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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 #880
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, March 7 2000 Volume 02 : Number 880
In this issue:
-
Neues Kabarett
derek may tonic
Recent Goodies
Re: Recent Goodies
drummers and the upright
Bath Of Surprise
Re: drummers and the upright
american bandstand
3/1 knit show
Re: Bath Of Surprise
Re: People Like Us
Wuorinen
Re: standing ovations
Re: People Like Us
Re: standing ovations
Re: standing ovations
Prelapse in D.C.
Re: standing ovations
Otomo Yoshihide
Re: standing ovations
Re: standing ovations
Re: claps'n'solos
----------------------------------------------------------------------
Date: Tue, 07 Mar 2000 12:23:20 -0500
From: kurt_gottschalk@scni.com
Subject: Neues Kabarett
Neues Kabarett presents SATLAH & Will Connell
Saturday, March 25 at 9 pm
$8 to get in at the Brecht Forum
122 West 27th Street, 10th Floor
call 718-398-2810 for info
Brilliant and versatile saxophonist/flutist Will Connell has worked as an
arranger and librarian for big bands led by Horace Tapscott and David
Murray, and has worked in ensembles with composers and improvisers like
Jason Hwang and William Parker. Now, after decades of working as a sideman
and score-keeper, Will is stepping up to the front, leading his own trio in
the last couple of years, performing at the Internet Cafe and receiving a
commission from Roulette. "It's like the kids are grown and its time for mom
and dad to go to Hawaii," Will says of his new role as a bandleader.
SATLAH is Danny Zamir, Shanir Ezra and Kevin Zubek. Their debut album,
produced by John Zorn for TZADIK records, will be released in the U.S. in
March 2000. SATLAH is a mainstay on the NYC jazz scene, regularly
performing in clubs around town. SATLAH, a word used in Israeli slang,
means a euphoric kind of feeling, something like beauty and relaxation
together. The band's sound is a unique blend of jazz and avant-garde with a
strong Jewish/middle eastern flavor.
- -
------------------------------
Date: Tue, 07 Mar 2000 12:27:42 -0500
From: kurt_gottschalk@scni.com
Subject: derek may tonic
>rumor has it that Derek Bailey is curating the May schedule. I'm
>guessing the mousse factor will be low that month....
just got this straight from the incus' mouth, so rumor confirmed.
kg
- -
------------------------------
Date: Tue, 7 Mar 2000 14:31:51 -0300
From: Linares Hugo <hulinare@bemberg.com.ar>
Subject: Recent Goodies
Hi Zornheads!
I wonder what happened with "Recent Goodies", one of the most interesting
"sections" on this List, ruled (among others) by felow zornlisters Brian
Olewnick, Tom Pratt, Jon Abby.
C'mon guys, come back with reviews!
Hugo
- -
------------------------------
Date: Tue, 7 Mar 2000 13:06:49 EST
From: JonAbbey2@aol.com
Subject: Re: Recent Goodies
In a message dated 3/7/00 12:33:16 PM, hulinare@bemberg.com.ar writes:
<< I wonder what happened with "Recent Goodies", one of the most interesting
"sections" on this List, ruled (among others) by felow zornlisters Brian
Olewnick, Tom Pratt, Jon Abby. >>
well Tom's off list for a little while, while he moves, and I've been
spending most of my time assembling CDs to go into other people's Recent
Goodies list. this was always mostly Brian's thing anyway, so I'll leave it
to him.
best CDs I've heard so far in 2000:
Steve Beresford-The Bath Of Surprise (Amoebic)
Bill Dixon/Tony Oxley-Papyrus, Volume 1 (Soul Note)
e-rex-Live At The Bimhuis 1999 (X-Or)
Hecker-[R+] ISO/CHALL (Mego)
Konk Pack-Big Deep (Grob)
all of which have been mentioned here, at least in passing, with the possible
exception of the Beresford, which is violently amateurish, yet incredibly
compelling.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Tue, 7 Mar 2000 13:22:48 -0500
From: "Joslyn Layne" <joslay@allmusic.com>
Subject: drummers and the upright
re: drummers
i don't know of any jim black solo recording, but i have daydreamed of he
and satoshi takeishi recording as a percussion duo. it would have to be a
large room to hold the both of them, but i have a feeling that truly amazing
and tasteful interaction would result from the pair.. imagine the grooves,
polyrhythms and unthought-of array of timbres.... [sigh]
[ps to Jeroen: how's that disc? i've heard _very_ mixed things about
dafeldecker]
Like Patrice, i've wondered at the seemingly obligatory standing ovations
that i just recently noticed have become the norm. what committee passed
this new unspoken etiquette? it makes me feel like a protestor when i
actually like a group, but not enough to stand, stomp and hoot.
maybe too many people watched the state of the union address this year...
joslyn, who loves solo bass recordings above all else
- -
------------------------------
Date: Tue, 7 Mar 2000 10:36:23 -0800
From: "s~Z" <keithmar@jetlink.net>
Subject: Bath Of Surprise
all of which have been mentioned here, at least in passing, with the
possible
exception of the Beresford, which is violently amateurish, yet incredibly
compelling.
Jon
.......and heavily sampled in the Yoshihide/Stone collaboration: 'Monogatari
: Amino Argot'
- -
------------------------------
Date: Tue, 7 Mar 2000 13:32:45 -0500
From: Dan Hewins <dan@synsolutions.com>
Subject: Re: drummers and the upright
> joslyn, who loves solo bass recordings above all else
Now here is an environment where a bass solo can and does work!
Dan
- -
------------------------------
Date: Tue, 07 Mar 2000 13:45:48 -0500
From: "Bob Kowalski" <BKowalski@genetics.com>
Subject: american bandstand
American Bandstand, new cd by Wayne Horovitz, is a new favorite after only =
a few spins in the cd player! Loads of acoustic piano! Wonderful mello =
sounds! Are Horovitz and Frisell the new (sort new, as this trend of down =
- - town - toned - down has been going since the mid nineties or so) west =
coast jazz? Doesn't matter so long as they continue recording and =
performing wonderful music.
btw, NPR sound clip person managed to play an awful lot of Moondog (Sax =
Pax for a Sax - my favorite album of last few years) and John Lurie cuts =
in between all our fave NPR shows. Actually, lots of cool stuff! They =
must have some big Frisell fans there. And Adrian Legg too! (but who =
doesn't like Adrian "fingers" Legg? he who makes gorgeous finger picking =
acoustic guitar recordings w/ occassional non gorgeous noise / joke tracks =
thrown in for fun.)
happy listening
Bob
- -
------------------------------
Date: Tue, 7 Mar 2000 13:51:07 -0500
From: "Joslyn Layne" <joslay@allmusic.com>
Subject: 3/1 knit show
i forgot to ask in my last post:
Did anyone catch last Wednesday's non-main space [can't remember which one,
though] show at the knit? if so, how was it? i've heard good things about
The Negro Problem, and know The Original Brothers And Sisters Of Love, and
i'm just curious how the show went and what audience members' reactions
were.
joslyn
- -
------------------------------
Date: Tue, 7 Mar 2000 14:41:39 EST
From: JonAbbey2@aol.com
Subject: Re: Bath Of Surprise
In a message dated 3/7/00 1:35:47 PM, keithmar@jetlink.net writes:
<< .and heavily sampled in the Yoshihide/Stone collaboration: 'Monogatari
: Amino Argot' >>
yeah, Otomo has called it his favorite record of the eighties, which is why
he worked on getting it rereleased.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Tue, 7 Mar 2000 11:57:10 -0800 (PST)
From: Michael Howes <mhowes@best.com>
Subject: Re: People Like Us
>ok, now that that's settled, let me confuse it again. this weekend i
>picked up a disc on soleilmoon, looks to be a tribute to "people like us,"
> tracks by coil,negativland, stock hausen and walkman, etc.
>nothing about it sounds a bit like
>the joel forrester record i have (yeah, i was confused on the forrester/
>futterman situation) so it couldn't be that. is this a tribute to some
>one/thing else, or is it just to people like us? there's no kinda liner
>notes. it's pretty good, pretty twisted.
As someone already stated PLU is a one woman show. The record you picked
up is somewhere between a tribute and a remix record. I'd say it's more
remixes of her stuff.
There is a US and UK version of the release. The UK version is 2(!!)
CDs with many many more tracks.
She does have a bunch of other releases. Check out her site
http://www.peoplelikeus.org/
mike
- -
------------------------------
Date: Tue, 7 Mar 2000 15:17:54 EST
From: XRedbirdxx@aol.com
Subject: Wuorinen
<< Where did you hear Wuorinen speak? A lecture or a radio broadcast? He's
an
interesting guy, and like Ives, a bit prickly, or so I hear. >>
He was the moderator at a "Works & Process" concert at the Guggenheim this
weekend that featured Oliver Knussen and Julian Anderson, as well as their
music.
- -
------------------------------
Date: Tue, 7 Mar 2000 15:18:08 -0500 (EST)
From: Ken Waxman <cj649@freenet.toronto.on.ca>
Subject: Re: standing ovations
It's an outgrowth of arena rock. Performers seem to feel that they can't
properly end a show until their idolatrous audience has made enough noise
to show it still wants to bask in the musicians' presence.
Bands soemtimes did this by leaving a "hit" unplayed therefore ensuring
and encore.
Two of the funniest situations I ever observed were:
1) at a Peter Allen show, done with a large, hired orchestra. He had
already left after his supposed finale, but from my seat I could see the
band members getting out the sheet music for the "encore" number.
2)One rock ban, the identity of which I've mercifully forgotten got such
lukewarm response
to their "last" number, that the members rushed back to centre stage
before they exited to make sure the applause didn't die down before they
actually got out of sight.
However as sophisticated Improv etc. folks why don't we not give in to
this. Let the musician play as much as he or she figures is it and let it
go at that.
Ken Waxman
- -
------------------------------
Date: Tue, 7 Mar 2000 12:42:29 -0800 (PST)
From: SUGAR in their vitamins? <yol@esophagus.com>
Subject: Re: People Like Us
a few minor clairifications...
it is entirely a remix project.
the double cd version was released by staalplaat.
it is not a uk version.
this is now out of print.
the soleilmoon version will remain in print.
for those in europe,
plu will be playing in amsterdam this thursday evening (3-9).
there will also be concerts in paris on 3-17 18.
edinburgh on the 3-30 (tbc).
show time 20.30
@
steim
utrechtsedwarsstraat 134
fl. 7,50 at the door
www.steim.nl
hasta.
On Tue, 7 Mar 2000, Michael Howes wrote:
> As someone already stated PLU is a one woman show. The record you picked
> up is somewhere between a tribute and a remix record. I'd say it's more
> remixes of her stuff.
> There is a US and UK version of the release. The UK version is 2(!!)
> CDs with many many more tracks.
> She does have a bunch of other releases. Check out her site
> http://www.peoplelikeus.org/
Yes. Beautiful, wonderful nature. Hear it sing to us: *snap* Yes. natURE.
- -
------------------------------
Date: Tue, 7 Mar 2000 15:50:39 -0500
From: Dan Hewins <dan@synsolutions.com>
Subject: Re: standing ovations
>However as sophisticated Improv etc. folks why don't we not give in to
>this. Let the musician play as much as he or she figures is it and let it
>go at that.
>
>Ken Waxman
>
I don't think there's anything wrong with wanting more. It doesn't
have to be a standing ovation, but applause and shouts of, "encore,"
can bring someone back or persuade them to play more. I don't see
anything wrong with that.
I do find the encore protocol a bit amusing at large shows. It's as
if the encore will always happen and that the band has to walk off
the stage and wait the required 2-3 minutes then jog back on stage
waving and mouthing "thank you." It might be funny if a band
finished the "set" then says, "that was the end of the show and the
next few songs are the encore. We don't want you to have to clap to
an empty stage for five minutes."
Dan
- -
------------------------------
Date: Tue, 7 Mar 2000 16:18:30 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: standing ovations
On Tue, Mar 07, 2000 at 03:50:39PM -0500, Dan Hewins wrote:
> I do find the encore protocol a bit amusing at large shows. It's as
> if the encore will always happen and that the band has to walk off
> the stage and wait the required 2-3 minutes then jog back on stage
> waving and mouthing "thank you." It might be funny if a band
> finished the "set" then says, "that was the end of the show and the
> next few songs are the encore. We don't want you to have to clap to
> an empty stage for five minutes."
I understand the California Guitar Trio (or was it the Trey Gunn Band?)
did that recently, at a club too small to have an "offstage" to go to.
- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| jzitt@metatronpress.com http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn http://www.mp3.com/josephzitt |
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
Date: Tue, 7 Mar 2000 16:22:27 EST
From: Alejo88@aol.com
Subject: Prelapse in D.C.
Hey, Zorn-listers
This is Alex from Prelapse, mentioning that we have a gig in D.C. this
Sunday. We'll be playing some originals, some Naked City; the usual
mayhem. Hope you can make it out!
PRELAPSE
The Black Cat
Washington D.C.
Sunday, March 12
w/ Le Shis
Doors @ 9pm
1831 14th St NW
202-667-4527
www.blindermusic.com/prelapse
Alex
- -
------------------------------
Date: Tue, 07 Mar 2000 16:26:28 -0500
From: Dave <djp6@po.cwru.edu>
Subject: Re: standing ovations
At 03:50 PM 3/7/00 -0500, you wrote:
> It might be funny if a band
>finished the "set" then says, "that was the end of the show and the
>next few songs are the encore. We don't want you to have to clap to
>an empty stage for five minutes."
>
It's been done. Dick Dale (the King of Surf Guitar) does that at the end of
each show. He says the time spent clapping could be used for more music. He
lets everybody clap for a few seconds and says something to the effect of
"Now is the time i am supposed to get off stage and let you clap for
several minutes knowing I will come back out". He them plays his encore
without leaving the stage.
"Reality is too harsh. Imagination makes everything nice. Use your
imagination to get out of the most drab places by simply holding on
to the imagination and making it real." - Sun Ra
- -
------------------------------
Date: Tue, 07 Mar 2000 21:32:06 GMT
From: "Bill Ashline" <bashline@hotmail.com>
Subject: Otomo Yoshihide
On a rare trip to NYC last spring I had the good fortune of buying a copy of
the Microcosmos Pilgrimmage CD with Tenko and Otomo and after a few listens
fell in love with it. This was my first encounter with Otomo's work. Moved
by the descriptions of Jon Abbey and others to invest more, I've been
acquiring his other work at an accelerated rate including Ground Zero, the
Filament piece on Extreme, Dragon Blue, and of course Cathode, which just
arrived. And while my comments here probably strike most as the belated
effusive musings of a novice, I must say how moved I was by the way in which
the sine waves on Cathode fill the geographic space of a room and add a
dimension to the experience of music which is really unlike any other I've
witnessed. The Filament piece is far more abstract than the other works but
compelling in its own right. And I'm moved to continue this exploration
into other recordings mentioned here. I extend my appreciation to the
members for pointing out these directions.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Tue, 07 Mar 2000 13:49:42 PST
From: "Joshua Valocchi" <j_valocchi@hotmail.com>
Subject: Re: standing ovations
It might be funny if a band finished the "set" then says, "that was the end
of the show and the next few songs are the encore. We don't want you to
have to clap to an empty stage for five minutes."
===================
I was covering the Orchestra Morphine show at the Trocadero here in
Philadelphia on Saturday evening and as the band was leaving the stage for
what I can only assume was the pre-encore ritual, they were signalled by
security that they were already pushing stage curfew limit time (or
something to that effect).
Upon learning this, Dana Colley (sax) returned to the microphone and
announced "Okay, here's where imagination comes into play...just pretend
we've left the stage, you've clapped long enough to drag us out again, we've
taken obligatory bows, et cetera." That having been said, he dove directly
into a searing encore.
- -joshua
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
Date: Tue, 7 Mar 2000 14:02:01 -0800
From: improv@peak.org (Dave Trenkel)
Subject: Re: standing ovations
At 4:26 PM 3/7/00, Dave wrote:
>At 03:50 PM 3/7/00 -0500, you wrote:
>> It might be funny if a band
>>finished the "set" then says, "that was the end of the show and the
>>next few songs are the encore. We don't want you to have to clap to
>>an empty stage for five minutes."
>>
>It's been done. Dick Dale (the King of Surf Guitar) does that at the end of
>each show. He says the time spent clapping could be used for more music. He
>lets everybody clap for a few seconds and says something to the effect of
>"Now is the time i am supposed to get off stage and let you clap for
>several minutes knowing I will come back out". He them plays his encore
>without leaving the stage.
>
The Melvins, always a great live band, and never one to feed audience
expectations, did one of the coolest encores when I saw them on their most
recent tour. At the end of the set, without announcing it was the end, the
guitarist and bassist just walked offstage. The drummer had a gong hanging
behind him, and he would hit the gong as hard as possible, while flailing
as fast as possible on his double kick drums. The gong was mic'ed and very
VERY loud. As the gong sound died away, he'd stop playing, sit with his
head bent down for 30 seconds or so, and do it again. This went on for a
very long time. I started timing it after 4-5 minutes, and he kept it up
for 12 minutes after I started timing. Hit gong, fast kicks, then silence.
Over and over. At first the audience was cheering, but after a while, you
could sense the crowd getting pissed off. People started yelling,
screaming, pounding on the floor to get the band to come back. Drummer
keeps going. Finally, he gets up, walks offstage and the house lights come
up. End of show, no encore. I thought it was great, but I could tell some
people in the audience were pretty unhappy.
____________________________________________
Dave Trenkel : improv@peak.org
Minus Web Site: http://listen.to/minusmusic
Minus MP3's: http://www.mp3.com/-minus-
____________________________________________
- -
------------------------------
Date: Tue, 07 Mar 2000 22:04:24 GMT
From: "Scott Handley" <c123018@hotmail.com>
Subject: Re: claps'n'solos
Cattle-response and mob-appreciation might be obnoxious, or even
distressing, to the less jaded hayseeds among us, but I want to feel free to
respond to the music, while considering that there are in fact others
listening around me. In some churches, for example, it is a matter of
course for the audience to express appreciation for ideas, destures, or
aspects of a performance of which they approve. Mingus said that the first
time he saw the Ellington band, he screamed. The entire few front rows of
people with whom I sat at the (Re)Soundings Fest in Atlanta a couple years
ago, rose to the occasion---it looked like we were doing a
wave---simultaneously shouting out as Hamid Drake dropped one perfect bomb
after the next behind Brotz and Fred Hopkins. Haven't we broached this
subject before, though in terms of _laughter_? Or was that on Chi-improv?
At any rate, I want to appreciate music collaboratively and socially, but
not "appropriately". Appropriateness is determined by whom?
Still, I realize many of the fortunate frequent show-goers on this list
might well have been pissed off with good reason by music drones. (I mean
the audience, not the music.)
- ------s
>What is even more obnoxious is to notice the audience psychology (or to
>phrase
>it more accurately, its total lack of). The vast majority of the audience
>has
>no clue about clapping or not.
______________________________________________________
Get Your Private, Free Email at http://www.hotmail.com
- -
------------------------------
End of Zorn List Digest V2 #880
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