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Zorn List Digest        Tuesday, July 25 2000        Volume 02 : Number 1015



In this issue:
-
       Re: frith
       Re: frith
       Lombardo/Frith/Laswell/Zorn review
       zornlist channel on Napster
       Re: 18 hrs of jzz
       to the quick (no zorn content)
       RE: frith (now Nus-question)
       Re: Lombardo/Frith/Laswell/Zorn review

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

Date: Mon, 24 Jul 2000 08:51:20 -0400
From: Perfect Sound Forever <[e-mail]>
Subject: Re: frith

For Fred Frith, two excellent starting points are: MASSACRE: Funny Valentine and SKELETON
CREW: Learn To Talk.  One of his early solo records, Speechless, is a lot of fun also.

Best,
Jason
- --
Perfect Sound Forever
online music magazine
[e-mail]
http://www.furious.com/perfect



- -

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

Date: Mon, 24 Jul 2000 10:17:09 -0400
From: Joseph Zitt <[e-mail]>
Subject: Re: frith

On Mon, Jul 24, 2000 at 11:33:33AM +0200, Verstraeten Stefan wrote:
=20
> Another interesting context in wich I liked hearing Frith play was the =
album
> with Percy Howard (the leadsinger of N=FBs) on the Materiali Sonori lab=
el (for
> info check http://www.matson.it). The band features Hayward on vocals, =
AND
> as a backing band the revitalised Massacre band (frith on guitar, laswe=
ll on
> bass and hayward on drums).

Hm! I just heard a nu^s track on a compilation CD and loved the voice
(though I coulda sworn it was a woman singing). If it's Percy Howard,
I'll definitely have to check his stuff ot.

- --=20
|> ~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: Mon, 24 Jul 2000 19:53:23 GMT
From: "Arthur Gadney" <[e-mail]>
Subject: Lombardo/Frith/Laswell/Zorn review

(appoligies to the people also on the Frith list, who will get this
twice...)

Hello to all,

Yes, I also went to the Fred Frith, John Zorn, William O. Laswell and Dave
Lombardo concert in London and here is my thoughts about it...

Shortish: Opening was And, which is Steve Noble on turntables and
electronics, Pat Thomas on electronics and of course Derek Bailey on
electric guitar. Cool music, not so much to say really. I wouldn't call it
extraordinary, but great playing from all and they also seemed to be
enjoying it themselves. Oh, yeah, and Derek broke a string.

Longish: As for the quartet, the core and most interesting part of it is of
course the drumming of Dave Lombardo. For those of you who don't know, he
used to play in Slayer and is one helluva heavy drummer. As far as I know,
his only previous experiences with free improvisation has been a trio
concert with Patton and Zorn, and another performance last year with this
quartet. (This might not be totally correct, but he surely is very new to
this genre...) Some might call him a bad improvisor, and I guess I would
kind of agree but that's what made it interesting for me. For me it was very
exciting seeing someone who was clearly totally out of his usual musical
surroundings, but still trying hard to make something out it. Sometimes I
get the feeling with some of these free impro guys that they get so good at
their stuff that they actually get kind of lazy and forget to challenge
themselves, which of course is essential to free improvisation. Lombardo was
clearly very challenged this night!
However, some part of the audience seemed to have a hard time accepting the
sheer power of his playing, and starting reacting to it more like a kind of
freakshow applauding every time he would do his trademark double bassdrum
rollings or play some harder than, say, the average rock drummer...
There was absolutely no boring jazz clichees or lame free impro noodling.
Actually, I guess the only reason this band played at a jazz festival is
because of ZornÆs reputation after his recent work with Masada, because the
music seem to nothing or at least only extremely little to do with ôjazzö.
Which I honestly found quite refreshing. This was improvised rock!

Maybe IÆm making it sound like it was notstop grind, which is not true at
all. Especially in the beginning of the concert, they also did some long
almost ambient parts, pretty similiar to some of the new Massacre stuff. And
of course, ANY project with Laswell will have a fair share of dub.
Also one of the best parts, was a piece where Zorn picked up a small
melancholic melody and kept repeating it over and over again, while the rest
of them quickly builded up a huge wall of sound behind him. Great!

One of the few negative things about this concert was the sound. IÆm totally
convinced this was not done by LaswellÆs regular sound man Oz Fritz
(probably one of the greatest sound people on the planet) He always get an
very very loud but extremely clear sound with an enormous fat bass. He was
with Massacre when they played Moers last year and it was awesome. I missed
him here, because the sound here was pretty blurred, with especially Frith
suffering from it. Especially in the louder segments it was almost
impossible to hear him. Quite a shame...

But everyone still seemed to enjoy playing greatly. ItÆs been a long time
since IÆve seen Frith so close to dancing...

However, probably the greatest thing that evening was not by the quartet,
but was a piece by just Frith and Zorn. Amazing! Extremely fast and
extraoridnarily communicative playing. Both where in absoluty top form,
almost competing who could be the fastests to pick up small parts of what
the other one was doing and throwing it back at him... Also, I got the
strange feeling that this short little piece actually gave a pretty good
view over FrithÆs music career. Ranging from fierce and noisy improvisation
to kind of folk-like melodies...

Somebody suggested to Fred that he should "let the tape roll for this one".
I don't know, while some of it easily could have been released and would
have been great, also on the other hand I think some of it would frankly be
a bit boring to listen to again. There was alot of searching and trying
things ou in this concert, and not all of it was equally succesfull! But I
definately hope this quartet will keep playing (if four so busy people could
ever find the time to meet again :-), and if they eventually do release a
CD, I'll be the first to buy it for sure. I think they have a great
potential, and it's great seeing some new fresh blood in this scene through
Lombardo, and I can't imagine any better company for him to be in.

Did anybody go to the Paris (???) concert? I'd be curious to hear about it!
And what about the recent Massacre concert in Poland?

Thanks, byebye
ARTHUR_G


What, prey tell, do you have to do to get ready to listen to a piece
of music? All a person needs is a set of ears. It is not
required that one study for years just to listen to music. In some
cases, a more studied individual might get more out of
something they are experiencing, but since there's no competition to
"get the most" out of a piece of music, who cares?

               "I Hate The Man Who Runs This Bar" by Eugene Chadbourne


________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com


- -

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

Date: Mon, 24 Jul 2000 21:09:13 +0200
From: "Rob Allaert" <[e-mail]>
Subject: zornlist channel on Napster

"Ljova tried to create the Zornlist channel several times today, but nobody
came in."

Napster's many servers aren't connected (yet) so we'll have to be lucky to
have some zorn-oriented members on the same server. You can create the
"zornlist" channel, but if you're lucky someone else might have done it and
then you can talk and trade. Make sure to have 'version 7' and specify
separate message windows when you get contacted.

What do you mean with napigator ?

Rob, Belgium____________________


- -

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

Date: Mon, 24 Jul 2000 15:46:36 -0700 (PDT)
From: "m. rizzi" <[e-mail]>
Subject: Re: 18 hrs of jzz

>i think there's some kinda rule about not posting things that are too long, but
>mrizzi's away and this is interesting.

    It is all automatic, the majordomo list server
    software bounces large posts to me. This helps
    prevent spam and large attachments from getting through
    to the list membership.

    wading through 400+ zornlist messages,
    mike rizzi
    zorn-list-owner


- -

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

Date: Mon, 24 Jul 2000 22:01:16 -0400
From: Matt Laferty <[e-mail]>
Subject: to the quick (no zorn content)

Zorn-ites

If you've got some interesting ideas for shortish or less-than-shortish
essays on our kind of stuff, this journal/magazine is open to
media/cultural stuff.  And I'm on the editorial board.

Email me privately for more information or email [e-mail]

Matt


*CALL FOR SUBMISSIONS* (Please forward to
interested parties)

|to the QUICK : issue #4|
the journal magazine of media and cultural
studies at Binghamton University

Who says "academic" writing can't be exciting?

CONTENT.
We want essays, articles, and columns (or
proposals outlining such
projects) that perform thematic, theoretical, and
cultural analyses of
media arts like TV shows, films, music, or
cultural movements and issues as
diverse as you can possibly imagine.

        =85Artificial intelligence, Audio verite,
Bob Flanagan, Church of the
Subgenius, Computer languages, Corporate
postmodernism, Cut-ups,
Duplication and the history of "copy", Edward
Gorey, E-mail forwards=85

These media forms have in the past been dismissed
as unimportant cultural
markers when measured against the mass of
"literary" studies. to the QUICK
continues the work of media literacy and cultural
studies programs by
drawing attention to the meaning existent in all
discussions and arts. We
also take the notion of "interdisciplinary" to
heart, believing that each
discipline is another way of reading the world
and yet is part of a very
similar critical attitude.

        =85Failed soft drinks, Fertility drugs,
Foreign language acquisition in the
schools, Holocaust revisionist rhetoric, Hot-air
ballooning, Internet chat
rooms, Kissing, Kitchen gadgetry, Marginalia,
Monster Trucks (that turn
into giant robots), NAFTA, New anarchisms, Phish
heads, Police reality
shows, Psychic "friends"=85

to the QUICK therefore takes the stance that
writing across
disciplines-through carefully contextualized
writing-can say informative
and fascinating things even to readers outside of
that field.


STYLE.
If not already implicit, you should make clear
how your analysis is
culturally relevant, what issues your reading is
bringing up. The less the
subject is popular or well-known, the greater the
need to point out this
cultural relevancy rather than relying on the
weight of a theoretical
framework.

        =85Rosie/Oprah/Kathy Lee products, Side
effects, Snuff films, Thinking the
"spork," Two-term presidents, Video morphing,
What Would Jesus Do?, Water
in the 21st century and you get the idea
already!!

It is not necessary that essays implement
critical theory. However, theory
is a way of reading the world and can be useful
and exciting. Essays should
still avoid one of the pitfalls of academic
writing: the dropping of
esoteric terms or phrases without context.
Careful emphasis should be
placed on the relevancy of allusions and
terminology; the reader should not
have to wallow through a dense litter of
meaningless prose.

QUICKTIPS.
- - Be sure to describe the subject in such a way
that the reader does not
have to know the subject in order to appreciate
your point. Present your
context!
- - TTQ does not publish film or music reviews.
- - If your essay exceeds our word limit, please
"cut" it yourself!

SUBMIT.
Essays and articles: 4500 words maximum
Columns: 250 - 1750 words
Book reviews: 500 - 1000 words

Deadline:  TTQ does read unsolicited submissions
but encourages queries.
Deadline for queries with 200-250 word abstracts
is September 20. Deadline
for all articles is October 9, 2000. Queries
recommended for book reviews.
Indicate word count for all text w/endnotes. Also
indicate if piece has
been truncated. Please observe Chicago Manual
Style and put all
parenthetical information into endnotes, with no
Works Cited. If you have
access to and permission for related photos or
images, please indicate.
Your article will be given a careful peer-review.

We are also interested in reprinting pieces
published elsewhere. TTQ needs
pieces for our columns: "The Obligatory Old Book
Review" takes an "old"
book, author, or theorist and presents an
original argument as to how and
why the author's ideas still apply to or are
reflected in today's society;
"The Rewrite Department" uses experimental
non-fiction to comment on
contemporary cultural issues; and Slipstream
picks out an event of cultural
significance from the contributor's life,
describing and analyzing it in a
memoir-like, creative style.  For examples of
these, peruse our journal
magazine on-line at
www.agoron.com/~matthewk/quick. The web site also
contains a variety of other useful tips and
information.

Issue #3, available in August, as well as Issue
#2 (Fall 1999) may be
ordered by mailing a check (payable to "Joe
Bisz," our Managing Editor) for
$5.00 each plus $1.18 shipping to our address
below.  Issues #2 and #3 may
be purchased together for only $7.50 plus $1.18
shipping. Issue #3 will
feature essays on "Buffy the Vampire Slayer,"
images of slavery at
historical sites, "Happy Days" and the Carter
years, house porches, and
much more. Issue #2 featured analyses of IKEA,
"Xena: Warrior Princess,"
Tupac Shakur, record sampling and more.

For instructors:
TTQ's interdisciplinary, contextualized writing
style--combined with photos
and images-- makes it an amazing tool for
teaching cultural studies and
critical thinking. Please email us for prices and
ordering information
(instructors receive a free one-year
subscription). To see if TTQ is right
for your class, send us payment for a sample
copy; if you don't like it,
return it and we'll refund your payment. Our web
site also has full subject
lists for each issue.

Electronic submissions are preferred in RTF,
Word, or WordPerfect format
<[e-mail]> but you may also mail
manuscripts to:

to the QUICK
English Department
PO Box 6000
Binghamton University
Binghamton, New York 13902

Include a SASE or email address for our reply. to
the QUICK takes FNA print
and electronic rights for all text published.




- -

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

Date: Tue, 25 Jul 2000 08:40:11 +0200
From: Verstraeten Stefan <[e-mail]>
Subject: RE: frith (now Nus-question)

- -----Original Message-----
From: Joseph Zitt [mailto:[e-mail]]
Subject: Re: frith


On Mon, Jul 24, 2000 at 11:33:33AM +0200, Verstraeten Stefan wrote:
=20
> Another interesting context in wich I liked hearing Frith play was =
the
album
> with Percy Howard (the leadsinger of N=FBs) on the Materiali Sonori =
label
(for
> info check http://www.matson.it). The band features Hayward on =
vocals, AND
> as a backing band the revitalised Massacre band (frith on guitar, =
laswell
on
> bass and hayward on drums).

Hm! I just heard a nu^s track on a compilation CD and loved the voice
(though I coulda sworn it was a woman singing). If it's Percy Howard,
I'll definitely have to check his stuff ot.

I think that you are probably talking about a compilation cd by Sub
Rosa-label.
Yes, you definitely heard Howard singing, with his distinctive voice...
N=FBs is IMHO worth checking out: The band (who does -unfortunately- =
not exist
anymore), has 2 studio albums on the belgian sub-rosa label. You can =
also
find excellent live performances on the ultra-limited "sessions" =
series,
also on the sub rosa label.
Percy Howard has a very active solo career now: He now has two studio =
solo
albums on the materiali sonori label and one live solo album on a small
american label (don't have the album here with me, so I don't know the =
name
of the label). Anyway, Howard plays on a regular basis with laswell and
bernocchi now.

Best wishes,

Stefan Verstraeten

- -

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

Date: Tue, 25 Jul 2000 10:27:32 +0200
From: "Ari" <[e-mail]>
Subject: Re: Lombardo/Frith/Laswell/Zorn review

Hi,

> Did anybody go to the Paris (???) concert? I'd be curious to hear about i=
t!
I live in the small country, Belgium, where the avant-garde scene is rather
marginal (to illustrate this: a few weeks ago I was on a David Shea
performance where he played his Satyricon for not more than 25 (!) people).
Zorn plays here once or twice a year with Masada (sold out concert hall) or
with his chamber music (half filled hall). To see some of his other stuff w=
e
need to visit our neighbour countries. So I went to Paris to see/hear him
playing with Frith, Laswell, Lombardo on the Paris Jazz Festival in La
Villette.
> Actually, I guess the only reason this band played at a jazz festival is
> because of Zorn=92s reputation after his recent work with Masada, because t=
he
> music seem to nothing or at least only extremely little to do with =93jazz=94=
.
> Which I honestly found quite refreshing. This was improvised rock!
I totally agree. In Paris the audience was also more of the type you would
expect on a (hard) rock festival rather than on a jazz concert. The set
started quite loudly with Laswell playing facing Lombardo, his back to the
audience. Frith rammed wildly on his guitar and broke a string in the very
first minute!! Further the set evolved like the one in London (as Arthur
descriped it): enjoyable rock improvisation, some more ambient-like parts, =
a
duet Lombardo-Zorn, the deep sound of Laswell's bass and of course... an
incredible good duet Zorn-Frith (some mails ago somebody used the exactly
word 'telepathy').
> One of the few negative things about this concert was the sound. I=92m tota=
lly
> convinced this was not done by Laswell=92s regular sound man Oz Fritz
> (probably one of the greatest sound people on the planet)
Strange, I don't know who did the sound in Paris, but it was one of the bes=
t
live sounds I ever heard. Very loud and still clear. It was never lost in a
wall of noise, but had always a high 'resolution'. Even in the most loudly
parts it was possible (if you wanted to) to focus on just one player...
> But everyone still seemed to enjoy playing greatly. It=92s been a long time
> since I=92ve seen Frith so close to dancing...
Indeed!

To leave, after the show (with two bis-sets), we had to pass through anothe=
r
part of the hall where Monty Alexander just started a concert with his
typical reggae/jazzmusic for a large, wild enthousiastic and dancing
audience (the Oscar Peterson style). Next to me stood a woman with a child
on her arm, and she asked me "Wow I like this music, do you know who this
is? Is this John Zorn with his band?" And I replied: "Yes I guess so. You
have to check out his music on CD, but keep in mind that his cd's can sound
a lot different to his live-music..." She thanked me for the information an=
d
I left the place while the band and audience were singing together "Stir it
up"...

Ari.
np: Ligeti's music for barrel-organ

- -

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

End of Zorn List Digest V2 #1015
********************************


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