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Zorn List Digest        Tuesday, July 18 2000        Volume 02 : Number 1006



In this issue:
-
       Re: Zorn practicing
       Re: Zorn Practicing
       Zorn practicing....
       Re: Zorn Practicing
       Gaddis (was Re: Zorn Practicing)
       Re: Zorn Practicing
       New sale/exchange list
       (no subject)
       Re: Wadada Leo Smith Reflectativity
       Boulez
       guitarist question
       Re: guitarist question
       re : moral
       St. Germain
       RE: St. Germain
       Re: St. Germain
       Re: guitarist gilmore
       Re: new dream syndicate cd
       Re: Terry Riley
       Re: new dream syndicate cd
       Cobra
       ZRM[P] review [longish]
       Re: Cobra

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

Date: Mon, 17 Jul 2000 09:17:40 -0700
From: "Mike Biffle" <[e-mail]>
Subject: Re: Zorn practicing

> ... terry bozzio (former frank zappa drummer), told me that because he =
was the son of poor immigrants, he never had money to go out with his =
friends or do anything much after school was over. so he spent most of his =
spare time practicing the drums. he started off with about two hours in =
the morning before (!) going to school, then again after lunch, and =
continued right after coming back home in the afternoon. though, if i =
remember correctly, he "only" practiced around eight hours...

I find sitting in the house playing far more enjoyable than most other =
activities... No logistics other than how to keep from driving the rest of =
the household crazy! There's a LOT of time between getting off a day job =
at 5:00pm and midnight!=20

> ... i think that a lot of those artists make their "main" money over =
here in europe. i've read several interviews in which one or the other of =
them said that they couldn't possibly survive doing this kind of music if =
it wasn't for the european market.=20

Don't forget the Japanese market... many pretty wild improv artists =
regularly tour there as well. Derek Bailey has mentioned the importance of =
this market to his success.

Best regards,
- -Miko Biffle


- -

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

Date: Mon, 17 Jul 2000 13:36:09 -0400 (EDT)
From: James Graves <[e-mail]>
Subject: Re: Zorn Practicing

I think I read this in "Talking Music", but I believe that Zorn lived on a
fixed income he inherited from his Grandmother's (maybe...?) estate when
she passed away. It was just enough for rent and food in NYC at the time.

I actually think this raises an interesting issue. In principle I find
pouring over details of artists lives a little bit distasteful and
voyeuristic, pulled back by a feeling that "only their work matters."
The liner notes of the Jimi Hendrix rereleases are almost disgusting in
their level of detail. The recording sessions are put in the context of
Hendrix's entire life, saying how he broke up with this girlfriend so many
days before going into the studio, that he stopped using rosewood necks on
his guitar starting on this concert, and a host of other things that,
while occasionally interesting, seem to be just a little too much.

But there are so many great stories and fascinating figures within the
scene that I'm always interested in more gossip or information. Stories
like Charles Ive's holding down an Insurance company job while he explored
his own highly individualized music on the weekends and Zorn bumming
around the US and Japan as an outsider while developing a unique body of
work always fascinate me. Who doesn't love that story about Zorn
telling Madeline Albright to "shut the fuck up?" Much art in the 20th
century has addressed and expanded the defining lines between artist and
observer, but I still feel left in a strange position here. Anybody have
any thoughts on this?

Jamie


- -

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

Date: Mon, 17 Jul 2000 10:42:46 -0700 (PDT)
From: Theo Klaase <[e-mail]>
Subject: Zorn practicing....

    I've got a John Zorn book that's both English and
Italian, and in it, Zorn states that he began playing
saxophone at age 21!!!  Imagine that!

=====
- -That which is Theodorus    "Good bye sober day, hello milky way..."www.freeyellow.com/members7/theodorus/index.html

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- -

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

Date: Mon, 17 Jul 2000 10:44:57 -0700
From: "s~Z" <[e-mail]>
Subject: Re: Zorn Practicing

>>>In principle I find pouring over details of artists lives a little bit
distasteful and
voyeuristic, pulled back by a feeling that "only their work matters."<<<

"What is it they want from a man that they didn't get from his work? What do
they expect? What is there left of him when he's done his work? What's any
artist, but the dregs of his work? the human shambles that follows it
around. What's left of the man when the work's done but a shambles of
apology?"

 -- the character Wyatt, in William Gaddis' _The Recognitions_, pp. 95-6.












- -

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

Date: Mon, 17 Jul 2000 14:05:26 -0400
From: Maurice Rickard <[e-mail]>
Subject: Gaddis (was Re: Zorn Practicing)

At 10:44 AM -0700 7/17/00, s~Z wrote:
>  -- the character Wyatt, in William Gaddis' _The Recognitions_, pp. 95-6.
>

I don't have any substantial contributions to the discussion of
Zorn's practicing schedule, but _The Recognitions_ is definitely one
of the masterworks of the 20th century--a great cultural critique,
and a very darkly funny take on Beat and pre-Beat-era NYC.  Well
worth taking a week off to read.  _JR_ is another one (skewering
modern--pre-Web--American capitalism), and what's astonishing about
them is how drastically his style changed from the first book (_The
Recognitions_) to his later career.  (Well, there were 20 years
between _The Recognitions_ and _JR_.)  One wishes Gaddis were around
to write the definitive .com mania book.

To whoever asked the question about the _word_ strings: the ones I
use in the above are meant to substitute for italics.

- --
Maurice Rickard
http://mauricerickard.com/

- -

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

Date: Mon, 17 Jul 2000 14:32:50 -0400
From: Dan Hewins <[e-mail]>
Subject: Re: Zorn Practicing

>I actually think this raises an interesting issue. In principle I find
>pouring over details of artists lives a little bit distasteful and
>voyeuristic, pulled back by a feeling that "only their work matters."
>... Anybody have
>any thoughts on this?

Well, I suppose it's good information for people interested in trying
to develop themselves as artists.  Educationally, this information is
helpful.  Some artists have come up with some interesting ways to pay
the bills.

Dan Hewins

- -

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

Date: Mon, 17 Jul 2000 20:17:00 +0100
From: Scott <[e-mail]>
Subject: New sale/exchange list

Hi

I've just updated by sale/trade list with stuff by Merzbow, Paul Schutze,
Pierre Henry and Ground Zero amongst others. You can find it at:

http://www.burntweeny.freeserve.co.uk/list.html

Scott


- --
White Noise
For experimental events in Scotland
http://www.burntweeny.freeserve.co.uk


- -

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

Date: Mon, 17 Jul 2000 16:59:16 EDT
From: [e-mail]
Subject: (no subject)

Who doesn't love that story about Zorn
telling Madeline Albright to "shut the fuck up?"


I would love to hear the details of this story if anyone has them.


Seth

- -

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

Date: Mon, 17 Jul 2000 16:29:27 -0500
From: Herb Levy <[e-mail]>
Subject: Re: Wadada Leo Smith Reflectativity

"Rob Allaert" <[e-mail]> asked:

>Can anyone review these releases?
>
>* Wadada Leo Smith: Reflectativity

In general this is not as close to "jazz" as the Golden Quartet CD
but it is closer to improvised music than most of the two previous
CDs by Smith on Tzadik. I like it pretty well based on my limited
listening so far. I should note that the CD includes new versions of
BOTH pieces from the original 1975 LP Reflectativity, not just the
title track, but also <t Wmukl-D>, originally recorded with that
title, followed by a dedication to the fishermen of the world, here
retitled: Fisherman t Wmukl-D.

Since these both appear to be in part graphic scores with much room
for improvisations, as well as some sections in something like
standard notation, the overall shape of the new recordings is quite
similar to the old vinyl sides, but only some parts seem to be
literally repeated from the previous version.

BTW, I recently heard Smith play in Vancouver BC with the New
Orchestra Workshop and he sounded great.

I've liked what I've heard of the Susie Ibarra disc, but I haven't
given it enough attention to say much more than that.

Bests,

Herb
- --
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

- -

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

Date: Mon, 17 Jul 2000 19:44:38 -0700 (PDT)
From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Boulez

Hi

I just finished seeing a Pierre Boulez performance, conducting the
Salzburg Philarmonic in 1992 and it blew me away...any good pointers
on where to start exploring his music???

A
np: Liquid Tension Experiment 2

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Get Yahoo! Mail û Free email you can access from anywhere!
http://mail.yahoo.com/

- -

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

Date: Tue, 18 Jul 2000 02:39:57 -0400
From: Matt Teichman <[e-mail]>
Subject: guitarist question

Is the David Gilmore that plays with Don Byron the same one that plays with
Pink Floyd, or am I mixing up my Gilmores with my Gilmours?

- -

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

Date: Tue, 18 Jul 2000 11:01:09 -0700
From: Arthur Rother <[e-mail]>
Subject: Re: guitarist question

Same guy, different name, eh...


At 02:39 AM 7/18/00 -0400, you wrote:
>Is the David Gilmore that plays with Don Byron the same one that plays with
>Pink Floyd, or am I mixing up my Gilmores with my Gilmours?
>
>-
>


- -

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

Date: Tue, 18 Jul 2000 10:53:41 +0100
From: "Truyens" <[e-mail]>
Subject: re : moral

The question
that popped in my head, and that Zorn is certainly challenging is "Is Art
Moral?"  I'm at a loss for what I think; so, I was wondering if you all have
anything to say.

~Eriedell

I'm always slightly missionary when I hear questions like Is art moral, Is
love good.
I've probably read too much Korzybski, so I think of these questions as
noise.  Unanswerable.  There is nothing that can be called "Art" and also
moral is a rather abstract term.  Abstraction meaning so many levels away
from actual experience, that it becomes almost void.
There are people doing things and each and every one should be viewed
separately.
Me thinks.


- -

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

Date: Tue, 18 Jul 2000 12:16:27 +0200
From: Stephen Fruitman <[e-mail]>
Subject: St. Germain

Anyone have any information on a French artist who trades under the name
St. Germain, and who has just released an album on Blue Note entitled
_Tourist_?
Thanks in advance, Stephen






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

Bj=F6rn Olsson,
Inst. f=F6r id=E9historia,
Ume=E5 universitet
901 87 Ume=E5
tel. [phone] fax 143374
e-post: [e-mail]



- -

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

Date: Tue, 18 Jul 2000 12:19:08 +0200 (CEST)
From: Yves Dewulf <[e-mail]>
Subject: RE: St. Germain

St.Germain is an alias for the French house artist Ludovic Navarre, whose debut
album "Boulevard" was released on Laurent Garnier's F-communications label some
five years ago. His music is a combination of typical French deep house beats,
very subtle jazz and blues samples (way before Moby and with much better
results) AND adding exquisite jazz musicians.
Boulevard is a great album, if only for the first track which mixes Dave
Brubeck's Take five, samples of soul-diva Marlena Shaw (anyone knows if here
albums are still available somewhere??) and cool-jazz trumpet/tenor duo's.
Also live St.Germain is outstanding, having as much as ten live jazz-cats on
stage and Navarre himself hidden behind mixing desks and computers.
Both albums are definetely worth checking out, no avant-garde at all but
probably the most funky and soulful jazzhouse around. Tourist should be the
first buy however, as it shows a bit more variation.

YVes






- -

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

Date: Tue, 18 Jul 2000 12:25:05 +0200
From: "in.out" <[e-mail]>
Subject: Re: St. Germain

This guy real name is Ludovic Navare and he used to be find for the last 7
years filed under House music=2E
St Germain was the first DJ from the "French touch" to be famous in Japan
and USA=2E He alway work in the electronic music including a lo of jazz=2E
I haven't listen his Blue note release yet but his former album "Boulevard"
on F=2ECom was a success both in the jazz and electronic press=2E

Mikl Carsenti

np: Ronald shannon Jackson "Pulse"
- -------------------------------------------
In-Out Cd Store
15 avenue N=F4tre Dame
06000 Nice
Tel/Fax : [phone]
e-mail : in=2Eout@wanadoo=2Efr


- -

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

Date: Tue, 18 Jul 2000 07:04:36 EDT
From: [e-mail]
Subject: Re: guitarist gilmore

David Gilmore is a young NYC-based player.  He has worked with Cassandra
Wilson, Steve Coleman, Don Byron, Lost Tribe, Graham Haynes, and others.

- -

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

Date: Tue, 18 Jul 2000 08:54:06 -0400
From: David Beardsley <[e-mail]>
Subject: Re: new dream syndicate cd

Steve Berman <[e-mail]> writes:

> >>>>> "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

La Monte.

- --
* 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: Tue, 18 Jul 2000 09:00:50 -0400
From: David Beardsley <[e-mail]>
Subject: Re: Terry Riley

[e-mail] aka Aaron Solomon writes:

> While In C is the essential Riley his new works are often overlooked.
> "Chanting The Light Of Foresigh" is by far one of the best compositions in
> recent time.  This is a sax Quartet written with just intonation

It's not all in JI.

> (for more on
> Just intonation I highly recommend "Harmonic Experience: Tonal Harmony from
> Its Natural Origins to Its Modern Expression" -- W. A. Mathieu).

Great book!


- --
* 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: Tue, 18 Jul 2000 15:14:46 +0200 (MET DST)
From: Steve Berman <[e-mail]>
Subject: Re: new dream syndicate cd

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

    David> Steve Berman <[e-mail]> writes:
    >> >>>>> "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

    David> La Monte.

Ah, of course. Amazing I didn't realize that before.
- --Steve Berman

- -

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

Date: Tue, 18 Jul 2000 11:08:45 -0400
From: "&c." <[e-mail]>
Subject: Cobra

Does any one know where I can get a copy of Cobra Live 92.  Most websites
either have it on backorder or not at all. It's frustrating.  Is the CD
currently out of print or is it just hard to find?

Zach

- -

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

Date: Tue, 18 Jul 2000 08:12:13 -0700 (PDT)
From: jason tors <[e-mail]>
Subject: ZRM[P] review [longish]

from ed zeizel [[e-mail]]

Roll out the seats for this one.  A slammed Tonic
night; sweaty sardined and most certainly standing
room only.  A pow-wow of chiefs; Medeski, Zorn, Ribot,
and guest drummer Ben Perowsky meeting up for  what is
usually a structurally morphing
fly-byûthe-seat-of-your-pants affair.
The early set last night had that quality, but heavier
on the foundation, remnants of a rehearsal lingering,
a tightness of set pacing that couldnÆt have been more
on the mark.  An uncanny  balance and blend to their
transitions between groove, swing, out, and
in-between.  For those who missed: this was one of
those nights;  an energy soaked mind-reading chemistry
that can be rare in such a high risk set.  Four
amazing  players
equally on; one of the best sets IÆve caught in some
time, these guys  pretty much mopped the floor with my
ear wax.

Judging by last night and the Symphony Space Masada,
ZornÆs playing sounds fantastic, itÆs very clear
thatÆs been a recent focus for him.
But surprisingly he was less in the cue role last
night; downtowners have
developed a twitch over the years, a twitch of the
head to the Z when a transition comes around; last
night four corners joined so smooth  nobody got bogged
down by the baton.  Medeski ever consistent, but watch
out now
heÆs in piano shape, right hand Hammond molesting with
a speed he usually  doesnÆt whip out on that
instrument.  Lefty low end anchors putting the groove
in, the swing in.  Ribot is in Postizos shape, a great
sound and time for him; aggressively melodic but
hitting more on the outs then with his band, milking
his strengths till the nipples are sore.  Tone shining
and
sharp, ignoring the mess of wires at his feet just
enough.

Perowsky just might have to get a paragraph.  This guy
is starting to take charge in this town, and,
especially recently, in some damn tough company.  His
sound could not be more perfect for a gig like this;
ornery,
reactionary, dense and aggressive as all hell.  The
man has got so many areas of his playing together;
beyond together.  Style-stamped and  saucy.
Perowsky makes everyone push whether its DouglasÆ
sextet, his own band, or this quartet of scene
leaders.  Structurally he take the helm often and
without hesitation but instead of dragging the group
kicking and screaming they follow suit with smiles.
The connection between him and Medeski
was one of the stronger bonds IÆve seen, they pushed
each others buttons and limits; on one occasion they
upped tempos notch by notch so much it got
competitive,
Ribot sweating a bit then dropping out, building to an
orgasmic chaos crumble to end one of the setÆs
highlights.

Watching the faces of the four there was no doubt how
much they got caught up in this set.  This
configuration will pop up again.

This brings me to my plea for the day.  If anyone
knows who was taping that set and could be troubled to
divulge, it would mean a lot. Trades are available.
Thanks.



__________________________________________________
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http://mail.yahoo.com/

- -

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

Date: Tue, 18 Jul 2000 08:28:13 -0700
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Cobra

On Tue, 18 Jul 2000 11:08:45 -0400  "&c." wrote:
>
> Does any one know where I can get a copy of Cobra Live 92.  Most websites
> either have it on backorder or not at all. It's frustrating.  Is the CD
> currently out of print or is it just hard to find?

It was my impression that the Tom Cora tribute (IT'S A BRAND NEW DAY) was
produced by John Zorn at the condition that the COBRA would be deleted (I
even thought that both would end up with the same catalog number). This as
a result of Zorn not wanting to have anything to do anymore with the KF.

    Patrice.


- -

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

End of Zorn List Digest V2 #1006
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