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Zorn List Digest       Sunday, December 13 1998       Volume 02 : Number 551



In this issue:
-
       Re: Forced Exposure
       Re:Forced Exposure
       Re: Forced Exposure
       Just a Glass of Wine
       more classic jazz: hard bop
       Looking for interviews
       Lewis/Turetsky
       Re:  Lewis/Turetsky
       Two nights, two lofts, two chamber groups - Part 1
       Gary Lucas (marginal Zorn content)
       I: Lewis/Turetsky
       Ikue Mori live at Roulette
       Re: Black Saint and the Sinner Lady

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

Date: Sat, 12 Dec 1998 16:56:34 +1100
From: Peter Hollo <[e-mail]>
Subject: Re: Forced Exposure

I ordered 4 items from them recently, including Masada 10 (which hasn't
surfaced in Australia yet that I know of... it's great! 9's a bit better
of the recent stuff still though) and David Krakauer's Klezmer Madness!
(the original CD, not the Klezmer, NY one that came out recently).

I emailed them about 5 or 6 days later asking whether it had been sent,
and was told they were waiting on Masada 10 restock. And about the same
time later again, after I inquired about it again I Was told it was
being sent out that day - and it was.
Got it in the usual time it takes to Australia from the USA, no
problems.

They have a lot of stuff in their catalogue, and have been helpful when
I've written, always replying. The only thing I guess is that they don't
let you know anything about the order until all the stock's there and
it's sent, but fair enough - it's hard to write to all these people all
the time - they're about as un-mainstream as you can get and probably
don't have tonnes of staff.

There you go - a positive Forced Exposure experience for y'all.
Best,
Peter.
- --
Peter Hollo  [e-mail]  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: Sat, 12 Dec 1998 07:19:31 PST
From: "Dominique Leone" <[e-mail]>
Subject: Re:Forced Exposure

You might try emailing them and asking for the UPS tracking number, if
they've mailed your items.  I ordered some stuff a few weeks ago, and my
stuff got misrouted by UPS, so it took almost a month to get to me.

BTW, if anyone's interested in Tatsuya Yoshida, could you please email
me about his solo CD "A Million Years," i.e., what it sounds like?

Dominique



______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

- -

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

Date: Sat, 12 Dec 1998 13:07:51 -0600
From: Craig Rath <[e-mail]>
Subject: Re: Forced Exposure

At 04:56 PM 12/12/98 +1100, you wrote:
>
>I emailed them about 5 or 6 days later asking whether it had been sent,
>and was told they were waiting on Masada 10 restock. And about the same
>time later again, after I inquired about it again I Was told it was
>being sent out that day - and it was.
>Got it in the usual time it takes to Australia from the USA, no
>problems.
>

Well, it looks like I'm just special.  I've e-mailed them several times
with absolutely no response whatsoever.  Unless the address they provide
for e-mails isn't correct, I'd say they were ignoring me.  I've even asked
them if I could break the order up and have them ship anything that is in
stock right away, and no response.  I wish they had a phone number so I
could actually talk to a human being (assuming they have any staff at all).
 I think my next attempt will be to fax them something.






- -

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

Date: Sat, 12 Dec 1998 12:03:38 -0800
From: "ADM" <[e-mail]>
Subject: Just a Glass of Wine

This is a multi-part message in MIME format.

- ------=_NextPart_000_000C_01BE25C7.73F4DF60
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    charset="iso-8859-1"
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Hi...
This shoots quite a bit off topic but I need a chart (or at least an mp3 =
to transcribe from) of the traditional klezmer song "Just a Glass of =
Wine".  If anyone could help me, it'd be much appreciated.  Reply =
privately.

- -Aaron

- ------=_NextPart_000_000C_01BE25C7.73F4DF60
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    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD W3 HTML//EN">
<HTML>
<HEAD>

<META content=3Dtext/html;charset=3Diso-8859-1 =
http-equiv=3DContent-Type>
<META content=3D'"MSHTML 4.72.2106.6"' name=3DGENERATOR>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV><FONT color=3D#000000 size=3D2>Hi...</FONT></DIV>
<DIV><FONT size=3D2>This shoots quite a bit off topic but I need a chart =
(or at=20
least an mp3 to transcribe from) of the traditional klezmer song =
"Just a=20
Glass of Wine".  If anyone could help me, it'd be much=20
appreciated.  Reply privately.</FONT></DIV>
<DIV><FONT size=3D2></FONT> </DIV>
<DIV><FONT size=3D2>-Aaron</FONT></DIV></BODY></HTML>

- ------=_NextPart_000_000C_01BE25C7.73F4DF60--


- -

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

Date: Sat, 12 Dec 1998 12:06:46 PST
From: "Scott Handley" <[e-mail]>
Subject: more classic jazz: hard bop

For those who are "new" to classic jazz, I think of hard bop as the West
Coast gangsta to the early-eighties East Coast rap of Forties bebop.  I
think of there being more blues "feeling" in the CONTENT, whereas bebop
refracted its own abstraction through an already seriously perverted
blues FRAMEWORK (the substituted changes, etc.).  Just one more opinion,
but...

I sure like:
Hank Mobley: SOUL STATION; A SLICE OFF THE TOP
Cannonball Adderley: SOMETHIN' ELSE!; CANNONBALL TAKES CHARGE (so
funky)
Trane: BLUE TRANE; GIANT STEPS
Anything by Wynton Kelly, who is a badass
Wes Montgomery, up to but not including most of the CTI stuff (HALF NOTE
excluded---that's fine)

I haven't been listeing to much jazz lately.  Strange...

I'd welcome suggestions by others.  Anyone feel like confessing to
having bought the Mobley box on Mosaic?

- --s

______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com

- -

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

Date: Sun, 13 Dec 1998 00:07:41 +0100
From: "M. van Santen" <[e-mail]>
Subject: Looking for interviews

I'm looking for interviews with or articles by Zorn. Does anyone know
any that are on the net, or does anyone have some as textfile that they
would like to send me?

Thanx,
Martyn



- -

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

Date: Fri, 11 Dec 1998 21:32:42 -0500
From: Tom Pratt <[e-mail]>
Subject: Lewis/Turetsky

There's a brand spankin' new disc of duets between trombonist George
Lewis and contrabassist Bertram Turetsky on Incus called
'Conversations'. This could be bad-ass! Anyone heard it?

                                        -Tom Pratt




- -

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

Date: Sun, 13 Dec 1998 00:34:41 EST
From: [e-mail]
Subject: Re:  Lewis/Turetsky

In a message dated 12/12/98 9:51:10 PM, [e-mail] wrote:

<<There's a brand spankin' new disc of duets between trombonist George
Lewis and contrabassist Bertram Turetsky on Incus called
'Conversations'. This could be bad-ass! Anyone heard it?>>

I don't think it actually arrives in US stores until Monday or Tuesday. I
wonder if this qualifies as part of the uniformly superb "Guitar/Wind
Instrument" series Incus has been doing over the last couple of years
(Zorn/Chadbourne, Roger Smith/Neil Metcalfe, Stefan Jaworzyn/Alan Wilkinson
(my personal fave of the bunch), Kaiser/Oswald, and Zorn/Frith).

Saw a really nice concert this past Friday night in NYC, Joseph Jarman/Leroy
Jenkins/Myra Melford, in a loft space called Inhouse just south of Canal St.
It's pianist David Lopato's home, and the concert is literally in his living
room, complete with easy chairs, a row of Disney videotapes on the wall, and
his son tinkering on the piano before the show. the concert was all
compositions, some by each performer. Melford actually played harmonium about
half the time, which I'd never seen anyone do before. my favorite two pieces
over the two hour-long sets were a long, achingly beautiful duet between
Jenkins' violin and Melford's harmonium, and a transcription Melford had done
of a piece by Armenian composer/duduk virtuoso Djivan Gasparyan, peformed by
her harmonium, Jenkins, and Jarman on percussion. all in all, a very relaxing
evening.

Jon

- -

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

Date: Sun, 13 Dec 1998 01:12:36 -0500
From: Steve Smith <[e-mail]>
Subject: Two nights, two lofts, two chamber groups - Part 1

Friday, December 11 - Equal Interest at InHouse

When I arrived at work Friday morning, I had no plans for musicking that
evening.  Happily, a glance at the New York Times revealed an unmissable
show: Equal Interest at InHouse.

If that didn't register on your map, don't fret.  You're far from alone.

Equal Interest is a cooperative trio made up of two titans of
avant-garde jazz, Joseph Jarman and Leroy Jenkins, with one of the more
gifted, versatile and unsung pianists to come up through the Knitting
Factory scene, Myra Melford.  And InHouse is one of downtown's better
kept secrets: pianist David Lopato's loft on Greenwich St. is one of the
most cozy and intimate spaces in town.  You literally get a concert in
someone's living room.  It's both spacious and cozy.  Lopato is a brave
soul to invite strangers into his home to check out his record
collection while waiting for the music to commence.  The shows he
presents do not get advertised: you only hear by word-of-mouth or by
being on the mailing list (and I'd somehow fallen off).  God bless Ben
Ratliff for listing this show in the Friday Times.

I'd missed Equal Interest at the Texaco Festival in '97, so I leapt at
the chance to hear them here.  Jon Abbey was the only other Z-lister
present to my knowledge.  And what of the music, you ask?  Very special
indeed.  Jon and I agreed afterwards that reportage would be difficult,
since we'd not taken notes, but here goes...

Equal Interest features jazz musicians and has jazz elements but is not
really a jazz group.  It is a chamber trio.  The music is largely
composed, though there is apparently ample room for improvisation.  At
the set break Jon and I both surmised the compositions to have been all
Myra's, but at intermission I asked her and she said they had played
pieces by all three band members.  I paid a bit more attention in the
second half to try to pin down which pieces were from which player, but
it remained difficult.  There was certainly a group ethos at work here.

The pieces I assume to have been by Leroy were the more atonal and
rigorous "classical" pieces, in which the three players, while moving in
the same direction, were often taking very individual routes to get to
the destination.  Lines coincided in very odd ways at times, and only
the odd blue notes and repeated riffs in the piano part reminded the
listener that this music was being played by so-called jazz musicians.

Other pieces seemed more ethereal and less rigorous - I presume these to
have been the work of Jarman and Melford.  In particular, the pieces
where Melford sat on the floor playing harmonium I took to be her work,
especially in a beautiful piece in which she played what sounded like
Pakistani riffs (think Nusrat Fateh Ali Khan) while Jenkins and Jarman
played lovely modal melodies above (Jenkins's violin parts sounding a
great deal like Ralph Vaughan Williams's "The Lark Ascending" oddly
enough).  Another such piece, which featured Jarman on tamborine
accompanying some lovely and exotic-sounding duo playing from Melford
and Jenkins, was in fact Melford's transcription of a piece by the
Armenian duduk player Gasparyan.

Like I said, I wasn't taking notes, so I can't report on a great number
of specifics.  I can, however, report that it was an evening of
extremely sensitive music-making, with Jarman's power remaining
undiminished if less than emphatic in this setting, Jenkins's sometimes
wayward intonation more than offset by his tremendous lyricism, and
Melford's piano playing always intelligent and interesting.  Her pianism
reflects her classical training, as seldom if ever did she fall into the
"right hand leads, left hand comps" routine, employing instead
independent lines and well-chosen clusters and stabs.  And on harmonium
she sounds incredibly idiomatic, at least to these ears.

Two highlights that continue to ring in my ears were a magnificent duo
for harmonium and viola, unmarred even when Leroy bumped his head on his
microphone several times (was amplification really necessary in such an
intimate venue?  This was, after all, chamber music...) and the
exquisite closing trio for flute, violin and piano, a piece of such
limpid beauty as to bring Debussy to mind, although I also wondered
whether I'd be as spellbound if exactly the same piece were being played
by George Winston, Darol Anger and [insert New Age flute player's name
here].  The audience was held rapt, hanging on every note.

Equal Interest has not yet issued a recording (although Melford does
appear on the Jarman/Jenkins CD released earlier this year), but they
should.  It's lovely and original music.  And at the end of the evening
Myra said that her next CD by her band The Same River, Twice (Chris
Speed, Dave Douglas, Erik Friedlander, Mike Sarin) should be in stores
in February, on Arabesque Records, and that some of the music heard
tonight would be on that record.  Can't hardly wait.

Tomorrow's installment: Ikue Mori at Roulette, Saturday, Dec. 12
Tomorrow's musicking: Joe Morris Quartet at the Knitting Factory

Steve Smith
[e-mail]
http://home.sprynet.com/sprynet/ssmith36

NP - John Hollenbeck's Claudia Quintet - Limp Mint (CD-R demo) - best
goddamn unsigned band in the city, if you ask me...


- -

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

Date: Sun, 13 Dec 1998 09:12:27 -0500
From: Brian Olewnick <[e-mail]>
Subject: Gary Lucas (marginal Zorn content)

You see the concert-going problems we Nyers face. While Steve and Jon
were enjoying Jarman/Jenkins/Melford on Friday, I went down to what I
expected to be the early show of Gary Lucas at the Knit. Turned into a
one show, four-hour plus marathon of all things Lucasian.

The evening's structure was a) Lucas solo for over an hour b) a single
duet with a female singer (last name Gruber, I think) c) six songs with
peter Stampfel (you haven't lived 'til you've heard these guy's rousing
version of 'Ring of Fire'!) d) a duo with ex-Gods and Monsters vocalist
Ricky Barrone e) a load of stuff from 'Busy Being Born' with singers
Laryy and Ken (enormous crowd favorites), Greg Cohen, Jonathan Kane and
JZ sitting in on two pieces and f) the current incarnation of Gods and
Monsters with Ernie Brooks and Jonathan Kane.

Overall, it was a great deal of fun, Lucas exhibiting his usual witty,
self-deprecating stage patter as well as his astonishing facility with
guitars and multiple effects units. To give an idea of the range of
material performed (aside from many of his own compositions), covers
included: 'Sunrise, Sunset', the theme from 'Teletubbies', 'Jack
Johnson', Wagner's 'Tanheuser Overture', a Percy Grainger piece, the
theme from 'Psycho', Dollar Brand's 'Bra Joe from Kilimanjaro' (!) and
'Astronomy Domine' and many, many more.

Generally wonderful stuff. Should Mr. Lucas make it into your neck of
the woods, check him out.

BTW, I'd never heard Stampfel before (or his work with Holy Modal
Rounders). As his enthusiasm was one of the highlights of the evening,
I'm a bit curious to learn more. Any recommendations?

Brian Olewnick

- -

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

Date: Sun, 13 Dec 1998 20:26:23 +0100
From: "Francesco Martinelli" <[e-mail]>
Subject: I: Lewis/Turetsky

- -----Messaggio originale-----
Da: Francesco Martinelli <[e-mail]>
A: [e-mail] <[e-mail]>
Data: domenica 13 dicembre 1998 10.24
Oggetto: R: Lewis/Turetsky


>i was listening to it while downloading the mail, it being arrived with the
>latest batch from Incus and related baileyan activities, including another
>new vinyl with Pat Thomas and Steve Noble (the latest on turntables,
>appropriately enough).
>The Conversation Cd is a joy - no electronics, just a very intense, full of
>humour series of conversations between two players that share the taste for
>the occasional quotation or melodic strain juxtaposed to textural
>improvisation, with Turetzky using vocal sounds, or purely rhythmical
>things. Turetzky is very jazzy at times, with a lovely pizzicato timbre,
and
>George can usually be too, so together sometime they give an odd impression
>of a traditional jazz band, of course for a few seconds in the course of
the
>improvisation (After Dark, track n. 2). Often the pieces give a feeling of
>balance, and they don't sound like extracts from longer improvisation,
>Company-style. In Blues for Lester B. they begin to play opposite things -
a
>jazz trombone solo superimposed to a stately bowed chorale - and then
>proceed to switch roles a few times before turning back to the "theme" for
>the last minute. J7+P3 is very percussive and fragmented, kissing and vocal
>sounds from the trombone, bass hit with the wood of the bow or sticks; in
>the middle of the piece one understand what George means in the straight,
>warm liner notes with "grabo onto (a sound) as a life preserver to save you
>from getting smoked right out of the room".
>The titles are humorous too - I'd guess North Country Diatribe has a
Cadence
>reference - while The Ecumenical Blues, the closing track, is a wonderful
>unfolding exploration of long notes, with the trombone going gutbucket at
>the end over a kaleidoscope of bass sounds.
>Badass sounds just right.
>


- -

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

Date: Sun, 13 Dec 1998 21:55:17 +0100 (MET)
From: =?ISO-8859-1?Q?Inge_=D8lmheim?= <[e-mail]>
Subject: Ikue Mori live at Roulette

Was wondering if somebody who was at the Ikue Mori gig at Roulette last
night (or caught the live net feed) would care to describe the event.
I had trouble connecting to the live.ram link at the Roulette site and
would really appreciate word on this performance. Thanks.

By the way, got a mail from Jim Staley today and he mentioned Ikue Mori's
plans to record this piece in the near future (to appear on Einstein,
Tzadik or Avant). Anyone?


- -

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

Date: Sun, 13 Dec 1998 20:39:26 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: Black Saint and the Sinner Lady

On Mingus Moves, there are a couple of tunes literally entiotled "Cannon"

Ken Waxman
[e-mail]

On Thu, 10 Dec 1998, Christian Heslop wrote:

>     A friend of mine recently loaned me his copy of "Black Saint and the
> Sinner Lady".  After a few listenings, I am determined to embark upon a
> thorough exploration of the classical jazz canon (this is an outsider's
> designation, please be gentle).  I would welcome comments on this piece as
> well as recommendations on other material. Thank you.
>             Christian
>
> -
>
>

- -

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

End of Zorn List Digest V2 #551
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