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1998-04-22
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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 #340
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 Thursday, April 23 1998 Volume 02 : Number 340
In this issue:
-
Re: Kharma Records
Re: Hemphill reissues
leroy jenkins
Re: leroy jenkins
FNM Box set
Re: Gregg Bendian; was Re: Cecil Taylor
John Szwed's review of Dave Douglas's "Mahfouz"
New Mr. Bungle recording?!
Re: New Mr. Bungle recording?!
Re: Gregg Bendian; was Re: Cecil Taylor
Re: Gregg Bendian; was Re: Cecil Taylor
Re: new derek bailey albums
kondo toshinori kondo + electronic horns
Re: improvised electronics (was kondo et al)
Re: Gregg Bendian; was Re: Cecil Taylor
----------------------------------------------------------------------
Date: Wed, 22 Apr 98 13:51:11 -0500
From: brian_olewnick@smtplink.mssm.edu
Subject: Re: Kharma Records
Brent,
I misremembered the name of the producer of Kharma Records; it's Dan
Serro. He does have an on-line auction list at:
http://www.jazzimprov.com/A_rare_d.htm
Perhaps you can locate the missing catalogue items through him.
Brian Olewnick
- -
------------------------------
Date: Wed, 22 Apr 1998 16:16:44 EDT
From: Tag Yr It <TagYrIt@aol.com>
Subject: Re: Hemphill reissues
Since we're on the subject, if anyone's interested I have available:
J0330/LP promo/Hemphill, Julius/'Coon Bid'ness/Ex+(minor woc, hic, pro.
stk.)/M-/promo label; Arista Freedom AL 1012/$15.00
J0329/LP promo/Hemphill, Julius/Dogon A.D./Ex+(minor woc, pro. emb.)/M-/promo
label; Arista Freedom AL 1028/$15.00
Email me privately if you're interested in these. or would like a list of
other jazz material I have available.
Thanks!
Dale.
Little Nighttown Music
- -
------------------------------
Date: Wed, 22 Apr 1998 17:12:56 -0400 (EDT)
From: "f.e. somerset" <fsomerse@julian.uwo.ca>
Subject: leroy jenkins
A while ago I used to listen to a friend's solo improv live album of Leroy
Jenkins, and thought it was amazing... It ends with a melodic double stop
tune as encore, can't remember what but it's a spiritual or something.
Anyway, since then I've been searching for the album but haven't been able
to find it, and everything else of his I've seen has looked a bit risky to
invest in (pricy and involving ensembles I don't know). Can anyone offer
a review of any of his disks, or even a guess as to which one it is I'm
after? cheers f
- -
------------------------------
Date: Wed, 22 Apr 1998 17:48:18 -0400
From: Brian Olewnick <olewnik@IDT.NET>
Subject: Re: leroy jenkins
f.e. somerset wrote:
>
> A while ago I used to listen to a friend's solo improv live album of Leroy
> Jenkins, and thought it was amazing... It ends with a melodic double stop
> tune as encore, can't remember what but it's a spiritual or something.
> Anyway, since then I've been searching for the album but haven't been able
> to find it, and everything else of his I've seen has looked a bit risky to
> invest in (pricy and involving ensembles I don't know). Can anyone offer
> a review of any of his disks, or even a guess as to which one it is I'm
> after? cheers f
>
> -
I _think_ it's the one recorded at Washington Square Church around 1978;
I was actually in attendance at the show, though I don't have the
record. The closing piece was one similar to what you described.
Might've been issued on India Navigation.
Other than his work with the Revolutionary Ensemble, which is required
listening, my favorites are his 'Space Minds, New Worlds, Survival of
America' on Tomato (I believe reissued on disc) with George Lewis,
Anthony Davis and others and his wonderful duo with Rashied Ali, 'Swift
Are the Winds of Life' on Survival Records (this may be more difficult
to come by).
I've never been a big fan of his quasi-rock band Sting! (actually, the
exclamation point was enough to put me off) and some of his stuff (like
the duo with Muhal) tends toward the arid but, at his best, there's not
an improvising violinist around who can touch him (IMHO, of course).
Brian Olewnick
- -
------------------------------
Date: Wed, 22 Apr 1998 22:07:18 -0400
From: Dora Agiotis <stubb@globalserve.net>
Subject: FNM Box set
If you want to bug Reprise Records to put out a Video Croissant 2 with
all of the videos since A Small Victory, e-mail them and tell them.
Also, tell them that they should release a box set of FNM B-sides and
rarities. Tell them how much money they will make because of their
recent break up. Another words, suck up really badly. But don't stop
sending them mail until they do it.
Dora Agiotis
- -
------------------------------
Date: Thu, 23 Apr 1998 02:21:26 -0400
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Gregg Bendian; was Re: Cecil Taylor
Ken Waxman wrote:
> The prize, to me, is "Counterparts" (CIMP)
I agree based on a live gig I heard, but I depise the CIMP approach to
recording and can hardly stand to hear this disc.
> "Interzone" (Eremite) is more problematic since Gregg limits
> himself to vibes and glokenspiel and besides Dresser the CD also featur=
es
> Nels Cline on guitar and Alex Cline on drums/percussion.
That's no limitation in my book. The Nels/Alex axis is an amazing thing =
to
behold (behear?). When I heard them live recently electric bassist Stomu
Takeishi replaced Dresser. Dresser is amazing, it is agreed all around, =
yet
Gregg seemed to feel that the inclusion of an *electric* bass virtuoso op=
ened
up a whole 'nuther can of worms for the band...
Of the recordings of Gregg I have, "Noir," "In Florescence" and Peter
Br=F6tzmann's "Sacred Scrape" are my favorites. I like Interzone live bu=
t have
mixed feelings about the disc. I'm looking forward to the "Interstellar
Spaces" recording quite a lot. The disc with Bailey is quite fine but th=
ere
are many Bailey discs I like better...
Steve Smith
ssmith36@sprynet.com
- -
------------------------------
Date: Thu, 23 Apr 1998 14:13:34 +1000 (EST)
From: Richie <richie@clearview.com.au>
Subject: John Szwed's review of Dave Douglas's "Mahfouz"
This is a longish but really good review of the new Dave Douglas project
"Mahfouz" which I talked about last week. Leave it to John Szwed
(author of the Sun Ra biography) to say it a lot better than I did.
This is in the new Village Voice:
===========================================
When my editor first suggested last week that I should hear trumpeter
Dave Douglas's meditations on the works of Naguib Mahfouz at Roulette, I
thought he said Nassim Maalouf, the Lebanese four-valve trumpeter whose
microtonal melodies turn up in many a French DJ's orientalist mixes. But
no, it was Egypt's Nobel Prize-winning author whom Douglas was
celebrating. An understandable error, since jazz musicians have been
multicultural from the beginning, drawing inspiration from anywhere they
could find it, their own mythical geographies as finely detailed as
those of an Italo Calvino or a Jorge Luis Borges. In fact, it was just
at the moment when classical music was beginning to abandon
programmatic composition under the influence of neoclassicism that jazz
arrived, sprinkling its titles and lyrics with the street names,
railroads, junctions, deltas, coasts, and cities that made up its
America. Soon whole countries and continents also surfaced in this music
through the borrowed and imagined melodies and rhythms of Mexico, India,
Cuba, Brazil, and Africa (which I don't have to remind you includes
Egypt).
Dave Douglas's own personal geography has that same grand sweep. His
three recordings with guitarist Brad Schoeppach and drummer Jim Black as
the Tiny Bell Trio (such as their latest--and my favorite--Live in
Europe, on Arabesque Records) take their inspiration from Balkan
instrumental music; his Strings Group projects (Parallel Worlds and Five
on Soul Note) have worked the repertoires of Kurt Weill, Webern, and
Stravinsky. But Douglas also draws from the books of Monk and Herbie
Nichols, and two of his best recordings honor Booker Little (In Our
Lifetime on New World) and Wayne Shorter (Stargazer on Arabesque). Even
in a cosmopolitan music, his range marks
him as singularly urbane.
Douglas is something of a stealth success, having moved from sideman of
choice to a leader who can now play almost anywhere, from the usual
new-music haunts to mainstream jazz clubs. But he paid his way, working
in every conceivable trumpet role in the bands of Horace Silver, Myra
Melford, Don Byron's Mickey Katz project, Guy Klucevsek, Uri Caine, and
most notably in John Zorn's Masada, where Douglas continues to walk the
wire between free jazz and klezmer.
In spite of the company he keeps Downtown, he is too persistently
lyrical and melodic to be considered a postmodernist. If anything, he is
pre-modernist, even romantic, in his respectful approach to sources, his
willingness to treat any musics of the world as potential for covers. He
plays with the bright, piercing tone of the classic lead trumpet, but
also with the poise, emotion, and intelligence of a first-rate
improviser (he's one of those musicians you can hear thinking). He
possesses a style rich with a variety of vibrato and attack and the
facility to push the horn to its limits with multi-octave jumps; and he
draws
from a full catalogue of buzzes, half-valve squeezes, and choked tones
that mark the nexus where the blues and the 20th-century avant-garde
meet unashamed.
Last year he turned a corner with Sanctuary (Avant), an ambitious
two-hour foray into
electronics with a double quartet of samplers, trumpets, bassists,
saxophones, and drums which updates the '60s experiments with double
groups of John Coltrane and Ornette Coleman, and remarkably manages to
sustain interest over two CDs. Douglas credits Coltrane and Coleman on
the record, along with Arnold Schoenberg, Pierre Boulez, Boccaccio, and
the Santa Maria del Fiore Cathedral of Florence, Italy. But given
Douglas's affinity for Wayne Shorter's music and the electric rumble and
shifting textures of this record, it would be hard to imagine that the
spirit of Shorter's composition "Sanctuary'' (which concluded Miles
Davis's Bitches Brew) is not also lurking somewhere in the mix.
Despite the billing at Roulette last week, the compositions that Douglas
presented were not noticeably programmatic: they seemed less walks
through Cairo's Khan al-Khalili bazaar or the alleyways of Gamaliyya
than a sonic fantasy in the strict musical sense of the term. He
extended the directions he had begun on Sanctuary, and though the
evening was heavy with electronics (Douglas and the ubiquitous Ikue Mori
on samplers, along with Jamie Saft's keyboards and Kenny Wollesen's
drums), the music was flush with melody, tone color, and dynamics, and
even moments of fastidiousness and delicacy. And if I
say that I most enjoyed those moments when Douglas picked up his horn, I
mean it as no
disrespect to his ambitions: it's just that I suspect that Douglas can
play anything on his trumpet that he can get from his electronics, and
probably anything else he wants to. As Amiri Baraka used to say, hear
him now, and prepare to be moved.
copyright 1998 John Szwed / Village Voice
Steve Smith
ssmith36@sprynet.com
- -
- -
------------------------------
Date: Thu, 23 Apr 1998 19:40:54 +0800
From: Jan-Wen Lu <janwenlu@top2.ficnet.net.tw>
Subject: New Mr. Bungle recording?!
From the mailing list of an online mailorder distributior "AB-CD",
there's a new Mr. Bungle CD titled "Bowl of Chiley" released on Apr. 14.
But on "Web of Mimicry"(the official Mr. Bungle site) that mentioned
this CD is not authorized by members of Mr. Bungle. Could someone give
me any information about it? Is it a booleg live recording or something
else? I'm very curious!!
Jan-Wen Lu
- -
------------------------------
Date: Thu, 23 Apr 1998 08:30:05 -0400 (EDT)
From: Gauthier Michelle A <7mag2@qlink.queensu.ca>
Subject: Re: New Mr. Bungle recording?!
That recording-- "Bowl of Chiley" is a demo that was recorded in 1986.
Mr.Bungle have never released this as a CD. Some scumball that got ahold
of a copy (tape) took it to a company and said he had Mr.Bungles'
permission-- which he DID NOT. This has caused a lot of problems-- the Cd
was produced and sold at a few stores (may still be around for a limited
time) but Mr.Bungle have requested it be pulled off the shelves-- it's
totally illegitimate and they did not want that to be released.
So that is what happenend. It's really bad quality and comes in a shittc
cardboard case-- not worth it AT ALL.
Mr.Bungle are in the "idea" process right now for their new album--
nothing concrete as of yet.
m.
On Thu, 23 Apr 1998, Jan-Wen Lu wrote:
> >From the mailing list of an online mailorder distributior "AB-CD",
> there's a new Mr. Bungle CD titled "Bowl of Chiley" released on Apr. 14.
> But on "Web of Mimicry"(the official Mr. Bungle site) that mentioned
> this CD is not authorized by members of Mr. Bungle. Could someone give
> me any information about it? Is it a booleg live recording or something
> else? I'm very curious!!
>
>
>
> Jan-Wen Lu
>
>
> -
>
>
- -
------------------------------
Date: Thu, 23 Apr 1998 08:30:31 -0500 (CDT)
From: "Joseph S. Zitt" <jzitt@humansystems.com>
Subject: Re: Gregg Bendian; was Re: Cecil Taylor
On Thu, 23 Apr 1998, Steve Smith wrote:
> I agree based on a live gig I heard, but I depise the CIMP approach to
> recording and can hardly stand to hear this disc.
What is the CIMP approach? I was looking at an ad for them in CODA last
night and it looked like they had some good stuff. Should I beware?
- - ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== jzitt@humansystems.com ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|
- -
------------------------------
Date: Thu, 23 Apr 1998 07:22:50 PDT
From: "Scott Handley" <c123018@hotmail.com>
Subject: Re: Gregg Bendian; was Re: Cecil Taylor
>
>> The prize, to me, is "Counterparts" (CIMP)
>
>I agree based on a live gig I heard, but I depise the CIMP approach to
>recording and can hardly stand to hear this disc.
>
I don't have any CIMPs but was eyeing the Paul Lytton album w/
electronics on his kit, among others (Joe McPhee etc.). What IS the
"CIMP" approach? I seem to have heard buzz about this.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Thu, 23 Apr 1998 16:32:23 +0200 (MET DST)
From: Oger <oger@worldnet.fr>
Subject: Re: new derek bailey albums
About CD "No waiting" release (Derek Bailey+Joelle Leandre), distributors
and mail order services in different countries are indicated on Potlatch
label site :
http://www.potlatch.digiweb.fr
Jacques Oger (Paris)
>Date: Wed, 22 Apr 1998 10:10:48 +0200
>From: Stefan Verstraeten <stefan.verstraeten@advalvas.be>
>Subject: new derek bailey albums
>
>Hi Zornies,
>for those interested in derek bailey, check out the following new
>albums:
>
>(1)take fakes & dead she dances (incus): new stuff recorded 1997
>(2)karyobin (chronoscope): recordings from 1968 with bailey, kenny
>wheeler, evan parker
>(3)tohjimbo (paratactile): new stuff from derek bailey & the ruins
>(4)no wating (potlach): duo with joelle leandre
>
>I know it's hard to find those albums, but for those who live in Europe,
>I mention that you can order them from derek bailey himself:
>
>The cd's cost 12=A3 (including p&p) and the adress is:
>
>INCUS RECORDS
>14 DOWNS ROAD
>LONDON
>E5 8DS
>ENGLAND
>
>Eric Clapton is God, no way, derek bailey is....................
>- --=20
>Stefan Verstraeten
>Belgium (Europe)
>
- -
------------------------------
Date: Thu, 23 Apr 1998 07:34:28 PDT
From: "Scott Handley" <c123018@hotmail.com>
Subject: kondo toshinori kondo + electronic horns
Re: Recent electronic threads; Kondo; Kang; D. Douglas
I have recently mentioned how much I like Toshinori Kondo's live
electronics + trumpet on Brotzmann's spectacular DIE LIKE A DOG; there
has been plenty of talk about the wired Miles Davis; people seem to
enthuse over Evan Parker's Electroacoutic Project (I do, for sure); and
the recent talk about Dave Douglas' Thoughts... group has me ready to
relocate to NYC. And there's the long Musique concrete / electronic
thread.
So what other examples of improvised music meeting/using/being used by
electronics can people think of? For one, I noticed that Kondo is
slated for a new Tzadik release---but when? Has anyone heard the
Kondo/Paul Lovens duets on Potorch (I haven't)?
And what's the new NADEs album by Eyvind kang like?
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Thu, 23 Apr 1998 10:58:10 -0400
From: cdeupree@interagp.com (Caleb Deupree)
Subject: Re: improvised electronics (was kondo et al)
>>>>> "Scott" == Scott Handley <c123018@hotmail.com> writes:
Scott> So what other examples of improvised music
Scott> meeting/using/being used by electronics can people think
Scott> of? For one, I noticed that Kondo is slated for a new
Scott> Tzadik release---but when? Has anyone heard the Kondo/Paul
Scott> Lovens duets on Potorch (I haven't)? And what's the new
Scott> NADEs album by Eyvind kang like?
Classic work includes Stockhausen's intuitive music, including From
the Seven Days (some of which is still available) and Spiral (which is
available by a couple of different players).
I also think you can't go wrong with Gushwachs, an improvised release
with the Swedish trio Gush (Mats Gustafsson on reeds, Sten Sandall on
keyboards, and Raymond Strid on percussion) plus Phil Wachsmann on
violin. All of them play electronics in addition, except maybe
Gustafsson (and with his unusual technique, who can tell). Gushwachs
is the closest I've heard to KS's intuitive music in recent years.
The album is on Bead, available from Cadence.
Then there's always King Ubu Orchestra, featuring Georg Katzer (whose
concrete piece Aide Memoire is on ReR's electronics CD) on computer
and electronics, plus Wachsmann again, and Paul Lytton, all on
electronics, among others. I love this CD, one of the great textural
groups where you can't tell who's playing what.
Information on both these groups, with personnel and track listings,
is at http://www.shef.ac.uk/misc/rec/ps/efi/ehome.html, the European
Free Improvisers home page (a great site).
- ---
Caleb T. Deupree
;; Opinions are not necessarily shared by management
Computers are useless. They can only give you answers.
(Pablo Picasso)
- -
------------------------------
Date: Thu, 23 Apr 1998 15:16:26 -0400 (EDT)
From: Ken Waxman <cj649@freenet.toronto.on.ca>
Subject: Re: Gregg Bendian; was Re: Cecil Taylor
Essentially CIMP records everything live off the floor with no
sweetening. I own a few CIMPs and lean towards the negative response.
That's because when recording that way you need really strong material,
with very little low or middle. So, IMHO the sound works quite well for
the Gregg Bendian "Counterparts session (trumpet, reeds, bass and drums),
but makes Rosewell Rudd's "The Unheard Herbie Nichols Vol. 1" (trombone,
guitar and drums) spectacularly loggy and monochromic. (I saw the band
live and it sounded nothing like that). The Marc Edwards disc. "Red
Sprites and Blue Jets" is okay overall, with some dead spots, as is Sonny
Simmons' "Judgement Day" and Frank Lowe's "Bodies and Soul". But the
three horns in Lou Grassi's Saxtet have to be riffing wildly to make
things move.
I guess the overall advice is if you like a particular string
saxophone player, he'll probably sound okay on CIMP. Other instruments:
caveat emptor.
Ken Waxman
cj649@torfree.net
On Thu, 23 Apr 1998, Joseph S. Zitt wrote:
> On Thu, 23 Apr 1998, Steve Smith wrote:
>
> > I agree based on a live gig I heard, but I depise the CIMP approach to
> > recording and can hardly stand to hear this disc.
>
> What is the CIMP approach? I was looking at an ad for them in CODA last
> night and it looked like they had some good stuff. Should I beware?
> - ---------1---------1---------1---------1---------1---------1----------
> |||/ Joseph Zitt ===== jzitt@humansystems.com ===== Human Systems \|||
> ||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
> |/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|
>
>
> -
>
>
- -
------------------------------
End of Zorn List Digest V2 #340
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