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v02.n371
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1998-05-15
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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 #371
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 Saturday, May 16 1998 Volume 02 : Number 371
In this issue:
-
Re: Tom Cora recommendations needed
Selling a couple of cds
Re: Tom Cora recommendations needed
Re: Re[2]:Why Zorn (or anyone else?)
Ground Zero Plays Standards
Live Knit
Re: Ground Zero Plays Standards
Re[2]: Re[2]:Why Zorn (or anyone else?)
Masada at Slim's in SF
New Music Series (New York City)
haino / mazzacane connors
New Music Series (advert)
FITV
----------------------------------------------------------------------
Date: Thu, 14 May 1998 10:12:44 -0500
From: Rich Williams <punkjazz@snet.net>
Subject: Re: Tom Cora recommendations needed
Silent Watcher wrote:
I just got a copy of the first Curlew album, and
> am absolutely amazed by Tom Cora's playing. I've only come into contact
> with it before on a few Zorn projects, but definitely none have quite
> stood out to me like this one has. The question is, can someone
> recommend some other solid albums that feature Cora as the centerpiece,
> or part of the centerpiece of the particular ensemble?
Dave,
That Curlew LP is great, One of my fave Laswell-related albums. Another
great record with Tom Cora is Nimal's "Voix De Surface" on the French
AYAA label. This features Tom, and Pipin Barnett with former members of
Begnegrad and Debile Menthol.The music is not unlike Fred Frith's
Gravity LP, which is to say, Its Great.
Ive also heard good things about "Roof", Cora's last working band. And
of course lets not forget Skeleton Crew, although their albums never
approached their live performances. But the best way to experience Toms
unique playing has got to be the Curlew Video "The Hardwood" available
from Wayside.
Rich
PS There is a tune from the Nimal CD on my web page
(though I mis-credited it to another CD, Doh!)
www.geocities.com/~punkjazz
- -
------------------------------
Date: Thu, 14 May 1998 12:53:39 -0400
From: "Francisca" <monsalve@interaccess.cl>
Subject: Selling a couple of cds
Contact me if interested.
Sorry for taking up bandwidth.
- ---------------
Francisca
Monsalve@interaccess.cl
- -
------------------------------
Date: Thu, 14 May 1998 19:47:08 -0400 (EDT)
From: Christopher Hamilton <chhst9+@pitt.edu>
Subject: Re: Tom Cora recommendations needed
In addition to the Skeleton Crew and Curlew albums, I highly recommend the
two collaborations with the Ex, _Scrabbling at the Lock_ and _...And the
Weathermen Shrug Their Shoulders_. Cora's cello fits surprisingly
naturally into a basically punk-rock contexts. Some nice use of Eastern
European/Middle Eastern influences as well. Live, this combination was
one of the best bands I've ever seen, and it's a shame their or no concert
performances available.
Chris Hamilton
- -
------------------------------
Date: Thu, 14 May 1998 20:03:01 -0400 (EDT)
From: Christopher Hamilton <chhst9+@pitt.edu>
Subject: Re: Re[2]:Why Zorn (or anyone else?)
On Thu, 14 May 1998 peter_risser@cinfin.com wrote:
> We are both correct in judging the value of the
> work in our own framework.
You (or anyone) might be confused about the way your own framework works.
Perhaps an analogy with morality will make my point clearer. At least
some 18th-century Americans presumably bought into the moral framework
of the Declaration of Independence (all men created equal, etc.), believed
that Africans were human beings, and thought that slavery was morally
acceptable. By their own standards, they were wrong about the last point.
Similarly, one might buy into a system of artistic values but make
mistakes in judging particular works of music within that context.
> You could argue the relative influence of something on society, or the
> interesting things about it, and that might influence how someone perceives that
> thing's worth, but that's about it.
For example, you might think that works of music with many interesting
qualities are necessarily good. (I'm pretty sure I think something like
this.) If your wife buys into this view, and you convince her that
Plunderphonics has many interesting qualities, she'd have to admit that
she's wrong. (But I don't recommend having that sort of discussion
too often with spouses 8^).)
I should note that, given that you admit you could argue that something is
interesting for such-and-such a reason, we may just be using words
differently, since that sounds an awful lot like arguing that something
has value to me.
Chris Hamilton
- -
------------------------------
Date: Thu, 14 May 1998 20:34:40 EDT
From: Tag Yr It <TagYrIt@aol.com>
Subject: Ground Zero Plays Standards
Greetings list people,
Can someone give me an idea why I can't find a place that can order this? None
of the shops I've asked seem to have a clue about where to get it.
Thanks for any help.
Dale.
- -
------------------------------
Date: Thu, 14 May 1998 15:03:37 +0000
From: Dan Kuehn <smokey@maui.net>
Subject: Live Knit
Somebody tell me what's with the livecam at the Knitting Factory - ever since
John Zorn had it turned off, it REALLY got turned off. I check almost every
day and I've gotten various realaudio messages (the site doesn't exist, is not
available, etc.) or an NBC network feed or a blue screen or a black screen or
once very, breifly, picture but no sound.
What gives? Politics? Technical problems? Legal beef? Artist beef?
The livecam is certainly revolutionary, giving us free-thinking folks in the
outback a window into a world of new musiks formerly available only to those
able to bear life in the City, but isn't that a good thing?
I just hope it's not gone forever. I expected that bastard Zorn would turn it
off for his precious improv nite tonite, but what about the clusone trio last
night? Never heard'em, probably never will...
I for one have bought at least a dozen albums based on what i've caught on
that miserable little screen -
At this point I don't even know what's wrong: kid has ice cream cone, kid
loses ice cream cone, kid feels bad.
As Nancy Kerrigan said so well, "Why, why?"
Dan
- --
Dan Kuehn
resident manager
Kailua Maui Gardens
http://www.maui.net/~kmg/
- -
------------------------------
Date: Thu, 14 May 1998 20:27:14 -0700 (PDT)
From: SUGAR in their vitamins? <yol@esophagus.com>
Subject: Re: Ground Zero Plays Standards
On Thu, 14 May 1998, Tag Yr It wrote:
> Can someone give me an idea why I can't find a place that can order this? None
> of the shops I've asked seem to have a clue about where to get it.
Forced Exposure has copies.
www.forcedexposure.com
hasta.
Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE.
- -
------------------------------
Date: Fri, 15 May 1998 13:53:57 UT
From: peter_risser@cinfin.com
Subject: Re[2]: Re[2]:Why Zorn (or anyone else?)
<<
I should note that, given that you admit you could argue that something is
interesting for such-and-such a reason, we may just be using words
differently, since that sounds an awful lot like arguing that something
has value to me.
Chris Hamilton
>>
Which is, I think, the key. You feel that something needs to be interesting to
have value. I find most of Vivaldi completely UNinteresting, but apparently,
the western doctrinal system feels that it has plenty of value. I dunno. It
may have some historical significance, but frankly, I'd have to say his music is
pretty worthless, right up there with Kenny G, Yanni and that pan-flute guy.
Similarly, eric wrote:
<<
Hmm. It sounds like you're contradicting yourself. The 9th was - as you
point out - influential (of worth) in the framework of the western musical
tradition. That won't change, even if public opinion changes and we all
agree with Chris that it's not an enjoyable piece of music.
>>
Right there, he defines anything influential as having worth or value. I don't
know that this is necessarily true. I personally agree, but there are lots of
things that were influential, like tonal serialism, that the vast majority would
find completely worthless, in fact, being negatively influential, leading the
music establishment away from "pretty music" and into the no man's land of
twentieth century classical. I think we'd all disagree and try to argue for the
movement's worth.
Also, I really feel like we're coming at this from a completely Western point of
view. I don't know enough about the differing cultures from East to West,
except to say that there's the classic story of the missionaries who played
Handel (another worthless composer, in my estimation) to the "savages" in Bali,
who laughed their heads off over such unsophisiticated children's music.
Meanwhile, the music of Bali is almost completely uninfluential in our Western
society and I'd say most people would find it pretty uninteresting and maybe
even annoying. So, is it worthless then, because the majority of Americans
would agree that it sucks?
Certainly, it's not worthless to the people of Bali.
So, yeah, your culture can fit you with a certain set of value judgements for
music, which you can choose to accept, alter or deny. You're not completely
divorced from your culture. But don't mistake cultural judgements for absolute
truths.
PeterR
- -
------------------------------
Date: Fri, 15 May 1998 18:19:44 -0500 (CDT)
From: Tom Benton <rancor@ccwf.cc.utexas.edu>
Subject: Masada at Slim's in SF
To those of you who were curious about the upcoming Bay Area Masada show
(on the 30th I think), the band is going to be: Zorn, Ben Goldberg
(clarinet), John Schott (guitar), John Shifflett (bass), and Scott
Amendola (drums).
Sounds like nothing short of a total blast...
- -
------------------------------
Date: Fri, 15 May 1998 22:48:25 -0400 (EDT)
From: David Newgarden <dn@panix.com>
Subject: New Music Series (New York City)
The New Music Series at Tonic
Curated by John Zorn
JUNE
Wed 24 @11pm Opening Night Improv Party w/Zorn & many special guests FREE
Thu 25 Dave Douglas $10
Fri 26 Josh Roseman $8
Sat 27 Mike Patton $15
Sun 28 Derek Bailey & Suzie Ibarra $10
JULY
Wed 1 Masada String Trio $10
Thu 2 Butch Morris $10
Fri 3 Arto Lindsay $10
Sat 4 Medeski, Martin & Wood $10
Sun 5 Zorn, Ribot, Medeski & Wollesen $10
Wed 8 Vernon Reid $10
Thu 9 Painkiller / Ikue Mori solo $15
Fri 10 Marc Ribot y los Cubanos Postisos $10
Sat 11 Previte / Sharp / Zorn $10
Sun 12 David Krakauer's Klezmer Madness $10
Wed 15 EasSide Percussion $6
Thu 16 Charles Gayle $10
Fri 17 Joe Lovano $10
Sat 18 Anthony Coleman's Sephardic Tinge $8
Sun 19 Myra Melford & Crush $8
Wed 22 Zeena Parkins $6
Thu 23 Spanish Fly $8
Fri 24 Ravi Coltrane $10
Sat 25 Min Xiao-Fen $8
Sun 26 William Parker $10
Wed 29 Erik Friedlander's Chimera $8
Thu 30 Alicia Svigals $8
Fri 31 Joey Baron & Baron Down $10
August
Sat 1 Roy Campbell's Other Dimensions $8
Sun 2 Chris Speed & Pachora $6
Wed 5 Eyvind Kang $10
Thu 6 Tim Berne $10
Fri 7 Cyro Baptista's Beat the Donkey $10
Sat 8 Liminal Lounge with Perowsky, Blume and guests $6
Sun 9 Mark Feldman $8
Wed 12 John Zorn's COBRA $10
Thu 13 Frank London $8
Fri 14 Mark Helias $10
Sat 15 Guy Klucevsek $8
Sun 16 Rashied Ali, Louis Belogenis & Wilber Morris $10
All Shows at 9 & 10:30
Every Friday at Midnight - Sex Mob
Every Saturday at Midnight - The Wollesens
except Jun 27 at midnight Erik Friedlander's Topaz
Tonic is at 107 Norfolk between Rivington and Delancey ( F or J train )
phone (212) 358-7503
- -----------------------------
Tonic also has an already-in-progress free Wednesday night music series,
curated by Ted Reichman (accordionist with David Krakauer's Klezmer
Madness, Braxton/Reichman Duo, Refuseniks, Eugene Chadbourne, Eszter
Balint etc.).
5/20 Cuong Vu
Jim Black-percussion, Holly Palmer-voice, Brad Shepik-guitar,
Stomu Takeishi-electric bass, Cuong Vu-trumpet
5/26 Sideshow (Songs of Charles Ives)
Adam Good-guitar, John Hollenbeck-percussion, Matt Moran-vibraphone,
Oscar Noriega-winds
6/3 Soultronix
Christine Bard-percussion & electronics, Chris Cochrane-guitar,
Michael Evans-percussion & theremin, Kato Hideki-electric bass,
Karen Mantler-organ, Jim Pugliese-percussion & electronics
6/10 Irena Jarosjewski
Laura Cromwell-drums, Curtis Hasselbring-guitar & trombone, Irena
Jarosjewski-voice, Ted Reichman-accordion, bass,organ
6/17 John Hollenbeck's Claudia Quintet
Drew Gress-bass, John Hollenbeck-percussion, Matt Moran-vibes,
Ted Reichman-accordion, Chris Speed-winds
6/24 Peter Epstein Quartet
Chris Dahlgren-bass, Peter Epstein-winds, Jamie Saft-keyboards,
Mike Sarin-percussion
- -----------------------------
- -
------------------------------
Date: Fri, 15 May 1998 23:19:06 -0400 (EDT)
From: David Newgarden <dn@panix.com>
Subject: haino / mazzacane connors
>> 2. I'm listening to a to me enigmatic volume 2 of Keiji Haino/Loren
>> MazzaCane Connors cd. There is no comment or anything on the cover or
>> the disc. I didn't see a volume 1 yet but I'm sure soon. But I suspect
>> there could be no more comment on it.
>It's hard to find information about him. I get the impression that
>there is no "Volume 1" as such, but there is an album documenting an
>earlier performance of Haino with Connors.
The earlier performance (1992) wasn't called "Vol. 1" and was on a
different label (Father Yod/persona non grata). It's more-or-less sold
out (2 pressings) but I have a few CDs which I'll gladly sell cheap ($8,
sorry for the advertisement) -- I wrote liner note comments... Email me
privately.
- -
------------------------------
Date: Fri, 15 May 1998 23:25:32 -0400 (EDT)
From: David Newgarden <dn@panix.com>
Subject: New Music Series (advert)
Zorn is curating a New Music Series at Tonic (Lower East side / NYC) June
24-August 16. The schedule is too long for posting here - email
lazyoaf@aol.com, or look for flier at the usual places (Downtown Music
Gallery, Other Music, etc.)
- -
------------------------------
Date: Thu, 14 May 1998 11:39:16 -0400 (EDT)
From: matthew.colonnese@yale.edu (Matthew Colonnese)
Subject: FITV
>>News Release Michael Ehlers
>>For Immediate Release P.O. Box 812
>>May 16, 1998 Northampton, MA 01061
>> eremite@javanet.com
>>
>>
>>
>>Announcing: FIRE IN THE VALLEY '98
>>
>>SATURDAY, JULY 25, 1:00PM-11:00PM, IN TWO PROGRAMS WITH A TWO HOUR BREAK
>>BEZANSON RECITAL HALL AT THE FINE ARTS BUILDING
>>UNIVERSITY OF MASSACHUSETTS, AMHERST
>>(413)545-2511 OR (800)999-UMAS FOR ADVANCE TICKETS
>>
>>PETER BROTZMANN'S DIE LIKE A DOG QUARTET
>>THE JOE MCPHEE WIND AND STRING ENSEMBLE
>>PAUL FLAHERTY/RANDALL COLBOURNE DUO
>>JEMEEL MOONDOC/WILLIAM PARKER DUO
>>THE GLENN SPEARMAN TRIO
>>
>> On Saturday, July 25, 1998, the Conway New Music Society, consisting
>>of Eremite Inc., Dynamite Records, Toonerville Trolley Records, & the
>>Ecstatic Yod Collective, will present a third massive, day-long festival
>>of jazz and new music at the Bezanson Auditorium in the Fine Arts Center
>>at the University of Massachusetts, Amherst.
>> Beginning at 1:00 PM, Fire in the Valley '98 will attempt to briefly
>>contain the talents of an incendiary group of musicians whose roots
>>crisscross the avant garde tradition. The setting for this beautiful
>>madness
>>will be the intimate 220 seat Bezanson Auditorium, a room whose
>>audience-stroking acoustics have been documented on several Eremite
>>Records releases.
>> The afternoon program will start right where Fire in the Valley '97
>>ended-- with the rich blare of tenor saxophonist Glenn Spearman. 1998
>>will be the third overall Festival appearance, the second as a leader,
>>by this huge-toned Bay Area power-hitter. Pianist Matthew Goodheart and
>>drummer Rashid Bakr will comprise Mr. Spearman's trio. Goodheart is a
>>young San Francisco-based hammerman who has worked with Leo Smith,
>>Pauline Oliveros, & Marco Eneidi, among others. Bakr drove the Cecil
>>Taylor Unit for a number of fine seasons, & recently played through the
>>Valley as a member of Other Dimensions in Music.
>>This combo should start the proceedings on an extremely high note.
>> The afternoon program will continue with the Jemeel Moondoc/William
>>Parker Duo. Altoist Moondoc and bassist Parker have been frequent guests
>>at Festivals and Meeting House performances prior to this, but Fire in
>>the Valley '98 will be the first local event that pairs their unique
>>talents. Since the 1970s both Mr. Moondoc and Mr. Parker have been
>>creative centers of the New York loft scene, leading various small
>>groups, orchestras and recombinations-thereof through various paces of
>>human
>>emotion and expansion. Although the pair worked together closely through
>>much of the second New York loft era & into the '80s, this show will be
>>their first reunion in many years. It is guaranteed to remove your soul
>>from your body and take it somewhere nice.
>> The afternoon program will be capped by a duo performance between
>>saxophonist Paul Flaherty and drummer Randall Colbourne. Mr. Flaherty
>>and Mr. Colbourne's roots as THE champion exponents of HARDCORE free
>>music in New England can be traced back well over two decades, & seeing
>>them play is one of the great benefits of living here. Their most
>>recent release, Resonance (Zaabway), recorded at the Meeting House last
>>year, gives a pretty good indication of their musical direction.
>>High-level, high-intensity bursts into the infinity of music, with heart
>>enough for a whale.
>> After a two hour intermission, the evening program will begin with the
>>Joe
>>McPhee Wind and String Ensemble. Multi-instrumentalist McPhee is one of
>>the great outsider lions of the new music. For three decades he has been
>>recording and performing work of exquisitely high emotional and
>>intellectual content. His solo appearance at the Meeting House earlier
>>this year set the torch to many heads, and we are certain that Mr.
>>McPhee's set this evening will be another wonder of invention. Joining
>>McPhee will be cellist Monica Wilson, reedplayer/flautist Joe Giardullo,
>>and violinist Rosie Hertlein.
>> The evening program concludes with the killers, German reed colossus
>>Peter Brotzmann's collective improvisational meditation on Albert Ayler,
>>Die Like A Dog. For this occasion Die Like A Dog will consist of
>>trumpeter Roy Campbell (Other Dimensions in Music), bassist William
>>Parker, and the absolutely slamming Chicago-based drummer, Hamid Drake.
>>These men are all veterans of many avant garde campaigns, but recent
>>shows (both locally and afield) have shown that none of them have come
>>anywhere near cresting. Each of them is constantly exploring other
>>planes of now. Together they will move things to A WHOLE NEW LEVEL.
>> As we have pointed out before, it will be a long time (at least
>>another year) before the area witnesses another such collection of
>>talent. And
>>it is certain that this is a show you will never want to explain having
>>missed.
>> Tickets for the day are $18 in advance, $20 at the door. They may be
>>charged by calling the UMASS box office (monday-to-friday 10-4) at
>>800-999-UMASS, or purchased at For The Record in Amherst.
- ------
"Finally, a thing-a-ma-giggy that would bring people together...even if it
kept them apart, spatially."
- -
------------------------------
End of Zorn List Digest V2 #371
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