home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
ftp.xmission.com
/
2014.06.ftp.xmission.com.tar
/
ftp.xmission.com
/
pub
/
lists
/
zorn-list
/
archive
/
v02.n390
< prev
next >
Wrap
Internet Message Format
|
1998-06-10
|
21KB
From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V2 #390
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, June 11 1998 Volume 02 : Number 390
In this issue:
-
Re: Unjustified Karl Berger opinions
Re: Unjustified Karl Berger opinions
Re: New Ribot Disc
Re[2]: Another Downtown Question
Fishing with John Lurie + Henry Kaiser comments on Parachute Year s box
African Music (was Kronos, again/Africa)
ny spots and things to do
Source for Locus Solus Records
While we're on the subject of Int'l music...
Re: Source for Locus Solus Records
Re: Another Downtown Question
Horvitz, Zorn, E#, (drummer) quartet
----------------------------------------------------------------------
Date: Thu, 11 Jun 1998 08:49:33 -0700 (PDT)
From: Wiry and Wired <wiry_and_wired@yahoo.com>
Subject: Re: Unjustified Karl Berger opinions
To the Berger-curious:
I absolutely agree with JS's opinions below & would like to add that
my favorite Berger is a quartet disc on Black Saint called Around. It
is surprisingly pretty & rewards a close listen (you know, staring at
the speakers) as well as making outstanding dinner music. A
promising-looking trio disc with the word Crystal in the title came
out soon afterward & left me absolutely cold.
Regards
WW
- ---Jeff Schwartz <jeffs@bgnet.bgsu.edu> wrote:
>
> I believe Berger is on Don Cherry's Blue Note albums,
> which I think rule (and have been reissued in those
> annoying limited editions). All Kinds of Time is
> wonderful, Conversations OK.
> --
> Jeff Schwartz
> jeffs@bgnet.bgsu.edu
> http://www.bgsu.edu/~jeffs/main.html
>
> -
>
>
==
Love? What is it? Most natural painkiller what there is. LOVE. --the last words of William Burroughs
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
- -
------------------------------
Date: Thu, 11 Jun 1998 12:08:53 -0400
From: Sean Terwilliger <seanter@ix.netcom.com>
Subject: Re: Unjustified Karl Berger opinions
Just visited the FAX page and there am informed that Berger and Namlook have put out a duo... Might be
intresting (as will the Opera mentioned on the Axiom page...)
- -Sean
Wiry and Wired wrote:
> To the Berger-curious:
>
> I absolutely agree with JS's opinions below & would like to add that
> my favorite Berger is a quartet disc on Black Saint called Around. It
> is surprisingly pretty & rewards a close listen (you know, staring at
> the speakers) as well as making outstanding dinner music. A
> promising-looking trio disc with the word Crystal in the title came
> out soon afterward & left me absolutely cold.
>
> Regards
> WW
>
> ---Jeff Schwartz <jeffs@bgnet.bgsu.edu> wrote:
> >
> > I believe Berger is on Don Cherry's Blue Note albums,
> > which I think rule (and have been reissued in those
> > annoying limited editions). All Kinds of Time is
> > wonderful, Conversations OK.
> > --
> > Jeff Schwartz
> > jeffs@bgnet.bgsu.edu
> > http://www.bgsu.edu/~jeffs/main.html
> >
> > -
> >
> >
>
> ==
> Love? What is it? Most natural painkiller what there is. LOVE. --the last words of William Burroughs
>
> _________________________________________________________
> DO YOU YAHOO!?
> Get your free @yahoo.com address at http://mail.yahoo.com
>
> -
- -
------------------------------
Date: Thu, 11 Jun 1998 08:50:24 -0700 (PDT)
From: Wiry and Wired <wiry_and_wired@yahoo.com>
Subject: Re: New Ribot Disc
- ---Jamie F Graves <chasinthetrane@juno.com> wrote:
> the disc is a pretty straight and accurate
> representation of their style
> Nothing really that new here though, just a bunch of
> musicians having a good time.
If the disc is like the single performance I heard, most of the tunes
are by a little known & absolutely fantastic composer, Arsenio
Rodriguez who will be new to most listeners. I raced out & got a
representative disc by AR immediately & love it. It's called COmmo Se
Goza en el Barrio & comes from Tumbao Cuban Classics (TCD-022).
Let's dance!
WW
==
Love? What is it? Most natural painkiller what there is. LOVE. --the last words of William Burroughs
_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com
- -
------------------------------
Date: Thu, 11 Jun 98 11:38:08 -0500
From: brian_olewnick@smtplink.mssm.edu
Subject: Re[2]: Another Downtown Question
Patrice wrote:
>This kind of puzzles me. Zillion of records are released every year with many
>of them rehashing cliches and tricks defined/introduced by others long time
>ago, and keep on getting the stamp of "cutting edge". My musical knowledge is
>far from being what I would like it to be, but as far as I know, Horvitz'
>style is pretty unique. Are you bothered that he still keeps on writing
>melodies? Should he do 100% free improv like zillions of others to not look
>"dated" (because rehashing TOPOGRAPHY OF THE LUNGS 30 years after does not
>seem dated by most of the "on the edge" audience)?
Ouch! That's certainly a nail deserving to be hit on the head, though
parsing out which performances are rehashes and which are not gets a
bit sticky.
While I enjoy the President releases (and think they're an interesting
precursor to Previte's recent fusion investigations), I think I hear
at least part of what William was complaining about. Horvitz' electric
piano-y sound does tend to impart a slickening quality (though, yes he
writes lovely melodies) and I recall thinking at the time that I was
glad for Sharp's participation in the band as he manages to inject a
bit of grit into the proceedings. A number of other records from the
downtown folk at the time (off-hand, I'm thinking of Moss', Tacuma's,
Arto's, etc) utilized a drum machine sound that I'm sure was the cat's
meow then, but quickly (in fact, instantly) sounded horribly thin and
shallow.
I think my favorite of Horvitz' from that period was his solo, 'Dinner
at Eight' on Dossier.
BTW, any Robin Holcomb fans out there? I find some of her song-format
works to be very beautiful, her lyrics refreshingly honest and, for
that matter, I loved her 'classical' release, 'Little Three'. Anyone
know what, if anything, she has planned for the near future?
Brian Olewnick
- -
------------------------------
Date: Thu, 11 Jun 1998 09:31:29 -0700
From: "Allen Gittelson" <Allen.Gittelson@eng.efi.com>
Subject: Fishing with John Lurie + Henry Kaiser comments on Parachute Year s box
Greetings,
Two items of interest to this group.
1) Regarding the Fishing with John:
I just stumbled across these notes which can be found at
http://www.sfweekly.com which is from a weekly here in San Francisco.
John Lurie, became a trace ruffled in the mid-'80s when his screen
performances in Jim Jarmusch's Stranger Than Paradise and Down by Law
brought him much-deserved publicity. Acting was just a diversion for Lurie.
His true darling was, and still is, the somewhat infamous, wholly
irreverent, oftentimes ingenious Lounge Lizards -- a mutable nine-piece that
has been creating skewed jazz since 1979. Despite his grumbling, though, the
connection between the Lizards and movies seems permanent: Lurie gladly
received screen time in The Last Temptation of Christ, Wild at Heart, and
Blue in the Face, and of the band's 18 recordings, half are film scores. To
make matters worse, whenever the Lounge Lizards have had time to release a
new studio album (as opposed to their numerous live recordings) a soundtrack
has been nipping at their heels. In 1987, it was No Pain for Cakes followed
by Down by Law; in 1989, it was Voice of Chunk followed by Mystery Train.
Now, in 1998, we have what is possibly the Lizards' most notable -- and
perhaps spiritual -- work. Queen of Ears finds Lurie tempering his cartoon
antics with touches of African juju rhythm, Gnawan harmony, Burundi
drumming, and klezmer noodling. Sadly, few people will be able to regard
this work without also considering Fishing With John, the newly released
soundtrack that accompanies Lurie's brilliantly absurd fishing show --
hosted, written, and directed by himself -- which is scheduled to debut on
the Independent Film Channel on Monday, June 15, at 8:30 p.m., and on Bravo
on Friday, June 19, at 11:30 p.m. The first six episodes find Lurie shark
fishing with Jim Jarmusch in Montauk, snapper fishing with Tom Waits in
Jamaica, snook fishing with Matt Dillon in Costa Rica, ice fishing with
Willem Dafoe in Maine, and giant-squid hunting with Dennis Hopper in
Thailand (a two-parter). After seeing Fishing With John, it's impossible to
separate Lurie's signature sax line from the droll voice of narrator Robb
Webb: "These are real men, doing real things." You will be forever haunted
by images of Waits getting seasick, Dillon flapping his arms during the
sacred fishing dance, Dafoe offering his armpit as an answer to hypothermia,
and Hopper all hopped up on pingpong. For the sake of upright music
appreciation, check out John Lurie & the Lounge Lizards before the show
airs, at the Fillmore on Saturday, June 13, at 9 p.m. Tickets are $25; call
775-7722.
I'd be very interested in seeing this, but alas I have no way to do so. I
do not have nor desire cable television (except for viewing this).
2) I saw this on the Henry Kaiser web pages which can be found at:
http://php.indiana.edu/~mpiper/HKMain.html
*THE PARACHUTE YEARS 1977-1980 (TWINS/LA CROSSE CD), John Zorn, Tzadik TZ
7316-1.
HK needs to relate an anecdote about this product: Eugene Chadbourne told me
that he had written great historical notes for this documentry CD of the
group TWINS recorded back in 1977. He told me that I would really enjoy
them. Then when I got my copy I was surprised that the notes were not
printed in the CD. I wondered why and asked Chadbourne. He said that Zorn
thought I would be offended by the notes and and so he didn't include them.
I was telling this to ROVA's Larry Ochs and he said: no, that was wrong.
Zorn didn't print the notes because Chadbourne took too much credit for
"Zorn's ideas." ...Oh well .....some things never do change......... I
emailed Eugene and asked to see the censored notes. But he had lost them.
Very interesting.
Ciao,
Allen
- -
------------------------------
Date: Thu, 11 Jun 1998 13:00:48 -0400
From: Perfect Sound Forever <perfect-sound@furious.com>
Subject: African Music (was Kronos, again/Africa)
A lot of my favorite music from Africa comes from Nigeria. Sunny Ade
(who's playing later this month in NYC at Tramps), Fela Kuti (RIP),
Babatunde Olatunji (who's still touring), I. K. Dairo and Ebenezer Obey
are just a few (of many performers) who are worth checking out.
Glad to see there haven't been any 'ripping out the culture' arguments
here about Western musicians-that's a real crock.
Jason
- --
Perfect Sound Forever
online music magazine
perfect-sound@furious.com
http://www.furious.com/perfect
- -
------------------------------
Date: Fri, 12 Jun 1998 01:39:51 +0000
From: Yin Pin <yinpin@pop6.jaring.my>
Subject: ny spots and things to do
hi, this has probably be asked before on the list.
but was wondering if anyone could recommend places,
record stores (besides cadence, downtown music gallery
and northcountry) and things to do in new york between
21st-23rd of june.
thanks.
- -
------------------------------
Date: Thu, 11 Jun 1998 14:05:38 -0400
From: David Keffer <keffer@shell.planetc.com>
Subject: Source for Locus Solus Records
Hello Folks on the Zorn-List,
I am looking to pick up some records on the new label,
"Locus Solus". It is the Japanese arm of Recommended=20
Records. Anybody know of a mail order site for these
records? The two releases on Locus Solus so far are:
Charles Hayward=20
"Double Agent(s): Live in Japan Volume 2"=20
Locus Solus Records - LSR 002 - released May, 1998=20
compact disc=20
featuring C. Hayward with Keiji Haino, Tatsuya Yoshida,=20
Yoshihide Otomo, and Peter Br=F6tzmann.=20
=20
Charles Hayward=20
"Escape from Europe: Live in Japan Volume 1"
Locus Solus Records - LSR 001 - released 1996=20
compact disc=20
Thanks.
David K.
- -
------------------------------
Date: Thu, 11 Jun 1998 11:02:38 PDT
From: "Silent Watcher" <silent_watcher@hotmail.com>
Subject: While we're on the subject of Int'l music...
Hoping some knowledgeable list-member might be able to help me out with
this :
I just obtained a ney (Egyptian flute) and a rhaita (Moroccan double
reed instrument) and need some help. Basically, with the Ney at least,
I can't figure out how to play it. It has six finger holes, but
nowehere to blow into like a western flute does. It's open on both
ends, but neither end appears to be for the purpose of blowing into. Is
it possible there's some sort of mouthpiece that I don't have? As far
as the rhaita...it's been compared to an oboe, and I was lead to believe
that you could use oboe reeds with it. There is no mouthpiece, but there
is an opening about 7/16" in diameter at the top. Being unfamiliar with
the physical characteristics of an oboe, is this in any way similar, or
is there a mouthpiece involved here too, like the woodwind instruments
that I'm familiar with. Any help at all would be extremely appreciated.
Peace,
SW
For Sale/Want list and Bill Laswell Discography at :
http://www.geocities.com/SunsetStrip/Underground/7093
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Thu, 11 Jun 1998 14:18:37 -0400
From: cdeupree@interagp.com (Caleb Deupree)
Subject: Re: Source for Locus Solus Records
>>>>> "David" == David Keffer <keffer@shell.planetc.com> writes:
David> I am looking to pick up some records on the new label,
David> "Locus Solus". It is the Japanese arm of Recommended
David> Records. Anybody know of a mail order site for these
David> records? The two releases on Locus Solus so far are:
David> Charles Hayward "Double Agent(s): Live in Japan Volume
David> 2" Locus Solus Records - LSR 002 - released May, 1998
David> compact disc featuring C. Hayward with Keiji Haino,
David> Tatsuya Yoshida, Yoshihide Otomo, and Peter
David> Brotzmann. Charles Hayward "Escape from Europe:
David> Live in Japan Volume 1" Locus Solus Records - LSR 001 -
David> released 1996 compact disc
Wayside has Escape from Europe, crediting it as a UK release though.
They are the US distributor for ReR, so I'd keep checking back with
them at http://members.aol.com/Cuneiform2/cuneiform.html.
- ---
Caleb T. Deupree
;; Opinions... funny thing about opinions, they can change.
Computers are useless. They can only give you answers.
(Pablo Picasso)
- -
------------------------------
Date: Thu, 11 Jun 1998 12:22:08 -0700
From: dtapia@unoco.edu (Douglas Tapia)
Subject: Re: Another Downtown Question
>I sort of asked this one last week, but I'll try again, especially after
>finding The President "Bring Yr Camera" today for $2.99. On first listen
>this sounds really dated, to me some of the sounds are a little hard
>to get through, but what I'm wanting to ask is: how do people feel that
>this music has held up (that of Sharp, Horvitz, Previte, Frisell, Zorn).
I'm aware that another very enlightning conversation is even now underway
on this subject between Brent Burton and Patrice Roussel, but when I tried
to tie in their conversation with my opinions on this subject I found
myself quite bewildered, besides they have said really all their is to be
said about the merits of uniqueness and the DX-7 .-}
So on to my opinion of all this. I think the problem with a lot of the
music from the '80s is that musicians were given, for the first time, new
tools that enabled them to work in a cloistered fashion. This is
especially evident, to me, in the music of Horvitz and Frisell from this
period. Yes, the sounds are difficult to get through, but the problem is
this: Much of the music is defined by the sounds. (Remember, this was the
time when "New Age" began to boom.) People with rudementary keyboard
skills were sitting down at synths and letting the timbres suggest the
pieces that were being written. Wayne was busy plaing with drum machines
and samplers. And, as I've always asserted, just because I, as a
keyboardist, can now play a saxophone or drum sample with relativly good
tone and intonation, does not mean that I really ought to.
I think that it's fair to say that in a few cases some of these musicians
traded in their normally good taste for an opprutunity to showcase these
new instruments in a way that was atypical of their
composition/improvisition styles. This era if fascinating for this reason:
Taking Horwitz as an example, I think that the first President albums were
fairly weak, as their focus was really more on the cool new sounds and
slick production than on real musical substance, though this in itself was
an esential part of these musicians' development, and therefore important.
(Remember, this was the age of pink spandex and big hair)
In the Frisell and Horvitz albums of this era, I think that the technical
learning curve can be seen quite plainly. Remember, when this stuff was
brand new nothing really sounded real and there was nobody who could make
drum machines and sequencers groove. Now at the close of the millennium,
not only are there people who can sequence tracks that are nearly
indistinguishable from "real" players. (Now we have drumers who
intentionally immitate drum machines. . .but that's a different post)
Horwitz now creates music with much more substance and melodic content than
the earily days of the President. He's gotten used to the instruments and
has incorporated them into his sound/concept. _Miracle Mile_ is a great
example of technology and musicality coming together in a good way.
As for Frisell. . . Well, you'll note that Bill hasn't been using a lot of
drum machine lately. In fact, Bill's had one semi-acoustic project after
another lately. Horvitz and Previte have jam bands or bar bands, if you
will. (Bobby's term, you'll note) Zorn's output seems rather acoustic
instrument centered as well, though as you've pointed out, his stuff ages
pretty well. I suspect this has to do with Zorn's constant avoidence of
anything that smells like mainstream.
I think we're all in agreement that every era has a signiture sound. We're
all influenced by changing socital values. We either take some part of
that and use it, or we react against it. This forms the "sound of an era"
Certainly, we are seeing a shift from lush, electronic synth textures to a
newfound facination with acoustic based music. Take the fairly recent
renewed interest in country music, folk music, ethnic/world music, etc.
Also look at the trend in jazz away from fusion to earthy, funky sounds ala
MMW, Zony Mash, Henery Thredgill, etc. Will we look back and say, "wow!
that sounds really late '90s!"? Almost surely.
- --peace
Doug
- -
------------------------------
Date: Thu, 11 Jun 1998 13:36:59 -0500
From: Dan Hewins <hewins@synsolutions.com>
Subject: Horvitz, Zorn, E#, (drummer) quartet
Anybody know what label this disc will be released on and when? And who is
the drummer, Previte or Wollesen?
Thanks,
Dan
- -
------------------------------
End of Zorn List Digest V2 #390
*******************************
To unsubscribe from zorn-list-digest, send an email to
"majordomo@lists.xmission.com"
with
"unsubscribe zorn-list-digest"
in the body of the message.
For information on digests or retrieving files and old messages send
"help" to the same address. Do not use quotes in your message.
A non-digest (direct mail) version of this list is also available; to
subscribe to that instead, replace all instances of "zorn-list-digest"
in the commands above with "zorn-list".
Back issues are available for anonymous FTP from ftp.xmission.com, in
pub/lists/zorn-list/archive. These are organized by date.
Problems? Email the list owner at zorn-list-owner@lists.xmission.com