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1998-01-08
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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V2 #204
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Friday, January 9 1998 Volume 02 : Number 204
In this issue:
-
Re: Frisell's New Album
Re: Diamanda Galas
Re: Frisell's New Album
[Fwd: Re: Diamanda Galas]
10 records from 1997
Re: 10 records from 1997
Re: 10 records from 1997
Re: Re: 10 records from 1997
Stalling Book
Re: Stalling
re: Jim Keltner
Re: Jim Keltner
Death Praxis Plus
Re: Stalling
top "baker's dozen" for 1997
Evan Lurie (?)
frisell
Re: Evan Lurie (?)
Re: frisell
----------------------------------------------------------------------
Date: Thu, 08 Jan 1998 20:51:34 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Frisell's New Album
Jeff Schwartz wrote:
> It's also always interesting to hear him revisit
> compositions he's recorded before...
My favorite track is the remake of "Lookout for Hope." I heard him play
that new arrangement with Krauss and Jerry Douglas rather than Keltner
in Brooklyn a few months ago and it was very fine indeed.
> Has anyone heard the new Michael White album? I think it's
> all duos with Bill.
It's very nice and pretty. In a similar vein, Bill's next project for
Nonesuch will be an album of duets with Fred Hersch, very much in the
Bill Evans / Jim Hall spirit.
> I'm also getting the new Marc
> Johnson, advertised in the latest Downbeat, with Frisell
> and Metheny (Peter Erskine is probably the drummer, but I
> don't remember for sure).
Joey Baron. It's Marc's return to Bass Desires but with half the band
replaced.
> [snip] I was struck that Frisell's technique is a
> lot like Derek Bailey's in the way he mixes open strings,
> fretted notes, and harmonics, not to mention volume
> swells. Of course, their harmonic palettes are extremely
> different, Bill's coming out of Monk and Bill Evans and
> Derek's coming from Webern, Cecil, etc...
Excellent observation.
Steve Smith
(not Bill Frisell's publicist but married to her...)
ssmith36@sprynet.com
- -
------------------------------
Date: Thu, 8 Jan 1998 21:10:44 -0500 (EST)
From: ia zha nah er vesen <jwnarves@csclub.uwaterloo.ca>
Subject: Re: Diamanda Galas
On Wed, 7 Jan 1998, Caleb Deupree wrote:
> >>>>> "Remi" == =?iso-8859-1?Q?R=E9mi?= Bissonnette <rbisson@courrier.usherb.ca> writes:
> Remi> On another note, are there any Diamanda Galas fans on this
> Remi> list? I'm curious to find out which of her releases
> Remi> features her best vocal work and music.
> I started listening to Diamanda after hearing a live performance on
> our local classical station of New Music America 1980, where she
(cut)
...'Vena Cava' wasn't mentioned in this list, so i'll mention it: it's a
work she did inspired by her brother's writings which he did whilst in the
throes of AIDS dementia. I think it's a lot more subtle and mature than
earlier stuff, with an extremely...er...extreme dynamic range going from
soft whispers to piercing shrieks. Very softly in the background are
recordings of crickets, her brother playing accordion, and other things.
The performance used two mics, each going through seperate effects, and so
does the recording, with the result that her use of effects is much
craftier than before.
ShreiX is the newest. It's very messy (in a good way). Lots of nasty
distortions and high frequency irritation for your listening pleasure.
Includes possibly the only Galas track which could be described as
'silly'.
But then again, i also really like 'the singer', so....
- -jascha
- -
------------------------------
Date: Thu, 08 Jan 1998 21:18:09 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Frisell's New Album
Jamie F Graves wrote:
> Has anyone heard Frisell's new album? I bought it yesterday and I don't
> know what to think. The songs are all good, but there doesn't seem to be
> anything particularly daring about this album.
I think it's very nice as well. However I will go so far as to state that I
don't find anything on it (or "Nashville") as compelling as I found
practically every Frisell release during the Joey Years. I was struck by
this quite hard the other day while listening to a live tape of the trio
with Don Byron... there was a harder edge to the guitar and more angularity
and quirkiness in the writing back then, and I miss that quite a lot. But
inevitably most musicians mature and change over time -- even Derek Bailey
and Cecil Taylor have mellowed somewhat! -- and what Bill seems to be
seeking these days is something more simple and plainspoken, without all the
gizmos (though he still used the effects a great deal with the
rhythm-sectionless quartet, a group that could still be mighty edgy and
compelling live).
To really stretch the point, it could almost be construed as "daring" for
Frisell to fly in the face of his hard core adherents to make this new
homespun music. And it's not calculated to appease the masses at the
expense of pissing off we Zornlisters... it's just what he wants to do now.
I think the break is really going to be visible in New York on the 17th,
when Bill plays the Bottom Line with Krauss and Keltner while his former
fellow travellers Zorn, Horvitz, Previte and Sharp are raising a ruckus at
the Knit. I wonder what impact this booking coincidence will have on the
potential audience for each? For those who are into both sides of the
split, BTW, it'll be easy enough to catch the Quartet at the Knit and then
attend the late set by Frisell (rest easy there, Jody!).
> I just hope its not an attempt by Bill
> to make his music more marketable. Considering all the press this album
> has been getting, I think that might be the case. I'd be interested to
> hear what other people think of this album.
I don't see that Frisell's new direction is that much more marketable. I
don't think there's going to be a groundswell of support at Triple-A
stations for the album, but on the contrary the frothing avant-jazz bohos at
college radio are less likely to pick it up (like "Nashville"). But
Frisell's sales are increasing to a great extent, that's for sure. Nonesuch
has done a great job of promoting Frisell's work over the years, so there
are now many fans in the media who are eager to report his doings. That
makes my wife's job a lot easier, since she's recently become the Nonesuch
PR flack (gad, two in one household?!?) who set up that KCRW performance
among other things.
Steve Smith
ssmith36@sprynet.com
- -
------------------------------
Date: Thu, 08 Jan 1998 22:04:47 -0800
From: Brian Olewnick <olewnik@IDT.NET>
Subject: [Fwd: Re: Diamanda Galas]
Message-ID: <34B5BC67.20F0@tribeca.ios.com>
Date: Thu, 08 Jan 1998 21:57:59 -0800
From: Brian Olewnick <olewnik@tribeca.ios.com>
Reply-To: olewnik@tribeca.ios.com
X-Mailer: Mozilla 3.01C-IDT-v5 (Win16; U)
MIME-Version: 1.0
To: ia zha nah er vesen <jwnarves@calum.csclub.uwaterloo.ca>
Subject: Re: Diamanda Galas
References: <Pine.GSO.3.96.980108210326.26635A-100000@calum>
Content-Type: text/plain; charset=us-ascii
Content-Transfer-Encoding: 7bit
ia zha nah er vesen wrote:
> But then again, i also really like 'the singer', so....
>
'The Singer' is not a big favorite of mine, but another is that I don't
think I've seen cited yet: 'You Must Be Certain of the Devil'. It
contains the single most harrowing, honest, non-sanctimonious,
reality-based evocation of AIDS that I've ever heard: 'Let's Not Chat
About Despair'.
And I'll toss in another vote for her earlier 'Litanies of Satan'. That
was the first I heard her and it scared the hell out of me (and, still,
sends my wife running for cover!). "And I'm not talkin' about meatballs,
I'm talkin' about steak!" Ouch!
Her 'Plague Mass' at St. John the Divine a few years back was mightily
impressive. Something satisfying about hearing the phrase, "Give me
sodomy, or give me death!" proclaimed in a church...
Brian Olewnick
- -
------------------------------
Date: Thu, 8 Jan 1998 23:04:28 EST
From: JonAbbey2 <JonAbbey2@aol.com>
Subject: 10 records from 1997
ok, here goes.
BILL DIXON Vade Mecum II (Soul Note) My album of the year.
EVAN PARKER Most Materiall (w/ Eddie Prevost) (Matchless)
RYOJI IKEDA +/- (Touch)
EDITH FROST Calling Over Time (Drag City)
LES SCULPTEURS DE VINYL Memory and Money (Stupeur & Trompette!)
PORTISHEAD Portishead (Go! Beat/London)
TO ROCOCO ROT Veiculo (City Slang)
KEVIN DRUMM Kevin Drumm (Perdition Plastics)
CRISTOPHE CHARLES-Undirected (1986-1996) (Mille Plateaux)
WABI SABI-Wabi Sabi (A-Musik)
That's my list as of today, anyway.
Jon
- -
------------------------------
Date: Thu, 8 Jan 1998 21:15:01 -0800
From: "Schwitterz" <mcmullenm@vcss.k12.ca.us>
Subject: Re: 10 records from 1997
>BILL DIXON Vade Mecum II (Soul Note) My album of the year.
>
>Jon
How does this compare to VADE MECUM I? Same instrumentation and sound? The
first was one of my favorites that year. Still satisfies.
s~Z
- -
------------------------------
Date: Fri, 09 Jan 1998 00:30:42 -0500
From: Jeff Schwartz <jeffs@bgnet.bgsu.edu>
Subject: Re: 10 records from 1997
Wow, I was just trying to get together a top 10 and I
realized that, although I bought a ton of music in 1997,
hardly any of it was new. Anyway, I kept it down to 1
reissue & 1 archival unit...
Charlie Haden/Pat Metheny-Beyond the Missouri Sky
Nels Cline/Thurston Moore-Pillow Wand
Henry Threadgill & Make a Move-Where's Your Cup?
David Murray-Fo Deuk Review
Ron Miles-Woman's Day
Bill Laswell meets Style Scott inna Dub Meltdown
Arcana-Arc of the Testimony
Bloodcount-Unwound
Wayne Horvitz-Monologue
Jimi Hendrix-First Rays of the New Rising Sun
Berio/Boulez/Stockhausen-Les Classiques du XXe siecle
- --
Jeff Schwartz
jeffs@bgnet.bgsu.edu
http://www.bgsu.edu/~jeffs/main.html
- -
------------------------------
Date: Fri, 9 Jan 1998 01:06:37 EST
From: JonAbbey2 <JonAbbey2@aol.com>
Subject: Re: Re: 10 records from 1997
In a message dated 1/9/98 12:27:23 AM, mcmullenm@vcss.k12.ca.us wrote:
<<How does this compare to VADE MECUM I? Same instrumentation and sound? The
first was one of my favorites that year. Still satisfies.>>
Same sessions (August 2-4, 1993). Same musicians (Bill Dixon, Barry Guy,
William Parker, Tony Oxley). These songs were recorded later in those sessions
than the ones on Vade Mecum and the musicians sound just a smidge more
comfortable working together. I think this one's better than the first, and
that's a pretty high bar to vault.
Jon
- -
------------------------------
Date: Fri, 9 Jan 1998 02:08:41 EST
From: gsg@juno.com (Geoff S Gersh)
Subject: Stalling Book
A while back, in the Warner Bros. merchandise catalog, there was a
listing for a book of the scores that Carl Stalling did, piano
reductions......(I saw it in the catalog at least 8 years ago....maybe
10)
i heard they stopped printing them.....is this true??
anyone know anything about this book??
thanks
Geoff Gersh
- -
------------------------------
Date: Fri, 9 Jan 1998 08:29:03 +0100 (MEZ)
From: BJOERN <bjoern.eichstaedt@student.uni-tuebingen.de>
Subject: Re: Stalling
except for the stalling project stuff there is a CD called BUGS BUNNY ON
BROADWAY which has alot of stalling`s stuff on it....
it is on Warner...dont know if that one is still in print
BJOERN
- -
------------------------------
Date: Fri, 9 Jan 1998 03:01:08 -0500 (EST)
From: David Newgarden <dn@panix.com>
Subject: re: Jim Keltner
"He has the earthiest groove. But beyond that...what blew me away about
Jim's playing on my records was how unpredictable it was. He never plays
safe - the total opposite of whatever your preconception of what an L.A.
session cat might be. Really, Jim's one of the most avant-garde musicians
I've ever played with."
- Bill Frisell
- -
------------------------------
Date: Fri, 09 Jan 1998 03:30:58 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Jim Keltner
Bill Frisell stated (and David reported):
> "He has the earthiest groove. But beyond that...what blew me away about
> Jim's playing on my records was how unpredictable it was. He never plays
> safe - the total opposite of whatever your preconception of what an L.A.
> session cat might be. Really, Jim's one of the most avant-garde musicians
> I've ever played with."
This opinion is easily demonstrated in Keltner's playing with Ry Cooder and
Jon Hassell on the soundtrack to Walter Hill's "Trespass" (though I
understand that we're not supposed to listen to that since it's not the
soundtrack by Our Patron Saint...). ;-)
Do remember that in all seriousness the British music mag The Wire, the
hardest of the hardcore in most cases, compared the aesthetic of Cooder's
"Trespass" to nothing less than AMM (a collective featuring one hell of an
"avant-garde musician" on percussion...).
Steve Smith
ssmith36@sprynet.com
- -
------------------------------
Date: Fri, 9 Jan 1998 09:52:26 +0100
From: Yves Dewulf <yves@inwpent1.rug.ac.be>
Subject: Death Praxis Plus
Tzadik will release an album called "Death Praxis Plus" in April, in
the new Japan series.
Is this related to the album "Death Praxis" by Ikue Mori/Tenko ?
YVes
- -
------------------------------
Date: Fri, 9 Jan 1998 09:57:07 +0100
From: Yves Dewulf <yves@inwpent1.rug.ac.be>
Subject: Re: Stalling
I think Zorn quotes some of Carl Stallings Music in the piece
"For your Eyes Only" on the new Angelus Novus - CD.
YVes
- -
------------------------------
Date: Fri, 09 Jan 1998 08:40:42 -0500
From: Bob Kowalski <BKowalski@genetics.com>
Subject: top "baker's dozen" for 1997
Masada Chamber Orchestra - "Bar Kokhba" (a '96 release but hey...)
Sam Phillips - "Omni Pop" (Ribot does great work here)
Marianne Faithful - "20th Century Blues" (never tire of Kurt Weil...)
Holly Cole Trio - "It happened One Night"
Don Byron - "Bug Music" (his Boston area show was awesome)
Kenny Wheeler & co... "Angel Song" (beautiful !)
Wayne Horovitz "Monologue" (both strange and accessible...droning
dance music...Wayne playing with a synth...its great)
Pizzzicato Five "Happy end of the World" (Real Boss Dance Tunes -
SWANK!)
Portisehead "Portisehead" (Real Boss Dirge Like Dance Tunes)
v/a : "Pillow Book" (sndtrk) - another Greenaway flick, best of the year,
and what a collection of music. Any other big Guesch Patti fans on the
list?
Michael Nyman "Gattaca" "Concerttos" & "Enemy Zero" (the man does
little wrong...a 3 way tie)
Gavin Bryars - "A Man in a Room, Gambling"
v/a "Great Jewish Music : Serge Gainsbourg"
no particular order but all in heavy cd player rotation still...
Bob
- -
------------------------------
Date: Fri, 09 Jan 1998 08:58:00 -0500
From: Bob Kowalski <BKowalski@genetics.com>
Subject: Evan Lurie (?)
re : I think his 2 solo CDs (I know of only two) are just _great_.
I was listening to them the other day and wondering how Evan
was making a living and conjectured it might be commercial film music
of some kind. What film music of his is the Tzadik release going to
feature?
Stephane
&
I was about to say that he's busy with the Lounge Lizards, but then I
noticed that what you asked was "how Evan was making a living"... ;-)
Steve Smith
- - - - - - --- - - -
Cheers for new Evan Lurie music. Although I am still trying to get ahold
of "Happy? Here Now?" (Crepuscule Records) "Il Mostro" (?) and
"Pieces For Bandoneon" (Les Disques De...) the one domestic release
"Selling Water by the Shore" is a favorite.
As far as I know Evan hasn't been on a Lounge Lizards recording for
some time. I do enjoy all John Lurie / Lounge Lizards recordings very
much and had fun watching the man himself screen silly but fun "Fishing
with John" tv episodes at the Harvard Film Archives last year (the two I
saw had Tom Waits and Willem Dafoe as guests...)
Maybe Tzadik will reissue some of Evan's older recordings? One can
hope.
- -=Bob=-
- -
------------------------------
Date: Fri, 09 Jan 1998 09:17:53 -0500
From: Alan E Kayser <aek1@erols.com>
Subject: frisell
I can't imagine that Bill is thinking in the direction of "more
commercial" with his new release. As anyone who has been listening
knows, he's been heading this way since "This Land." His sound has
become somewhat softer, while song composition seems to be coming to the
front. In simple terms, less "jazzy." But no less likeable, to these
ears. I recall John McLaughlin going from Mahavishnu style playing to
Shakti, and the controversy that aroused. But John's still hanging in
there, interesting as always. Same for Bill. For anyone who wants to
be challenged along guitar lines, pick up a Joe Morris cd, like
"Elsewhere" with the Matthew Shipp trio. Or "You Be Me" with Mat
Maneri.
Alan
- -
------------------------------
Date: Fri, 09 Jan 1998 16:03:17 +0100
From: Stephane Vuilleumier <svuilleu@micro.biol.ethz.ch>
Subject: Re: Evan Lurie (?)
OK,
so that makes 4 solo records at least?
Here? Happy? Now?
Pieces for Bandoneon (the 2 I alluded to)
and two I have no clue about
Il Mostro and
Selling Water by the Shore
anybody can provide more info on these last two - or any other
non-Lounge Lizards records with Evan Lurie?
Stephane
At 08:58 09.01.98 -0500, Bob Kowalski wrote:
>>re : I think his 2 solo CDs (I know of only two) are just _great_.
>>I was listening to them the other day and wondering how Evan
>>was making a living and conjectured it might be commercial film music
>>of some kind. What film music of his is the Tzadik release going to
>>feature?
>>Stephane
>Cheers for new Evan Lurie music. Although I am still trying to get ahold
>of "Happy? Here Now?" (Crepuscule Records) "Il Mostro" (?) and
>"Pieces For Bandoneon" (Les Disques De...) the one domestic release
>"Selling Water by the Shore" is a favorite.
>
>As far as I know Evan hasn't been on a Lounge Lizards recording for
>some time. I do enjoy all John Lurie / Lounge Lizards recordings very
>much and had fun watching the man himself screen silly but fun "Fishing
>with John" tv episodes at the Harvard Film Archives last year (the two I
>saw had Tom Waits and Willem Dafoe as guests...)
>
>Maybe Tzadik will reissue some of Evan's older recordings? One can
>hope.
>
>Bob
- -
------------------------------
Date: Fri, 9 Jan 1998 06:58:22 -0800
From: "Schwitterz" <mcmullenm@vcss.k12.ca.us>
Subject: Re: frisell
>I can't imagine that Bill is thinking in the direction of "more
>commercial" with his new release. As anyone who has been listening
>knows, he's been heading this way since "This Land." His sound has
>become somewhat softer, while song composition seems to be coming to the
>front. In simple terms, less "jazzy." But no less likeable, to these
>ears. I recall John McLaughlin going from Mahavishnu style playing to
>Shakti, and the controversy that aroused. But John's still hanging in
>there, interesting as always. Same for Bill. For anyone who wants to
>be challenged along guitar lines, pick up a Joe Morris cd, like
>"Elsewhere" with the Matthew Shipp trio. Or "You Be Me" with Mat
>Maneri.
>
>Alan
I have no criticism of what Frisell and Keltner and McLaughlin have done as
they have gone through their changes, myself. I admire all of these
musicians. For me, it's a matter of personal taste. Of what moves me as a
listener. What these artists have done and continue to do is stellar. When I
saw Frisell in Santa Monica with Baron, et al, a few too many years back, I
hung on every note and was in a state of perpetual gooseflesh. One of the
best shows ever. When I listen to his more recent stuff, I find myself
daydreaming. But, I figure the stuff is nonetheless of high quality, and
will be deeply moving to other ears. So, I'll leave Frisell and McLaughlin
to other ears and follow Alan to Joe Morris who captivates me intensely.
But, it is off-base to think my gooseflesh barometer a measure of the
artist's worth, value or integrity.
s~Z
- -
------------------------------
End of Zorn List Digest V2 #204
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