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Zorn List Digest       Wednesday, June 24 1998       Volume 02 : Number 403



In this issue:
-
       Patton and zorn (for franko)
       Re: Patton and zorn (for franko)
       Weird Little Boy
       GENE COLEMAN & POLWECHSEL @ ROULETTE
       Gift Ideas
       Re: Gift Ideas
       Re: Gift Ideas
       Fw: Solidarity with Experimenta
       Re: Joe Lovano and Motian/Lovano/Frisell
       Re: Patton and zorn (for franko)

----------------------------------------------------------------------

Date: Wed, 24 Jun 1998 10:11:55 +0200
From: Stefan Verstraeten <[e-mail]>
Subject: Patton and zorn (for franko)

> From: [e-mail]
> I don't recall Mike Patton ever trying to immitate Zorn. Or has he picked
> up playing the saxophone lately?
> > Frankco.

Hello, anybody out there?????? Of course I know the difference between a
microphone and a saxophone (hello, beam it up scotty....). What I was
trying to say is that Patton is trying too hard to get into zorns'
entourage... (still can't believe that I have to explain this)...
- --
Stefan Verstraeten

- -

------------------------------

Date: Wed, 24 Jun 1998 10:41:43 +0200
From: [e-mail]
Subject: Re: Patton and zorn (for franko)

> > I don't recall Mike Patton ever trying to immitate Zorn. Or has he picked
> > up playing the saxophone lately?
> > > Frankco.
>
> Hello, anybody out there?????? Of course I know the difference between a
> microphone and a saxophone (hello, beam it up scotty....). What I was
> trying to say is that Patton is trying too hard to get into zorns'
> entourage... (still can't believe that I have to explain this)...

Of course, the reference to the saxophone was meant in a humorous/cynical way.
I can't believe I have to explain this!

What I was trying to say is that I don't think Patton is trying to immitate
Zorn. Plus, referring to what you say about Patton trying to get into Zorn's
little circle of friends - for all I know, Zorn asked Patton to join Naked
City for their 1991 European tour, not the other way around. I think Patton
isn't trying to become part of the people around Zorn, he already is. Whether
he is successful at what he does musically is subject to discussion, though...

Could you now please answer my question when Patton and Bennink are playing
in Ghent? Since I live in The Netherlands, Ghent is well within reach for me,
so I might enjoy going to that concert...

Frankco.


- -

------------------------------

Date: Tue, 23 Jun 1998 18:39:19 +0200
From: "Felix" <[e-mail]>
Subject: Weird Little Boy

I know this is probably old news, but only today did I find this record for
sale. I never really was much interested in it at first but grew interested
as I saw the names of the players/composers. Could anyone give me a brief
review on that album?

On a unrelated note, I just picked up SYR3, an intrumental album by Sonic
Youth with Jim O'Rourke. It's pretty good, but it doesn't deserve all the
fuss that SY fans have been giving it. It sounds alot like many ambient
albums, particularly the ones like "absinthe" (droning, constant, sometimes
anoying sounds), but it's done mainly with guitar noises and feedback. Kim
Gordon actually sings in one of the tracks, but very little and mostly
meaningless words. The only problem is that it lacks the concept that comes
with ambient or free improv albums like absynthe, elegy, new traditions...,
etc. It lacks theme. But it's good anyway, I recommend it, but try to give
it a listen before you buy it.

Felix
[e-mail]

[e-mail]


- -

------------------------------

Date: Wed, 24 Jun 1998 09:14:13 -0400
From: [e-mail] (Caleb Deupree)
Subject: GENE COLEMAN & POLWECHSEL @ ROULETTE

Forwarded from another list.  Polwechsel's Random Acoustics album is a
marvelous album of textural improv, and this sounds like a great
concert if you're in the area.

- ------- Start of forwarded message -------
CONCERT
POLWECHSEL & GENE COLEMAN
June 26, 1998 at 9:00PM, $8
@ Roulette, 228 West Broadway, Manhattan
info: 718-388-1809, [e-mail]

Between New Music & Improvisation

Gene Coleman - bassclarinet
Burkhard Stangl - guitar
Michael Moser - cello
Werner Dafeldecker - bass

With one foot in new music and the other in free-jazz, the Viennese quartet
Polwechsel (in New York heard as trio with Gene Coleman) produce tense
compositions of uncanny detail and precision. Inspired by the notion of
"trusting the sound" the ensemble produce extreme sonic events at once
delicate and aggressive, playful and sharply focused. A major force in
contemporary notions of the radical developement of new music, Polwechsel's
members have worked variously with Tony Oxley, Heiner Goebbels, Jim
O'Rourke, Elliot Sharp, Ned Rothenberg, Tom Varner, Steve Lacy, Tom Cora,
Klangforum Vienna, Maxixe, a.o.

Between free improvisation and composed structures, these musicians engage
in an alchemical conversation that predicts musical gestures as much as it
reacts to them. They are not only masters of the sensitive give-and-take,
but they apply their sublime skills in a fascination exploration of sound.
They not merely revel in exciting and unusual textures, they obsess over
them. Their music consists of tiny, highly detailed studies in which the
smallest gestures and fragments take on lives of their own. They rarely
produce sounds you would expect from their instruments, and the dynamic use
of silence heightens the intensity of the most fragile sounds. Listening to
Polwechsel requires full attention, but the group's gorgeously unique
approach rewards rapt ears.

Gene Coleman (Chicago) and the members of Polwechsel, all Austrians, share
a considerable history already. Their collaboration  began in 1997 with a
concert in Chicago, followed by programs in Vienna. In August 1997, Coleman
performed in the premier of Burkhard Stangl's operetta "Der Venusmond"
which was played on the top of the Empire State Building in New York. In
April '98 the members of Polwechsel played an entire concert of Coleman's
compositions at Echoraum/Vienna. This same program, which will be presented
in June '98 in Chicago, Vancouver, Seattle as well as New York represents a
deepening connection between the Chicago and Vienna musicians. The
concentration on sound itself (rather than pitch) along with extreme
dynamics, silence, and space within the composition creates a vital basis
for their ongoing dialogue. The Roulette concert is the group's New York
debut.


Gene Coleman
born 1958; studied music, film, and visual arts at the Art Institute of
Chicago; private study in composition; collaborated several times with the
members of Polwechsel in North America and in Europe; with his group
"Ensemble Noamnesia"he has worked with Helmut Lachenmann,Vinko Globokar,
Roscoe Mitchell; has performed in concert with Derek Bailey, Evan Parker,
Radu Malfatti, Jim O'Rourke and Eddie Prevost, a.o.; has recorded with
Gastr del Sol, Brice-Glace, Tony Conrad, Anthony Braxton and his own
compostions can be heard on the Hat Art and Okka disc labels; lives in
Chicago.

Michael Moser
born 1959; studies: violoncello ; performances for live electronics; worked
with Bernhard Lang, Heiner Goebbels, Peter Ablinger, Vinko Globokar, Helmut
Lachenmann, Burkhard Stangl, Tony Oxley, Dieter Glawischnig, Ton.Art,
Klangforum Wien, a.o.; lives in Vienna.

Burkhard Stangl
born 1960; studies: classical guitar, music ethnology; Projects: Maxixe,
Q.uit; worked with Klangforum Wien, Ensemble 2001, Franz Kogelmann, Tom
Cora, Steve Lacy, Tom Varner, Lee Konitz, Tony Coe, and many others;
compositions for different ensembles and projects; CD releases on:Hat Art,
Creative Works, Random Acoustics, Extraplatte, a.o.; lives in Vienna.

Werner Dafeldecker
born 1964; studies: doublebass; projects: Polwechsel, Shabotinski; worked
with: Eugene Chadbourne, Gene Coleman, Christian Fennesz, Ned Rothenberg,
Walter Malli, Radu Malfatti, Tom Varner, Franz Kogelmann, Christof
Kurzmann, Sunny Murray, Jim O┤Rourke, Elliot Sharp, Klangforum Wien,
Ensemble Maxixe, Ton.Art and others; compositions for ensembles and
projects like: Klangforum Wien, European Tuba Quartett, Polwechsel,
Shabotinski, Ton Art a.o. Founded the Avantgarde-Label Durian Records in
1995. Concerts at international festivals; CD releases for Hat Art, Random
Acoustics, Durian Records, Plag dich nicht, Extraplatte, a.o.; lives in
Vienna.
- ------- End of forwarded message -------

- ---
Caleb T. Deupree
;; Opinions...  funny thing about opinions, they can change.

Computers are useless.  They can only give you answers.
(Pablo Picasso)


- -

------------------------------

Date: Wed, 24 Jun 98 09:35:19 -0500
From: [e-mail]
Subject: Gift Ideas

     OK, here's my problem: I have this 18-year old nephew for whom I'd
     like to get a couple of discs as a high school graduation present.
     He's very much into the electronica, big beat, etc. scene (he DJs
     around) but has pretty big ears; I had him listening to Naked City and
     Coltrane ('Ascension'!) at 14. In that my knowledge of the current
     dance genre is minimal at best, I'm looking for suggestions of things
     that stretch those boundaries a bit, something, say, a step (or three)
     beyond Aube or Squarepusher, that he'd enjoy while still providing
     something of a challenge.

     Thanks for the help.

     Brian Olewnick

     NP: Evan Parker    Toward the Margins



- -

------------------------------

Date: Wed, 24 Jun 1998 10:10:06 -0400 (EDT)
From: Brent Burton <[e-mail]>
Subject: Re: Gift Ideas

On Wed, 24 Jun 1998 [e-mail] wrote:

>      OK, here's my problem: I have this 18-year old nephew for whom I'd
>      like to get a couple of discs as a high school graduation present.
>      He's very much into the electronica, big beat, etc. scene (he DJs
>      around) but has pretty big ears; I had him listening to Naked City and
>      Coltrane ('Ascension'!) at 14. In that my knowledge of the current
>      dance genre is minimal at best, I'm looking for suggestions of things
>      that stretch those boundaries a bit, something, say, a step (or three)
>      beyond Aube or Squarepusher, that he'd enjoy while still providing
>      something of a challenge.

any of panasonic's discs or mika vanio's sideprojects (like philus'
_tetra_ and the _onko_ disc on touch) are great minimalist e-musik, arriving
from the techno side of the map.  same goes for autechre (_chiastic
slide_ being amazing), (+gescom), farmersmanual (_fsck_ taking the wm.
burroughs approach to drum n' bass), ryoji ikeda, noto, fx randomiz,
general magic, oval, etc.  all share a very similar aesthetic of spare,
cracked sounds and you should be able to find most of it in forced exposure.

b


- -

------------------------------

Date: Wed, 24 Jun 1998 10:14:53 -0400
From: [e-mail] (Caleb Deupree)
Subject: Re: Gift Ideas

>>>>> "brian" == brian olewnick <[e-mail]> writes:

    brian>      OK, here's my problem: I have this 18-year old nephew
    brian> for whom I'd like to get a couple of discs as a high school
    brian> graduation present.  He's very much into the electronica,
    brian> big beat, etc. scene (he DJs around) but has pretty big
    brian> ears; I had him listening to Naked City and Coltrane
    brian> ('Ascension'!) at 14. In that my knowledge of the current
    brian> dance genre is minimal at best, I'm looking for suggestions
    brian> of things that stretch those boundaries a bit, something,
    brian> say, a step (or three) beyond Aube or Squarepusher, that
    brian> he'd enjoy while still providing something of a challenge.

How about Derek Bailey's Guitar, Drum & Bass, Laswell's Oscillations
or Tetragrammaton?
- ---
Caleb T. Deupree
;; Opinions...  funny thing about opinions, they can change.

Computers are useless.  They can only give you answers.
(Pablo Picasso)


- -

------------------------------

Date: Wed, 24 Jun 1998 11:22:36 -0300
From: "Carlos Murat" <[e-mail]>
Subject: Fw: Solidarity with Experimenta

The place Experimenta has won last year, justified every effort to repeat
it.

Carlos Murat
[e-mail]

- ----------
From: Claudio Koremblit <[e-mail]>
To: [e-mail]
Subject: Solidarity with Experimenta
Date: mi=E9rcoles 24 de junio de 1998 1:58


EXPERIMENTA DOESN'T SLEEP

We, the undersigned Argentine and foreign artists, turn to the public
opinion and to the authorities elected by the Argentine people in order t=
o
inform you of a situation we consider to be of utmost importance.=20
In 1997, a cycle called Experimenta 97 was created which included concert=
s
and workshops whose purpose was to promote music presently being produced
in the entire world in the experimental field. These events were carried
out with the presence of prominent artists from abroad who were able to
exchange experiences with Argentine musicians interested in generating ne=
w
ideas. This is a research and experimentation process which every country
promotes. It contributes to the cultural sign of the times and enriches
culture in all of its areas. This was undoubtedly understood by the Bueno=
s
Aires city authorities, whose officials in the culture department support=
ed
the cycle financially and later benefited from the acclaim. At the end of
last year, the same officials spoke of success and committed themselves t=
o
sponsoring, including through the media, the cycle's continuation in 1998.
This is how its artistic director began work on the new
program and secured the commitments of all the artists that are included =
in
the Experimenta 98 cycle with the blessing of the city authorities. In Ma=
y,
when many of us were working on the new program, we began to fear that th=
e
commitments made by the Secretary of Culture of the city of Buenos Aires
and it representatives in the Alvear Theater could be altered. We now kno=
w
that there is a strange word circulating among the people in charge of
carrying it out: the cycle is "un-financed."=20
In a country where the people profoundly distrusts the system that
legislates them, where the economic situation is critical, where words me=
an
nothing, where people do not believe in justice, it would seem that the
situation of an anvanguard cycle and its possible disappearance as if it
had never existed would be something totally irrelevant. Nevertheless, we
believe that it is another blow that is added to all the other blows our
culture has to withstand every day; and that presents us as a country
manipulated by the whims and political necessities of its leaders. In
addition, Experimenta makes contributions in an area which has always bee=
n
rather thrashed and iscriminated against. It is an area which contributes
much by its mere existence, because it is open and unprejudiced, somethin=
g
which our empoverished culture needs as much as it does air in order to
exist. To make something die of hunger that is considered successful and
important is an obscurantist attitude that generates backwardness,
confusion and disbelief. We believe that it is of vital importance that t=
he
authorities reconsider this attitude, and at the same time call upon the
public opinion and artists to join and defend something that we must all
defend: the right to be informed and respected. We must sustain the place
we have won with much effort and which we undoubtedly deserve.
Bob Ostertag
Ned Rothenberg
Dave Soldier
Pauline Oliveros
Warren Burt
Chris Mann
John Sanborn
Nick Didkovsky
Kathleen Supov=E9
Jin Hi Kim
Joseph Celli
Rodrigo Sigal
Zev Asher
Diane Labrosse
Mark Dresser=20
Masami Akita
Jim Denley
Stevie Wishart
Carlos "ZINGARO" Alves
Kono Masahiko
Gerry Hemingway
Gregg Bendian
Michael Schell
Laetitia Sonami
John Oswald
Jon Rose
Elliott Sharp
Ana Alvarado DNI 13.388.887
Jos=E9 Antonio AmatoDNI16.658.531
Laura Apr=E1 DNI 16.895.629
Alejandro Baigorria DNI 16.761.540
Carmen Baliero  DNI 14.986.724
Hugo Barrionuevo DNI 14.775.342
Ricardo Bartis DNI 8.104.986
Mart=EDn Bauer  DNI 14.820.302
Sergio Boryszanski DNI 18.160.414
Mario O. Bozeglav DNI 16.584.188
Edgardo Cardozo DNI 17.029.476 =20
Ignacio D. Carosi DNI 20.618.230                     =20
Luis Dziembrowsky DNI14.976.509          =20
Oscar Edelstein DNI  10.824.177
Eduardo del Estal DNI 11.534.341
Mar=EDa A. Esteves DNI 21.749.038
Julio Fainguersch CI 3.760.536
Ana Lucia Frega C.I. 3.597.611
Martin A. Fumarola DNI  18.016.421
Fabiana Galante DNI 17.029.668
Omar Gianmarco DNI 18.588.145
Dina P. de Graetzer CI 5.271.225
Pablo Grinjot DNI 22.743.416
Anibal Guiser DNI 12.667.322
Horacio Gutman DNI 14.186.938
Jose Halac DNI 14.921.100
Luis Herrera  DNI 9.342.710
Daniel Ibarrart DNI 17.291.286
H=E9ctor Jascolowski DNI 16.053.594
Gonzalo Juan DNI 24.647.175
Aitana Kasulin DNI: 17.363.445
Marcelo Katz  DNI 16.054.717
Eduardo Kusnir  CI  4.577.895
Gregory Kowalski Pte Z7050152
David LagmanovichDNI 7.023.227
Wenchi Lazo DNI  20.988.254
Pablo Ledesma DNI: 12.167.247
Gabriel Levy DNI 18.470.910
Pablo Di Liscia DNI 11.866.250
Fernando Llosa DNI 4.399.639
Mario Lorenzo DNI 20226592
Elizabeth Magazian DNI 16.559.540
Jorge Mancini DNI 14.232.455
Patricia Mart=EDnez DNI  23.469.510
Soledad Mascia  DNI 25.358.916
Daniel A. Miraglia DNI 12.849.079
Mart=EDn Moore DNI 17.606.890
Alberto Mu=F1oz CI 6.435.426   =20
Orlando Musumeci DNI 17.366.063
Juan Pampin DNI 18.642.898
Andrea Pensado DNI 17592501
Mauro Pereira DNI 25869099
Jorge S. Perednik DNI 10.128.295
Gustavo Ribicic  CI  6.464.144
C=E9sar Rodr=EDguez DNI 17.189.098
Damian Rodriguez DNI 16.548.114
Diego Ruiz DNI 24.561.256
Adriana de losSantos DNI11807044
Jorge Sad D.N.I. 13.565035=20
Daniel Schachter DNI 10.983.109
H=E9ctor Torres DNI 12.900.700
Osvaldo V=E1zquez DNI 12.685.332
Santiago V=E1zquez  DNI 23.123.563
Claudio Veneziale DNI 16.199.049
Daniel Veronese  DNI 11.962.388
Celeste WiedeDNI 22.650.354
Laura Yusem  DNI 4.706.330
Antonio ZimmermanDNI22.533.340
Federico Zypce CI 11.955.833


Comments or adhesion to: [e-mail]


- -

------------------------------

Date: Wed, 24 Jun 1998 10:12:42 -0500
From: Dan Hewins <[e-mail]>
Subject: Re: Joe Lovano and Motian/Lovano/Frisell

There are three On Broadway discs and they add a fourth to the group:
Charlie Haden.  I've only heard the first and I like it quite a bit.

Dan

At 2:36 AM -0500 6/24/98, Fritz Feger wrote:
>Concerning the trio, I think nobody mentioned the two "On Broadway" discs
>on JMT. They play standards on it exclusively, and they do it in a way that



- -

------------------------------

Date: Wed, 24 Jun 1998 08:22:45 -0700
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Patton and zorn (for franko)

On Wed, 24 Jun 1998 10:41:43 +0200  [e-mail] wrote:
>
>
> > > I don't recall Mike Patton ever trying to immitate Zorn. Or has he picked
> > > up playing the saxophone lately?
> > > > Frankco.
> >
> > Hello, anybody out there?????? Of course I know the difference between a
> > microphone and a saxophone (hello, beam it up scotty....). What I was
> > trying to say is that Patton is trying too hard to get into zorns'
> > entourage... (still can't believe that I have to explain this)...
>
> Of course, the reference to the saxophone was meant in a humorous/cynical way.
> I can't believe I have to explain this!
>
> What I was trying to say is that I don't think Patton is trying to immitate

You should have seen his piece at the Victoriaville festival: hard to
differentiate it from one by Zorn (both from a sound, performance, and setting
points of view).

I am not saying that he is imitating Zorn, but I would lie by refusing to
acknowledge that this idea did not leave during the whole performance.

    Patrice.

- -

------------------------------

End of Zorn List Digest V2 #403
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