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zorn-list Digest           Saturday, 20 July 1996       Volume 02 : Number 005

In this issue:

    Re: Frisell, Eyvind Kang, Sun City Girls
    "Get Shorty", Kronos, Kato Hideki
    Re: MMW
    MM&W, National and Fully Celebrated Orchestras
    [none]
    Re:
    Re:
    Re: medeski, martin & wood
    Zorn in the NW
    West Coast Boyee!!
    masada questions
    Re: Derek & the Ruins
    Re: MM&W, National and Fully Celebrated Orchestras
    WKCR
    Re: Phil Minton (was: Mike Patton and such)
    john zorn and film/ FW2/Absinthe
    Re: john zorn and film/ FW2/Absinthe

See the end of the digest for information on subscribing to the zorn-list
or zorn-list-digest mailing lists and on how to retrieve back issues.

----------------------------------------------------------------------

From: "James L. Kirchmer" <[e-mail]>
Date: Mon, 15 Jul 1996 20:13:04 -0700
Subject: Re: Frisell, Eyvind Kang, Sun City Girls

Greetings!
Read on as I respond to some questions from digest #3, Volume 2...

> From: Torsten Nielsen <[e-mail]>
> Date: Mon, 8 Jul 1996 17:20:24 +0200 (METDST)
> Subject: Frisell acoustic group

> What's the lineup for the Bill Frisell Acoustic Group?

Well, this has probably been replied to a bunch of times - but the lineup
Frisell has with him makes the band a quartet.  Ron Miles(Denver) is on
trumpet, Curtis Fowlkes(NYC) is on trombone, and Eyvind Kang(Seattle) is
on violin(& tuba?).  I hear that Ron Miles has a solo record out that goes
off in the fusion direction - (I just heard a nice cut on the radio!! :)
- - while Curtis Fowlkes has been busy with the Jazz Passengers featuring
Deborah Harry(ex-Blondie).  I am not sure if he is back to working with
John Lurie in the Lounge Lizards, a band he has worked with in the past...
...And as far as Eyvind goes, read on:

> From: [e-mail] (Frankco Lamerikx)
> Date: Tue, 9 Jul 1996 10:13:39 +0200 (MET DST)
> Subject: Mike Patton and such

> I want to kick in on the suggestion that more Tzadik records should be
> discussed on this list.
> Does anyone have anything to say about the Eyvind Kang album?

Well, I have transcribed for you a review of his album, written for the
premier "jazz & beyond" monthly paper here in Seattle, WA- titled "5/4".

The review is by Mike Marlin - local jazz writer, promoter, and aspiring
musician.  I can forward a message to him if you desire to contact him.
5/4 offers subscriptions and is the PREMIER(best!) Seattle jazz publication
for interesting mainstream AND offbeat jazz info.
For subscription info write: <[e-mail]>.

Eyvind Kang - 7 NADEs (Tzadik)

One sick puppy?  That's how John Zorn affectionately refers to Eyvind Kang
in the liner notes to the long awaited recording by the Seattle violinist.
Zorn is one to talk, of course, but the disc features excerpts, or
"fingers" from seven (and actually more, foreshadowing up to 23 in the
cycle) of Kang's NADEs, pieces that have evolved spontaneously around
emotional events.  For this project on Zorn's widely distributed Tzadik
label, Kang assembled many of Seattle's finest improvisors in live and
studio performances over several months, then spent hour upon hour
mixing, sculpting and twiddling with what turned into 12 tracks of
ascending, unfolding energy.  Reluctant to pin down a NADE definitively,
perhaps "event" is one way to describe it (see the diagram, in silver, on
the sleeve).  These pieces suggest more than one dimension on a plane;
for example, the unfolding levels of representation achieved in one NADE
about the process of digestion.

The opening "theme from 1st NADE" is a delectable, melodic morsel with
warped vocal choir, reverberating guitar from Tim Young, (ed. note:
Tim Young works with Wayne Horvitz in "Zony Mash", and has a solo album
in the works for ENDLESS RECORDS.  He also works with "The Scallywags",
who have released a CD.), mystical French narration by Teresa Truax, and
the warm crackle familiar to listeners of worn LP's.  "Angel with wings
torn off" could be construed as disturbing with succulent screams and
electronic noises pitched in by Christina Schinkle and Angela Lopes.
I remember the live rendition as jarring enlightenment.

Other NADEs and their offspring, such as "inevitability", "universal",
"theme from 6th NADE", "5th NADE/invisible man", and "living corpses"
feature arkestras of horns, strings and electric instruments or simply
Eyvind on screeching violin, submarine tuba or voice with engineer Scott
Colburn assisting in manipulation.  The production sounds effortless as
moods change subtly or drastically within and between NADEs.

Nowhere in the liner notes are the plethora of musicians, who are credited
on the disc, identified as Seattle artists.  Thus our improvised music
scene is never officially placed on the map.  However, 7 NADEs does not
attempt to make "sense" out of an indescribable universe or even a portion
of one.  For some this may be brutally unsatisfying.  For others, it may
leave you hungry for more. - Mike Marlin
- -------------------------------------------------------------------------
OUT OF RESPECT for the author, PLEASE consult with him (send me a message
to forward to him) if one wishes to reproduce part or all of this review
in a publication or website.  And that said, I hope y'all enjoyed this...
- -------------------------------------------------------------------------
transcription courtesy of:
James Kirchmer(who has no affiliation with 5/4 or the musicians mentioned)
**************************************************************************

> From: steven <[e-mail]>
> Date: Tue, 9 Jul 1996 12:20:27 -0400 (EDT)
> Subject: Eyvind Kang

> Hey, Eyving Kang's "7 NADEs" is amazing!!!
> Especially "Angel With Wings torn off."

Your comment is certainly supported by the above review!
(which describes the piece as "jarring enlightenment")

> For those of you who like Eyvind Kang, he plays violin on a 35 minute
> song on the Sun City Girls 2CD 330,003 Crossdresser From Beyond The Rig
> Veda, which is also great, just thought I'd point that out.

Eyvind has performed with the SUN CITY GIRLS on occasion here in Seattle,
as the Sun City Girls are based here.  The Sun City Girls, btw, will be
performing quite an interesting show on Wed. the 17th of July here in
Seattle.  They will appear at the site of John Coltrane's "LIVE in
Seattle" show (which is now the 'India Taj' club/restaurant on 1st Ave.)
and reproduce/interpret the Live in Seattle live album.  This "happening"
is free and starts at 8pm.  The 17th is the yearly anniversary of this
historic performance.  And btw, I heard from a musician in town that the
song "Body & Soul" was performed by the Coltrane band that night due to
a plea by Floyd Standifer, a famous local trumpet player.  Floyd asked
the band to play something more "down to earth", so to speak....as he
yearned to hear some more "traditional" music(his tastes lean in that
direction).........I don't know the exact words he used, but you get the
point.....that the out-of-context appearance of this composition was due
partly to "audience influence", so to speak...

....I wonder if Eyvind is on tour....I'd love to see him at this Sun
City Girls show!!!  Hmmmmmm....talk about alot of sick puppies on stage!

Later, James Kirchmer



------------------------------

From: Torsten Nielsen <[e-mail]>
Date: Tue, 16 Jul 1996 12:42:33 +0200 (METDST)
Subject: "Get Shorty", Kronos, Kato Hideki

With all this talk about Medeski, Martin & Wood, I'm surprised that nobody
has mentioned the soundtrack to "Get Shorty". It had at least one tune by
MM&W and the score was written by John Lurie. The music worked very well with
the pictures, but was a disappointment on the cd. Which is too bad, since it
wasn't a very good film. Best thing on the soundtrack is Luries vocals:
"This is the part I love!! I came all the way to hear this part!!" and the
MM&W tune was also pretty good.

Has any of you seen the film about the Kronos Quartet by Manfred Waffender?
I think it's called "About Four" or something like that. It's very good.
It has interviews with all four of them and follows them around in Europe and
America where they play at festivals, high school etc.
The reason I bring it up here on the Zorn list is because, there is a clip
from the Umbria Jazz Festival (in Italy?) where they play "Cat O Nine Tails"
(well, we only see about 3 min of it). The live performans is edited together
with clips from The Simpsons, a guy buying comic books, a ball hopping down
some stairs in slowmotion and stuff like that, so it ends up looking like a
weird music video.
There is also four seconds from "Forbidden Fruit"

I think somebody mentioned the 9/19/93 Knitting Factory show by Masada. I
have a tape of that, it a very good show with Marc Ribot, Kato Hideki and a
drummer whos name I'm not sure of. What makes it so good, in my opinion, is
the (electric) bass playing of Hideki. He is really great! I haven't heard
him anywhere else but it looks like he plays on a lot of the Tzadik cds.
Which of his records is a good one to start with? The Bass Army stuff looks
pretty interesting, but also rather hard to find.

Which records will be in the "Paraschute Box"?

I heard something about a new (early '96) record by the Shrieve/Frisell/
Horvitz trio, anybody know? "Fascination" is great.

Jonas


------------------------------

From: "James L. Kirchmer" <[e-mail]>
Date: Tue, 16 Jul 1996 10:21:35 -0700
Subject: Re: MMW

> From: [e-mail] (Dave Trenkel)
> Date: Sat, 13 Jul 1996 09:59:17 -0800
> Subject: Re: medeski, martin & wood
> Absolutely! I've never really gotten into Medeski et al, they've always
> struck me as a kind of downtown-lite, watered down for mass consumption.
> The deadhead contingent in my area have picked up on them, and I get sick
> of hearing them described as some extreme form of jazz from people who've
> never heard Zorn, Ribot, etc.

Yeah - they're definitely NOT some radical jazz group!  They're a good-
time funky organ trio!  Nothing to get all "worked" up about(unless of
course one is dancing at a show...)  In the end, things are RELATIVE -
as MMW ARE some extreme form of jazz to the untrained ears of someone
who's been listening ONLY to the Dead for many years.

I think the Deadheads dig the stuff basically cuz ya can dance to it -
- - and it's kinda trippy.  And MMW do deliver those goods in style....
MMW doesn't pretend to be anything but a good funky time...& that's cool!
I heard them describe themselves as "Sanford & Son meets Sun RA" -
- - or, in other words: trippy dance music.(I don't mean to dismiss Sun
Ra as just "trippy".  He was WAY more than that.  But MMW borrow this
aspect - as Medeski gets into the psychedelic keyboard stylings of Ra...)

Now - for some Zorn news!  I heard that Zorn is coming to the Pacific NW
in September to play around(?) the time of the Bumbershoot Music Festival
here in Seattle.  I heard he's coming with Masada.  I will provide
more details ASAP for those of you out here in the great NW.
Perhaps someone can confirm the date? (I heard the show WOULD happen...)

Later - James Kirchmer, Seattle, WA



------------------------------

From: [e-mail] (Joe Germuska)
Date: Tue, 16 Jul 1996 13:30:47 -0500
Subject: MM&W, National and Fully Celebrated Orchestras

I don't want to get into religion here, but I think Medeski, Martin and
Wood deserve credit for outstanding musicianship and, so far, a resistance
to compromise their sound while fame beckons.  Their music is significantly
more challenging than most of what passes for popular these days, and if
they introduce more people to the idea that listening to challenging music
pays off, more power to 'em.

Also, and perhaps old news to some of you: did you know John Lurie's
National Orchestra is prominently featured in the movie "Blue in the Face"?
Billy Martin is one of the drummers in the JLNO.  It's pretty cool,
especially because it seems like the only reason they're there is because
the filmmaker thinks they're cool and deserve wider exposure.

And speaking of Orchestras -- any fans of Jim Hobbs' Fully Celebrated
Orchestra?  Based in Boston, Hobbs plays alto sax, with drums and bass (and
lately, I believe, trombone.)  I think this group would appeal to most Zorn
fans who like the jazzier side of his work.  They haven't changed my life
yet, but any energetic young folks making jazz that isn't rehashed
Ellington deserve some credit :-)  They have two records on Silkheart, and
will soon release a few tapes on my friend Heath's label, "Tulip Tapes".
The FCO inclusive also play in a group called "Jasper and the Prodigal
Suns", which has reggae/rastafarian lyrical influences and an interesting
sound, although I haven't heard enough to comment...

yep.
        Joe

_____________
Joe Germuska |_____ "Once the writer in every individual comes to life
[e-mail] |____   (and that time is not far off),
Northwestern University |___   we are in for an age of universal deafness
Learning Technologies Group |_______  and lack of understanding."
http://www.nwu.edu/people/j-germuska|                       -- Milan Kundera



------------------------------

From: Jason Caulfield Bivins <[e-mail]>
Date: Tue, 16 Jul 1996 13:40:44 -0500 (EST)
Subject: [none]

Well, since somebody erroneously mentioned Hank Roberts as a part of
Frisell's new group, I was wondering what happened to Hank. Does
anyone know? He seemed pretty ubiquitous a couple of years ago but
hasn't really recorded since (to my knowledge), has been replaced in
Arcado, been eclipsed by Friedlander, etc.
Jason B

------------------------------

From: Steve Smith <[e-mail]>
Date: Tue, 16 Jul 1996 16:35:12 -0400
Subject: Re:

At 01:40 PM 7/16/96 -0500, you wrote:
>Well, since somebody erroneously mentioned Hank Roberts as a part of
>Frisell's new group, I was wondering what happened to Hank. Does
>anyone know? He seemed pretty ubiquitous a couple of years ago but
>hasn't really recorded since (to my knowledge), has been replaced in
>Arcado, been eclipsed by Friedlander, etc.
>Jason B
>
>
I remember Tim Berne or someone said that Hank basically just got tired of
the business for a while and moved to Woodstock or somewhere else upstate,
to just be a homebody and family man for awhile.  I don't think he's
recorded anything since the trio  with Django Bates and Arto Tuncboyacian a
few years back on JMT ("Little Motor People" I think).  I recently heard
that he was contemplating coming back, though.

Funny you should mention, because I just got nostalgic over Hank just a few
days ago, watching the old Frisell Band on a tape of NBC's "Night Music"
program.

Steve Smith
[e-mail]


------------------------------

From: Jason Caulfield Bivins <[e-mail]>
Date: Tue, 16 Jul 1996 18:02:00 -0500 (EST)
Subject: Re:

It would be great if Hank came back. I just got the new Arcado out on
Avant and I was, despite my fondness for the group, a little peeved that
the composition "Behind the Myth" was attributed to Ernst Reijseger.
On the album of the same name from 1990 it was credited as one of
Roberts's compositions (and a fine one, at that).
BTW Steve, do you have info on the upcoming Ehrlich quartet release?
When can we expect that? Thanks
Jason B

------------------------------

From: RichardLadew <[e-mail]>
Date: Tue, 16 Jul 1996 23:10:11 -0400
Subject: Re: medeski, martin & wood

At 08:17 PM 7/12/96 -0400, you wrote:
>re:
>  Also, if you havn't heard Medeski, Martin and Wood, go buy an album, then
>go see them live...These guys could change the face of modern music,
>especially if their following grows any larger than it is already.
>
>Change the face of modern music? Only because they're part of some hip
>downtown scene. half-assed rehashes of Dark Magus/Get Up With It-era Miles
>Davis might be more like it, only Miles et al. did it without the
>self-conscious funkiness.
>
>mg
>
>
>
>
We all have differences in opinion, maybe in the future comments like
"half-assed" could be backed up with more specific critical comments (i.e.
how /why it is half-assed, what it attempts to acheive, etc.)  If we all cut
on each other's tastes besides Zorn without some kind of meaningful
discussion, we're just going to get a lot of cynicism and a lot of flame
wars about what is great music and what is shitty music (a sort-of Beavis
and Butthead "this rules, this sucks" kind of newsgroup).  I'm sure no one
wants this.  Can't we all get along?

BTW: thanks for the Central Park/Masada info.  I traveled to the show, only
to miss it b/c of poor travel arrangements.

What do people think of the Strategy re-release on tzadik?  I found it
amusing, and quite cartoonlike.  Could definitely see why Zorn wrote that it
mirrored some of his later work with Eye (with all the water effects, vocal
yelps, and a "self-invented sax language")


------------------------------

From: "James L. Kirchmer" <[e-mail]>
Date: Tue, 16 Jul 1996 20:48:31 -0700
Subject: Zorn in the NW

> On Tuesday, 16 July 1996, James L. Kirchmer wrote:
> > Now - for some Zorn news!  I heard that Zorn is coming to the Pacific NW
> > in September to play around(?) the time of the Bumbershoot Music Festival
> > here in Seattle.  I heard he's coming with Masada.  I will provide
> > more details ASAP for those of you out here in the great NW.
> > Perhaps someone can confirm the date? (I heard the show WOULD happen...)

OK - I checked into the situation and it turns out it's up in the air
as to what Zorn project it will be - but Zorn will be coming to
Bumbershoot, which takes place August 30 to Sept. 2nd.
Most probably, he will play a 2nd show at some club in town in addition to
the B-shoot gig.  This has not been confirmed yet, but a reliable source
tells me that this will most likely happen.  I wonder when the lineups
for B-shoot are made available......hmmmmmmm.....One Reel has a website
(the co. that produces B-shoot....maybe I'll check in with them....)
I believe Frisell is also gonna be at Bumbershoot(not sure what context).

Bye for now, James Kirchmer, Seattle, WA - home of overpriced coffee...


------------------------------

From: [e-mail] (Arthur Garry)
Date: Wed, 17 Jul 1996 02:00:14 -0700
Subject: West Coast Boyee!!

Hey there peeps....
    Mike Patton and John Zorn are performing at slims this August
(12th?) out here in SF, with Cobra performing the following night. I
was wondering.... does anyone know of any west coast Masada dates(since
he's going to be in the area), and what the lineup for those would be?
Tim Garry
[e-mail]

------------------------------

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Wed, 17 Jul 1996 13:56:51 -0400 (EDT)
Subject: masada questions

two questions, disguised as four:

1) where do you people keep finding these tapes of live shows?  I'd be
interested in hearing the different instrumentation, as the standard
quartet is all i've heard, transcendentaly amazing though it is.

2) Is Masada the band not a fixed entity? I've heard lots of people
talking about shows with very different lineups.  I assumed that the
douglas/cohen/barron/zorn group was the standard group.

3) Why has Joey Barron not been playing with them of late? Is he busy?

4) What are the odds that if i go see them in november in montreal they
will have the same lineup as on the albums?



hm...,
    jascha



------------------------------

From: "Patrice L. Roussel" <[e-mail]>
Date: Wed, 17 Jul 1996 15:26:23 -0700
Subject: Re: Derek & the Ruins

On Wed, 10 Jul 1996 21:32:45 GMT  "D.J. Toman" wrote:
>
> Hi y'all,
>
> I'm wondering, since the only store in town that has Tzadik CDs only ordered
> ONE of each album, if I should pick up Derek & the Ruins?  I don't like
> _Yankees_ too much, nor much else I've heard with Derek Baily, except parts
> of _Harras_.  I'm wondering if The Ruins make the album worth hearing.  Can
> anyone help?

I strongly recomment SAISORO. I have to confess that I was not expected
anything from this record, thinking it could be fun, but nothing more.
On the first listening I got stunned at how well The Ruins and Bailey
music could work together. The result: not improv, not rock, but a
"morphing" of both styles. My advice: buy it before anything else.

    Patrice.

------------------------------

From: Barry Gilbert <[e-mail]>
Date: Wed, 17 Jul 1996 18:02:25 -0500
Subject: Re: MM&W, National and Fully Celebrated Orchestras

- -- [ From: Barry Gilbert * EMC.Ver #2.3 ] --

>
> Also, and perhaps old news to some of you: did you know John Lurie's
National
> Orchestra is prominently featured in the movie "Blue in the Face"? Billy
> Martin is one of the drummers in the JLNO.

Amazing!  Baseball manager AND drummer.  Where does he find the time?


> And speaking of Orchestras -- any fans of Jim Hobbs' Fully Celebrated
> Orchestra?  Based in Boston, Hobbs plays alto sax, with drums and bass
(and
> lately, I believe, trombone.)  I think this group would appeal to most
Zorn
> fans who like the jazzier side of his work.  They haven't changed my life
yet,
> but any energetic young folks making jazz that isn't rehashed Ellington
> deserve some credit :-)  They have two records on Silkheart, and will
soon
> release a few tapes on my friend Heath's label, "Tulip Tapes". The FCO
> inclusive also play in a group called "Jasper and the Prodigal Suns",
which
> has reggae/rastafarian lyrical influences and an interesting sound,
although I
> haven't heard enough to comment...
>

I've listened to their most recent Silkheart a couple of times.  An amazing
amount of energy and talent for such young guys.

Barry Gilbert
Boulder, CO



------------------------------

From: scott mclemore <[e-mail]>
Date: Wed, 17 Jul 1996 15:58:33 -0400 (EDT)
Subject: WKCR

Did anyone catch the Joey BAron guest DJ appearance last week?  I did and
it was great.  He played stuff off of Crackshot, which I have yet to get
up off my sorry ass to buy, and a bunch of things that influenced him the
most.  I guess it was like the Zorn CD people were talking about a while
back.

______________________________________________________________________________
Scott McLemore----------------------------------------------------------------
- ----------Drummer/Composer----------------------------------------------------
- ------------------------------------------------------------------------------



------------------------------

From: Barry Gilbert <[e-mail]>
Date: Fri, 19 Jul 1996 06:45:44 -0500
Subject: Re: Phil Minton (was: Mike Patton and such)

- -- [ From: Barry Gilbert * EMC.Ver #2.3 ] --

My first exposure to Phil Minton was on Voice of America with Frith and Bob
Ostertag.  I also have a copy of A Doughnut in Both Hands, an amazing solo
voice recording.

- -------- REPLY, Original message follows --------

> Date: Sunday, 14-Jul-96 02:45 PM
>
> From: john shiurba             \ Internet:    ([e-mail])
> To:   Zorn List                \ Internet:    ([e-mail])
>
> Subject: Re: Mike Patton and such
>
> david m rothbaum wrote:
> >
> >  I read in a review that Phil Minton has done this before and better,
> > >I think the album is a classic in its own right. It is by no means
easy
> > >listening, but to me it is thoroughly enjoyable.
> >
> > i have'nt heard of Phil Minton.  any more info would be great.
>
> phil minton is one of the (few) true greats of extended technique vocal
> music. in the early 60's he made a name for himself (originally as a
> trumpeter) in the mike westbrook orchestra, and since then has  performed
and
> recorded with most of the big names in euro-free-improv.  his recordings
are
> fairly voluminous (and not generally under his name),  but i would
recommend a
> cd called "perceptions" on random acoustics. the  group is called axon,
and
> features minton, marcio mattos  (cello/electronics) and martin blume
(drums).
> this is a rather sparse  group improv recording where minton shows what
he can
> do, and it's  pretty astonishing. if your tastes run more toward the rock
> gamut, check  out doran/studer/minton/ali/bates play the music of jimi
> hendrix. kinda  loopy interpretations of the hendrix songbook with minton
> offering some of  his vocal gymnastics
>
> shiurba
>
>
> --
>
>
>
> [e-mail]
>
> http://www.sfo.com/~shiurba

- -------- REPLY, End of original message --------



------------------------------

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Sat, 20 Jul 1996 16:33:21 -0400 (EDT)
Subject: john zorn and film/ FW2/Absinthe

How can i find any of the films which Zorn wrote music for?  I'd really
like to see the images which inspired the sounds one hears on the
filmworks CDs, and i  also have a feeling that NYC independant film is
probably pretty good...

I saw someone write about Filmworks 2 a while ago.  I'd add that it is
probably the most homogeneous sounding zorn record, which isn't
necessarily bad; absent, however, is a lot of the random jump-cut insanity
we all know and love.  It's kind of like Absinthe in that there is a
definite atmosphere built up throughout the whole album, though FW2 evokes
images of desolate interstate highway middle-of-nowhere deserts and such
things rather than victorian era opium dens.  I don't know if this has any
relation to the scenes in the film, but it seems to describe the general
mood of FW2, to me, at least...

Speaking of Absinthe...does anyone know how this album came about? It's
extremely good, but so unlike any other Naked City album that in makes me
wonder what they were thinking at the time...i'd like to hear stories of
what inspired it. (perchance a stray vial of absinthe wandered into the
downtown scene and left it's mark? Or maybe Zorn was reading a lot of
Victorian era gothic literature...)

- -jascha

------------------------------

From: [e-mail] (Marc Kate)
Date: Sat, 20 Jul 1996 17:08:24 -0800
Subject: Re: john zorn and film/ FW2/Absinthe

>Speaking of Absinthe...does anyone know how this album came about? It's
>extremely good, but so unlike any other Naked City album that in makes me
>wonder what they were thinking at the time...i'd like to hear stories of
>what inspired it. (perchance a stray vial of absinthe wandered into the
>downtown scene and left it's mark? Or maybe Zorn was reading a lot of
>Victorian era gothic literature...)

This probably isn't going to score me any points, but....
Zorn did a bunch of albums where the album cover art (and album title) were
straight off of (then) recently published art books.  "Jeux des dames
cruelles", "Grand Guignol" and "Absinthe" had all been books released in
"alternative" bookstores just before Zorn's album releases.  This is not to
say that Zorn's involvement with these things has been insincere; he may
well have been interested before the appearance of these books, or became
extremely engaged with their subjects only after their appearance.  The
latter is more interesting to me though.  I find transparant influences
much less pretentious.  He often tries to be transparant as the linar notes
to "Radio" will attest.

As for the music, maybe he wanted to see if they could sound like Phauss or
Hafler Trio using instruments.

. . . waiting for a Naked City album entitled "Fragments for a History of
the Human Body,"

                                        Marc Kate
                                   415-826-4012
                             [e-mail]



------------------------------

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as a local redistribution list, then append that address to the
"subscribe" command; for example, to subscribe "local-zorn-list":

    subscribe zorn-list-digest [e-mail]

A non-digest (direct mail) version of this list is also available; to
subscribe to that instead, replace all instances of "zorn-list-digest"
in the commands above with "zorn-list".

Back issues are available for anonymous FTP from ftp.xmission.com, in
pub/lists/zorn-list/archive.  These are organized by date.