ZZZZZZZZZZZZZZZZZ OOOOOOOOOOO RRRRRRRRRRRRR NNN NNN Zzzzzzzzzzzzzzzzzz ooooooooooooo r rr nnnn nnn zz o o r rr nnnnn nnn zzz o o r rr nnnnnn nnn zzz o o r rr nnn nnn nnn zzz o o r rr nnn nnn nnn zzz o o r rr nnn nnn nnn zzz o o rrrrrrrrrrrrr nnn nnn nnn zzz o o rr rr nnn nnn nnn zzz ooooooooooooo rr rr nnn nnnnnn zzzzzzzzzzzzzzzzzZ OOOOOOOOOOO rr rr nnn nnnnn ZZZZZZZZZZZZZZZZZ rr rr nnn nnnn rr rr NNN NNN RR RR (AND OTHER NYC DOWNTOWN MUSICIANS) posts: zorn@unh.edu sub/unsub: zorn-request@unh.edu *** BACK ISSUES of this digest can be obtained in one of two ways: *** 1) anonymous FTP at cs.uwp.edu *** 2) via my homepage: http://pubpages.unh.edu/~mpj1 DIGEST #55, 5-11-95 ----------------------------------------------------------------------- From awc837@lulu.acns.nwu.edu Tue May 9 17:01:26 1995 Subject: Re: ZORN DIGEST #54 >Who are those Borbetomagus?? Are they from downtown New York so we can talk >about them on this list? >I read about their LP "Snuff Jazz" that its "probaly the most violent sound >put onto vinyl" Sounds pretty cool to me... Borbetomagus are not necessarily downtown musicians- the only reason I brought them up was because someone from Chicago was looking for "the show of the decade" and if anything is-- than it is the Borbeto show in Chicago on June 9th. They primarily consist of two saxophonists and a guitarist though they are frequently joined by people on electronics and the like. If you haven't heard them--words and descriptions are inappropriate. I highly recommend the pummeling experience of listening to them though. "Sound takes on new properties at extreme volumes, or rather, the fragile human ear percieves it that way" (Peter Maragasak from liner notes to Borbetomagus album Buncha Hair That Long). All of their stuff is available through Agaric Records, 3 Haring Avenue, Sparkill,NY 10976 and most likely Forced Exposure. andrew c saxophones aren't pretty ----------------------------------------------------------------------------- From rizzi@tfs.com Tue May 9 18:20:39 1995 Subject: Naked City Jonas aka zoopsi@inet.uni-c.dk sez: >I dont get it. First I read somewhere that Naked City broke up because Zorn >stopped writing music for them. Then I read in the article on The Boredoms >in Mondo 2000 that "Yamaoto also plays regulary with John Zorns Naked city" Hmmm...that's the second time I've heard that piece of incorrect information. Yamamoto, the guitarist for the Boredoms, hasn't played with Naked City. Yamatsuka Eye certainly has though. Well, at least now there is a source for the rumor. :) >Hey didnt they break up??? Then I read about Radio, Part 2 by Naked City. It Not sure about breaking up. I think Zorn just stopped writing new material for that particular ensemble. >says that its a record with Naked City doing cover versions of some old stuff. >At the end it says "never released. in fact never recorded". Are they going >to record it or what???? My understanding is that he changed his mind about recording that particular idea. Personally, I would love to be able hear some of the covers they performed live. Especially, the swingin' boppin' ones. Maybe he'll change his mind. >Do Naked City still exist??? In our collective consciousness and on record...yeah, they still exist. heh. mike rizzi@tfs.com ------------------------------------------- rizzi@netcom.com -=work=- "Another nerd with a soulpatch" -=home=- http://www.meer.net/~browbeat/ -------- browbeat magazine, po box 11124, oakland, ca 94611-1124 --------- ------------------------------------------------------------------------- From rizzi@tfs.com Tue May 9 18:29:53 1995 Subject: Borbetomagus Jonas V. aka zoopsi@inet.uni-c.dk sez: >Who are those Borbetomagus?? Are they from downtown New York so we can talk >about them on this list? >I read about their LP "Snuff Jazz" that its "probaly the most violent sound >put onto vinyl" Sounds pretty cool to me... Borbetomagus are a trio from NY that are intense, loud and free. They are two saxophones and a guitar. They have been around for over 15 years and have almost as many releases (in true DIY spirit, most are self released). When they played in Oakland's Stork Club, the sax amplifier caught FIRE due to the extended, extreme sound it had to project. Dense improv...not for the squimish. mike rizzi@tfs.com ------------------------------------------- rizzi@netcom.com -=work=- "Another nerd with a soulpatch" -=home=- http://www.meer.net/~browbeat/ -------- browbeat magazine, po box 11124, oakland, ca 94611-1124 --------- ------------------------------------------------------------------------- From pmcarey@students.wisc.edu Wed May 10 00:52:18 1995 Subject: LOCUS SOLUS I while ago I was told by a gal at Japan Overseas that "Locus Solus" on Eva was out of print. Since I have been wanting to pick this up for quite some time now, I was relieved to hear in #50 that Ajax mail order carries it & that Tzadik and the new label Evva will be reissuing most of the Eva stuff. My question is: What is Ajax's address, phone, email & how can I get a copy of their catalog? Any info would be appreciated, -Patrick ------------------------------------------------------------------------- From simon@isys.king.ac.uk Wed May 10 07:07:17 1995 Subject: the classic guide to strategy II can anyone tell me about this recording? I notice it has Togawa Jun from Geurnica (anyone else know this group?) on it. Who are the other musicians and what do they play/sing on the record? Is it still available? simon lucas ------------------------------------------------------------------------- From mikep@garnet.msen.com Wed May 10 13:09:49 1995 Subject: Record Stores in San Francisco I am going to San Francisco over Memorial Day Weekend and was wondering if anyone could give me names and addresses of some good record stores for Zorn/Laswell/experimental type of music? Thanks ------------------------------------------------------------------------- From RARDIN%ORION@BINAH.CC.BRANDEIS.EDU Wed May 10 15:36:19 1995 Subject: 4th Masada CD on DIW I heard an interesting rumor about the 4th Masada CD on DIW...the one that is only available as a bonus directly from DIW if you buy the first 3 in the series. A buddy at Tower told me he heard that DIW might release a box set of the Masada recordings which would include the 4th CD. -Lynn (rardin@auriga.rose.brandeis.edu) ------------------------------------------------------------------------- From gmg@clark.net Wed May 10 18:43:54 1995 Subject: Painkiller at the Black Cat in D.C. Painkiller Black Cat Washington D.C. May 9, 1995 The members of Painkiller took the stage at the Black Cat and gave the small crowd their own brand of controlled chaos. From the moment they started playing to the end, they were all business - no interaction with the crowd, no special effects, no light shows, no bullshit, just music. When I used to listen to their music, I never imagined actually seeing them live. But, there I was, front row, leaning on the stage, Bill Laswell not more than 5 feet away from me, the power of his bass vibrating my pants legs. The place wasn't packed, but there was 100 or so people, who stood and stared in awe at these 3 improv masters. They played for only an hour, and there were no encores (previous shows on the tour lasted 2 hours, and had encores). I suspect they were pissed at the sound guy. Before the show, the sound guy was having big problems with John Zorn's mic, and I'm not sure they ever got it fixed. I was not impressed with the overall sound. The bass was *way* too loud. So were the drums. Or maybe, the sax was too low. With the Painkiller music I have, Zorn's sax is emphasized. All the subtleties can be heard. There were times at the concert when I could barely hear him. Does anyone know who/what was controlling Zorn's echo effect on his sax? I didn't see a pedal near him. He was getting some really wicked results with the echoing. He would echo, then overlay that to get this cool effect. Some of the stuff they did was similar to Buried Secrets. They did an ambient tune as well. Laswell led the way with this one, with his bass and numerous pedals he was controlling. Zorn and Harris shared the vocals. Once again Zorn was getting a wicked echo effect with his screams, and I'm not sure how he was doing it. Harris' vocals were those back of the throat screams. I really thought he was gonna swallow the mic for a while there. And once again, the vocals could barely be heard, because the music was TOO LOUD. Mick Harris' drumming was nothing short of awesome. He beat the shit out of those drums. I've never seen anyone attack the drums like him. He snuck in a few old Napalm Death like drum beats which was cool. We heard some people saying that the 3 guys just show up at these gigs with Zorn's sax, and Laswell's bass, nothing else. All the rest of the equipment is borrowed. If this is the case, I feel sorry for who ever owns the drums Mick Harris was pounding on. Overall, I was a little disappointed. I was expecting a 2-hour show. I also read reviews that said Mick Harris came out and screamed some vocals for awhile. He didn't do this at this show. They did not come back for encores (though the crowd really wasn't begging them). And, the sound was all messed up. But, I'm glad I got to see them, and will defintely see them if they come around again. Seeya, gmg@clark.net Gary "Jazz! Phhhbt!... they just make it up as they go along. I could do that..." - Homer J. Simpson ------------------------------------------------------------------------ From pnr@owl.INS.CWRU.Edu Wed May 10 20:49:16 1995 Subject: Re: ZORN DIGEST #54 >> Sorry, Ruins is the Bass/drums duo of Yoshida and Masuda. >> They have about 8 albums out and are pretty wild live. > >A punk/hardcore duo with nly bass and drums gotta be cool. Anyway, Im >thinking about picking up one of their albums, where should I start?? I'd start with Burning Stone or Stonehenge, both on Shimmy and easily available in the US. Grab the Ruins Early Works too if you can. Also there's a 10 song 7" that's extra special cool and includes scores to their pieces. Very neat. See them live if at all possible. Ruins are very cool. >Who are those Borbetomagus?? Are they from downtown New York so we can talk >about them on this list? >I read about their LP "Snuff Jazz" that its "probaly the most violent sound >put onto vinyl" Sounds pretty cool to me... Borbetomagus are super noisy. I'm not so hot on them on vinyl (one album is probably all you need, pick any one.) But go see them live if you want a mind blowing, ear piercing, gut wrenching experience of sound as physicality. They literally filled the space I saw them at with noise and you could walk around and almost feel it swirling around you like water. Definitely an experience not to miss if you care about music. -- I'd like to die peacefully in my sleep ! like my grandfather, ! Peter Risser not screaming in terror ! pnr@po.cwru.edu like his passengers. ! ------------------------------------------------------------------------ From dusty@access.digex.net Wed May 10 20:56:19 1995 Subject: Painkiller live/My First Post I just thought I'd share with you my disappointment last night that Painkiller was playing live in my town last night, and I was too sick to go (I was crying too hard last night to post). I figure if anyone can relate, you can.

Also, just a couple of weeks ago, Golden Palominos were in town and cancelled (DC area -- the Bayou). Two questions: (1) Would Bill Laswell have been with them (not that this was a criteria for going, I am just curious; I have _yet_ to see him play live)? (2) Does anyone know why they cancelled? Was it just that night, or leg, or what? Forgive me if Golden Palominos is too off-topic. [ not off topic at all -Matt, zorn-mgr ]

Does anyone have a Bill Laswell (a) Discography; (b) Production work discography; (c) session work discography; (d) whatever...discography. I specifically include the last category not as a cop out, but because I am a little confused by Cypher 7 -- is he involved or not? I remain, Peter aka Dusty Chalk PS Hi! Greetings. ------------------------------------------------------------------------ From simon@isys.king.ac.uk Thu May 11 07:08:23 1995 Subject: an 80's Celluloid japanses comp. Probably nothing to do with John Zorn, whatesoever, but: I read recently, I think in the Japanese issue of Wire (which I cannot find at this time) that sometime in the 80's Celluloid released a compilation of recordings by underground Japanese musicians, compiled by Fred Frith. Does anyone know this record? Is it available anywhere? simon lucas ------------------------------------------------------------------------ >From pmcarey@students.wisc.edu Mon May 8 00:32:00 1995 Subject: Painkiller After only finding out about the Minneapolis Painkiller show Friday night, I'm happy to say I was able to get a ticket & also successfully make the 6 hour trip (by bus) to see them on Saturday. What can I say: Absolutely brilliant!! The crowd could do nothing except stand in awe watching the three masters at work. They played nearly a two hour set of improvs built around selections from "Execution Ground" and even came out for a short encore. Got to chat with both Zorn & Mick . . . and got John Hancocks from all three. Definitely check them out during one of their last few dates if you have the chance. Not to be missed!! - Patrick ------------------------------------------------------------------------------ >From boster@email.unc.edu Mon May 8 02:41:16 1995 Subject: Painkiller in Chapel Hill This is a sketchy response to the Painkiller show in Chapel Hill, NC on 5/7. I may fill it out some later, but I wanted to get my early thoughts out to people who could be seeing them soon so they can have a little context to decide if they want to go, etc. While there were a lot of things I can find to be critical about, I generally enjoyed the show and would encourage everyone to attend. The pieces they played were much more loosely combined then on either of the domestic releases. The general idea was this (and many of these threads could have been specific to the sound system in the club): Laswell played a lot - sometimes overplaying, usually heavily treated and manipulated stuff. Zorn played sporadically, always using a pretty heavy - and suprising constant delay patch. Much of the Zorn stuff used drones countered with those lucious runs of his. Mick Harris pounded, but his drum sound was thin compared to the heavily treated wailing of the guys up front. His dub parts worked a lot better in terms of balance. The playing was free and often really full, but there could have been a lot more restraint. It seemed like often Harris was trying to be RS Jackson (see Last Exit, Power Tools) and he just doesn't have the time keeping while running around the kit thing down. Both Zorn and Harris did some non-verbal vocalizations which worked well in the direction of the ambient disc. There almost always seemed to be someone playing outside of the context of what the group was playing, which sometimes worked and sometimes held things back. There were a ton of solos. Most of the pieces were long, which ran counter to my expectation. The crowd (pretty good turnout - around 225) really responded well, calling for two encores. I liked it, but I thought it was a little easy and less tight then I felt like I deserved from the three of them. I was overwhelmed (and sometimes a little put upon) by Laswell's chops - I had never seen him before. I'm interested to hear how the shows were elsewhere. Also it did not seem like either Laswell or Zorn were much interested in being in the rock star mode: little stage presence, shitty interaction with the crowd, didn't like the lights, fucked with the sound guy alot... Oh well, I guess you can't expect your idols to be polite too. Bob Boster boster@email.unc.edu ------------------------------------------------------------------------------