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zorn-list Digest       Thursday, August 14 1997       Volume 02 : Number 096



In this issue:

    Cultural Labyrinth 1 (fwd)
    Duras:Duchamp, etc.
    Re: masada 4 & 1
    RE: Praxis CD
    re: Masahiko Togashi
    re: Masahiko Togashi
    berlin and muenchen
    Re: Praxis CD
    Re: Duras:Duchamp, etc.
    Re: Bailey mini-fest
    Re: Duras:Duchamp, etc.
    Re: Duras:Duchamp, etc.

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.

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

Date: Wed, 13 Aug 1997 18:09:56 -0700 (PDT)
From: Bob Boster <[e-mail]>
Subject: Cultural Labyrinth 1 (fwd)

Please forward to any potentially interested lists/individuals.

Thanks very much in advance.


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

Cultural Labyrinth and 2779 present:

Cultural Labyrinth 1: Baby Steps

Date:     Friday, August 29th, 1997

Space:     2779 (formerly known as Komotion)
    2779 16th St. (at Folsom)
    SF, CA, USA

Time:     Tape Music Lounge at 8pm
     Performances at 9pm

Cost:    $4 donation requested
    in and out OK

Info:     Please call 510-763-0316
    or email [e-mail] for more details.

featuring:

    Chris Brown (solo electronics)
    Wet Gate (16mm film collage)
    Phil Gelb (solo shakuhachi)
    bouche (voice & electronics)
    A.L. Dentel (performance art? new music?)
    (and perhaps some special surprises)


Cultural Labyrinth is a monthly series of concerts at 2779, focusing
on collapsing genre boundaries by drawing artists and audiences from
the following styles together: electronica, improvisational music,
noise, performance art, "new music", and traditional or
traditional/hybrid forms from around the world.




Details on the artists and the series below:


Chris Brown,  San Francisco based composer, pianist, and electronic
instrument  builder, studied composition with William Brooks,
electronic music with Gordon Mumma at the Univ. of California/Santa
Cruz, and computer music with David  Rosenboom.  He teaches
Composition and Electronic Music at Mills College in  Oakland, where
he is Co-Director for the Center for Contemporary Music (CCM).   His
music includes pieces for solo instruments with interactive
electronics, and improvisational ensemble works, many of them
developed originally for the group Room, in which he performs with
saxophonist/composer Larry Ochs  and percussionist William Winant.  He
is also a member of the computer network band The Hub, and plays
free-jazz with the Glenn Spearman Double Trio.  He has received
commissions from the Berkeley Symphony, the Rova Saxophone Quartet, and
the Gerbode Foundation.  His music is recorded on Artifact, Sound
Aspects, Centaur, Music & Arts, and Tzadik labels.


Wet Gate (Peter Conheim, Steven Dye, Owen O'Toole) is a highly
acclaimed trio of appropriationists focusing on the use of 16mm films,
with special attention to their sound component. Aside from the rich
variety of images and sounds they achieve through plundering generations
of ephemeral films and the like, Wet Gate expands their palette with
self-adhesive patterns applied to the film "to create abstract optical
sounds" and rhythmic loops created from found percussion fragments.  In
their Cultural Labyrinth performance, Wet Gate will debut a new piece
they've been working on for "bulbless" projectors as well as their
normal audio-visual assault.


Philip Gelb has recently moved to the SF Bay Area and is becoming
involved in the thriving experimental music community here.  In the
past few months Gelb has performed in Japan, Germany and the
Netherlands and will return to Japan in October for another series of
concerts, solo and with dancer, Eri Majima. Gelb has studied
shakuhachi with Kurahshi Yoshoi-sensei and composition with Yuji
Takahashi.  His music has been released on Ryokan Recordings, Deep
Listening Productions, Abray Productions and New World/Countercurrents.
Gelb's current projects include a trio with Joe McPhee and Davey Williams
and a duet with Chris Brown.

"At komotion i will present, "Utsoroi" (at the moment of movement) for
solo shakuhachi, composed in 1996 while in residence at the Atlantic
Center for the Arts. This piece was composed for dancer, Eri Majima
and is dedicated to the brilliant sculptor, Aiko Miyawaki."


bouche is a vocal and electronics duet made up of kristi martel and
Bob Boster.  bouche works with extended voice source material to build
a full and swirling sound phenomenon which both pushes audience
members with edgy electronic aspects and soothes them with familiar
vocal qualities.  Members martel and Boster both set aside other
projects to work in this duet: martel is an active composer,
songwriter, and performance artist who has just finished a successful
series of shows at Luna Sea this summer.  Boster's solo pseudonym Mr.
Meridies and electronics duet SignWave both perform throughout the Bay
Area as well.  This bouche performance represents a rare opportunity
to catch this exciting meeting of worlds.


A.L. Dentel's latest project, 365 will keep her performance schedule
booked for years to come; completed in early 1997, Dentel wrote a
piece of music each day for a year.  The range of material in this
series is impressive, but much of it can be described as topical,
inventive, and revolutionary in it's attempt to bridge the gap between
high and low art.  Another 365 piece will be presented for Cultural
Labyrinth 1.


Tape Music Lounge:
This will be an ongoing aspect of the Cultural Labyrinth series,
providing a showcase for Bay Area composers of tape music
(compositions of new music specifically designed for stereo playback)
to have work presented in a public setting.  As audience members
arrive they can respond to it as either foreground or background;
another attempt on our part to shift the traditional concert setting
environment.


On the Series:

Cultural Labyrinth is a year's commitment to musical programming
between 2779 (the space formerly known as Komotion) and CL's steering
committee (currently Bob Boster and A.L. Dentel).  This project
follows on the heels of a series of successful shows at the space and
marks this new chapter by formalizing the relationship with the venue as
well as offering an SF venue with a regular weekend performance schedule for
challenging musical work - currently once a month.

The goal of Cultural Labyrinth is to continue to develop music in the
following genres:  electronica, improvisational music, traditional and
current world musical practices, audio-oriented performance art, New
Music (contemporary music in the classical tradition), sound art, and
other hard-to-categorize musical expression.  These genres are
traditionally under-represented both within the mainstream venues in
the Bay Area as well as within the "known" underground venues.  While
there are many "scenes" which attend to some of the needs of some of the
genres above ("rave" culture, the Bay Area improvisational axis, the noise
scene, etc.) there is no entity with the vision of trying to cross some
of the imaginary boundaries between these styles.  Our view is that this
state of "division" between styles is manufactured by the profit-oriented,
culture-selling industrial machine.  Our vision is to make connections
between musicians and audiences within these various communities to
attempt to fill in this divide.

Other foci of CL's efforts:  providing opportunities for musicians who
have struggled to find a performance opportunities, making efforts to
represent women and other minority voices in the music community, to
offer shows with both eclectic programming and unifying vision, and to
use the series to promote the general agenda of overcoming genre
limitations in music. All within a vigorous effort to build community
and promote artmaking in general.

Cultural Labyrinth is looking for volunteers to work on a variety of
levels: promotion, engineering, documentation, and just making the
shows work. We're also looking for ideas about people who should
perform in our series.  If you have any time to pitch in or suggestions
about people who we should consider for a show, please contact Bob Boster
at 510-763-0316 or [e-mail].  And be sure to put yourself on our
mailing list if you'd like to be kept informed about future events.  We
hope to see you at Cultural Labyrinth for this and all future events.

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

Date: Wed, 13 Aug 1997 23:30:25 +0000
From: "Charles Gillett" <[e-mail]>
Subject: Duras:Duchamp, etc.

Today I ventured out of my hole in the ground to do a little
shopping.  I was glad to find that "Sanctuary" was already out
and available, along with a host of other Avants and Tzadiks.
I was able to curb my ravenous impulses, and only picked up
"Sanctuary" and "Duras:Duchamp."

"Sanctuary" was immediately appealing, though I need to listen
to it again--it's about two hours long, and I wasn't able to set
aside that much "quality time" today.  What struck me on my first
listen was the effect the placement of players in the stereo field
had on my perception of the piece--a bass/sampler/trumpet trio in
each ear, with drums and saxophone in the middle.  I tended to hear
Chris Speed's playing as being like the glue between the melodies
on the right and left sides.

I listened to "Duras:Duchamp" through headphones, which I recommend
if only because "Duras" is so quiet you have to crank up the volume
and lie very still if you want to hear it all.  I could have sworn
I heard some organ playing on "epilogue," but I guess it was just
the small fan I had running.  I liked the piece overall, but it
requires a specialized listening environment.  Somewhat like "Redbird"
or perhaps certain pieces from the more recent Filmworks collections.

"Duchamp" is billed as being "noise trios."  Mark Feldman, Erik
Friedlander, and Jim Pugliese make noises for 13 minutes.  It was
pretty hard to get into, but maybe I should listen to it independently
of "Duras" and see if that helps.  It's pops, knocks, gurgles, and
squeals in various combinations.

I have a couple non-musical problems with "Duras:Duchamp," or rather
one problem with two occurances.  John Medeski is credited as "John
Medesky," and "Duchamp" is subtitled "69 paroxyms for Marcel Duchamp."
I don't believe Medeski has changed his name, and unless "paroxyms"
is some Duchampian word that I'm unaware of, it should have another "s"
in it--"paroxysms."  These errors are printed on the back and inside
the booklet as well.  I know that typos are easy to make, but it
doesn't seem like too much to expect that the name of a major work
will be spelled correctly.  I imagine the errors were noticed after
the art was printed and it's too expensive to reprint all the artwork.

Speaking of the artwork, there's a little secret surprise for all of
you eagle-eyed knee-seers out there.  Wink wink.


- -- Charles

   [e-mail]
   http://umn.edu/~gill0042/

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

Date: Wed, 13 Aug 1997 22:43:06 -0700 (PDT)
From: [e-mail] (m. rizzi)
Subject: Re: masada 4 & 1

>From: "Jonas Thompson" <[e-mail]>
>
>hey, am i the only guy who sees masada 4 in stores on a regular basis?

    There are plenty of copies at Amoeba Music
    in Berkeley for $20.

>and for $45 canadian and only three tunes, is it worth buying?

    mike

- ------------------- [e-mail] -----------------------------------
 www.browbeat.com                       "Another nerd with a soulpatch"
 www.grin.net/~rizzi/burma.html
browbeat magazine, po box 11124, oakland, ca 94611-1124 ----------------

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

Date: Thu, 14 Aug 1997 08:56:25 +0200
From: [e-mail]
Subject: RE: Praxis CD

Concert was recorded live at Sala Kongresowa, Warsaw, Poland 30 June
1996.

1. Metatron
2. Sacrifist
3. Tarab
4. Crash Victim
5. The Hook/Giant Robot

Laswell/Buckethead/Brain/DXT with 4 DJ's (DJ Q-Bert, DJ Disk, Short Cut,
Mix Master Mike)

71 min. long
Really great stuff.

BTW: I found in a CD catalogue: Praxis "Metatron" Limited Edition.
Could someone tell me what is the difference between "normal" edition.

Marcin

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

Date: Thu, 14 Aug 1997 17:40:58 +0900
From: =?iso-2022-jp?B?GyRCQEZGI0FvGyhK?= <[e-mail]>
Subject: re: Masahiko Togashi

Masahiko Togashi is still active, and he often performs
in "Shinjuku Pit-inn", which is one of the most popular
live-spot of jazz in Japan.
   He plays percussion as the leader of his group "Masahiko
Togashi and J.J.Spirits". This group plays standards and
their originals, and the members are as follows:
      Masahiko Togashi (perc)
      Kosuke Mine (ts,ss)
      Masahiko Satoh (p)
      Nobuyoshi Ino (b)
   Masahiko Sato is very famous improvisor, and he recently
plays with Kang Tae Fan (Korean tenor-sax player who plays
with circular bleathing like Ned Rosenberg or Evan Parker).
   Nobuyoshi Ino played nice bass in "Schrippenbach Plays
Monk"(Enja).
   Most of Masahiko Togashi's CDs are on sale only in Japan,
I think, but some of good are out of Japan, such as "The Paris
Session", "We Now Create", and recent "Triple Helix" in which
he plays with Masabumi Kikuchi (p) and Terumasa Hino (tp).
   Besides "J.J.Spirits", he sometimes plays with improvisors
like Masahiko Sato, Steve Lacy, Yosuke Yamashita, Gary
Peacock, Masabumi Kikuchi, Motoharu Yoshizawa, and so on.
   I watched his performance this January in Shinjuku Pit-inn,
duo with Masahiko Satoh, and it was splendid.

Akira Saito

$B!!!!!!!!!!!!!!!!(JE-Mail: [e-mail]$B!!!!!!(J
$B!!!!!!!!!!!!!!!!!!!!!!!!([e-mail]$B!!!!(J

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

Date: Thu, 14 Aug 1997 17:40:58 +0900
From: =?iso-2022-jp?B?GyRCQEZGI0FvGyhK?= <[e-mail]>
Subject: re: Masahiko Togashi

Masahiko Togashi is still active, and he often performs
in "Shinjuku Pit-inn", which is one of the most popular
live-spot of jazz in Japan.
   He plays percussion as the leader of his group "Masahiko
Togashi and J.J.Spirits". This group plays standards and
their originals, and the members are as follows:
      Masahiko Togashi (perc)
      Kosuke Mine (ts,ss)
      Masahiko Satoh (p)
      Nobuyoshi Ino (b)
   Masahiko Sato is very famous improvisor, and he recently
plays with Kang Tae Fan (Korean tenor-sax player who plays
with circular bleathing like Ned Rosenberg or Evan Parker).
   Nobuyoshi Ino played nice bass in "Schrippenbach Plays
Monk"(Enja).
   Most of Masahiko Togashi's CDs are on sale only in Japan,
I think, but some of good are out of Japan, such as "The Paris
Session", "We Now Create", and recent "Triple Helix" in which
he plays with Masabumi Kikuchi (p) and Terumasa Hino (tp).
   Besides "J.J.Spirits", he sometimes plays with improvisors
like Masahiko Sato, Steve Lacy, Yosuke Yamashita, Gary
Peacock, Masabumi Kikuchi, Motoharu Yoshizawa, and so on.
   I watched his performance this January in Shinjuku Pit-inn,
duo with Masahiko Satoh, and it was splendid.

Akira Saito

$B!!!!!!!!!!!!!!!!(JE-Mail: [e-mail]$B!!!!!!(J
$B!!!!!!!!!!!!!!!!!!!!!!!!([e-mail]$B!!!!(J

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

Date: Thu, 14 Aug 1997 11:33:37 -0400
From: "mcbride/turner" <[e-mail]>
Subject: berlin and muenchen

hello.

we'll be touring around germany in the next couple of weeks, and i wonder
if anyone here can recommend good clubs and/or record shops in berlin and
muenchen?  any info would be greatly appreciated.

thanks,
       robert turner

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

Date: Thu, 14 Aug 1997 08:04:42 -0400
From: "Andy Marks" <[e-mail]>
Subject: Re: Praxis CD

> BTW: I found in a CD catalogue: Praxis "Metatron" Limited Edition.
> Could someone tell me what is the difference between "normal" edition.

The limited edition has fancy packaging. The front (and back , I think)
are covered with rubber spikes.

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

Date: Thu, 14 Aug 1997 08:32:47 -0400
From: "ALAN E. KAYSER" <[e-mail]>
Subject: Re: Duras:Duchamp, etc.

Charles Gillett wrote:

> "Sanctuary" was immediately appealing, though I need to listen
> to it again--it's about two hours long, and I wasn't able to set
> aside that much "quality time" today.  What struck me on my first
> listen was the effect the placement of players in the stereo field
> had on my perception of the piece--a bass/sampler/trumpet trio in
> each ear, with drums and saxophone in the middle.  I tended to hear
> Chris Speed's playing as being like the glue between the melodies
> on the right and left sides.
>
> -- Charles
>
>  This is pretty much the way they line up on stage.  I saw them live
> 8-12-97, with Coleman and Dresser on the right of the semi-circle and
> Honda, Green on the left.  In the middle stood from left to right
> Douglas, Speed, and Vu.  Kenny Wollesen squashed to the back.  (BTW, I
> heard some bad news on Doug Bowne???) Of course this was on the very
> cramped Knitting Factory stage.  I have the CDs, which Dave had at the
> show, but have not listened to it.  I will say that the audience sat
> in rapt attention throughout.  In fact, I think only one solo got
> applause, it seemed that applause might break the flow of the music.
> It was magical.  However, on stage it was very much the two trumpets
> that were the glue.  I thought that Speed's sax and clarinet were
> mixed a bit too low, so perhaps on the CD he stands out more.  I spoke
> to Vu between sets and he explained that though there is notation, the
> solos and much of the palying is improvised.

Alan E [e-mail]

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

Date: Thu, 14 Aug 1997 09:34:30 -0400 (EDT)
From: Brent Burton <[e-mail]>
Subject: Re: Bailey mini-fest

On Wed, 13 Aug 1997, Steve Smith wrote:

> I was so blown away by their
> interplay ("play" being a key word, as Moran and Hollenbeck are both
> extraordinarily fond of junk, plastic toys and cheap noisemakers) that I
> sent a fax to Derek Bailey the next day, urging him to contact them for
> his mini-festival at the Knit at the end of October.

Hey!  Does anyone have anymore info about the Bailey fest?  Dates?
Potential performers?

B$

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

Date: Thu, 14 Aug 97 9:48:59 EDT
From: M.Ho <[e-mail]>
Subject: Re: Duras:Duchamp, etc.

 (BTW, I heard some bad news on Doug Bowne???)

What's going on with Dougie and do you know what it is that he's been
ill with?

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

Date: Thu, 14 Aug 1997 10:10:34 -0400
From: "ALAN E. KAYSER" <[e-mail]>
Subject: Re: Duras:Duchamp, etc.

M.Ho wrote:

>  (BTW, I heard some bad news on Doug Bowne???)
>
> What's going on with Dougie and do you know what it is that he's been
> ill with?

The word I heard was that he is paralyzed, but I hesitate to spread a
rumor.  Can someone confirm this ?Alan

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

End of zorn-list Digest V2 #96
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