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Zorn List Digest      Saturday, February 27 1999      Volume 02 : Number 603



In this issue:
-
       Frisell and Leisz (was: RE: masada like in very broad terms)
       Re: Alanis
       Sonora Book and CD
       Re: Sonora Book and CD
       Zony Mash
       Glenn Spearman: Blues For Falasha
       Re: Like Masada / British scene
       don byron
       Dazzling Killmen
       Re: Maryanne Amacher
       Re: don byron
       A few items for sale or possible trade.
       Re: don byron
       loose tubes (was:RE: Like Masada / British scene)
       David Shea
       ruins
       mike patton
       new Shea (another two cents)
       NYtimes - State of Music?
       Re: NYtimes - State of Music?
       Re: NYtimes - State of Music?

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

Date: Thu, 25 Feb 1999 19:25:48 +0100
From: "Artur Nowak" <[e-mail]>
Subject: Frisell and Leisz (was: RE: masada like in very broad terms)

> Frisell's "Good Dog Happy Man" is due in June if I
> remember correctly.  It's Frisell, Krauss, Keltner,
> Horvitz, I think a pedal steel player whose name I've
> forgotten (help me, Jody), and Ry Cooder on a track or two.

It's Greg Leisz. Please let me quote Songtone / Tone Field:

"Guitarist Greg Leisz has been much in demand for playing country,
folk, and rock music with Jewel, Beck, Dave Alvin, Peter Case, Paula
Cole, Fiona Apple, and Smashing Pumpkins as well as icons like the
Beach Boys, Joe Cocker and Joni Mitchell. (He is on tour with Joni
Mitchell until mid November.) Leisz primary instrument is the pedal
steel guitar but he's also gained a reputation for his mastery of the
acoustic dobro, Hawaiian Weissenborn, lap steel and mandolin. Bill and
Greg met when Greg came to see Bill play with Jerry Douglas and Viktor
Krauss. Soon after their meeting Bill discovered that it was Greg
playing on his favorite K.D. Lang, Jimmie Dale Gilmore and Peter Case
CDs and the two became fast friends. Greg is part of the band on Bill
Frisell's next recording.
Bassist David Piltch came of age in the Toronto, Ontario, Canada jazz
scene accompanying such greats as Chet Baker, Art Pepper, Kenny
Wheeler, Tom Harrell. In more recent years he has relocated to the Los
Angeles area and works with vocalists Holly Cole, Janice Ian, and K.D.
Lang.  Greg Leisz introduced Bill Frisell to David after they worked
together with K.D. Lang and Dave Alvin.
These two concerts mark the trio's debut together. They will travel to
Europe in March for three weeks."

Regards

    __________________________________________________________________
    Artur Nowak [arno AT silesia.top.pl]
    www.silesia.top.pl/~arno/default.htm - Discography of Bill Frisell



- -

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

Date: Thu, 25 Feb 1999 18:02:45 EST
From: [e-mail]
Subject: Re: Alanis

In a message dated 2/24/99 11:09:30 PM Eastern Standard Time, [e-mail]
writes:

<< > NP - Alanis Morrisette on the Grammies

 I saw/heard some of that.  I must say, I never heard her before and
 based on this introduction I'll be slow to return.  Perhaps I'm
 just a fuddy-duddy.
  >>

If you are Eric, you're certainly not alone here!! :-)

Dale.

- -

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

Date: Thu, 25 Feb 1999 21:21:27 -0700
From: John Dikeman <[e-mail]>
Subject: Sonora Book and CD

Hey, I found this very interesting title at www.gemm.com and wondered if
anyone had it or new anything about it.  I'm new to this list, but I
checked the archives and was unable to find anything on it, though I
might have just missed it.
Any info would be appreciated.

john


- -

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

Date: Thu, 25 Feb 1999 21:56:58 -0600 (CST)
From: "Joseph S. Zitt" <[e-mail]>
Subject: Re: Sonora Book and CD

On Thu, 25 Feb 1999, John Dikeman wrote:

> Hey, I found this very interesting title at www.gemm.com and wondered if
> anyone had it or new anything about it.  I'm new to this list, but I
> checked the archives and was unable to find anything on it, though I
> might have just missed it.

I have it (ordered it through http://www.artists-shop.com/) and it's a
must-read (though I haven't listened to the CD yet). The most interesting
stuff, IMHO, are the the articles about the non-sound-oriented
performances he was doing with/as the Theatre of Musical Optics in 1979,
where, for example, he would display a grid of small odd objects and, over
several hours, combine and redisplay them in various rigorously determined
ways on a two-inch-square tray. Enlightening. There's a lot of stuff about
his music's relationship to film, and a lot of graphics, including several
scores -- though many of them are reduced so small as to be mostly
unreadable.

(Oy... I just spent close to an hour wandering around GEMM... only bought
one thing, though :-])

- - ---------1---------1---------1---------1---------1---------1----------
|||/ Joseph Zitt ===== [e-mail] ===== Human Systems \|||
||/ Maryland? = <*> SILENCE: The John Cage Mailing List <*> = ecto \||
|/ http://www.realtime.net/~jzitt ====== Comma: Voices of New Music \|


- -

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

Date: Thu, 25 Feb 1999 22:02:24 -0600 (CST)
From: [e-mail] (Theo Klaase)
Subject: Zony Mash

The web site www.zonymash.com has been updated with some fantastic
photos and information.  Look for Bill Frisell!


}Theodorus--



- -

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

Date: Thu, 25 Feb 1999 23:31:00 EST
From: [e-mail]
Subject: Glenn Spearman: Blues For Falasha

Anyone have any sound clips for Glenn Spearman: Blues For Falasha
Looks interesting.  Any recommendations?

- -

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

Date: Fri, 26 Feb 1999 09:51:54 GMT0BST
From: DR S WILKIE <[e-mail]>
Subject: Re: Like Masada / British scene

Not at all like Masada but, in parts, like Pachora, is The Orquestra
Mahatma, whose "A Young Person's Guide" is on the Babel label.  This
is a tremendous record, stretching from Bulgarian and other Balkan
folk tunes to Wagner, Ellington, Little Rock Getaway, Zawinul's Mercy
Mercy Mercy and a Shankar-written Mahavishnu acoustic guitar number,
and many points inbetween (there are 19 cuts on the disc).  The
OM are Paul Clarvis (pc) Thad Kelly (b) and Stuart Hall (vln, g).
Truly fabulous. Buy two, and give the other to your funkiest auntie
or uncle!!

Speaking of the post-punky Loose Tubes "school", has grandmaster
Django Bates caught on at all across the Atlantic?  I've belatedly
discovered the delights of "Summer Fruits" on JMT, which is, IMO,
even better (?) than the later "Winter Truce" on the same label.

Sean Wilkie

- -

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

Date: Fri, 26 Feb 1999 22:11:56 +1100
From: "Julian" <[e-mail]>
Subject: don byron

Recently purchased "Nu Blaxploitation" and was impressed to find yet
another style mastered by Byron. Can anyone recommend similar albums?
Julian.
http://www.hartingdale.com.au/~jcurwin/

- -

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

Date: Fri, 26 Feb 1999 08:37:06 -0500
From: Peter Risser <[e-mail]>
Subject: Dazzling Killmen

Anyone know where to find a copy of their first CD, Dig Out the Switch?
I thought it was going to be recapped with Recuerda, but, no luck.

I know it's not particularly on topic, but we have discussed them before,
and I can't think of another group of people who might better know.

Thanks,
Peter

- -

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

Date: Thu, 25 Feb 1999 22:51:12 -0800
From: Herb Levy <[e-mail]>
Subject: Re: Maryanne Amacher

I haven't heard the CD yet, but I've heard a few of Maryanne Amacher's
pieces live & I'm looking forward to hearing it, though I haven't seen it
around town.  Thanks for the report on the disc.

Amacher's definitely one of the root-source folks for electro-acoustic
music& her work is still growing in surprising ways, in surprising
directions.

I've got to say, though, that the the 3rd Ear pieces sound like the kind of
music that may not translate well in streaming audio given the various
limitati0ns of bandwidth & the usual audio setups people have hooked up to
their computers.  If these pieces are like the works with difference tones
that I've heard live, I'd be surprised if much of the effect came across in
this medium.

I remember one piece at the Wooster G0roup's space in New York that had a
long section with a very high pitched & very loud twittering that moved
around within your ear canal - really incredible.  If that could be done on
a CD I'd be pretty impressed, let alone in RealAudio.

I'd love to be wrong, though &  I'm hoping to program some of this disc for
Mappings.





>Anyway, main reason I'm posting is that today I picked up Maryanne
>Amacher's recent Tzadik release.  Four of the tracks (7 in total) contain
>what Amacher calls "Third Ear Music".  She writes in the liner notes: "When
>played at the right sound level, which is quite high and exciting, the
>tones in this music will cause your ears to act as neurophonic instruments
>that emit sounds that will seem to be issuing directly from your head."
>Well, I listened to the whole disc in one sitting at a very high volume
>(living alone has its advantages!) and overall, I'm really impressed.  The
>"Third Ear Music" pieces, I confess, are not the type of 'songs' you listen
>to unless you really really want to listen and focus on the music.  They
>sound like really sharp, high frequencies or electronic blips and bleeps
>spinning around really fast.  Very trance inducing.  Many of the other
>tracks are these dense psychedelic clouds of electronic sound.  Not exactly
>monotone, but they could be listened to in that way, if you know what I
>mean.  On some of the tracks, there'll be this electronic drone rumbling
>away, and suddenly underneath she'll throw in a very clear/hi-fi sounding
>keyboard tone -- the contrast is unsettling.  There's also an excerpt
>entitled, "Tower Metals", which sounds like Aube or Merzbow messing around
>with, well, metal samples/sounds, but in the hands of Amacher I felt she
>was directing the sound with more thought, intricacy, and most importantly,
>purpose.  The music on this disc is, above all, very very drone-y and dense
>w/ a surprisingly healthy amount of texture.  I'd set aside some free time
>for music listening if you're thinking of picking this disc up.
>
>Btw, in a week or two, I'll have some real audio samples of this Amacher
>disc (and others) up on my webpage, which is still under construction at
>the moment.  It's mainly devoted to Melville, but I'm hoping to devote some
>of it to music.


Herb Levy
[e-mail]



- -

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

Date: Fri, 26 Feb 1999 09:33:55 -0500
From: "Michael Berman" <[e-mail]>
Subject: Re: don byron

His 'tuskegee experiments' (nonesuch '91) is another great byron albem w/
sadiq's vocals on the title cut.

mike


Recently purchased "Nu Blaxploitation" and was impressed to find yet
another style mastered by Byron. Can anyone recommend similar albums?
Julian.



- -

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

Date: Fri, 26 Feb 1999 12:10:43 EST
From: [e-mail]
Subject: A few items for sale or possible trade.

Hello -

As far as I know, the items listed below are pretty hard to get these days. If
I am wrong, I am wrong. I am interested in acquiring more stuff from Krzysztof
Penderecki as well as the score for 'The Shining'. Perhaps we can trade.
Please e-mail me privately if you are interested. Thanks.

Richard

HARRAS CD - Zorn/Bailey/Parker $20

YANKEES CD - Zorn/Bailey/Lewis $20

THE ART OF MEMORY CD  - Zorn/Frith $25

COMPANY 91 VOLUME. 3 CD - Zorn/Yves Robert/Buckethead/Paul Rogers/Vanessa
Mackness/Paul Lovens/Bailey/Pat Thomas/Alexander Balanescu $25

PAINKILLER - RITUALS CD - Offers

ZORN - ARCHERY 2XLP BOX - Offers

- -

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

Date: Fri, 26 Feb 1999 13:28:57 -0500 (EST)
From: alissa bader <[e-mail]>
Subject: Re: don byron

I've actually just discovered Byron, but I'm really interested in hearing
his renditions of both Mickey Katz and Raymond Scott tunes.

makes me want to dust off my great-aunt's klezmer albums and watch more
cartoons.

- --alissa

On Fri, 26 Feb 1999, Julian wrote:

> Recently purchased "Nu Blaxploitation" and was impressed to find yet
> another style mastered by Byron. Can anyone recommend similar albums?
> Julian.
> http://www.hartingdale.com.au/~jcurwin/
>
> -
>
>


- -

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

Date: Fri, 26 Feb 1999 16:15:16 -0500
From: "Vanheumen, Robert" <[e-mail]>
Subject: loose tubes (was:RE: Like Masada / British scene)

>Speaking of the post-punky Loose Tubes "school"
does anybody know where i could get loose tubes releases?

thanks
robert

- -

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

Date: Fri, 26 Feb 1999 17:20:22 -0800
From: Gene Natalia <[e-mail]>
Subject: David Shea

Someone asked, so I'm finally answering.  The new David Shea cd, "An
Eastern Western Collected Works," is nothing short of astounding.  I am a
huge Shea fan to begin with, but this might easily become my favorite of
his.  The highpoint is the trio of tracks which feature Dave Douglas.
These 3 tracks alone make the whole cd worthwhile, but the enitre cd is
wonderful.  Jim Pugliese also plays tympani, vibraphone and other
percussion, with equally beautiful results.  This is so far my favorite
album of '99.  I couldn't recommend it more highly, especially to fans of
Shea and/or Douglas.  I'm listening to it right now with my windows open
while it's drizzling outside and the sky is greyish purple and the effect
is exhilarating.

                                -Ethan


- -

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

Date: Fri, 26 Feb 1999 18:31:39 -0800 (PST)
From: SUGAR in their vitamins? <[e-mail]>
Subject: ruins

hello all,

i'm finally getting around to updating
my Ruins discography.

can someone tell me more about
these recordings? looking for label/format/date/tracks.
the usual info...

Charles Hayward/Keiji Haino/Otomo Yoshihide/Tatsuya Yoshida/Peter Brotzmann
                   Double Agent(s) Live in Japan Volume 2      Locus Solus


RUINS / MOLECULES / ALBOTH / BELLY BUTTON / MUG 7" (Pandemonium)

RONRUINS  "Ketsunoana"  (Pandemonium)  cd

Various CRUEL CLAW & HUNGRY THROAT 2 (CS) ??? (19??)

Various GARBAGE SANDWICH (CS) BEAST 666 REKORDS (1992)

thanks!

hasta. --dk

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.  natURE.


- -

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

Date: Sat, 27 Feb 1999 00:16:53 EST
From: [e-mail]
Subject: mike patton

in the notes 4 adult themes it says he worked w/sepultura. what album was
that?



criterion info
http://www.geocities.com/sunsetstrip/vine/9374


"i am beyond their petty, lying morality..."

- -

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

Date: Sat, 27 Feb 1999 11:59:38 -0500
From: "Caleb T. Deupree" <[e-mail]>
Subject: new Shea (another two cents)

I see that Gene Natalia has already responded to Brian's request for
reviews, but I've also been listening to the new Shea (An Eastern Western
Collected Works on Sub Rosa) and have equally high recommendations and
wanted to echo Gene's strong recommendation.  Gene mentioned the three
duets with Dave Douglas, but there are several other pieces which look bach
to Satyricon which impressed me at least as much.  The opening work is for
three pianos (one randomly detuned) and tympani, and while it starts off
sounding like the solo piano work in Satyricon, it soon moves off to its
own territory with a mass of sound, a great opening work.  This is followed
by a very delicate piece for percussion, also based on Satyricon.  There's
a fairly amazing piece for jaw harp, but his vocal piece for multiphonic
and overtone singing (does he really do this too?) is stunning.  There's a
piece for piano and vibraphone which was a 'forerunner' for one of the
classical works with the Ictus Ensemble, and the closing piece brings the
CD full circle with a work for synthesizers and samplers based on a single
note, with spectrals and harmonics derived from that center, but which has
the same driving rhythm as the opening piano piece.

I am extremely impressed with the way Shea keeps moving in different
directions, yet maintaining a continuity from work to work.  This CD has a
variety of pieces, so it never gets dull, and shows a growing maturity to
this artist, who has moved very far away from his chaotic beginnings of
Shock Corridor and Prisoner.

Very highly recommended.


- --
Caleb Deupree
[e-mail]

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

- -

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

Date: Sun, 28 Feb 1999 11:19:14 +0900
From: Allan Sutherland <[e-mail]>
Subject: NYtimes - State of Music?

http://www.nytimes.com/library/arts/022899jazz-classical-music.html

Interesting, what does anyone think? I have just coght onto it.

(There is a Zorn real audio posted here, etc.)

cheers.
Allan.

I am writing a discography of all of the recorded works of the sublime
pianist McCoy Tyner, as leader and sideman, official and not so official.
Any information that you may think will be even of the slightest help,
please do not hesitate to contact me. Knowledge gained multiple times is far
preferred to that never learned. Any help given will be acknowledged in the
discography, or not if you prefer that.

- -

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

Date: Sat, 27 Feb 1999 00:00:18 -0500
From: Tom Pratt <[e-mail]>
Subject: Re: NYtimes - State of Music?

Allan Sutherland wrote:

> http://www.nytimes.com/library/arts/022899jazz-classical-music.html
>
> Interesting, what does anyone think? I have just coght onto it.

It's sort of funny how the writer entirely neglects any contemporary "classical"
music and makes no mention of any contemporary "jazz" outside Wynton Marsalis.
If this man were more in touch with the avant-garde, which is a very logical
extension of its roots, he would very importantly see that not all composed
music is fixed and repeatable. Ever heard of Cage, Wolff, Brown, Feldman,
Stockhausen and so on and so on? He would then see that he is wrong to undermine
the role of the "classical" performer. With many works open to a lot of
interpretation, the performer becomes very important.

It seems to me that classical-derived (composed) and jazz-derived (improvised)
music have in many cases reached a logical vertex of musical thought all in the
spirit of nowness. We have Zorn's game pieces and Butch Morris' conductions. We
have improvisation collectives such as AMM, MEV and the Gruppo di
Improvvisazione Nuova Consonanza all including 20th century composers and
performers. And in more recent years Terry Riley could probably be more
accurately described as a free improvisor. If classical music is only that which
existed before the turn of the century and jazz is only swingin' head-solo-head
then he has a point. Too bad for him that's not the case.

I believe there's a fluxus piece from the 60's that goes something like "When
you are ready, begin playing your instrument. You will know when to stop." I
think that sums it up.

                        -Tom Pratt


- -

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

Date: Sun, 28 Feb 1999 01:16:35 -0500
From: Steve Smith <[e-mail]>
Subject: Re: NYtimes - State of Music?

Tom Pratt wrote:

> Allan Sutherland wrote:
>
> > http://www.nytimes.com/library/arts/022899jazz-classical-music.html
> >
> > Interesting, what does anyone think? I have just coght onto it.
>
> It's sort of funny how the writer entirely neglects any contemporary "classical"
> music and makes no mention of any contemporary "jazz" outside Wynton Marsalis.

Well, yes, but Pareles only mentions Marsalis within the context of the section
about big bands being the closest thing in jazz to being the kind of repertory
vessel that classical music by and large is.  Otherwise, this is a completely vague
essay - in a couple of places I thought it would have been nice to know to what he
was referring.

I'm not quoting the rest of Tom's reply, as I thought it was especially
well-argued.  Jon Pareles is a frequently remarkable pop critic and a pretty good
jazz critic, but he does appear to be out of his depth here in ignoring the
classical avant garde as Tom pointed out.  And Jon's premise - that to call jazz
"America's classical music" is misguided and unfair to jazz - then to go on to
demonstrate his thesis in the way that he does seems, well, more than a little
silly.

After all, the only reason anyone ever proclaimed jazz "America's classical music"
was in order to attain for jazz to attain the legitimacy and respect that classical
music enjoys, and to demonstrate, perhaps, a certain level of aesthetic parity.  And
those reasons really aren't legitimate reasons to call jazz "America's classical
music."  That's just a slogan.

America's classical music has been written by the likes of Gershwin and Copland,
Brown and Cage, Harrison and Garland, Glass and Reich, Lang and Vierk, a portion of
the output of Zorn, etc. etc. etc. - music that comes from the European classical
music practice but which has expanded upon it in uniquely American ways.  And jazz
is simply jazz, an art form invented by African Americans in the early part of this
century, and now respected (if perhaps inadequately here) and practiced by people
worldwide.

If jazz is America's most original contribution to the world's music, and a
contribution the stature of which may rival or equal Europe's contribution of the
standard European classical music (which is, of course, only one of the world's
"classical" musics), there is still no need to cloak the former in the terminology
of the latter.  But that seems so patently obvious that I can't see why Pareles felt
he needed to expend the energy to write this vague thought piece, unless it's just a
reaction to the Ellington fever at Lincoln Center this year, or unless he was asked
to contribute "something about jazz" to what otherwise seems to be a classical
supplement.

By the way, if anyone was wondering why there was a Zorn clip appended to this
story, especially in light of the things that Tom pointed out about this essay,
well, the fact is, the clip wasn't meant to be taken in the context of this story.
It goes with Paul Griffith's piece on the dearth of well-known (or performed) modern
classical composers.  That's where you'll find citings for Zorn and the other sound
clips.  You'll find it here:
http://www.nytimes.com/library/arts/022899young-composers.html

Well worth reading - although as well-informed as Griffiths appears to be, all of
the composers he mentions have been working in the mainstream for a while now.
Surely there were a few more subversive young composers he might have named...

Steve Smith
[e-mail]
NP - Matt Shipp/William Parker, "Mr. Chromosome," _DNA_ (forthcoming release, May
'99)


- -

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

End of Zorn List Digest V2 #603
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