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2000-03-19
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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 #894
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 Sunday, March 19 2000 Volume 02 : Number 894
In this issue:
-
Re: promo Ersthwile records
Re: promo Ersthwile records
Re: Joey Baron - Down Home
Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Kurt Rosenwinkel
Re: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Avant-garde (was: Zorn can play)
Re: Newsgroups
frisell review
Re: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
Re: frisell review
SUN CITY GIRLS - Live! Saturday (3/18/00) in Seattle!!!
Susana Baca
Sonny Clark recommendations
Re: Sonny Clark recommendations
Feldman&Courvoisier @Tonic, march 22
----------------------------------------------------------------------
Date: Thu, 16 Mar 2000 18:07:42 -0500
From: Brian Olewnick <olewnik@idt.net>
Subject: Re: promo Ersthwile records
JonAbbey2@aol.com wrote:
> don't hold back your opinions because I'm here, I'd love to hear the
> feedback, good or bad. I know at least a few of you out there have fairly
> complete Erstwhile collections.
Erstwhile # 1, with VHF, is just superb, one of my favorite quiet improv
discs. #2, with Haunted House is OK, but I admit that Mazzacane Connors
hasn't won me over yet. Vol 3, Denman Maroney/Earl Howard, is pretty
good, with a couple of standout tracks. And, as mentioned in my last
Recent Goodies, #4, Lehn/Hemingway is all-around excellent. Haven't
heard Drumm/Tetreault yet or (drool) Rowe/Muller/Sugimoto. Given the
enormous potential of the releases in preparation, one is probably
well-advised to have the complete collection, otherwise 20 years from
now you'll feel like me for not having picked up the entire BYG/Actuel
catalog when I had the chance!
(The above was in no way paid for by Jon Abbey or kin) ;-)
Brian Olewnick
- -
------------------------------
Date: Fri, 17 Mar 2000 02:30:27 -0500
From: Fritz Senn <eso200@is5.nyu.edu>
Subject: Re: promo Ersthwile records
>good, with a couple of standout tracks. And, as mentioned in my last
>Recent Goodies, #4, Lehn/Hemingway is all-around excellent. Haven't
>heard Drumm/Tetreault yet or (drool) Rowe/Muller/Sugimoto.
Fritz here
Well, I trudged through the rain today for the new Rowe/Muller/Sugimoto
record, and have listened to it 2wice so far. It's comprised of two long
tracks, about an hour's worth of great + intelligent music. This is
terribly reductive, but if you can imagine a more laidback AMM (similar
chemistry) where Rowe is Rowe, Prevost is absent with Muller to fill in,
and Tilbury plucks a guitar kinda like how he plays the piano (this is
Sugimoto), then you come close to what's offered here. Sugimoto is kinda
like the line drawn thru everything, softly and unobtrusive, but Rowe fills
in all the spaces and (for me) he's what makes this record all-around
interesting --same can be said for most AMM.. Out of all the improv
releases from the erstwhile catalog that I've heard, this one offers the
most accessible pleasures..(maybe because I've spent a lot of time
listening to AMM?). However, the "Tom & Gerry" monster still takes the
crown for me, and is pleasurable because it continues to keep me on the
edge of my seat.. probably because Lehn takes his instrument to soaring
crash and burn levels.
my second fave, the Drumm/Tetreault, is more of a stringent challenge..
quiet with fleeting bursts of action, turntables and guitars making little
smears on magentic tape, hardly anything is recognizable (a very good
thing), sounds like totally free improv. yeah, it's challenging stuff, but
also totally unique.
I followed the link to the For 4 eARS site...there, a Wire quote which said
something to the effect that very few euro free improv labels have stepped
up to the challenge of documenting the newer improv of stranger
instrumentation [turntables, trash?...], genre-referencing, etc... need i
say more/
very tired at the moment, aplgies for the confused descriptions.
- -
------------------------------
Date: Fri, 17 Mar 2000 09:46:04 +0100
From: MartinS <ohrndorf@pixelpark.com>
Subject: Re: Joey Baron - Down Home
Joey's 3 releases with his trio baron down are all very good. Like they used
to say: 'the smallest big band around'. I saw them live a couple of times
and it was always very challening.
The two releases with the 'down home ensemble' disappointed me after the
first hearing. After seeing them live I changed my mind completely. A great
band. They had someone else at the bass (the one who also plays with
Slowpoke, I can't recall his name right now) which gave a lot of additional
power to the band. At least this was my impression.
The mentioned trio with Ribot/Medeski and Baron sounds very interesting.
Does anyone now if they are planning to do a recording?
- --martin
- -
------------------------------
Date: Fri, 17 Mar 2000 11:00:18 +0100
From: "Marcin Gokieli" <marcing@mospan.pl>
Subject: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
> Also, was listening to Stravinsky's Les Noces -- anybody else find this
> chorus plus percussion work reminiscent of Harry Partch (altho it
> precedes Partch)....
The story of the instumentation of the piece is very odd, BTW. When
Stravinsky wrote it (about 1916?), it was intended as a large orchestra
(+voices) piece, then he started to rearange it for chamber orchestra. What
is the most ineteresting, just before opting for the final 4 pianos
+ 2 drums + soloists + chorus version, he started to arrange it for folk
russian instruments - balalaikas, and other such strange stuff. But he
didn't do it because there were no folk musicians at the time who could play
such stuff... :-(
Marcin
"Oh Nick, I had the strangest dream!
I thought - how could I know what I was never taught?"
Stravinsky/Auden "The Rake's Progress"
- -
------------------------------
Date: Fri, 17 Mar 2000 10:31:24 -0300
From: Linares Hugo <hulinare@bemberg.com.ar>
Subject: Kurt Rosenwinkel
Hi Zornheads!
Just to know if anyone out there get some opinion on Rosenwinkel's latest
outing "The Enemies of Energy" (Verve) or his first "Under it all"
(Impulse!).
Thanks in advance for any comments,
Hugo Linares
- -
------------------------------
Date: Fri, 17 Mar 2000 08:31:37 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Odp: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
On Fri, 17 Mar 2000 11:00:18 +0100 "Marcin Gokieli" wrote:
>
> > Also, was listening to Stravinsky's Les Noces -- anybody else find this
> > chorus plus percussion work reminiscent of Harry Partch (altho it
> > precedes Partch)....
> The story of the instumentation of the piece is very odd, BTW. When
> Stravinsky wrote it (about 1916?), it was intended as a large orchestra
^^^^^^^^^^^^^^^^^^^^^^
The composition date is given, if I remember well, as [1914-1923]. This
is the reason of a lot of problems since the spirit of the composition
is close to THE RITE, but it was created in France in 1923, when
Stravinsky had already switched to his "relecture" of classical style
(PULCINELLA, MAVRA, etc).
I never heard that Stravinsky intended it as "large orchestra (+voices)
piece." But I might just disagree on what "large orchestra" means :-).
> (+voices) piece, then he started to rearange it for chamber orchestra. What
> is the most ineteresting, just before opting for the final 4 pianos
> + 2 drums + soloists + chorus version, he started to arrange it for folk
> russian instruments - balalaikas, and other such strange stuff. But he
> didn't do it because there were no folk musicians at the time who could play
> such stuff... :-(
What I remember was that he wanted to use mechanical pianos but gave up on
the idea because they were impossible to synchronize. With the recent talk
about resurrecting old-impossible-to-play compositions with mechanical/
electric instruments, maybe we will see one day Stravinsky's dream
concretized.
Also, to my knowledge, there are only two versions of LES NOCES available
on CD. The most common one was finished in 1923 (piano + large choir +
percussion), and there is also a second and older version (with chamber
ensemble). It is usually sung in French or Russian, although Stravinsky
was not affraid to record it in... English!!! I doubt that nobody else
would have dare to do such blasphemous choice.
Thanks for the tip with the balalaikas (where did you read about it, BTW)!
I would love somebody to try it.
Patrice.
- -
------------------------------
Date: Fri, 17 Mar 2000 18:54:10 +0100
From: Fritz.Feger@t-online.de (Fritz Feger)
Subject: Avant-garde (was: Zorn can play)
Caleb T. Deupree says on the absence of an avant garde:
>I'm starting to think you need a more insular community, so that when you=
=20
>rebel, there's a concrete
>other to rebel against. The movements that I think of as avant garde=20
>[...] all took place in a fairly closed community. Now, with the=20
>dissolution of geographic communities because of the internet, and the=20
>ready availability of almost any kind of music you want, it's difficult to=
=20
>say that you're part of or reacting to a specific kind of musical=
institution.
Although I would agree in the consequence that insular communities are at=20
least a fertile ground for avant garde, if not a necessary condition, the=20
reason is IMO different: what unifies and pushes an avant garde movement is=
=20
the system of mutual confirmation, both artistically and socially, rather=20
than a common enemy. Forgot the title of the book, but the effectiveness of=
=20
"tribal" rites is well documented regarding Andy Warhol and his circle, and=
=20
there was an article and an extensive discussion at www.edge.org on the=20
social mechanisms of the "Boh=E8me" in Paris around 1900 (Isn't this Musical=
=20
"RENT" on that topic too?).
Beyond the social aspect, it seems quite important to have companions /=20
concurrents to discuss with on a specialized level and to learn from, which=
=20
is doubtlessly supported by a small community. In general, I think the idea=
=20
to rebel against artistic traditions as an end in itself is much more=20
widespred among fans as among the innovators themselves. The latter often=20
strike me as particularly affirmative towards the different traditions they=
=20
pick up in their own work - which is the other side of the coin of=20
"deconstructing" a tradition.
How about Zorn and his opinion about, say, the traditions he quotes with=20
Naked City?
My greetings to the list, which I abandoned for over a year. Now I'm=20
finally back as a full-time musician, thank god.
Fritz Feger
- -
------------------------------
Date: Fri, 17 Mar 2000 14:09:30 EST
From: TagYrIt@aol.com
Subject: Re: Newsgroups
In a message dated 2/25/00 1:39:22 PM Eastern Standard Time,
kingwil@enteract.com writes:
<< BTW I just wanted to recommend to people of the List that they start
checking out the alt.binaries newsgroups. They are starting to
really take off. >>
Can anyone inform the rest of us where to start looking for these, and how to
get access?
Thanks.
Dale.
- -
------------------------------
Date: Fri, 17 Mar 2000 16:13:07 -0500
From: kurt_gottschalk@scni.com
Subject: frisell review
hello all -- haven't heard the disc yet, but i pulled this off the newswire and
edited it for local interest (meaning i cut scofield, sorry if you dig him).
(bal) (ATTN: Entertainment editors)
RECORDS: Capsule Reviews of Recent Releases
By J.D. Considine
(c) 2000, The Baltimore Sun
For years, jazz guitarists have tried to keep their distance from popular music.
Even during the fusion boom of the '70s, when the likes of John McLaughlin and
Larry Coryell aped the amplification and dynamics of rock, there was no
confusing their music with the riffs and rhythms of rock. Certain grooves and
certain kinds of melodies simply seemed off-limits to jazz musicians.
Not anymore. The walls between jazz and pop are slowly coming down, thanks to
the work of such musicians as John Scofield and Bill Frisell.
<snip>
Rhythm plays a much smaller role on Frisell's "Ghost Town" (Nonesuch 79583), but
in part that's because this is a solo album. Instead of leaning on drums, bass
or keyboards, Frisell sticks to overdubbed guitars and banjos, an approach that
emphasizes the totality of his approach to the instruments.
That's not to say he doesn't try to work a groove here, just that he does so in
a fairly unorthodox fashion. "Tell Your Ma, Tell Your Pa," for example, uses
repeating "loops" of pre-recorded guitar licks for its rhythmic foundation,
establishing a loping, insistent pulse beneath Frisell's piquant banjo.
Other tracks, however, take more of a folk-song approach, downplaying the rhythm
so the slowly unfolding melody may take center stage. There's something almost
elegiac about the tuneful purity of "Ghost Town/Poem for Eva," while "Follow
Your Heart" takes a rambling, discursive approach that seems to suggest what
might have happened had Charlie Parker grown up a Delta bluesman.
Perhaps the most interesting aspect of the album is Frisell's way with
standards. He renders the jazz chestnut "When I Fall in Love" on banjo, upending
the expected sentimentality with the instrument's tart, twangy sound, while Hank
Williams' "I'm So Lonesome I Could Cry" is given such an eerie, atmospheric
twist you'd almost think it was a Pat Metheny number. It would be hard to
imagine stylistic lines being blurred more effectively.
np: Black 47: Home of the Brave (Happy St. Patrick's Day, y'all)
- -
------------------------------
Date: Fri, 17 Mar 2000 11:53:22 -0800
From: Martin_Wisckol@link.freedom.com
Subject: Re: Inside Out, S. Rivers, D.Cherry, I. Stravinsky
>>I wrote:
>> Also, was listening to Stravinsky's Les Noces -- anybody else find
>this
>> chorus plus percussion work reminiscent of Harry Partch (altho it
>> precedes Partch)....
Patrice responded:
>I might not have listened to the right Harry Partch because the
>comparison
>never came to me.
And now I should probably stop before I sink deeper into the quicksand,
but....
I suppose I was thinking of Partch's Delusion of the Fury (perhaps also
Bewitched -- in any event the later pieces, with larger ensembles and
choruses). The haunting, sentence-like phrasing. The abrupt intrusions,
particularly intrusions by dry, staccato percussion.... I read with
interest the post that pianos were not in the original conception --
indeed, the emphasized percussive qualities veil a bit that they are
pianos on the version I have (Leonard Bernstein w/ English Bach
Festival Chorus and Percussion Ensemble, playing the 1923 rendition).
Martin
NP Old&New Dreams -- Tribute to Ed Blackwell
- -
------------------------------
Date: Fri, 17 Mar 2000 17:45:50 -0600 (CST)
From: Paul Audino <psaudino@interaccess.com>
Subject: Re: frisell review
On Fri, 17 Mar 2000 kurt_gottschalk@scni.com wrote:
>
> hello all -- haven't heard the disc yet, but i pulled this off the newswire and
> edited it for local interest (meaning i cut scofield, sorry if you dig him).
I highly recommend the new Scofield album, _Bump_. It's a thouroghly
modern groove record and features a whole host of downtown artists
including members of Sex Mob and MMW as well as Mark De Gli Antoni from
Soul Coughing.
Out 2 Lunch With Lunchmeat,
Paul
psaudino@interaccess.com
- -
------------------------------
Date: Fri, 17 Mar 2000 16:39:20 -0800
From: "James Kirchmer" <jamesk@telisphere.com>
Subject: SUN CITY GIRLS - Live! Saturday (3/18/00) in Seattle!!!
YEAH YEAH YEAH, that's right - !!!!!!!! FYI !!!!!!!!! --->
the *LEGENDARY* ~~~Sun~City~Girls~~~ -->
sprung from the deteriorating half-life rubble of Southwestern
USA society, and now happily subverting the puget sound's
pasty-white paradigms,
- --> PLAY a *RARE* LIVE show at the =Rainbow= in Seattle
(U-District, I-5 & NE 45th St., near Kinko's) TOMORROW
NIGHT, SATURDAY, MARCH 18, cheap cover, 10pm approx.,
probably only like $6.....(I am a fan, not the promoter....
- - call the club at 634-1761 to check if you'd like...)
+++chances to see these guys don't come along too often,
they have been mostly holed up for some time, and when
they do come out to play these days it is always
a totally freaky livewire-in-the-shaman-moment kinda thing.
ANYTHING goes, they are one of the most unpredictable,
psycho-cacophonic bands of all time......
There's lot's going on tomorrow I'm sure, but it's not
*every weekend* (or month or season for that matter)
that one can see this SEMINAL "OUT-PUNK" band in
"action".....
Don't know of them? You should.
Don't believe me? You will -->
>>>>>>Check out these links<<<<<<
a trading page, with a "listen" link, lots of clips! -->
http://members.tripod.com/~otistoke/scg.html
on the ultimate band list:
http://www.ubl.com/ubl/cards/007/1/48.html
a discography: (partial, still huge....)
http://www.uoguelph.ca/~dhorne/scg.html
a 1.4mb streamable sound file, with win media
player or what have you (.au file) --->
http://wfmu.org/Juke/suncity.html
- -
------------------------------
Date: Fri, 17 Mar 2000 18:32:50 -0800 (PST)
From: =?iso-8859-1?q?A?= <Enfermo@rocketmail.com>
Subject: Susana Baca
Greetings
Luaka Bop has just released a CD by a Peruvian singer, Susana Baca,
who's a very talented popular singer from here. I suggest you check
it out, if only for the appearances of Marc Ribot on guitar and Greg
Cohen on bass. I don't know the name of the CD but you should know
which one it is (2000)
Later
A
__________________________________________________
Do You Yahoo!?
Talk to your friends online with Yahoo! Messenger.
http://im.yahoo.com
- -
------------------------------
Date: Sun, 19 Mar 2000 09:40:23 -0400
From: "Neil H. Enet" <nilugo@usa.net>
Subject: Sonny Clark recommendations
Hello List,
I still don't own The Sonny Clark Memorial Quartet Voodoo Album, but there
are some Sonny Clark albums in some record stores here and I was wondering
which one do you recommend. I understand there are some albums that only
have the PIANO-BASS-DRUMS line up, I'm looking for one with a SAX on it.
Thanks again ..
Neil H. Enet
- ------------
- -
------------------------------
Date: Sun, 19 Mar 2000 10:03:59 -0500
From: thehodgsons <thehodgsons@home.com>
Subject: Re: Sonny Clark recommendations
Neil H. Enet wrote:
>
> Hello List,
>
> I still don't own The Sonny Clark Memorial Quartet Voodoo Album, but there
> are some Sonny Clark albums in some record stores here and I was wondering
> which one do you recommend. I understand there are some albums that only
> have the PIANO-BASS-DRUMS line up, I'm looking for one with a SAX on it.
> Thanks again ..
>
> Neil H. Enet
> ------------
>
> -
I'd recommend any of these Sonny Clark releases
Dial S for Sonny (1957)
w/ Sonny Clark (p), Art Farmer(t), Curtis Fuller (tb), Hank Mobley (ts),
Wilbur Ware (b), Louis Hayes (d)
Sonny's Crib (1957)
w/ Sonny Clark (p), Donald Byrd (t), Curtis Fuller (tb), John Coltrane
(ts), Paul Chambers (b), Art Taylor (d)
Cool Struttin' (1958)
w/ Sonny Clark (p), Jackie Mclean (as), Paul Chambers (b), Philly Joe
Jones )d)
My Conception (1959)
w/ Sonny Clark (p), Hank Mobley (ts), Donald Byrd (t), Paul Chambers
(b), Art Blakey (d)
They should be fairly easy to find especially if you're in the US, I
think a couple are from the Blue Note Connoisseur series.
Dwayne
- -
------------------------------
Date: Sun, 19 Mar 2000 22:42:16 -0500
From: "Lev \"Ljova\" Zhurbin" <L@Ljova.com>
Subject: Feldman&Courvoisier @Tonic, march 22
Kill not the messenger!
> <<Sylvie Courvoisier---------Piano
> Mark Feldman--------------Violin
>
> Will play there own music at:
> TONIC Wed. March 22 at 8pm (one set only)
> 107 Norfolk (between Rivington and Delancy)
> New York
> Tel: 212-358 7501
- --------
Lev "Ljova" Zhurbin
L@Ljova.com
http://www.Ljova.com/
Listen to my music:
http://www.mp3.com/LevZhurbin (compositions)
http://www.mp3.com/Ljova (improvisations)
"Do not fear mistakes - there are none."
-Miles Davis
- -
------------------------------
End of Zorn List Digest V2 #894
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