I have to agree that Laika and The Cosmonauts may just be the=20
best new surf act around. And "Psyko" is the song that got me=20
listening to them years ago.
Thanks for all the advice...
Paul
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original =
sender.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 16 Oct 2000 10:18:07 -0400
From: nytab@pipeline.com
Subject: (exotica) [obit] Britt Woodman
Britt Woodman
http://allmusic.com/cg/x.dll?p=amg&sql=B36806
HAWTHORNE, Calif. (AP) -- Britt Woodman, a versatile jazz musician best known for his work as a trombonist with Duke Ellington's Orchestra in the 1950s, died Friday. He was 80 and had been suffering from respiratory problems.
Woodman was featured in Ellington numbers including ``Sonnet To Hank V'' (from ``Such Sweet Thunder'') and ``Red Garter'' (from ``Toot Suite'').
He worked with greats including Miles Davis, Charles Mingus and John Coltrane, and played in many big bands, including the Lincoln Center Jazz Orchestra.
Piano was Woodman's first instrument, but soon he was playing trombone, saxophone and clarinet as well. By the time he was 15, he was playing professionally with his older brothers, William Jr. and Coney, in the Woodman Brothers Biggest Little Band in the World.
The band became known in Los Angeles' flourishing jazz scene of the 1930s because Britt and William -- who played saxophone, clarinet and trumpet -- often traded instruments in the middle of a set. William would go on to a professional career as a saxophonist.
Britt Woodman played in such swing-oriented ensembles as the Les Hite Band in the late 1930s, and later played with the iconoclastic Boyd Raeburn Band.
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 16 Oct 2000 17:28:34 +0200
From: ultrasuoni <ultrasuoni@ilmanifesto.mir.it>
Subject: Re: (exotica) Spies are forever
When I was writing my
> book "Mondo Exotica" I interviewed Martin Denny on
> this subjects and his reply
> was enlightening: "My music has always been like
> fiction, no authenticity;
Um, before addressing this topic, I think you need to
tell us about this book!
Panting,
Jane Fondle
Hi Carl, Jane, Tiki Bob and everybody,
as requested by Jane Fondle, let me tell you very shortly about my book.
It's called "Mondo Exotica", it has just been released in Italy, it's a
550-page book (with a 40-page discography; this being complete with
catalogue number, original-and-reprint date of issue and therefore
enabling readers to order cds quite easily) and it's available through
http://www.plastic.it.
It took me five years to write it, hours of phone interviews with Martin
Denny, Esquivel and many contemporary artists and a lot of moral and
physical devotion. My idea was not only to cope with the many styles of
European and American Space Age Pop or to simply analyze the emergence
of a contemporary Cocktail Nation, I also wanted to come to terms with
the political and sociological aspects of that imagery and those sounds.
First of all, I wanted to deal with the very essence of Exotica (as a
musical genre and idea), its darker and more reactionary aspects; I
wanted to dismantle the romanticizazion of the so called "Orient" (being
it Africa or Polynesia) filtering through hundreds of 50's-60's Exotica
records. To retrace this idea I plunged into exotic cinema, literature
and even classical music. I also spent months in Rome's national library
to study how through centuries colonial countries turned exoticism into
a monstrous lethal machine. For instance in the 20's, during Fascism,
cities like Naples were turned into "under-glass jungles" with Africans
directly "imported" from Ethiopia and exhibited as if they were
creatures from another world. Not to speak of how Italian soldiers
"sexually studied" natives on the spot for the sake of exoticism. This
is the dirty face of Exotica and I discussed it with Martin Denny,
Esquivel, Tiki Tones and tens of Italian composers (from Piccioni to
Umiliani, from Cipriani to Fidenco).
Now, yes Carl, "Johnny Quest" is overtly racist, but think of the far
"subtler" and dangerous "The Man from UNCLE": Napoleon Solo, the
American, was the thinking man, the rational one, he represented the
American way; Illya, the Russian, was the young one, the "unforeseeable"
one, the dangerously ephebic and exotic one. For the first time in
history two blocks were working together under the "direction" of the
Usa and for the first time America had the "tv opportunity" to
edulcorate the "Soviet menace". It's this kind of sterotypes that
underlie the sounds and imagery of the Space Age.
Ehi, Jane you mention Les Baxter's attempt to do weird sounds, ok, but
have you ever thought of "Ritual of the Savage"'s liner notes: "the
rhythms and the sounds of the tribes turn the jungle into a colourful
set where to show the most violent emotions of this mysterious and
primitive people". That's scary: mysterious, primitive, this is to say,
not American or worse, un-american. In addition to this, Jane, think of
tracks like "Congo Train" (from the lp "African Jazz"): Baxter uses
mambo and samba to suggest a sensation of cultural and social alterity
brought about by Africa. But, hey, mambo and samba? Yes! As in Hollywood
latin rhythms were the perfect sterotype adopted by many musicians to
sonorize Africa, Polynesia, jungles and everything was not Western. Now,
I'm not criticizing the sounds of Space Age Pop, I love them, I love the
composers, the genius of Bob Thompson and Leo Addeo, Esquivel and Martin
Denny, what I refuse is a passive appreciation of an era which has
produced the most terrible and traumatic exotic imagery, an imagery that
to this day we are unfortunately still experiencing. Obviously it was a
direct result of the previous century's colonial expansion, but you
can't deny that it was overamplified in the Fifties and Sixties to the
pure imperialist interest of the Soviet Union, Usa and other European
nations. This is my point, and I want to share it with you all.
francesco adinolfi
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
------------------------------
Date: Mon, 16 Oct 2000 11:43:48 -0400
From: br@triagemusic.com (B.R. Rolya)
Subject: re: (exotica) GG Allin/Tipsy in NYC/"Outsider Music"
Brian wrote:
>But next time you think everyone in Vermont is nice and polite, just remember
>it was also home to GG Allin!
Actually, he was from New Hampshire (which, politically, is completely
opposite from Vermont!)
- -------
For those in the New York area, there are (at least) 2 CMJ shows this week
that list members might be interested in:
- - on Thursday, Tipsy (!) is playing at 12 am at CB's Lounge
(and Tipsy Dave will be djing at Meow Mix on tuesday, oct. 24)
- - on Sunday, Irwin Chusid will be reading from his book (and Daniel
Johnston, BJ Snowden, and Bingo Gazingo will be performing) at the "Curious
Evening of Outsider Music" at Tonic (starts at 7pm)
- - BR
br@triagemusic.com
# Need help using (or leaving) this mailing list?
# Send the command "info exotica" to majordomo@lists.xmission.com.
# To post, email exotica@lists.xmission.com; replies go to original sender.
