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zorn-list Digest          Sunday, 26 January 1997      Volume 02 : Number 056

In this issue:

    momentum (fwd)
    [none]
    Re: zorn faq
    University: a big waste of time
    Re: University: a big waste of time
    Re: zorn faq
    Re: University: a big waste of time
    Robert Lloyd?
    Re: zorn faq
    Sanctuary
    Re: University: a big waste of time
    Re: University: a big waste of time
    Re: University: a big waste of time
    Re: Sanctuary
    Re: Daves Sanctuary

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: Bob Boster <[e-mail]>
Date: Fri, 24 Jan 1997 20:57:44 -0800 (PST)
Subject: momentum (fwd)

This would be shameless self-promotion, but it seems the Laswell end of
the zorn population is opening up to electronic stuff more and more.  Fans
of drum n' bass, ambient, and Marclay/Shea style collage might be right at
home here...

Bob


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

momentum: an uninterrupted concert of electr(on)ic music
        presented by friction media and 2779


Saturday February 1st, 8pm-2am     at 2779  (formerly Komotion)  16th and
Folsom, SF, CA . 4 dollars, in and out OK. Info: 510-655-8636 (day of show
415-626-4420)
            or email: [e-mail].


featuring original music and multimedia by:
Maggi Payne, Frank Henriksen, Kent Jolly, A.L. Dentel, Detergent, Michael
Berry, Citizen Band, Mr. Meridies, Conceptual Musik Union,
dj Cheb i Sabbah, and (in absentia) Lesser.



- ----more detailed information below, feel free to delete here----


1    What is momentum?

2    Artists Profiles

3    Other Info



momentum is an attempt to bring together performers and audiences from
various subdivisions of the general category: electronic music for a large
scale meeting of minds... The concert, which runs 6 hours start to finish,
will include collaborative moments in the crossfades from one artists set
to another's, as well as surround audio and some video accompaniment.
This marks the first in a series of Bay Area concerts produced by Friction
Media which will follow the aesthetic agenda of bringing together artists
from different creative disciplines and styles. The Bay Area member (and
founder) of the Friction Media collective, Bob Boster, has been committed
to smashing artistic boundaries since his experience in the eclectic
Chapel Hill music scene (culminating in the visionary compilation CD:
Cognitive Mapping Vol. 2.)

It is his feeling that the divisions between such genres as dance music,
ambient, tape music, appropriative collage, musique concrete, drum n bass,
audio art, noise, and illbient are false and that these divisions need to
be confronted for electronic music to expand as a whole.  This concert is
the first fully formed attack on these divisions.

Further, the vision of these musics as being made within something of a
modern folk tradition binds them together - and like folk music, these
artists are traditionally under-promoted and usually struggle to get
access to performing opportunities.  Hence the cover charge has been kept
low to make the show available to the largest possible audience. This is
not a profit-driven event, all money will go towards supporting 2779
(another collective-run venture) and the performers...


Artists Profiles (in order of appearance):

Maggi Payne is co-director of the Mills College Center for Contemporary
Music, where she teaches.  Her music tends to focus with incredible
attention on sound design and environment, and is often presented with her
video work. Maggi has performed throughout the US and Europe and has
released music on Lovely Music, Music and Arts, and Centaur.

Frank Henriksen is a composer from Norway, whose work exploits the fine
degree of detail and control available within computer synthesis.  His
work involves movement and sonic transformation and always takes advantage
of the possibilities of dispersing sound in space.

Kent Jollys work brings ideas of composition from the visual arts into the
audio realm in unprecedented ways.  Using synthesis, especially in
conjunction with neural networks, Kent presents an elaborate and
fully-formed vision of sound in ways completely separate from the expected
in music.

A.L. Dentel, aside from being a cornerstone of the 2779 collective, is
presenting one of her series of 365 Daily Pieces.  While this piece
involves field recorded sound in both original and transformed states, her
series has music for a variety of traditional and non-traditional
instruments.

Detergent (Chris Palmatier) is a painter and rock guitarist (Jobys
Opinion) as well as a recording engineer.  A recent Chapel Hill
ex-patriate, this marks his Bay Area debut.  His sense of rhythm and form
comes from dance music, his sense of sound design from the studio, and his
vision from free jazz.

Michael Berry "spends his time building real-time audio processors on
computers and then playing with them."

Citizen Band "is a collection of three composers (Thomas Day, Xopher
Davidson and Gregory Lenczycki) whose goal is the utilitarian pursuit of
sound exploration through all available means."

Mr. Meridies (Bob Boster) works with stolen material (from CDs) and noise
to construct new musics that re-configure authorship and creativity.  His
music has been released by Friction Media and his DJing by Knitting
Factory Works.

Conceptual Musik Union (Floyd Diebel) arrives as a representative of the
Sacramento noise scene.  CMU composes using formal elements applied to
found sounds, noise, and various musical sources - often in strongly
thematic ways.

dj Cheb i Sabbah is a long-time participant in the Bay Area club scene, an
artist of uncompromising stylistic vision (combining beats and
environments with North and West African samples), and promoter of great
music both on the KPFA and in local performance venues.

and scattered throughout the mix:

Lesser is something of an enigma, and will remain one by sending in an
offering of tape loops from the road (Lesser is on a national tour as we
speak).  Equal parts high-energy dance music and musique concrete, Lesser
also has the audacity to perform live on occasion.



Other info:

Participants and audience alike can't be expected to sustain 6 hours of
music (although Friction Media offers a special prize to anyone who
actually does) so feel free to come and go.  There will be a flea market
of the participants' music as well as some related material. This event
should be appropriate for all ages and dancing is encouraged.  Please call
the information numbers for directions, details, etc.




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

From: David Newgarden <[e-mail]>
Date: Sat, 25 Jan 1997 04:36:29 -0500 (EST)
Subject: [none]

Here's the poop on the Tzadik European Tour -

Evening A
Anthony Coleman Trio
Eyvind Kang Group
Death Ambient (Kato Hideki / Ikue Mori / Jim Plotkin)

Evening B
Ruins
David Krakauer Trio
Elegy (slides & prerecorded music -- perhaps someone else can better
describe the visuals... I was in Guatemala during the 'month of Zorn')


3/5/97  Thessaloniki, Greece - A
3/6/97  Thessaloniki, Greece - B
3/7/97  Wels, Austria - A
3/8/97  Wels, Austria - B
        Wien, Austria - A
3/9/97  Wien, Austria - B
        Insbruck, Austria - A
3/10/97 Insbruck, Austria - B
3/11/97 Paris, France - A
3/12/97 Paris, France - B
    Koln, Germany - A
3/13/97 Koln, Germany - B
3/14/97 Hamburg, Germany - A
      Dortmund, Germany - B
3/15/97 Dortmund, Germany - A
     Hamburg, Germany - B
3/16/97 Berlin, Germany - A
3/17/97 Berlin, Germany - B
3/18/97 Brussels, Belgium - A
    Ghent, Belgium - B
3/19/97 Brussels, Belgium - B
    Ghent, Belgium - A

Also - appearing @ Taktlos Festival
3/20/97    Bern - Death Ambient & Ruins
3/21/97 Basel - Anthony Coleman
    Zurich - Death Ambient & Ruins
3/22/97 Basel - Death Ambient & Ruins
    Bern - Anthony Coleman
3/23/97 Zurich - Anthony Coleman




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

From: Caleb Deupree <[e-mail]>
Date: Sat, 25 Jan 1997 11:22:54 -0500 (EST)
Subject: Re: zorn faq

>From: [e-mail] (m. rizzi)
>Date: Wed, 22 Jan 1997 23:27:23 -0800 (PST)
>
>* How do I order from Tzadik?
>
>    Koch Distibuting (http://kochint.com/tzadik.html) has a list of
>    Tzadik releases with descriptions and links.  Also on this page
>    is a few Zorn resources and a link to CDNow where you can purchase
>    these Tzadik releases.
>

Wayside (http://members.aol.com/Cuneiform2/cuneiform.html) claims to be an
'official mail order source' for Tzadik and appear to have a complete list
with brief descriptions of each one.

>
>* What's a "game piece"?
>

I'll take a stab.

A game piece, of which Cobra is the best known and most recorded (at least
three different versions on Avant, Hat, and Knitting Factory), is a method
of group improvisation where the structure of the piece (the rules of the
game) is set by a prompter at performance time, and the players have
complete freedom within the structure.  It differs from free improvisation
(jazz) because of the prompter.  It differs from contemporary classical
aleatory music (Cage, Stockhausen, Pousseur) and conduction (Butch Morris)
in the complete absence of any notated musical notes of any kind.  The
playful and whimsical connotations of the word 'game' are also relevant to
Zorn's game pieces.

>
>* I'm new to the world of Zorn, he's put out so much stuff, which
>  record(s) should i listen to first?
>

And here's a stab at this one.  I'm not a big fan of the bop pieces, so
someone else should pick an entry point there.

If you're interested in his game pieces, you can't go wrong with the Hat
Cobra. The first Naked City (on Nonesuch) is the best place to start with
the thrash core.  The Big Gundown and Filmworks II are good place to start
for more controlled/composed group pieces.  Bar Kokhba is amazing and
beautiful, but not representative of anything else he's done to date.


>
>* Is this super-heavy Zorn guy really as old as/older than my dad?
>

He was born in 1953.  How old's your dad?

>* Are there other cool saxophone players?
>

Tons.  John Butcher, Tim Berne, Peter van Bergen, Peter Brotzmann, Mats
Gustafsson are some great younger players, John Coltrane, Eric Dolphy, and
Albert Ayler are among the legends of the previous generation.

>
>
>! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
>ARE THESE QUESTIONS RELEVANT TO THE ZORN-LIST FAQ?
>
>* Did the singer of the Boredoms change his name?
>
>    In 1996 Yamatsuka Eye changed his name to Yamantaka Eye.
>    [Didn't Zorn do something similar?]
>
>* Who is Scummy?
>
>* Who is Buckethead?
>

If these questions are indeed frequently asked, the answers are probably
relevant for the FAQ.

>
>! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! ! !
>ARE THESE QUESTIONS OF A TOO PERSONAL NATURE?
>
>* I hear that Zorn and Eugene Chadbourne broke up because Zorn ripped off
>  Eugene, and now they hate eachother. Is that true?
>
>

The question can probably be phrased to remove the personal bias (like 'and
they no longer work together'), which would then be more relevant to Zorn's
musical career and less to his personal life.


- --
Caleb T. Deupree
[e-mail]
;; For every complex question there is a simple answer.
;; And it is wrong.  (H. L. Mencken)


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

From: dennis summers <[e-mail]>
Date: Sat, 25 Jan 1997 11:53:51 -0700 (MST)
Subject: University: a big waste of time

>From: BIRD BRAIN <[e-mail]>
>Date: Thu, 23 Jan 1997 20:09:36 -0500
>Subject: Zorn a fake

> After that moment I lost respect for this teacher, and
>soon left that school.  I wonder if the opinions have changed recently among
>the faculty in our higher learning institutions.  Any thoughts, or experiences?

>If opinions have changed I would like to know, 'cause I'd like to go back
to school, >but I need instrutors who love the music of Dolphy, Coltrane,
Ornette,
>and Zorn to name a few.

Speaking as an exhibiting visual artist, who did go to college (incl. grad
school) I'd bet that there may be only one or two schools in the whole
country likely to give you that support. In the visual arts end of things,
there is just so much jostling for position going on, that the more
"contemporary" the artist, the less likely s/he will be to support you in
anything even more contemporary.

One of the highlights of my grad career was listening to Frank Zappa. The
Composers Society of America (or some group of some similar name) was having
their national meeting at OSU, and Zappa of all people was the keynote
speaker. I told the class that I was teaching at that time, that we were
going to go and listen to Zappa, as he was likely to teach them more in an
hour than I would all term long. One of his comments which I think
particularly pertinent to Bird Brain, was "All of you college music
composers are in shit up to your chins and saying don't make waves."

It seems to me Bird Brain, that with the extraordinary availability of
music, taking Frank's example, and just doing it on your own is the best
advice. Schools have a way of diminishing creativity. They are however, a
good place to make connections, if you are a good networker, and want to
become rich (ha) and famous.

yours --ds
***Quantum Dance Works***
****http://ic.net/~denniss****


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

From: Jeff Spirer <[e-mail]>
Date: Sat, 25 Jan 1997 11:18:33 -0800
Subject: Re: University: a big waste of time

>>From: BIRD BRAIN <[e-mail]>
>
>> After that moment I lost respect for this teacher, and
>>soon left that school.  I wonder if the opinions have changed recently among
>>the faculty in our higher learning institutions.  Any thoughts, or
experiences?
>
>>If opinions have changed I would like to know, 'cause I'd like to go back
>to school, >but I need instrutors who love the music of Dolphy, Coltrane,
>Ornette,
>>and Zorn to name a few.

The idea that school exists to teach someone about what one likes is likely
to lead one not to go to school.  The primary value I see in my formal
education, which ended about 17 years ago after more schools than I can
remember, is that I learned about the things I didn't like, and why I didn't
like them. Occasionally I learned to like the things I didn't like.  And
more than anything, I learned about thinking and technique rather than
specifics.

After all, to understand the outside, you need to understand the inside.

Jeff Spirer
http://www.hyperreal.com/axiom/
Axiom Records/Material Communications


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

From: Christopher Hamilton <[e-mail]>
Date: Sat, 25 Jan 1997 15:13:11 -0500 (EST)
Subject: Re: zorn faq

On Sat, 25 Jan 1997, Caleb Deupree wrote:

> >From: [e-mail] (m. rizzi)
> >Date: Wed, 22 Jan 1997 23:27:23 -0800 (PST)
> >
> >
> >* What's a "game piece"?
> >
*SNIP*
> It differs from contemporary classical
> aleatory music (Cage, Stockhausen, Pousseur) and conduction (Butch Morris)
> in the complete absence of any notated musical notes of any kind.

First, do Morris's conductions always involve notated notes?  I know this
is the case with the David Murray Big Band, but I thought not on some of
Morris' own records.

Second, I recall someone mentioning on this list an unrecorded Zorn game
piece which required/allowed players to write down brief bits of notation
and impose them on other players at certain points in the game.

> >* Are there other cool saxophone players?
> >
>
> Tons.  John Butcher, Tim Berne, Peter van Bergen, Peter Brotzmann, Mats
> Gustafsson are some great younger players, John Coltrane, Eric Dolphy, and
> Albert Ayler are among the legends of the previous generation.

As a legend from the sixties, I'd think Brotzmann belongs in the latter
category, along with Steve Lacy, Evan Parker, Ornette Coleman, Frank Lowe,
Anthony Braxton, Roscoe Mitchell, Joseph Jarman, Oliver Lake.  Maybe Lee
Konitz. (This is of course not an exhaustive list of cool players; I'm
just trying to think of Zorn-related figures here.)  I'm blanking right
now on younger players.  Charles Gayle might plausibly be listed on either
side, as he's only recently started recording.


Chris Hamilton
[e-mail]



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

From: Matthew Ross Davis <[e-mail]>
Date: Sat, 25 Jan 1997 15:51:56 -0400
Subject: Re: University: a big waste of time

I've just finished the first semester of my return to grad school, and
probably am looking at 4 more to get my D.M.A. One of the biggest reasons I
decided to do it was for the discipline and training - both so that I could
be respected as a performer and have the facility to perform with solid
technique so I don't hurt my voice, not to mention attempt to be a
professional musician. The truly contemporary and cutting-edge performing
and composition I do has almost no connection with what I'm doing in
classes, but since I'm so interested in progressive stage performance, I
spend extra time doing and researching it. At the same time, I'm a firm
believer in the tenent of knowing the rules before you can break or bend
them (though I often must boost my motivation by reminding myself of this).
It's especially true in my case because you can do serious damage to your
voice if you don't know how to use it correctly, and contemporary vocal
music/performance tends to call for using the voice in odd ways that
highten the risks. When I get out of school, I'll probably continue to sing
opera as part of the profession, but I won't let the interest in
contemporary music fall to the wayside.

So I guess the message is that healthy technique and good musicianship
should be learned, and if you truly have enough interest in the
contemporary facets of your instrument, then you'll find ways to study them
and make time for them. The University environment is good because you find
others with similar interests and can learn a great deal from the
experiences of your teachers. But then again, University study just doesn't
work for everybody, and you have to do it on your own.


| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
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: Jeff Spirer <[e-mail]>
Date: Sat, 25 Jan 1997 20:34:04 -0800
Subject: Robert Lloyd?

I recently happened onto a 1993 recording of a NYC guitarist named Robert
Lloyd.  Sonny Sharrock plays with Lloyd, so I figure this list is as good as
anywhere to ask if anyone knows anything about Lloyd.

The disc is called _Think About Brooklyn_ and also has Bill Laswell, Anton
Fier, and a few other people on it.  The music is mostly bluesy jazz improv,
with some  spoken word stuff.



Jeff Spirer
http://www.hyperreal.com/axiom/
Axiom Records/Material Communications


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

From: Caleb Deupree <[e-mail]>
Date: Sun, 26 Jan 1997 10:12:52 -0500 (EST)
Subject: Re: zorn faq

At 03:13 PM 1/25/97 -0500, you wrote:
>
>As a legend from the sixties, I'd think Brotzmann belongs in the latter
>category, along with Steve Lacy, Evan Parker, Ornette Coleman, Frank Lowe,
>Anthony Braxton, Roscoe Mitchell, Joseph Jarman, Oliver Lake.  Maybe Lee
>Konitz. (This is of course not an exhaustive list of cool players; I'm
>just trying to think of Zorn-related figures here.)  I'm blanking right
>now on younger players.  Charles Gayle might plausibly be listed on either
>side, as he's only recently started recording.
>

Yeah, after I hit the send button I thought that Brotzmann was not really
among the 'younger' players, but as compared to Coltrane, Ayler and Dolphy,
Brotzmann has released some inspired recordings in the last couple of years
(Dried Rat-Dog and Die like a Dog come to mind).  And Gayle's the same
generation, born around 1940.  But I think we agree on the main point, that
for the FAQ question on other cool sax players, there is a potentially very
long list to which we could all add our favorites.

>I recall someone mentioning on this list an unrecorded Zorn game
>piece which required/allowed players to write down brief bits of notation
>and impose them on other players at certain points in the game.

I wasn't aware of the notation in Zorn's game pieces.  I have an old vinyl
copy of Archery, but the liner notes don't mention anything there about
method.  I admit that my description was based primarily on Cobra, which I
like better than the Archery recording anyway.  On Morris, perhaps a better
distinction would be that there is more sonic intent in Morris' conductions,
whereas the only intent in Cobra is structural.

- --
Caleb T. Deupree
[e-mail]
;; For every complex question there is a simple answer.
;; And it is wrong.  (H. L. Mencken)


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

From: [e-mail] (keefe murren)
Date: Sun, 26 Jan 1997 13:29:59 -0500
Subject: Sanctuary

I've seen sanctuary twice now: once at the end of '95 and then this past
show on the 29th of december.  Both times the instrumentation was the same.
drums,bass, trumpet, two samplers, trombone, and sax/clarinette. I'm not
exactly sure of all the performers, but there was deffinately anthony
coleman, chris speed, yuka honda, and dave douglas and ben perowski. The
difference between the two performances was the rythm section. The second
time i saw it there was a different drummer and bassist. Another difference
was that the second time douglas used an elaborate and ineffective
conglomeration of electronics and effects. The sound the group gets is hard
to characterize.  They move through composed and improvised sections
slowly. The piece takes its time to develop (that doesn't mean it's
boring). After exploring various imporvisations and composed sections the
two players on samplers start to have a more pronounced role even
improvising a section as a duo. Yuka Honda busts a few beats and the
players improvise around that. Speed, Coleman, douglas and the trombone
player each get extended solos and the drummer gets a couple of breaks, but
the piece tends toward ensemble playing. i wish there was something i could
compare it to, but there isn't. I will say that i liked it much more the
first time. The beats the first time were better and so were the drummer
and bassist. YOu may very well differ on this point.
hope this helps. i'm curious what other people have to say about this piece.
keefe

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

From: [e-mail] (Dave Trenkel)
Date: Sun, 26 Jan 1997 13:07:12 -0800
Subject: Re: University: a big waste of time

At 11:18 AM 1/25/97, Jeff Spirer wrote:
>>>From: BIRD BRAIN <[e-mail]>
>>
>>> After that moment I lost respect for this teacher, and
>>>soon left that school.  I wonder if the opinions have changed recently among
>>>the faculty in our higher learning institutions.  Any thoughts, or
>experiences?
>>
>>>If opinions have changed I would like to know, 'cause I'd like to go back
>>to school, >but I need instrutors who love the music of Dolphy, Coltrane,
>>Ornette,
>>>and Zorn to name a few.
>
My university music experience turned out completely different. I went to
Oregon State University, a mostly science and engineering school, not at
all known for it's music dept., much less jazz. But since music was a low
priority at the school, the jazz teacher was not a university-type at all,
but a local jazz musician, Rob Blakeslee, a very fine trumpeter with deep
connections to the west coast avant jazz world. Check out his records on
9-winds, if you're interested, "Lng Narrows" is especially fine. Anyway, I
consider the education I got studying with Rob to be far superior to what I
would have gotten at a bigger school. We were taught the traditional jazz
harmonic vocabulary, but also to develop our own voice, to explore
different approaches to improvising, we studied tunes by Ayler, Ornette,
Vinny Golia, etc, and we played way more student compositions than
standards, each student was encouraged to write. Mainly, we were forced to
be *musicians*, not students.

Unfortunately, Blakeslee no longer teaches at OSU, budget cus eliominated
his position last year. But, there are good teachers out there , you just
have to look for them.

>The idea that school exists to teach someone about what one likes is likely
>to lead one not to go to school.  The primary value I see in my formal
>education, which ended about 17 years ago after more schools than I can
>remember, is that I learned about the things I didn't like, and why I didn't
>like them. Occasionally I learned to like the things I didn't like.  And
>more than anything, I learned about thinking and technique rather than
>specifics.
>
>After all, to understand the outside, you need to understand the inside.
>
We did study the outside on on equal footing with the inside. This offended
a number of players who just wanted to learn the standards. But a lot of
students who wouldn't have ever played free improv otherwise developed a
taste for it.

________________________________________________________
Dave Trenkel, NEW EMAIL ADDRESS: [e-mail]
self promotional web-site: http://www.peak.org/~improv/
"A squid eating dough in a polyethelene bag is fast
and bulbous, got me?"
                                     -Captain Beefheart
________________________________________________________



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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Sun, 26 Jan 1997 20:57:47 -0500 (EST)
Subject: Re: University: a big waste of time

> The idea that school exists to teach someone about what one likes is likely
> to lead one not to go to school.  The primary value I see in my formal
> education, which ended about 17 years ago after more schools than I can
> remember, is that I learned about the things I didn't like, and why I didn't
> like them. Occasionally I learned to like the things I didn't like.  And
> more than anything, I learned about thinking and technique rather than
> specifics.

The most important thing university taught me was that i didn't really
want to go to university to learn what i wanted to...

- -jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Sun, 26 Jan 1997 21:06:51 -0500 (EST)
Subject: Re: University: a big waste of time

On Sat, 25 Jan 1997, Matthew Ross Davis wrote:

> I've just finished the first semester of my return to grad school, and
> probably am looking at 4 more to get my D.M.A. One of the biggest reasons I
> decided to do it was for the discipline and training - both so that I could

This makes sense.  I just want to add an alternative option - find a
teacher you respect a lot.  If they teach in a university, go there, but
if they don't, ask if you can learn from them anyway.  As a music prof in
my first (and only) full term of university said: "take your begging
bowl, and find someone who will teach you what you want to learn.  Become
an expert on your instrument first, and then go and study music history
and theory or what-have-you afterward if you still desire to."

- -jascha


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

From: "Yeah-shure, Nah...er...ve'-so'n" <[e-mail]>
Date: Sun, 26 Jan 1997 21:09:53 -0500 (EST)
Subject: Re: Sanctuary

i saw sanctuary over the christmas holidays of 1995.  I wasn't really
struck by the piece, but it wasn't bad, either.  To me, it sounded as
though it could almost make a good soundtrack to something...

- -jascha


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

From: [e-mail]
Date: Sun, 26 Jan 1997 21:34:28 -0500
Subject: Re: Daves Sanctuary

I saw the performance of this (the first?) on December 27th, 1995, when this
group opened for Masada.  I thought it was incredible.  The drummer was
Dougie Bowne, and he was wild!  James Genus played upright bass.  I wish I
had a recording of it, because I cant really recall any specifics about it,
but I liked it!

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

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