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Zorn List Digest      Tuesday, December 22 1998      Volume 02 : Number 562



In this issue:
-
       Re: Recent Goodies
       more Tenney
       James Tenney
       Nancarrow
       Re: Stuff and nonsense, etc.
       Slan, Modern(free)Drummer
       anyone go to this (marclay,mori,parkins)??
       New Swap List
       Artur Nowak
       Prelapse albums
       question about Dresser's EYE'LL BE SEEING YOU
       Parachute Years
       Re: Parachute Years
       Re: what is Marty Ehrlich up to these days?
       hasidic new wave in the KF
       Message-Id: <[e-mail]>

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

Date: Sat, 19 Dec 1998 11:44:37 EST
From: [e-mail]
Subject: Re: Recent Goodies

In a message dated 12/19/98 3:29:03 AM, [e-mail] wrote:

<<There is a disc of his electronic works I liked. The reason I mention it is
that one of the pieces was *very* Oswald/plunderhonic type piece using Elvis
Presleys's "Blue Suede Shoes" as source material. And I believe it long
predated Oswald so I thought it might be of interest... I can't remember the
label and the title was a span of years (I'm not very useful here! Can anyone
help?).>>

Selected Works 1961-1969 (Artifact). This Blue Suede Shoes track was featured
in some experimental movie from the sixties, by Tony Conrad or Jack Smith, I
think.

Jon

- -

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

Date: Sat, 19 Dec 1998 11:48:01 EST
From: [e-mail]
Subject: more Tenney

oh, one more thing. there's an interesting looking new Tenney CD on Hatology,
featuring electronically processed acoustic instruments. anyone heard this?

Jon

- -

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

Date: Sat, 19 Dec 1998 10:29:56 -0800
From: Herb Levy <[e-mail]>
Subject: James Tenney

Brian Olewnik asked earlier about James Tenney's music (sorry for the
enhanced digest delay).  I think he's one of the important little known
composers of the century, everything I've heard by him has been at least
interesting and a lot of it has seemed really great to me.

Tenney was a central figure in the 1960s in the US avant garde, had an
ensemble with Malcolm Goldstein, Phillip Corner & others that performed
older American works (Cage, Ives, Ruggles, Varese & more) as well as
cotemporary pieces. He also made works for choreographers coming out of the
Judson Church scene & underground filmmakers like Stan Brakhage.

Tenney has taught for most of the last 30 years or so, first at Cal Arts,
more recently, for something like 20 years now, at York University in
Ontario.  He's been very influential on a wide range of younger
composer/performers in both the US & Canada: John Oswald's Plexure is
dedicated to him; Gordon Monahan was one of the pianists to perform inthe
premier of Bridge; Willy Winant worked with him at Cal Arts (Tenney is the
pianist Winant plays with on the recent Stockhausen disc from, what is it,
Forced Exposure?); Lois V Vierk, Carl Stone, David Mahler, Larry Polansky,
are among the US composers who've been strongly influenced by him in
various ways, etc.

Tenney's worked in a lot of different areas of music - computer music, just
intonation, site-specific works, North American gamelan, collage
techniques, etc. (He's a good counter-example for the recent thread about
innovation continuing past a certain age, as he has never gotten into one
particular style/genre and refined it.)  He's also worked a lot at helping
to get older musicians work out there & better understood - he wrote the
analytic notes for the Wergo Conlon Nancarrow releases, & lots of essays
about Ives, Cowell, Varese, Ruggles, etc. before they were known as well as
they are now.

In addition to Bridge & Flocking (both written for two pianos in just
intonation, but each instrument is out of tune from the by about a quarter
tone - all of the pitches are justly derived, so the "quarter"-tones are
not equal tempered) that Brian mentioned, Hat has a couple of forthcoming
discs listed on their sadly uninformative Web site & New Albion is
supposedly releasing something in 1999 as well.

There's a collection of electronic pieces from the US label Artifact that
includes a variety of early computer music works done at Bell Labs (he was
one of the first artists in residence there 30-40 years ago). It also
includes his Collage #1 (Blue Suede) a tape manipulation piece, with a bit
of signal processing, mostly filtering, drawn entirely from Elvis Presley's
recording of the Carl Perkins tune.  The Canadian label Artifact has
released several CDs with chamber music by Tenney.  A few other pieces are
available on scattered anthologies, collections etc.

The Canadian magazine Musicworks had an all-Tenney issue in the early 1980s
that included a cassette of lots of pieces, as well as a very good
interview and some essays & scores.  The US magazine Soundings (edited by
Peter Garland, whose name came up here a while back) had an all-Tenney
issue around the same time that had a lengthy catalog of his compositions
with lots of description & analysis, as well as other information & essays.



Herb Levy
[e-mail]



- -

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

Date: Sun, 20 Dec 1998 08:43:12 +1100
From: Jim Glaspole <[e-mail]>
Subject: Nancarrow

Hi there
My parents-in-law have a player piano.  Has any of Nancarrow's scrolls
ever been manufactured?  If so are they available anywhere?
Probably stupid questions but thought I'd ask.
Regards
Jim Glaspole


- -

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

Date: Sat, 19 Dec 1998 16:55:27 -0500
From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Stuff and nonsense, etc.

At 01:04 PM 12/18/98 -0500, Taylor McLaren wrote:
>
>I'm wondering if a lot of
>what has been said about faux spirituality and indie kids and all of that
>might be tied into the same lack of a (white?) American national identity,
>or even if people think that the sudden lack of a specific national focus
>might be a part of why jazz at large is largely considered to be
>floundering these days.

I'm not entirely sure that jazz is foundering, given that as a term it
covers a wide range of musical activity, mostly centered around
improvisation.  There are several radio stations (even an AM station) in my
area which play a variety of jazz, and jazz albums are prominently
displayed in the local record stores.

But what bothers me more here is the assumption that jazz should be a
distinctly 'American' art form.  First, haven't nationalist notions gotten
the world in enough trouble?  Why do we need to extend these to something
as univeral as music?  But more importantly, improvisation has a long
tradition in many other forms of musical expression, and in particular the
European expression (most commonly known as 'classical' music) has merged
with jazz in interesting and fruitful ways.  One of the strengths of jazz
as practiced by most anyone who's recorded on Hat, to take only one
example, is the awareness of both musical traditions and the *lack* of a
specific national focus.


- --
Caleb Deupree
[e-mail]

Computers are useless; they can only give you answers
- -- Pablo Picasso

- -

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

Date: Sat, 19 Dec 1998 16:43:35 PST
From: "robert ludington" <[e-mail]>
Subject: Slan, Modern(free)Drummer

     I recently picked up 'Live at the Knitting Factory Vol.3' while
combing the 3 for 8$ at a nearby music store.  Since reading about Slan
in the 'Locus Solus' liner notes I was pleased to see the 2 tracks by
Slan, and i thoroughly enjoyed them.  It was also nice to hear Ted
Epstein in a setting outside of Blind Idiot God, and playing with Zorn
(i've had a hard time tracking down B.I.G's 'Undertow' which he's on).
Anyhow, i was wondering if there are/were any Slan albums, or was this
just a group Zorn formed for live shows?  Any other documents of their
live playing?  Also, i've heard that Epstein has left B.I.G, is he
currently playing in any other settings?
     I've enjoyed the current free jazz thread enourmously, since i
don't have too too much in depth knowledge on the subject(me being one
of the mentioned indie/experimental rock kids lured into such murky
waters by Zorn's work).  I thought i'd mention that Modern Drummer
magazine has had several interesting articles/interviews lately on free
jazz/ny downtown drummers like Jim Black, Susie Ibarra, & Greg
Bendian.... there might be copies or excerpts at the Modern Drummer
website, or if not i could post the back issue if there's any
interest....

thanx for your time,
~rob

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

- -

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

Date: Sun, 20 Dec 1998 10:45:10 EST
From: [e-mail]
Subject: anyone go to this (marclay,mori,parkins)??

did anyone go to this? any reviews. thanks
jt

>Christian Marclay & Ikue Mori & Zeena Parkins
>Saturday December 19
>9 & 10 pm
>$ 10
>The Knitting Factory

- -

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

Date: Sun, 20 Dec 1998 12:22:57 EST
From: [e-mail]
Subject: New Swap List

CD's for sale or exchange. I'm interested in similar stuff: Revenant, Tzad=
ik,
Avant all welcome together with music concrete, RLW and anything interesti=
ngly
experimental.

Violent Onsen Geisha: Que Sera Sera,  =09Por Supesto Records
Collage madness from Japanese maniac. Everything goes into the blender, ea=
sy
listening, hardcore, pop... you name it, it gets abused!

Universal Congress of...: The Eleventh Hour Shine On,=09Enemy
Founded by members of Saccharine Trust. Angular, punky Jazz with a bit of =
a
blues bent too. Features quite a decent take on Ornette=92s Broadway Blues=
.

LA 1919: Jouer, Spielen, To Play,  Materiali Sonori
Electric Avant rock workouts from two Italian guitarists featuring guest
drummers Chris Cutler and Charles Hayward. Muscular and quite noisy.

Bang on a Can: Industry, Sony Classical
Stars of NY=92s festival of the same name. Heavy duty minimalism by compos=
ers
suach as  Louis Andriessen, Michael Gordon and David Lang.

Bob Ostertag, Attention Span, RecRec
Ostertag manipulates samples from Frith and Zorn.

Peril: Peril, Survival
Otomo Yoshihide adds his usual chaos to heavy rock, sample dense Naked Cit=
y
style improv by  Tony Buck, Kato Hideki and Michael Sheridan.

Jim O'Rourke: Happy Days   Revenant
O'Rourke continues his exploration of two of is hero's styles, in this cas=
e
Fahey meets Tony Conrad, in one giant acoustic guitar piece whose gentle
picking is gradually overwhelmed by the sounds of massed hurdy gurdys. Abo=
ut
halfway through the guitar is all but obliterated by the droning than, jus=
t as
gradually it creeps back into focus.

DJ Spooky: Songs of a Dead Dreamer. Asphodel.
Lengthy collage work of found sounds and samples moulded into a dreamlike
soundscape.

The Notwist: 12. IRS.
Currently fashionable Bavarian avant rock outfit. Fairly noisy, angular ro=
ck
type stuff.

Max Roach/Archie Shepp: The Long March pt1. hat ART
More epic sax/drums duets. Impossible to undervalue the empathetic powers =
of
these two. Starts with a solo track by each (Roach employing the kind of g=
ob
smacking stop/start brittle percussives that Photek would shed limbs to be
able to synthesise)which gives way to extended duo interplay.

Tha 13 Ghosts: Giganti Reptilicus Destructo Beam. Scatter.
Bizarre disc of screaming punk rock improv as perpetrated by Alex Ward, Sw=
itch
and a host of guests inc Jim Denley, Pat Thomas, Evan Thomas and others.

The Electric Eels. Their Organic Majesty's Request. Overground.
Seminal 70's US punk as beloved of Ubu's David Thomas. Noisy, obnoxious an=
d
resolutely lo-fi.

Various: Unsettled Scores. Cuneiform. 2cd.
A label sampler with a difference as label regulars cover each other's tun=
es.
featuring the likes of Hugh Hopper, Henry Kaiser, The Muffins, C.W. Vratce=
k,
Rattlemouth, Richard Pinhas, Dr Nerve/Univers Zero and many others.



- -

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

Date: Mon, 21 Dec 1998 08:26:13 -0500
From: Alan E Kayser <[e-mail]>
Subject: Artur Nowak

Sorry to take up the space, but...

Artur, my e-mails to you keep getting bounced back as undelivered.  I
need your address.

Alan Kayser


- -

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

Date: Mon, 21 Dec 1998 15:12:02 +0200
From: "J.T. de Boer" <[e-mail]>
Subject: Prelapse albums

I just bought 'Music for Children' and I wondered if Prelapse have
brought out albums themselves.

Thanks,

Jeroen

- -

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

Date: Mon, 21 Dec 1998 11:04:44 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: question about Dresser's EYE'LL BE SEEING YOU

    Does anybody know the story about this record? The liner notes indica-
te 13 tracks, but the the CD has in fact 16 of them.

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

*** - EYE'LL BE SEEING YOU: Mark Dresser

    Recorded at the Knitting Factory in 1997 and 1998

  Mark Dresser: bass; Chris Speed: clarinet, tenor; Anthony Coleman: piano,
  organ.

    1998 - Knitting Factory Works (USA), KFW-211 (CD)

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

    Thanks,

    Patrice.

- -

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

Date: Tue, 22 Dec 1998 01:19:27 +0200
From: Georgette Sliepen <[e-mail]>
Subject: Parachute Years

Hye Zornies,

I wonder if I should invest in the box-set "The Parachute
Years"(Lacrosse,Hockey,
Pool,Archery).Does anyone own this material and is it worth purchasing?


Olivier




- -

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

Date: Mon, 21 Dec 1998 17:50:06 -0800
From: <[e-mail]>
Subject: Re: Parachute Years

Georgette Sliepen wrote:

> Hye Zornies,
>
> I wonder if I should invest in the box-set "The Parachute
> Years"(Lacrosse,Hockey,
> Pool,Archery).Does anyone own this material and is it worth purchasing?
>
> Olivier
>
> -

  absolutely!!!  especially if you enjoy Cobra or other "game"
compositions.  the music largely comes across as pure free improv with
interesting all-star lineups.  but after careful listening the
"compositions" become more evident (perhaps not to the extent of a live
performance of course).  i was lucky and found this in a Portland record
store for $49.99! i checked back later and they had corrected the price on
the other box up to $89.
patrick in portland


- -

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

Date: Tue, 22 Dec 1998 02:17:02 -0500
From: Steve Smith <[e-mail]>
Subject: Re: what is Marty Ehrlich up to these days?

Patrice L. Roussel wrote:

>         I just realized that Marty Ehrlich has been quite "discographically"
> silent these past few years. Anybody (from the city) knows what is he up to
> these days?

I just heard Marty twice a few weeks ago with the latest version of his
Traveller's Tale quartet - this one with Tony Malaby, tenor and soprano sax,
Jerome Harris, acoustic bass guitar, and Bobby Previte, bad-ass drumming.
Completely killing.  One long piece dedicated to the late keyboardist Don
Grolnick reminded me quite a lot of Bloodcount with a different leader.

I'd also heard Marty in weeks prior in Andrew Hill's sextet and in a very fine
Billy Strayhorn tribute in Brooklyn curated by Greg Cohen and featuring, among
others, Joey Baron.  Also on that program was the generally more traditional
jazz clarinetist Ken Peplowski, on whose recent album "Grenadilla" Marty
appears, as do two of his compositions.

Marty also played at the Knitting Factory tonight with his Dark Woods Ensemble
(Erik Friedlander, cello, Mark Helias, bass) with special guest Marc Ribot.
That quartet is due to record a disc for Tzadik's Radical Jewish Culture line
imminently, according to Marty.  I was not able to attend and would love to hear
from anyone who did.

Aside from that, Enja will release an album by the co-operative trio Relativity
in '99 -- Ehrlich, Michael Formanek, and Peter Erskine.  (This is the disc that
will include the abovementioned Grolnick tribute, which will doubtless sound
quite different with only one sax player.)  And the very fine
Ehrlich/Dresser/Cyrille trio will also issue a disc in '99 on a German label of
which I'd never heard, and the name of which I don't recall.  When I hear more
I'll let you know.

Marty also recently led a tribute to Julius Hemphill featuring the Ehrlich-led
Julius Hemphill Saxophone Sextet as well as a big band playing the music from
Hemphill's lone big band album, that got amazing reviews and word-of-mouth,
although I missed it.  The most recent release from the JHSS, "At Dr. King's
Table," was issued by New World in 1998.

Marty is featured on the Jerome Harris disc to be issued in January on the
Stereophile (as in the high-end gear mag) label, via Allegro Distribution.  (The
rest of the band, as I remember it, is trombonist Art Baron, vibraphonist Steve
Nelson and drummer Billy Drummond.)  He also spoke of putting together a new
band featuring Malaby, a guitarist TBA, Jerome and Billy.  Marty's not working
much with longtime sideman Stan Strickland since Stan's very busy in the Boston
area with mostly extramusical activities.

Marty will be touring Europe in 1999 as part of Bobby Previte's Bump the
Renaissance band.  Details coming soon at the at-long-last-regularly-updated
Previte homepage.

Rest assured, Marty's shining as brightly as ever here in NYC.

Steve Smith
[e-mail]
(catching up on old mail for the holidays)
NP - Gordon Haskell live in San Rafael, CA 11/22/98


- -

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

Date: Tue, 22 Dec 1998 15:45:55 -0500
From: "Vanheumen, Robert" <[e-mail]>
Subject: hasidic new wave in the KF

hi.

does anybody know how many shows there are this thursday (12/24) of
hasidic new wave in the knitting factory and what time? and if their
show is combined with the saft/speed/black show, or do you have to buy
separate tickets?
i looked at the website which says two combined shows at 8 and 1030, but
somewhere i read that there are two separate shows, saft/speed/black at
8 and hasidic new wave at 9....

please help me...

robert

- -

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

Date: Tue, 22 Dec 1998 18:50:26 -0700
From: dennis summers <[e-mail]>
Subject: Message-Id: <[e-mail]>

>But on the other
>hand, as Eric so rightly put it, it's important to employ a tad of
>phenomenological method here and try to assess what the musicians' goals
>were and what they're trying to convey to the audience.

I believe that this is called the "intentionalist fallacy," in the visual
arts.  Many argue that it's not possible to know what the artist intended,
and that it's likely that even the artist doesn't "really" know what he or
she intended. Is this something that you music critic types consider?

BTW, I do consider reviews in my buying decisions, I consider my fellow
zornlisters more. But what I often do, which is so easy in the incestuous
jazz world, (as opposed to the pop world) is to pick up a disk by someone I
don't know, because it has someone I do know on it. This has lead to many,
many fine choices, and only a couple of duds.

Also, did I miss any conversation regarding Don Byron's latest
"Nublaxploitation," which both a good friend of mine and I found
unlistenable. I literally had to turn it off 2/3rds of the way through, and
haven't been able to finish it since.

yours in zornocity --ds

***Quantum Dance Works***
****http://ic.net/~denniss****


- -

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

End of Zorn List Digest V2 #562
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