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v02.n265
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1998-03-19
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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 #265
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, March 20 1998 Volume 02 : Number 265
In this issue:
-
Re: praxis live
Re: praxis
Re: Tzadik re-issue
Re: Tzadik re-issue
FELDMAN & KANG
RE: praxis
copenhagen concert dates
Re: praxis
Re: Oswald
Re: Oswald
Praxis
Evan Lurie / Circle Make
Praxis Live / Company '91
Name
----------------------------------------------------------------------
Date: Fri, 20 Mar 1998 17:27:25 +1100 (EST)
From: James Douglas Knox <s9606487@minyos.its.rmit.EDU.AU>
Subject: Re: praxis live
On Fri, 20 Mar 1998, Steve Smith wrote:
> type I'm not moved by. I haven't heard the new live disc but I imagine that
> pairing Buckethead and Brain with the Invisible Skratch Picklz was probably not
> a bad thing...
>
Not so new now, but this live recording is a very great and damaged thing.
First time I heard this (on the radio) I thought the DJ was mixing
recordings by different line-ups of Locus Solus (plus other stuff).
Totally boggling, tho' I ain't too crazy about the guitar histrionics.
- -
------------------------------
Date: Fri, 20 Mar 1998 18:30:33 +1100
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: praxis
> My favorite is the original EP, recently reissued on Subharmonic (don't
> know about the sound quality on the reissue, given what I've heard about
> other reissues), but it sounds nothing like any of the others, being an
> experimental electrofunk record. I actually do think _Sacrifist_ is the
> best of the Buckethead-centered version of Praxis, because it has the
most
> variety, but I may well be in the minority. _Transmutation (Mutatis
> Mutandis)_ (Axiom) is fun P-Funk-meets-shred-metal stuff, but a little
> wearing for me over the long haul. I'm really jazzed on the recent
> _Transmutation Live_ (Douglas) which has a more improvisational feel and,
> between DXT and the Invisibl Skratch Picklz, features a small army of
> turntablists. I'd avoid _Metatron_, featuring a stripped-down trio of
> Buckethead, Laswell, and Brain on a disappointingly straightforward hard
> rock set.
I agree for the most part, but would have to say the Live disc has maybe a
few too many scratch sections. And Metatron, although not their best, is
worth purchasing if only for the lovely guitar piece "Wake The Dead".
- -
------------------------------
Date: Fri, 20 Mar 1998 03:10:45 +0500
From: "Terence Sin" <zippy@myna.com>
Subject: Re: Tzadik re-issue
> The big gundown
> spillane
> spy vs. spy
> Naked city
These are all Elektra/Nonesuch releases, so if anything else a Tzadik
re-issue will probably make them more expensive. The HatArt Cobra is
available at normal price. Grand Guignol though, they better re-release
it someday, preferably with disgusting pictures re-printed inside the
booklet.
- -
------------------------------
Date: Fri, 20 Mar 1998 09:24:59 +0100
From: flamerik@best.ms.philips.com
Subject: Re: Tzadik re-issue
> > The big gundown
> > spillane
> > spy vs. spy
> > Naked city
>
> These are all Elektra/Nonesuch releases, so if anything else a Tzadik
> re-issue will probably make them more expensive. The HatArt Cobra is
> available at normal price. Grand Guignol though, they better re-release
> it someday, preferably with disgusting pictures re-printed inside the
> booklet.
The Big Gundown and Spillance have even been available at a discount price for
some time. Normally, I pay NLG 40 for a CD, and about NLG 45 for a tzadik CD.
B.G. and Spillane I've seen for NLG 24 everywhere.
Frankco.
- -
------------------------------
Date: Fri, 20 Mar 98 09:14:49 -0300
From: hulinare@bemberg.com.ar
Subject: FELDMAN & KANG
Hello!
I'd like opinions about:
MARK FELDMAN: Music for Violin Alone
Tzadik 7006
EYVIND KANG:7 Nades
Tzadik 7013
Thanks.
Hugo, from Argentina
- -
------------------------------
Date: Thu, 19 Mar 1998 19:52:49 -0600
From: Glenn Astarita <gastarit@comm.net>
Subject: RE: praxis
On Thu, 19 Mar 1998, Jason Tors wrote:
> I have been
> told that Sacrifist is not one of the greatest Praxis albums, in which
> case, could someone suggest the absolute greatest Praxis album.
[Glenn Astarita] snip=20
I'd avoid _Metatron_, featuring a stripped-down trio of
Buckethead, Laswell, and Brain on a disappointingly straightforward hard
rock set.
Chris Hamilton
[Glenn Astarita] My opinion sees Metatron as perhaps Buckethead's =
finest "electric" hour on record. Specifically for his trademark guitar =
pyrotechnics. Its actually better than his solo cd's (IMO)....overall =
the cd isn't quite as daring as the others Chris mentioned .....=20
- -
------------------------------
Date: Fri, 20 Mar 1998 13:57:03 +0100 (MET)
From: Laura Petersen <Laura@elite.dk>
Subject: copenhagen concert dates
Hi
First time poster, long time lurker. Although this isn't much of a post..I
was just wondering if anyone knew of any Zorn (or other cool) Denmark
concert dates this summer? Much appreciated!
Laura
- -
------------------------------
Date: Fri, 20 Mar 1998 08:41:27 -0500
From: cdeupree@interagp.com (Caleb Deupree)
Subject: Re: praxis
>>>>> "Glenn" == Glenn Astarita <gastarit@comm.net> writes:
Glenn> My opinion sees Metatron as perhaps
Glenn> Buckethead's = finest "electric" hour on record.
Glenn> Specifically for his trademark guitar pyrotechnics. Its
Glenn> actually better than his solo cd's (IMO).
I'd have to cast my vote to the new Arcana, Arc of the Testimony, for
Buckethead's finest hour. This album has really grown on me, and
Buckethead makes a significant contribution to a very intense and
exhilarating album.
- ---
Caleb T. Deupree
;; Opinions are not necessarily shared by management
Computers are useless. They can only give you answers.
(Pablo Picasso)
- -
------------------------------
Date: Fri, 20 Mar 1998 09:42:24 -0500 (EST)
From: ia zha nah er vesen <jwnarves@csclub.uwaterloo.ca>
Subject: Re: Oswald
The album 'plexure' on Avant is amazing (and short - 20min.). It's the
most densely sample-populated album i've ever heard... It is a collage
made up of bits of what sounds like every popular song from the 80s and
early 90s; the overall effect is totally unlike anything i'd heard
before, and yet strangely familiar...
- -jascha
> I have a tape of 'Plunderphonics' with a 10 min. thing attached to the
> end called 'Rubaiyat' that has some manipulations of stuff by The Doors,
> Metallica, etc. My tape is incredibly well-made with a color
> photocopied home-made j-card with the cover art and liner notes all
> there. Anyway, I'm very interested in hearing more from Oswald (is he
> the same alto sax playing John Oswald?) so someone please let me know
> what else is out there! Thanks.
>
> -Tom Pratt
>
> -
>
- -
------------------------------
Date: Fri, 20 Mar 1998 09:46:45 -0500 (EST)
From: ia zha nah er vesen <jwnarves@csclub.uwaterloo.ca>
Subject: Re: Oswald
Also, his CD 'discosphere' is truely wonderful, although not in the same
way as the plunderphonic stuff. It has a few 'swarming' pieces on it (if
you've heard his quartet for the Kronos group off of 'short stories', then
you know what this means). It also has some simple sampler type pieces on
it, and ends with the glorious 17 minute 'the case of death', which is
made entirely out of samples from an Agatha Christie book-on-tape.
- -jascha
- -
------------------------------
Date: Fri, 20 Mar 98 11:19:00 PST
From: Matt Walsh <MATTW@smginc.com>
Subject: Praxis
<<I have been told that Sacrifist is not one of the greatest Praxis
albums, in which case, could someone suggest the absolute greatest Praxis
album.>>
I have a copy of their first EP "1984" that I'd be glad to sell you if
you're (or someone else is) interested. It IS the Subharmonic reissue. I
personally don't care for it all (not because of the sound quality, I
just don't care for the music itself)... then again, I think "Sacrifist"
is by far their best album, even though some of the better parts on the
disc are samples of other bands (Sepultura, Entombed, etc.)
My advice depends on what you're looking for from Praxis, if you're
looking for more of Buckethead's metal riffing, buy forward in time and
pick up "Metatron". If you're looking for the funkier stuff, go backwards
and pick up "Transmutation (Mutatis Mutandis)" or "1984". I haven't
picked up "Transmutation Live", but hopefully will soon whenever I can
find the damn thing...
Later,
Matthew Walsh
Software Engineer
- Strategic Management Group
mattw@smginc.com
mattmonkw@aol.com
Matt's personal CD jukebox -
Currently playing and annoying co-workers with:
Ruins - "Hyderomastgroningem"
- -
------------------------------
Date: Fri, 20 Mar 1998 12:07:59 -0500
From: Bob Kowalski <BKowalski@genetics.com>
Subject: Evan Lurie / Circle Make
I've just found "Pieces for Bandolen (sp)" on CD, that wonderful but hard
to get hold of recording. I've also recently watched the very silly film "Il
Mostro" where in Roberto Beningni does Benny Hill - meets - Jerry Lewis
slap stick Italian style. Very funny for a dopey movie. But... Evan Lurie
does the soundtrack and it sounds excellent. Anyone have an idea of
what may be in store for Evan Lurie fans on the up coming Tdazik
release? Also, anyone have a copy of "Happy? Here? Now?" they are
interested in parting with. Seems it is even harder to come across than
the other.
happy listening - Bob
ps : when is that "Circle Maker" due out. Saw it in Montreal recently and
didn't bother as I knew it was going to be available widely...
- -
------------------------------
Date: Fri, 20 Mar 1998 13:07:34 -0500
From: =?iso-8859-1?Q?R=E9mi?= Bissonnette <rbisson@courrier.usherb.ca>
Subject: Praxis Live / Company '91
Going into the Praxis subject, has anybody on this list heard both
"Transmutation Live" and "Live and Poland"? I have the Poland one, I
thought it was pretty good but the sound quality isn't great and I find it
a bit annoying that's it's just one long 70+ minute track. Anyway, how
does Transmutation Live compare with it?
As for Buckethead, I was wondering if anybody could describe his
performance on the three volumes of "Company '91" (featuring Derek Bailey,
Zorn and crew)? Or more simply, short reviews of these CDs would be
interesting, since I just don't know which one to buy first (and since
they're on Incus, they won't come cheap here in Canada...)
Bruno
R=E9mi Bissonnette Ph.D.
Professeur titulaire
=46acult=E9 d'=C9ducation physique et sportive
Universit=E9 de Sherbrooke
Sherbrooke, Qu=E9bec
J1K 2R1
=20
- -
------------------------------
Date: Wed, 18 Mar 1998 10:16:33 -0500
From: Rich Williams <punkjazz@snet.net>
Subject: Name
While going through a bunch of old press clippings, I came across this
golden nugget. My question to the list is; Has anything by Name ever
been released on CD? Ive got one vinyl EP, that is great, very Beefheart
influenced stuff, It seems to be a private pressing, as no record co. is
indicated.
Also, around the same time as this gig there existed a band that was
essentially Massacre+ Kaiser and T.Kondo, I believe they called it Mad
World Music. Tapes anyone?
Rich
POST-PUNK-FUNKSION
By Derk Richardson
from Express magazine
circa 1981
"Were going to do 20 minutes of stuff I wrote for these boys." said
guitarist Fred Frith as the only introduction to his opening set with
Name, Berkeley's own New York-styled "punk-funk" band. He ignored the
fact that two members of the young seven-piece group are women, but
individual identities seem to be of minor importance in the widening
territory where punk rock, R&B, jazz, and "new music" are colliding
under the influence of Talking Heads, Robert Fripp, James "Blood"
UImer, James Chance and the Contortions, and other avant gardians. For
the sake of flexibility and experimentation. musicians are navigating
through and between groups in temporary alliances that explore different
areas of the new terrain.
Most of this activity is taking place in New York City, where the
concentration of art school rockers, punks, and post-punks, and openmind
jazz artists is the highest, and where the potential mix- ture of
musical elements is therefore most combustible. But last sunday night's
show at the Keystone,was evidence that the East Bay music sceneis
capable of stirring upa few explosive coctails of its ownWith the
infusion of a little Manhattan chemistry, the outcome was startling
amalgam of rhythms, riffs, emotions, and effects.
Name is composed of six youthful musicians--they appear to be in
their late teens and early twenties --who grew up together near
Disneyland, moved to Berkeley and; formed a band. Meeting local
guitarist Henry Kaiser at one of his gigs, they asked him to fill in for
an ailing member. The relationship solidified and now Kaiser is one of
three electric guitarists in the group. Erling Wold and Judilh Stadtman
play the other Guitars, (Wold doubling on keyboards). Lynn Murdock and
Rick Crawford play electric bass. Mark Crawford plays drums, and
Everett Shock adds declamatory vocals and screeching sax lines.
'Their first "20 minutes of stuff" with Frith was comprised of
three compositions that gave some idea of what was to come for the
rest of the evening. The set began with all the instrumentalists
bouncing dlssonant chords on each other. piling up the jangled rhythms
and echoing electronics into a wall of white noise. Kaiser jabbed out
long piercing notes trom the high end of his guitar, and Frith, above
the din, set into a surprisingly faithful single-note. melodic reading
of "Dancing in the Streets." But this was not an invitation to dance
The rythyms were twisted into a giant knot that held any recognizable
beat in bondage. Besides, for the first time in recent memory, the dance
area in front of the stage was filled with tables and chairs.
Apparent]y, dancing was to take place inside the heads of the 150 or so
listeners. Frith closed the piece with a short, gospel inspired rolling
piano solo.
The second piece started as a duet of guitar effects between Frith
and Kaiser. The two have collaborated before, including their very
strange With Friends like These album on Metalanguage Records, and they
share an affinity for eerie, unnerving sounds that they liberate from
electric guitars by untraditional means:; violin bows, mallets, and rags
against strings. hand slaps against the front and back of the neck. When
the band joined in, Shock was going wild on a wheeling Ace Tone organ
with others around him reaching in to punch at the keys. Fnth led them
out of this one with a sharply defined Scottish or Irish folk melody
over a marching rhythm that walked right into a massive, door slamming
ending
. The first set closed wlrh a composition that built from a tight
little three-guitar fugue into a mountain of ascending chords played in
near unison and driven by Kaiser's Pete Tomshend-like power strumming.
The band generared enough dense metallic sound to challenge. guitar for
guitar. any heavy metal rock outfit on the Coliseum circuit. Again.
Frith was at the top of the upward climb. trampolining crimped guitar
figures off the solid en- semble roar.
When, after a short break, Name returned for a set of their own
material, they tore right into a series of funk-based tunes that bore a
slight comparison to Talking Heads and Gang of Four but resonated with
a bizarre originality. On the first number they were joined by tenor
saxophonist Larry Ochs of ROVA Saxophone guartet. Och's abandoned
squeals pierced through the chunky rhythms, yet fit quite amiably with
the quirky jumps and turns of the song's changes, reiterating the
possibilities for spontaneous interactions between the avant gardes of
jazz and rock.
But while Name's disjointed music sounds a great deal like the jazz
improvisations of guitarist James "Blood" Ulmer or drummer Ronald
Shannon Jackson, according to Kaiser, "everything is fixed --there is
no improvising except for the sax solos and Mark's drumming." Yet with
three guitars chopping out chords, two basses snapping out funky bottom
Lines, and Crawford churning out loose- jointed polyrythmic drum
patterns, Name retains a free-wheeling feel uncommon to rock bands that
unleash the same punk intensity. Shock's mostly undecipherable vocals
were delivered in a flattened hiccuppy style, similar to T-Heads' David
Byrne, while Kaiser and the others bounced in herky-jerky pogo around
the stage.
As the set wore on--and when Sunday night shows don't start until
nearly 10:00 ,the sets do wear on--the inherent zaniness of Name's
approach softened the hard edges of the music. Song titles, like
"~Willie and Tecumseh" (nominally about President William Henry
Harrison and the great Northwestern Indian chief), "Safetty in Sports."
"Plaid Pants." "Sandy the Pelican." and (1 think) "Rolph the Wild
Surf," revealed an engaging goofiness not unlike that of Captain
Beefheart or Frank Zappa. Someone in the back kept yelling for
"Aquahead." which no one on stage had heard of, but Shock pretended as
if it were one of their old favorites. Such a sense of humor, if not
pushed to over- cleverness, is to be whole heartedly welcomed in an
ambltious school of music where many self-concious artists take
themselves all too seriously. When combined with an expansive outlook
and adequate musicianship, it makes Name one of the most promismg bands
in an otherwise relatively bleak local rock scene.
Fred Frith didn't get on stage with his own band. Massacre, until
midnight, but he had the good sense, and seemingly restricted
repertoire, to keep his set short and to the point--five instrumental
tunes in 40 minutes, and two quick encores. Known to a cult following
as a founding member of the rock band, Henry Cow, Frith has made an
obscure career out of exotic guitar noodlings and sonic experiments.
Massacre is a "power trio," with Frith, bassist Bill Laswell, and
drummer Fred Maher, and unless~you have heard James Ulmer or can imagine
Jimi Hendrix meeting the Sex Pistols, Massacre could catch you
completely off guard.
Laswell and Maher are members of a loosely defined.New York musical
collective known as Material, and in their various ramblings they have
played with jazz musicians Henry Threadgill (of Air), trumpeter Olu
Dara, Frank Lowe, Billy Bang, as well as punk voidoid Richard Hell. For
Frith they supply a thunderous but precise rhythm section-Maher crashing
through powerhouse cross-rthythms, Laswell popping his bass along R&B
riffs, and ringing out melodic counterpoints to Frith's guitar (and on
one tune, violin).
Most of Massacre's numbers were built on amphetamine-pogo cadences,
with harsh, edgy shards of melody constructed into stop- and-go Lines.
Frith clawed at his strings or rubbed two guitars to- gether to create
effects that bent around the corners of the music. At that late hour,
the trio sounded best when it was at its simplest, achieving a slow,
molten intensity.
Frith, like Name, is not without humor. Returning for the first
encore. he dashed off a fragment of "Tunes of Glory." before playing
what could well have been a funky surf-punk version of the "Rawhide"
theme. Then he came back to meet the second insistent encore call. Frith
said they'd have to play "something we've already done because we don't
know too many numbers, They always sound different anyway." Massacre
repeated the sets first tune. and it did sound different. Thats what
makes this new music as intriguing as it is unsettling. Coming up with
new answers to musical questions you might not have even asked yet.
- -
------------------------------
End of Zorn List Digest V2 #265
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