ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/v02.n572

Internet Message Format | 1999-01-12 | 21KB

From: [e-mail] (Zorn List Digest)
To: [e-mail]
Subject: Zorn List Digest V2 #572
Reply-To: zorn-list
Sender: [e-mail]
Errors-To: [e-mail]
Precedence: bulk


Zorn List Digest      Wednesday, January 13 1999      Volume 02 : Number 572



In this issue:
-
       Chadbourne [was: NY NY]
       Re: Experimental Vocalists/Sound Environments
       Re: Experimental Vocalists/Sound Environments
       Re: Natural Life Cycle...
       just some questions + recent goodies
       Re: Cat O' Nine Tails
       Re: best of braxton
       John Butcher
       Keiji Haino on Avant
       Re: Keiji Haino on Avant
       Re: New Jazz/New Improv
       Re: New Jazz/New Improv
       Re: CCMC
       Sound Environments
       Re:  Sound Environments
       Re:  Sound Environments

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

Date: Tue, 12 Jan 1999 22:30:21 -0500 (EST)
From: William York <[e-mail]>
Subject: Chadbourne [was: NY NY]

> There are some such resources on the Web already, but to have something of
> the quality and comprehensiveness of BYOFL both in print and on the Web
> would be quite wonderful. Toss in a copy of Chadbourne's "I Hate the Man
> Who Runs this Bar", and it might be perfect :-)

Yes! This book is great.  About $30 but definitely worth it, even if like
me you are not a "real musician" as the subheading says.  This book has
tons of stories and lots of advice about doing gigs, dealing with record
labels, releasing and selling albums, etc., but of interest to the list he
often uses examples based on his own experiences, including the late
70s/early 80s in NY.  But, he changes the names and switches some of the
details to make things less obvious (and sometimes not less obvious: using
the name "Hank High" instead of Frank Lowe).  Aside from being very
helpful, and often very funny, this could be the source of an in-depth
research project of putting together the stories, figuring out who is who,
and so on.  Very highly recommended.  Its put out by Hal Leonard press.

In other Chadbourne (and Zorn) related news, his most recent tape/CD
catalogue has a 30 minute video ($6 ppd) for sale.  He says

  "We gotta thank a certain KCJJ [?] for ripping off a religious video
   dupe outfit, thus allowing us to present this unique 30 min. short
   featuring some of Chadbourne's great on screen moments! Guests include
   Walter Malli, John Zorn, Ed Cassidy, Nancy and Neve Campbell (no
   relation) [?, again].

I just sent off for this today so I don't know anything else about it, but
I hope he has some left. The address is:

 Dr. Eugene Chadbourne
 707 Longview St.
 Greensboro, NC 27403

It also lists lots of CDs, CDRs & tapes, too many to mention.

William York (not paid, but just trying to help out a fellow NC'er)


- -

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

Date: Tue, 12 Jan 1999 20:44:40 -0500
From: [e-mail]
Subject: Re: Experimental Vocalists/Sound Environments

Date sent:          Tue, 12 Jan 1999 18:13:18 -0500 (EST)
From:               [e-mail]
Subject:            Experimental Vocalists/Sound Environments
To:                 [e-mail]

> I'm hoping someone could help me out by suggesting some names of
> experimental vocalists to me (a la Mike Patton or Diamanda Galas) and
> possibly directing me towards websites or books/articles that discuss
> their techniques.
> Also if anyone knows of musicians who have done experiments involving
> tuning/harmonising/disharmonising objects in their sound environments,
> anything from rooms in homes to factories full of machinery ect, names,
> websites or any info on those artists would also be valuable to me.
> Thanks,
> Chris Tonelli
>
I have no useful information per se, except that you should check
out the early works of Throbbing Gristle and Einsturzende
Neubauten for sound experimentation a-go-go.

If you get down to Toronto ever, BY ALL MEANS CHECK OUT
CCMC AT THE MUSIC GALLERY. I left the city 5 years ago, but
last time I was there they put on free shows every Tuesday that the
Gallery didn't have a 'real' show booked. The group features Paul
Dutton (experimental vocalist), Jack Vorvis (drums), Mike Snow
(Keyboards) and John Oswald (Saxophone and possibly the
greatest composer in Canada today). Again, this info is VERY old.
They have at least one recording out as CCMC, and there is also a
Jack Vorvis/Mike Snow CD out there somewhere.

If you want to pass on any other info you receive, I'd like to hear it.


Matt Shepherd

p.s. I see that Ken Waxman has also mentioned CCMC in a
response. Any order info on that new CD?? "Decisive Moments" is
'94.


Matt Shepherd
[e-mail]

"I had a dog named Shep. He was a good dog, too."
                                  - E. Presley

- -

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

Date: Wed, 13 Jan 1999 04:26:50 EST
From: [e-mail]
Subject: Re: Experimental Vocalists/Sound Environments

In a message dated 1/13/99 2:29:56 AM, [e-mail] writes:

<< Any order info on that new CD??  >>

It's on Victo, it's called aCCoMpliCes, it was recorded in 1996 and 1997, and
it's much better than Decisive Moments. I usually don't like improv singers,
but Paul Dutton rocks the house on this one. you can order it through Forced
Exposure, North Country, or Verge, to name a few.

Jon, who just finished hooking up his new stereo and is one happy dude.

- -

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

Date: Wed, 13 Jan 1999 02:19:01 PST
From: "Dominique Leone" <[e-mail]>
Subject: Re: Natural Life Cycle...

Great post, though I *hardly* see the relevance of sending to members of
THIS list...

On another topic (that's right), I stumbled upon Tipographica's homepage
today, and was treated to lots of audio files.  Can anyone recommend
good sites where you can hear RA clips, or .au files of more obscure
acts than CDNow or tunes.com offers?

Dominique

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

- -

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

Date: Wed, 13 Jan 1999 10:46:53 +0200
From: "J.T. de Boer" <[e-mail]>
Subject: just some questions + recent goodies

Hi all,

I have some questions regarding adresses, phone numbers etc.

1)What's the Tonic's email-adress? [e-mail] doesn't seem
to work
2)What is the phone/fax number of Christian Marclay? I'm interested
in booking him for an electronic music and new media art festival I'm
organising in june this year.
3)How can I contact Zorn?

Recent goodies:

Ruins-Symphonica
This is the first album I have and heard from them and I think it's
really mindblowing. Zappa meets Dr. Nerve meets ELP?

Pachora-selftitled
I bought this one last weekend and it's still in my cd-player. A
really cool combination of East-European music and improv. Jim Black
is amazing as ever. This man deserves wider recognition!

Blast-Stringy Rugs
Dutch version of Dr. Nerve, although more rock and Zappa
orientated.

Luc Houtkamp/Fred van Hove/Gert Jan Prins-Live Canada 1997
Houtkamp (tenor sax), van Hove (piano) and Prins
(percussion/electronics) play one free improvisation of 74 minutes.


Jeroen

Thanks,

Jeroen

- -

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

Date: Wed, 13 Jan 1999 10:42:40 -0000
From: [e-mail]
Subject: Re: Cat O' Nine Tails

> There is a recording of "Cat O' Nine Tails" on "Short Stories"

Just an adjunct -- saw Cat O' Nine Tails performed in London
recently -- a whole lot of fun it was too, and it brought the house
down.



- --------------------------------------------
Visit (musings), a resource for free jazz,
experimental and otherwise non-standard musics:

http://come.to/musings.com

- -

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

Date: Wed, 13 Jan 1999 10:29:14 -0000
From: [e-mail]
Subject: Re: best of braxton

> a month or so ago, there were some good responses to the query of good
> anthony braxton albums. i saved a them and now that i've got some money
> in my pocket, found that i've lost them. a recap, anyone? i'm
> interested in the '80s and '90s (pretty well stocked with '70s stuff
> and with his creative orchestra recordings, monk and standards stuff
> too). at very least, i could use a recommendation on where to start
> with the crispell-dresser band.

Be certain to check out Leo Records' three double-CD concert
recordings. They're not cheap, but Leo does bulk discounts etc and
the music is absolutely astonishing. Leo are at
http://www.atlas.co.uk/leorec, I think, otherwise go to my site and
you'll find links there ;-).

- --------------------------------------------
Visit (musings), a resource for free jazz,
experimental and otherwise non-standard musics:

http://come.to/musings.com

- -

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

Date: Wed, 13 Jan 1999 10:16:19 -0000
From: [e-mail]
Subject: John Butcher

> Secondly, is this a slam against Butcher or are you just using him as an
> example of someone who has to deal with this situation?  I just got _Concert
> Moves_ today, and was favorably impressed by use of "hackneyed and tedious
> extended techniques," as well as the new (to me) things he brings to the
> music.

Damn right. Butcher's repertoire of techniques is pretty unique, and
if people can't hear the difference between one multiphonic and
another then they probably need to do some more listening.

Butcher is one of the few people to have carried out quite extensive
research (I mean proper, funded research) into the possibilities of
extending saxophone timbre. Personally, I find his playing
extremely involving, too -- I heard him performing Phil Durant's
_Sowari_ at a gig about a year ago and it's still with me.

<...snip...>
> There's a sense in which free improv can't stagnate, because it was stagnant
> from the beginning--that is, the idea of instrumentalists "conversing" with
> each other without preconceived notions of how the music should "go" was
> the basis then and still is now.  What else can you do with this music?  In
> that sense, this music is rigid as all hell--at least in composed music you
> can throw in some improv for kicks, but if you put a composed section into
> a free improv, it's not free improv anymore.
>
> These aren't necessarily well thought out ideas.

On the contrary, there are few people who are prepared to
recognise that free improv is an idiom or genre just like any other.
Especially the musicians, some of whom like to perpetuate this
mystique about direct communication, spontaneous originality, a
sort of benign anarchism etc etc.


- --------------------------------------------
Visit (musings), a resource for free jazz,
experimental and otherwise non-standard musics:

http://come.to/musings.com

- -

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

Date: Wed, 13 Jan 1999 16:08:16 +0100
From: Stefan Verstraeten <[e-mail]>
Subject: Keiji Haino on Avant

Hi,

Just listening to the new album by haino, cohen and baron on avant,
called 'an unclear trial: more than this'.

For those who doubt that haino couldn't play: get this album to prove
you were wrong.

Haino plays here acoustic guitars, so no effects, no noise.

What kind of a guitarplayer is he really. As mentioned in intervieuws,
he likes the blues, and you can hear it (especially track 5). The album
breathes a blusey feeling, very relaxed, very smooth.

This album shows two things: Actually Haino CAN play, but when he plays
unplugged, this album shows that he his skills are not that good (which
is not the case by elliot sharp, look at terraplane blues).

The album is really worth its money, pity however that this album proves
that keiji haino REALLY needs his effect pedals to become the best noise
player.

However, this is just my opinion, looking forward to hear other
opinions.
- --
Stefan Verstraeten

- -

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

Date: Wed, 13 Jan 1999 07:40:53 -0800 (PST)
From: Eric Martens <[e-mail]>
Subject: Re: Keiji Haino on Avant

- ---Stefan Verstraeten <[e-mail]> wrote:
>
> Hi,
>
> Just listening to the new album by haino, cohen and baron on avant,
> called 'an unclear trial: more than this'.
>
> For those who doubt that haino couldn't play: get this album to prove
> you were wrong.
>
> Haino plays here acoustic guitars, so no effects, no noise.
>
> What kind of a guitarplayer is he really. As mentioned in intervieuws,
> he likes the blues, and you can hear it (especially track 5). The
album
> breathes a blusey feeling, very relaxed, very smooth.
>
> This album shows two things: Actually Haino CAN play, but when he
plays
> unplugged, this album shows that he his skills are not that good
(which
> is not the case by elliot sharp, look at terraplane blues).
>
> The album is really worth its money, pity however that this album
proves
> that keiji haino REALLY needs his effect pedals to become the best
noise
> player.
>
Haven't heard the Haino/Baron/Cohen yet, but if you care, another good
place to go for proof of Haino's playing ability is the two CDs of
duets w/ Loren Mazzacane Connors (on Persona non grata and Menlo
Park), both of which are clearly Connors' show but also feature some
pretty good playing on Haino's part, particularly on Vol. 2 (make sure
I have this right: Connors is the one w/ all the reverb, Haino's the
more spiky, distorted one.)



==
Eric Martens

"When you said that I wasn't worth talking to, I had to
take your word on that." -- Liz Phair



_________________________________________________________
DO YOU YAHOO!?
Get your free @yahoo.com address at http://mail.yahoo.com


- -

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

Date: Wed, 13 Jan 1999 11:53:18 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: New Jazz/New Improv

I'm not too sure that Brian writing off jazz because it lacks young Black
innovators is quite correct since he links it to having jazz as ambient
music in the home.

Very few of the people who are feverish jazz/improv fans group of with
that kind of music in their homes. But all of us through trial and error
and experimentation began by our early teens, finding music that really
appealed to us, which for the majority of people here was some form of
jazz. We've stuck with it 'lo these many years (about 36 in
my case) because we still find the "the new" in it, a lot more than in
other places.

That said it seems likely that the next major improvisor(s) [if we
must believe in the "great person" theory] will probably arise from the
same sort of "ambient" than we did. Starting with the second generation
of improvisors out of New Orleans, musicians were in the main
middle-class (no they weren't Rockerfellers, Charlie Barnett and John
Hammond to the contrary), but they weren't homeless people either.
Innovators as disparate as Fletcher Henderson and Marion Brown came out
of the middle class and many had to "learn" jazz and improv as much as
Barney Wilen and Evan Parker (to pick two Europeans) had to learn it as well.

I guess the purpose of this rap, is that we shouldn't write jazz/improv
off too quickly. It seems to me that there are more and more musicians
turning towards this form compared to 10, 20 or 25 years ago and the
cumulative effect of it may create more heart-stopping music. Agreed that
Matt Shipp at 23 wasn't Braxton, but Braxton at six wasn't Mozart.

Ken Waxman
[e-mail]

- -

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

Date: Wed, 13 Jan 1999 12:08:47 -0500 (EST)
From: Brent Burton <[e-mail]>
Subject: Re: New Jazz/New Improv

On Wed, 13 Jan 1999, Ken Waxman wrote:

> I guess the purpose of this rap, is that we shouldn't write jazz/improv
> off too quickly. It seems to me that there are more and more musicians
> turning towards this form compared to 10, 20 or 25 years ago and the
> cumulative effect of it may create more heart-stopping music. Agreed that
> Matt Shipp at 23 wasn't Braxton, but Braxton at six wasn't Mozart.

also, braxton at age 23 was virtually ignored.  that's why those aacm guys
went over to france.  hindsight is 20/20 and in 20 years folks may be
emailing each other about how there aren't any musicians around anymore
like matthew shipp.
also keep in mind that coltrane was in his thirties before he really hit
his stride.

regarding the euro-scene: the best of that music (bailey, parker,
brotzmann) tried/tries to explore/create a new tradition.  bailey said
that he knew he could never be charlie christian, so he had to try to be
derek bailey.  i think that wherever you find this kind of thinking, you
will also find innovation.  music stagnates when musicians and fans become
too nostalgic.

b

- -

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

Date: Wed, 13 Jan 1999 12:11:52 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: CCMC

Yes the CCMC are still playing every Tuesday night at the Music Gallery
in Toornto. Ususally *sans* drummer, though. They're even part of an
experimental -improv mini-festival of local players for the next couple
of weeks. The Gallery has a presence at the Net at:

http://www.interlog.com/~musicgal

As for ordering CCMC's new CD, with all the CCs I'm not too sure who
asked. If it's the person at Trent, check with Verge Distributors in
Peterborough or direct from Victo records. Both are on the Web --Verge at:

http://www.ptbo.igs.net/~verge

Victo's URL keeps changing, so do a search for "Victo records".

Americans can order from there too, or probably through Cadence/North Country

Ken Waxman
[e-mail]

- -

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

Date: Wed, 13 Jan 1999 13:20:28 +0100
From: "Felix" <[e-mail]>
Subject: Sound Environments

Huh, this may sound a little silly...

I saw a guy play an instrument in a show once, that was a box with an
antenna that gave this weird feedback sound when his hands were close to the
antenna. He controlled the sound by getting his hands closer or farther from
the antenna.
Then I saw a "I M Weasel" cartoon and this babboon was using the same
instrument (same sound) and they called it, I think, theramine.
Could anyone familiar with such device give any info on that?

Thanks
Felix


- -

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

Date: Wed, 13 Jan 1999 13:36:55 EST
From: [e-mail]
Subject: Re:  Sound Environments

i have actually played with a kind of cheap ass theramin, but it was cool
nonetheless. moving up and down in relation to the antenna changes the pitch
and closer and further away changes volume. the woman who was the master at
this, well, her name excapes me (c'mon guys. jump in with enthusiasm!) you can
also see jimmy page use one in the movie the song remains the same. its how he
emulated "vietnam sounds" or whatever the hell he was doing in the middle
section of "whole lotta love."

- -

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

Date: Wed, 13 Jan 1999 13:59:43 -0500 (EST)
From: Dan Girellini <[e-mail]>
Subject: Re:  Sound Environments

 -> i have actually played with a kind of cheap ass theramin, but it was cool
 -> nonetheless. moving up and down in relation to the antenna changes the pitch
 -> and closer and further away changes volume. the woman who was the master at
 -> this, well, her name excapes me (c'mon guys. jump in with enthusiasm!) you can
 -> also see jimmy page use one in the movie the song remains the same. its how he
 -> emulated "vietnam sounds" or whatever the hell he was doing in the middle
 -> section of "whole lotta love."

I believe you are referring to Clara Rockmore.  Don't forget the beach
boys' used it on good vibrations (and some other tracks as well), one of
the more well known songs with a theremin.

A little more about it:  It was invented in the 10's or 20's  by Leon
Theremin.  Its sole controls were two antennas.  The player's hands
proximity to one controls the pitch and the other the volume.  More recent
models of the instrument tend to have knobs that also let you control the
baseline pitch, volume, and waveform shape (the original only output a
sine wave).

There's a bunch of good theremin pages on the web if you want to know more
about them (why it works, how to build one, where it's used...).  And I
agree, they are fun to play!

Dan

- -

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

End of Zorn List Digest V2 #572
*******************************


 To unsubscribe from zorn-list-digest, send an email to
       "[e-mail]"
 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 [e-mail]