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1998-01-09
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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 #205
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 205
In this issue:
-
Re: Frisell's New Album
Re: Discs of the year...
Re: Frisell
Evan Lurie
Re: top "baker's dozen" for 1997
New Power Tools?/Eric Nisenson's New Book
Re: Evan Lurie (?)
Re: Ellington
Frith site
Favorites of '97
dead musicians in 97
Loft Sessions
Re: frisell
Re: Loft Sessions
Date: Fri, 9 Jan 1998 16:51:09 -0800
Ellington
----------------------------------------------------------------------
Date: Fri, 9 Jan 1998 10:19:19 -0500
From: acapps@usit.net (ashley capps)
Subject: Re: Frisell's New Album
>>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. It sounds a lot like his
>>Charlie Haden/Ginger Baker work. 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.
>>
>>Jamie
>
>I'm listening to him live on KCRW right now. As much as I love Frisell's
>sound, I'm sure glad I didn't buy tickets for the McCabes show. I waited
>until I could hear this music. It is very pretty. I would be bored by it.
>Others will love it. Jim Keltner is no Jim Black!
>
>s~Z
>
Yeah, and Jim Black's no Jim Keltner either! (I'm confident that they would
both agree with both of our statements.)
I didn't hear what these guys were playing on the radio, but "very pretty"
is a poor and inaccurate description of this CD. Some of this has an
acoustic country blues flavor not unlike some of Ry Cooder's work; some of
it is quite electric and electrifying. All of it features extraordinary
guitar artistry and one hell of a rhythm section. It's hard to imagine
anyone who has enjoyed THIS LAND, HAVE A LITTLE FAITH, WHERE IN THE WORLD?,
LOOKOUT FOR HOPE, or NASHVILLE finding this record to be a big surprise -
rather, it's a logical continuation of Frisell's musical explorations. But
it would never have occurred to me to describe it as "pretty." Now, if you
were expected a Naked City performance. . .
But as for the apparent slight aimed at Keltner, I think Mr. Frisell's
quote posted elsewhere is more eloquent than anything I could say. Just
listen. . . with your ears.
Ashley
- -
------------------------------
Date: Fri, 9 Jan 1998 10:33:24 -0500
From: acapps@usit.net (ashley capps)
Subject: Re: Discs of the year...
>On Fri, 2 Jan 1998, Scott Russell wrote:
>
>> Just for the seasonal hell of it, anybody care to engage in a spot of
>> light hearted discs of the year listings?
OK, why not? I ususally don't bother with this anymore, but I've enjoyed
others lists so I'll throw one together too. I haven't had time to survey
my collection for all possible contenders, but here's eleven in no
particular order that would definitely end up on a comprehensive list:
Bjork - Homogenic (forgot the label)
Henry Threadgill - Where's Your Cup? (Columbia)
Guy Klucevsek - Bantam Orchestra (on Tzadik; don't remember the
name of the disc - hope I spelled Guy's name correctly)
Julie Miller - Blue Pony (High Tone)
Cyro Baptista - Vira Loucos (Avant)
Cornershop - When I Was Born For the 7th Time
Dave Douglas - Five (Soul Note)
Steve Lacy - Bye-Ya
Evan Parker - Electro-Acoustic Project (ECM)
R. B. Morris - Take That Ride (Oh Boy!)
Masada - Het (DIW)
All reissues excluded. Subject to numerous additions without warning.
Here's to a great '98!
Ashley
- -
------------------------------
Date: Fri, 9 Jan 1998 10:42:59 EST
From: WINRECORDS <WINRECORDS@aol.com>
Subject: Re: Frisell
gastarit@comm.net wrote:
<<Personally, i'd like to hear a new Power Tools album>>
I am so with you on that. This is one of my favorite records ever. One that
just seemed to fade away without much notice. Brilliant.
- -
------------------------------
Date: Fri, 09 Jan 1998 11:00:58 -0500
From: Bob Kowalski <BKowalski@genetics.com>
Subject: Evan Lurie
"Selling Water by the Shore" can be had (here in the US) at any finer
record shop, most likely at bargain bin pricing (I've seen it for 7.99 at
Tower & HMV.) Its got Marc Ribot and a line up in top form. Vintage
Lounge Lizard sounds meet mellow songs for sipping red wine in a dark
romantic Italian restaurant.
- -=Bob=-
- -
------------------------------
Date: Fri, 09 Jan 1998 08:41:48 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: top "baker's dozen" for 1997
On Fri, 09 Jan 1998 08:40:42 -0500 Bob Kowalski wrote:
>
> Masada Chamber Orchestra - "Bar Kokhba" (a '96 release but hey...)
> Sam Phillips - "Omni Pop" (Ribot does great work here)
^^^^^^^^^^^^
I also loved that one. Not one bad song and all slightly twisted.
> 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?
Yes, me!!! ETIENNE might have been the hottest single ever produced in France
in the '80s (for what it means...).
Patrice.
> 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 11:52:37 -0500
From: Jeff Schwartz <jeffs@bgnet.bgsu.edu>
Subject: New Power Tools?/Eric Nisenson's New Book
I don't know if I can get with y'all on this one.
Although the first one is one of my all-time favorites,
I'm more worried by the directions Jackson & Gibbs have
taken recently than with Frisell's.
"Shannon's House" is probably the worst album RSJ has
made, certainly the most commericial. Those keyboards have
got to go!
What's Melvin Gibbs been doing besides the Rollins Band
and Arto's trio?
Anyone else read Eric Nisenson's new book Blue: The Murder
of Jazz? He makes a solid case that the Marsalis/Crouch
cabal has severely fucked up the music (not that that's
such a hard thing to do), but gets hung up on proving that
they're also irrationally anti-white. The part that's most
relevant to this list, though, is his avoidance of the
musicians we talk about here. For example, at one point
he's talking about Larry Young (and I'm listening to the
Mosaic Larry Young set right now-those things are a total
addiction, now I've gotta get the Andrew Hill... Don't say
I didn't warn you!) and he asks "where are the heirs of
Larry Young?" pointing to Joey DeFrancesco as a "young
gun" who picked up the Jimmy Smith trail. Now I'm sure
y'all see where this story's going-I immediately thought
"Wayne Horvitz, Anthony Coleman, and John Medeski!" but
Nisenson doesn't mention any of them. His only references
to the Losaida/Knit/whateveryawannacallit scene(s) are a
couple of offhand mentions of Zorn & Frith as
"postmodernists." Now, I'm not saying that our scene
heroes & heroines are the future of jazz and that Nisenson
would enjoy listening to more than about 10% of the stuff
we talk about here (he apparently has serious reservations
about free jazz & electric music), but something is going
on which he oughta check out. In particular, a chapter on
projects like the Sonny Clark Memorial Quartet, News for
Lulu, Myth/Science, and Ellery Eskelin's The Sun Died
would have provided an interesting contrast and given him
some time to unpack exactly what he means by "postmodern"
(since if you're like me, you spent a year or so reading a
lot of books by French philosophers, Marxist lit crits,
and various art historianns to try to get a grip on the
concept only to realize that most folks just toss the word
around without paying their critical theoretical dues and
can I just tell you how annoyed I am that there's a film
out called "Deconstructing Harry"? I didn't think so...).
Anyway, Nisenson is a fascinating cat. His Coltrane &
Miles books are great and this new one is a lot of fun
because it's more spontaneous/pissed off. I'm totally
curious to hear what y'all have to say about it...
- --
Jeff Schwartz
jeffs@bgnet.bgsu.edu
http://www.bgsu.edu/~jeffs/main.html
- -
------------------------------
Date: Fri, 09 Jan 1998 08:54:26 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Evan Lurie (?)
On Fri, 09 Jan 1998 16:03:17 +0100 Stephane Vuilleumier wrote:
>
> 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
And what about:
- ------------------------------------------------------------------------------
029 - IL PICCOLO DIAVOLO: Evan Lurie
???? - Cinevox, ??? (??)
- ------------------------------------------------------------------------------
and there is also the enigmatic (at least for me):
- ------------------------------------------------------------------------------
030 - EVAN LURIE AND YOSHITADA MINAMI
???? - Sony, ??? (??)
- ------------------------------------------------------------------------------
It goes without saying (but I will say it anyway) that any extra info on these
two records are more than welcome.
Patrice.
- -
------------------------------
Date: Fri, 9 Jan 98 19:04:53 -0000
From: G=?ISO-8859-1?Q?=e9rard_Rouy?= <grouy@nordnet.fr>
Subject: Re: Ellington
Zorn List Digest 9/01/98 1:51
>From: Jason Tors <jtors@usinteractive.com>
>Subject: Ellington
>
>I really love Duke Ellington, his compositions and playing style floor me.
>I have Afro-Eurasian Eclipse, Far East Suites, Money Jungle, and Live at
>the Whitney. I want to get more, he has so much material out there I want
>to be sure that I get the real top notch stuff. This is why I am asking =
the
>folks for this list for some suggestions. I really like his smaller combo
>stuff, he plays out more.
>So suggest away!
You should listen to his recordings from the 30s. But the top of the =
top are the recordings from 1939 to 1941, called the "Jimmy Blanton =
period", Blanton was a bass player, he died in 1942 but when he was =
in the band, all the great guys were in too : Cootie Williams, Rex =
Stewart, Tricky Sam Nanton, Barney Bigard, Johnny Hodges, Ben =
Webster, Harry Carney...
I must admit I love listening to folks like Derek, Broetzmann or =
Sainkho Namtchylak, but I couldn't stop listening to Duke ! He was =
one of the greats of the century, ever !
G=E9rard Rouy
17 rue Bernard Palissy
F - 59290 WASQUEHAL
Tel : 03 20 89 23 36
Fax : 03 20 65 03 11
eMail : grouy@nordnet.fr
- -
------------------------------
Date: Fri, 9 Jan 1998 20:15:26 +0100
From: "Philippe Surber" <surber@music.ch>
Subject: Frith site
you may interested in this info: Fred Frith is under www.fredfrith.com.
philippe
- -
------------------------------
Date: Fri, 9 Jan 1998 15:13:34 EST
From: Tag Yr It <TagYrIt@aol.com>
Subject: Favorites of '97
Greetings,
Since this seems to be a popular topic lately, hereÆs a quick overview of my
favorites from 1997.....which may be more indicative of my personal tastes
than any actual measurement of quality. In no particular order:
Wayne Horvitz - Monologue: IÆve always had a weakness for music written for
dance, especially contemporary material, and I canÆt think of too many people
more qualified or oriented to it than Horvitz.
Bill Frisell - Nashville: I seem to have liked this a lot more than most
people. I found it quite sublime. Very introspective and inviting, without
blatant flash - in a good way.
Various - Great Jewish Music - Burt Bacharach: I could justify this for myself
if only for the Lloyd Cole track....but the majority of this is most rewarding
and refreshing, if you take each piece on its own terms and in light of who
the performers are. It also led me to find out how much I canÆt stand Modeski
Martin and Wood.
John Zorn - Duras: Duchamp: More than anyone I know of lately, an artist you
have to take by his own standards and interests. And this is by far one of the
most approachable ones.
Primal Scream - A: Vanishing Point and B: Echo Dek: A really accomplished
integration of garage rock, psych, dub, British roots rock, and extreme studio
processing (and/or substance abuse), almost beyond description (Vanishing
Point); and then, (Echo Dek) a really interesting dub version of nearly the
whole album.
Negativland - Dispepsi: IÆm old enough to remember the Firesign Theatre, and
at their best (like here) this is very reminiscent. Extreme, intelligent
social satire. Lots of laughs and very thought-provoking (and libelous) at the
same time.
King Crimson - The Night Watch: Finally, a complete live set from one of the
best incarnations ever.
Various - Random: A Tribute to Gary Numan: Unbelievably wonderful. Ranging
from completely goofy to deadly serious, and thoroughly showing how much power
and talent these songs always had lurking in them.
Julian Cope - Interpreter: Technically late æ96, but the US release was in
æ97. I couldnÆt ask for anything more from a smart, successful aging hippie.
The work ôquirkyö was invented for albums like this.
Recoil - Unsound Methods: A late-in-the-year pleasant surprise. Recoil is Alan
Wilder of Depeche Mode, solo with a few guests. Really dark and disturbed,
this has more in common with late Golden Palominos and Material than anything
electro-pop.
Wow....completely by accident that was exactly 10 (if you count the 2 Primal
Scream discs together).
Other honorable mentions:
David Bowie - Earthling
The CRI Harry Partch reissue series
The Complete Coltrane Live at the Village Vanguard
Dave Douglas - Stargazer and Sanctuary
David Byrne - Feelings
Ornette Coleman/Joachim Kuhn - Live From Leipzig
Miles Davis - all the electric æ70Æs reissues
Velvet Underground - Loaded - Fully Loaded version
JaneÆs Addiction - Kettle Whistle
Gary Numan - Exile
Major disappointments:
Boneshakers - Book of Spells: a sad (hopefully last) gasp from remnants of Was
(Not Was)
Orquestra Was - ForeverÆs A Long, Long Time: DidnÆt sound like it should work
on paper...and the speakers agreed
U2 - Pop: they finally got to the ôWe can do anythingö point....and they did.
Well, thatÆs my two cents....any comments are greatly appreciated....
Happy New Year all,
Dale.
- -
------------------------------
Date: Fri, 9 Jan 1998 22:11:50 +0100 (MEZ)
From: BJOERN <bjoern.eichstaedt@student.uni-tuebingen.de>
Subject: dead musicians in 97
maybe some of you can help me out...please mail to me privately about
musicians you know about that died in 97...
i was asked to take part in a radio show on monday about the dead
musicians of 97..
please name the most important records these guys play on
BJOERN
ps: these guys can be from all styles of music
- -
------------------------------
Date: Fri, 9 Jan 1998 16:38:47 -0600
From: "Glenn Astarita" <gastarit@comm.net>
Subject: Loft Sessions
Just popped "Jazz Loft Sessions" on Douglas records in the cd player. 7
nights of various artists performing at Sam Rivers' old Studio Rivbea loft
in NYC....Remember that scene ? Anyway, is anyone familar with a
saxophonist named Kalaparusha ? He performs 1 cut with Jumma Santos on
drums and Chris White bass... Also, Stanley Crouch plays the drums backing
David Murray on 1 cut.....Didn't know old Stan could play ?
glenn
- -
------------------------------
Date: Fri, 9 Jan 1998 16:49:01 -0600
From: "Glenn Astarita" <gastarit@comm.net>
Subject: Re: frisell
- ----------
> > snip> >>
>
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
>
>
> -
> Morris is worth checking out...*.Matthew Shipp and Morris create lots of
synergy ! Speaking of dazzling guitarists i recommend James Emery's latest
on Enja which features Gerry Hemmingway, Mike Formanek and Marty
Ehrlich..... Sorry, i don't have the title in front of me...
glenn
- -
------------------------------
Date: Fri, 09 Jan 1998 18:31:29 -0800
From: Brian Olewnick <olewnik@IDT.NET>
Subject: Re: Loft Sessions
Glenn Astarita wrote:
>
> Just popped "Jazz Loft Sessions" on Douglas records in the cd player. 7
> nights of various artists performing at Sam Rivers' old Studio Rivbea loft
> in NYC....Remember that scene ? Anyway, is anyone familar with a
> saxophonist named Kalaparusha ? He performs 1 cut with Jumma Santos on
> drums and Chris White bass... Also, Stanley Crouch plays the drums backing
> David Murray on 1 cut.....Didn't know old Stan could play ?
>
> glenn
>
> -
Kalapaursha was otherwise known as Maurice McIntyre, an AACM mainstay
since at least 1966. Recorded a record or two for Delmark. At his best a
good post-Coltrane tenor player. I caught him several times during the
period you'r referring to and was never overwhelmed...but never
underwhelmed either. He does seem to be held in special reverence by
other musicians from the AACM, so perhaps I've just missed out on his
better work.
Crouch came to NYC from California with Murray around 1975 and played
with him quite a bit. He was quite a decent drummer; I remembered him
being very concerned with the varying tones one could get at different
locations on the drum head (not so revolutionary these days, but there
weren't THAT many drummers dealing with it back then). Crouch also ran
one of THE top places to hear new music from around 1976-78, the Tin
Palace, located on the Bowery. Everyone played there; I recall seeing
Murray, Threadgill (on his own and with Air), the Revolutionary Ensemble
and, especially, my all-time favorite (though it might have been the
only time they played as a group) Braxton line-up: AB, George Lewis,
Muhal, Fred Hopkins and Steve McCall. Unbelieveable.
As much as I disagree with a lot of Crouch's pontificating these days, I
still cut him a lot more slack than most for both having run the Tin
Palace and for writing some of the best jazz criticism I've ever read
back in the early 80's for the Voice. Also check out the liners for the
Jenkins/Rashied Ali duo, 'Swift Are the Winds of Life'. Nice Stuff.
Brian Olewnick
- -
------------------------------
Date: Fri, 9 Jan 1998 16:51:09 -0800
From: SK3 Christopher A Martin <pen1cam@pen10.med.navy.mil>
Subject: Date: Fri, 9 Jan 1998 16:51:09 -0800
Is there any hope that Naked City will be getting back together?
- -
------------------------------
Date: Fri, 9 Jan 1998 16:38:30 -0800
From: David Slusser <slusser@pixar.com>
Subject: Ellington
Jason Tors <<jtors@usinteractive.com> wrote:
>I really love Duke Ellington, his compositions and playing style floor
me.
>I have Afro-Eurasian Eclipse, Far East Suites, Money Jungle, and Live
at
>the Whitney. I want to get more, he has so much material out there I
want
>to be sure that I get the real top notch stuff. This is why I am
asking the
>folks for this list for some suggestions. I really like his smaller
combo
>stuff, he plays out more.
>So suggest away!
I buy everything (books, too) I can find, and have yet to be
disappointed, but
then I'm a rabid fan like some zorn-listers are about Zorn. Shopping
for
cut-outs has been rewarding; even albums that look to be full of
familiar
material have different solos/soloists or twists in the arrangements.
The
material Jason cited is mid-60's, so he may want to concentrate on that
era
and branch out from there.
<underline>Afro-Bossa</underline> (Reprise/Discovery) - if you like the
Far East Suite (mid-60s)
<underline>Studio Sessions vol 1 - 10</underline> (Saja or LMR) -
Ellington habitually went into the
studio to work out ideas whether he had a record contract or not.
Budget
priced and all well recorded, includes live (& spirited) dance dates on
a few.
<underline>New Orleans Suite</underline> (Atlantic) - I stayed away
from his very last stuff (I had
seen them at the time and feared it'd be feeble) but this is incredibly
strong
and inventive, and I think the very last studio album.
<underline>Duke Ellington with Coleman Hawkins</underline> (Impulse) -
small group blowing, great feel
<underline>A Drum Is A Woman</underline> (Columbia)- mid 50s high
concept with tongue in cheek
<underline>Suite Thursday</underline> (Fantasy) - Duke & Strayhorn
portray the world of Steinbeck
<underline>More Greatest Hits</underline> (RCA) - not the obvious
stuff, a real surprise (& cheap too)
<underline>Masterpieces by Ellington</underline> (Columbia) - early 50s
extended arrangements of his
well known work
<underline>Such Sweet Thunder</underline> (CBS) - Duke & Strays do
Shakespeare, extending forms
<underline>And His Mother Called Him Bill</underline> - band's memorial
to Strayhorn, very strong
<underline>Recollections of the Big Band Era</underline> (Atlantic)
unique covers, the Kenton "Artistry
in Rhythm" and Gershwin's "Rhapsody In Blue" are tres cool.
<underline>Happy-Go-Lucky-Local</underline> (Musicraft) mid to late 40s
branching out
<underline>In the Uncommon Market</underline> (Pablo) - 60s band in
excellent form, live
There are several recordings of <underline>Harlem</underline> (Tone
Parallel to Harlem) and <underline>The Tatooed
Bride</underline> that represent his striking modernism of the early
50s. When Johhny Hodges returned to the band in the mid-50s and Sam
Woodyard joined on drums,
the band took off and never looked back. Unfortunatley not a lot of
small
combo stuff from the modern era- there's a duo with Ray Brown on Pablo,
and
an early 50's solo/trio on Capitol. There are some on the "Studio
Sessions"
mentioned above. I used to play "Money Jungle" to fool my friends -
they'd guess Monk or Herbie Nichols every time.
- -
------------------------------
End of Zorn List Digest V2 #205
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