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.n866
< prev
next >
Wrap
Internet Message Format
|
2000-02-28
|
20KB
From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V2 #866
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 Tuesday, February 29 2000 Volume 02 : Number 866
In this issue:
-
Re: warsaw summer jazz days
Re: mp3s
Re: warsaw summer jazz days
Re: How did it happen?
Re: zappa (how'd it happen)
Anthony Braxton Discography
RE: warsaw summer jazz days
Re: How did it happen?
re: how'd it happen?
Haino Keiji
Re: Haino Keiji
----------------------------------------------------------------------
Date: Tue, 29 Feb 2000 02:37:47 +0100
From: fas <fas@acm.org>
Subject: Re: warsaw summer jazz days
i'm subscriber to the digest-list only, so
maybe someone has posted this before, but anyway:
> Date: Sun, 27 Feb 2000 10:20:40 EST
> From: Alejo88@aol.com
> Subject: Warsaw Summer Jazz Days
>
> Didn't someone in here have a website listing the tentative line-up for the
> Warsaw Summer Jazz Days in Poland this year?
>
> If you're out there (or if anyone has it bookmarked), I'd love to have the
> address again.
http://www.geocities.com/bromwit/WSJD.htm
> Thanks!
welcome
> Alex
f.
- -
------------------------------
Date: Mon, 28 Feb 2000 20:55:15 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: mp3s
Weren't these part of the lyrics of "Packard Goose," as recited by Dale
Bozzio towards the end of 'Joe's Garage,' Act III?
Seriously, what you're saying is, "Fuck musicians wanting to be able to
eat." Sounds like insanity, alright. Kewl, dood.
Steve Smith
ssmith36@sprynet.com
NP - Kudsi Erguner Ensemble, "Gamzedeyim deva bulmam," 'The Works of
Kemani Tatyos Effendi' (Traditional Crossroads)
Troy Alan Hammond wrote:
> Here's my take.
> Music is a pure thing.
> Fuck copyrights and intellectual property rights,
> All bullshit created by fear.
> The music is the insanity.
> Insanity must flourish.
> Let it out.
> Dystopia Membrane Goldstein, FLDc
>
> -
- -
------------------------------
Date: Mon, 28 Feb 2000 20:56:17 +0000
From: Rick Lopez <bb10k@velocity.net>
Subject: Re: warsaw summer jazz days
on 2/29/00 1:37 AM, fas at fas@acm.org wrote:
>> Didn't someone in here have a website listing the tentative line-up for the
>> Warsaw Summer Jazz Days in Poland this year?
> http://www.geocities.com/bromwit/WSJD.htm
I see my Sam is appearing. Anyone know what dates this runs?
The page is a little obscure. What's the ".06"?
Thanks,
RL
- --
Marilyn Crispell, Susie Ibarra, William Parker, Sam Rivers, Matthew Shipp,
David S. Ware, and Reggie Workman Discographies--Samuel Beckett
Eulogy--Baseball & the 10,000 Things--Time Stops--LOVETORN--HARD BOIL--etc.,
at: http://www.velocity.net/~bb10k
UPDATE January 10, 2000:
vids, a few CDs, baseball books, a few Cadence back issues, a few more
CDs...
***Very Various For Sale:
***http://www.velocity.net/~bb10k/4SALE.html
- -
------------------------------
Date: Mon, 28 Feb 2000 21:21:16 -0500
From: Brian Olewnick <olewnik@idt.net>
Subject: Re: How did it happen?
My earliest memory of recorded music is hearing, circa 1958, on the car
radio (fact checkers may wish to investigate whether the 1949 Dodge we
owned in fact _had_ a car radio, but that's my memory) both "Itsy-Bitsy,
Teeny-Weeny Yellow Polka Dot Bikini" and "The Sinking of the Bismark".
While the former is fairly well known, the latter has mysteriously
escaped revival and is representative of an odd sub-genre of
militaristic pop which reached apotheosis, I suppose, with "The Ballad
of the Green Berets". Scary to think how those two pieces may have laid
the groundwork for future listening!
A few years later, I bought (or, more likely, had given to me) my first
45 single: "Bus Stop" by the Hollies, which I still think is a pretty
damn good pop song.
First LP, around 1965: "Meet the Beatles". First double LP: Cream,
"Wheels of Fire". In the interests of full disclosure, I'm forced to
admit that my first triple LP was *ahem* "Tommy".
Began listening to various semi-mainstream rock groups in early high
school, Hendrix, the Doors, Troggs. Folkies like Richie Havens and the
Incredible String Band were also favorites. Had tickets (tickets!!! what
a joke!) to Woodstock, but my dad declined to drive my friend (I was 15)
and I and I settled for a payoff of a new baseball mitt.
I had been getting into more "progressive" rock bands like Clear Light
and Ultimate Spinach (not joking), but in 1969 the first King Crimson
album blew me away. Discovered Soft Machine shortly thereafter. In 1970,
the dual discoveries of Zappa and Beefheart completed my quartet of
groups that I really cared about. Later on, I would realize how much
each was indebted to jazz.
Right around this time, there was a five band concert at my high school
(in Poughkeepsie, NY)--four local rock bands and Joe McPhee's group (!).
I recall being completely baffled by McPhee, but liking it more than any
of the others and remembering it, though, as I recall, making no
connection to "jazz", which was still largely a foreign concept. A
friend had "Bitches Brew" and "My Goal's Beyond" which I also listened
to with interest. But it wasn't until an interview with Van Vliet in
Rolling Stone wherein he was asked who his favorite musician was and
answered, Ornette Coleman, that I took the plunge. At the time, Spring
1972, Columbia was giving Ornette's "Science Fiction" a reasonable
amount of promotion, enough that I knew of its existence, and I went out
and bought it. A bracing plunge to be sure and it took me another couple
of years, I think, to pretty much understand it, but I still _loved_ it
immediately (I specifically recall humming Haden's bass solo on "Law
Years" all during that summer) and it provided a wonderful springboard,
through the various musicians involved, into the music. Some of the
first jazz after that included Jarrett, Mingus, Corea and, within a
year, the JCOA and AACM musicians. Also that summer, I heard Terry
Riley's "A Rainbow in Curved Air", my first taste of minimalism and
began to explore contemporary classical music, specializing in those
great low-priced Nonesuch releases, including Xenakis, Crumb and others.
Zorn? Oddly, after moving to NYC in 1976, I knew of him as a frequent
audience member at loft concerts (and, as has been mentioned, as a sales
clerk at Soho Records where once he did me the great service of
recommending the Obscure release of Gavin Bryers'
"Titanic/Jesus'Blood"!) for a good while before I knew him as a
musician. I _think_ I saw him in performance with a Frank Lowe group
around 1977 (a band with Polly Bradfield, Chadbourne and others). First
heard him on vinyl on the initial Golden Palominos record. Shortly
thereafter I picked up "Locus Solus" which didn't then impress me (and
still largely doesn't, despite its enshrinement by several listers whose
judgment I highly respect). Like Steve, though, I was extremely
impressed by his Monk and Weill numbers for Wilner and was totally
enraptured by "The Big Gundown". Etc. and so on.
Apologies for the long-windedness, but since the topic came up, I had
been mentally rehashing this for a while and...what the hell.
Brian Olewnick
- -
------------------------------
Date: Mon, 28 Feb 2000 21:35:16 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: zappa (how'd it happen)
Matthew W Wirzbicki (S) wrote:
> I've been noticing a number of people who mention Zappa as their early
> influence. What do some of you folks think of these albums:
>
> Thing Fish
A horrible extended gasp for inspiration, the absolute nadir of Zappa's career.
A preface: I was once a dedicated Zappa completist, while now I'm no longer a
Zappa fan at all, in that I sold my entire collection of 50+ discs one day and
have never looked back with regret for a moment. (Skip, please, forgive me.) I
continue to respect the man for his vision and integrity, but the music simply
does not speak to me at all, whatsoever, anymore.
But I do have indelible memories of my Zappa period. I have no reason to want
to discourage the appreciation of others. And in that light, let me say that
'Thingfish' is to be avoided at all costs if you want to maintain an
appreciation of Zappa. Immediately following a particularly fertile late
stretch ('Sheik Yerbouti,' 'Joe's Garage,' 'Tinseltown Rebellion,' and 'You Are
What You Is,' even parts of 'Ship Arriving Too Late...' and 'Man from Utopia'),
'Thingfish' was a misguided attempt at a critique of contemporary Broadway. Not
that contemporary Broadway isn't worth Zappa-esque contempt, but the best music
of 'Thingfish' is largely recycled from prior albums, and the "libretto" is
meandering, addled, puerile and simply offensive without making a cogent point.
(This was something of the beginning of the end for me and Zappa.) And Ike
Willis's Amos'n'Andy schtick was getting damned tired by this point.
Steve Smith
ssmith36@sprynet.com
NP - Kudsi Erguner Ensemble, "Cana firkatinle," 'The Works of Kemani Tatyos
Efendi' (Traditional Crossroads)
- -
------------------------------
Date: Tue, 29 Feb 2000 04:39:54 +0100
From: "Francesco Martinelli" <fmartinelli@tin.it>
Subject: Anthony Braxton Discography
While there is no direct Zorn interest here I though someone could be
interested. Sorry for the commercial nature of the message and for any cross
posting.
ANTHONY BRAXTON - A DISCOGRAPHY by Francesco Martinelli
Bandecchi e Vivaldi, Pontedera (Pisa) February 2000, 220 pages
Full of information, entertaining to read, this book is much more than a
discography. It is the most complete resource book about one of the major
figures of contemporary music. There is complete discographical data for all
of the 200 records on which Anthony Braxton appears as performer or
composer. In many cases this information has been extensively revised and is
completely up to date. Each record is given a page of its own, featuring
notes by the compiler and one or more quotations, critical appreciations or
comments by leading personalities. All the 300 Braxton compositions on
record are indexed and there are detailed indexes of all musicians, record
titles, and jazz standards which are mentioned. The 85 illustrations include
previously unpublished photos, graphic titles, musical examples as well as
magazine and record covers and concert programs. In addition to an extended
bibliography, there are appendices about web sources and movies.
Distribution:
Femay srl, Strada Roncaglia 16 15040 San Germano (AL) Italy
tel. 39 - 0142 - 50577 fax 39 - 0142 - 50780
email: orders@felmay.it website: www.felmay.it
Single copies can be bought directly from the same address, ordering via
phone, fax or website via secure server. Price for single copies is Italian
Liras 50.000/Euros 25 (25 US Dollars or 16 English Pounds) plus p&p
according to location of purchaser and shipping method.
_________________
Francesco Martinelli
Lungarno Mediceo 10
56127 PISA ITALY
fmartinelli@tin.it
- -
------------------------------
Date: Tue, 29 Feb 2000 06:23:27 +0100
From: "Artur Nowak" <arno@emd.pl>
Subject: RE: warsaw summer jazz days
> >> Didn't someone in here have a website listing the
> tentative line-up for the
> >> Warsaw Summer Jazz Days in Poland this year?
> > http://www.geocities.com/bromwit/WSJD.htm
>
> The page is a little obscure. What's the ".06"?
IX Warsaw Summer Jazz Days, Warszawa, June 22-25.
__________________________________________________________________
Artur Nowak [arno AT emd.pl]
www.emd.pl - Discography of Bill Frisell
- -
------------------------------
Date: Tue, 29 Feb 2000 02:55:50 EST
From: JonAbbey2@aol.com
Subject: Re: How did it happen?
In a message dated 2/28/00 9:24:16 PM, olewnik@idt.net writes:
<< In the interests of full disclosure, I'm forced to
admit that my first triple LP was *ahem* "Tommy" >>
just for clarity's sake, is this the film soundtrack version with Ann-Margret
et. al. singing, or the version by the Who? I seem to recall the Who's
version just being a double LP. the film soundtrack is way more embarrassing.
I know I'm forgetting some important turning points, but here goes:
my musical journey began in fourth grade with AM radio on the van to school
(favorite songs: Rhinestone Cowboy-Glen Campbell, Jive Talkin'-Bee Gees,
Games People Play-Spinners, Lyin' Eyes-Eagles). I was then introduced to the
Beatles by an older friend. first record: Beach Boys-Endless Summer. other
early acquisitions: Fleetwood Mac-Rumours, Clash-London Calling, and Joe
Jackson-Look Sharp! some high school faves: Ramones, Talking Heads, B-52s,
Boomtown Rats.
in college, I met people with seriously large record collections, and
methodically plowed my way through them. one friend had the Trouser Press
guide, and a record collection which read like an index to the book, which is
how I was introduced to the Minutemen, XTC, the Replacements, and the
Buzzcocks among others. plus, the Christgau '70s record guide turned me onto
some great stuff (Big Star, Modern Lovers, New York Dolls come to mind).
after college, I went through a hardcore P-Funk phase for a while, and also
slowly started listening to jazz, initially through Coltrane, Miles, Mingus
and Sun Ra (an amazing Sun Ra Central Park Summerstage concert, probably in
1987 or 1988, completely blew me away). I was a big Wynton Marsalis fan for a
year or two, then moved on to being a David Murray fan for a while. my tastes
slowly started moving farther and farther out, and when I discovered a Forced
Exposure catalog, it opened up a whole new world, one which I'm still
exploring.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Tue, 29 Feb 2000 11:26:44 +0100
From: patRice <gda@datacomm.ch>
Subject: re: how'd it happen?
hi y'all!
i've been really enjoying this "discussion"; (and in some cases maybe
"outings".)
so i'll let you know about how it all happened in my case... not leaving
out anything embarassing...
at age seven i used to go record shopping with my dad (who was a dj).
every time he'd let me buy a seven inch, and would regret saying so
right afterwards, because every time i wanted the latest single by none
other than "boney m".=20
at age nine my cousin turned me onto - eerrrr, "status quo".=20
at 10 i got into "iron maiden".
at 13 into "the cure".
between 13 and 18 into (can't remember in which order...)
duran duran,
indochine (a french band),
toto,
pink floyd (the wall only)
talking heads,
depeche mode,=20
joy division,=20
the smiths,=20
morrissey,
the fields of the nephilim,
marc almond,
the pixies,
the young gods,
the cocteau twins,
siouxsie and the banshees,
nomeansno,
ice-t,
madonna,
frank zappa (very heavily; my fave albums by him: sheik yerbouti, zoot
allures, you are what you is, apostrophe, overnite sensation; and
probably many more!),
anton webern,
arnold schoenberg,
igor stravinsky,
bela bartok,
dmitri shostakovich,
edgard var=E8se,=20
dream theater,=20
then in 1990 (at the age of 20) a friend played naked city to me for the
first time. i loved it, but didn't buy the album right away. a few
months later i was exposed to that recording again and simply had to get
myself a copy. i was blown away. also by torture garden. those two cds
are some of my biggest influences ever.=20
through zorn i got into bill frisell (unfortunately i can't stand his
playing anymore by now), wayne horvitz & president, elliott sharp, fred
frith, zeena parkins, keep the dog, amy denio, and a few others.=20
zorn i'm still heavily into, but the others from the downtown scene
mentioned above haven't really managed to keep my interest.=20
after moving to london in 1994 i got into the clubbing scene and started
appreciating house, a little techno, and drum'n'bass. also i started
djing that kind of stuff around that time. because of the djing i was
heavily into the dance stuff for almost five years, but unfortunately
the whole scene has become a bit boring, the clubbers have changed, the
music has, and it's not as "adventurous" (well: can i use this term for
dance music on this list?) as it used to be.=20
unfortunately, for a few years now i haven't really heard anything (new)
that blew me away. after saying that: marc ribot still sends shivers
down my spine most of the times i hear him play live or on cd with one
of zorn's bands.=20
i've been digging more into older stuff recently: miles davis, tony
williams, art blakey, john coltrane, and other jazz from the 50s, 60s
and 70s, patsy cline, hans moser (an austrian singer no longer with us),
the residents... and also listening again to the bands and classical
composers i was into when i was younger.=20
over and out.
patRice
- -
------------------------------
Date: Tue, 29 Feb 2000 08:23:28 -0300
From: "BROGGI, GUSTAVO" <GUSTAVO.H.BROGGI@la2.Monsanto.com>
Subject: Haino Keiji
This message is in MIME format. Since your mail reader does not understand
this format, some or all of this message may not be legible.
- ------_=_NextPart_001_01BF82A7.6BF9334A
Content-Type: text/plain;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
Hi, zornies. I was taking a look in Downtown Gallery and found a =
Haino=B4s cd
called "More than This", label:Avant 074, where he plays music of the
argentinian composer/guitarrist Oscar Alem=E1n. Does anybody knows =
this
cd?... comments?=20
Thanks in advance
Gustavo
- ------_=_NextPart_001_01BF82A7.6BF9334A
Content-Type: text/html;
charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable
<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 3.2//EN">
<HTML>
<HEAD>
<META HTTP-EQUIV=3D"Content-Type" CONTENT=3D"text/html; =
charset=3Diso-8859-1">
<META NAME=3D"Generator" CONTENT=3D"MS Exchange Server version =
5.5.2448.0">
<TITLE>Haino Keiji</TITLE>
</HEAD>
<BODY>
<P><FONT SIZE=3D2 FACE=3D"Arial">Hi, zornies. I was taking a look =
in Downtown Gallery and found a Haino=B4s cd called "More than =
This", label:Avant 074, where he plays music of the argentinian =
composer/guitarrist Oscar Alem=E1n. Does anybody knows this =
cd?... comments? </FONT></P>
<P><FONT SIZE=3D2 FACE=3D"Arial">Thanks in advance</FONT>
</P>
<P><FONT SIZE=3D2 FACE=3D"Arial">Gustavo</FONT>
</P>
</BODY>
</HTML>
- ------_=_NextPart_001_01BF82A7.6BF9334A--
- -
------------------------------
Date: Tue, 29 Feb 2000 06:45:06 -0500
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Re: Haino Keiji
This is his album wherein he plays acoustic guitar with Joey Baron and
Greg Cohen (the Masada rhythm section). Haven't heard it myself, but it
got pretty good reviews when it came out.
At 08:23 AM 2/29/00 -0300, BROGGI, GUSTAVO wrote:=20
>>>>
<flushright>Hi, zornies. I was taking a look in Downtown Gallery and
found a Haino=B4s cd called "More than This", label:Avant 074, where he
plays music of the argentinian composer/guitarrist Oscar Alem=E1n. Does
anybody knows this cd?... comments?=20
Thanks in advance=20
Gustavo=20
<<<<<<<<
</flushright>
- --
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
- -
------------------------------
End of Zorn List Digest V2 #866
*******************************
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