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Zorn List Digest      Tuesday, November 16 1999      Volume 02 : Number 791



In this issue:
-
       Re: Mr. silly lounge act
       Marclay and Coltrane
       Re: Taboo and Exile / Masada live in Anaheim CD
       Re: Taboo and Exile / Masada live in Anaheim CD
       In memory of Lester Bowie
       Re: In memory of Lester Bowie
       Re: Taboo and Exile / Masada live in Anaheim CD
       Descension gig
       Re: Coltrane
       [none]
       Re: Music Unlimited report (part 2)
       Re: Taboo and Exile / Masada live in Anaheim CD
       re: "taboo and exile" review
       Re: Taboo and Exile / Masada live in Anaheim CD
       Music Unlimited report (part 3)

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

Date: Mon, 15 Nov 1999 07:49:46 -0800 (PST)
From: =?iso-8859-1?q?A?= <[e-mail]>
Subject: Re: Mr. silly lounge act

The live show, on the other hand, was exceedingly boring.  No
improvisation.
The musicianship was tepid at best.  Even Patton's performance, which
I
managed to enjoy despite its being entirely choreographed, was
glittered
over with typical rock star behavior.  You know, he was screaming
"show
us
your tits" and "start throwing shit at us" and "Alright Chicago!!!"
at
the
crowd all night.  I guess that's what it boiled down to for me ->  it
was a
rock concert.  Rock concerts are typically boring to me, and besides,
Mr.
Bungle is not a particularly good rock band.
- --------------------------
I don`t believe a good show has to have improvisation in it. The band
reworked some of the material to be played in a live context, and
personally I find more value in that than in just seeing what happens
improvising.
The comments by Mike Patton were definitely tongue in cheek, I know
someone who attended the show in question and he knew, and was
laughing throughout Patton┤s remarks. And I believe him.
Changing subjects, I got a copy of Weird Little Boy, a CD-R and
luckily not the original. It┤s crap. Avoid it.
A

=====

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- -

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

Date: Mon, 15 Nov 1999 10:24:54 CST
From: "samuel yrui" <[e-mail]>
Subject: Marclay and Coltrane

Ha... i bet that subject field had you going.  i bet you thought this email
was about marclay and coltrane collaborating at some long lost point or them
growing up together.  nope.
   i was looking to find some recommendations for some good (and available)
Christian Marclay albums.  and perhaps a web site with a complete
discography of Christian Marclay.

  and i was looking for a complete Coltrane disography... can anyone help me
out?
   thanks.
                -samuel yrui





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- -

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

Date: Mon, 15 Nov 1999 12:38:18 -0500
From: Matthew Ross Davis <[e-mail]>
Subject: Re: Taboo and Exile / Masada live in Anaheim CD

Actually I got my copy from DMG - Zorn always makes sure they're fully stocked
and have releases before the actual dates.

- --
||||||||||||||||||||||||||||||||||/Matthew Ross Davis|||
|||||||||||||||||||||artswire.org/mrd|||||||||||||||||||
|||||||||||||||metatronpress.com/mp3||||||||||||||||||||
||||||||||||||||||||||||mp3.com/mrd|||||||||||||||||||||

- -

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

Date: Mon, 15 Nov 1999 12:44:34 -0500
From: "ADM" <[e-mail]>
Subject: Re: Taboo and Exile / Masada live in Anaheim CD

So... are we gonna get an reviews or comments on the actual contents of the
CD?  I've been pretty curious about this release for a while.  Any info
would be appreciated.

- -Aaron

- ----- Original Message -----
From: Matthew Ross Davis <[e-mail]>
To: patRice <[e-mail]>
Cc: Steve Spangler <[e-mail]>; Zorn List
<[e-mail]>
Sent: Monday, November 15, 1999 12:38 PM
Subject: Re: Taboo and Exile / Masada live in Anaheim CD


> Actually I got my copy from DMG - Zorn always makes sure they're fully
stocked
> and have releases before the actual dates.
>
> --
> ||||||||||||||||||||||||||||||||||/Matthew Ross Davis|||
> |||||||||||||||||||||artswire.org/mrd|||||||||||||||||||
> |||||||||||||||metatronpress.com/mp3||||||||||||||||||||
> ||||||||||||||||||||||||mp3.com/mrd|||||||||||||||||||||
>
> -
>


- -

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

Date: Mon, 15 Nov 1999 09:06:44 -0800
From: [e-mail] (Martin Wisckol)
Subject: In memory of Lester Bowie

I wrote a memorium for Lester, and listed my favorite of his
recordings. You can find it at:

www.American-Reporter.com

Go to the  window on the left that says "INSIDE AR TODAY" and drop that
list down.
Click on "CD reviews" and you'll find it there as "In memory and
celebration of Lester Bowie.''

Sorry that I can't find a html that will take you there directly.

Martin

- -

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

Date: Mon, 15 Nov 1999 14:08:09 -0500
From: Joseph Zitt <[e-mail]>
Subject: Re: In memory of Lester Bowie

On Mon, Nov 15, 1999 at 09:06:44AM -0800, Martin Wisckol wrote:
> Sorry that I can't find a html that will take you there directly.

http://www.american-reporter.com/1201/132.html

- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           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, 15 Nov 1999 13:53:36 -0500
From: Matthew Ross Davis <[e-mail]>
Subject: Re: Taboo and Exile / Masada live in Anaheim CD

> So... are we gonna get an reviews or comments on the actual contents of the
> CD?  I've been pretty curious about this release for a while.  Any info
> would be appreciated.

I'm still processing it, but it's along the same lines as the other Music
Romance volume 1 (Music for Children). Not really a 'greatest hits' CD because
they're all new pieces, but definitely - as I described it on my radio show - a
healthy cross-section of Zorn's compositional style.

I'm noticing that several pieces on the CD are very percussive and more
RHYTHMIC in nature than I'm used to from Zorn. When I say that, I mean
repetitively rhythmic, with a 'groove' being created. There are almost no (if
not completely devoid) jumpcut-style pieces, a la Naked City. The string trio
sections are quite nice, and those of you who didn't like the 30 minutes of
wind machines from Music for Children, there's nothing like that on this CD at
all. Lots of guitar work on this one - the ongoing relationship with Ribot
shines through very brightly.

- --
||||||||||||||||||||||||||||||||||/Matthew Ross Davis|||
|||||||||||||||||||||artswire.org/mrd|||||||||||||||||||
|||||||||||||||metatronpress.com/mp3||||||||||||||||||||
||||||||||||||||||||||||mp3.com/mrd|||||||||||||||||||||

- -

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

Date: Mon, 15 Nov 1999 11:25:02 PST
From: "Bruno Bissonnette" <[e-mail]>
Subject: Descension gig

Did anybody here happen to catch Simon Fell's band
Descension (w/Jaworzyn, Irving, Wharf) at the Termite
fest in Leeds this past November 6th?  Any reviews,
impressions?  Was it recorded, did anybody make a tape?

Thanks for any help.
Bruno

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- -

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

Date: Mon, 15 Nov 1999 16:31:00 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: Coltrane

Try David Wild's Web page at

www.//home.att.net/~dawild\

He has done of the definitive Trane discogs and would probbaly have a
link to it and much else.

Ken Waxman

- -

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

Date: Mon, 15 Nov 1999 17:12:03 -0500
From: Rich Williams <[e-mail]>
Subject: [none]

    Has anyone else seen the Columbian Sportswear TV ad?  Its the
one which features people hanging from a cliff by their clothing.
Isn't that Naked City's Batman in the background, or a is it just a
cheesy knock-off?

- -

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

Date: Mon, 15 Nov 1999 20:15:47 -0800 (PST)
From: Tom Pratt <[e-mail]>
Subject: Re: Music Unlimited report (part 2)

> Tetreault had two turntables going, but didn't play
> many records, preferring to get his sounds out of
> the turntables themselves.

This technique of Tetreault's is something Otomo has
picked up on as well. I think it's a really
interesting concept... a turntable with no records;
similarly, Sachiko M generally plays a sample-less
sampler.

I'm really curious to know how Otomo feels about the
current state of sampling and "post-modernism"
(whatever that means) in general. I've yet to come
across anyone who's made more extreme and radical use
of sampling than Otomo did in the early/mid '90s. Now
it seems as if he's attempting to strip his music of
this... I wonder what it is that's spurred this recent
shift, especially considering how culturally conscious
his music tends to be.

A loose quote on sampling from, I think, the lead guy
from Throbbing Gristle (how's that for vagueness):
"Sampling in 1999 is like walking into a dark bathroom
barefoot and searching for a black widow spider that's
not even there."

> next on the main stage was Kazunao Nagata, who's a
> prominent behind the scenes player in the Japanese
> electronica world, as well as having numerous solo
> synth CDs. I think he runs Zero Gravity, and maybe
> some other labels...

Yeah, he runs Zero Gravity and Transonic as well. I
haven't gotten a whole lot out of his music either,
but I'm curious to know how Tagomago compares. From
people's descriptions, they seem a lot more
interesting that Nagata's solo work.

        -Tom Pratt

=====

__________________________________________________
Do You Yahoo!?
Bid and sell for free at http://auctions.yahoo.com

- -

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

Date: Tue, 16 Nov 1999 11:03:00 +0100
From: patRice <[e-mail]>
Subject: Re: Taboo and Exile / Masada live in Anaheim CD

did you get "taboo and exile" or "masada live in anaheim" from DMG?

and, would you mind telling me who or what DMG is. some on-line cd shop?

patRice


Matthew Ross Davis wrote:
>
> Actually I got my copy from DMG - Zorn always makes sure they're fully stocked
> and have releases before the actual dates.
>
> --
> ||||||||||||||||||||||||||||||||||/Matthew Ross Davis|||
> |||||||||||||||||||||artswire.org/mrd|||||||||||||||||||
> |||||||||||||||metatronpress.com/mp3||||||||||||||||||||
> ||||||||||||||||||||||||mp3.com/mrd|||||||||||||||||||||
>
> -

- -

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

Date: Tue, 16 Nov 1999 11:02:51 +0100
From: patRice <[e-mail]>
Subject: re: "taboo and exile" review

hi y'all.

okay, here are my first impressions on "taboo and exile".

the artwork i really like. there is even white printed on white!?!?
great effect!

i could imagine that tzadik ran into difficulties because of one of the
photographs used. is that maybe why the release has been delayed? did
they get hassle again from, what were they called? something like
"committee against anti-asian violence"... wouldn't surprise me.

01. in the temple of hadjarim 5:12
reminds me of the track "pueblo" off of filmworks IV. ambient-ish with
organ/piano playing over it. nothing new, but nice to listen to.

02. sacrifist 4:50
is this the follow-up band to painkiller? sounds like it. featuring
frith/ribot/laswell/lombardo. i love painkiller, and think they sound
better and are more intense on their releases than this track here.

03 mayim 3:27
could have just as well been released on masada string trio. nice to
listen to.

04 koryojang 6:21
cyro baptista/joey baron duo. has a straight rhythm going through with a
bit of soloing over it. i'm a huge fan of joey, baptista i'm not always
too sure about... but this track i find rather boring and uninspiring.

05 bulls eye 1:08
sort of naked city/torture garden style. feat.
patton/quine/ribot/wood/cain. nothing very new...

06 zeraim 6:19
is this maybe part of "the circle maker/bar kokhba: lost tapes"? again:
nothing very new, but nice to listen to.

07 thaalapalassi 10:21
same line-up as on track 2. it's got an ambient-ish element to it, and
reminds me of naked city's leng t'che. but not as good. maybe baron on
drums would have made a bit of a difference?

08 makkot 2:59
feldman/friedlander/cohen. like track 3 this could have just as well
been on masada string trio.

09 tiki for blue 6:59
feat. ribot/saft/cohen/rodriguez. great ribot guitar work. the way i
love him. the track is very laidback. this kind of band i would love to
be playing in my bar, somewhere on a sunny beach, with a cocktail in my
hand. so far my fave on this cd.

10 the possessed 6:17
frith/laswell/lombardo and zorn! (the only track he plays on.)
painkiller part 2. whatever... nothing new (how many times have i said
this now?), but i think zorn's sax playing here is absolutely
fan-fucking-tastic! parts of it are breathtaking!

11 oracle 4:24
a very laidback and easy-going track with a female vocalist. feat.
baptista/saft/friedlander. something you can play in the background,
wont offend anyone. not even my grandmother...

12 koryojang (end credits) 2:25
again baptista/baron. see comment on track 4...

what can i generally say about this cd? if you're a zorn completist: buy
it. if you liked painkiller/masada string trio/filmworks IV, and would
like to hear variations on that kind of music: buy it. if you want
something groundbreaking and are expecting something different and new
from mr. zorn: do not buy it! you'd be disappointed, i think.

these were my first impressions... but don't they sometimes last
forever? don't know... i might see it differently in a year or two...
;-)

i am very much interested in what other people think about this release.

patRice


ADM wrote:
>
> So... are we gonna get an reviews or comments on the actual contents of the
> CD?  I've been pretty curious about this release for a while.  Any info
> would be appreciated.
>
> -Aaron
>

- -

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

Date: Tue, 16 Nov 1999 05:25:41 EST
From: [e-mail]
Subject: Re: Taboo and Exile / Masada live in Anaheim CD

In a message dated 11/16/99 5:04:46 AM, [e-mail] writes:

<< and, would you mind telling me who or what DMG is. some on-line cd shop?
>>

Downtown Music Gallery, NYC's home to all things that are Zorn-related. web
site: www.dtmgallery.com, e-mail: [e-mail]

Jon
www.erstwhilerecords.com

- -

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

Date: Tue, 16 Nov 1999 05:56:33 EST
From: [e-mail]
Subject: Music Unlimited report (part 3)

unsurprisingly, I was a bit burnt out after the eight hour extravaganza of
Saturday night. so I spent Sunday during the day lying around my hotel room,
watching the World Fencing Championships on EuroSport and just relaxing. the
music started again at 6.

this seemed to be the main showcase day, with at least three of the four
bands on the main stage being major reasons for my attendance. it ended up
being my favorite of the three days, although part of that could have been
the accumulation of the three days.

first up, on the main stage, was the guitar trio of Keith Rowe, Taku Sugimoto
and Otomo. when pondering this one beforehand, I found it a bit hard to
conceive, but it worked brilliantly. Rowe and Otomo built their music around
Sugimoto's sound, and the results were delicate, hypnotizing, the quietest of
drones, like a spider's web which could be blown away by a strong wind. this
was only their second show together in trio form (the first was in London in
early November), but you'd never know it from listening. Rowe mostly provided
the bottom, occasionally throwing in a bit of shortwave to spice things up.
Sugimoto played his typical style (which if you haven't heard him, is roughly
equivalent to a Japanese Loren Mazzacane), but even more sparse and quiter,
if you can imagine. for parts of the show, he rubbed his strings with a
feather duster. Otomo mostly quietly bowed a tabletop guitar in his lap.
truly spellbinding.

Rowe told me later that the idea behind this piece was to set the mood for
the Gunter Muller/Voice Crack/Erik M. set, which was next up on the main
stage, providing an overture (his term) for them, and allowing them to begin
where the guitar trio had left off. this fit in well to my perception of the
festival in general, which was that it really worked as a unified whole, a
giant mass of music, more than it did as discrete, separate sets, as a
festival like Victoriaville does. part of this was because there were
virtually no breaks between sets, but part was because it was almost all very
cleverly programmed by our man Otomo.

next up on the small stage was Toshimaru Nakamura, who is one half of Repeat
(recent CD on For 4 Ears) and also has a duo CD with Sachiko M. on Meme. this
was very similar to his work on those CDs, neither of which I find overly
impressive. quiet, repetitive electronic pulses. a short set, and given the
high bar that had been set at this point, not especially compelling.

then came the highly anticipated set of Gunter Muller, Voice Crack (Norbert
Moslang and Andy Guhl), and Erik M. I had listened to their brand-new CD
(also on For 4 Ears, not quite available in the US yet) earlier in the day in
preparation, although this turned out to be much different from that (not to
minimize how good the CD is, because it's superb; after two listens, it's
among my favorites of the year). this was only their third show together as a
foursome. they started off with a gradual build (in retrospect, beginning
from the endpoint of the guitar trio), and eventually end up in a powerful,
pulsating tone field. I wrote in my notes at this point, "a journey through
the future of music." just when you get a grasp on it, it twists away and
changes radically to something entirely different. the set lasts more than an
hour, and they slowly wind down to a groove roughly aking to a muted,
non-abrasive car alarm. a real sonic journey, leaving me with the feeling I'd
covered an immense amount of territory during the course of the set. a vast,
action-packed adventure, leaving me a bit weary, but with a sense of
accomplishment, and also a sense of having witnessed something momentous.

at this point, it would have been nice to walk around in the fresh air for an
hour, and try to process some of what I had just seen in the previous two
sets. instead, I went to the next set.

which was Kaffe Matthews again, this time solo. she played a nice set of
varied electronics. for a stretch in the middle, she played her table-top
violin, which was processed through so many filters as to be unrecognizable.
enjoyable, and impressive enough that I went and picked up her most recent
CD, CD Cecile (Annette Works), afterwards.

next on the main stage was a third highly anticipated event, the world debut
performance of Otomo's New Jazz Quintet (which you can hear a bit of, with
two added vocalists, on track 8 on the recent Plays the Music of Takeo
Yamashita (P-Vine). the instrumentation is two horn players, Otomo mostly on
guitar, bass and drums. the first piece begins and ends with a drone from
Otomo's tone generator, and it's present, behind the music, throughout the
piece. besides that, the music is Ornette-derived jazz, with a loping
bassline, skittering drums, Otomo on rhythm guitar, doing his best Grant
Green imitation, and long, mostly melodic horn solos. the second piece omits
the electronics, making it less interesting to me, but the audience was still
eating it up, and it was somewhat refreshing as a change of pace. this piece
was closer to mid-sixties Blue Note than Ornette. basically pretty
conventional, intricately arranged jazz. the third piece, Otomo announces as
"Night Lights, by Gerry Mulligan". for some reason, some snickers come up
from the audience, and he says "no, really." the band is beginning to settle
in a bit now, there's a beautiful statement of the theme, they then begin to
slowly deconstruct it, with the rhythm section still playing fairly
straighforwardly, but the horns gradually moving into skronk territory. they
leave the stage to riotous applause, and this last piece, at least,
definitely deserved it. when they came back to play an encore, they weren't
prepared with any more material, so they had a huddle in the middle of the
stage, where Otomo explained to the horn players exactly what they were
supposed to do. unsurprisingly, the encore was a bit ragged, but still
energetic and pretty good. all in all, a nice set, and despite my previous
references, surprisingly uncategorizable in terms of past jazz history. I'd
be very curious to hear a record by these guys.

next was the last act of the festival on the small stage, Taku Sugimoto and
Annette Krebs. I was looking forward to seeing Sugimoto solo for the first
time, so when Krebs was added to this bill at the last minute, I was kind of
bummed. Keith Rowe had told me earlier in the weekend (sorry for the
namedropping, I'm trying to only do it when I feel it's useful and directly
relevant) that one had to be very careful collaborating with Sugimoto, as his
music is very delicate. he and Otomo had done this wonderfully eariler in the
evening, but here Krebs didn't allow him the space and breathing room that
his music needs to flourish. not as bad as when Donald Miller stomped all
over him in NYC a couple of years ago, but not what I had hoped for.

then, the final act of the festival, HOAHIO, a band of three Japanese women
(Haco, Sachiko M., and Yagi Michiyo). I ws looking forward to this set also,
after their surprisingly good set in Victoriaville, but I got wrapped up in a
conversation after the Sugimoto set, and missed most of it. I saw the last 15
minutes or so, which was good, but hardly enough to get too much of an
impression from, especially in my music-saturated state at that point.

so, 25 acts, 20 hours of music, all in the space of 53 hours. only three or
four sets that were truly memorable, but the experience as a whole was
unforgettable.

Jon
www.erstwhilerecords.com

- -

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

End of Zorn List Digest V2 #791
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