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1998-05-21
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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 #375
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
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Precedence: bulk
Zorn List Digest Friday, May 22 1998 Volume 02 : Number 375
In this issue:
-
Re: Recent Sharp etc
Bailey, Lucier, McPhee, Parmegiani
Fred Frith about Tom Cora
Microtonal musicians
Re: Parmegiani
Re: Parmegiani
Re: tenko recs
Re: Microtonal musicians
Re: Circular breathing
Julie Tippetts--Sunset Glow
Re: Circular breathing
Re: Circular breathing
Re: Microtonal musicians
----------------------------------------------------------------------
Date: Fri, 22 May 1998 12:02:58 +0200
From: Benjamin Pequet <benjamin@club.integral.be>
Subject: Re: Recent Sharp etc
> As someone who's been listening to Sharp since ISM in the early 80's
> but who has tired of his recorded output in recent years, I'd be
> interested to hear some z-listers' recommendations of his best recent
> work.
# with Ronny Someck (reading) a cd called Revenge of the stuttering child
(psycho-blues, post-klezmer, just beautiful) [TZ7117]
# with someone named Princess Esther I think, or Queen Esther or something
like that (singing) was well worth a listening (Elliott Sharp playing
guitars, one on each channel, in the same vein but more interesting than
Terraplane if you allow me a comparison. In the notes the girl thanks her
family and Sharp wishes to thank the devil)
# with queen Zeena Parkins and Optical 8 and Melt Banana some time ago, a cd
called Chipfarm (Japanese noise terrorists, lots of Japanese and lots of
noise, nice and sweet, you have to follow that stuff) [God Mountain GMCD016]
# with Zeena Parkins on about half the tracks of a cd called Slut (Japanese
witch, on the cover. I know nothing about who are the other musicians, I
hear Marc Ribot on a few tracks too, but all the cd is really good)
There's so much stuff. With Godco on the cd Straight not for example. The cd
Interference, that put an end to Carbon is almost music to dance on
[Atavistic ALP50CD]. Apparition on the Haymish groove cd [Extraplatte
EX316155CD]. The Shambala cd with William Hooker [KFWCD151].
And I am sure I will recommend the cd of improvisations of the Sharp and
Frances-Marie Uitti as soon as I get to listen to it.
I can find more info on these ones if you want me to, title of the cd, with
whom exactly, record company etc, just get back to me privately. Or maybe
all that could be filed at www.lamediatheque.be and you could find the info
there ? It should but, sorry I can't check now, I don't have internet access
anymore. Sorry for being vague and maybe repeat things that can have been
said by others now, I have only a periodic email access.
I hope this helps anyway. I guess you can do a search and find more info
about this somewhere on the net. I don't know if you would enjoy these
records Brian, these are as different from each other as possible... yet
still Sharp.
Well, I did enjoy these recordings and I relate totally to the comments you
made about the discs of Sharp you mention - except that I got to listen to
them about ten years later.
Later. Benj
- -
------------------------------
Date: Fri, 22 May 1998 11:39:50 -0400
From: Brian Olewnick <olewnik@IDT.NET>
Subject: Bailey, Lucier, McPhee, Parmegiani
Four recent acquisitions:
DEREK BAILEY TAKES FAKES & DEAD SHE DANCES INCUS
Ten solo performances from two dates in 1997 ranging from merely great
to astonishing. Nothing much I can say, except that if you've been
waiting to get into Bailey, this is a fine entry point. For long-time
fans, IMHO this is his finest solo effort, and that's saying a lot.
Early contender for record of the year.
ALVIN LUCIER PANORAMA LOVELY MUSIC
Lucier continues to straddle the line between music and science
experiment. Four pieces featuring trombonist Roland Dahinden and pianist
Hildegard Kleeb. One for trombone and two oscillators, where Dahinden
tries to play along closely with some low electronic drones. Another for
piano and positioned snare drums which resonate with various piano
frequencies (if you've ever been annoyed during live shows where the
snare drum buzzed off and on--and who hasn't?--you'll, um, appreciate
this piece). A beautiful work for piano with amplified "sonorous
vessels" placed on the strings. And one for trombone and piano, where
the score is a photo of a Swiss mountainscape; features awe-inspiring
tonal control by Dahinden. Good, _extremely_ minimal, music.
JOE MCPHEE AS SERIOUS AS YOU LIFE HATOLOGY
I first heard Joe in my high school auditorium (!) in 1971. Since then,
he's alternately fascinated and baffled me. I often find myself wishing
he'd stay true to his strong, Romantic side and do less dabbling in
somewhat derivative experimentalism. Here he does both, the latter
represented by a bland keyboard homage to Ra and Nancarrow and some
pointless kalimba-oriented drum machine work beneath an otherwise
beautiful rendition of 'The Man I Love'. Best track is a gorgeous
reading of Coltrane's 'After the Rain'. A mixed effort, but worth
hearing.
BERNARD PARMEGIANI DE NATURA SONORUM INA
Amazing electro-acoustic suite from 1975. Extraordinarily rich sounds
presented within a very natural, unforced sounding framework. Think of a
gentler, though equally inventive, Xenakis. Big tip o' the hat to Jon
Abbey for the recommendation. If anyone has other work by Parmegiani
they'd care to suggest, or other related music they'd like to cite,
please do. Annoys me that this has been around over 20 years and I'd
bypassed it entirely.
All for now,
Brian Olewnick (hoping this is less than 5K)
- -
------------------------------
Date: Fri, 22 May 1998 18:05:41 +0200
From: "Artur Nowak" <arno@silesia.top.pl>
Subject: Fred Frith about Tom Cora
> -----Original Message-----
> From: fred-admin@music.ch [mailto:fred-admin@music.ch]
> Sent: Tuesday, May 19, 1998 5:25 AM
> To: fred@music.ch
> Subject: fred@music.ch digest, Volume 4 #3
>
[...]
> From: Fred Frith <Fred.Frith@schwaben.de>
> Date: Fri, 15 May 1998 20:04:53 +0200
> Subject: Re: fred@music.ch digest, Volume 4 #2
>
> ** Message 2: **
>
> hi,
> just to say - there are two more benefits and tributes to Tom Cora, one
> on 20/05 at the Knitting Factory in New York, and the other at Vandoevre
> (Nancy, France) on 23/05 at the Centre Culturel AndrΘ Malraux during the
> Festival of New Music. (There already was one at The Geluid Festival at
> the Vooruit, Gent, Belgium last week). I hope some of you will be able
> to attend, or tell friends who can..
>
> To correct a couple of small details - Tom was originally diagnosed with
> skin cancer, and despite early preventive treatment, it spread into his
> whole body. When he died he had tumours in the brain, lungs, and
> elsewhere (technically it was called Melanoma, familiar to anyone who
> knows anything about AIDS for example, though this was not Tom's
> problem).
>
> And speaking as someone who played with Tom shortly before his death, I
> can't say I found his playing especially lacking in energy, in fact I
> was shocked at how his frailty left him as soon as he got behind his
> cello. It was both humbling and inspiring ( and he played several more
> concerts with Roof afterwards which from everything I've heard were
> similarly intense).
>
> Finally, we are planning a box set tribute to Tom, and many contributors
> have already provided material, this should be finished over the
> Summer, & I'll update this when I know definitely who will release it.
> I hope that corresponds to your idea of a celebration - there's a lot to
> celebrate!
>
> all the best
>
> Fred
Forwarded by:
____________________________________________________________________
Artur Nowak (arno@silesia.top.pl)
www.silesia.top.pl/~arno/emd/pl40/artists/f/frisell_bill/default.htm
For MS Internet Explorer 4 only!
- -
------------------------------
Date: Fri, 22 May 1998 09:22:57 PDT
From: "Bruno Bissonnette" <burningwater@hotmail.com>
Subject: Microtonal musicians
Here's a question for all of you: Who are the most interesting
musicians out there who use microtonality? I've heard a bit of Joe
Maneri and LaMonte Young, and wouldn't mind knowing more about them, but
who else is there? Whether they use just-intonation or another system,
I'm really curious about this stuff.
Bruno Bissonnette
Musician/Guitarist
Math Student, Sherbrooke University
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Fri, 22 May 1998 12:34:31 EDT
From: JonAbbey2 <JonAbbey2@aol.com>
Subject: Re: Parmegiani
In a message dated 5/22/98 11:42:57 AM, olewnik@IDT.NET wrote:
<<BERNARD PARMEGIANI DE NATURA SONORUM INA
Amazing electro-acoustic suite from 1975. Extraordinarily rich sounds
presented within a very natural, unforced sounding framework. Think of a
gentler, though equally inventive, Xenakis. Big tip o' the hat to Jon
Abbey for the recommendation. If anyone has other work by Parmegiani
they'd care to suggest, or other related music they'd like to cite,
please do. Annoys me that this has been around over 20 years and I'd
bypassed it entirely.>>
Thanks for the props, Brian. All the Parmegiani discs on INA-GRM are pretty
amazing but the next one to get is La Creation Du Monde. It's the only work of
his that I've heard that I consider in the same class as De Natura Sonorum.
Jon
- -
------------------------------
Date: Fri, 22 May 1998 09:44:53 -0700
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Parmegiani
On Fri, 22 May 1998 12:34:31 EDT JonAbbey2 wrote:
>
>
> In a message dated 5/22/98 11:42:57 AM, olewnik@IDT.NET wrote:
>
> <<BERNARD PARMEGIANI DE NATURA SONORUM INA
>
> Amazing electro-acoustic suite from 1975. Extraordinarily rich sounds
> presented within a very natural, unforced sounding framework. Think of a
> gentler, though equally inventive, Xenakis. Big tip o' the hat to Jon
> Abbey for the recommendation. If anyone has other work by Parmegiani
> they'd care to suggest, or other related music they'd like to cite,
> please do. Annoys me that this has been around over 20 years and I'd
> bypassed it entirely.>>
>
> Thanks for the props, Brian. All the Parmegiani discs on INA-GRM are pretty
> amazing but the next one to get is La Creation Du Monde. It's the only work of
^^^^^^^^^^^^^^^^
Any connection to Darius Milhaud's composition?
Patrice.
> his that I've heard that I consider in the same class as De Natura Sonorum.
>
> Jon
>
> -
>
- -
------------------------------
Date: Fri, 22 May 1998 10:31:09 -0700 (PDT)
From: Joshua A Miller <umillj08@mcl.ucsb.edu>
Subject: Re: tenko recs
On Tue, 19 May 1998, Matthew Colonnese wrote:
>
> What else has
> Tenko done? I really liked her duet album with Ikue Mori
she has an excellent record called slope with fred frith, tom cora, arto
lindsay, kramer, and some others. noisy rock-ish songs with a little bit
of marching band... it's on recrec, i think.
josh
- -
------------------------------
Date: Fri, 22 May 1998 12:28:40 -0700
From: Rob DeNunzio <zorn@gladstone.uoregon.edu>
Subject: Re: Microtonal musicians
At 09:22 AM 5/22/98 PDT, Bruno Bissonnette wrote:
>Here's a question for all of you: Who are the most interesting
>musicians out there who use microtonality? I've heard a bit of Joe
>Maneri and LaMonte Young, and wouldn't mind knowing more about them, but
>who else is there? Whether they use just-intonation or another system,
>I'm really curious about this stuff.
>
>Bruno Bissonnette
>Musician/Guitarist
>Math Student, Sherbrooke University
>
I recently got to listen to a group called the Catler Bros. that you might
be interested in, especially being a guitarist. The group is a
guitar/bass/drums trio who perform in just intonation, using fretted
(rescaled) and fretless guitars/basses. It's a shockingly funky/groovy
band, which I haven't seen much (in just intonation, that is). Interesting
stuff. There's a review and some sound-files at my website:
http://www.teleport.com/hifim
They also have information at their website, FreeNote records (can't
remember the URL, sorry). I'm curious to hear what other Zornies think -
anybody out there heard these guys?
Rob DeNunzio
Hi-Fi Mundo
- -
------------------------------
Date: Fri, 22 May 1998 15:06:16 -0500
From: "Eric C. Honour, Jr." <ech580@casbah.acns.nwu.edu>
Subject: Re: Circular breathing
>Date: Wed, 20 May 1998 18:05:56 -0400
>From: "Mark Logan and Kathleen O'Grady" <kerouack@golden.net>
>Subject: Victoriaville
> Zorn/Patton/Mori was fantastic as well. Zorn's sax playing was
>otherworldly and his five-minute-straight-circular-breathing was a joy
>to witness !!!
>
>bye
>mark
It's nice to see that Zorn and Evan Parker fans are just as discriminating
as fans of Kenny G. I mean, I wouldn't want the fact that these guys can
circular breathe to be overlooked in any discussion of their playing.
BTW, yes I can and do circular breathe, so I'm not just blowing smoke here.
It's really not that difficult and is becoming just as much a standard
technique as flutter-tonguing. I think it's only impressive if you haven't
figured out how to do it yet.
Concentrating on the music and ignoring the athletics,
Eric
- --------------------------
Eric C. Honour, Jr.
Composer * Saxophonist * Graphic Designer
MMus (Saxophone Performance and Composition)
Northwestern University
MrTheory@no.spam.nwu.edu
- --------------------------
The United States has never lost a war in which mules were used.
- -
------------------------------
Date: Fri, 22 May 1998 16:14:49 -0400
From: Brian Olewnick <olewnik@IDT.NET>
Subject: Julie Tippetts--Sunset Glow
(For those wondering, this is a beautiful record issued on the Utopia
Buli label in 1975, distributed by RCA, and includes folk like Elton
Dean, Marc Charig, Louis Moholo, Harry Miller and, of course, hubby
Keith performing Ms. Tippetts' songs).
It's probably been asked before, possibly by me, but does anyone know if
this is ever scheduled to make it to disc? My vinyl copy grows
statickier with each listen. For that matter, does anyone know of other
work by her in this vein? The liners for the 'Couple In Spirit' CD
mention a record called '1969', about which I know nothing further. I'm
pretty familiar with much of her free improv work but, for me, her
performances here and on Carla Bley's 'Tropic Appetites' (and when is
THAT going to be released to disc!?!?) stand out as extraordinary.
Thanks,
Brian Olewnick
- -
------------------------------
Date: Fri, 22 May 1998 13:38:36 -0700
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Circular breathing
On Fri, 22 May 1998 15:06:16 -0500 "Eric C. Honour, Jr." wrote:
>
>
> >Date: Wed, 20 May 1998 18:05:56 -0400
> >From: "Mark Logan and Kathleen O'Grady" <kerouack@golden.net>
> >Subject: Victoriaville
>
> > Zorn/Patton/Mori was fantastic as well. Zorn's sax playing was
> >otherworldly and his five-minute-straight-circular-breathing was a joy
> >to witness !!!
>
> It's nice to see that Zorn and Evan Parker fans are just as discriminating
> as fans of Kenny G. I mean, I wouldn't want the fact that these guys can
> circular breathe to be overlooked in any discussion of their playing.
>
> BTW, yes I can and do circular breathe, so I'm not just blowing smoke here.
> It's really not that difficult and is becoming just as much a standard
> technique as flutter-tonguing. I think it's only impressive if you haven't
> figured out how to do it yet.
>
> Concentrating on the music and ignoring the athletics,
Right, but Evan Parker does more than just keeping the air column uninterrupted
for few minutes. Circular breathing is an integral part of his way to playing
the soprano.
In the case of Zorn's solo, it was basically just that (a shrilling note held
for few minutes).
Patrice.
- -
------------------------------
Date: Fri, 22 May 1998 15:01:33 -0700
From: dtapia@unoco.edu (Douglas Tapia)
Subject: Re: Circular breathing
>> Zorn/Patton/Mori was fantastic as well. Zorn's sax playing was
>>otherworldly and his five-minute-straight-circular-breathing was a joy
>>to witness !!!
>
>>
>>bye
>>mark
>
>
>It's nice to see that Zorn and Evan Parker fans are just as discriminating
>as fans of Kenny G. I mean, I wouldn't want the fact that these guys can
>circular breathe to be overlooked in any discussion of their playing.
Gosh, someone's bitter, eh? I'm personally not impressed by circular
breathing either _UNLESS_ it serves a musical purpose, eg. forward motion
within an improvisition, building of tension, etc. I don't gather from
context of the quote that the fasination was so much with the _technique_
of circular breathing so much as it's inclusion within Zorn's
"otherworldly" playing.
Does the fact that Zorn uses a particular technique weaken his stature as a
player in your estimation? If not, why this fixation on an otherwise
inocent remark about a simple technique. In western music there are many
techniques that have been so overused that they might be considered by some
to be trite, but they are just techniques, incapabale of being intrinsiclly
good or bad.
So again, we are left with the question of context. And it is, after all,
context that defines the value of a musical statement, not the technique
used to get that statement across. (I can play a bunch of Ornette "licks"
in no particular order and this does not mean that I play like Ornette) By
the same token, things of value do not have to be shrowded in obscurity to
be meaningful. Some of the most moving statements have been made in the
language of the people. If this means that Zorn uses a technique more
closely associated with that "G" person to pull in the last two rows of the
audience who's minds might be wandering, more power to him.
>BTW, yes I can and do circular breathe, so I'm not just blowing smoke here.
This sounds like the standard academic position that "if I can do it, it
must not be really that impressive."
>It's really not that difficult and is becoming just as much a standard
>technique as flutter-tonguing. I think it's only impressive if you haven't
>figured out how to do it yet.
Or perhaps, if you have something of value to say using said technique.
>
>Concentrating on the music and ignoring the athletics,
>Eric
>
But the athletics serve a purpose. (Bird wouldn't be Bird and Trane
wouldn't be Trane without them) The trick is to transend the pedestrian
conception of "isolated" technical mastery and put all your various bags
'o trick to work in service of the music.
Respectfully,
- -Doug
- -
------------------------------
Date: Fri, 22 May 1998 17:27:50 -0400
From: cdeupree@interagp.com (Caleb Deupree)
Subject: Re: Microtonal musicians
>>>>> "Bruno" == Bruno Bissonnette <burningwater@hotmail.com> writes:
Bruno> Here's a question for all of you: Who are the most
Bruno> interesting musicians out there who use microtonality?
Bruno> I've heard a bit of Joe Maneri and LaMonte Young, and
Bruno> wouldn't mind knowing more about them, but who else is
Bruno> there? Whether they use just-intonation or another system,
Bruno> I'm really curious about this stuff.
Recently I picked up Mamoru Fujieda's Patterns of Plants, on Tzadik
(Hey! a real Zorn connection!). This is a collection of short pieces
for a variety of instruments, including kotos, harpsichords, viola da
gamba, etc. in a variety of tunings, including Pythagorean, just
intonation, etc. The first track sounds *very* out of tune, but after
a few more tracks (remember, they're mostly short) it becomes
positively tranquil.
I should also note that I'm not much of a harpsichord (or
medieval/renaissance/baroque) music fan, but this work is sufficiently
unusual to overcome such resistances. I'd also recommend Fujeida's
other Tzadik album, The Night Chant, which combines traditional
Japanese instruments with the computer to create a unique sound
sculptural work.
More info on both at the Tzadik web site.
- ---
Caleb T. Deupree
;; Opinions... funny thing about opinions, they can change.
Computers are useless. They can only give you answers.
(Pablo Picasso)
- -
------------------------------
End of Zorn List Digest V2 #375
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