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Zorn List Digest       Saturday, July 15 2000       Volume 02 : Number 1004



In this issue:
-
       BAM on a can
       Re: new dream syndicate cd
       Lincoln Center In C
       Re: 18 hrs of jzz
       Re: Lincoln Center In C
       Re[2]: 18 hrs of jzz
       zorn classical
       Re: Review: Dave Douglas' Witness, Tonic, 7/13/00 (long)
       Re: new dream syndicate cd
       Re:  Eno
       Re: e-mail oddities
       game pieces
       Re: new dream syndicate cd
       Re: new dream syndicate cd
       Re: Stockhausen
       Re: new dream syndicate cd
       Re: otomo yoshida/carl stone
       Re: Estradasphere

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

Date: Fri, 14 Jul 2000 17:03:41 -0500
From: [e-mail]
Subject: BAM on a can

Brian askd about the Bang on a Can marathon this year. I just got the Brooklyn
Academy of Music Next Wave schedule in the mail. (Philip Glass, Robert Wilson,
avant garde Shakespeare interpretation ... why don't they just call it the Same
Wave festival?), and on Dec. 10 they'll be doing the Bang on a Can Millennium
Marathon.

Selected (by me) names include Theo Bleckmann, Iva Bittova, Hassan Hakmoun, Phil
Kline, Scanner, Matthew SHipp/William Parker, Talvin Singh and Lois Vierk. Also
something called Huutajat, a Finnish yelling choir. Sounds cool, even for BAM,
the home for unrealized potential in the outer boroughs. (Too harsh? They
mispell Bertolt Brecht's name in the catalogue, and on their phone message once
I heard them pronounce Bed-Stuy "Bed Stoo-ee." Ay yi yi)

Even more interesting to me, also in Dec, is "To Lie Tenderly," a performance by
David Dorfman Dance with music by Amy Denio. Don't know if she'll be on hand for
the show.

Cheers.



- -

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

Date: Fri, 14 Jul 2000 17:13:13 -0400 (EDT)
From: Ken Waxman <[e-mail]>
Subject: Re: new dream syndicate cd

hm,
 La Monte Young = Lennie Tristano = cult leader w. followers

both seem to have same problem with "leaking out" their work.

Ken Waxman

(who is open-mindedly listening to some electro-acoustic CDs among all
the other stuff he plays)

- -

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

Date: Fri, 14 Jul 2000 17:29:40 -0400
From: "Jesse Kudler" <[e-mail]>
Subject: Lincoln Center In C

I believe the Lincoln Center festival and Terry Riley both came up recent=
ly,
making this particularly apropos.  I just noticed this on the Lincoln Cen=
ter
website:

In C
By Terry Riley
Dave Amels, clavivox; Don Buchla, synthesizer; Paul Dresher, guitar; Val=E9=
rie
Hartmann-Claverie, Ondes Martenot; Greg Howard, Chapman stick; Lydia Kavi=
na,
Theremin; Karsh Kale, e-tablas; Jaron Lanier, virtual reality; Robert Moo=
g,
Moog synthesizer; John Musto, keyboard; Pauline Oliveros, accordion; Zeen=
a
Parkins, harp; Nyle Steiner, EVI (Electronic Valve Instrument); Kathleen
Supov=E9, clavinet; Mocean Worker, samplers; X-ecutioners, turntables.
Conducted by Michael Barrett.

Happened last night, apparently.  Did anyone go?  I'm not really kicking
myself for having missed it because I don't particularly need to pay $30
bucks to see the rest of the pieces (Messian, Crumb, etc).  However, the
above looks like it could have been really interesting.  Or horrible.  I
imagine some of those players being quite cheesy, but people like Zeena
Parkins and the X-ecutioners could very well spice it up.  I also have no
idea what Bob Moog's playing would be like, but he seems like quite an
interesting guy, and his inventions certainly show tendencies away from t=
he
trite.  Oh, and what does "virtual reality" sound like?

Anybody been going to any of the other Lincoln Center electronic concerts
for that matter?  There seems to be some interesting stuff smattered abou=
t
(cf. the turntable show on Sat.), but on the whole the fest seems quite
conservative.

- -Jesse


- -

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

Date: Fri, 14 Jul 2000 17:27:37 -0400 (EDT)
From: Ken Waxman <[e-mail]>
Subject: Re: 18 hrs of jzz

Kurt et al.

A "review" I saw with someone reporting on the bebop program that someone
saw at a film fest suggested that Burns is a guy pretty much hung up on The
Great Men of Jazz thesis. Furthermore, he said the bebop program seemed to
mostly focus on heroin use, with various folks speaking over things like
rare Trane and Bird performance footage.

Also, apparently, every jazz decade gets its own program -teens, 20s, 30s
etc. except for the most recent where everything from 1960 to the present
day is packed into the last show. (Don't expect any 20 minute Zorn
solos). Oh and Wynton Marsalis is the "artistic consultant".

Ken Waxman

- -

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

Date: Fri, 14 Jul 2000 17:23:52 -0400
From: Brian Olewnick <[e-mail]>
Subject: Re: Lincoln Center In C

Jesse Kudler wrote:

> Anybody been going to any of the other Lincoln Center electronic concerts
> for that matter?

No, but I'll be attending the Messiaen show on Tuesday, which includes
"Des Canyons des Etoiles", about which I've heard extreme raves. Anyone
else?

btw, Riley's "In C" still strikes me as his most beautiful work. But
check out the collection of early (1962-67) tape pieces on Organ of
Corti--some pretty amazing and prescient stuff.

Brian Olewnick

NP" David Fulton - Like Chignik (not a great record, but whatever
happened to that guy?)

- -

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

Date: Fri, 14 Jul 2000 17:34:56 -0500
From: [e-mail]
Subject: Re[2]: 18 hrs of jzz

heroin has done a lot of damage to jazz, as has wynton marsalis. only one of
them would seem to be necessary for inclusion, however.
_______________________________________________________________________________
Subject: Re: 18 hrs of jzz
From:    Ken Waxman <[e-mail]> at INTERNET-MAIL
Date:    14.07.2000  17:27 Uhr

Kurt et al.

A "review" I saw with someone reporting on the bebop program that someone
saw at a film fest suggested that Burns is a guy pretty much hung up on The
Great Men of Jazz thesis. Furthermore, he said the bebop program seemed to
mostly focus on heroin use, with various folks speaking over things like
rare Trane and Bird performance footage.

Also, apparently, every jazz decade gets its own program -teens, 20s, 30s
etc. except for the most recent where everything from 1960 to the present
day is packed into the last show. (Don't expect any 20 minute Zorn
solos). Oh and Wynton Marsalis is the "artistic consultant".

Ken Waxman




- -

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

Date: Fri, 14 Jul 2000 18:00:42 EDT
From: [e-mail]
Subject: zorn classical

in response to a post about other Zorn pieces besides Angelus Novus, I'd
highly reccomend Duras:Duchamp which is definitely one of my favorite Zorn
works. Redbird is my second favorite choice, as long as we're all on the
topic of minimalism, this is a fantastic piece, and what i find so intriguing
about it is that it absolutely never loses momentum or intrigue. it is
constantly, repeatedly fascinating to me. Third, for Zorn classical, for me
anyway, is The String Quartets, Cat O' Nine Tails is what some people (not on
the Zorn list, heh) would consider definitive Zorn style. The jump cutting,
etc. The next piece is the Dead Man. I can see it's correlations to the book
by Bataille, which is definitely reccomended, I find it particularly harsh
though, and have trouble listening to it (and i like merzbow.) Personally,
I've found great meaning in Memento Mori, and would reccomend for this piece
alone, though some find it less appealing (there was a discussion on the zorn
list about it awhile ago. ) after that is Kol Nidre, which is yet another
fantastic piece, in fact, i think i'd tie this one with Redbird.
 I think Aporias is very good. In fact,  I like all of his work. That's why
I'm on the list.
from,
matt
np: tony conrad (to show my affiliation) - slapping pythagoras.


- -

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

Date: Fri, 14 Jul 2000 18:25:25 -0500
From: Steve Smith <[e-mail]>
Subject: Re: Review: Dave Douglas' Witness, Tonic, 7/13/00 (long)

James Graves wrote:

> Any news on an album release for this group? I loved the original Mahfouz,
> and have been eagerly awaiting more electronic stuff from Dave. I have a
> feeling that this group is not going to play outside of NYC, what with the
> high number of members and low ticket sales.

Not too sure about the actual "Mahfouz" piece, but assuming everything stands
as it did when I exited RCA, the plan was to record the Witness music late
this year or early next with an eye towards a June release to precede a
European festival tour.  Presumably when they take it to the studio, Feldman,
Friedlander and Roseman will be back on board, but I'll just reiterate what a
splendid job Hammann, Lee and Daley did in their places, and that with only
one rehearsal...

And to anyone taking notes, the second RCA release from Dave, featuring
Charms of the Night Sky, is still on track for release in October to precede
a British tour pairing Charms and Tiny Bell.

Steve Smith
[e-mail]
NP - The Sounds of Sirens (outside the window...)



- -

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

Date: Fri, 14 Jul 2000 20:04:50 -0400
From: David Beardsley <[e-mail]>
Subject: Re: new dream syndicate cd

Joseph Zitt wrote:

> One thing I've noticed, though I haven't done an exact count: it
> strikes me that every person who has championed Young's point of
> view and narrative of the music's history has identified himself as
> either a close friend of his or has worked directly with him (at
> the Dream House or elsewhere). Those who believe that other narratives
> might be valid seem to come from a wider circle. Is this an accurate
> perception? Why is this so?

I've known La Monte since I worked up the nerve to talk to him
in spring of '96. My views are no different from before my
first meeting with LMY. I stand up for La Monte because I can hear
that Conrad as a composer - is hardly a chip off the
old block or original and as a microtonalist - is all talk with
weak results.


- --
* D a v i d         B e a r d s l e y
*           [e-mail]
*
* 49/32  R a d i o "all microtonal, all the time"
* M E L A  v i r t u a l  d r e a m house monitor
*
* http://www.virtulink.com/immp/lookhere.htm

- -

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

Date: Fri, 14 Jul 2000 20:13:00 EDT
From: [e-mail]
Subject: Re:  Eno

In a message dated 7/14/00 4:20:08 PM Eastern Daylight Time,
[e-mail] writes:

<< Are there any other Eno fans here?
 >>

You betcha, big time!!

Dale.

- -

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

Date: Fri, 14 Jul 2000 20:55:23 -0700
From: "Tom Johnson" <[e-mail]>
Subject: Re: e-mail oddities

> 1)When a word appears as such: _word_  often connected without spacing to
> other words as in: word1_word2_word3 ??

This I have often seen when indicating an album title, as if it were
italicised.

> 2) what does this mean: *word* ??

I use it to place emphasis on a particular word.

An interesting note many may not know, but typing this way in Microsoft Word
results in italic and bold text:  _word_ yields an italicized word and
typing *word* yields a bolded word.  A nice shortcut that completely
eliminates using the mouse to select those functions.

Tom

- --
Check me out at http://members.home.com/signals2000
Go ahead, I dare you - I double DOG dare you.


- -

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

Date: Sat, 15 Jul 2000 00:28:09 EDT
From: [e-mail]
Subject: game pieces

could someone explain to me what game pieces are? i have heard the term, but
i am not quite sure what it means.

Mr. Naivete (ben)

np- sonny murray "sonny's time now"     WOW....is anyone else as amazed as me
                                        by the sea of bass guitars calmly
moving                                      back and forth on "Virtue?" It
underlies the                                       whole track....i really
lose myself in this.

- -

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

Date: Fri, 14 Jul 2000 23:16:11 -0400
From: Joseph Zitt <[e-mail]>
Subject: Re: new dream syndicate cd

On Fri, Jul 14, 2000 at 08:04:50PM -0400, David Beardsley wrote:

> I've known La Monte since I worked up the nerve to talk to him
> in spring of '96. My views are no different from before my
> first meeting with LMY. I stand up for La Monte because I can hear
> that Conrad as a composer - is hardly a chip off the
> old block or original and as a microtonalist - is all talk with
> weak results.

But Conrad's current composition and his talk/results ratio have little
to do with determining what his history was. If that were so, then, for
example, we would have to discount accounts of Cornelius Cardew's
importance in his early music because of his later dogmatic anthems.
And, for that matter, has Young done anything of any importance since,
say, designing the Dream House? He's been trotting out the blues band
and the Well-Tuned Piano for quite a while now, in those few instances
that he's let out any clue that he's doing anything at all.

But I would just love to see new recordings or performances show that
he has something up his sleeve.

- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


- -

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

Date: Sat, 15 Jul 2000 12:34:13 +0200 (MET DST)
From: Steve Berman <[e-mail]>
Subject: Re: new dream syndicate cd

>>>>> "David" == David Beardsley <[e-mail]> writes:

    David> And his name is spelled: La Monte - with a space.

Does he pronounce it like 'la mont' or like 'la monty'? I've heard
both on the radio.
- --Steve Berman


- -

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

Date: Sat, 15 Jul 2000 08:20:36 -0400
From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Stockhausen

At 10:37 AM 7/14/00 EDT, [e-mail] wrote:
>
>
><<If you win the lottery, get From the Seven Days (number 14).>>
>
>any sort of brief description of this? I know it's from his week-long opera.
>is there much singing? is the music primarily acoustic or electronic?

As Patrice mentioned, it's not his opera (which is globally entitled Light,
but which also covers seven days), but the first (of two) collections of
'intuitive music,' a collection of poems which were supposed to inspire the
performers in a certain direction.  The story goes that KS went off and
meditated for seven days and came down from the mountain with these pieces
(symbolism at the viewer's discretion) -- hence the title.  Aus dem Sieben
Tagen is the name of the collection in German, but one of the pieces is
available on Harmonia Mundi under that name.  Some of the pieces from the
second collection, entitled For Times To Come, have also been recorded, but
Ceylon is the only one reissued by the Verlag, and as I remember it's not
very good.  As an aside, this was originally issued on Chrysalis, a rock
label, who presumably thought KS's intuitive music would resonate with 'the
younger generation' and made a two album deal -- the second album never
appeared.

One of the pieces of FTSD includes some horrible vocals, KS reading from
Sri Aurobindi or some such new-age claptrap, but for the most part it's his
ensemble from the time, i.e., some acoustic and some electronic
instruments.  I like it more than Patrice did, for me it's the end of his
interesting period rather than the beginning of the dull.  If you know and
like Morphogenesis (who supposedly got their start playing one of the
pieces from this set, but were unable to get clearance to release it under
that name, so they renamed it and released it anyway -- it's not like
anyone could ever tell), I would recommend the collection.

At 08:42 AM 7/14/00 -0700, Patrice L. Roussel wrote:
>
>Wasn't EMF carrying some of the Verlag catalog in the US?

EMF does carry the Verlag CDs, but at a greatly inflated price.  You're
definitely better off ordering directly from the Verlag, unless for some
reason you're willing to pay the premium to get them a little sooner.

>Anybody knows if OPUS 71 is still available?

If you mean Opus 1970, where KS prepared tapes of Beethoven as if they were
short wave radio broadcasts and used them with his ensemble to play
Kurzwellen, AFAIK this has not been reissued.  I think DGG and KS got
together for the Beethoven bicentennial on this one, and he probably
doesn't consider it worthy of inclusion in the canon, since Kurzwellen
itself *has* been released by the Verlag.

- --
Caleb Deupree
[e-mail]

Work like you don't need the money. Love like you've never been hurt. Dance
like nobody's watching.

- -- Satchel Paige

- -

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

Date: Sat, 15 Jul 2000 07:04:46 -0400
From: Rich Williams <[e-mail]>
Subject: Re: new dream syndicate cd

> >>>(I mean, Beefheart was/is an asshole, too.) <<<
>
>Is this from personal experience?
>
>Talk to Bruce Fowler or Brave Midnight Hat Size if you would like to get a
>different perspective.
>
>Asshole is a dynamic, not an individual characteristic, at least in this
>case.


    After reading Bill Harklerod's(Zoot Horn Rollo) recent book,
as well as John French's(Drumbo) extensive notes on the beef box set,
I'm beginning to think that the man could have given Charles Manson a
run for his money, at least in the meglomania department. Of course
that doesn't diminish the music in any way. But still, if only half
of their accounts are true, it amazes me that people put up with him.


- -

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

Date: Sat, 15 Jul 2000 15:46:37 -0400
From: "Peter Risser" <[e-mail]>
Subject: Re: otomo yoshida/carl stone

> I enjoy Stone's work greatly and consider his "Mom's" on New Albion to
> be one of the finer recordings of the last dozen years.  His MO is
> taking small samples of material and delving deeply into them,
> discovering unexpected richness. In "Shing Kee" from "Mom's", for
> example, he samples a second or two from a Japanese vocalist singing
> Schubert (in English) and _very_ gradually extends it, totally
> transforming it into a microscopic examination of the granularities of
> her sound.

> Brian Olewnick


I'd second that opinion for Mom's.  Unbelieveable minimalistic deep sonic
explorations of tiny fragments.  When the one sample suddenly shifts, after
ten minutes to another sample, it's like a huge breaking wave of sunlight
washing over you.  Very intense.

Peter


- -

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

Date: Sat, 15 Jul 2000 20:30:59 EDT
From: [e-mail]
Subject: Re: Estradasphere

This is a wonderful album.  This band has a mix of a more socially acceptable
Bungle/SC3 with a more "world music" flavor and a few Perrey & Kingsleyesque
"electronic pieces."  The sound quality isn't the best but that's my only
major complaint.  This band is able to play instrumental music without epic
solos except the first track.  No one individual in the band stands out as a
virtuoso but they work extremely well together.  I think any Bungle, Secret
Chiefs 3, or early Mahavishnu Orchestra fan will be pleased with this album.


                                                Aaron Solomon

- -

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

End of Zorn List Digest V2 #1004
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