieces 2: Interviews With American Composers, by Cole Gagne Interview by Cole Gagne followed by a discography (pp. 507-542) The Scarecrow Press, 1993 (ISBN 0-8108-2710-7) * Talking Music: Conversations with American Experimental Composers, by William Duckworth Interview by William Duckworth (pp. 444-475) Schirmer Books (USA), 1995 (ISBN 0-02-870823-7) Hope it helps, Patrice. ------------------------------------------------------------------------------- From: mike burma Subject: RE: Zorn's Interviews Date: 22 Aug 1997 11:26:07 -0700 > I have have been looking for interviews with J.Z. >but have had little luck finding any. any suggestions? I did one with him in the early 90's that I published in the first issue of my zine. You can check it out on the web at www.browbeat.com Mike Burma Shameless Self-promoter ------------------------------------------------------------------------------- From: "gschwend d. atelier" Subject: Re: Parachute years or Masada? Date: 22 Aug 1997 20:33:41 +0200 can't remember who actually started the parachute/masada discussion; but this is my first mail to the list anyway. as anyone can tell, the opinions on the initial question are very different. i'm lucky enough to have one of the, as far as i know limited to 1000, "archery" vinyl copies. and i must admit, i've only listened to it once or twice. it's definitely totally different to nc, painkiller, etc. and i think it's even more difficult to "digest" as e.g. "yankees". i agree with jon abbey that nine masada releases are (more than) enough for me (i actually stopped buying them after the 3rd one came out). i like zorn's initial idea to make one cd per hebrew letter, but think that he could have at least used a different line-up on some of the masada cds; e.g. the one feat. ribot that i absolutely loved live in concert. even though i'm a huge fan of zorn, i think he's recently been trying to make as much money as possible out of his popularity. i cannot understand this, since i feel that the quality of some of the works went down with the quantity. (i hope i'm not starting too big a discussion with this last statement.) patRice. JonAbbey2@aol.com wrote: > > In a message dated 8/22/97 7:23:55 AM, srussell@cims.co.uk (Scott Russell) > wrote: > > < wouldn't welcome a 6 or 7 disc set of unreleased NC, Painkiller, Big > Gundown or Masada type Zorn>> > > Well, I for one wouldn't. I feel like the nine Masada records I have > (including the boot on Jazz Door) is plenty, quite frankly. I'm way more > interested in hearing Zorn's early period stuff. Records like Yankees and > Harras are way more interesting and unique for me than the umpteenth Masada > record. Quite honestly, I'm surprised Zorn has continued the Masada project > this long considering his past history of exploring concepts for a few years > and abandoning them. > > If the AMM and King Ubu comparisons for the Parachute material are legit, I'm > even more psyched for this box than I was before. What I'm curious about is > how many of the 1000 boxes will be bought by people on this list. > > Cynical Hysterie Hour lives up to the hype, by the way. Only 25 minutes but > highly recommended. > > Jon ------------------------------------------------------------------------------- From: Robert Pleshar Subject: Re: Back on Bacharach Date: 22 Aug 1997 13:50:34 -0500 (CDT) Both Guy and Fred Rogers are from Pittsburgh, where the neighborhood is produced. Maybe they've known each other for a long time? Ralph At 08:30 AM 8/22/97 -0700, Schwitterz wrote: >> kluscevsek also plays on a bunch of bill frisell discs > >One day I was watching Mr. Rogers with my kids and the guest that day >was Guy Kluscevsek! Mr. Rogers had him play a bit, then asked him to >play music that sounded like various emotions. It was hilarious. > >Sz > > >-- >=D0=CF=11=E0=A1=B1=1A=E1 > > > > ------------------------------------------------------------------------------- From: TagYrIt@aol.com Subject: Re: Beauty Date: 22 Aug 1997 15:18:17 -0400 (EDT) Well, this thread is already out of control, and as much as I'm tempted to interject my interpretation, I don't think it would accomplish much. But I'll leave you with a quote, I believe attributable to Frank Zappa: "Writing about music is like dancing about architecture." Dale. ------------------------------------------------------------------------------- From: SlightAche@aol.com Subject: Re: Back on Bacharach Date: 22 Aug 1997 15:28:41 -0400 (EDT) A lot of posts from Zorn-list are coming through as ASCII text attachments instead of regular e-mail. Does anyone else have this problem? Zorn content -- who on this list has faith in Sean Lennon's ability to improvise? He's a featured performer at the next Zorn improv night. PWK ------------------------------------------------------------------------------- From: Brent Burton Subject: Re: Beauty Date: 22 Aug 1997 15:40:30 -0400 (EDT) On Fri, 22 Aug 1997 TagYrIt@aol.com wrote: > Well, this thread is already out of control, and as much as I'm tempted to > interject my interpretation, I don't think it would accomplish much. But I'll > leave you with a quote, I believe attributable to Frank Zappa: "Writing about > music is like dancing about architecture." Not *that* quote again! There was a lengthy thread recently on another list I'm on regarding true authorship of that quote. I'm gonna go with Mingus just cause he carried a gun. b ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: Zorn's Interviews Date: 22 Aug 1997 13:19:27 -0700 Patrice L. Roussel wrote: > On Thu, 21 Aug 1997 19:13:39 -0700 (PDT) chad edwards wrote: > > > > I have have been looking for interviews with J.Z. > > but have had little luck finding any. any suggestions? If you go to The Wire magazine's website they have a search program whereby you could track down a tense interview of Zorn by Graham Locke a few years back. Sz > > ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: short albums a rip-off? (was:Re: Parachute years or Masada?) Date: 22 Aug 1997 15:42:42 -0500 (CDT) I feel bad for buying Cynical Hysterie Hour at times because the 18 dollars I paid for it could've fed me for a week. I love the CD, but it really is short. On Fri, 22 Aug 1997, Alan M Gordon (MSc/NC) wrote: > > > >> Cynical Hysterie Hour lives up to the hype, by the way. Only 25 minutes > >but > >> highly recommended. > >> > > >I'd have to agree, it's a worthy investment even though it is short. > >Which brings me to another point, does anybody else feel a little > >aggrieved every time they buy an Avant or Tzadik disc and find it's less > >than 30 mins long? I don't mean to say all discs must be a full 74 > >minutes or that quantity is the only criteria but when you have to shell > >out for expensive Japanese imports it would be nice to be warned that > >they are perhaps a tad short. Shock Corridor, Mystic Fugu Orchestra, > >Filmworks 2 (or is it 3?) and Plexure spring to mind immediately. > > I'd have to disagree, actually. Is a big painting better than a small one? > I've never felt dissatisfaction with the length of, say, mike patton's pranzo > oltranzista (30 mins), or painkiller (what was it, 22 mins?). On the other > hand, many's the time i've felt an album to be too long. > > The only one i felt slightly aggrieved about was Masada IV, but of course > that was meant to be a free giveaway in any case. > > alan > > ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: Pieces Date: 22 Aug 1997 13:47:00 PDT >Just out of curiosity, what is the name of the new studio? Is it still in >NYC? According to the liner notes for Sacred System 2 on the Axiom page, it's called Orange Music and it's in West Orange, New Jersey. Why, I don't know. I live in New Jersey and have been through West Orange, and have never seen a nice section of town! Dave ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: "Alan M Gordon (MSc/NC)" Subject: Re: short albums a rip-off? (was:Re: Parachute years or Masada?) Date: 22 Aug 1997 21:49:39 +0100 (BST) y9d62@TTACS.TTU.EDU wrote: >I feel bad for buying Cynical Hysterie Hour at times because the 18 >dollars I paid for it could've fed me for a week. I love the CD, but it >really is short. Yeah, but a zorn fan doesnt need FOOD like he needs HYSTERIE HOUR..... ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Parachute years or Masada? Date: 22 Aug 1997 15:50:29 -0500 (CDT) Well, that's not the first time I've heard the notion that Zorn may be playing us all for a buck recently. But I think Masada is the most mature thing he's done. Sure, the tunes are basically all the same, but the improvising and chemistry of the players is of a very rare quality in contemporary music. Most of Zorn's projects don't stay together long enough to cultivate a strong bond between the players. I think Masada compares very favorably with the best in improvising groups, jazz or otherwise. And if Zorn really does just want more money, maybe he could afford to start placing Masada CDs at Best Buy so I can them here! On Fri, 22 Aug 1997, gschwend d. atelier wrote: > can't remember who actually started the parachute/masada discussion; but > this is my first mail to the list anyway. > > as anyone can tell, the opinions on the initial question are very > different. i'm lucky enough to have one of the, as far as i know limited > to 1000, "archery" vinyl copies. and i must admit, i've only listened to > it once or twice. it's definitely totally different to nc, painkiller, > etc. and i think it's even more difficult to "digest" as e.g. "yankees". > > i agree with jon abbey that nine masada releases are (more than) enough > for me (i actually stopped buying them after the 3rd one came out). i > like zorn's initial idea to make one cd per hebrew letter, but think > that he could have at least used a different line-up on some of the > masada cds; e.g. the one feat. ribot that i absolutely loved live in > concert. > > even though i'm a huge fan of zorn, i think he's recently been trying to > make as much money as possible out of his popularity. i cannot > understand this, since i feel that the quality of some of the works went > down with the quantity. (i hope i'm not starting too big a discussion > with this last statement.) > > patRice. > > > JonAbbey2@aol.com wrote: > > > > In a message dated 8/22/97 7:23:55 AM, srussell@cims.co.uk (Scott Russell) > > wrote: > > > > < > wouldn't welcome a 6 or 7 disc set of unreleased NC, Painkiller, Big > > Gundown or Masada type Zorn>> > > > > Well, I for one wouldn't. I feel like the nine Masada records I have > > (including the boot on Jazz Door) is plenty, quite frankly. I'm way more > > interested in hearing Zorn's early period stuff. Records like Yankees and > > Harras are way more interesting and unique for me than the umpteenth Masada > > record. Quite honestly, I'm surprised Zorn has continued the Masada project > > this long considering his past history of exploring concepts for a few years > > and abandoning them. > > > > If the AMM and King Ubu comparisons for the Parachute material are legit, I'm > > even more psyched for this box than I was before. What I'm curious about is > > how many of the 1000 boxes will be bought by people on this list. > > > > Cynical Hysterie Hour lives up to the hype, by the way. Only 25 minutes but > > highly recommended. > > > > Jon > > ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Beauty Date: 22 Aug 1997 15:51:37 -0500 (CDT) I've heard this quote attributed, in various forms, to Elvis Costello and Laurie Anderson. On Fri, 22 Aug 1997 TagYrIt@aol.com wrote: > Well, this thread is already out of control, and as much as I'm tempted to > interject my interpretation, I don't think it would accomplish much. But I'll > leave you with a quote, I believe attributable to Frank Zappa: "Writing about > music is like dancing about architecture." > > Dale. > > > ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Oswald (was: Re: Parachute years or Masada?) Date: 22 Aug 1997 17:21:15 -0400 (EDT) > > Anyone know what John Oswald has been up to since the Grateful Dead project? > > Jon Sine? No. But i've heard about a Naked City cut-up he did for the ReR quaterly music magazine/Cd. I also seem to remember someone telling me it lasts all of one second or so? This could be wrong, but then again... -jascha ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Oswald (was: Re: Parachute years or Masada?) Date: 22 Aug 1997 17:30:06 -0400 JonAbbey2@aol.com wrote: > In a message dated 8/22/97 1:30:17 PM, srussell@cims.co.uk wrote: > > < aggrieved every time they buy an Avant or Tzadik disc and find it's > less > than 30 mins long? I don't mean to say all discs must be a full 74 > minutes or that quantity is the only criteria but when you have to > shell > out for expensive Japanese imports it would be nice to be warned that > > they are perhaps a tad short. I agree with your statement about CD length. This is an old argument. I recall the same sort of thing with LPs. However, with CDs the sound is not affected at all by loading up the disc, so a 25 minute full price CD is not my cup of tea. I feel I have a choice here, so if it's something like Masada 4 I choose not to buy it at 18 minutes. There are now 7 other Masadas, so what's the big deal. I've wanted "Cynical" for some time now, so my choice is to get it regardless of the short playing time. You want it, you pay the price. Surely more Filmworks material is out there, so why not fill the disc? What annoys me more is when the playing time is not listed, the unsuspecting consumer opens the package and SOOPRIZE!!!...25 minutes for 15 bucks. This old head of mine remembers Beatle LPs coming in at about 12-15 minutes a side. And nobody complained. ------------------------------------------------------------------------------- From: Jason Edward Kocol Subject: Zorn interviews Date: 22 Aug 1997 15:23:33 -0700 On Thu, 21 Aug 1997 19:13:39 -0700 (PDT) chad edwards wrote: > > I have have been looking for interviews with J.Z. > but have had little luck finding any. any suggestions? In addition to the fine literature suggestions that Patrice had listed (which I MUST check out!), there's a good essay ont the internet which isn't necessarily a question and answer interview, but Zorn is quoted explaining ideas about his music. It's located at: "http://muse.jhu.edu/journals/postmodern_culture/v005/5.2mcneilly.html" I personally found this to be a great essay/article. Take care, Jason http://www.geocities.com/SunsetStrip/2569/Suburban.html http://members.tripod.com/~misterlazy ------------------------------------------------------------------------------- From: gsg@juno.com Subject: Re: zorn-list Digest V2 #106 Date: 22 Aug 1997 17:14:36 EST in response to the question about Zorn interviews, check these out: American Composers: Dialogues on Contemporary Music. Has interveiws with Zorn, Steve Reich, Keith Jarrett, Meredith Monk, LaMonte Young, Glass, Riley, John Adams, Anthony Davis, George Crumb, and Ingram Marshall. by Edward Strickland....its out on Indiana Univ. Press ISBN#0-253-35498-6. The Zorn interveiw is pretty good...its from Feb. 1988. also, if you can get your hands on back issues of Option from...i think late 80's...and an old EAR magazine...i have the EAR interveiw...somewhere, if i can find it i'll gladly photo copy it for anyone who wants it...im not gonna type it out to post here!!! :) thats all i know of...im sure theres many more floating around somewhere.... ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: Beauty Date: 22 Aug 1997 18:09:48 -0400 TagYrIt@aol.com: Well, this thread is already out of control, and as much as I'm tempted to interject my interpretation, I don't think it would accomplish much. But I'll leave you with a quote, I believe attributable to Frank Zappa: "Writing about music is like dancing about architecture." bburton: Not *that* quote again! There was a lengthy thread recently on another list I'm on regarding true authorship of that quote. I'm gonna go with Mingus just cause he carried a gun. y9d62: I've heard this quote attributed, in various forms, to Elvis Costello and Laurie Anderson. it seems everybody steals from poor monk (hadn't heard of the armed robbery, tho'). so what's wrong with dancing about architecture? i, for one, find it quite endearing that patrice pirouettes wherever i put up a facade. -b ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: list or articles on Zorn Date: 22 Aug 1997 15:26:03 -0700 Here is a list of article/interview on Zorn: Patrice. | ARTICLES ON JOHN ZORN | * The Drama Review, Vol 23, #4, Dec 1979: "John Zorn's Theatre of Musical Optics", article by Ela Troyano (pp. 37-44) * Down Beat, February 1984: Profile by Bill Milkowski (pp. 44-45) * Op "Z" issue, November-December 1984: interview by Bill Milkowski (pp. 51- 55) * Artitude #4, February 1985: "Conversation with John Zorn (part one)", in- terview by Carl Howard (pp. 4-5) * Artitude #6, March 1985: "Conversation with John Zorn (part two)", inter- view by Carl Howard (pp. 4-5) * Unsound Vol. 2 #3/4, 1985: "John Zorn", edited version of the Artitude interview by Carl Howard with additional discography (pp. 51-56) * Jazz Forum #95, April 1985: interview by Jurg Solothurnmann (pp. 30-37) * Musician n. 81: July 1985: "John Zorn - Raw, Funny, Nasty, Noisy New Music From A Structural Radical" (pp. 17, 19, 21, 23) * Down Beat 52, December 1985: Blindfold Test with John Zorn (pp. 45) * Ear, Volume II, Number 2, October 1986: interview by Howard Mandel (pp. 16-17) * The Wire, 1996: "John Zorn: The Art of Noise", interview by David Ilic (pp. 30-32) * Voice Jazz Special, June 23 1987: "At the Hop" (pp. 10) This is basically John Zorn interviewing Ornette Coleman with Zorn's record collection as a prop. * Chemical Imbalance, #5, 1987, "The Unexpurgated John Zorn", interview by by Mike McGonnigal (pp. 21-26 et 57) * Option, Jul/Aug 1987: "Zornography: John Zorn", interview by Josef Woodard (pp. 32-36) * The Nation, January 30, 1988: article by Gene Santoro (pp. 138-140) Composer/saxist Zorn is profiled and a selected discography is given. * Down Beat, April 1988: "Quick-Change artist Makes Good", by Gene Santoro (pp. 23-25) * Reflex, June/July 1988: Fred Frith and John Zorn, part 1 (pp. 52-57) Fred Frith and John Zorn talk about music (part 1). * Jazzthetik (Germany), Issue 7/8, July/August 1988: interview by Arne Schumacher (pp. 14-23); includes a discography * Reflex, August 1988: Fred Frith and John Zorn, part 2 (pp. 13-16) Fred Frith and John Zorn talk about music (part 2). * Coda Magazine, August/September 1988: interview by Ben Chant (pp. 24-25) * Melody Maker, November 26, 1988: "Zorn Off Shotgun", by John Wilde (pp. 11) Rock musician John Zorn is profiled and briefly interviewed. He discusses his shoes and the responses of critics to his music. His upcoming projects are examined. * The Wire, March 1989: interview by Graham Lock (pp. 32-37) * Information (Denmark), 1989-10-11: "Fra bebop til Batman", by Lars Movin * Down Beat, September 1990: "Spy vs. Spy", by Kevin Whitehead (pp. 59-60) Review of a jazz performance by David Sanborn and Zorn at the Knitting Factory in NY * American Composers - Dialogues on Contemporary Music, by Edward Strickland Contains an interview of John Zorn by Edward Strickland (pp. 124-140) Indiana University Press, 1991 (ISBN 0-253-35498-6) * Neue Zeitschrift Fur Musik 152, February 1991 (all in German) "Der Architekt der Spiele", interview by Art Lange (pp. 33-37) "Fruechte des (John) Zorn - improvisierte Musik im Zeitalter der Simula- tion", article with some scores and a selected discography (pp. 40-43) * Poetics Journal #9, June 1991: "Memory and Immorality in Musical Composi- tion", an article by John Zorn (pp. 101-105) * Musikmagasinet (Denmark), OPUS nr. 5, September 1991: "Fra A Til Zorn", article/interview by Michael Stovring (pp. 20-21) * ZAP (Germany), #40, September 1991: interview by Bjorn Fischer (pp. 6-7) * Improvisation: Its Nature and Practice in Music, by Derek Bailey Contains an interview of John Zorn. INCUS, 2nd (revised) edition (ISBN ???) * Browbeat, Number 1, Fall 1993: interview by Michael Rizzi (pp. 7-10) * Alternative Press, v8n65, December 1993: "Maverick With A Middle Finger", by Jason Pettigrew (pp. 9-10) * Soundpieces 2: Interviews With American Composers, by Cole Gagne Interview by Cole Gagne followed by a discography (pp. 507-542) The Scarecrow Press, 1993 (ISBN 0-8108-2710-7) * Rumore (Italy), Number 31, September 1994: interviews of John Zorn, Tom Cora, Elliott Sharp (in Italian, pp. 43-49) There is also a two pages article on John Zorn (pp. 50-51), which starts with a comment on Zorn by Steve Albini published in Wire 122. * Resonance, Volume 2, Number 2, Summer 1994: interview by Steve Beresford (pp. 5-8) This interview was done in New York, May 30, 1979 and was intended to be published in the English magazine Music, but the magazine stopped ... * Perspectives of New Music (USA), Volume 32 No.1, Winter 1994: "A View From The Piano Bench Or Playing John Zorn's Carny For Fun And Profit" by Stephen Drury (pp. 194-201) * Visions (Germany), Issue 29, September 1994: article by Wolf Kampmann (pp. 20-23) * Postmodern Culture v.5 n.2, January, 1995: "Ugly Beauty: John Zorn And The Politics Of Postmodern Music", essay by Kevin McNeilly * Jazzpodium (Germany), Issue 5, May 1995: article by Matthias Baumel (pp. 6-8) * Talking Music: Conversations with American Experimental Composers, by William Duckworth Interview by William Duckworth (pp. 444-475) Schirmer Books (USA), 1995 (ISBN 0-02-870823-7) * Eureka (Japan), January 1997: 250-page special issue mostly (200 pages) dedicated to John Zorn (in Japanese) * Musiche (Italy), No. 18, 1997: article by ??? (pp. ??) ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: Pieces Date: 22 Aug 1997 18:28:00 -0400 (EDT) I think that Bucketheads association with musicians that are avant-garde (Bailey, Zorn etc.) is just through his association with Bill. He's not a very musically "deep" person, if you ask him what he's really into, he'll tell you Shawn Lane, Yngwie Malmsteen, Randy Rhoads, and a few other "Guitar-god" like people. He loves blistering guitar work! And he watches the Texas Chainsaw Massacre at least once a day. Jody ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: Back on Bacharach/Sean Lennon Date: 22 Aug 1997 18:29:10 -0400 (EDT) In a message dated 97-08-22 15:37:40 EDT, SlightAche@aol.com writes: > A lot of posts from Zorn-list are coming through as ASCII text attachments > instead of regular e-mail. > > Does anyone else have this problem? YES, and it is annoying! > Zorn content -- who on this list has faith in Sean Lennon's ability to > improvise? He's a featured performer at the next Zorn improv night. Ohman, that is the funniest thing Ive read today!!!! I wonder how many Beatles fans will walk out of that one... ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: Dave Douglas/Chris Speed/Skuli Date: 22 Aug 1997 18:33:21 -0400 (EDT) In a message dated 97-08-22 17:47:10 EDT, you write: > Speaking of Skuli Sverrison, I have his latest CD. Everything on the CD > is done by Skuli. I have to say that it is one of the most intense CDs > ever. You'd never expect this kind of thing from hearing Skuli play in > other people's bands. > > The CD is called "Seremonie" on extreme records. I also recommend this! Very textural sounding stuff, none of those fast Skuli licks like you might expect. Skuli is one of the most technically gifted bassists Ive ever heard, and this shows a different side to him. Jody McAllister ------------------------------------------------------------------------------- From: Barry Gilbert Subject: Re: Beauty Date: 22 Aug 1997 17:53:02 -0600 I once heard this quoted once by, of all people, Martin Mull in 1979. Just to rise to his challenge, after hearing this quote a few of my friends and I did an improvisational architectural dance performance with music. I did my dada impressions of the Eiffel tower, Hoover Dam, the Empire State Building, etc. It was received with a lot of huh?'s and what's-this-world-coming-to's. At 06:09 PM 8/22/97 -0400, you wrote: > > > TagYrIt@aol.com: > Well, this thread is already out of control, and as much as I'm > tempted to interject my interpretation, I don't think it would > accomplish much. But I'll leave you with a quote, I believe > attributable to Frank Zappa: "Writing about music is like dancing > about architecture." > > bburton: > Not *that* quote again! There was a lengthy thread recently on > another list I'm on regarding true authorship of that quote. I'm > gonna go with Mingus just cause he carried a gun. > > y9d62: > I've heard this quote attributed, in various forms, to Elvis > Costello and Laurie Anderson. > >it seems everybody steals from poor monk (hadn't heard of the armed >robbery, tho'). so what's wrong with dancing about architecture? i, >for one, find it quite endearing that patrice pirouettes wherever i >put up a facade. >-b > Barry Gilbert Boulder, Colorado ------------------------------------------------------------------------------- From: David Newgarden Subject: Frank Zappa, Elvis Costello, Laurie Anderson, Mingus Date: 22 Aug 1997 20:07:41 -0400 (EDT) Additionally, I've heard that quote attributed to the great composer Martin Mull... ------------------------------------------------------------------------------- From: Caleb Deupree Subject: Re: articles on Zorn Date: 22 Aug 1997 20:16:04 -0400 (EDT) >Date: Fri, 22 Aug 1997 15:26:03 -0700 >From: "Patrice L. Roussel" > > Here is a list of article/interview on Zorn: Andrew Jones wrote a chapter on Zorn in his book, Plunderphonics, 'Pataphysics + Pop Mechanics, SAF Publishing (UK), 1995, pp. 143-155. ISBN 0-946719-152. With the 1995 pub date, Zorn's work after 1994 (including Masada) and the recent releases that fill in the gaps (e.g., Filmworks) are not discussed. -- Caleb T. Deupree cdeupree@erinet.com ;; For every complex question there is a simple answer. ;; And it is wrong. (H. L. Mencken) ------------------------------------------------------------------------------- From: "Julian" Subject: Melvins Date: 23 Aug 1997 11:31:58 +1000 Just thought I'd let you know that the Melvins were the "house band" this morning on Australia's alternative music show Recovery. For those of you who don't know about this show, imagine Letterman with a much much lower budget, then swap Paul Shaffer and the CBS Orchestra for the Melvins. While we're on the topic, why does the band come up in this list so much? What is their link to John Zorn? The only thing I know about is their mention in the Leng Tch'e booklet. Is there anything else? ------------------------------------------------------------------------------- From: mike burma Subject: Attachment Problem Investigation Date: 22 Aug 1997 18:46:50 -0700 >From: IOUaLive1@aol.com >In a message dated 97-08-22 15:37:40 EDT, SlightAche@aol.com writes: >> A lot of posts from Zorn-list are coming through as ASCII text attachments >> instead of regular e-mail. >> Does anyone else have this problem? >YES, and it is annoying! Hi folks, Mister Regional Zorn List Repairman here. I need everyones help (well, maybe not all 426 of you :) in fixing this problem. If you are seeing this attachments problem (especially IOUaLive1 and SlightAche): * Is it occurring for every zorn-list message? * If not, please tell me *exactly* which messages contain the ugly problem. * Tell what email client software you are using to read your zorn-list messages. If anyone is NOT seeing this problem at all, please let me know as well (I may regret asking this question :) Thanks everyone, mike rizzi ------------------------------------------------------------------------------- From: mike burma Subject: RE: Attachment Problem Investigation Date: 22 Aug 1997 19:03:37 -0700 D'oh, I almost forgot. Please send your answers to my previous email to this address (rizzi@grin.net) and NOT to the whole zorn-list (that would be the only thing more boring than a discussion about that damn ubiquitous Dancing Architecture quote). Thank you, and you, and you, and... mike rizzi ------------------------------------------------------------------------------- From: "Julian" Subject: Praxis music Date: 23 Aug 1997 14:01:17 +1000 Anyone know of any Praxis tabs/sheet music available anywhere? ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Back on Bacharach Date: 23 Aug 1997 00:01:01 -0400 max wrote: > I've been listening to the tribute cd quite a bit lately and was > wondering if someone could give me some info. on a few of the players > I > hadn't heard before. I was most impressed with the arrangements by > Erik > Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what > > else these fine musicians have done? Yuka Honda and Guy Klucevsek are > also great and I would like to know more about. Any help would be much > > appreciated... Since lots of folks have already addressed everything else you asked about, I thought I'd address your last mystery. Marie McAuliffe is one of the brightest up-and-coming jazz composers in New York. My wife and I checked out a set by her and her band during the New York Jazz Festival and we were quite blown away. She doesn't seem to play very often, but I'll definitely be watching for her. If I had to put her in a category I'd say she's like Marty Ehrlich, another musician who's making very creative new music from within a fairly traditional framework. Her compositions were consistently interesting and her arranging was also first rate. Koch Jazz, the label that released Carol Emanuel's excellent "Tops of Trees," will be issuing Marie's first album later this year. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Dance for Le Corbusier Date: 23 Aug 1997 00:07:23 -0400 (EDT) On Fri, 22 Aug 1997 TagYrIt@AOL.COM wrote: > But I'll > leave you with a quote, I believe attributable to Frank Zappa: "Writing about > music is like dancing about architecture." 1) What's wrong with dancing about architecture? 2) If you don't want to write (or read) about music, it may not be wise to subscribe to text-oriented mailing lists about it. 3) I've heard that quote attributed to a number of people. The earliest is T. Monk, so I'm inclined to credit it to him, but I don't have any solid information. Can anyone else solve this age-old mystery? Chris Hamilton ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: Dance for Le Corbusier Date: 22 Aug 1997 21:17:20 -0700 > > > 3) I've heard that quote attributed to a number of people. The > earliest > is T. Monk, so I'm inclined to credit it to him, but I don't have any > solid information. Can anyone else solve this age-old mystery? > > Chris Hamilton How could it be Monk? Someone who "danced about" airport terminals and "danced about" his piano bench should be careful making disparaging comments regarding "dancing about" architecture. Sz -- =D0=CF=11=E0=A1=B1=1A=E1 ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: Pieces Date: 22 Aug 1997 21:38:44 -0700 At 01:47 PM 8/22/97 PDT, David Brunelle wrote: > >>Just out of curiosity, what is the name of the new studio? Is it still >in >>NYC? > >According to the liner notes for Sacred System 2 on the Axiom page, it's >called Orange Music and it's in West Orange, New Jersey. Why, I don't >know. I live in New Jersey and have been through West Orange, and have >never seen a nice section of town! Independent studios are rarely in nice sections of town. Greenpoint was in a meat packing district in Brooklyn. There were no cabs at night, and it wasn't very safe to walk from the studio to the subway. On top of that, the subway line didn't feel all that safe at night. The new studio was picked because it was the right space at the right price. There are two studios there - one is built around the same set of equipment at Greenpoint and may have a similar sound, although it isn't the same space, obviously, and Greenpoint was an unusual space. The second studio is all new and will reflect a different sound. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Parachute years or Masada? Date: 23 Aug 1997 00:33:17 -0400 (EDT) On Fri, 22 Aug 1997 y9d62@ttacs1.ttu.edu wrote: > Well, that's not the first time I've heard the notion that Zorn may be > playing us all for a buck recently. But I think Masada is the most mature > thing he's done. Sure, the tunes are basically all the same, but the > improvising and chemistry of the players is of a very rare quality in > contemporary music. Masada is Zorn's idiomatic jazz project. Think of any of Zorn's hard bop heroes. I'll pick Sonny Clark, since I'm most familiar with him. His tunes are all basically the same, in that they belong to the same idiom. The playing shows development from album to album, but not in leaps and bounds. If you really love Clark's take on the idiom, you'll want 'em all, but most fans will be happy with two or three. The point I'm making is that the Masada albums aren't supposed to represent conceptual advances. They're just good, idiomatic tunes well played. There is in fact development in the approach to playing the tunes but it's marginal in comparison to the leap between, say, _Spillane_ and _Naked City_. But ... within that idiom, the tunes are significantly different from each other. I don't see why so many people have a problem with this. The idea that an album should be a big statement didn't become a commonplace until late 60's rock, and it's arguably done more harm than good. If you don't want seven, ten, twenty Masada albums, just stop buying them. If the market's being oversaturated with Zorn product, DIW will eventually notice and stop putting them out. Completists (and I come close to being one myself) have no one to blame but themselves. Chris Hamilton ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Parachute years or Masada? Date: 23 Aug 1997 00:39:21 -0400 (EDT) On Fri, 22 Aug 1997, gschwend d. atelier wrote: > can't remember who actually started the parachute/masada discussion; but > this is my first mail to the list anyway. Welcome aboard. > even though i'm a huge fan of zorn, i think he's recently been trying to > make as much money as possible out of his popularity. i cannot > understand this, since i feel that the quality of some of the works went > down with the quantity. (i hope i'm not starting too big a discussion > with this last statement.) My initial reaction to this was agreement, but when I went to my collection to look for examples, I was hard pressed to find a weak record. In my case, at least, I think the problem is just that they've been coming too quickly for me to really absorb. Which records do you think are of low quality? Chris Hamilton ------------------------------------------------------------------------------- From: Steve Smith Subject: New Zorn/Previte Duets record Date: 23 Aug 1997 01:24:22 -0400 To all - This has been mentioned before some time back, but now that the release is imminent (and while I know we're all saving our shekels for the Parachute Box), I thought I'd post more details about the new Bobby Previte / John Zorn disc "Euclid's Nightmare," the premiere release from Previte's new Depth of Field label. The disc is due out on September 16. It's distributed by Koch so you ought to see it in all your favorite record stores. It's got 27 tracks, all in the range of 1-2 minutes (with a single epic-length piece clocking in at 3:44) and none of them titled (although they were originally named with astrological symbols). These are new recordings made in March of this year. The package is a cardboard and plastic digipak, minimal and very nice looking - not as homemade as Screwgun, not as high tech as Tzadik, but somewhere in between. Zorn says it's his best purely "playing" record in a long time. I've only heard it once... what appealed was its energy and go for broke spontaneity. But you know with these two it's more than just free blasting. Bobby and I have written a website for him and his new label over the last month, and, while I'm definitely an amateur webmaster, I'm finally happy enough with the results to tell everyone. There's a biography, a concise discography with a link to Patrice Roussel's monster discography on the WNUR Jazzweb, a news and tourdates page and a link to the Depth of Field site. That last site currently consists of only infomation about "Euclid's Nightmare," as everything else is still extremely tentative. As more develops we'll post it, and I'd like to put up some sound files as well. Thanks for your time and input, Steve Smith ssmith36@sprynet.com Bobby Previte Home Page: http://members.aol.com/Previte Depth of Field http://members.aol.com/DOField ------------------------------------------------------------------------------- From: JonAbbey2@aol.com Subject: West Orange and Christian Marclay Date: 23 Aug 1997 01:24:35 -0400 (EDT) In a message dated 8/23/97 12:43:48 AM, you wrote: <<>According to the liner notes for Sacred System 2 on the Axiom page, it's >called Orange Music and it's in West Orange, New Jersey. Why, I don't >know. I live in New Jersey and have been through West Orange, and have >never seen a nice section of town! Independent studios are rarely in nice sections of town. >> OK, when this was discussed in just one message, I was going to let it go but now I feel compelled to briefly waste the list's time. I grew up in West Orange, New Jersey. The bulk of it is your standard tri-state area suburb, mostly upper middle-class. Unfortunately, I'm not familiar with the specific location of Orange Music but we're certainly not talking about an area that's especially dangerous. ObMusic: The Christian Marclay compilation, 1981-1989, that Atavistic is putting out sometime in September is one of the best records that I've heard in a long time. Marclay is a remarkable musician, way too underdocumented on record and even more so on CD. Does anyone know more about another Marclay reissue coming out soon on ReR? Jon ------------------------------------------------------------------------------- From: penwaves@mindspring.com (joel lewis) Subject: list or articles on Zorn Date: 23 Aug 1997 02:09:14 -0400 (EDT) hello-- i published a profile on zorn in American Book Review, about the time Spillane came out 87?/88?-- usefull as he talks about the never realized "live and let live " album project for elektra and talks of the just formed & performing Naked City--- i will have to tarvel to my mini storage for the text, but will try to retrieve it soon joel lewis ------------------------------------------------------------------------------- From: SlightAche@aol.com Subject: Re: Oswald (was: Re: Parachute years or Masada?) Date: 23 Aug 1997 08:47:40 -0400 (EDT) > > Anyone know what John Oswald has been up to since the Grateful Dead > project? > Sine? No. But i've heard about a Naked City cut-up he did for the ReR > quaterly music magazine/Cd. He participated in a Zorn improv session @ the Knit on Feb 21 of this year, also featuring Ikue Mori, Makigami Koichi, Ribot, and Shelly Hirsch. Most interesting. He didn't do any typical plunderphonics -- just saxophone. He blows a mean one! PWK (p.p.o.c.) ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: West Orange Date: 23 Aug 1997 07:50:28 -0700 At 01:24 AM 8/23/97 -0400, JonAbbey2@aol.com wrote: > >In a message dated 8/23/97 12:43:48 AM, you wrote: > ><<>According to the liner notes for Sacred System 2 on the Axiom page, it's >>called Orange Music and it's in West Orange, New Jersey. Why, I don't >>know. I live in New Jersey and have been through West Orange, and have >>never seen a nice section of town! > (This was me):>Independent studios are rarely in nice sections of town. >> > >OK, when this was discussed in just one message, I was going to let it go but >now I feel compelled to briefly waste the list's time. > >I grew up in West Orange, New Jersey. The bulk of it is your standard >tri-state area suburb, mostly upper middle-class. Unfortunately, I'm not >familiar with the specific location of Orange Music but we're certainly not >talking about an area that's especially dangerous. This was not intended to be a slam on West Orange, at least not by me. I lived, quite happily, in New Jersey at one time, despite fears that it would permanently tar my reputation. However, studios are often in warehouse or other rundown commercial districts, which many people would not call the "nice" part of a town. Also, the parts of town that are not "nice" are usually far more interesting than the ones that are "nice." But that's a subject for some other list... Jeff Spirer Axiom Records: http://www.hyperreal.org/axiom/ Photos: http://www.hyperreal.org/~jeffs/gallery.html ------------------------------------------------------------------------------- From: rion noir Subject: Re: Back on Bacharach Date: 24 Aug 1997 01:31:43 +1000 (EST) On Fri, 22 Aug 1997, max wrote: > I've been listening to the tribute cd quite a bit lately and was > wondering if someone could give me some info. on a few of the players I > hadn't heard before. I was most impressed with the arrangements by Erik > Friedlander, Marie McAuliffe, and Eyvind Kang... Does anyone know what > else these fine musicians have done? Yuka Honda and Guy Klucevsek are > also great and I would like to know more about. Any help would be much > appreciated... I know that Erik Friedlander also appears on the most recent Mike Patton album "Pranzo Oltranzista" (Tzadik) and if you checked his (Erik's) homepage you will have noted that he featured on Hole Unplugged. What this page does not tell you about this performance is that Erik is sitting next to none other than Zeena Parkins whom you will have noticed is also on the Bacharach CD. Eyvind Kang (apparently one sick puppy) is also rumoured to be featuring on Trey Spruance's new Secret Chiefs 3 album (Amarillo). Trey has worked with Eyvind previously on the Tzadik release "7 NADEs" under the pseudonym of Mr. Ko (though no-one is sure why). Trey is on the Mike Patton track on the Bacharach CD which incidentally re-unites most of the players from John Zorn's "elegy" (David Slusser being one mean theremin player). What an incestous lot. ------------------------------------------------------------------------------- From: Alister Shew Subject: Re: Beauty AND Melvins Date: 24 Aug 1997 02:52:38 +1000 If I may, somewhat clumsily, weave two recent threads together... Just saw the Melvins play tonight (in Melbourne, Australia, their first ever tour here!), and the recent debate about the nature of beauty (at least in the musical sense, let's say) came to mind. Melvins are not a band you'd think of as being very concerned with beautiful music, but as they worked through the intricacies of some of the earlier material, it felt beautiful to me. It seems to me that the word 'beauty' is, like 'love', a word doomed to inadequacy by its required application to a wide range of understandings. Many use it to mean some sort of anodyne experience, an emotional massage. Others think it's more about the beauty of true emotional expression, something honest and universal. But sometimes it's more about structures, the pleasure given by a sequence of things in space and time, and this is what we're talking about when we talk about the beauty of free jazz. I don't know the Parachute works that sparked this business off, but I'll throw in Zorn's 'Book of Heads' as a comparison I'm familar with. A VERY beautiful record as far as I'm concerned, but I also find it really funny. Marc Ribot describes the process of learning the techniques of free improv as "a healthy Zen slap in the face", and it's my understanding (please correct me if I misunderstand) that humour is a key element of Zen, despite the popular notion that Buddhists are Very Serious Indeed (blame it on Richard Gere). It's the almost-but-not-quite-chaos quality of 'Book of Heads' that appeals to me; the finer the line between the two, the more difficult the beauty is. I suspect it's this sort of thing that John Shiurba was getting at in his original message when he threw the B-word into the ring. But no two people's "beauty"s (sic) are the same. I seem to have strayed away from the Melvins. Let's just say that as a band blending equal passions for volume and experimentation, they're always worth a listen, at least for the folks with the taste to be here at all. Al ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: Re: Dave Douglas/Chris Speed/Skuli Date: 23 Aug 1997 15:09:02 -0400 (EDT) In a message dated 97-08-23 13:08:08 EDT, proussel@ichips.intel.com (Patrice L. Roussel) writes: > > I also recommend this! Very textural sounding stuff, none of those fast > > Skuli licks like you might expect. Skuli is one of the most technically > > gifted bassists Ive ever heard, and this shows a different side to him. > > Any idea when this record got released? Also, anybody else playing on? > > Thanks, > > Patrice. No other musicians on it, every sound is created with the electric bass. Dont know the exact release date, but it was sometime this year. Its extreme records XCD 039. ------------------------------------------------------------------------------- From: joshua herrin Subject: Re: back on bacharach Date: 23 Aug 1997 16:50:56 -0600 Max wrote: "Does anyone know what these fine musicians have done? Yuka Honda..." Yuka Honda is one half of Cibo Matto, whose albums "Viva La Woman!" and the remix album "Super Relax!" (Warner Bros.) are on my heavy rotation. She has also done stuff with Yoko Ono, on her album "Rising". Yuka is also in the band Butter 08, whose self titled album is on Grand Royal (the Beastie Boys' label). She pops up everywhere these days, but these should give you a good start. ------------------------------------------------------------------------------- From: joshua herrin Subject: Re: beauty Date: 23 Aug 1997 17:06:09 -0600 I've got an idea... why don't we start a separate mailing list just for the subject of what beauty is. I've already wasted at least 10 minutes reading people ramble on about the subject, and no one sees this as enough to let the issue die. Enough, already... please. ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Parachute years or Masada? Date: 23 Aug 1997 21:53:32 -0400 > Masada is Zorn's idiomatic jazz project. Think of any of Zorn's hard > bop > heroes. I'll pick Sonny Clark, since I'm most familiar with him. His > > tunes are all basically the same, in that they belong to the same > idiom. > The playing shows development from album to album, but not in leaps > and > bounds. If you really love Clark's take on the idiom, you'll want 'em > > all, but most fans will be happy with two or three. > > I don't see why so many people have a problem with this. > The idea > that an album should be a big statement didn't become a commonplace > until > late 60's rock, and it's arguably done more harm than good. If you > don't > want seven, ten, twenty Masada albums, just stop buying them. If the > market's being oversaturated with Zorn product, DIW will eventually > notice > and stop putting them out. Completists (and I come close to being one > > myself) have no one to blame but themselves. > > Chris Hamilton Chris: Couldn't agree more. Ellington played some of his music from the twenties right up until he died, and it didn't sound much different. He was an idiom unto himself. So, Zorn may well put out many Masadas. The point really is if a consumer tires of a product, then just don't buy it. If you like Masada then buy them all. One can be somewhat of a completist, but still exert some self control. Alan ------------------------------------------------------------------------------- From: "Marc A.Foster" Subject: Filmworks IV/ Elegant Spanking Date: 23 Aug 1997 21:12:51 +0000 Does anyone recognize the reference to some popular song about 8 minutes into the Elegant Spanking track? I know the melody, but can't remember the song. Intro to Green Eyed Lady perhaps? It's been bothering me ever since the album came out. I'm about to break down and start listening to classic rock on the radio in hopes of hearing and identifying it. Marc Foster ------------------------------------------------------------------------------- From: rion noir Subject: Melvins? Patton? Date: 25 Aug 1997 00:10:54 +1000 (EST) On Sat, 23 Aug 1997 11:31:58 +1000, Julian wrote: > While we're on the topic, why does the band come up in this list so > much? > What is their link to John Zorn? The only thing I know about is their > mention in the Leng Tch'e booklet. Is there anything else? When I purchased my copy of "Leng Tch'e" I was told by the sales guy that this piece was performed by John Zorn, the Melvins & Mike Patton as Naked City. When I questioned him, he was almost violently sure that this was fact. Upon repeated listenings, I found that there were some places where it sounds like it could quite definitely be Mike Patton. In others, it sounded like Yamatsuka Eye. I'm not sure if this is an often asked question, but some friends and I were wondering if it is either Patton or Eye? Or perhaps both?? Also, one of the aforementioned friends is quite certain that it cannot possibly be anyone other than Joey Baron who plays drums on "Leng Tch'e" thus making the whole Melvins & Patton thing rather a tricky puzzle. Does anyone have any ideas? ------------------------------------------------------------------------------- From: "Ockham's stubble" Subject: Dance for Le Corbusier Date: 24 Aug 1997 10:32:02 -0400 look, it's a quip, if you wish to reconstruct it as condemning some activity (it's wrong!) as a disparaging comment (can you have missed that shimmering `about'?) well then fine, you can't leave yourself at home and come downtown - but doesn't it look more like an index of futility and for god's sake who in their right mind can possibly regard futility as just discouraging? (feeling pain13's betrayal of latecomeing to frustrations attending a large gathering for discusson against expectations of discussion limited to what's interesting and not a waste of time, etc.) -b(what's this world coming to?) ------------------------------------------------------------------------------- From: PETSITTER Subject: Re: Melvins? Patton? Date: 24 Aug 1997 16:25:21 -0500 rion noir wrote: > > On Sat, 23 Aug 1997 11:31:58 +1000, Julian wrote: > > > While we're on the topic, why does the band come up in this list so > > much? > > What is their link to John Zorn? The only thing I know about is their > > mention in the Leng Tch'e booklet. Is there anything else? > > When I purchased my copy of "Leng Tch'e" I was told by the sales guy that > this piece was performed by John Zorn, the Melvins & Mike Patton as > Naked City. When I questioned him, he was almost violently sure that this > was fact. Upon repeated listenings, I found that there were some places > where it sounds like it could quite definitely be Mike Patton. In others, > it sounded like Yamatsuka Eye. I'm not sure if this is an often asked > question, but some friends and I were wondering if it is either Patton or > Eye? Or perhaps both?? > > Also, one of the aforementioned friends is quite certain that it cannot > possibly be anyone other than Joey Baron who plays drums on "Leng Tch'e" > thus making the whole Melvins & Patton thing rather a tricky puzzle. > > Does anyone have any ideas? On the Zorn discography it says something like; patton or the melvins do not play in this CD, although they did have an influence on the piece. I tend to question this, but would disagree that it is not Naked City but the Melvins and Mike Patton. I have never heard the Melvins, but have been listening to Mike Patton for quite some time now. I follow almost all the projects he is involved in. When I listen to Leng Tch'e some of the vocals do sound like patton, but you can also hear Eye. In short, I can only tell you that I recognize Patton but have no evidence. I'd love for some one to clear this up! ------------------------------------------------------------------------------- From: "sangeeta johnson" Subject: Fwd: Chris Speed/Human Feel Date: 24 Aug 1997 14:25:52 PDT > >>I've got both of these and they are indeed great. Some specifics on >them >>if you're interested: >> >>Chris Speed - 'Yeah No'. Speed (reeds); Cuong Vu (trumpet); Skuli >>Sverrison (elec. bass); Jim Black (drums). If you've ever heard Chris' >>compositions with Human Feel I would call this along those same lines, >>excepting the obvious difference in ensemble as well as they fact that >>they don't play together with quite the same synergy as HF. >But I think >>in this case it's a good thing, everything sounds kind of fresh and >>impromtu (not they don't barrel into everything headfirst anyways), >wheras... > To me, Chris's CD is focussed on group improvisation. Human Feel >is a great improvising band as well but in their last 3 CDs the >composition/improvisation as a organic whole seemed to be their focal >point. Whereas with "Yeah, No" it seems to me that Chris supplies well >thought out forms and motives that aid in the group's directions. The >main difference between the two groups is that Human Feel is dealing >with the compositions which often controls the improvisation. Chris's >band is completely free. > >> Cuong Vu is a trumpet player to watch out for. >>His solos are so totally melodic, they keep my interest every note. > >Have you heard the Saft/Vu CD on AVANT? Rumor has it that Zorn listened >to their tape over the phone for about 15 minutes, then called to buy >the rights to it that evening. > >-Sangeeta J. > >______________________________________________________ >Get Your Private, Free Email at http://www.hotmail.com > ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: Brian Carlson Subject: Knitting Factory Tickets? Date: 24 Aug 1997 15:44:39 -0600 Does anyone know if there is anywhere but the door to get tickets for Knitting Factory shows, like by phone? Do they even sell advanced tickets? Thanks. Brian ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Knitting Factory Tickets? Date: 24 Aug 1997 18:18:22 -0400 Brian Carlson wrote: > Does anyone know if there is anywhere but the door to get tickets for > Knitting Factory shows, like by phone? Do they even sell advanced > tickets? > Thanks. > > Brian Contact their web site. www.knitingfactory.com. You can get tickets ahead of time, but as far as I know it only gets you in the door, there is no reserve seating. In fact, there's hardly any seating at all. Even with that, it can't be beat. ------------------------------------------------------------------------------- From: Dekoboko@aol.com Subject: Yamataka Date: 25 Aug 1997 00:09:12 -0400 (EDT) Does anyone know any info on Yamataka Eye? Anything would be very helpful. thanks... CAM.. ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: Kang (was Re: Back on Bacharach) Date: 25 Aug 1997 05:28:47 -0400 >Eyvind Kang (apparently one sick puppy) is also rumoured to be featuring >on Trey Spruance's new Secret Chiefs 3 album (Amarillo). Well, if he's on there, he's not listed in the liners. Dunn, Heifetz & Spruance are the only players listed, along with Bar McKinnon, and Kris Hendrickson on a couple of tracks. -Patrick ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: Kang (was Re: Back on Bacharach) Date: 25 Aug 1997 03:59:48 -0700 (PDT) speaking of Eyvind Kang, did i miss it or has someone else already mentioned that he has worked with the Sun City Girls off and on? also, was his solo 7" release from a few years back the item that lead to recording with Tzadik? hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: BJOERN Subject: Re: Kang (was Re: Back on Bacharach) Date: 25 Aug 1997 13:06:49 +0200 (MESZ) > >Eyvind Kang (apparently one sick puppy) is also rumoured to be featuring > >on Trey Spruance's new Secret Chiefs 3 album (Amarillo). > > Well, if he's on there, he's not listed in the liners. Dunn, Heifetz > & Spruance are the only players listed, along with Bar McKinnon, and > Kris Hendrickson on a couple of tracks. i think the rumour is that he is on the NEW secret chiefs 3 CD which will hopefully be released in fall BJOERN ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: Kang (was Re: Back on Bacharach) Date: 25 Aug 1997 09:06:54 -0400 >> >Eyvind Kang (apparently one sick puppy) is also rumoured to be featuring >> >on Trey Spruance's new Secret Chiefs 3 album (Amarillo). >> >> Well, if he's on there, he's not listed in the liners. Dunn, Heifetz >> & Spruance are the only players listed, along with Bar McKinnon, and >> Kris Hendrickson on a couple of tracks. > >i think the rumour is that he is on the NEW secret chiefs 3 CD which will >hopefully be released in fall My mistake ... -Patrick ------------------------------------------------------------------------------- From: "David Brunelle" Subject: Re: West Orange Date: 25 Aug 1997 07:42:48 PDT >(This was me):>Independent studios are rarely in nice sections of town. >> >This was not intended to be a slam on West Orange, at least not by me. I >lived, quite happily, in New Jersey at one time, despite fears that it >would permanently tar my reputation. However, studios are often in >warehouse or other rundown commercial districts, which many people would >not call the "nice" part of a town. Also, the parts of town that are not >"nice" are usually far more interesting than the ones that are "nice." This last part is very true. New Jersey often gets a bad rap based on the industrial sections by New York. I apologize for my remarks, which were based on limited travels through West Orange. Almost every toen has a "bad section". I just happen to always see theirs. Sorry for straying from more appropriate "list" talk. Dave Brunelle ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: SiameseZero Subject: New Zorn Page Date: 25 Aug 1997 09:57:28 -0700 There is a new Zorn page at http://www.wen.net/kingm/zorn.html send any comments to kingm@wen.net ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: Melvins? Patton? Date: 25 Aug 1997 09:19:29 -0700 On Mon, 25 Aug 1997 00:10:54 +1000 (EST) rion noir wrote: > > > > On Sat, 23 Aug 1997 11:31:58 +1000, Julian wrote: > > > > While we're on the topic, why does the band come up in this list so > > much? > > What is their link to John Zorn? The only thing I know about is their > > mention in the Leng Tch'e booklet. Is there anything else? > > > When I purchased my copy of "Leng Tch'e" I was told by the sales guy that > this piece was performed by John Zorn, the Melvins & Mike Patton as > Naked City. When I questioned him, he was almost violently sure that this > was fact. Upon repeated listenings, I found that there were some places > where it sounds like it could quite definitely be Mike Patton. In others, > it sounded like Yamatsuka Eye. I'm not sure if this is an often asked > question, but some friends and I were wondering if it is either Patton or > Eye? Or perhaps both?? > > Also, one of the aforementioned friends is quite certain that it cannot > possibly be anyone other than Joey Baron who plays drums on "Leng Tch'e" > thus making the whole Melvins & Patton thing rather a tricky puzzle. I asked to both Zorn and Horvitz about that and they both denied the involvement of anybody but the regular(TM) Naked City lineup. Patrice. ------------------------------------------------------------------------------- From: gsg@juno.com (Geoff S Gersh) Subject: Re: zorn-list Digest V2 #110 Date: 25 Aug 1997 13:49:50 -0400 I asked Mike Patton about the Leng T'che disc a couple fo years ago,he said he's not the one screamin' on the disc. I think it sounds alot like him at times too......but, guess not. ------------------------------------------------------------------------------- From: "Andy Marks" Subject: Re: zorn-list Digest V2 #110 (Patton on Leng Tche) Date: 25 Aug 1997 13:58:50 -0400 > I asked Mike Patton about the Leng T'che disc a couple fo years ago,he > said he's not the one screamin' on the disc. Sorry, but I couldn't resist. Maybe he's the one moaning and groaning! :-) ------------------------------------------------------------------------------- From: treif@songlines.com (Tony Reif) Subject: Re: Fwd: Chris Speed/Human Feel Date: 25 Aug 1997 12:44:29 +0000 Re Sangetta Johnson's (sangeetaj@hotmail.com) comments about Chris Speed's record, Chris wrote me a while ago about the process of getting this music together: "Yeah No reveals an alternative definition of jazz today. This band was conceived by just improvising together, and then by transcribing hours of these improvisations I captured what the band naturally created on its own, without a hierarchy or repertoire to follow. When I finally did bring in compositions, we had an organic and unique sound happening as well as a democratic space from which to approach the tunes. Then I felt I could organize more specifically what I wanted, because the band itself was the source of my compositions. "Scribble Bliss is a joyful splurge of free jazz; a groove heavy Planing begins conversationally and breaks down to a wiggle; the album ends with variations on collective improvisations springboarded by roadsign composing in Not an Option. The texture explorations of The Dream and Memory Store take different paths from the more melodic Nap Clarity and the abstract, sparse Finale; the Eastern inspired Merge collides groove and folk improvisations in a crooked time zone of eleven. "I wanted to make a jazz record whre everyone felt free to push the boundaries beyond the typical roles, and still sound like a collective voice; it's pretty clear that we all trust each other and feel comfortable enough to really improvise, which basically is the point of all this anyway." Chris Speed >>>Chris Speed - 'Yeah No'. Speed (reeds); Cuong Vu (trumpet); Skuli >>>Sverrison (elec. bass); Jim Black (drums). If you've ever heard >Chris' >>>compositions with Human Feel I would call this along those same lines, >>>excepting the obvious difference in ensemble as well as they fact that >>>they don't play together with quite the same synergy as HF. >>But I think >>>in this case it's a good thing, everything sounds kind of fresh and >>>impromtu (not they don't barrel into everything headfirst anyways), >>wheras... >> To me, Chris's CD is focussed on group improvisation. Human >Feel >>is a great improvising band as well but in their last 3 CDs the >>composition/improvisation as a organic whole seemed to be their focal >>point. Whereas with "Yeah, No" it seems to me that Chris supplies well >>thought out forms and motives that aid in the group's directions. The >>main difference between the two groups is that Human Feel is dealing >>with the compositions which often controls the improvisation. Chris's >>band is completely free. Tony Reif (Songlines Recordings) ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: beauty Date: 25 Aug 1997 15:33:16 -0500 (CDT) Sounds like a good plan. On Sat, 23 Aug 1997, joshua herrin wrote: > I've got an idea... why don't we start a separate mailing list just for > the subject of what beauty is. I've already wasted at least 10 minutes > reading people ramble on about the subject, and no one sees this as > enough to let the issue die. Enough, already... please. > > ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Parachute years or Masada? Date: 25 Aug 1997 15:36:09 -0500 (CDT) It's surprising that the point of simply not buying Masada CDs has had to have been made; I've always wondered why some folks go for the personal attack on musicians rather that just not buying their music. Though, for the record, I hope Masada turns out to be more than just an idiomatic excercise. On Sat, 23 Aug 1997, ALAN E. KAYSER wrote: > > Masada is Zorn's idiomatic jazz project. Think of any of Zorn's hard > > bop > > heroes. I'll pick Sonny Clark, since I'm most familiar with him. His > > > > tunes are all basically the same, in that they belong to the same > > idiom. > > The playing shows development from album to album, but not in leaps > > and > > bounds. If you really love Clark's take on the idiom, you'll want 'em > > > > all, but most fans will be happy with two or three. > > > > I don't see why so many people have a problem with this. > > The idea > > that an album should be a big statement didn't become a commonplace > > until > > late 60's rock, and it's arguably done more harm than good. If you > > don't > > want seven, ten, twenty Masada albums, just stop buying them. If the > > market's being oversaturated with Zorn product, DIW will eventually > > notice > > and stop putting them out. Completists (and I come close to being one > > > > myself) have no one to blame but themselves. > > > > Chris Hamilton > > Chris: > > Couldn't agree more. Ellington played some of his music from the > twenties right up until he died, and it didn't sound much different. He > was an idiom unto himself. So, Zorn may well put out many Masadas. The > point really is if a consumer tires of a product, then just don't buy > it. If you like Masada then buy them all. One can be somewhat of a > completist, but still exert some self control. > > Alan > > > > ------------------------------------------------------------------------------- From: Juno-Temp1 Subject: Cuong Vu Date: 25 Aug 1997 16:39:51 -0400 (EDT) Cuong Vu is a trumpet player to watch out for. >>His solos are so totally melodic, they keep my interest every note. In case anyone in the NY area is interested. Cuong's band is playing at the Knit in the Alterknit (altercloset) on Tues. Sept 2 at 9pm. I've heard the band a few months ago and it's a nice combination of post-Schoenberg influenced compositions with inspired free improvisation. Not to mention some heavy grooves from Jim Black. -JW ------------------------------------------------------------------------------- From: john shiurba Subject: Re: b[e|in]au[rali]ty (was just Beauty) Date: 25 Aug 1997 14:14:07 -0700 Schwitterz writes: > You are the first human being I have ever interacted with who knows and > likes BINAURALITY... I know more than a few people, myself included who love this music-- have a look at Peter Stubley's incredible website: http://www.shef.ac.uk/misc/rec/ps/efi/ehome.html for information about more music along the lines of King Ubu Orch. -- shiurba@sfo.com http://www.sfo.com/~shiurba ------------------------------------------------------------------------------- From: abbadon@coolkids.net (Nirav Soni) Subject: Re: zorn-list Digest V2 #110 (Patton on Leng Tche) Date: 25 Aug 1997 17:46:44 -0400 Andy Marks wrote: > > I asked Mike Patton about the Leng T'che disc a couple fo years > ago,he > > said he's not the one screamin' on the disc. > > Sorry, but I couldn't resist. > Maybe he's the one moaning and groaning! :-) Hi, I just subbed to this list. I just picked up the Torture Garden/Leng T'che re-release a few weeks ago. Whilst I was listeneing to Leng T'che, I noticed a definete Melvins type thing going on here. When I looked into the Leng T'che liner notes, lo and behold, I found a thanks to the Melvins! Could someone fill me in here, I never knew that Naked City was involved with the Melvins. -- “When the one you loved abandoned you, leaving a note filled with accusations you could not answer, you needed a piece of angry candy. When death took another, and you burned to say final words not spoken, again the angry candy. When you peered into the abyss, angry candy would have sustained you. Here is the bittersweet: you are not alone.” - -Harlan Ellison, “Angry Candy” ------------------------------------------------------------------------------- From: Michael Howes Subject: Cosmic Invention Date: 25 Aug 1997 15:11:08 -0700 (PDT) Someone want to fill me in on a psychedelic group called "Cosmic Invention". They suposedly have a record on "The Now Sound". Isn't that the label that realeased a Ruins CD? All I know about the group is it contains the following members; Okano Futoshi Uzawa Kounosuke Kurihara Michio Batoh Masaki <-- name sound familiar..isn't he one of the original members of Ghost....I know its something to do with PSF. Kotoh Jun Fuji thanks mike mhowes@best.com ------------------------------------------------------------------------------- From: Sean Terwilliger Subject: New Studio Was:Re: West Orange Date: 25 Aug 1997 18:10:45 -0400 I guess my questions are: 1) What's the new studio's name? 2) When will we hear something from it? 3) Did Laswell and Musso have a falling out? (or will Bob move to Jersey as well? ) or: 4) Is Musso still running Greenpoint? (or did anyone buy it or is it GONE?) Thanks Sean ------------------------------------------------------------------------------- From: SUGAR in their vitamins? Subject: Re: zorn-list Digest V2 #110 (Patton on Leng Tche) Date: 25 Aug 1997 15:16:30 -0700 (PDT) On Mon, 25 Aug 1997, Nirav Soni wrote: > Whilst I was listeneing to Leng T'che, I noticed a definete Melvins type > thing going on here. > When I looked into the Leng T'che liner notes, lo and behold, I found a > thanks to the Melvins! Could someone fill me in here, > I never knew that Naked City was involved with the Melvins. Mike, maybe we should add this to the FAQ? for the record: neither the Melvins, nor Mike Patton were involved with the recording of "Leng T'che". the thanks given in the liner notes is simply a nod in their direction for inspiration. hasta. Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE. ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: zorn-list Digest V2 #110 (Patton on Leng Tche) Date: 25 Aug 1997 15:21:19 -0700 On Mon, 25 Aug 1997 15:16:30 -0700 (PDT) SUGAR in their vitamins? wrote: > > On Mon, 25 Aug 1997, Nirav Soni wrote: > > > Whilst I was listeneing to Leng T'che, I noticed a definete Melvins type > > thing going on here. > > When I looked into the Leng T'che liner notes, lo and behold, I found a > > thanks to the Melvins! Could someone fill me in here, > > I never knew that Naked City was involved with the Melvins. > > Mike, maybe we should add this > to the FAQ? > > for the record: neither the > Melvins, nor Mike Patton were > involved with the recording of > "Leng T'che". the thanks > given in the liner notes is > simply a nod in their > direction for inspiration. It is in the FAQ. The only trouble is that it is not #1 :-). Patrice. ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: New Studio Was:Re: West Orange Date: 25 Aug 1997 15:55:16 -0700 At 06:10 PM 8/25/97 -0400, Sean Terwilliger wrote: >I guess my questions are: > >1) What's the new studio's name? Orange Studios >2) When will we hear something from it? _Sacred System II_ is due imminently and is the first thing from it, although parts may have been recorded at Greenpoint. I think the first recordings at the studio were Bootsy, and have nothing to do with Bill except that it is his studio. >3) Did Laswell and Musso have a falling out? (or will Bob move to Jersey >as well? ) or: No. Only the studio moved. Bob will still be there. >4) Is Musso still running Greenpoint? (or did anyone buy it or is it >GONE?) No. He never was, it was Bill's studio (and Jonas Hellborg's before Bill). It is gone permanently. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: Steve Smith Subject: Zorn-List Frequently Asked Questions (was Re: zorn-list Digest V2 #110 (Patton on Leng Tche)) Date: 25 Aug 1997 20:22:46 -0400 Patrice L. Roussel wrote: > It is in the FAQ. The only trouble is that it is not #1 :-). Actually, someone might want to jump in here and let all the new folks... I've noticed several lately, a good sign... know just where the FAQ is available. I, for one, can't remember... Steve Smith ssmith36@sprynet.com Bobby Previte Homepage: http://members.aol.com/Previte Coming soon... the Screwgun/Tim Berne website... ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Cuong Vu Date: 25 Aug 1997 19:46:29 -0500 ---------- > From: Juno-Temp1 > To: > Subject: Cuong Vu > Date: Monday, August 25, 1997 3:39 PM > > Cuong Vu is a trumpet player to watch out for. > >>His solos are so totally melodic, they keep my interest every note. > > In case anyone in the NY area is interested. Cuong's band is playing at > the Knit in the Alterknit (altercloset) on Tues. Sept 2 at 9pm. > I've heard the band a few months ago and it's a nice combination of > post-Schoenberg influenced compositions with inspired free > improvisation. Not to mention some heavy grooves from Jim Black. > > -JW > He also does some nice work on Andy Laster's "Interpretations of Lessness" and the latest Chris Speed cd "Yeah/No"..(both on Songlines).. I hate to say it but his phrasing reminds me of Dave Douglas....which is a compliment but i generally don't like making comparisons... glenn ------------------------------------------------------------------------------- From: cmmildren@rubens.its.unimelb.edu.au Subject: Re: heretic/cobra scores (fwd) Date: 26 Aug 1997 15:07:44 +1100 ---------- Forwarded message ---------- Heretic has always seemed to me to be one of the meatiest and most fascinating NC rcords, mainly because of the sheer beauty of much of the quiter more gamelan influenced and atmospheric pieces. I think true enough its up there with the more esoteric and less rhtymically driven zorn projects but I find its pieces to be far more structured and dramatic than some are giving them credit. The trio pieces with Baron, Frith and frisell are almost the last word on trying to do a truly "art" music interpretation of classic rock instrumentation. The trhree title tracks are really quite exciting from a musicaly dramatic perspective as well. I find it has the widest range of actual "sounds" and timbre than any other Zorn release that I'm familiar with. On an entirely different note, can anyone help me regarding finding the performance "score" for Cobra? Or indeed if any scores of Zorn's works have been issued (apart from the Carny one)? ------------------------------------------------------------------------------- From: cmmildren@rubens.its.unimelb.edu.au Subject: Re: grand guignol and carny (fwd) Date: 26 Aug 1997 15:07:00 +1100 ---------- Forwarded message ---------- In regards to the nature of the grand guignol theatre tradition, I'm sure it has more to do wiith just grotesque transgressive subject matter that gave a low-art thrill to the masses of 19th century Paris, and definitely not actual dissections! The term now refers to high melodrama, anything with extreme and passionate violence and taboo sexuality. I have both a tape and a score of Zorn's Carny. It is a mgnificent virtuoso piece in the almost archetypal Zorn manner, a cut and paste of every possible style all interpreted frenetically into pianistic idioms. Direct qoutes from major piano composers appear, often backward or upside down. Stephen Drury sent me a tape and a score here to australia after I found his article on the piece in Perspectives On New Music, an academic journal, Summer 1995 or 1994 i think. His performance is exemplary as you would expect from the dedicatee. He mentioned that he would be recording this piece for Tzadik in 1997 to be released with a cut of Zorn's piano concerto! A Zorn orchestral piece! The mouth waters. I don't remeber the address of stephen but it can be found in the journal I mentioned above. Probably available at a university library or the like. ------------------------------------------------------------------------------- From: Steve Smith Subject: Schoenberg, you say (was Re: Cuong Vu) Date: 26 Aug 1997 01:09:26 -0400 > In case anyone in the NY area is interested. Cuong's band is playing at > the Knit in the Alterknit (altercloset) on Tues. Sept 2 at 9pm. > I've heard the band a few months ago and it's a nice combination of > post-Schoenberg influenced compositions with inspired free > improvisation. Not to mention some heavy grooves from Jim Black. Funny you should mention Schoenberg. I heard a trio consisting of Chris Speed, Oscar Noriega and Matt Moran ealier tonight at alt.coffee. (Speed obviously needs no introduction on this list, Matt Moran is the vibraphone player I raved about a few weeks ago, and Oscar is a fine alto sax/bass clarinet player from the same Brooklyn area artists' house that Speed, Jim Black and Dave Douglas used to live in and I think Moran and Cuong Vu still do.) And the trio opened with Moran's transcription of three pieces by Anton Webern. Interesting, this resurgence of the Second Viennese School in today's "jazz," given the general backlash against it in the classical world. It's a blending far more convincing than most of the "Third Stream" crap progressives tried to pass off as the union of classical and jazz music back in the '50s and '60s (not, lest I get flamed, that there were no good pieces to come out of Third Stream). Moran's originals have also come a long way since his "Larabok 1" disc... there's still the melodic interest, but with a welcome additional complexity. It was some pretty exceptional chamber jazz, Speed stuck to clarinet, Noriega to bass clarinet, the guy at the coffee counter talked too damn loud, some clod near the door had to be sure we all heard his entire romantic history, and Cuong Vu grooved hard on the serial sound along with the rest of us from a nearby sofa. Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: b[e|in]au[rali]ty (was just Beauty) Date: 25 Aug 1997 22:33:05 -0700 > I know more than a few people, myself included who love this music-- > have a look at Peter Stubley's incredible website: Thanks a lot! Sz ------------------------------------------------------------------------------- From: Schwitterz Subject: No subject Date: 25 Aug 1997 22:37:33 -0700 Whenever I try to listen to Knitting Factory Live on the Internet I cannot connect. I always get "Server Does Not Respond." KF folks do not respond to my queries either. Can anyone help me? Sz ------------------------------------------------------------------------------- From: rizzi@netcom.com (m. rizzi) Subject: Re: Zorn-List Frequently Asked Questions (was Re: zorn-list Digest V2 #110 (Patton on Leng Tche)) Date: 25 Aug 1997 22:54:20 -0700 (PDT) Steve Smith, demi-God and Icon sez: > >Actually, someone might want to jump in here and let all the new >folks... I've noticed several lately, a good sign... know just where the >FAQ is available. I, for one, can't remember... Taking Steve's kick in the pants, I finally web-ified the zorn-list FAQ and put it up on my server at http://www.browbeat.com/zornlist/faq.html Please check it out (I incorporated many of the privately emailed suggestions from this past winter) and let me know of any errors or additions you would like to see. I'm most happy when someone suggests a new question who also writes the answer. :) enjoy, mike ------------------- rizzi@netcom.com ----------------------------------- www.browbeat.com "Another nerd with a soulpatch" browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------------- ------------------------------------------------------------------------------- From: scott mclemore Subject: Re: Tony Williams Date: 26 Aug 1997 03:57:09 -0400 (EDT) I couldn't help but point out that Tony Williams could more than merely appreciate avant garde, he was way into it in the sixties. In fact recording two albums of way out stuff with an early version of Liftime that featured Gary Peacock (who was at the time playing in Alber Ayler's trio) Richard Davis, Bobby Hutcherson, Sam Rivers, and Herbie Hancock. ______________________________________________________________________________ Scott McLemore On Wed, 26 Feb 1997, Scott Russell wrote: > wesley@interaccess.com wrote: > > > > On Wed, 26 Feb 1997, Scott Russell wrote: > > > > > Even though he is not directly involved in the music we discuss here, > > > it's still a sad day indeed. I reckon he was one of the great > > > drummers. I saw him at The Glasgow Jazz Festival a few years ago and > > > he was still playing up a storm. > > > > To be a bit of a trainspotter, I'll point out that yes, Williams was > > directly related to the music we discuss here. He appeared last year on > > the Arcana CD with Bill Laswell and Derek Bailey. It was nice to see that > > he could appreciate the avant garde. > > > > RIP, > > > Paul > > You are, of course, correct. I have the Arcana CD and I was thinking > it could have been an interesting new direction for him. After all he > was one of the people who freed jazz drumming from standard > timekeeping. Williams had a sixth sense for space and tension in > music that left mostdrummers atnding. I also thought his drumming on > Arcana was less adventurous than in other bands; check out Miles > Complete live at the Plugged Nickle if you want to hear a band go from > fairly straight ahead jazz to free form explorations in the space of > two days! The Arcana disc is,however, the result of only one meeting > of the players involved. > > Scott. > ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Tony Williams Date: 26 Aug 1997 08:31:18 -0400 scott mclemore wrote: > I couldn't help but point out that Tony Williams could more than > merely > appreciate avant garde, he was way into it in the sixties. In fact > recording two albums of way out stuff with an early version of Liftime > > that featured Gary Peacock (who was at the time playing in Alber > Ayler's > trio) Richard Davis, Bobby Hutcherson, Sam Rivers, and Herbie > Hancock. > ________ > _____________________________________________________________________ I can tell you from first hand experience that when the Tony Williams Lifetime "Emergency" 2 LP set was released, it had quite an impact. It probably matched "Bitches Brew" in jaw dropping awe. I remember my reaction being WHAT IS THIS! Give me more! Too bad there wasn't much more, but McLaughlin, Larry Young, and Tony were as avant garde in their way as anything that Zorn et al have done today. I still think it's one of the great albums, only Tony's laughable vocals mar the work. :Luckily he doesn't "sing" much. The terrible garage sound also added to the raw energy. This may be McLaughlin's best electric work, too. And Larry Young's organ work brought that instrument out of the Jimmy Smith groove and into post Coltrane. Classic stuff. Tony is missed. Alan ------------------------------------------------------------------------------- From: Marc Lambert Subject: Parachute? Date: 26 Aug 1997 09:56:31 -0400 (EDT) I came into the discussion late. Can someone pls tell me what this box set is? You can email me directly in case this is annoying backtracking clutter. Thanks. ------------------------------------------------------------------------------- From: hertzman@squeegee.cs.nyu.edu (Aaron Hertzmann) Subject: Bar Kokhba translations Date: 26 Aug 1997 10:30:10 -0400 (EDT) Someone on this list was recently asking about the titles of various Masada tracks. Here are the translations provided by my stepfather, back in October: > Who was Bar Kokhba? The leader of the rebelion against Rome in 140AD. Disc 1: Gevurah - Heroism Nezikin - Damagaes (a name of a book in the Talmud) Mahshav - Thought Rokhev - Rider Abidan - ??? Sheloshim - 30 Hath-Arob - ??? Paran - A place in the Sinai desert Mahlah - Disease Socoh - ??? Yechida - Unit Bikkurim - Visit Idalah-Abal - ??? Disc 2: Tannaim - Sages that wrote the Mishnah Nefesh - Soul Abidan - ??? Mo'ed - Time Maskil - Learned Mishpatim - Laws Sansanah - ??? Shear-Jashub - Returning (from the Diaspora) Mahshav - Thought Sheloshim - 30 Mochin - Protesters Karaim - A jewish sect that believes only in the bible. ------------------------------------------------------------------------------- From: Broken Subject: Miles Davis imports, Masada 8, Dave Douglas Date: 26 Aug 1997 11:11:19 -0400 (EDT) Sorry for the non-zorn content but does anyone know of an on-line source for the recent Japanese Miles Davis reissues? I've managed to find On The Corner, In a Silent Way, and Get Up With it at some local stores but haven't found much else in the way of electric Miles. I really want Jack Johnson! In case you don't know what I'm talking about... Sony Japan has reissued a lot of the Miles Davis backcatalog (how much I'm not sure) with beautiful cardboard reproductions of the original cover art. They've got high quality graphics and tough cardboard sleaves--not like those 'enviromentally friendly' digi-craps. 20 bit remasterd and even has an insert with liner notes that you wish you could read, just like the first Masada discs ;) While we're at it can anyone comment on the recent US reissues of Dark Magus ,etc. I've got the old Japanese cds of Dark Magus and I was wondering if it was worth an upgrade. Hrm.. should throw some Zorn content in here. Picked up Masada 8 this weekend at Downtown Music Gallery. $16, Woo hoo! The owner said that they've been selling like hotcakes and are almost out. (I think he said 100 in the past 2 weeks?) He also said that DMG would be offering some sort of deal on the Parachute box, so email 'em for details. I also saw Dave Douglas' Sanctuary but didn't pick it u. Too much to listen to at the moment! It's got great cover art, though. I've got a question for those in the NY area. Back in Feb. or March Douglas played a small gig in a loft type place in the downtown area. It was a trio with himself, Yuka Honda (I think) on sampler, and er... a bass player. Does anyone have any idea what group this was and if they plan on recording? My friend went to the gig but he's terrible at remembering names/specifics. thanks, Howie ------------------------------------------------------------------------------- From: clockwise Subject: re: Miles imports Date: 26 Aug 1997 14:30:02 -0500 >...can anyone comment on the recent US reissues of Dark Magus ,etc. If by 'recent' you mean the ones from two years ago (EvilLive, etc) they are just the Japanese discs with a U.S. barcode slapped on, so don't bother. ------------------------------------------------------------------------------- From: improv@peak.org (Dave Trenkel) Subject: re: Miles imports Date: 26 Aug 1997 13:17:53 -0800 At 2:30 PM 8/26/97, clockwise wrote: >>...can anyone comment on the recent US reissues of Dark Magus ,etc. > >If by 'recent' you mean the ones from two years ago (EvilLive, etc) they >are just the Japanese discs with a U.S. barcode slapped on, so don't bother. No, recent as in the last month or so, there were new US re-issues of Dark Magus, Black Beauty, Live in Concert and a few others, newly remastered and with new liner notes. I got Black Beauty, which sounds way better than the tape I have of the Japanese CD. I'm curious about how much they improved the sound of Dark Magus, I bought the ridiculously-priced Japanese CD's and it's one of favorite electric Miles records. ________________________________________________________ Dave Trenkel : improv@peak.org : www.peak.org/~improv/ "...there will come a day when you won't have to use gasoline. You'd simply take a cassette and put it in your car, let it run. You'd have to have the proper type of music. Like you take two sticks, put 'em together, make fire. You take some notes and rub 'em together - dum, dum, dum, dum - fire, cosmic fire." -Sun Ra ________________________________________________________ ------------------------------------------------------------------------------- From: Scott Russell Subject: Metatron Date: 26 Aug 1997 21:30:11 +0000 --MimeMultipartBoundary Content-Type: text/plain; charset=us-ascii Content-Transfer-Encoding: 7bit Dear all Further to my recent posting, it seems no one is very much interested in the Praxis Metatron disc I have for exchange. Before I give up and assume this is just a deeply unhip disc, or everyone already has it, let me emphasise that this copy is one of the Rockit special editions with the rubber spike cover. I'll assume a roaring silence to be an indication of no interest, mind you,someone has just replied to a posting I made back in February... Scott Russell -- Without theory all we have is opinion and shopping. Chris Cutler --MimeMultipartBoundary-- ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: re: Miles imports Date: 26 Aug 1997 16:16:36 -0500 (CDT) The reissued 20-bit 70s Miles, like Magus, Live-Evil, Black Beauty, etc. are in fact new (1997). If you like Bitches Brew, on the Corner, Pangea-era stuff, you'll like them. Also, the y have new liner notes, and the packaging is generally excellent. Sound too. On Tue, 26 Aug 1997, clockwise wrote: > >...can anyone comment on the recent US reissues of Dark Magus ,etc. > > If by 'recent' you mean the ones from two years ago (EvilLive, etc) they > are just the Japanese discs with a U.S. barcode slapped on, so don't bother. > > > > ------------------------------------------------------------------------------- From: "ALAN E. KAYSER" Subject: Re: Miles imports Date: 26 Aug 1997 17:29:55 -0400 > No, recent as in the last month or so, there were new US re-issues of > Dark > Magus, Black Beauty, Live in Concert and a few others, newly > remastered and > with new liner notes. I got Black Beauty, which sounds way better than > the > tape I have of the Japanese CD. I'm curious about how much they > improved > the sound of Dark Magus, I bought the ridiculously-priced Japanese > CD's and > it's one of favorite electric Miles records. > Dark Magus was originally released in Japan on CD quite some time ago, late 80s as I recall. At the time it cost me about $50. I still have it, and don't see any reason to buy the new one, as by then they were pretty good about mastering. Actually, I always thought Miles electric music sounded better a little grungy. This music is raw, especially D.M. because Miles had two guys play that night with the band for the first time ever. They were Azar Lawrence ( from McCoy Tyner's Enlightenment quartet) and Dominique Gaumont. It was sort of an onstage audition, though Azar never played with Miles again. He was 20 at the time, Gaumont just 18. Miles spends quite a bit of D.M. noodling on the organ as the only keyboard. Three guitars. Of the five releases, it's probably second to Live-Evil, in my humble opinion. BTW, all of them were released in Japan in the 80s. Alan > > > > ______________________________________________________ ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Miles imports Date: 26 Aug 1997 19:32:53 -0500 from Alan Kayser ---------- >> > > > Dark Magus was originally released in Japan on CD quite some time ago, > late 80s as I recall. At the time it cost me about $50. I still have > it, and don't see any reason to buy the new one, as by then they were > pretty good about mastering. Actually, I always thought Miles electric > music sounded better a little grungy. This music is raw, especially > D.M. because Miles had two guys play that night with the band for the > first time ever. They were Azar Lawrence ( from McCoy Tyner's > Enlightenment quartet) and Dominique Gaumont. It was sort of an onstage > audition, though Azar never played with Miles again. He was 20 at the > time, Gaumont just 18. Miles spends quite a bit of D.M. noodling on the > organ as the only keyboard. Three guitars. Of the five releases, it's > probably second to Live-Evil, in my humble opinion. BTW, all of them > were released in Japan in the 80s. > > Alan > > > > Pete Cosey is in fine form on this date ! According to Dave Liebman's liner notes this was sort of a sub-par performance although i don't see it.... I think this cd (Carnegie Hall) typifies what Miles was into during this period.....btw, what ever happened to Pete Cosey ? Wasn't he fairly active in the NYC downtown scene ? glenn > > > > ------------------------------------------------------------------------------- From: gsg@juno.com Subject: before Cuong Vu-9/2 7pm Date: 26 Aug 1997 22:18:32 EST If anyone is interested in checking out a show before Cuong Vu...in the Alterknit Theatre.....i will be performing a composition of mine called 'Remembrance' @ 7pm. Its for live elec. guitar and bowed bass with prerecorded texts and soundscapes.....its a piece about the Holocaust....it takes a look at various events of the Holocaust such as Kristallnacht, the train convoys to Auschwitz, Hitler and the gas chambers....each section extracts personal accounts from survivors, orders given S.S. police, pieces of Hitler speeches and adds sound environments and live music, drawing influences from eastern european Jewish music styles to dark ambient walls of sound to rage filled drum samples....also features text by Lynne Tillman, the same text that appears in Zorn's Kristallnacht CD liner notes..... hope all you NYC area folk can make it..... Geoff ------------------------------------------------------------------------------- From: Richard C Williams Subject: Re: Miles imports Date: 27 Aug 1997 00:48:24 -0500 Glenn Astarita wrote: >.btw, what ever happened to Pete Cosey ? Wasn't he fairly > active in the NYC downtown scene ? I have a vague reccollection of Pete leading a band during the (sorely-missed) New Jazz at The Public series, in the early 80's, But I do remember that in the late 80's, when Bill Frisell was too busy to continue with Power Tools, Melvin Gibbs sought Pete out to fill the guitar chair(BTW, he also considered Adrian Belew!). Upon Pete's arrival in NY, it became obvious that his eyesight was failing, badly enough that reading music was out of the question. The addition of a second guitarist(Ronnie Drayton?) enabled them to play a gig or two, but that was the last I heard of Pete. ------------------------------------------------------------------------------- From: Jack D Blanton Subject: masada 4? Date: 27 Aug 1997 01:27:08 -0400 (EDT) I appologize if this has been gone over before. With Masada 4 apparently having been re-issued can one once again send in the proofs of purchace from 1-3 and get it for free or do I have to pay $20 for 20 min (I do want the material). Thanks for any help. JACK ------------------------------------------------------------------------------- From: "josh miller" Subject: napalm death peel sessions Date: 26 Aug 1997 22:22:54 -0700 i know this record was discussed a bit some time back, and i just wanted to say that i have a copy of this to trade, if anybody is interested....it's similar to the naked city minutelong thrash/grind stuff..and the cd has both sessions on it. anyway, if anybody has anything live or otherwise they'd like to trade, please contact me soon. thanks a lot josh ------------------------------------------------------------------------------- From: joshua herrin Subject: Re: zorn-list Digest V2 #111 Date: 27 Aug 1997 01:07:38 -0600 > - ---------- Forwarded message ---------- > Date: Mon, 18 Aug 1997 15:34:02 +1100 > From: cmmildren@rubens.its.unimelb.edu.au > To: zorn-list@xmission.com > Subject: Re: grand guignol and carny > I have both a tape and a score of Zorn's Carny. It is a magnificent > virtuoso piece in the almost archetypal Zorn manner. > Stephen Drury sent me a tape and a score here to australia after I > found his article on the piece in Perspectives On New Music, an academic > journal, Summer 1995 or 1994 i think. So, just what would it take to get a copy of the tape and score from you?..... ------------------------------------------------------------------------------- From: joshua herrin Subject: Re: zorn-list Digest V2 #110 Date: 27 Aug 1997 01:17:50 -0600 > Date: Mon, 25 Aug 1997 00:09:12 -0400 (EDT) > From: Dekoboko@aol.com > Subject: Yamataka > > Does anyone know any info on Yamataka Eye? > Anything would be very helpful. Yamatsuka Eye aka Yamantaka Eye aka Eye Yamatsuka aka Eye Yamantaka is first and formost the lead screamer (?) for Boredoms, a great (hope I don't start another long discussion) band from Japan. They have several albums out, all of which I think are particularly good, with the exception of their "Super Roots" stuff (Super Roots, Super Roots 99 & Super Roots 6), which I tend to think is pretty much just crap (there's another discussion). He has also done numerous projects with Zorn, including Naked City, Nani Nani, and group efforts. He is also in UFO or Die, and started the noise outfit the Hanatarash. The Banafish website (sorry, I don't know the address) has 2 really great articles on him. ------------------------------------------------------------------------------- From: mike burma Subject: Boredoms Date: 27 Aug 1997 11:00:43 -0700 >Yamatsuka Eye aka Yamantaka Eye aka Eye Yamatsuka aka Eye Yamantaka is And don't forget Yamataka (with the 'n' missing) Eye. >first and formost the lead screamer (?) for Boredoms, a great (hope I >don't start another long discussion) band from Japan. They have several >albums out, all of which I think are particularly good, with the >exception of their "Super Roots" stuff I really like the Super Roots discs. The music IS very different than the more song oriented Boredoms material, more along the lines of fun sound collage. >The Banafish website >(sorry, I don't know the address) has 2 really great articles on him. http://www.cais.net/vertical//BANA.html mike burma ------------------------------------------------------------------------------- From: Dan Kuehn Subject: Re: zorn-list Digest V2 #112 Date: 27 Aug 1997 09:24:09 +0000 zornophiles, anybody heard yamatsuka eye with ween, aka Z-Rock Hawaii? should i buy? also, regarding bad or no sound from knitting factory's live link - i've been struggling with it for months.... sometimes picture no sound, sometimes very chopchop sound, sometimes no sound no nothing... so frustrating for those of us who don't get to concerts much if at all. Has KF live ever worked for anybody??? A friend just returned from SF, and said he saw John Zorn-Mike Patton-Ikue Mori as trio. Zorn on sax and even vocalizing, screaming back & forth with Patton, Mori on effects & percussion, actually everybody on effects, i guess. he said it was a pretty diverse crowd. also, been playing the re released miles since they came out a couple weeks ago.....yow! -- Dan Kuehn resident manager Kailua Maui Gardens ------------------------------------------------------------------------------- From: Schwitterz Subject: Re: zorn-list Digest V2 #112 Date: 27 Aug 1997 13:36:39 -0700 > also, regarding bad or no sound from knitting factory's live link > - i've been struggling with it for months.... Since I originally asked about the KF Live connection they have ceased broadcasting to work on the system and are guaranteeing better results when they beguine again. Sz ------------------------------------------------------------------------------- From: "Mark Logan and Kathleen O'Grady" Subject: Bar Kokhba tape trade ?? Date: 27 Aug 1997 19:06:33 -0400 hi folks Zorn and Bar Kokhba played 2 shows in Toronto last night. An utterly fantastic show !!! I've never before seen him and though he didnt play (conducted), the band was incredible !!! Baron, Baptista, Cohen, Ribot, Feldman and Friedlander !! Anyway, I have a tape of each show that Id be interested in trading for other live Zorn and related bands. Please email me if interested. The shows were each 75 minutes. One was taped from up front and the second from above and behind the band. I think both sound good though the second has a bit more emphasis on the percussionists. :-) I cannot get over how good they were. Mr Zorn seemed very pleased by the performances- smiling and yelling out the soloists names after each amazing piece !!! bye mark ------------------------------------------------------------------------------- From: "Wilson, King of Prussia" Subject: Douglas in Chicago on Thur. Date: 27 Aug 1997 19:10:43 -0600 Just in case people here in the city missed it (I did until two seconds ago)..... Dave Douglas is playing in the Myra Melford quartet tommorrow (thurs) at 5:55, at the Petrillo dome, as part of Jazz Fest. Along with him are M.M. Chris Speed, Eric Friedlander, and someone else who I can't quite place at the moment...... read icculus ------------------------------------------------------------------------------- From: Peter Cline Subject: Re: zorn-list Digest V2 #112 Date: 27 Aug 1997 23:18:53 -0400 (EDT) On Wed, 27 Aug 1997, Dan Kuehn wrote: > zornophiles, > > anybody heard yamatsuka eye with ween, aka Z-Rock Hawaii? should > i buy? > This album seems to be more like a Ween album with Yamatsuka sitting on vocals, and some other Boredoms memebers are present as well than a true collaboration. At least to my ears. Therefore if you like Ween, whom I personally think are great, then you will dig this album. -Peter ------------------------------------------------------------------------------- From: gsg@juno.com Subject: Ethan in Florida.... Date: 28 Aug 1997 00:35:30 EST Ethan(i hope this is the right name), You emailed me today(8/27), as I was responding to you my computer crashed...so I lost your email, address, etc etc... please email me again.... thanks, Geoff ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Dance for Le Corbusier Date: 28 Aug 1997 13:47:29 -0400 (EDT) > (can you have missed that shimmering `about'?) Bravo! What would one do in place of dancing about architecture? Talk about it? Of course not! Talking about architecture is like cooking about linear algebra. What can we talk about? Talking, i suppose...that seems internaly consistent, but very dull. There's a point being made here... If you still think dancing about architecture is a silly idea, then what about writing music about painting, all those of you who own a copy of Zorn's Durass/Duchamp (or even Mossoursky's Pictures at an Exhibition)? Hmm... -jascha ------------------------------------------------------------------------------- From: "k. drudge" Subject: Re: Bar Kokhba tape trade ?? Date: 28 Aug 1997 14:30:07 -0400 (EDT) > Zorn and Bar Kokhba played 2 shows in Toronto last night. An i assume these are the tuesday shows. the monday night 10.00 show was also amazing. it lasted about 80 minutes or so (2 encores). ribot and feldman were particularly fierce i thought, and i really enjoyed the way zorn interacted with all of the musicians. the arrangements have really evolved from the bar kokhba record; there was a lot more `stretching' (of the tunes and the style) going on, in part no doubt due to the presence of batista. does anyone know if there are plans for another recording session? keldon ------------------------------------------------------------------------------- From: "Matthew S. Cramer" Subject: 8/30/97 Date: 28 Aug 1997 15:06:55 -0400 A friend and I are going to the Night of Improv. Can anyone let me know what we can expect? Is it worth going to both shows that night? FWIW, I am most familiar with Naked City / Painkiller / Filmworks. Also, can anyone point me to any good record / cd stores in NYC that have hard to find goodies of the rock and jazz genres? Thanks, Matt -- Matthew S. Cramer Programmer / Analyst VELOX Systems Corp. ------------------------------------------------------------------------------- From: y9d62@TTACS.TTU.EDU Subject: Re: Dance for Le Corbusier Date: 28 Aug 1997 14:27:05 -0500 (CDT) The quote in question is criticizing the value of writing analtically about music, which, as with just about anything we like, has roots deeper than what can be explained. Being inspired to write by music is not the issue. On Thu, 28 Aug 1997, Yeah-shure, Nah...er...ve'-so'n wrote: > > > (can you have missed that shimmering `about'?) > > Bravo! > > What would one do in place of dancing about architecture? Talk about it? > Of course not! Talking about architecture is like cooking about linear > algebra. What can we talk about? Talking, i suppose...that seems > internaly consistent, but very dull. > > There's a point being made here... > > If you still think dancing about architecture is a silly idea, then what > about writing music about painting, all those of you who own a copy of > Zorn's Durass/Duchamp (or even Mossoursky's Pictures at an Exhibition)? > Hmm... > > -jascha > > > ------------------------------------------------------------------------------- From: Steve Smith Subject: The Parachute Box - wow! Date: 28 Aug 1997 16:33:34 -0400 Ladies and gentlemen - I just saw the Parachute box for the first time today, at the company which produces Tzadik's CD packaging, and it is a thing of beauty, comparable to Sony's stylish Miles Davis "Complete Plugged Nickel" box. The thing is a sturdy cardboard cube which holds 7 discs, and the design work is definitely up to Tzadik's high standards. I've not seen the inside but someone who did told me that the booklets and other packaging are even more mind-blowing. Here's what Tzadik said about the set in the September Koch release book: JOHN ZORN: The Parachute Years 1977-1980 TZA CD 7316-7 Archival Series Robert Dick, George Lewis, John Zorn, Anthony Coleman, Wayne Horvitz, Kramer, Eugene Chadbourne, Bill Horvitz, Bill Laswell, Polly Bradfield, Tom Cora, David Moss, Mark Smith, Charles K. Noyes, Bob Ostertag, Bruce Ackley, Henry Kaiser, Lesli Dalaba, Mark E. Miller, Mark Abbott, LaDonna Smith, Davey Williams Lacrosse - Hockey - Pool - Archery plus more The long-awaited reissue of Zorn's first recorded game pieces. A deluxe 7CD set complete with never-before-released outtakes, detailed liner notes, musical sketches, photos and more. Just three short years after his 1973 home recordings Zorn had devised a series of complex game structures that challenged improvisors in ways no one had thought of before. Pulling together influences from classical music (Brown, Cardew, Kagel, Stockhausen) and the AACM (Braxton, Smith, Mitchell) Zorn's scores forged a sound world of striking originality thanks to the virtuosic brilliance of the musicians he worked with. Issued on a private label in limited editions of 1000 copies, these are the recordings that fucked everyone up in the first place. From 1978-1981, Zorn produced three 2 LP sets of his game compositions for Eugene Chadbourne's Parachute label. They are included here in a newly remastered edition along with hours of outtakes, rehearsals and other rarities. Among the musicians who rose to the challenge of playing these early esoteric compositions are Eugene Chadbourne, Polly Bradfield, Bob Ostertag, Bill Laswell, Henry Kaiser, George Lewis, Wayne and Bill Horvitz, Kramer, Robert Dick, Anthony Coleman, Tom Cora, Davey Williams and many many others. File under: Classical I noticed on the box that one of the discs was subtitled "Twins," so I guess that one has the recordings made by the quartet of Zorn, Chadbourne, Ackley and Kaiser. Gotta start saving some money up for this one... Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: Steven P Nilsen (Steven Nilsen) Subject: Hi... Date: 28 Aug 1997 15:37:56 -0500 I'm a new subscriber, as of a minute ago. My name is Steven Nilsen. I'm a grad student at UConn Med Ctr, Farmington,= CT. I'm living in the oh-so-culturally-gifted Hartford downtown, just a= tad more interesting than St.Paul, MN, maybe. My interests in music have= included John Zorn for about a year now, and I've listened to and own a= fair number of his discs. I'm especially fond of Naked City and Masada, so= I follow the other artists involved in those projects as well. I've subscribed now mostly to ask on simple question: is anybody North of= NYC plan on attending any of the Masada shows this fall, and would you be= looking for somebody to car pool with? I really want to go to at least= one, but would like to go along with somebody, even if I'm just meeting= that person. If anybody can help me out I can be reached at nilse004@tc.umn.edu for now. = Thanks, Steven ------------------------------------------------------------------------------- From: "sangeeta johnson" Subject: Dave Douglas/Cuong Vu Date: 28 Aug 1997 15:50:05 PDT > >>He also does some nice work on Andy Laster's "Interpretations of >Lessness" >>and the latest Chris Speed cd "Yeah/No"..(both on Songlines).. I hate >to >>say it but his phrasing reminds me of Dave Douglas....which is a >compliment >>but i generally don't like making comparisons... >> >>glenn > >To be compared to Dave Douglas is indeed a high and worthy compliment. >Dave is one of the most talented, technically proficient, and inspired >trumpet players in the world. BUT...to compare those two would be >analogous to comparing Zorn's alto playing to Tim Berne's. Or let's say >Wayne sounded like Trane. I think that if you were to pose this >comparison to the musicians in the same circuit as Dave and Cuong, you'd >get a little chuckle. >-------------------------------------------------------------------------------------------------- > >I'll recomend Cuong's upcoming Knit gig as well. This is guaranteed to >be a great show. > >-Sangeetaj > ______________________________________________________ Get Your Private, Free Email at http://www.hotmail.com ------------------------------------------------------------------------------- From: IOUaLive1@aol.com Subject: power Tools Date: 28 Aug 1997 21:40:29 -0400 (EDT) In a message dated 97-08-28 18:47:08 EDT, punkjazz writes: > in the late 80's, when Bill Frisell was too busy to > continue with Power Tools, Melvin Gibbs sought Pete out to fill the > guitar chair(BTW, he also considered Adrian Belew!). Upon Pete's > arrival in NY, it became obvious that his eyesight was failing, badly > enough that reading music was out of the question. The addition of a > second guitarist(Ronnie Drayton?) enabled them to play a gig or two, but > that was the last I heard of Pete. > Actually it was David Gilmore who also played in Power Tools. I think Pete and Dave played in Power Tools together, even. (But they didnt quite fill the big shoes left by Frisell..) Jody ------------------------------------------------------------------------------- From: "Glenn Astarita" Subject: Re: Dave Douglas/Cuong Vu Date: 28 Aug 1997 21:02:44 -0500 ---------- > > > > > > > > >>He also does some nice work on Andy Laster's "Interpretations of > >Lessness" > >>and the latest Chris Speed cd "Yeah/No"..(both on Songlines).. I hate > >to > >>say it but his phrasing reminds me of Dave Douglas....which is a > >compliment > >>but i generally don't like making comparisons... > >> > >>glenn > > > >To be compared to Dave Douglas is indeed a high and worthy compliment. > >Dave is one of the most talented, technically proficient, and inspired > >trumpet players in the world. BUT...to compare those two would be > >analogous to comparing Zorn's alto playing to Tim Berne's. Or let's > say > >Wayne sounded like Trane. I think that if you were to pose this > >comparison to the musicians in the same circuit as Dave and Cuong, > you'd > >get a little chuckle. > >--------------------------------------------------------------------------- ----------------------- > > > >I'll recomend Cuong's upcoming Knit gig as well. This is guaranteed to > >be a great show. > > > >-Sangeetaj > > > > Well, pardon my perception..I'm fairly well up to speed on Dave Douglas and digging Cuong.... I don't think the comparison gap as you state above is at the Trane -Shorter level.....! Would Dave and Cuong really chuckle or is that an assumption ? Would the chuckle indicate ignorance on the listener's part ? I mean, i love their collective musical output but am i supposed to feel like an idiot cause i detect similarities in style and phrasing ? ...... glenn ------------------------------------------------------------------------------- From: Wlt4@aol.com Subject: Pete Cosey Date: 28 Aug 1997 22:34:38 -0400 (EDT) The edition of Power Tools with Cosey did a syndicated radio broadcast, unless I'm misremembering part of the short-lived Knitting Factory show. Somewhere that I'll never be able to find this year I have a tape. Cosey seemed pretty sedate, at least compared to his earlier work. Cosey fans might want to know that he's on the recently reissued "Electric Mud" by Muddy Waters (on MCA). Lang Thompson http://members.aol.com/wlt4/index.htm ------------------------------------------------------------------------------- From: Christopher Hamilton Subject: Re: Dance for Le Corbusier Date: 28 Aug 1997 22:37:32 -0400 (EDT) On Thu, 28 Aug 1997 y9d62@ttacs1.ttu.edu wrote: > The quote in question is criticizing the value of writing analtically > about music, which, as with just about anything we like, has roots deeper > than what can be explained. Which does not necessarily negate the value of trying . . . (Does explanation have to be analytical?) Chris Hamilton ------------------------------------------------------------------------------- From: Tom Pratt Subject: Re: Dave Douglas/Cuong Vu Date: 28 Aug 1997 23:12:35 -0400 > Well, pardon my perception..I'm fairly well up to speed on Dave Douglas > and digging Cuong.... I don't think the comparison gap as you state above > is at the Trane -Shorter level.....! Would Dave and Cuong really chuckle > or is that an assumption ? Would the chuckle indicate ignorance on the > listener's part ? I mean, i love their collective musical output but am i > supposed to feel like an idiot cause i detect similarities in style and > phrasing ? ...... > > glenn I just got back from a three month vacation and am reading this so forgive me if what I say has been said. I am very familiar with Dave Douglas and I have heard Cuong Vu on Laster's CD, the Saft/Vu disc and Dave Douglas' new Salto Mortale project. I think much of the reason these two demand comparison is because they play a very similar style of music. However, I agree with Glenn here... I think they do indeed sound similar. I mean gosh, Bobby Previte and Joey Baron play similar kinds of music and I don't think they sound a like. Hank Roberts and Erik Friedlander likewise. I think Vu has some serious Douglas influence in him. I can't wait to see what he does with that influence in the future. -Tom Pratt ------------------------------------------------------------------------------- From: mool@sirius.com (Allan) Subject: Re: Cosmic Invention Date: 28 Aug 1997 22:29:52 -0700 (PDT) > Someone want to fill me in on a psychedelic group called "Cosmic Invention". >They suposedly have a record on "The Now Sound". Isn't that the label that >realeased a Ruins CD? > All I know about the group is it contains the following members; >Okano Futoshi >Uzawa Kounosuke >Kurihara Michio >Batoh Masaki <-- name sound familiar..isn't he one of the original members > of Ghost....I know its something to do with PSF. >Kotoh Jun >Fuji > > thanks >mike >mhowes@best.com OK, some info on Cosmic Invention, who do have a cd on The Now Sound (no Ruins records ever on that label though, perhaps you're thinking of the label NG?): The band is a Japanese psychedelic supergroup of sorts, playing 60's style heavy/jammy/spacy stuff (including even a Boz Scaggs cover). The band does feature Masaki Batoh of Ghost fame (who has a couple solo lps out on The Now Sound), as is also as semi-legendary guitarist Michio Kurihara who participates both in Ghost and the band White Heaven. (And yes, both Ghost and White Heaven have recorded for Tokyo psych/free music label PSF). A couple of the others in Cosmic Invention are Ghosts as well. Drummer Futoshi Okano is from one of my all time favorite Japanese bands, heavy rockers Subvert Blaze (R.I.P.) and is playing with Ghost on their current tour, which just passed through where I live, San Francisco. They played a lovely, mellow acoustic set at the store where I work (Aquarius), and, the night before, a *really* great full-on electric one at the Kilowatt Club, where Kurihara really got to show off his truly John Cipollina/Quicksilver Messenger Service-derived sound, particularily on the Cosmic Invention songs they played (for anyone who was there, the really heavy number where Batoh sang "the sky is falling", right before the encore, that's on the Cosmic Invention disc). Batoh's hurdy gurdy playing was also a highlight! Oh, and Futoshi Okano's occasional use of a giant gong was a crowd pleaser too. I think Cosmic Invention is a pretty cool band, it took a couple spins of their cd for me to really decide that 'cause it has some meandering moments, but overall I like it a lot. If you're already a Ghost fan and want to experience more of their, um, Led Zepplinish side, then check it out. I'd also really recommend the Masaki Batoh solo cd (it's both of his solo lps on one disc) "Collected Works 1995-1996" on The Now Sound, for some very beautiful folk/psych & ambient drone/noise. ps I don't think this has a whole lot to do with John Zorn, though... :::::::::::::::::::::::::::::::::::::::::Allan Horrocks::::::::::::::::::::: :::::: :: ::: ::: :::::::mool@sirius.com::::::::::::::::: :::::: :: ::: ::: ::::::::::http://www.sirius.com/~mool:: :::::: :: ::: :: ::: :::::::::::::::::::::::::::::::::::::::::::: :::::: H ::: ::O ::: E ::::music, horrible grinding noise,:::: :::::: :: ::: :: ::: ::::::::::::and moolian phenomenonology::::: :::::: :: ::: ::: ::::::::::::::::::::::::::::::::::::::: :::::::::::::::::magazine:::::::::::::::::::::::::::::::::::web site now up! ------------------------------------------------------------------------------- From: joshua herrin Subject: Re: live at pecci/filmworks 7 Date: 29 Aug 1997 01:00:30 -0600 Guys, I just wanted to comment on 2 Zorn items I recently bought. First, the "Dave Douglas/John Zorn/Yamatsuka Eye- Live at Pecci Museum (Italy) March, 7, 1995" EP. It is a poorly recorded, poorly pressed 7" record that is not worth even the $8 I paid for it. As I falsely reported to Patrice earlier, this record is not a Relapse Records recording, although the guy at Relapse told me it was. In fact, no record company is listed at all on the sleeve. The only evidence of any company on the record that I could find was etched on the outside of the record grooves: "Dan 1 A" (on side A) & "Dan 1 B" (on, you guessed it, side B). Don't look too hard for this "gem" if you don't already have it. On the other hand, I am going to put my name on the ever-growing list of those who love the "Cynical Hysterie Hour" CD. I am very pleased with this CD, & it doesn't bother me in the slightest that it is only 30 minutes long. If you don't have this one, DO go run out and go buy it... ------------------------------------------------------------------------------- From: tkorpipa@siba.fi Subject: Re: Pete Cosey Date: 29 Aug 1997 10:50:44 +0200 (GMT+0200) On Thu, 28 Aug 1997 Wlt4@aol.com wrote: > Cosey fans might want to know that he's on the recently reissued "Electric > Mud" by Muddy Waters (on MCA). great, i've been looking for this for some time... seems like a pretty good year for cosey fans, with all these miles reissues coming out. i have an old cosey interview (from guitar player, from my own six-string years) where he talks at lenght about miles, muddy and howlin' wolf (he played on one record? not?) apparently, muddy was not at all amused of cosey's psychedelic screetches, but at the next session (for another record??? what is it?) after 'electric mud' had sold mighty well muddy welcomed cosey back with open arms... i dig the interview up and post any relevant points. teemu :::: e-mail tkorpipa@siba.fi :::::::::::::::::::::::::::::::::::::::: :::: ruumen: http://www.siba.fi/~tkorpipa/ruumen.html ::::::::::::::: 'You only got one finger left and it's pointing at the door' - beck - ------------------------------------------------------------------------------- From: hywel davies Subject: douglas sextet Date: 29 Aug 1997 15:58:04 -0700 any news on the next sextet project from douglas - a wayne shorter tribute? ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: douglas sextet Date: 29 Aug 1997 08:45:19 -0700 On Fri, 29 Aug 1997 15:58:04 -0700 hywel davies wrote: > > any news on the next sextet project from douglas - a wayne shorter > tribute? All I know: *** - STAR GAZER: Dave Douglas' Wayne Shorter Tribute Music by and for Wayne Shorter. Recorded in December 1996 Dave Douglas: trumpet; Josh Roseman: trombone; Chris Speed: clarinet, tenor; Uri Caine: piano; James Genus: bass; Joey Baron: drums. 1996 - Arabesque (USA), ??? (CD) Note: not released yet (planned for September 1997). Patrice. ------------------------------------------------------------------------------- From: Tom Pratt Subject: new Eyvind Kang and Zorn request Date: 29 Aug 1997 12:55:12 -0400 Hey all, While in Seattle for a few days, I noticed another Eyvind Kang CD at Border's (not 7 nades). I was wondering if anyone's heard it yet and what they think. also do anyone have the following records and would be willing to tape them for me if I sent them tapes and return postage. I would buy them if I had any sort of hope of finding them but tapes are my only hope at this point. thanks to any kind soul who will help me! 031 - GANRYU ISLAND: Michihiro Sato and John Zorn 040 - EXPERIMENTAL PERFORMANCE WITH JOHN ZORN: Jojo Takayanagi -Tom Pratt ------------------------------------------------------------------------------- From: improv@peak.org (Dave Trenkel) Subject: Re: new Eyvind Kang and Zorn request Date: 29 Aug 1997 11:01:05 -0800 At 12:55 PM 8/29/97, Tom Pratt wrote: >Hey all, > >While in Seattle for a few days, I noticed another Eyvind Kang CD at >Border's (not 7 nades). I was wondering if anyone's heard it yet and >what they think. > The disc is proabably Sweetness of Sickness, on the Rabid God Inoculator label. It's much noisier than 7 Nades, and I like it quite a lot. There's a hilarious arrangement of a Bhangra tune on it. Also, I noticed Eyvind had a credit on the new We record, As Is. We is a drum 'n bass collective from either San Francisco or NYC, they've had tunes on compilations along the Illbient axis, as far as I know this is their first full length release. It's a really great record of experimental drum 'n bass and hip hop, but I haven't yet spotted Eyvind's contribution to it yet. ________________________________________________________ Dave Trenkel : improv@peak.org : www.peak.org/~improv/ "...there will come a day when you won't have to use gasoline. You'd simply take a cassette and put it in your car, let it run. You'd have to have the proper type of music. Like you take two sticks, put 'em together, make fire. You take some notes and rub 'em together - dum, dum, dum, dum - fire, cosmic fire." -Sun Ra ________________________________________________________ ------------------------------------------------------------------------------- From: Brent Burton Subject: Re: new Eyvind Kang and Zorn request Date: 29 Aug 1997 14:34:20 -0400 (EDT) On Fri, 29 Aug 1997, Dave Trenkel wrote: > Also, I noticed Eyvind had a credit on the new We record, As Is. We is a > drum 'n bass collective from either San Francisco or NYC, they've had tunes > on compilations along the Illbient axis, as far as I know this is their > first full length release. It's a really great record of experimental drum > 'n bass and hip hop, but I haven't yet spotted Eyvind's contribution to it > yet. I saw We @ the Cooler back in July and they were a lot more Dub and Hip Hop-influenced than anything else. I didn't hear anything fast or rhythmically complex enough to be called drum n' bass, but regardless I like whatever it is that they do. I think that they're from NYC, but I don't really know much about them beyond their contributions to the "Incursions in Illbient" CD that Ashodel put out recently. b ------------------------------------------------------------------------------- From: improv@peak.org (Dave Trenkel) Subject: Re: new Eyvind Kang and Zorn request Date: 29 Aug 1997 12:20:26 -0800 At 2:34 PM 8/29/97, Brent Burton wrote: >On Fri, 29 Aug 1997, Dave Trenkel wrote: > >> Also, I noticed Eyvind had a credit on the new We record, As Is. We is a >> drum 'n bass collective from either San Francisco or NYC, they've had tunes >> on compilations along the Illbient axis, as far as I know this is their >> first full length release. It's a really great record of experimental drum >> 'n bass and hip hop, but I haven't yet spotted Eyvind's contribution to it >> yet. > >I saw We @ the Cooler back in July and they were a lot more >Dub and Hip Hop-influenced than anything else. I didn't hear anything >fast or rhythmically complex enough to be called drum n' bass, but >regardless I like whatever it is that they do. I think that >they're from NYC, but I don't really know much about them beyond their >contributions to the "Incursions in Illbient" CD that Ashodel put out >recently. > Their As Is CD on Asphodel has a lot of drum 'n bass elements, as well as dub and hip hop. I think it's one of the better things I've heard recently. ________________________________________________________ Dave Trenkel : improv@peak.org : www.peak.org/~improv/ "...there will come a day when you won't have to use gasoline. You'd simply take a cassette and put it in your car, let it run. You'd have to have the proper type of music. Like you take two sticks, put 'em together, make fire. You take some notes and rub 'em together - dum, dum, dum, dum - fire, cosmic fire." -Sun Ra ________________________________________________________ ------------------------------------------------------------------------------- From: "cmurat" Subject: Medeski,Martin & Wood - Bubblehouse Date: 29 Aug 1997 22:27:08 -0300 Yesterday I bought MEDESKI, MARTIN & WOOD "BUBBLEHOUSE". John Zorn plays on Dracula Remix. Just amazing. cmurat@rcc.com.ar ------------------------------------------------------------------------------- From: tricky88@earthlink.net Subject: Re: zorn-list Digest V2 #104 Date: 29 Aug 1997 19:41:13 -0700 Sorry first of all. For two things: First I had some problems with the beta Netscape 4.0 and in the process lost a lot of my e-mail... So the e-mail addresses of the people who were interested in the Parachute Box are for the most part gone. I already sent ordering info to the four people whose addresses I salvaged. Thing 2: I am going to be getting 7 boxes at the most. It will depend on the current realtions with Tzadik, how early my company pre-ordered the sets (not very; they did it this week), and how much demand there is for these on the days before street date - Sept. 16. If anyone told me before they were interested, and even after caveats from Patrice and myself, still want the set, please e-mail me again. I will respond with the address then as soon as I get back from Mexico Modnday night. I only have a couple of slots left, first come,first serve. And sorry to be ethnocentric, but I'm going to limit it to U.S. for shipping ease. Mark Mauer tricky88@earthlink.net ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: We (was Re: new Eyvind Kang and Zorn request) Date: 30 Aug 1997 04:26:45 -0400 Dave Trenkel wrote: >Also, I noticed Eyvind had a credit on the new We record, As Is. >It's a really great record of experimental drum 'n bass and hip hop, >but I haven't yet spotted Eyvind's contribution to it yet. Yeah, i was wondering about that myself. I mean, there's got to be some violin in the mix somewhere. Each of the extra participants featured on the record has a symbol next to their name, but there don't seem to be corresponding symbols next to the tracks they perform on ... Huh? Then, Brent Burton wrote: >I saw We @ the Cooler back in July and they were a lot more >Dub and Hip Hop-influenced than anything else. I didn't hear anything >fast or rhythmically complex enough to be called drum n' bass, but >regardless I like whatever it is that they do. I think that >they're from NYC, but I don't really know much about them beyond their >contributions to the "Incursions in Illbient" CD that Ashodel put out >recently. I believe all three DJs in We (Lloop, Olive, & Once11) are from NYC. The Wire's (Dec. '96) feature on "Illbient" artists had some info on them. As was said above, they've been featured on many comps. including "Incursions", Laswell's Valis I & II, and DJ Spooky's "Necropolis", among others. "As Is" is their debut full-length. More recently, they've released a 12" of 2 remixes they did for the Bay Area collective, Tipsy. I believe either a 10" or 12" picture disc is in the works. On a related note, both Olive & Lloop are in the band Liminal, with guitarist Danny Blume. Liminal have released two albums on Knitting Factory, "Nosferatu", and their most recent, "Pre-Set", under the Liminal Lounge moniker. We & Liminal both have beats, bass & DJ manipulations of sound in common, but they are still quite different beasts. Check out http://www.knittingfactory.com/Bands/Liminal.html for more info if you're interested. -Patrick np: Band Of Pain - "You're Miss Fortune" ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Bar Kokhba tape trade ?? Date: 30 Aug 1997 10:58:42 -0400 (EDT) > > Zorn and Bar Kokhba played 2 shows in Toronto last night. An > > i assume these are the tuesday shows. the monday night 10.00 show > was also amazing. it lasted about 80 minutes or so (2 encores). > ribot and feldman were particularly fierce i thought, and i really enjoyed I saw all four of the shows here. Although there were some pieces that cropped up more than once, there was enough variety to keep the sets different as well. One piece that sticks out was the version of Taha played by Joey Baron and Cyro Baptista - another notch in the belt for the idea of melodic drumming. I heard a lot of unfamiliar pieces...after the tenth and last Masada album, there's still going to be a lot of unrecorded stuff. Is Bar Kochba going to continue to be a phenomenon after Zorn's finished with it, much like Cobra? -jascha ------------------------------------------------------------------------------- From: "Yeah-shure, Nah...er...ve'-so'n" Subject: Re: Dance for Le Corbusier Date: 30 Aug 1997 11:01:00 -0400 (EDT) > The quote in question is criticizing the value of writing analtically > about music, which, as with just about anything we like, has roots deeper > than what can be explained. Being inspired to write by music is not the > issue. point. -jascha ------------------------------------------------------------------------------- From: JonAbbey2@aol.com Subject: Parachute box again Date: 30 Aug 1997 12:21:17 -0400 (EDT) I ws told that the Parachute box is not limited to 1000 copies, and that that is just a rumor. Anyone know for sure? Jon ------------------------------------------------------------------------------- From: Steve Smith Subject: Re: Parachute box again Date: 30 Aug 1997 14:09:37 -0400 JonAbbey2@aol.com wrote: > I ws told that the Parachute box is not limited to 1000 copies, and > that that > is just a rumor. Anyone know for sure? > > Jon I didn't see anything to that effect in the Koch sales literature, and I know they'd use that as a selling point if it were the case. I think it's just a mistake based on the limited edition status of the original LPs. I can't imagine that they would go to all the trouble of making such a deluxe, swanky package if it were not for posterity. What I wonder is, what happened to all the people who pre-paid for the 100 CD Zorn/Eye box, now that Sound Factory is officially defunct (a side-effect of Hong Kong's absorption into China, and not rumor but fact)? Steve Smith ssmith36@sprynet.com ------------------------------------------------------------------------------- From: "wesley@interaccess.com" Subject: Foday Musa Suso In Chicago TODAY 8/30/97 Date: 30 Aug 1997 13:26:18 -0500 (CDT) Sorry for the last minute notice and the cross posting, but i just found out about this yesterday. Foday Musa Suso and the Mandingo Griot Society will be performing today, August 30th, at the DuSable Museum of African-American History in Chicago. Kora player Suso has worked with a variety of well known artists including Don Cherry, Bill Laswell, Herbie Hancock, Phillip Glass and Pharoah Sanders as well as leading his own acclaimed group, the Mandingo Griot Society. His recordings have appeared on labels such as Columbia, Axiom, CMP, and Elllipsis Arts. The Mandingo Griot Society performs at 8:00 PM today as part of a four-day African festival being held at the DuSable Museum, located at 55th & Cottage Grove in the middle of Washington Park on Chicago's south side. Washington Park is located close to both the Museum of Science and Industry and the University of Chicago campus. You can call (773) 955-2787 or (773) 955-9682 for directions. If you are still having trouble, keep in mind that the museum is literally located in the middle of Washington Park, which is very easy to find on a map. Admission to the festival will run about $5. If you are planning to attend the Chicago Jazz Festival this evening, I wouldn't reccomend leaving for Washington Park too long after 7:00 or so, which should give you time to catch the first two sets at Grant Park. Parking last year at the DuSable was a bitch. Those looking to satsify their avant-garde jazz fix after the African festival ends are directed to Fred Anderson's Velvet Lounge, 2128 1/2 S. Indiana. Sets there should run until at least 2:00 AM. Call 312-791-9050 if you need directions. Hope that some of you take advantage of this. Suso's playing has always struck of being some of the beautiful musicianship that I've ever had the pleasure of hearing. Out 2 Lunch With Lunchmeat, Paul wesley@interaccess.com ------------------------------------------------------------------- GROOVE O(+> (the artist formerly known as Prince) <+)O ---------- e - m - a - n - c - i - p - a - t - i - o - n one nation The Exodus Has Concluded - Welcome 2 The Dawn ------------------------------------------------------------------- ------------------------------------------------------------------------------- From: katsuhiro hayasaka Subject: Tzadik.com Date: 31 Aug 1997 03:51:09 +0900 See http://www.tzadik.com/ In Tzadik gossip,there is a list of upcoming releases including "The Parachute Years". -- katsuhiro hayasaka c9609238@mn.waseda.ac.jp ------------------------------------------------------------------------------- From: Tom Pratt Subject: new e# on Tzadik Date: 30 Aug 1997 16:07:36 -0400 Hey everyone, Here's the word from Elliott Sharp on the upcoming Tzadik release by him and Ronny Someck: --------------------------- hi tom - new CD called Revenge of the Stuttering Child should be out in september sometime. Ronny Someck is an iraqi-born jewish poet who now lives in israel. his work is very deep as well as being non-nationalistic & non-zionistic (both very important factors for me.) he reads almost exclusively in hebrew on the disc - there are english translations of the poems in the booklet. the musical settings vary greatly - guest musicians on some include saido salifoski-dumbek, anthony coleman-piano, margaret parkins-cello, zeena parkins-accordion L8R - E# --------------------- looks interesting to me... -Tom Pratt ------------------------------------------------------------------------------- From: Sean Terwilliger Subject: Third Rail Date: 30 Aug 1997 18:32:35 -0400 So! It appears the TR have cancelled their NY gig on 9/12. Any news of a re-schedual? Bummed. Sean ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: We again (was Re: new Eyvind Kang and Zorn request) Date: 30 Aug 1997 21:00:31 -0400 Dave Trenkel wrote: >Also, I noticed Eyvind had a credit on the new We record, As Is. >It's a really great record of experimental drum 'n bass and hip hop, >but I haven't yet spotted Eyvind's contribution to it yet. I may have spotted him on track 11, "Tombs & Tombs Only" ... listen for his playing in the background, and especially during the quieter moments. -Patrick np: We - "As Is" ------------------------------------------------------------------------------- From: improv@peak.org (Dave Trenkel) Subject: Re: We again (was Re: new Eyvind Kang and Zorn request) Date: 30 Aug 1997 18:24:52 -0800 At 9:00 PM 8/30/97, Patrick Carey wrote: >Dave Trenkel wrote: > >>Also, I noticed Eyvind had a credit on the new We record, As Is. >>It's a really great record of experimental drum 'n bass and hip hop, >>but I haven't yet spotted Eyvind's contribution to it yet. > >I may have spotted him on track 11, "Tombs & Tombs Only" ... listen for his >playing in the background, and especially during the quieter moments. > Yeah, I'm listening to it now and noticing this. Also, there's track 7, "Violinstoid", which, when I'm listened to it this time, sounds like a very time-stretched sample of one of Eyvind's distortion moments. Regardless of Eyvind's participation, this is a highly interesting CD. ________________________________________________________ Dave Trenkel : improv@peak.org : www.peak.org/~improv/ "...there will come a day when you won't have to use gasoline. You'd simply take a cassette and put it in your car, let it run. You'd have to have the proper type of music. Like you take two sticks, put 'em together, make fire. You take some notes and rub 'em together - dum, dum, dum, dum - fire, cosmic fire." -Sun Ra ________________________________________________________ ------------------------------------------------------------------------------- From: Brian & Sharon Beuchaw Subject: Re: People paying for Zorn/Eye 100CD Date: 30 Aug 1997 23:11:50 -0500 (CDT) On Sat, 30 Aug 1997, Steve Smith wrote: > What I wonder is, what happened to all the people who pre-paid for the > 100 CD Zorn/Eye box, now that Sound Factory is officially defunct (a > side-effect of Hong Kong's absorption into China, and not rumor but > fact)? > > Steve Smith > ssmith36@sprynet.com Hmmm, did they actually take orders for this? When I emailed them (a long time ago) asking how to order, they told me to wait a while since it was postponed (apparently 'til forever now)..... cya brian ------------------------------------------------------------------------------- From: Perfect Sound Forever Subject: Re: zorn-list Digest V2 #114 Date: 31 Aug 1997 00:47:55 -0400 At 06:01 PM 8/30/97 -0600, you wrote: >------------------------------ > >Date: Sat, 30 Aug 1997 18:32:35 -0400 >From: Sean Terwilliger >Subject: Third Rail > >So! >It appears the TR have cancelled their NY gig on 9/12. Any news of a >re-schedual? Yep, it's official- the show's been cancelled and Irving Plaza is offering refunds. Really sad since the Last Poets were opening for them. This is the second time TR has had a show cancelled in a month in New York- there was one that was supposed to happen at Tramps a month ago that was cancelled because they hadn't sold any advanced tickets. Also sad since the show's they've done in California are supposed to have been great. Jason ------------------------------------------------------------------------------- From: Jeff Spirer Subject: Re: zorn-list Digest V2 #114 Date: 30 Aug 1997 22:13:23 -0700 At 12:47 AM 8/31/97 -0400, Perfect Sound Forever wrote: >the second time TR has had a show cancelled in a month in New York- there >was one that was supposed to happen at Tramps a month ago that was >cancelled because they hadn't sold any advanced tickets. This is not why the show was cancelled. The show had been cancelled before the ads ran. >Also sad since >the show's they've done in California are supposed to have been great. Well the San Francisco show was certainly great. Bill didn't seem as enthusiastic about the one in LA, which I missed. Jeff Spirer Axiom/Material http://www.hyperreal.org/axiom/ ------------------------------------------------------------------------------- From: pm.carey@utoronto.ca (Patrick Carey) Subject: Re: We again (was Re: new Eyvind Kang and Zorn request) Date: 31 Aug 1997 06:16:39 -0400 >>I may have spotted him on track 11, "Tombs & Tombs Only" ... listen for his >>playing in the background, and especially during the quieter moments. >Yeah, I'm listening to it now and noticing this. Also, there's track 7, >"Violinstoid", which, when I'm listened to it this time, sounds like a very >time-stretched sample of one of Eyvind's distortion moments. Forgot to mention, he may be on track 13 as well, not sure though. >Regardless of Eyvind's participation, this is a highly interesting CD. Agreed. -Patrick np: Charlemagne Palestine - "Four Manifestations ..." ------------------------------------------------------------------------------- From: JonAbbey2@aol.com Subject: Re: The Parachute Box - wow! Date: 31 Aug 1997 11:28:41 -0400 (EDT) Thanks for all that info, Steve. I'm pretty psyched to get my hands on this puppy also. Also, I can now answer my own question as to whether this is a limited edition or not. I was told by the illustrious Bruce Gallanter that there are 5000 copies of the box being pressed initially, and that more will be pressed later if necessary. Jon ------------------------------------------------------------------------------- From: Schwitterz Subject: Arto Lindsay Live Date: 31 Aug 1997 09:37:22 -0700 Hey Zornados, While perusing the wasteland known as the LA Times Calendar section this morning, I noticed Arto Lindsay is opening for David Byrne at the Mayan Theatre this Wednesday. What is the scoop on the merit or not of seeing Lindsay live? Sz ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: Re: zorn-list Digest V2 #104 Date: 31 Aug 1997 13:38:52 -0700 On Fri, 29 Aug 1997 19:41:13 -0700 tricky88@earthlink.net wrote: > > Sorry first of all. > For two things: First I had some problems with the beta Netscape 4.0 > and in the process lost a lot of my e-mail... So the e-mail addresses > of the people who were interested in the Parachute Box are for the most > part gone. > > I already sent ordering info to the four people whose addresses I > salvaged. > > Thing 2: I am going to be getting 7 boxes at the most. It will depend > on the current realtions with Tzadik, how early my company pre-ordered > the sets (not very; they did it this week), and how much demand there is > for these on the days before street date - Sept. 16. > > If anyone told me before they were interested, and even after caveats > from Patrice and myself, still want the set, please e-mail me again. I ^^^^^^^ I never made any reservations about Zorn's Parachute years. Just thought that qualifying the music of "beautiful" could create more confusion than help in the mind of potential buyers (specially for a 7xCD set...). > will respond with the address then as soon as I get back from Mexico > Modnday night. I only have a couple of slots left, first come,first > serve. And sorry to be ethnocentric, but I'm going to limit it to U.S. > for shipping ease. > > Mark Mauer > tricky88@earthlink.net > > ------------------------------------------------------------------------------- From: "Patrice L. Roussel" Subject: more on Frith-Zorn during the Parachute sessions Date: 31 Aug 1997 14:02:49 -0700 I was digging through my list of interviews/articles and found the following excerpt (because this is the beginning of the full discussion, no need to worry about "out of context" issues). Hope you enjoy it, Patrice. Excerpt from a discussion between Fred Frith and John Zorn, published in the June/July 1988 issue of the late US magazine REFLEX. JZ: Combining composition and improvisation is one of the things we both have in common. Yet when we were rehearsing my piece, ARCHERY, back in '79, I remember having a fight with you about it -- conceptually you didn't think it was proper. FF: That was the first time we met and I was coming out of a situation where I had been working in a collective [Henry Cow] for ten years in which we discussed everything. Any doubts or thoughts that we had about what we were doing were aired. I remember feeling like I was in church working on that piece with you. It was you with your orchestra. All these people were young, enthusiastic musicians, but they were obviously awed by you. JZ: No, we're talking about peers -- Eugene Chadbourne, Tom Cora, Davey Williams, Polly Bradfield... FF: It didn't feel that way to me for some reason. I remember Steve Beresford and I were talking about it then. We thought that when we both started to criticize certain aspects of what you were doing -- for whatever reason -- it seemed like there was a kind of silence. Like... 'wow... someone was questioning.' JZ: My attitude was that you were coming from Britain, which was the center of the Derek Bailey "let's improvise and don't talk about it" school. "If you talk about it, that ruins the purity." You guys were in church, man, not us! You were the ones preaching the gospel of improvisation as having to be totally improvised. FF: That's not true. Henry Cow tried to combine improvisation and composition for years and was often criticized for it. As for ARCHERY, I remember clearly what I thought. I felt a lot of pieces -- more with Eugene's than yours, but a little bit in both -- sometimes consisted of lazy composition rather than interesting improvising. I felt like I was being given a vague instruction to do something, and then if I did something, which I thought was according to the instruction, but that Eugene didn't like, he would say, "no, not that, this." My reaction was, 'if you want me to do some- thing specific, you have to tell me as part of your composition. If you don't, but stop me for improvising something that doesn't fit in with your idea, then there's something wrong.' That's what I thought of "2000 Statues." Whereas, with your stuff, it was more a question of trying to figure out what the hell you were on. JZ: No, I think you had a philosophical question. FF: Right, I had ideology coming out of my ears. I was really interested in 'why does John want to do this?' 'Why is he stopping improvisers from doing what they do best? Imposing a structure on them which is really going to restrict them from doing what they can do.' I thought that was pretentious. Then a friend gave me a very interesting insight. He said, "What you have to understand is, think only in terms of the end-result. If the end-result of John's piece is the kind of music that couldn't have been achieved by any other means, then your objections don't matter a shit. The only important thing is that the end-result is obtainable by the means John devises, and that it is a good end-result that's only possible that way." I looked at it from that point of view, and thought, 'that's dead right.' I started to examine the pieces more from the back forward instead of from the front onwards. I started to think in terms of what you were trying to achieve in the end-result and what was actually happening when you were playing. JZ: Yeah, I should have asked you to play on the recording of ARCHERY, but I felt that you weren't into it. FF: In a way, I wasn't. I was full of my purist approach, though I would have denied it then, working with Henry Cow. JZ: When did all the political shit creep into your background? FF: Right at the very beginning. We were all, in some way, politically involved because it was '68 and you couldn't not be. JZ: I wasn't (he laughs). FF: You're a apolitical dumb shit! (they both laugh). I mean at that time, in that context, I was involved in a certain number of actions which had nothing to do with music -- like demonstrations and meetings and so on. What Henry Cow did was to bring together different strands of our beliefs outside of the music and try to make the music reflect that in some way. That was a long process and really only started to gel when we got a record contract. Then we were suddenly up against the record business and had a concrete thing to hate. We started projecting a lot of our political beliefs into the whole structure of the music business. A lot of our politics were really music business politics. We started getting involved in music business activity, like setting up alternative circuits, being independent of managers and agents, buying our own vehicles and PA systems and stuff like that.