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1999-10-12
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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 #773
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 Wednesday, October 13 1999 Volume 02 : Number 773
In this issue:
-
Re: Naked City re-runs
Feldman rips
Re: Naked City re-runs
Floutist
Re: Floutist
Re: SIMILARITIES
sheet music
Zorn Transriptions
Re: Zorn Transriptions
Roulette, Fall Schedule
sumpthin w/ the server or ?
lmc/morris
Prelapse
Re: Roulette, Fall Schedule
Query to Harmon Kardon, Onyko CD owners
Memento Mori, Etc..
GOD MOUNTAIN Label
noise and news, again
Masada
----------------------------------------------------------------------
Date: Mon, 11 Oct 1999 11:20:46 EDT
From: Nudeants@aol.com
Subject: Re: Naked City re-runs
I THINK that the deal is this:
The first album came out, the one with the face-down dead guy on the front.
I'm pretty sure that Grand Giugnol was to be the next one, but
Elektra/nonesuch balked at the artwork. Somewhere in the meantime, out comes
Torture Garden, with the 8 or so hardcore pieces from the first album and the
hardcore pieces from GG. Then GG comes out as the first release on Avant.
I'm positive that TG was before GG (in this country, at least) because I
remember being surprised when I saw GG for the same reason you mentioned.
Basically, the hardcore tracks on GG are TG minus the first album, in exactly
the same order. I surmise that GG was how he intended it, but then how do
you explain his re-release of TG in the Black Box? Oh well.
If anybody has any corrections, feel free to flame my ass. :)
matt mitchell
- -
------------------------------
Date: Mon, 11 Oct 1999 11:26:30 EDT
From: Nudeants@aol.com
Subject: Feldman rips
Yes, I LOOVE Feldman. I've not heard iehter string quartet, but your
description of what you saw is fairly similar to how I'd describe For Philip
Guston, also a late piece, about four hours long.
Lucky!
matt mitchell
- -
------------------------------
Date: Mon, 11 Oct 1999 08:33:38 -0700 (PDT)
From: sonny shine <fudgepakker@yahoo.com>
Subject: Re: Naked City re-runs
my brother has Torture Gardens. he says there's quite
a bit of stuff on there from the self-titled naked
city album. so the self-titled release WOULD HAVE
been the first one, had Elektra/nonesuch not had a cow
about it? hmmmm.... sounds plausable... but the
artwork in Torture gardens isn't very amiable, either.
sonny
- --- Nudeants@aol.com wrote:
> I THINK that the deal is this:
>
> The first album came out, the one with the face-down
> dead guy on the front.
> I'm pretty sure that Grand Giugnol was to be the
> next one, but
> Elektra/nonesuch balked at the artwork. Somewhere
> in the meantime, out comes
> Torture Garden, with the 8 or so hardcore pieces
> from the first album and the
> hardcore pieces from GG. Then GG comes out as the
> first release on Avant.
> I'm positive that TG was before GG (in this country,
> at least) because I
> remember being surprised when I saw GG for the same
> reason you mentioned.
> Basically, the hardcore tracks on GG are TG minus
> the first album, in exactly
> the same order. I surmise that GG was how he
> intended it, but then how do
> you explain his re-release of TG in the Black Box?
> Oh well.
>
> If anybody has any corrections, feel free to flame
> my ass. :)
>
> matt mitchell
>
> -
>
>
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
- -
------------------------------
Date: Mon, 11 Oct 1999 09:52:07 -0700 (PDT)
From: Peter Risser <knucklehead000@yahoo.com>
Subject: Floutist
Obviously, half the members of the Zorn list already
corrected this poor guy about the spelling of
flautist, but after reading it it reminded me about
how pissed I would get when I'd ask my mom how to
spell something and she'd tell me to look it up in the
dictionary.
How's that going to help a third-grader trying to
spell mneumonic?
Anyway, I prefer: flute-player.
Seeya,
Peter
=====
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
- -
------------------------------
Date: Mon, 11 Oct 1999 13:12:53 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: Floutist
On Mon, Oct 11, 1999 at 09:52:07AM -0700, Peter Risser wrote:
> How's that going to help a third-grader trying to
> spell mneumonic?
Hmm... that would depend on whether he's trying to spell mnemonic or,
perhaps, pneumatic :-) Trying to spell "mneumonic" would be a curious
goal...
- --
|> ~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 |
- -
------------------------------
Date: Mon, 11 Oct 1999 13:35:10 -0400
From: "Daniel L Brown" <DLB7@prodigy.net>
Subject: Re: SIMILARITIES
> Fleur du Mal and track on Redbird do sound a like, though I think that's
due
> to the common use of extremely soft and extremely low freuqncies on both
> track. I think its interesting how the same effect is achieved by
different
> means (assuming the Absinthe track is electronic, which it does sound like
to
> me)
Which is what I was trying to get at =-) Similar sound, Completely
different means of achieveing it. No real matter, though - both are superb.
> As for the Artemisia Absinthium sample, do you mean the 'buzzing' sound?
I
> haven't listened to Nani Nani in a long time; I'll have to check that out.
No, the sound in question is the screeching, "sheet-metal" sound. I'm
not sure how else to describe it, but if you have both Absinthe and Nani
Nani, check it out.
Dann
- -
- -
------------------------------
Date: Sat, 2 Oct 1999 19:22:36 -0700
From: "Adrienne Alexander" <alavla@teleport.com>
Subject: sheet music
I"m looking for sheet music or lead sheets i can arrange for a string trio,
(sheet music I do't have to arrange would be wonderful as well). "m
looking for contemporary stuff (we are really sick of mozart, beethoven,
and vivaldi, not that it isn't good) and i"m having a hell of a time
finding it.
any ideas?
- -adrienne
- -
------------------------------
Date: Tue, 12 Oct 1999 12:18:15 +0200
From: Shlomo Weintraub <ba4205@fen.baynet.de>
Subject: Zorn Transriptions
Hi there,
Is there anyone who owns Zorn Transcriptions?
Please mail me, if you have any or if you know where I can get some.
cu Shlomo
- -
------------------------------
Date: Tue, 12 Oct 1999 12:30:36 GMT
From: "Scott Handley" <c123018@hotmail.com>
Subject: Re: Zorn Transriptions
_I_ made transcriptions of CLASSIC GUIDE TO STRATEGY, but no one can read
them but me.
;-)
- -----s
>Hi there,
>Is there anyone who owns Zorn Transcriptions?
>Please mail me, if you have any or if you know where I can get some.
>cu Shlomo
>
>
>-
>
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Tue, 12 Oct 1999 09:36:27 -0400
From: brian_olewnick@smtplink.mssm.edu
Subject: Roulette, Fall Schedule
You can check out the complete schedule at:
http://www.roulette.org
but a few highlights include:
10/16 Robert Black, solo bass, performing works by Lang, Jaggard,
Truax, Dreyblatt and Wolff.
11/26- 28 Derek Bailey with Zorn/Mori/Staley, Ibarra and d 'n' b.
12/3 Robin Holcomb
12/10 Jon Gibson/David Behrman
Buncha folk I don't know but sound intriguing from the descriptions
provided. Can anyone fill me in on:
Michael Evans
Marco Trevisani
Tomoko Yazawa
Clarence Barlow
Jarryd Lowder
- -
------------------------------
Date: Tue, 12 Oct 99 11:35:37 -0500
From: kurt_gottschalk@scni.com
Subject: sumpthin w/ the server or ?
brilliant and insightful as i am, i'm still starting to get tired of seeing my
old messages from the times furor days pop up over and over. i haven't heard
this complaint from other people i write, and i've noticed other messages
resurfacing repeatedly here as well. is something up with the listserv? jess
wondering.
kg
- -
------------------------------
Date: Tue, 12 Oct 99 11:50:14 -0500
From: kurt_gottschalk@scni.com
Subject: lmc/morris
filling the shoes of the esteemed jon abbey, i'll type a few words about the
mazzacane morris duo at tonic friday night.
billed as solos and duo, it turned out to be something slightly different. no
solo joe, unfortunately. the eve started off with loren playing solo, very nice
stuff of the quiet assault style (rather than his deep mellow) before he brought
up percussionist ryan sawyer, who sat at half a kit and played very nice, sparse
bits, very sympathetic to loren's playing. after a short while loren said,
without looking up and without a mike, "we could use some poetry." steve
dalachinsky joined them, but unfortunately wasn't miked either. i could hear him
up front, but i doubt many could.
they took a short break before the morris duet, which turned out to be not what
i had expected. (the road to disappointment is paved with expectations.) i had
pictured loren's wash with joe's fast lines combining to be a sort of
electrified charlie parker with (12) strings. but joe seemed to be working a
little to mesh with loren, and the first of the two long pieces they did ended
up muddied for it. joe stuck to the lower register and picked less, blurring
notes and getting lost a little in loren's sound. maybe that isn't a fair
criticism, but my heart was set on the clean/dirty dichotomy i had imagined.
after the first song, loren said with a funny grin, "you wanna play another
tune?", and the second piece opened with more ground covered between the two. by
the end of that piece, i was really enjoying it, so in the end it was saved i
guess.
the weekend ended with another nice pairing, at the alterknit. the gold sparkle
trio was joined by ken vandermark, and ken and charles waters (w/rhythm section)
met up on two really great pieces, first w/ kv on clarinet and cw on piano, and
then kv on clarinet w/ cw on alto sax and clarinet. don't know how much the trio
practiced w/kv ahead of time, but after loren's duets with ryan and joe, it was
another example of two players really listening to what each other were doing.
i also got bit by mosquitos twice over the weekend, so i expect my brain will
start swelling shortly.
- -
------------------------------
Date: Tue, 12 Oct 1999 09:28:16 -0700 (PDT)
From: Peter Risser <knucklehead000@yahoo.com>
Subject: Prelapse
Somebody asked what the Prelapse album was like.
It's certainly Naked City influenced, seeing as they
do a bunch of Naked City covers, so that's one side.
But they seem to be less... jazz or funk oriented, and
more rock/prog oriented.
Some of their own stuff reminds me of, maybe Dr.
Nerve's skin, maybe a little Pantera (though I don't
exactly know because I don't listen to them, but how I
imagine they sound).
I dunno. I like it.
On this same note, I really like the new Korekyojin,
the new project featuring the Ruins, plus a guitarist.
To me, it's a more logical extension of the Ruins
than some of the other stuff they've done, although
it's less choppy and more proggish in parts, as well
as some more free playing.
Anyway, that doesn't sound like a resounding
endorsement, but I do think it's really good. It's a
nice change from the Ruins stuff that I think is
starting to get a little stale.
Anyway, that's my two cents.
Seeya,
Peter
=====
__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com
- -
------------------------------
Date: Tue, 12 Oct 1999 18:33:25 -0400
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Re: Roulette, Fall Schedule
At 09:36 AM 10/12/99 -0400, brian_olewnick@smtplink.mssm.edu wrote:
>
> Buncha folk I don't know but sound intriguing from the descriptions
> provided. Can anyone fill me in on:
>
> Clarence Barlow
First time I've seen this guy's name in years. Barlow wrote an
ultra-complex 'piano' piece with a completely unpronounceable name, which
was recorded on Wergo in two versions, one played by a human (the virtuosic
Herbert Henck), and one played by a computer. A short biographical blurb
from one of the Wergo Computer Music cds says that he's worked with in
various European computer studios since 1969, that he helped to found
'Initiative Music and Informatics Cologne', and that an interview with him
appears in issue 9(1)(1985) of Computer Music Journal. Sort of a cross
between Ferneyhough and Stockhausen.
- --
Caleb Deupree
cdeupree@erinet.com
It is pretty obvious that the debasement of the human mind caused by a
constant flow of fraudulent advertising is no trivial thing. There is more
than one way to conquer a country.
- -- Raymond Chandler
- -
------------------------------
Date: Tue, 12 Oct 1999 17:50:04 -0700
From: Martin_Wisckol@link.freedom.com (Martin Wisckol)
Subject: Query to Harmon Kardon, Onyko CD owners
I have a Harmon Kardon (sp?) carousel CD changer. I have problems and
I'm wondering what kind of luck other owners are having.
My first one went back under warranty (three months after buying it)
with laser and random-play problems. It was determined it couldn't be
easily fixed, so I was given a store credit. I got the same brand, same
model. Two months later, problems with the carousel (spinning madly,
refusing to stop) and random play. Back in under warranty. If they
decide not to fix this one, I'm pretty tempted to use my credit to get
something else -- perhaps an Onyko (the store is Circuit City).
But if other HK owners have had good luck with there's, I could change
my mind. I'd be grateful for response from HK and Onyko owners.
Martin
- -
------------------------------
Date: Tue, 12 Oct 1999 23:29:42 EDT
From: Orangejazz@aol.com
Subject: Memento Mori, Etc..
About the Memento Mori question posed a few digests back, I think it requires
a lot of isolated thinking, in that, you can't look at it in context with
20th century classical, or even Zorn's past compositions, because it is
simply seperate..It's hard to explain the emotion in this piece, because I
can't fully describe where it's coming from, but I guarantee you that it's
present. Zorn balances the Sado-masochism and a certain tenderness that seems
to never be the focus of his pieces. Maybe I'm way off here, but there's got
to be some other people on the list that were as moved by this piece as I?
Also, if there's anyone familiar with FilmWorks IV, I'm wondering if Zorn's
quoting Erik Satie on the piece Maogai (another severely overlooked brilliant
piece), does anyone else notice, or are my synapses totally inept?
from,
matt
- -
------------------------------
Date: Wed, 13 Oct 1999 15:33:12 CEST
From: "Andreas Dietz" <andreasdietz@hotmail.com>
Subject: GOD MOUNTAIN Label
Hi,
does anyone know if these CDs with Marc Ribot are still available
(distribution for Europe?) or out of print? Is the label still active or
went out of business?
GOD MOUNTAIN GMCD-001 Optical*8
GOD MOUNTAIN GMCD-004 Optical*8*2/The Last Waltz From Distorded
Honky-Tonk
GOD MOUNTAIN GMCD 007 Slut
thanks in advance
Andreas Dietz
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Wed, 13 Oct 99 10:42:34 -0500
From: kurt_gottschalk@scni.com
Subject: noise and news, again
maybe i should be doing p.r. for the village voice, because the 'noise annoys'
thread would have been a nice little piece of hype. kyle gann, who i like
although i'm often not familiar with his subject, does a good piece on
borbetomagus in the current issue (cover date 10/19), in which he talks about
his reactions to noise. it mirrors some of the responses i've seen here, at
least in part. the idea of music that you can't get outside of is really
appealing to me -- sort of like intensely oppressive wallpaper, to extend eno's
analogy.
here's a clip:
"The conceit is to hear music from the inside, to be so pervaded by the noise
that you can't remain separate from it; the total sound mass changes, and you
barely notice how. It's a foreground/background reversal, music turned inside
out. To make it literal, the noise must be inside your head and unescapable."
gann talks mostly about the borbs, of course, but also brings up xenakis,
amacher and branca. ok, so he likes his noise on the arty side. it's still a
nicely written piece, and he doens't bring up anyone's religion.
surprisingly enough, the knight-ridder chain did a nice job of capturing zorn's
aesthetic as well, recognizing that even if zorn names everything for his
heritage, you can write about other things. it's not too long, so i'll paste it
on.
What's new in record racks
Knight Ridder Newspapers
(KRT)
JOHN ZORN "String Quartets" (Tzadik) 3 stars
I doubt the 20th century has produced a more omnivorous musician than John Zorn.
There hardly seems a genre of music anywhere with which he isn't conversant,
from all manner of jazz, classical, rock and film music, to traditional Islamic
music, Japanese noise bands, Jewish music, ad infinitum.
Zorn, to paraphrase critic Fred Kaplan, is a cultural scavenger, rummaging
through the history of recorded sound and assimilating whatever he finds
valuable. At 45, Zorn is best known as an avant-garde jazzman, but he's been
composing classical music for decades. As more of these pieces find their way
onto CD, Zorn's voice seems to grow in stature.
Of his four string quartets, three were commissioned by the Kronos Quartet. They
trace an unpredictable arch, from the downtown-collage aesthetic of "Cat O'Nine
Tails" (1988) through the dark and disturbing surrealism of "The Dead Man"
(1990) to the philosophical and hermetic density of "Memento Mori" (1992) to the
strikingly emotional lament "Kol Nidre" (1996), reflective of Zorn's rediscovery
of his Jewish roots.
"Cat O'Nine Tails" is a Tex Avery-cartoon inspired riot: 14 minutes sliced into
countless stylistic nuggets, epigrams and quotes - from Berg to bluegrass - that
abut each other like randomly spliced film clips. It works because Zorn is so
clever and because his eclecticism is so genuine; he never seems to be slumming.
A suite of 13 miniatures, "The Dead Man" echoes the skull on the CD cover, with
nightmarish textures, disjointed clusters and evocative dissonances and
exploding dynamics. Zorn considers each movement a soundtrack to a short S/M
scenes.
At the other extreme, the eight minutes of "Kol Nidre" unfold in one long
homophonic sigh of humanity. Zorn's melody carries a Jewish inflection, but its
intensity of expression has roots in late Beethoven, especially the cavatina
from the Op. 130 quartet. I have no idea what Zorn's next string quartet will
sound like, but I can't wait to hear it.
- -Mark Stryker
- -
------------------------------
Date: Wed, 13 Oct 1999 14:28:23 -0400 (EDT)
From: Theodorus@webtv.net (Theodorus Klaase)
Subject: Masada
This is a question for people who have 5 or more Masada albums... Which
do you like best? Please email me privately, Thanks....
...Just curious.
- -
------------------------------
End of Zorn List Digest V2 #773
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