home
***
CD-ROM
|
disk
|
FTP
|
other
***
search
/
ftp.xmission.com
/
2014.06.ftp.xmission.com.tar
/
ftp.xmission.com
/
pub
/
lists
/
zorn-list
/
archive
/
v02.n841
< prev
next >
Wrap
Internet Message Format
|
2000-01-24
|
22KB
From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V2 #841
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 Monday, January 24 2000 Volume 02 : Number 841
In this issue:
-
Re(2): Taboo and Exile Photo
RA2WAV program
Re: hip, I'll sign with them
Hans Bellmer (was: Taboo and Exile Photo)
opinion on Tzadik albums
Re: Holbrooke on incus
Re: dave d. and indie cool
Shirts
Taboo picture
Warsaw Summer Jazz Days 2000
Re: Conjure on CD
Re: Holbrooke on incus
indie cool, cont'd
Re: Tim Berne - "Afternoon Tea"
Fred Frith
Re: Fred Frith
Re: dave d & indie cool
Re: dave d & indie cool
----------------------------------------------------------------------
Date: Sat, 22 Jan 2000 18:24:52 -0500
From: Matthew Ross Davis <mrd@artswire.org>
Subject: Re(2): Taboo and Exile Photo
Heh...leave it to zorn. I wondered what the credit for the "secret
photograph" was.
On Sat, Jan 22, 2000, ADM <adm226@is9.nyu.edu> wrote:
>Whoa mother! I didn't notice that or the hardly viewable picture that hides
>the underneat picture!
>
>
>----- Original Message -----
>From: J.M. Schuller <kwashikor@hotmail.com>
>To: <zorn-list@lists.xmission.com>
>Sent: Saturday, January 22, 2000 2:47 PM
>Subject: Taboo and Exile Photo
>
>
>> Has anyone noticed the secret photograph hidden under the tray in Taboo
>and
>> Exile? You must take the tray out and look under the art....
>> Taboo indeed...
>>
>>
>> ______________________________________________________
>> Get Your Private, Free Email at http://www.hotmail.com
>>
>>
>> -
>>
>
>
>-
>
>
- --
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
| | m - a - t - t - h - e - w | r - o - s - s | d - a - v - i - s | |
| | http://www.artswire.org/mrd | | | | | | | | | | | | | | | | | | |
| | http://www.metatronpress.com | http://www.artswire.org/comma | |
| | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | | |
- -
------------------------------
Date: Sat, 22 Jan 2000 20:03:25 EST
From: Dgasque@aol.com
Subject: RA2WAV program
Just in case anyone is still looking for a copy of this program, I found one
at the Australian ZDNet site. Sorry- I didn't bookmark it, but I found it
with a Yahoo! search using RA2WAV as the keyword. Pretty neat program...
=dg=
- -
------------------------------
Date: Sun, 23 Jan 2000 03:03:44 EST
From: Acousticlv@aol.com
Subject: Re: hip, I'll sign with them
In a message dated 1/22/00 8:27:56 PM, you wrote:
<<had people like Ornette Coleman on the label so that year's
> (week's) pop sensation could see that person's presence and figure "Hey
> Columbia is hip, I'll sign with them."
>>
I remember reading decades ago in Rolling Stone, when it was a two-sectioned
newsprint music magazine, an exec at Warners admit they only kept Van
Morrison on the roster for their own prestige.
Steve Koenig
- -
------------------------------
Date: Sun, 23 Jan 2000 11:09:28 +0100
From: "Artur Nowak" <arno@emd.pl>
Subject: Hans Bellmer (was: Taboo and Exile Photo)
Hi Philozorners!
> Has anyone noticed the secret photograph hidden under the
> tray in Taboo and
> Exile? You must take the tray out and look under the art....
> Taboo indeed...
For me it changed the perception of the music from this album.
Zorn is very concious about the function of the cover art, and "Taboo
and Exile" is one of the best examples. Some may say, that music
doesn't need such "extras" as special cover art, and this Zorn's
approach (to add something to the music through cover art) is an
evidence of "weak" music. It's true, for most of the pop artists
though. Sometimes the cover art of an pop record is worth more than
the music. Most of the jazz artists don't care about the cover, mostly
because they are "blind" - I mean, they are concentrated on the music
and they don't pay attention to other forms of art. Zorn is an
exception here, in this sense, he is one of the few renaissance-type
of artists in our century. Not only his ears are wide open, but also
his eyes.
Also, I think Zorn has a kind of educational mission, I'm almost
positive he admitted it in one of the interviews: he wants to make
people aware of other artists, and their work. If you put a photo of
the band on the cover of the album, well, people only know how the
band looks like. But if you put someones art, the people who will buy
this record will learn about it. Like the cover of "Absinthe": photo
by Hans Bellmer "Les Jeux de la Poupee" - but who is Hans Bellemr? I
was shocked when I learned, that the was an artist form... the city I
live in: Katowice in Poland! He was german though, since we was born
in 1902 when the city was german. My friend found for me an album with
the photos of his puppets. Amazing art! Thank you Mr Zorn!
__________________________________________________________________
Artur Nowak [arno AT emd.pl]
www.emd.pl - Discography of Bill Frisell
- -
------------------------------
Date: Sun, 23 Jan 2000 13:13:40 -0400
From: "Neil H. Enet" <nilugo@usa.net>
Subject: opinion on Tzadik albums
Hello list,
I need your opinion regarding some Tzadik albums. The thing is that I live
in Venezuela and well, to see a TZADIK release here is the rarest thing on
earth. Anyway, these are the albums:
JOHN ZORN: the book of heads
JOHN ZORN: angelus novus
MARC RIBOT: shoe string symphonettes
KRAMER: let me explain something to you about art
JOHN SCHOTT: in these great times
thanks again
Neil H. Enet
- ------------
- -
------------------------------
Date: Sun, 23 Jan 2000 19:38:31 +0100
From: "Stefan Verstraeten" <stefan.annik@planetinternet.be>
Subject: Re: Holbrooke on incus
>From: "David J. Keffer" <keffer@planetc.com>
>Earlier, I had asked for a review of the Joseph Holbrooke cdep on
>INCUS and some folks expressed interest but no one had heard it yet.
Sorry to read this since I gave a review of this cd at the zornlist around
the time it was released ( Karen Brookman of INCUS records keeps me updated
on what happens on the label, and for thanking her, I mention this release
on the zornlist, including her email address where it can be ordered)
I actually mentioned that the cd is also a cd-rom that shows some more
details, but I had some difficulties of getting access at some chapters, and
was asking if other people had similar problems.
Best wishes
Stefan Verstraeten
NP Derek Bailey and Steve Lacy: Outcome (a re-release on the potlach
label... will hit the stores soon)
- -
------------------------------
Date: Sun, 23 Jan 2000 16:01:07 -0800 (PST)
From: =?iso-8859-1?q?A?= <Enfermo@rocketmail.com>
Subject: Re: dave d. and indie cool
Well, cool bands that went from indie to major without getting hurt
in the process are Faith No More (WCAL was on some shitty
label)...the aforementioned Boredoms, Jane┤s Addiction...um,
Cathedral released a pretty cool CD in Columbia, The Ethereal Mirror,
and were dropped (of course, much more of them were dropped but the
issue here is artistic quality and not financial results), Fudge
Tunnel and Carcass got fucked pretty bad by Columbia Records after
their merging w-Earache didn┤t turn out like they expected...
A
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com
- -
------------------------------
Date: Sun, 23 Jan 2000 17:14:04 -0700
From: =?iso-8859-1?Q?=A2hris=20=A7undberg?= <shangomoons@yahoo.com>
Subject: Shirts
Well, as Artur was mentioning how Zorn seems to be trying to get his
listeners into other groups, I was thinkign of a particular photot out
of Sonora. Not someone else's, but one of Zorn. It's on the first page
of "John Zorn's Theatre of Musical Optics" On his t-shirt, it says "The
Accused" and below that it says "Martha Sucks Brains." Is The Accused a
band? Anyone know where I can get a similar shirt?
<out>
║óº║
Pun Intended
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com
- -
------------------------------
Date: Mon, 24 Jan 2000 01:49:46 +0100
From: "Rob Allaert" <rob.allaert@charity.nu>
Subject: Taboo picture
"At that time we noticed for the first time [John Zorn's] passionate
interest in [Children]."
About the picture:
What's the difference between displaying and approving ?
- -
------------------------------
Date: Mon, 24 Jan 2000 10:37:29 +0000
From: Marcin.Witkowski@ccmail.eu.sony.co.jp (Marcin Witkowski)
Subject: Warsaw Summer Jazz Days 2000
Hi
You can find almost final WSJD 2000 program at my web site:
http://www.geocities.com/bromwit
Bye
Marcin
- -
------------------------------
Date: Mon, 24 Jan 2000 08:39:36 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Conjure on CD
On Sat, 22 Jan 2000 19:20:47 -0500 "Sean Terwilliger" wrote:
>
>
> I have both Conjure albums on CD - The first on Pangaea and the second on
> American Clave. Haven't seen either of them around in ages though. THis
> first might have been reissued by Rounder when they had the AC distribution.
- ------------------------------------------------------------------------------
021 - CONJURE: Music For The Texts Of Ishmael Reed
1984 - American Clave, AMCL 1006 (LP)
1995 - American Clave, AMCL 1006 (CD)
- ------------------------------------------------------------------------------
1995, then not too long ago.
Patrice.
- -
------------------------------
Date: Mon, 24 Jan 2000 08:50:08 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Holbrooke on incus
On Sun, 23 Jan 2000 19:38:31 +0100 "Stefan Verstraeten" wrote:
>
> NP Derek Bailey and Steve Lacy: Outcome (a re-release on the potlach
> label... will hit the stores soon)
Darn! I was at the concert.
Patrice.
- -
------------------------------
Date: Mon, 24 Jan 2000 12:24:14 -0500
From: kurt_gottschalk@scni.com
Subject: indie cool, cont'd
Caleb sez:
we would probably not all be here together if JZ hadn't gotten his deal on
Nonesuch and we were relying on his Parachute releases for knowledge of his
activities.
good point, although given zorn's entrepreneurial bent (not a criticism by any
means), i can't imagine that he wouldn't have ended up in the same place, if by
a different route. i don't think a short-lived deal with nonesuch (which i
understand he wasn't entirely pleased with) made him the producer and figurehead
he is today.
so when does a label become major? is it a matter of resources? distribution?
being owned by seagrams? i wouldn't call tzadik a major label, but it's
certainly well distributed and somewhat widely recognized (compared to screwgun
or hopscotch or aum fidelity anyway). i think the fine young trio satleh must be
tickled to get more exposure than they probably would have imagined anytime soon
with a release pairing them with the masada string trio (slated for release late
this year, i believe). but then, it won't be getting them stand-up displays at
hmv or guest shots on jay leno. or is being a major label like being a member of
the u.n. -- you're in because you're in and someone else isn't because they
ain't? just wondering...
kg
- -
------------------------------
Date: Mon, 24 Jan 2000 13:45:56 -0500
From: Dan Hewins <dan@synsolutions.com>
Subject: Re: Tim Berne - "Afternoon Tea"
At 11:05 AM +1100 1/22/00, Julian wrote:
> > Being the group's first performance, some of the changes were not as
> > smooth as they could have been. Tim had to eye the other players to
> > let them know a new part was coming. I noted that Tom Rainey did not
> > need these cues. It seems he may be Tim's right hand man.
>
>I don't know much about Berne's compositional style, but from this
>description I was wondering: is it possible that the cues being given were
>quite necessary "end of solo" type cues that would be different for every
>performance? And the reason the drummer didn't need them was that he would
>just play through them while the other instruments needed to change for the
>new section? Just curious, I have heard very little Tim Berne...
Some of the cues were of that nature but others were transitions from
one composed section to another. Tom Rainey just seemed to know the
music in and out (or was able to read the charts very well.
Dan Hewins
- -
------------------------------
Date: Mon, 24 Jan 2000 17:39:02 -0500
From: "Ljova" <L@Ljova.com>
Subject: Fred Frith
Hi.
Two Weeks ago, on Herb Levy's "Mappings" program, I heard a delightful piece
by Fred Frith, called the "Disinformation Polka".
Today, I received a copy of Guy Klucevsek's album "Transylvanian Softwear",
which contains a recording of the same piece, but, however, in an
arrangement for solo accordion.
While I like Mr. K's playing, I liked the arrangement with drums better. Can
that be found somewhere, on some label, etc.?
Thank you!,
Ljova
- --------
Lev "Ljova" Zhurbin
L@Ljova.com
http://www.Ljova.com/
"There is no spoon."
-("The Matrix")
- -
------------------------------
Date: Mon, 24 Jan 2000 14:43:50 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Fred Frith
On Mon, 24 Jan 2000 17:39:02 -0500 "Ljova" wrote:
>
> Hi.
>
> Two Weeks ago, on Herb Levy's "Mappings" program, I heard a delightful piece
> by Fred Frith, called the "Disinformation Polka".
>
> Today, I received a copy of Guy Klucevsek's album "Transylvanian Softwear",
> which contains a recording of the same piece, but, however, in an
> arrangement for solo accordion.
>
> While I like Mr. K's playing, I liked the arrangement with drums better. Can
> that be found somewhere, on some label, etc.?
Might be:
- ------------------------------------------------------------------------------
187 - ?WHO STOLE THE POLKA? Guy Klucevsek
Guy Klucevsek interprets compositions by William Obrecht, David Garland,
John King, Fred Frith, Peter Zummo, Bill Ruyle, Lois V Vierk, Phillip
Johnston, Thomas Albert, Carl Stone, Mary Jane Leach, David Mahler, Elliott
Sharp, A. Leroy.
4/ The Disinformation Polka (Fred Frith) 4:06
Recorded at Baby Monster Studios, New York in July 1991
(4,13) recorded at Baby Monster Studios, New York in January 1990
Produced by Bobby Previte
Guy Klucevsek: accordion, vocals; John King: electric guitar, electric vio-
lin, dobro, vocals; David Hofsta: Fender bass, doublebass, tuba; Bill Ruyle:
drums, marimba, triangle; David Garland (1,2,9,12,14): voice, whistling;
Thomas Buckner (8): voice; Nicolas Collins (9a): trombone-propelled electro-
nics; Jaguar Wishbone Connecticut (1,2,4,7,13): drums; Erik Friedlander (5,
8): cello, vocals; Mary Rowell (5,6,8,9a,10,14): violin, vocals; Elliott
Sharp (13): voice, tenor; Dubmeister Wally (9a); Douglas Wieselman (7): cla-
rinet.
1991 - Eva (Japan), WWCX 2037 (CD)
1996 - Evva (Japan), ??? (CD)
Note: Fred Frith does not play on this record.
Note: Bobby Previte appears under an alias ("Jaguar Wishbone Connecticut").
- ------------------------------------------------------------------------------
Patrice.
- -
------------------------------
Date: Mon, 24 Jan 2000 18:23:34 EST
From: Nudeants@aol.com
Subject: Re: dave d & indie cool
I'd like to add that, as the jazz buyer for Tower here in Philly, I've
already been approached by the BMG rep about the new Dave Douglas (granted,
she's a jazz/classical specialist) about the recent signing and forthcoming
new release. She provided me with a copy of the latest cover story from
JazzTimes or whichever poopy music mag it was. To boot, there will be a Dave
Douglas display specially devoted to the new release.
I shit you not.
matt
- -
------------------------------
Date: Mon, 24 Jan 2000 21:22:37 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: dave d & indie cool
JonAbbey2@aol.com wrote:
> ssmith36@sprynet.com writes:
>
> << While I can't think of many alternative rock bands that truly flourished
> after passing from an indie to a major since Nirvana >>
>
> I'm not exactly sure whether you're talking about artistically or financially
> flourishing here.
Well, upon reflection, I guess I meant both and neither at the same time. (Huh?)
You are most definitely right on the money in everything you say about Boredoms,
Ween, Stereolab and Monster Magnet, artistically. But in none of these cases has
this resulted in any kind of huge leap in mainstream awareness of these acts
(Stereolab a minor exception, perhaps), I'd argue. And most likely the sales
figures reflect this to varying degrees.
Have any of these bands (again, Smashing Pumpkins and the currently-being-sued
Hole aside) sold so much more because they're on a major? Debatable. Have they
received more press attention because they are or were on a major? Most likely,
but even that's arguable - for such bands, a feature in Magnet means more to fans
than a feature in People, anyway. Have their records been stocked by (and
subsequently returned by) more stores across the USA? Almost assuredly.
In a subsequent e-mail A. made some good points about what happened when Faith No
More and Jane's Addiction hit the majors - both improved demonstrably on an
artistic level, resulting in well-deserved and comparatively vast sales, and I'd
argue that it was largely because of major label recording schedules and
budgets. In the former case, it also helped that Mike Patton happened to replace
Chuck Mosely, but even that might not have had the same impact if there hadn't
been major label funds to make the breakthrough video for "Epic" - nothing they
did after that single had nearly the same aboveground impact. In the latter
case, major label recording bucks definitely helped Jane's Addiction get the
totality of their package across... no matter how cool the original Triple X
version of "Jane Says" might have been, nothing on that live debut album could
have propelled the band into the spotlight in the same way that the titanic (and
no doubt expensive) production of 'Nothing's Shocking' did. And it's also clear
that none of the various side projects of the various Jane's members has been
able to recapture that initial rush... but I'll bet that 'Nothing's Shocking' and
'Ritual de lo Habitual' are still selling.
I guess those are two more examples to add to Jon's regarding indie bands whose
quality of output improved after switching to the majors. On the other hand,
Husker Du improved not at all, and fell apart in a hurry... Same with fIREHOSE.
Re: the Columbia/Earache merger, ill-advised on all parts: none of the Earache
bands did their best work for Columbia, though maybe Cathedral came close (and
for some reason Earache continues to claim 'Fear, Emptiness, Despair' as some
kind of high water mark for Napalm Death - NOT). And Carcass, in mainstreaming
their approach for their one Columbia release, went a long, long way towards what
the true grindcore fans would (and DID) call "selling out" - mind you,
'Heartwork' is one of my very favorite albums of all, but it's not an especially
good representation of what Carcass was originally all about - and they STILL
managed to get screwed and then dropped.
I'm surmising that at some point there really is a fundamental difference between
alternative art and popular culture, and no matter how a major may try to co-opt
the indie cred of an alternative label or act, eventually there's nothing major
label money alone can do to break and sustain a radically different band. (Most
of the abovementioned success stories where sales are concerned are bands based
in some significant way upon the received and embalmed rock tradition[s].) You
can put the Boredoms in the bins of the most mainstream store in the heartland
and maybe even get a review planted in Entertainment Weekly, but can you maken
the *average* heartland buyer want to purchase their recordings? And if the
answer is no, is it because the Boredoms have in some way failed?
Or another way to state it: does every alternative success stand a chance of
becoming a mainstream success?
It'll be interesting to see how the mainstream will embrace Dave Douglas's
clearly and understandably jazz-based sextet in a tribute to Mary Lou Williams,
given his indie cred, and even more interesting to see how they react to
subsequent recordings by Charms of the Night Sky and beyond.
Steve Smith
ssmith36@sprynet.com
- -
------------------------------
End of Zorn List Digest V2 #841
*******************************
To unsubscribe from zorn-list-digest, send an email to
"majordomo@lists.xmission.com"
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 zorn-list-owner@lists.xmission.com