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Subject:   zorn-list Digest V2 #54
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zorn-list Digest         Wednesday, 22 January 1997     Volume 02 : Number 054

In this issue:

    Re: Zorn/Canada ?
    Re: Tzadik Festival 97
    machine gun
    Re: Next batch of Tzadik releases
    Re: book of heads
    Re: machine gun
    [Fwd: epulse! Zorn info]
    Re: machine gun
    Re: [Fwd: epulse! Zorn info]
    Re: machine gun
    Re: machine gun
    Re: machine gun
    Re: tim berne cd
    oops!

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: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Tue, 21 Jan 1997 13:50:57 -0500 (EST)
Subject: Re: Zorn/Canada ?

>
> If sometime Quebec become a country i hope he will come here. Ha! Ha! :)

     /
touche, Alain :)

- -jascha




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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Tue, 21 Jan 1997 13:37:55 -0500 (EST)
Subject: Re: Tzadik Festival 97

Okay, does anyone have or know where i can find a COPMPLETE list of
zorn/zorn-related shows in europe?  My friend studying in Copenhagen
hasn't seen the sun in weeks and could use some good music...:)

- -jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Tue, 21 Jan 1997 13:34:04 -0500 (EST)
Subject: machine gun

> improvisation predated Globe Unity.  (Also, didn't the Brotzmann Octet
> which recorded _Machine Gun_ exist as a unit before Globe Unity actually

I've heard much about Machine Gun but haven't heard it.  Has it been
reissued on CD recently? Can i find it?

- -jascha


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

From: "Patrice L. Roussel" <[e-mail]>
Date: Tue, 21 Jan 1997 12:10:05 -0800
Subject: Re: Next batch of Tzadik releases

On Tue, 21 Jan 97 08:47:32  [e-mail] wrote:
>
> What's the poop on the next batch of
> Tzadik releases? It seems like its getting
> close to time for another batch to be
> released, but the web page hasn't been updated
> in a while. Anybody know any specifics?

Here is the next batch (courtesy of David Newgarden):

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

Here's the schedule for March 18 releases (U.S. date - rest of world will
ship slightly earlier).

Zorn
Filmworks III (1990-1995)
w/ Thieves Quartet soundtrack (first JZ/DD/JB/GC recordings)
25 TV commercial cues
9 Cynical Hysterie Hour cues
duo with Ribot

Zorn
Black Box
(Torture Garden & Leng Tch'e)

Film Series
Fred Frith - Eye To Ear
Marc Ribot _ Shoe String Symphonettes
Elliot Sharp - Figure Ground

Composer Series
Bun-Ching Lam - ... Like Water

New Japan
Compostela - Wadachi

Radical Jewish Culture
John Schott - In These Great Times
Roy Nathanson & Anthony Coleman - I Could've Been A Drum

In Late Spring or Summer
Mike Patton
Burt Bacharach
Filmworks IV
ZOrn - New Traditions I n East Asian Bar Bands

Koch distribution of Avant will begin March 18.
most recent Avants are Derek Bailey "Guitar Drums n Bass" , Dim Sum Clip
Job "Harmolodic Jeopardy', Duck Baker plays Herbie Nichols "Spinning Song"
Smarnamisa! Resia Valley Music.


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

From: "M.Ho" <[e-mail]>
Date: Tue, 21 Jan 97 14:06:37 EST
Subject: Re: book of heads

I highly recommend it but Ribot's playing is nothing like Frisell's.
His playing is jagged and angular, his left hand attacks are abrupt
and his interpretations are often twisted, but brilliant, regurgetations
of classic tunes. (Solo album, Don't Blame Me, has great covers of
Rogers and Hart, Charlie Hadyn, etc. in the above style.)
The Book of Heads, however, were originally written
for Eugene Chadbourne and Zorn has the guitarist using ballons and a
bow, etc. to provide extra variety in timbre.  I am perhaps, one of
the biggest Ribot fans and highly recommend you checking him out.  He
is a diverse player covering a wide variety of styles from the rhythm
and blues of Elvis Costello's Kojak Variety cover album, to the
classical sensibilities of Evan Lurie (he even did a solo classical
guitar album of his former teacher, Frantz Casseus), to the guitar
squankin', finger plunkin' of his solo albums or leader of his own
band, Rootless Cosmopolitans.  And that's only the beginning.  I could
provide a discography if you are interested, but keep in mind, his
"sound" is probally the antithesis of Frisell's more ethereal sound
yet no less brilliant.
Write me if I can be of more help.
- -Mary

>
> Can anyone provide any info/insight about "The Book of Heads," the Zorn
> composition performed by Marc Ribot?  I'm thinking of getting it for a
> friend who is somewhat familiar with Zorn and really loves Frisell's
> playing.  I'm familiar with Ribot's more rock-oriented playing (for Tom
> Waits, Maria McKee,etc.) but was wondering what his more experimental jazz
> work sounds like. Thanks.
>
> - Eric Schneider
>
>
>


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

From: Christopher Hamilton <[e-mail]>
Date: Wed, 22 Jan 1997 01:59:42 -0500 (EST)
Subject: Re: machine gun

On Tue, 21 Jan 1997, Yeah-shure, Nah...er...ve'-so'n wrote:

> I've heard much about Machine Gun but haven't heard it.  Has it been
> reissued on CD recently? Can i find it?

FMP 24.  Available from Cadence and, I'm sure, elsewhere.  Does _Machine
Gun_ come up often enough to belong in the FAQ?

Chris Hamilton
[e-mail]


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

From: "James L. Kirchmer" <[e-mail]>
Date: Wed, 22 Jan 1997 03:21:12 -0800
Subject: [Fwd: epulse! Zorn info]

[e-mail] wrote:

> ---  CONTENTS / January 17, 1997
> >>>  Welcome back to epulse, the musically omnivorous
> weekly ezine of Pulse! and Classical Pulse! magazines
- ---snip---
> 2. 78 of the week:
>      Perfect, which seems to us to be the only surviving label putting out
> 78s, has just released CHARLIE FEATHERS & JUNIOR KIMBROUGH's "FEEL GOOD
> AGAIN"/"NOW, LITTLE GIRL." The A-side features the duo in what seems to be
> a rough practice session from the late '50s. After a few aborted takes, the
> pair begin with Junior Kimbrough singing. Of the two, the Feathers' solo on
> the flipside is the less interesting track, too lo-fi to really be
> appreciated. More 78s are promised to be released by the Balfa Brothers,
> Jim O'Rourke and, believe it or not, John Zorn's Masada. With only 500
> copies pressed per platter, these will surely be collector's items, so buy
> 'em when you see 'em.
- ---snip---

Who the hell has a player that can handle 78's!?!?!
Hard to come by these days! (as new units)
I suppose the more expensive ones offer this function though....

Well, enough said - yours truly, james kirchmer, seattle, wa


> 3. tribute album of the week:
>      An undertaking such as covering Crosby, Stills, Nash & Young's 'Deja
> Vu' with a jazz bent is a potentially hazardous proposition, especially
> given the results of similar (in theory, at least) projects paying tribute
> to the likes of Hendrix, Prince and others in recent years. Which is why
> guitarist FAREED HAQUE's 'DEJA VU' (Blue Note; due March 25) is such a
> surprise. Funky beats and bass lines intersperse with Latin rhythms and
> guitar styles, bringing out aspects of such well-worn (and still-standing)
> tunes as "Woodstock," "Teach Your Children" and "Carry On" that were only
> hinted at before. And "Almost Cut My Hair," rendered without its inane
> lyrics (as are all the cuts here), is actually listenable.
>
> 4. ah-one and ah-two great accordion releases of the week:
>      Generally the accordion is associated with Lawrence Welk or
> Oktoberfests, but two releases this week dispel those myths and may well
> explain the instrument as a worldwide cultural link. MARIA KALANIEMI is
> described as a master of the five-row and free-bass accordion on her album
> 'IHO' (Hannibal, out now). Kalaniemi is accompanied by members of the
> Finnish group Aldargaz as they romp through both traditional Finnish folk
> songs and original tunes.
>      The accordions on 'SQUEEZE PLAY: A WORLD ACCORDION ANTHOLOGY'
> (Rounder, out now) accompany jigs, polkas and tarantellas. The songs,
> dating from the early 1900s, come from Poland, Scotland, South Africa and
> Louisiana--it's amazing how the distinctive sound has been interpreted into
> such diverse cultures. Of note is a 1928 recording of the "Pawel Walc"
> ("St. Paul Waltz"). The melody is strangely familiar because it became Tex
> Owens' "Cattle Call," and many years later was immortalized by Eddy Arnold.
> These two albums should change anyone's opinion of the accordion.
>
> 5. musical of the week:
>      Woody Allen's 'EVERYONE SAYS I LOVE YOU' has been getting its share of
> critical flak for a variety of reasons. But the reality of the musical is
> that Allen has created a cute, if lightweight, movie that hearkens back to
> what musicals have always represented -- innocence and love. While most of
> the Tin Pan Alley songs fail to soar, Allen wisely adds kitsch and elements
> of surprise to the dance numbers. Itzhak Perlman even has a short cameo.
> Allen may not be Gene Kelly (he's not even Busby Berkeley), but I had a
> helluva lot easier time listening to his crooning than Madonna's in that
> other musical out now.
>
> 6. jazz reissue of the week:
>      There were some skeptics around the office wondering if John Fahey
> really has any input on the new label that's billed to his name, Revenant.
> After all, the guy's been pretty much secluded in Oregon with illness for a
> decade or so, and now suddenly he's putting out discs by the likes of Cecil
> Taylor, Jim O'Rourke and Milford Graves? Well, perhaps we were too quick to
> discredit the guitar legend. Revenant's first release, DEREK BAILEY's
> 'MUSIC AND DANCE' (out now), is a reissue from a 1980 privately-released
> cassette. Featuring Bailey with Japanese dancer Min Tanaka, these two
> compositions lean much closer to music than performance art. Bailey's
> atonal acoustic guitar playing is accentuated by the environmental sounds
> of raindrops on a glass roof, the tapping of Tanaka's feet on the wooden
> floor and even outside traffic. About halfway through "Saturday Dance"
> Bailey briefly starts playing his feedback-driven electric guitar and much
> of the raw blues quality is lost. Still, it's an interesting disc and a
> good start for the new label.
>
> 7. classical record of the weak:
>      No sooner had the email been read than the laughter began here at
> epulse. THE GREAT KAT -- "Juilliard graduate violin virtuoso/Cyberspeed
> guitarist" -- has just announced the release of her latest CD, 'GUITAR
> GODDESS' (self-released). Featuring four tracks that range from Rossini's
> "Barber of Seville" to the original composition "Dominatrix," the album
> covers the gamut of where (we think) cyberspeed music is headed. The press
> release pretty much spoke for itself: "[the disc was] developed to appeal
> to hyper kinetic Web surfers who crowd Kat's website daily and demand Kat's
> fast, exciting Cyberspeed music and eccentric personality." And since
> sometimes in life the journey is more rewarding than the destination, we'll
> let you find her website on your own.
>
> 8. award show of the week:
>       It's become something of a trend to bash the GOLDEN GLOBES, the
> annual film and television awards handed out by the much-reviled Hollywood
> Foreign Press Association. You know: Bunch of hacks for no-bit Euro-rags.
> Take junkets and "favors" from anyone who offers them. No credibility.
> Yadda yadda yadda. But has anyone noticed that this year's GG nominees are
> actually looking a bit, uh, cooler? That the nominees for Best Picture --
> 'Breaking the Waves,' 'The English Patient,' 'The People Vs. Larry Flynt,'
> 'Secrets & Lies,' 'Shine' -- are actually films you might want to see? That
> 'Fargo' is right up there next to 'The Birdcage' in the Best Motion Picture
> -- Musical or Comedy category? Hey, we might actually have to watch it this
> Sunday (8 p.m. EST, NBC).
>
> This week's epulse8 contributors: Peter Melton, Jason Verlinde, Ned Hammad,
> Mara Wildfeuer and Barbara Baker. [!]
> ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^
>
> ---  Texas Tornados, part 2
> >>>  Freddy Fender in the Digital Age
>
> Talking to Doug Sahm is probably the most insane experience a journalist
> can have. His range of topics takes in baseball, Newt Gingrich, Guitar Slim
> and Canter's Delicatessen. Somewhere in the course of this, he offers, "Do
> you wanna talk to Freddy? He'd love you, man."
>
> Freddy Fender is best known for his mid-'70s string of massive country
> hits, the biggest being "Wasted Days and Wasted Nights" and "Before the
> Next Teardrop Falls," both of which were heavily inflected with Tex-Mex
> influences. Not surprising, considering his Christian name is Baldemar
> Huerta and he started out in the '50s, recording a seamless blend of
> rockabilly and conjunto music for the Ideal label. Possession of marijuana
> clotheslined his career, unless you count jail time as a career move (which
> would be true in the case of Johnny Rodriguez.)
>
> Whereas Doug is all things perpetual motion, Freddy is reserved and
> consciously dignified. He is a perfect Elder Statesman, soft-spoken but
> enthusiastic to come forth with Keys to the Kingdom. Like Sahm, he recalls
> the pre-Beatles era with real fondness.
>
> "It's roots," he emphasizes, "and the music was the only thing we had. We
> didn't have anymore. We didn't want anymore. We had what we had, and we
> accepted that, and we enjoyed the hell out of it.
>
> "We didn't have technology like you have today. When I first started
> recording, it was monaural one-track. Primitive. So you had to sound good
> playing, because the only thing you could do to the sound on the tape was
> add bass or treble."
>
> While Sahm will regale you with stories of the West Texas club circuit,
> when asked about the difference between Then and Now, Fender speaks of it
> more as an approach.
>
> "It's really technology. You know -- if we wanted a glass of water, you had
> to walk over to the sink and pour it. If we didn't want it to be easier,
> it's because we didn't mind a little work. And, you know, the music shows
> it. Those guys were playing!
>
> "Even in the '70s, when I was doing 'Teardrop' and 'Wasted Days,' it was
> about getting a groove and playing. Those records really didn't count on
> technology. So the change really didn't happen until a short time ago.
>
> "In the '60s, I was the engineer on a session of Lydia Mendoza [the Jimmie
> Rodgers of Tejano music]. It was just her singing, and her 12-string
> guitar. And she was so strong. She didn't need anything else. Like with
> rockabilly -- the only technology was the echo. But now? It's very
> different."
>
> Fender's hits are still a staple of the live Tornados show, as are Sahm's
> Quintet hits with Augie Meyers ("Mendocino" and "She's About a Mover"). In
> many ways, the Tornados are a throwback, even a nostalgia act. But, as we
> shall examine next week, it is not governed by the need to re-create the
> past. Rather, it is about guys from an earlier time who just aren't ready
> to go gentle into that good night. --SKIP HELLER [!]
> ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^
>
> ---  THE EMAILBAG
> >>>  We love mail. Drop us a line at [e-mail].
>
> > Date: Wed, 15 Jan 1997 01:01:13 -0500
> > From: "-=[His Master's Viola!]=-" <[e-mail]>
> > To: [e-mail]
> >
> > I would just like to complement the critics
> > for picking the top 5 New discs with NEW pieces,
> > rather than another recording of Beethoven's 9th.
> > BRAVO! Now, if only the obscure world music labels
> > were commonly available. But, I suppose part of
> > the fun is looking for the disc, eh? =)
> >
> > Congrats,
> > -Leo
>
> > Date: Sat, 11 Jan 1997 09:40:25 -0500
> > From: Heather <[e-mail]>
> > To: [e-mail]
> >
> > Hey there.
> > Just dropping a line to let you know that
> > the URL you listed in epulse 3.02 to check
> > out Pingu is inaccurate. It's http:
> > //www.ncl.ac.uk/~nmac5/pingu.html
> > Thanks for your time.
> ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^
>
> ---  Rubbernecking #8
> >>>  Saving the Circus
>
> That old woman finally caught Townes Van Zandt -- her hair just like barbed
> wire. "Her smile just like the grave." Townes foretold their meeting in
> "The Hole" on 1994's 'NO DEEPER BLUE.' In that song, Townes escaped the
> hag. In real life, however, he died two weeks back on New Year's Eve. He
> was one of Nashville's premier songwriters ("Pancho & Lefty," "If I Needed
> You") as well as its most notorious screwups. This summer I read in 'No
> Depression' magazine about an Ann Arbor performance that consisted of the
> man slumped onstage weeping. Van Zandt had an unpredictable performance
> reputation -- but would dope or booze alone make a man break down like
> that? And what about the audience? Why didn't someone hold up their hand
> and say, "Townes. It's okay. Come sit with us -- have some pizza. We'll
> play foosball after the show ... "
>
> Van Zandt's 'New York Times' obituary informs that he died from a "heart
> attack." 'The Times' also tells that Van Zandt was born into a wealthy Fort
> Worth family, and spent most of his formative years in Texas nuthouses.
> Apparently he was a "manic-depressive with schizophrenic tendencies."
>
> This information illuminated his onstage weeping. And I hope that some of
> you carry the same romantic notion that I do that art is dangerous -- the
> artist who is either strungout and/or certifiably crazy merely emphasizes
> the danger. I just saw 'The Master Class,' the Broadway play about Maria
> Callas in her decline, and at the end of the show, the Callas character
> puts forth this same notion. On the cab ride home, I debated the
> danger-factor in art with my wife. "Performing onstage is dangerous," she
> said. "Writing and painting is about as dangerous as plumbing."
>
> Well, you wouldn't want a schizophrenic plumper installing your Jacuzzi,
> but is my wife right? Even in private, the plastic arts don't draw blood.
> Certainly my Powerbook never caused me physical injury (no matter what I
> wrote). But I want to believe that Van Zandt wasn't weeping because he was
> onstage, but because he had brought back all those messages from the Other
> Side -- "So walk my friends, in the light of day/Don't go sneakin' round no
> holes/There just might be something down there/Wants to gobble up your
> soul."
>
> In the middle of romanticizing Townes Van Zandt, I suddenly remember the
> circus: Last fall, a circus from India came to New York and raised a tent
> in Battery Park City under the World Trade Center. The climax of the show
> was a spectacular stampeding of dozens of stallions, each galloping in a
> tight circle as he was ridden by a Bengal woman standing barefoot on his
> spine. Talk about riding bareback -- those equine women were magnificent!
> It was only after the show that I realized if any of them had slipped, she
> would have been trampled. And this is the epitome of a dangerous art, isn't
> it -- when the audience (and by extension, the listener or the reader) is
> only subliminally conscious of how dangerous the act is?
>
> I admit that weeping on stage in Ann Arbor (or any place else) is not
> dangerous. Still, I want to give Townes the last word. On a recent live
> album -- 'ROAD SONGS' -- Van Zandt covers a Joe Ely song about the circus:
> an Indian (Native American, not New Delhi) cowboy lassos a runaway mare who
> is racing for a lantern that "some fool" left dangerously close to some
> hay. The cowboy saves the circus.
>
> And is then stampeded by some freaked-out elephants.
>
> Now I tell you that out in the center ring, women may be standing on the
> horses, but the songwriters are backstage saving the big top from burning
> down. And although Townes Van Zandt ended up being trampled by those
> psychic pachyderms, I'd like to believe that this artist escaped the old
> woman who was waiting for his soul. --DAVID BOWMAN [!]
> ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^
>
> ---  FINE PRINT
> >>>  who, what, where, when, how and more boring, legal stuff
>
> February Pulse! street date 1/31
> February Classical Pulse! street date 2/7
>
> To subscribe to epulse, send the message "subscribe epulse-L" to the
> address [e-mail]. Tell your friends.
>
> To stop receiving epulse, send the message "unsubscribe epulse-L" to the
> address [e-mail].
>
> CONTEST RULES: One email entry per email address. One email entry per human
> being. Please include your full name, daytime (U.S. time) phone number and
> email address in the body of the letter. Pulse! accepts no responsibility
> for late email, lost, misdirected or illegible entries. Contest void where
> prohibited by law. All local, state, federal and international laws apply.
> Taxes are the responsibility of the winners. Prize is not transferable,
> cannot be substituted and cannot be redeemed for cash. Prize courtesy of
> Reprise Records. Employees of MTS, Inc., Reprise, WEA, their families,
> agencies or affiliates are ineligible. If an outside source supplies the
> winning question, they will not be eligible for the second drawing, nor
> will any of his/her relatives. In the case of multiple entries of what is
> essentially the same question, a winner will be decided from among them at
> random.
>
> Tower's website is up and running at http://www.towerrecords.com. And visit
> Tower's AOL site: "Keyword: tower." Pulse! is published 11 times annually,
> Classical Pulse! bimonthly, epulse weekly.
>
> For subscription information to either magazine, please write to:  Snail
> Circulation/Pulse!, 2500 Del Monte St., West Sacramento, CA 95691. Both
> magazines are available free at U.S. Tower Records/Video retail stores.
> Epulse is published weekly by MTS, Inc.
>
> All correspondence addressed to epulse or its contributors will be  assumed
> intended for publication as will email addresses, unless privacy is
> requested. The contents of this mailing are copyright (c) 1997 MTS, Inc.
> All material is verified factual at press time but some information, such
> as street dates and album and song titles, is subject to change. [!]
> ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ ^ ^^^ [end]



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

From: "Patrice L. Roussel" <[e-mail]>
Date: Wed, 22 Jan 1997 08:53:04 -0800
Subject: Re: machine gun

On Tue, 21 Jan 1997 13:34:04 -0500 (EST)  "Yeah-shure, Nah...er...ve'-so'n" wrote:
>
> > improvisation predated Globe Unity.  (Also, didn't the Brotzmann Octet
> > which recorded _Machine Gun_ exist as a unit before Globe Unity actually
>
> I've heard much about Machine Gun but haven't heard it.  Has it been
> reissued on CD recently? Can i find it?

And I thought that the access to the list implied owning a copy of
MACHINE GUN. Did you relax the admission criteria, Rizzi?

Stop joking. MACHINE GUN is *THE* record! As important to European improv
as FREE JAZZ (Coleman). The CD has extra takes and has been available for
few years now. Definitely available at Cadence (there is a great alternative
rock store in Portland which carries it, with many others!).

    Patrice.

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

From: "Patrice L. Roussel" <[e-mail]>
Date: Wed, 22 Jan 1997 09:44:24 -0800
Subject: Re: [Fwd: epulse! Zorn info]

On Wed, 22 Jan 1997 03:21:12 -0800  "James L. Kirchmer" wrote:
>
> [e-mail] wrote:
>
> > ---  CONTENTS / January 17, 1997
> > >>>  Welcome back to epulse, the musically omnivorous
> > weekly ezine of Pulse! and Classical Pulse! magazines
> ---snip---
> > 2. 78 of the week:
> >      Perfect, which seems to us to be the only surviving label putting out
> > 78s, has just released CHARLIE FEATHERS & JUNIOR KIMBROUGH's "FEEL GOOD
> > AGAIN"/"NOW, LITTLE GIRL." The A-side features the duo in what seems to be
> > a rough practice session from the late '50s. After a few aborted takes, the
> > pair begin with Junior Kimbrough singing. Of the two, the Feathers' solo on
> > the flipside is the less interesting track, too lo-fi to really be
> > appreciated. More 78s are promised to be released by the Balfa Brothers,
> > Jim O'Rourke and, believe it or not, John Zorn's Masada. With only 500
> > copies pressed per platter, these will surely be collector's items, so buy
> > 'em when you see 'em.
> ---snip---
>
> Who the hell has a player that can handle 78's!?!?!
> Hard to come by these days! (as new units)
> I suppose the more expensive ones offer this function though....

A record collector does not need a record player :-).

    Patrice.

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

From: [e-mail] (m. rizzi)
Date: Wed, 22 Jan 1997 10:52:53 -0800 (PST)
Subject: Re: machine gun

Patrice L. Roussel, demi-God and Icon sez:
>
>> I've heard much about Machine Gun but haven't heard it.  Has it been
>> reissued on CD recently? Can i find it?
>
>And I thought that the access to the list implied owning a copy of
>MACHINE GUN. Did you relax the admission criteria, Rizzi?

    You are correct Patrice, that has been the longstanding
    policy for membership in the zorn-list cabal. Unfortunately,
    I have been lax in my duties, comrade.

    I am now ready for the consequences. Take your best shot
    <groan>

    mike

- --
- ------------------------------------------------------- [e-mail]
                   "Another nerd with a soulpatch"              -=home=-
                      http://www.meer.net/~browbeat/
- ------ browbeat magazine, po box 11124, oakland, ca 94611-1124 ---------

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

From: N Vassiliou <[e-mail]>
Date: Wed, 22 Jan 1997 20:11:53 GMT
Subject: Re: machine gun

> And I thought that the access to the list implied owning a copy of
> MACHINE GUN. Did you relax the admission criteria, Rizzi?

You (and many others) are making the assumption that everyone in this list cares about free Improv (which I don't think
is the case), and can affort to buy everything under that genre. By saying this, I am not trying to imply anything against
either you or Br0tzmann (I have no right to do that as I have not heard Machine Gun yet, and I am sure I would buy it if I
could find it). However (no more parentheses from now on), I am sure that most of us could do without such elitist
comments.

Take care.

Nick V.



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

From: SUGAR in their vitamins? <[e-mail]>
Date: Wed, 22 Jan 1997 14:49:00 -0800 (PST)
Subject: Re: machine gun

On Wed, 22 Jan 1997, m. rizzi wrote:

>     I am now ready for the consequences. Take your best shot

i vote that rizzi must treat us all to a
round of drinks and endure a stern
"don't do that" lecture.

hasta.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


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

From: "ALAN E. KAYSER" <[e-mail]>
Date: Wed, 22 Jan 1997 18:26:34 -0500
Subject: Re: tim berne cd

Les Scurry wrote:
>
> I read your post on the zorn list about the triple live package.  Is
> this still around?  Are you the person behind Screwgun?  If you are, are
> there any other releases?
>
> for payment, do you accept checks?
>
> thanks for putting up with all the questions?
>
> ls
Les
I have no connection to Mr. Berne other than being a fan of his music.
I ordered the 3 CD set from Screwgun records.  I also have no connection
to Screwgun.  As far as I know Screwgun exists only to release these
CDs, therefore is a creation of Tim's for that purpose.  However, this
is just a guess on my part, based only on the idea that to release a 3
CD package on a known label is financial suicide.  At least this way I
feel that Tim gets a direct cut of the cash.
I ordered by check.
Either way, if you are a fan, which I assume you are, then GET IT!
Alan E Kayser

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

From: "James L. Kirchmer" <[e-mail]>
Date: Wed, 22 Jan 1997 19:39:39 -0800
Subject: oops!

Hey there - hope y'all enjoyed the bit of Masada 78 info - but
I need to apologize for inadvertently not clipping the rest of
the epulse! digest that I snipped from.  The end of the digest
scrolled off my screen and I forgot to delete it.
Ya live & learn! (I've NEVER pulled an email goof before!)
keep on keepin' on - james kirchmer

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

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