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1999-08-18
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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 #746
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 Thursday, August 19 1999 Volume 02 : Number 746
In this issue:
-
Eugene C at the Brecht Forum
Record of the Year? _Sidewalks of NY_
RE: ikue mori
ikue mori review
Re: Lucier
Support for Mike C.
John Zorn: Taboo and Exile
RE: Clusone 3, Leo Smith
Re: John Zorn: Taboo and Exile
----------------------------------------------------------------------
Date: Thu, 19 Aug 99 11:29:12 -0500
From: kurt_gottschalk@scni.com
Subject: Eugene C at the Brecht Forum
Eugene Chadbourne at the Brecht Forum
w/ Spin-17 and Scott M.X. Turner
Aug. 27-28 9 p.m. $8/night
122 W. 27th St. 10th Fl.
(212)242-4201
The breadth of the projects taken on by Dr. Chadbourne -- best illustrated by
the milk crate full of tapes and cds he hawks at his "KKK Mart" between sets at
his performances -- is staggering. One night he might be taking on horror movie
themes, the next could be renditions of Jimi Hendrix and Tammy Wynette, and then
he can turn around and strum his guitar with some of the best free improvisers
around.
Nueus Kabarett at the Brecht Forum is happy to present two nights with the good
doctor. On Aug. 27, he will be presenting new compositions for solo guitar,
including the piece "Communication is Overrated." Starting off the evening will
be the charming noise and gorgeous voice that is Spin-17.
On August 28, Eugene will open up the Phil Ochs songbook for the night. Eugene
has creditted Phil Ochs as one of his earliest inspirations to pick up the
guitar, and tonight he will present his own interpretations of the legendary
leftist songwriter's work. The night will begin with a solo set by Devil's
Advocate (and Gashouse curator) Scott M.X. Turner.
- -
------------------------------
Date: Thu, 19 Aug 1999 18:51:14 +0100
From: stephen.fruitman@idehist.umu.se (Stephen Fruitman)
Subject: Record of the Year? _Sidewalks of NY_
Has absolutely everyone rushed out and bought themselves a copy of _The
Sidewalks of New York_ on Winter & Winter? And if not, what are you waiting
for? I have to say that imho, this is the Record of the Year right across
the board.
I=B4m a great fan of Uri Caine=B4s Mahler project, but this one goes even
further in providing evidence of what a fertile musical mind he possesses.
The CD is a not an attempt at revivalism or "correct" interpretation of the
Tin Pan Alley ditties of the early century, but rather an aural documentary
of a time and a place, a clash of cultures (Irish, Italian, Jewish,
Afro-American), and (perhaps the first?) clash of art and commerce on the
pop culture scene. The documentary feel is enhanced by the fact that the
entire 77 minutes of music is played against an aural tapestry of street
sounds, noisy saloons, the clip-clop of horse=B4s hooves, the sounds of the
waves at Coney Island, a baseball game, etc.
At the same time, it readily "admits" that it is impossible to recapture a
time and place so far in the past; while some of the song interpretations
"sound genuine" for the time, others acknowledge that time has passed and
allow more recent styles to insinuate themselves. (And as a little reminder
of the fact that this is a new recording, at one point one hears someone
grumble "Where=B4s my car keys?")
But first and foremost, it serves as a reminder of the great store of
brilliant songs and tunes churned out by both the forgotten sheet-music
salesmen of the turn of the century and more well-known tunesmiths like
Eubie Blake, Irving Berlin and Jerome Kern - seemingly hackneyed old
chestnuts like "In the Good Old Summertime", "By the Light of the Silvery
Moon" and "Everybody=B4s Doing It" are set alongside novelty numbers like
Berlin=B4s hilarious "Cohen Owes Me Ninety Seven Dollars", all of which
reveal anew the timelessness of their tunes and wit of their lyrics. And it
even features a Yiddish version of "Take Me Out to the Ballgame"! Caine,
Don Byron, Mark Feldman, Dave Douglas and the rest of the cast, including a
host of wonderful singers, put in a yeoman effort. And the whole thing is
packaged in the usual gorgeous and unique Winter & Winter packaging.
Stephen Fruitman
- -
------------------------------
Date: Thu, 19 Aug 1999 18:53:19 +0200
From: "Artur Nowak" <arno@emd.pl>
Subject: RE: ikue mori
> does anyone know what kind of drum machines and samplers ikue mori uses?
She talks about it in this interview:
http://www.furious.com/perfect/ikuemori.html
__________________________________________________________________
Artur Nowak [arno AT emd.pl]
www.emd.pl - Discography of Bill Frisell
- -
------------------------------
Date: Thu, 19 Aug 1999 13:03:58 -0400
From: "Vanheumen, Robert" <rvanheumen@issgroup.net>
Subject: ikue mori review
i wrote this review of three ikue mori gigs for stitch, a knitting factory
publication, which probably never came to life. maybe some of you are
interested in reading it.
robert
Ikue Mori - One of a kind
True or false: drummachines are boring and should only be used if you really
can't afford a real drummer.
Although this might be true in 'regular popmusic' where the drummachine is
used as a replacement for the drummer, it is definitely not true in the case
of Ikue Mori.
Discovering the drummachine in 1985 after having played the drums for 8
years, this New York City based Japanese lady redefined the instrument and
proved that it is possible to express a wide range of emotions using it the
right way.
She showed it again in three recent concerts.
Tonic 4/30 - This was an all women, all percussion gig with a clear concept:
exploring the space between acoustic and electronic percussion. Susie Ibarra
played her acoustic set, using different kinds of cymbals and some African
drum; Christine Bard used an electro-acoustic setup with a Chinese cymbal
and tape to electronically generate sound; Mori was hidden behind her three
drummachines, an effect processor and a mixing board.
The experience was intense: waves of noise alternated with atmospheric
drawings of sound. The sight of the three women playing added to the
tension: while Ibarra was very open and tried to make eye contact, Bard was
introspective and Mori drifted somewhere in-between with her Asian modesty.
As always it was difficult to see what Mori was exactly doing behind her
machines, but her genius was once again clear. With her very characteristic
sound palette ranging from dark dry clicks to bassdrums with massive reverb
and her great compositional skills she managed to create very tense and
atmospheric backgrounds (although impossible to ignore) for the playful
rhythms of Ibarra and the electric drones and rock grooves of Bard.
In the second set harpist Zeena Parkins added some string machinery which
made the atmosphere even more intense.
Roulette 5/5 - As opposed to the previous drum-oriented concert, the setup
was very different: Mori shared the stage with Zeena Parkins and trombonist
Jim Staley. This took care of a more open sound, with more cubic feet per
instrument. I think it was this diverseness of instruments that made the
experience less intense for me. But it could also be the high temperature or
the radiostation that seemed to broadcast through Parkins' amplifier,
although this kind of added an extra voice.
Still the three musicians played wonderful. Parkins with her fretless
basslines, screaming guitar feedback and church bells, Staley with his wind
machinery, including a didgeridoo, and Mori again with new gorgeous sounds
like backwards crash cymbals travelling from left to right and back.
Tonic 5/12 -
This duet between two great musicians, Zeena Parkins and Ikue Mori,
sometimes seemed to be more like a solo, because of two reasons: in the
noise parts Parkins was volume wise and performance wise much more present,
while the two women came very close in the more delicate parts, so it seemed
to be one person playing. Parkins used a sampler besides her harp, combined
with a tape and many effects. Her switching between these instruments was
intriguing to look at: holding a key with one hand, playing the harp with
the other hand and at the same time managing the effects with her feet.
Ikue Mori managed to bring an intense piece of music to the stage, three
times in a row. Although her sound is very recognizable, it's never boring
and often surprising. Go see her before you regret you never did.
- -
------------------------------
Date: Thu, 19 Aug 1999 10:56:13 -0700
From: tpratt@ctech.smtc.net
Subject: Re: Lucier
- --- Original Message ---
brian_olewnick@smtplink.mssm.edu Wrote on
Tue, 17 Aug 1999 14:18:20 -0400
------------------
regarding Alvin Lucier's "I Am Sitting In A Room"
> Has this been performed by others with varying speech
> patterns, no stutter, etc.?
A friend of mine who goes to Colorado College told me that one
of the teachers there, Steven Scott (who runs the bowed piano
ensemble), attempted a version of this piece at school, but it
didn't work. I'm sure there are others who've experimented with
it, but as far as an actual performance goes, I think something
very significant would be lost if the speaker were anyone other
than Lucier - and definitely if the speaker had no stutter. As
you know, Lucier composed the piece as a way to "smooth out any
irregularities my speaking voice might have." It seems to me
that this is a very personal piece of music.
I had the oppurtunity to meet with Mr. Lucier down at Wesleyan
last February when I was thinking about college. It was pretty
exciting to hear the stutter first hand!
> Would this be any the less beautiful or fascinating to
> experience live because the performer is simply sitting
> there? (or gone out for a smoke?)
I don't think so. It's a pretty transient bit of music, so I
think it would be really appropriate to have the speaker just
sit there while you listen to deteriorating speech.
Similarly with "Music On A Long Thin Wire"... There isn't really
a performer at all - just a freely resonating wire. Would this
piece be any less interesting performed live? Again, I don't
think so. Part of the effectiveness of that piece, for me, is
that the wire is a Frankenstein, under no real human control
(by the composer or otherwise).
So there are two examples of music, lacking in any independantly
interesting visual element, that I think would be completely
satisfying to experience live.
-Tom Pratt
- -----
Sent using MailStart.com ( http://MailStart.Com/welcome.html )
The FREE way to access your mailbox via any web browser, anywhere!
- -
------------------------------
Date: Thu, 19 Aug 1999 14:00:33 -0400
From: David Keffer <keffer@planetc.com>
Subject: Support for Mike C.
In response to a post on the list Mike Chamberlain <mikec@rocler.qc.ca>
wrote (among other choice words):
>Thank you. I didn't know this before. I only landed on the planet
>about 6 months ago.
>Hello? Hello? Hello? Read my @&*$!! post again man! I neither said
>nor implied any such thing. I specifically said that Maxime's musical...
>"I used to be disgusted, now I try to be amused."
Sometimes, it is much easier just to be disgusted.
David "Born and raised a KC Royals fan--Carlos Beltran for AL Rookie of the
year" K.
- -
------------------------------
Date: Thu, 19 Aug 1999 14:20:41 -0400
From: David Keffer <keffer@planetc.com>
Subject: John Zorn: Taboo and Exile
I for one am going to wait until I hear some positive
reviews from people on this list before I put down
any cash for "Taboo and Exile". This is my blasphemous
feeling on the last 10 Zorn releases from 1998-1999:
(1) Godard/Spillane - thought I would get but didn't, very luke warm reviews
from Zorn list, appears to be old news, Spillane at least is really
old news
(2) & (3) Masada Live in Taipei and Jerusalem - old news, already have 10
studio albums + 1 live cd, don't need anymore Masada, won't get
(4) The Bribe - unfortunately bought this, rehashed Spillane old news
(5) Aporias - unfortunately bought this, couldn't listen to it all the
way through even once
(6) Music for Children - unfortunately bought this, covers of Naked City
songs (old news) plus additional uninspiring tracks for 3, count
them 3, wind machines (sometimes referred to as "fans") Personally,
if I am going to listen to fans, I would like the accompanying cool
air being blown across the room.
(7) The String Quartets - some old news, no positive reviews from Zorn list,
won't get, am carefully cultivating a hatred for string quartets anyway
(8) Ganryu Island - old news but new news to me, a decent buy
(9) Filmworks VIII, a.k.a. "She'll be coming around the mountain", old news
(10) I think one through nine get the point across
Now compare the above with 10 Zorn releases of say 1992:
(1) KRISTALLNACHT (1992) - very fine, new composition (minus track 2)
(2) FILM WORKS (1992) - very fine rocking songs with Quine and Ribot
(3) & (4) GUTS OF A VIRGIN & BURIED SECRETS (1992) - kick ass new band for
Zorn
(5) MORE NEWS FOR LULU (1992) - kick ass 2nd disc with Frisell & G. Lewis
(6) GRAND GUIGNOL (1992) - kick ass compilation of various NC styles
(7) HERETIC (1992) - kick ass soundtrack with Eye
(especially like: Here come the 7000 frogs)
(8) ABSINTHE (1992) - kick ass new direction for NC
(9) ELEGY (1992) - very nice and scary Jean Genet tribute composition
(10) LENG T'CHE (1992) - kick ass bombastic composition
I think you see where I am getting at. I know others have previously
expressed an opinion on the list that Zorn's current output is too
prolific and the quality is suffering. In fact, he is no more prolific
now than he was before but now he has his own label for putting out old
rehashed crap.
In light of a recent discussion, it has come to
my attention that the future of music is electroacoustic. Let's rename
the Zorn list the Ned Bouhalassa list or perhaps the Vladimir Ussachevsky
list.
David "Down with the Zorn list" K.
- -
------------------------------
Date: Thu, 19 Aug 1999 13:33:07 -0500
From: "John Thomas" <jgthomas@nortelnetworks.com>
Subject: RE: Clusone 3, Leo Smith
>> From: Hywel Davies <hywel99@yahoo.com>
>> Subject: clusone 3
>>
>> any opinions/reviews of the cds by the clusone 3 would be
>> welcome...also, the cd by Joelle Leandre/ Rudiger Carl - "blue
goo
>> park" (FMP)and Kowald/Smith/Sommer - "touch the earth..break the
shells"
I would recommend one studio and one live Clusone recording maybe to
start
out ... I am partial to the latest disc on Hatology called _Rara
Avis_ whose pieces
all have a bird theme, for a studio choice. Maybe _Love Henry_ (on
Gramavision) for a
live one. I love all of 'em however and you may find yourself
getting addicted once you've heard
one! The playing is great on all of them and as James Hale
indicated, all very entertaining too.
I don't get tired of their recordings even though some hardcore free
jazz/improv-ers
apparently have.
The Leo Smith disc on FMP is a classic; a great setting for all
involved. Smith sounds
exuberant on this disc and it is a great introduction to the
Kowald/Sommer pairing.
This record is one of my all time favorites. I was very excited when
FMP decided to
reissue this one as I all I had was an old tape of the LP. Here's to
hoping FMP will
reissue some other older things on CD...the recent appearance of
_Mujician I & II_
by Keith Tippett looked very promising. I'd really like to see some
more of the Globe Unity
Orchestra records reissued as well as maybe that bass duet LP with
Kowald and Barry Guy.
I'm sure there are others I am forgetting.
John
- -
------------------------------
Date: Thu, 19 Aug 1999 15:44:49 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: John Zorn: Taboo and Exile
I find it interesting to look at how Zorn and Robert Fripp are each
handling their companies.
Through Discipline Global Mobile, Fripp is distributing archival material in
several different tiers. Some are distributed through the usual record
stores, others through mail and Web order, another group only via a
Collector's Club, and, as of a few days ago, some live recordings
downloadable (for free now, though later ones will be for pay) from the Web.
In 1999, so far, there have been six releases of King Crimson
material: a DVD, a live double retrospective (available in stores),
live albums from 1972, 1985, 1995 (all available only by subscription
to the Collector's Club), and a live album from 1996 (now available
for free download). In the next couple of months there will also be
recordings of subsets of King Crimson (the ProjeKcts), including
a 4 CD box with one disk for each subset (available by mail order, I
think), a single disc reduction of the box (in stores) and a disc
of a live concert (through the Collector's Club).
There have also been some hybrids, such as the Epitaph box, two discs
of which were available in stores, and the remaining two by mail order only.
That's a hell of a lot of material, and you'd have to be a complete
Crimson freak to want all of it (I'm tempted). But they're balancing the
modes of distribution so that it doesn't feel like such a deluge.
They also freely admit that some of the material in lesser distribution is
of lesser sound quality.
By comparison, Zorn has been unleashing new releases every few weeks
into the stores, making it difficult to keep up. I've gotten a lot of
them (though I find I only really like "Kol Nidre" from the String
Quartets, little of "Aporias" and "Music for Children", and got
"Godard/Spillane" mostly for the liner notes), but feel somewhat
intimidated by the flood.
Perhaps he should try a different approach with the Archival Series.
While they're somewhat subtly labeled as different from releases of
new material, it still feels like it's all hitting at once.
I understand wanting to make older material available (right now I'm in the
process of releasing older material on DAM CDs, while we'll probably
continue to use Metatron Press for newer Comma material) but there
may be a limit to what listeners/customers can handle. In the presence
of endless undifferentiable Masada material, I've only gotten one, at
random (and I don't even recall which it is), and don't feel particularly
moved to get more, much as I like them.
On the other hand: perhaps we're moving into a different time, where many of
us are carrying over our vestigal vinyl habits. In the days when LPs were the
main medium, it was extremely expensive to get anything out and distributed.
Now, with CD manufacturing costs way down and profit margins (if handled
on an appropriate scale) way up, making it much easier to recoop
costs on even an obscure release, it seems that each release seems, in a sense,
less important than an LP release by the same artist might previously
have been. It may be only a matter of time before absolutely everything
any important artist has recorded may be available on CD, and in a lot
of cases that's a good thing, but it makes completism essential only
for, well, completists.
There are a few artists of whom I'll get just about anything they release
(Eno, Bowie, Kate Bush, and John Cage come to mind, though come to think
of it, I have gaps in my collections of each), but that list is
diminishing. Mostly I'm sticking to artists of whom I know I'll enjoy
anything they do, or that it will be worth studying. But it's way less than
it was in vinyl times. And I still find myself spending obscene amounts
of my paycheck on music...
(Damn, that's a spiel...)
- --
|> "The only thing that is not art is inattention" --- Marcel Duchamp <|
| jzitt@metatronpress.com http://www.metatronpress.com/jzitt |
| Latest CD: Shekhinah: The Presence http://www.mp3.com/josephzitt |
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
End of Zorn List Digest V2 #746
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