Last week's show featuring low-range instruments (tubas, bass
clarinets, contrbasses, etc) is in the archive now.
Bests,
Herb
- --
Herb Levy
NEW MAILING ADDRESS: P O Box 9369 Forth Wort, TX 76147
NEW PHONE: 817 377-2983
same old e-mail: herb@eskimo.com
- -
------------------------------
Date: Mon, 28 Feb 2000 14:20:42 +0100
From: patRice <gda@datacomm.ch>
Subject: Re: The complete Masada Songbook
Julian wrote:
>
> > >i'm a musician/dj, and i wouldn't want people to cd-r my stuff for their
> > >relatives or mates...
>
> Wouldn't you prefer that your music gets heard though, especially
> considering that these relatives/friends probably have very little
> intention of buying their own copy of the cd?
>
> -
well - if they put a track or two on a compilation just to tease them,
okay.
but if the relatives/friends didn't appreciate the music enough so
they'd want to pay money for it. then i probably wouldn't care.
must admit though, that this is a tricky question...
yours,
patRice
- -
------------------------------
Date: Mon, 28 Feb 2000 15:03:55 +0100
From: Verstraeten Stefan <stefan.verstraeten@wkb.be>
Subject: RE: Art of Memory.
Hi,
This is an album by fret frith and john zorn on the incus label.
Actually this is a tribute for derek bailey and evan parker.
What to expect? Good free jazz playing in the same vein as those two
master-improvisers.
In my opinion it is a lot better that the other album on incus by john zorn
and eugene chadbourne "in memory of nikki arrane" or something like that.
If you can trade, please do so, it is wonderful album
best wishes
Stefan Verstraeten
- -----Original Message-----
From: Theo Klaase [mailto:river_of_dogs@yahoo.com]
Sent: zondag 27 februari 2000 1:02
To: Zorn List
Subject: Art of Memory.
Can anyone tell me what this album is about? I'd like
to trade someone something for it.
- -
------------------------------
Date: Mon, 28 Feb 2000 15:06:46 +0100
From: Verstraeten Stefan <stefan.verstraeten@wkb.be>
Subject: RE: kletka red - european dates
Hi,
This wonderful band also has a second album (the first one being on tzadik).
I did not hear it so far, but it is available on staalplaat and on midheaven
mail order companies
Best wishes
Stefan Verstraeten
- -----Original Message-----
From: john rust [mailto:johnrust@blinx.de]
Sent: zaterdag 26 februari 2000 22:18
To: zorn list
Subject: Fw: kletka red - european dates
Just got it from Leonid Soybelman from Kletka Red /debut-CD Hijacking on
Tzadik. the band features Tony Buck (ex-Ground Zero, The Necks, Peril), Andy
Moor (The Ex, Dog Faced Hermans) and Joe Williamson/...
Don't miss -
- -
------------------------------
Date: Mon, 28 Feb 2000 15:23:35 GMT+0100
From: "Jeroen de Boer" <Usva-Th2@bureau.rug.nl>
Subject: Re: how did it happen?
Hi all,
Well let's see. My first encounter with Zorn was when I listenend to
the infamous Earache Grindcrushes compilation. I was very much
interested in complex death metal, which was the reason for
listening to the album in the first place. Being confronted with
Naked City was a musical experience I never had before: NC combined
all the aspects in music I was interested in: intelligence,
improvisation, humor, power.
I didn't however look for other NC pieces, but instead focused on
similar approaches within the metal-genre. I didn't find bands who
could include humor in their music though. It was a total relief to
learn about Zappa then.
So at that moment I was on the one hand listening to brutal, complex
death metal (Death, Cynic, Atheist, Atrocity, Sadus, Nocturnus,
Confessor) and on the other hand to Frank Zappa.
When reading and hearing about all the artists' influences I started
to become interested in jazz, jazzrock and contemporary classical
music. This involved the work of a.o. Stravinsky, Chick
Corea, Marvin 'Smitty' Smith and Tribal Tech. I am a drummer, so
listening to the music of these composers/ artists was quite a
natural step for me.
I also had a strong preference for so-called techno-metal groups like
Watchtower, Secrecy and later on Dream Theater and Fates Warning,
which led me to the progressive rock field (King Crimson, Yes).
At a certain point I started developing a friendship with someone who
had a large collection of videotapes, including a recording of Naked
City live at the BIMHuis in Amsterdam. This brought me back to Zorn's
music and after seeing Masada live at the Groningen Jazz Maraton
Festival it became sort of an obsession...
At the moment I am mainly listening to Zorn and related music
(ranging from Boredoms to Tzadik releases such as Mark Dresser, Tetsu
Inoue and Gisburg) and electronic/electro-acoustic works (ranging
from Mego-stuff, Jake Mandell to Francis Dhomont, Sachiko M and Eric
La Casa), but my taste for metal is still alive. Some groups I
recently heard and are suprisingly good: Dillinger Escape Plan,
Control Denied, Candiria, Gordian Knot.
Best wishes,
Jeroen
- ----------------------------------------
Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: 031 (0)503637513
fax: 031 (0)503632209
J.T.de.Boer@let.rug.nl
usva-th2@bureau.rug.nl
http://www.cyberslag.com
- ----------------------------------------
- ----------------------------------------
Jeroen de Boer
co-initiator Cyberslag Foundation
music director Open Electronic Festival
Munnekeholm 10
9711JA Groningen
The Netherlands
tel: 031 (0)503637513
fax: 031 (0)503632209
J.T.de.Boer@let.rug.nl
usva-th2@bureau.rug.nl
http://www.cyberslag.com
- ----------------------------------------
- -
------------------------------
Date: Mon, 28 Feb 2000 07:36:48 -0800
From: Daryl Loomis <DRL@valley-media.com>
Subject: Re: Art of Memory.
I haven't heard the work in a few years now, but from what I remember (though I guess I didn't have such a trained ear then), I was not too fond of it. Maybe it's that it is just Zorn & Frith freely improvising for 60 minutes and I wish for a rhythm section, but if you are a fan of totally free improvisation, I think it is a work one could really get into. Me, I really like a rhythm section to keep the work moving. Put Joey Baron or Mick Harris behind them, and I'd be willing to bet that I would still have the album.
Daryl Loomis
drl@valley-media.com
- -
------------------------------
Date: Mon, 28 Feb 2000 11:34:35 -0500
From: Matt Laferty <bg60009@binghamton.edu>
Subject: Re: Art of Memory.
If I remember correctly, the track "Table" was a monster. It is an
atmospheric record, rather than a "Classic Guide to Strategy plus guitar"
type record. It fits in with the Incus aesthetic, in my opinion.
m.
At 07:36 AM 2/28/00 -0800, Daryl Loomis wrote:
>I haven't heard the work in a few years now, but from what I remember
(though I guess I didn't have such a trained ear then), I was not too fond
of it. Maybe it's that it is just Zorn & Frith freely improvising for 60
minutes and I wish for a rhythm section, but if you are a fan of totally
free improvisation, I think it is a work one could really get into. Me, I
really like a rhythm section to keep the work moving. Put Joey Baron or
Mick Harris behind them, and I'd be willing to bet that I would still have
the album.
>
>Daryl Loomis
>
>drl@valley-media.com
>
>
>-
>
>
Matt Laferty
Ph.D. Candidate
Department of English, General Literature, & Rhetoric
Binghamton University
PO Box 6000
Binghamton, NY 13902
607.777.2754
bg60009@binghamton.edu
- -
------------------------------
Date: Mon, 28 Feb 2000 15:50:35 -0500
From: kurt_gottschalk@scni.com
Subject: Noise Action Coalition event
IN THEIR OWN WORDS: WOMEN IN THE MUSIC BUSINESS
co-sponsored by the Noise Action Coalition and the Brecht Forum
Thursday, March 2, 2000, 8pm, $6-$10 sliding scale
at The Brecht Forum, 122 West 27th Street (between 6th and 7th Avenues),
10th Floor, Manhattan, tel. (212) 242-4201
featuring Joy Askew, Queen Esther, Lo Galluccio, Brenda Kahn, Phoebe Legere,
Nina Mankin
Women have played a role in the music industry since its inception. But
often, women's voices are overshadowed in dialogues about rights and
justice. This lively panel-and-audience discussion, sponsored jointly by
the Noise Action Coalition and the Brecht Forum, will focus on the roles
women play and must continue to fight for regarding shfiting power bases,
royalties and distribution, stereotypes, creation and marketing of the
music, and what the future holds for for women in the industry.
Panelists will speak out and the audience is encouraged to come to the event
with thoughts, ideas, questions and concerns.
For more information call the NAC Hotline at (212) 592-3677 or e-mail us at
noise@webcom.com.
- -
------------------------------
Date: Mon, 28 Feb 2000 13:20:42 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Noise Action Coalition event
On Mon, 28 Feb 2000 15:50:35 -0500 kurt_gottschalk@scni.com wrote:
>
> Women have played a role in the music industry since its inception. But
> often, women's voices are overshadowed in dialogues about rights and
> justice. This lively panel-and-audience discussion, sponsored jointly by
> the Noise Action Coalition and the Brecht Forum, will focus on the roles
> women play and must continue to fight for regarding shfiting power bases,
> royalties and distribution, stereotypes, creation and marketing of the
> music, and what the future holds for for women in the industry.
That might be true in non-mainstream music, but in the mainstream music busi-
ness I have the impression (but I am ready to be proven wrong) that women are
the artists making the hugest amount of money, which (at least in the US)
means power and control.
Patrice.
- -
------------------------------
Date: Mon, 28 Feb 2000 19:49:15 -0500
From: "Ljova" <L@Ljova.com>
Subject: Workshops?
Hi.
I was wondering if any of you have any information on Jazz/Improv workshops
with interesting people - like Fred Frith, and the like. I play viola
(amplified or not), and so a "guitar-only" workshop won't do.
Recently listenning to Frith's "Pacifica", I was wondering if workshops such
as that one still exist.
Thanks.
- -Ljova
NP: Nina Rota piano concerti.
- --------
Lev "Ljova" Zhurbin
L@Ljova.com
http://www.Ljova.com/
"There is no spoon."
-("The Matrix")
- -
------------------------------
Date: Mon, 28 Feb 2000 19:56:28 -0500
From: "Ljova" <L@Ljova.com>
Subject: oopsen
Goes without saying, that "Nina Rota" (see previous post) is actually "Ni=
no
Rota"!
If there is a Nina Rota out there, I wish to hear her piano concerti.
Pheww,
Ljova
NP: El Ni=F1o Rota, piano concerti.
- --------
Lev "Ljova" Zhurbin
L@Ljova.com
http://www.Ljova.com/
"There is no spoon."
-("The Matrix")
- -
------------------------------
Date: Mon, 28 Feb 2000 20:15:01 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: how did it happen?
Time for Uncle Steve to haul out the tired old Kiss story again?
Okay, here goes. My musical life - I know, this is about avant-garde
beginnings, but I'll get there in a moment - my musical life began in 1977,
when an older friend introduced me to his record collection. And in
particular, Kiss turned my head around all kinds of ways. I decided then and
there that I had to aspire to be (drummer) Peter Criss when I grew up.
Of course, I was perhaps an overly serious and definitely naive kid. Wanting
to be Peter Criss meant that I had to be a great musician, so I embarked upon
13 years of percussion training. This was the beginning of my interest in
classical music. Of course, as a drummer, it was the more modern and
avant-garde stuff that attracted my attention first and most - anything along
the way from Stravinsky to Varese would get me going.
Wanting to be Peter Criss also meant that I had to develop an appreciation for
jazz, since Peter often referred to having studied with Gene Krupa. So,
beginning with Krupa, I fell headlong into a crash course of the great jazz
drummers, and this of course led to some really interesting music that I wasn't
quite prepared to deal with as yet.
Increased musical sophistication led me to prog-rock: Emerson Lake & Palmer,
Genesis, Pink Floyd and King Crimson (never could abide Jon Anderson's voice,
so that led to the omission of Yes). Oddly, at the same time I also discovered
punk - 'London Calling' was the first thing that ever made me *dance*
spontaneously - and for a while was listening to both absolutely concurrently,
even though you weren't supposed to. I think Zappa also came along towards the
tail end of high school. Same with Prince. Philip Glass, Steve Reich and John
Adams I discovered early in college, no doubt aided by my prog rock listening
habits.
I began to take jazz more seriously when certain rock icons namechecked
favorite albums. If I remember correctly, Sting recommended 'In a Silent Way'
and Bill Bruford mentioned 'A Love Supreme.' By now I was considerably more
sophisticated in my musical comprehension, I'd like to think, and once I heard
those albums, I went into full blown jazz buff mode. But, as with the
classical music, it was the outer fringes that meant the most to me. Just as
The Rite of Spring made an immediate impact but it took me years to learn to
appreciate what an experimental mo-fo Haydn actually was, so did I come upon my
love for Cecil Taylor long before I learned to appreciate just who and what
Louis Armstrong actually was. For several years I had an all-avant jazz radio
program rather pretentiously titled "Jazz for the Third Ear" - Ornette's
"Lonely Woman" began every show.
And it was the jazz explorations at my college radio station that led me to the
Hal Willner Monk tribute album, which was the first place I ever encountered
Zorn. Then came the Willner Weill tribute, with an even better Zorn track.
And then came the cover story in Option Magazine and the first Nonesuch album,
and after that pretty much anything could go. Option led me to other great
music (at least, back then it did...), Nonesuch became a label I'd buy
everything from. And Zorn's namechecks became my own influences - led me to
Napalm Death and Carcass, the Tzadik stable, Ruins, Boredoms, etc., etc.
Nowadays I can't keep up with the sheer number of releases appearing,
especially those bubbling up outside of the mainstream media where I ply my
living. I tend to take my own cues from word of mouth, trusted retailers and
journalists, and this here little list.
But it's all praise to Peter Criss for preventing my life as a
paleontologist...
Steve Smith
ssmith36@sprynet.com
NP - ProjeKct 2, "Masque Part 8," 'Masque' (DGM)
- -
------------------------------
End of Zorn List Digest V2 #865
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