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v02.n501
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1998-10-15
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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 #501
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 Friday, October 16 1998 Volume 02 : Number 501
In this issue:
-
RE: Tyner and Alice Coltrane
Re: | NEW ||| | || not so new ||| || | ||
Re: Nov. 8 SF show
notice for SFers
US Maple
Re: (Zorn) Swaps
Fushitsusha, Artemyev
Re: Tyner's Extensions
Re: Smart, connections, Frisell
Re: Spoken word/Mingus' scenes in the city
Re: US Maple and V.Majestic
Re: Fushitsusha, Artemyev
Re: oops - zorn content!
MMW
Re: TONIC - November Schedule
Django Bates
Farmer's Reserve | MMW |
sean
Re: Spoken Word
Postmodernism
mingus open letter to miles (long)
----------------------------------------------------------------------
Date: Thu, 15 Oct 1998 17:11:09 -0400
From: "J. Kan" <jkan@javanet.com>
Subject: RE: Tyner and Alice Coltrane
> Zorn question: Having just relistened to 'New Traditions in East
Asian
> Bar Bands' (and still thoroughly enjoying it), I'm wondering if
anyone
> knows whether Zorn wrote other pieces in this sub-genre and, if so,
> are there plans for recording them.
Well, there's "Forbidden Fruit" from _Spillane_.
Jim
- -
------------------------------
Date: Fri, 16 Oct 1998 06:47:19 +0800
From: numbat@vianet.net.au (Sibree/Wilkes)
Subject: Re: | NEW ||| | || not so new ||| || | ||
>> I am looking for
>> good spoken word, good being where the music and the words interact.
>>
>> Any suggestions would be greatly appreciated.
>
>There is a great album that Ornette Coleman's X-wife put out and it
>also has his son Denardo on drums. Her name is Jane Cortez and it is
>wonderful stuff.
>
>-Mary
>
>-
Hi,
It is not so easy for me to access my music at the moment, but from memory,
Jane Cortez has put out several albums, at least 2 of which are on cd. I
also seem to recall that an early lp had ex husband Ornette guesting on one
or two tracks. All are worth getting. This is very strong stuff with great
musicians. I am also pretty certain that her last album was on Ornette's
harmolodic label.
Billy
- -
------------------------------
Date: Thu, 15 Oct 1998 16:23:23 -0700
From: "Christian Heslop" <xian@mbay.net>
Subject: Re: Nov. 8 SF show
What exactly are the show dates for the SF Masada?I live in Monterey, but I
have an unbreakable schedule and very limited free time during the
week.Otherwise, I would be interested!
As for Vietnamese food, try San Jose, Stockton, Fresno and of course S.F.
- ----------
> From: Rusty Crump <rusty@steno.com>
> To: zorn-list@lists.xmission.com
> 530/241/6051 * 800/479/6062
- -
------------------------------
Date: Thu, 15 Oct 1998 19:29:26 -0700
From: "ADM" <ameyers@concentric.net>
Subject: notice for SFers
This is a multi-part message in MIME format.
- ------=_NextPart_000_0029_01BDF872.1F0C4560
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Peeps from the San Francisco Area might want to know that the "John =
Schott Quintet" will be playing Masada covers at Bruno's on October 26. =
The band includes Jewlia Eisenberg (vocals), Tom Yoder (trombone), Scott =
Amendola (drums), Rob Burger (organ), and of course John Schott =
(guitar). Scott Amendola and John Schott both played with Masada in May =
and it was great. This ought to be interesting.
- ------=_NextPart_000_0029_01BDF872.1F0C4560
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
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<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
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</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Peeps from the San Francisco Area =
might want to=20
know that the "John Schott Quintet" will be playing Masada =
covers at=20
Bruno's on October 26. The band includes Jewlia Eisenberg =
(vocals), Tom=20
Yoder (trombone), Scott Amendola (drums), Rob Burger (organ), and of =
course John=20
Schott (guitar). Scott Amendola and John Schott both played with =
Masada in=20
May and it was great. This ought to be=20
interesting.</FONT></DIV></BODY></HTML>
- ------=_NextPart_000_0029_01BDF872.1F0C4560--
- -
------------------------------
Date: Thu, 15 Oct 1998 22:11:42 -0400
From: Risser Family <risser@goodnews.net>
Subject: US Maple
Someone mentioned US Maple last week I think and I just wanted to say =
that US Maple is the only nowave (?) band recently that rocks rocks =
rocks. At least on the first album. I haven't heard the second.
Anyone else find them interesting?
Peter
- -
------------------------------
Date: Fri, 16 Oct 1998 12:58:01 +1000
From: Peter Hollo <raven@fourplay.com.au>
Subject: Re: (Zorn) Swaps
> Violent Onsen Geisha: Que Sera Sera, Por Supesto Records
Although I suspect I'm of no help at all with swaps, I was wondering:
What is this version of Que Cera Cera like? I once saw an Israeli dance
company (Batsheva Dance) doing an amazing amazing work (Mabul) which
used large amounts of John Zorn music, as well as Arvo Part and a little
other stuff... And it ended with this incredible apocalyptic yet
cathartic version of Que Cera Cera, with quite pretty female vocals over
a sortof sinister Mr Bungle-like accompaniment.
Would this be that? I always assumed it was Zorn but can find no mention
of it anywhere.
Peter.
- --
Peter Hollo raven@fourplay.com.au http://www.fourplay.com.au/me.html
FourPlay - Eclectic Electric String Quartet
http://www.fourplay.com.au
"Of course, dance music can be a music where you lie on your back and
your brain cells dance" -Michael Karoli of Can, quoted in Wire mag.
- -
------------------------------
Date: Fri, 16 Oct 1998 08:55:37 +0200 (MET DST)
From: FJG_Lamerikx <flamerik@best.ms.philips.com>
Subject: Fushitsusha, Artemyev
Stock-picking:
Yesterday, I picked up a package from the great Aquarius Records in SF,
containing amongst other fine things, the Fushitsusha release on Victo, and
the soundtrack to "Solaris" on the Japanese Toei label. What is wrong with
non-Japanese Fushitsusha releases? Why don't they stick with the all-black
artwork concept? Plus, do I really need an explanation from Alan Cummings about
the style of the title printed in the inner sleeve? I also think that the music
does not stand up to any of the four Tokuma Fushitsusha releases - they more
than definitely have an edge production-wise that I miss here, and I also
missed it on the Gold Blood album (which also had lousy artwork). You only
need to compare the version of "Pathetique" featured here to that on the album
of the same name to find out why I prefer PSF and Tokuma releases.
The "Solaris" soundtrack is brilliant, and works very well detached from the
images. The Toei label has released a couple of other Tarkovsky soundtracks,
"Stalker" being one of them. Highly recommended.
Frankco.
- -
------------------------------
Date: Fri, 16 Oct 1998 09:14:38 GMT0BST
From: DR S WILKIE <S.Wilkie@swansea.ac.uk>
Subject: Re: Tyner's Extensions
Silent Watcher,
I haven't heard Asante (recently re-released as mid-price in UK,
but not featuring Alice), but I'd second Brian's opinion on
Extensions. For me, it falls a notch below the incredible highs of
Real McCoy, Time For Tyner and Expansions (all on Blue Note), which
precede it, and Sahara (on Milestone? OJC?) which follows; but 2 of
the 4 tracks at least are really burnin' stuff ...
Sean Wilkie
- -
------------------------------
Date: Fri, 16 Oct 1998 09:23:09 GMT0BST
From: DR S WILKIE <S.Wilkie@swansea.ac.uk>
Subject: Re: Smart, connections, Frisell
Julian,
(very) smart is not what I thought I was. I was, surprisingly, aware
of the more direct so-called "connections". I suppose the point was
that they didn't include Kevin Bacon. But it was a joke, and (some
of) my links were deliberately tenuous. By otherwise not-so-hot
TFTFS, I meant what I thought I'd said: that Bacon Bunch is a fine
piece (as are two or three others) but that this isn't Bill's best
work (nor was it, Gary Larsen's).
I think it's a bit extreme for me to PROMISE not to do it again?
Best,
Sean Wilkie
- -
------------------------------
Date: Fri, 16 Oct 1998 09:28:50 GMT0BST
From: DR S WILKIE <S.Wilkie@swansea.ac.uk>
Subject: Re: Spoken word/Mingus' scenes in the city
Um,
Is there anybody out there who's noticed the different mono and
stereo edits of this and two other tracks on A Jazz Symposium? I
think there's at least one insuperable problem with the "official"
story of the editing, but I've been waiting over a year for the
Mingus experts to respond. Mail privately if you want to pursue
it. (I won't hold my breath).
Sean Wilkie
- -
------------------------------
Date: Fri, 16 Oct 1998 06:07:48 EDT
From: Dgasque@aol.com
Subject: Re: US Maple and V.Majestic
In a message dated 10/16/98 12:23:56 AM Eastern Daylight Time,
risser@goodnews.net writes:
> Someone mentioned US Maple last week I think and I just wanted to say that
US
> Maple is the only nowave (?) band recently that rocks rocks rocks. At least
> on the first album. I haven't heard the second.
I really enjoy their second one. It is supposedly a bit more off-kilter than
the first as posted by someone else. I looked for it this past weekend at my
favorite CD shoppe but it was not in stock.
I did however, come across the self-titled CD by the Rhode Island (?) band who
call themselve(s?) V.Majestic, in a cheapo bin. I had read a short blurb
about them somewhere that described their music as a cross between Can and
Beefheart. Don't see those points of reference in this music, but I can say
that the band is a pretty strange lot. Few vocals, horn section that sounds
like it might have been lifted from a Albert Marcoeur LP, and some crazed
electronics. If U.S. Maple is "no-wave", you can probably throw these guys in
the same catagory. Worth looking into if one is looking for some weird 'n'
wacko music.
=dgasque=
- -
------------------------------
Date: Fri, 16 Oct 1998 06:07:50 EDT
From: Dgasque@aol.com
Subject: Re: Fushitsusha, Artemyev
In a message dated 10/16/98 4:02:59 AM Eastern Daylight Time,
flamerik@best.ms.philips.com writes:
> The "Solaris" soundtrack is brilliant, and works very well detached from the
> images. The Toei label has released a couple of other Tarkovsky
soundtracks,
> "Stalker" being one of them. Highly recommended.
>
Agreed- to an extent. I highly suggest the _Solaris_ soundtrack- classic
"Berlin school" -styled electronics with some differences- namely the overtly
"Russian classical" influences. The other three CDs are a bit harder to get
into. The one that contains the soundtracks for _Stalker_ and _Zerkalo_ (I
think I spelled that right) was a bit of a letdown. The music is great, but
it seemed that the tracks were fading out just as they were getting
interesting. In addition, the high price of the CDs (I bought mine for around
$30/each) are a bit hard to swallow. I'd recommend the _Solaris_, but the
others one can skip without missing much.
I'd like to find copies of Tarkovsky's films, but everywhere i've looked is
out of stock. Amazon told me they were out of print for now. Bummer.
=dgasque=
- -
------------------------------
Date: Fri, 16 Oct 1998 12:38:59 +0200
From: "J.T. de Boer" <J.T.de.Boer@let.rug.nl>
Subject: Re: oops - zorn content!
Zorn will be in Rotterdam october the 26th with his Jewish Chamber
Ensemble (that's what the publicity mentioned). This undoubtetely is
Bar Kokhba, isn't it? Anyway, the concert is in Nightown.
Jeroen
> hi fellow zornsters!
>
> i found out from the swiss tzadik distributor that the release of jz's
> "music for children" cd has been postponed for europe. they didn't know
> when it is going to be available.
>
> the good news are, that the masada chamber ensemble will be performing
> in europe in march next year. something for all of us to look forward
> to, i guess...
>
> hope i didn't waste anyones valuable time.
>
> patRice
>
> -
>
>
- -
------------------------------
Date: Fri, 16 Oct 1998 12:42:59 GMT0BST
From: DR S WILKIE <S.Wilkie@swansea.ac.uk>
Subject: MMW
Haven't seen too much discussion of the MMW "combustication "
cd...also, has anyone heard the mail-order only release "farmer's
reserve" ?
- -
------------------------------
Date: Fri, 16 Oct 98 9:18:17 EDT
From: "M.Ho" <mus4mth@atlas.vcu.edu>
Subject: Re: TONIC - November Schedule
>>
>
> >
> >THE NEW MUSIC SERIES AT TONIC
> >November, 1998 Schedule
> >11/14 Roy Nathanson/Dougie Bowne/Rob Thomas
Is this correct? Has Dougie Bowne recovered?
- -
------------------------------
Date: Fri, 16 Oct 1998 09:53:02 -0400
From: "hijk" <hijk@gateway.net>
Subject: Django Bates
Several people (one several times?) have asked about the new Django Bates on
Tim Berne's Screwgun label. I have not heard it myself, Steve I'm sure you
have, but more info is available at the Screwgun website:
http.//home.sprynet.com/sprynet/ssmith36/mainpage.htm
The Lineup: Django Bates, keyboards, E-flat horn
Iain Ballamy, saxophones
Michael Mondesir, electric bass
Martin France, drums
Josefine Cronholm, vocals
The Tunes: Speak Low, Teach Me Tonight, And the Mermaids Laughed, Quiet
Nights of Quiet Stars,Hi Lili Hi Lo, Solitude, Like Someone in Love, Is
There Anyone Up There?, Over The Rainbow
Jeff Kent
hijk@gateway.net
- -
------------------------------
Date: Fri, 16 Oct 1998 10:05:28 -0400
From: Jason Tors <jtors@organic.com>
Subject: Farmer's Reserve | MMW |
I really like Farmer's Reserve, it fills the spacey-free element that was
seriously lacking in the last two albums. If you like MMW but are sick of
the groove this album is for you.
Did anyone see MMW on July 4th at TONIC?
JT
- -
------------------------------
Date: Fri, 16 Oct 1998 23:59:34 +1000
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: sean
Um, I'm just curious, don't ask me why... has anyone checked out Sean
Lennon's album, and if so, is it any good at all?
- -
------------------------------
Date: Fri, 16 Oct 1998 10:35:01 -0400
From: Jason Tors <jtors@organic.com>
Subject: Re: Spoken Word
>"Scenes In The City" read by actor Melvin Stewart but written by Charles
>Mingus for his Bethlehem session which was originally called something
>like "An Exploration of Jazz and Poetry by Charles Mingus".
I have never heard of this, was it a recording or a live performance?
- -
------------------------------
Date: Fri, 16 Oct 1998 08:42:06 -0600
From: dennis summers <denniss@ic.net>
Subject: Postmodernism
I won't swear to this, but I'm fairly certain that the *word* postmodern
came from architecture, although I agree that the *philosophy* began
earlier. I haven't done a word search on those French guys to see if they
ever used that word.
I'm ready to let this thread die if you are?
yours in postmodern zornocity --ds
***Quantum Dance Works***
****http://ic.net/~denniss****
- -
------------------------------
Date: Fri, 16 Oct 1998 11:04:27 -0400
From: Jason Tors <jtors@organic.com>
Subject: mingus open letter to miles (long)
FOund this while poking around for mingus spoken word material.
By Charles Mingus
November 30, 1955
Down Beat Magazine
Four editions of Down Beat come to my mind's eye-Bird's "Blindfold Test,"
mine, Miles', and Miles' recent "comeback story"-as I sit down and attempt
to honestly write my thoughts in an open letter to Miles Davis. (I
discarded numerous "mental" letters before this writing, but one final
letter formed last night as I looked through some pictures of Bird that Bob
Parent had
taken at a Village session.) If a picture needs to go with this story, it
should be this picture of Bird, standing and looking downat Monk with more
love than I think we'll ever find in this jazz business!....
Bird's love, so warmly obvious in this picture, was again demonstrated in
his "Blindfold Test." But dig Miles' "Test"! As amatter of fact, dig my own
"Blindfold Test"! See what I mean? And more recently, dig Miles' comeback
story. How is Miles going to act when he gets back and gets going again?
Will it be like a gig in Brooklyn not too long ago with Max, Monk, and me
when he kept telling Monk to "lay out" because his chords were all wrong?
Or even at a more recent record date when he cursed, laid out, argued, and
threatened Monk and asked Bob Weinstock why he hired such a nonmusician and
would Monk lay out on his trumpet solos? What's happening to us disciples
of Bird? Or would Miles think I'm presuming too much to
include myself as one?
It seems so hard for some of us to grow up mentally just enough to realize
there are other persons of flesh and bone, just like us, on this great, big
earth. And if they don't ever stand still, move, or "swing," they are as
right as we are, even if they are as wrong as hell by our standards. Yes,
Miles, I am apologizing for my stupid "Blindfold Test." I can do it gladly
because I'm learning a little something. No matter how much they try to say
that Brubeck doesn't swing-or whatever else they're stewing or
whoever else they're brewing-it's factually unimportant.
Not because Dave made Time magazine-and a dollar-but mainly because Dave
honestly thinks he's swinging. He feels a certain pulse and plays a certain
pulse which gives him pleasure and a sense of exaltation because he's
sincerely doing something the way he, Dave Brubeck, feels like doing it.
And as you said in your story, Miles, "if a guy makes you pat your foot,
and if you feel it down your back, etc.," then Dave is the swingingest by
your definition, Miles, because at Newport and elsewhere Dave had the whole
house patting its feet and even clapping its hands....
Miles, don't you remember that "Mingus Fingers" was written in 1945 when I
was a youngster, 22 years of age, who was studying and doing his damnedest
to write in the Ellington tradition? Miles, that was 10 years ago when I
weighed 185. Those clothes are worn and don't fit me anymore. I'm a man; I
weigh 215; I think my own way. I don't think like you and my music isn't
meant just for the patting of feet and going down backs. When and if I feel
gay and carefree, I write or play that way-or when I'm happy, or depressed,
even.
Just because I'm playing jazz I don't forget about me. I play or write me
the way I feel through jazz, or whatever. Music is, or was, a language of
the emotions. If someone has been escaping reality, I don't expect him to
dig my music, and I would begin to worry about my writing if such a person
began to really like it. My music is alive and it's about the living and
the dead, about good and evil. It's angry yet it's real because it knows
it's angry.
I know you're making a comeback, Miles, and I'm with you more than you
know. You're playing the greatest Miles I've ever heard, and I'm sure you
already know that you're one of America's truly great jazz stylists. You're
often fresh in a creative sense and, if anything, you underevaluate
yourself-on the outside-and so with other associates in the art. Truly,
Miles, I love you and want you to know you're needed here, but you're too
important a person in jazz to be less than extra careful about
what you say about other musicians who are also trying to create....
Remember me, Miles? I'm Charles. Yeah, Mingus! You read third trumpet on my
California record dates 11 years ago on the recommendation of Lucky
Thompson. So easy, young man. Easy on those stepping stones....
If you should get around to answering this open letter, Miles, there is one
thing I would like to know concerning what you said to Nat Hentoff about
all the tunes you've recorded in the last two years. Why did you continue
to record, session after session, when you now say you didn't like them
except for two LPs? I wonder if you forgot the names of those tunes; also,
how a true artist can allow all this music, which even he himself doesn't
like, to be sold to the jazz public. Or even accept payment for a
job which you yourself say wasn't well done.
Good luck on your comeback, Miles.
- -
------------------------------
End of Zorn List Digest V2 #501
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