ftp.xmission.com

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.n944 < prev next >

Wrap

Internet Message Format | 2000-05-19 | 24KB

From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest) To: zorn-list-digest@lists.xmission.com Subject: Zorn List Digest V2 #944 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 Saturday, May 20 2000 Volume 02 : Number 944 In this issue: - Re: Wright's Church Circle Maker query Re: Zorn in London RE: Constancy More klezmer Re: Zorn List Digest V2 #943 Forwarded article: CLASSICAL MUSIC NO LONGER FITS IN A PROFIT-DRIVEN, CYNICAL RECORD INDUSTRY oysterhead Re: More klezmer Masada live reocrdings electronicmusic James Carter new albums RE: electronicmusic ---------------------------------------------------------------------- Date: Fri, 19 May 2000 17:40:36 -0400 (EDT) From: Ken Waxman <cj649@freenet.toronto.on.ca> Subject: Re: Wright's Church Just back from the Empty Bottle Fest in Chicago where I did some CD shopping (no surprise). I picked up a fine CD by tenorist Frank Wright that is a bit of a puzzle though. Called Church Number Nine [or Churdch (sic) Number Nine if you're to believe the side panel], it's 44:65 long and features Wright (ts), Noah Howard (as); Bobby Few (p) and Muhammed Al (spelled "Mohamed" on the disc). However not only is there no discographical info, there's not even a record company name. I figure it dates from the early 1970s when that band (+or - Alan Silva) existed in France. Anyone have any additional info? Thanks in advance Ken Waxman - - ------------------------------ Date: Fri, 19 May 2000 16:47:41 CDT From: Josh Kortbein <kortbein@iastate.edu> Subject: Circle Maker query Is _Circle Maker_ supposed to come without notes (personnel, track listings, etc.) for the "Zevulum" disc? Because mine didn't. Josh - -- josh blog: http://www.public.iastate.edu/~kortbein/blog/ tdr: http://www.public.iastate.edu/~kortbein/tdr/ - - ------------------------------ Date: Fri, 19 May 2000 23:16:41 +0100 From: "Alastair Wilson" <wilsonah@hotmail.com> Subject: Re: Zorn in London It's at the Barbican - top price tix twenty pounds - and also includes Frith and Laswell. Gig on July 3. You can't book on line, but the telephone number is at www.barbican.org.uk See you there! (BTW - if any Zornithologists want to meet up beforehand, please e-mail me privately) - ----- Original Message ----- From: Diego Gruber <dgruber@uio.satnet.net> To: Zorn list <zorn-list@lists.xmission.com> Sent: Friday, May 19, 2000 6:52 PM Subject: Zorn in London > Hi Zornlisters, > > Does anyone know details for Zorn's performance in London together with > Dave Lomabardo? Where, when, tickets? > > Thanks. I'd appreciate any help. > > D > > > > > - > > - - ------------------------------ Date: Fri, 19 May 2000 18:45:24 -0400 From: "Neil H. Enet" <nilugo@usa.net> Subject: RE: Constancy Yes, Innerzone Orchestra is one great electronic album, but I prefer (a lot) CINEMATIC ORCHESTRAS's "MOTION" which although it's electronic based, it's much much more jazz oriented. Oh, by the way, I want to thank everyone who recommended Electronic-Jazz albums (Innerzone Orchestra and specially Cinematic Orchestra) when I asked for help a few months ago. I still ahve to get PONGA and GRASSY KNOLL. Thanks Neil H. Enet - ------------ - - ------------------------------ Date: Sat, 20 May 2000 00:04:45 +0100 From: "Alastair Wilson" <wilsonah@hotmail.com> Subject: More klezmer This is a multi-part message in MIME format. - ------=_NextPart_000_004B_01BFC1EF.01B13B40 Content-Type: text/plain; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable Something for Zornists and klezmatics alike - an Italian band that = covers "Mhashav" from Masada 7 - the Meshuge Klezmer Band. And you can = just download the track you want (but let's not get into that again). = Another for your discography Patrice? http://stage.vitaminic.co.uk/meshuge_klezmer_band/ Alastair NP - SART - Garbarek/Stenson/Rypdal et al - ------=_NextPart_000_004B_01BFC1EF.01B13B40 Content-Type: text/html; charset="iso-8859-1" Content-Transfer-Encoding: quoted-printable <!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN"> <HTML><HEAD> <META content=3D"text/html; charset=3Diso-8859-1" = http-equiv=3DContent-Type> <META content=3D"MSHTML 5.00.2614.3500" name=3DGENERATOR> <STYLE></STYLE> </HEAD> <BODY bgColor=3D#ffffff> <DIV>Something for Zornists and klezmatics = alike - an=20 Italian band that covers "Mhashav" from Masada 7 - the = Meshuge=20 Klezmer Band. And you can just download the track you want (but let's = not get=20 into that again). Another for your discography Patrice?</DIV> <DIV> </DIV> <DIV><A=20 href=3D"http://stage.vitaminic.co.uk/meshuge_klezmer_band/">http://stage.= vitaminic.co.uk/meshuge_klezmer_band/</A></DIV> <DIV> </DIV> <DIV>Alastair</DIV> <DIV> </DIV> <DIV>NP - SART - Garbarek/Stenson/Rypdal et=20 al</DIV></BODY></HTML> - ------=_NextPart_000_004B_01BFC1EF.01B13B40-- - - ------------------------------ Date: Sat, 20 May 2000 00:05:48 +0100 From: Philip Clarkson <phil@clarksonp.demon.co.uk> Subject: Re: Zorn List Digest V2 #943 > Subject: Zorn in London > Does anyone know details for Zorn's performance in London together with > Dave Lomabardo? Where, when, tickets? He's playing the Barbican on July 3rd with Bill Laswell, Fred Frith & Dave Lombardo. Tickets from the Barbican on 020 7638 8891. They're also playing in Paris at La Villette Jazz festival on the 5th July - tel 01 40 03 75 75. Phil Clarkson - - ------------------------------ Date: Fri, 19 May 2000 08:31:17 -0700 (PDT) From: keithmar@jetlink.net Subject: Forwarded article: CLASSICAL MUSIC NO LONGER FITS IN A PROFIT-DRIVEN, CYNICAL RECORD INDUSTRY The following article was selected from the Internet Edition of the Chicago Tribune. To visit the site, point your browser to http://chicagotribune.com/. - ----------- Chicago Tribune Article Forwarding---------------- Article forwarded by: s~Z Return email: keithmar@jetlink.net - ---Forwarded article---------------- CLASSICAL MUSIC NO LONGER FITS IN A PROFIT-DRIVEN, CYNICAL RECORD INDUSTRY By John von Rhein Recently, after phoning Universal Classics in New York in hopes of securing some information from one of its classical labels, I was bounced to the extension of a secretary. A youngish-sounding voice answered as hip-hop music blared in the background. I asked to speak to "someone from Deutsche Grammophon." "What label are they on?" was her bland reply, unaware she was mistaking a venerable German record label for an imaginary German rock band. That level of cultural ignorance seems to be rife from top to bottom of the classical recording industry these days, as, one by one, the major companies sell their artistic souls and legacies to the great god Mammon. Last month it was reported that BMG Classics--known in America under its imprints RCA Victor Red Seal and RCA Victor--was being gutted in a drastic downsizing that will reduce what was once the third largest classical recording operation in the world to an appendage of BMG's pop division. All overseas recording activity is to be temporarily halted, reissue projects are being put in limbo and scores of employees laid off. Executive lips remain sealed until in-house reports are tendered this week to Strauss Zelnick, chief executive of the Munich-based BMG Entertainment, a wing of the German multimedia giant Bertelsmann. BMG Classics reportedly lost $6 million last year, and the company has issued only the following statement: "BMG is going through a review towards creating a more efficient and corporate structure." But insiders say that by July 1 BMG will fold its 200 classical, jazz, New Age and world music labels into the pop division, RCA Records. Classical releases, it is said, will be slashed from 200 to 10 albums a year, new as well as reissues. Already such RCA stalwarts as Scottish percussionist Evelyn Glennie and the King's Singers have lost their contracts, and the fate of flutist James Galway is in the hands of his New York attorney. Michael Tilson Thomas and the San Francisco Symphony may be spared the ax because of their blue-chip value to the label, and the same could apply to pianist Evgeny Kissin. Not so fortunate, apparently, are conductors Lorin Maazel and Daniele Gatti, and singers Waltraud Meier and Vesselina Kasarova. If anybody was surprised by this latest downsizing, they weren't reading the tea leaves very closely. RCA has been steadily scaling back its classical operation, dropping its enterprising Catalyst label and deleting a large number of older recordings while allowing contracts with such artists as pianist Peter Serkin to lapse. The resignation last January of Rudi Gassner, head of international operations for BMG and a champion of classical music within the corporate hierarchy, was the coup de grace. "BMG has ceased to be a major player in the classical market," says Glenn Petry of the 21C Media Group, a marketing and consulting company working to raise the visibility of classical music. And RCA is by no means alone in gutting its classical division. Universal (which owns the Decca, Deutsche Grammophon and Philips labels) has cut its artist roster to the bone. The Japanese-owned Sony is devoting more and more attention to crossover and soundtracks. In January, the European giant EMI merged with Warner-AOL in a move that is expected to lay waste to several Warner labels. (There's no indication yet that Teldec, part of the Warner family, will drop the Chicago Symphony Orchestra, which it records on a per-project basis.) Where once the worldwide classical market was ruled by six multinationals, now there are three: Universal, Sony and EMI/Warner. And, where once the classical recording giants could allow themselves to fill a cultural need while making money, now they are only interested in making money--lots of money, and quickly. A new recording by 'N Sync sells 1.1 million copies in a single day, and the accountants wonder why a Kissin or Pierre Boulez cannot do the same. A successful classical recording will sell not much more than 10,000 to 20,000 copies, unimpressive by the inflated standards of the pop music market. And complete opera recordings cost more than $1 million to produce and must be kept in the catalog for years before they can hope to recoup their costs. The big record companies have only themselves to blame for the current situation. They filled the retail bins with an endless stream of standard-repertory recordings and archival reissues while the classical market was bullish in the early '90s, only to see their profit bubble burst when consumers balked at acquiring new digital versions of the Beethoven symphonies--or anything else that has already been recorded ad nauseam. One by one, CEOs who valued classical music and the vast library of great recorded performances in the company vaults have been replaced by know-nothing MBAs and others who could care less about serious music. These execs expect every recording to produce the same cost-to-profit ratio as a mass-market rap disc that is broadcast from dawn to dusk and is promoted on a half-million-dollar budget. The days when companies would cover their classical losses with the obscene profits generated by teen-beat music are apparently gone. Is it any wonder classical recording is dying? Yet, while classical recordings amount to around 4 percent or less of the turnover of the majors, this still translates into an annual $500 million plus domestic business--only in America would that be considered a crisis. In fact, there is still plenty of room in the market for projects that have an artistic reason for being, projects that pique the interest of the loyal core of classical consumers. If there is no longer any room for serious musical artists at the cynical level of corporate recording, classical recording continues to hold its own among the smaller, independent, owner-operated labels. To an extent, this has always been true. With no shareholders to satisfy, no expensive contracts with big-name artists to drive their projects, such labels as ECM, Harmonia Mundi, Chandos, BIS, Naxos, Hyperion, CPO and Bridge can afford to take calculated risks and put out smart, worthwhile recordings that are justifiable artistically as well as commercially. Says Manfred Eicher, founder and producer of the Munich-based ECM: "The big companies fall back on the refrain that classical music doesn't turn a profit, whereas it's simply their lack of ideas and imagination that makes it easy for them to argue that these recordings don't sell." It was Eicher, who, in the mid-1980s, went out on a very long limb on behalf of the then-little-known Estonian composer Arvo Part, releasing album after album until his music, combining New Age serenity with neo-medieval spirituality, reached a mass public. Interest boomed in Part's music as well as that of other spiritualist composers such as John Tavener and Henryk Gorecki. Soon other labels were jumping aboard the Part bandwagon. Harmonia Mundi's new CD of Part's haunting "I Am the Vine," with Paul Hiller's Theatre of Voices, is now moving up the classical charts, while Sony has just released a Part-Tavener choral disc under Andrew Parrott. If, as some Cassandras are saying, that classical recording at the multinational level is a 20th Century industry marked for extinction in the era of downloadable music, perhaps the classics no longer belong at the major labels. I have a hunch Eicher is absolutely correct when he predicts the early 2000s will be "the time for the independents" in classical recording. Certainly he will get no argument from 21C Media's Petry, who says: "Some of these majors are big old trees that are rotten from the inside. If they fall down, the little trees will get more light." Meanwhile, light a candle for BMG/RCA. It's sad to see the company that sits atop one of the greatest troves of historic recordings ever made--the company that gave you matchless performances by luminaries such as Enrico Caruso, Arturo Toscanini and Van Cliburn--brought low by corporate greed and philistinism. The sound you hear from Nipper, RCA's trademark canine mascot, is no longer a bark, it's a pathetic whimper. - - ------------------------------ Date: Fri, 19 May 2000 16:42:42 -0700 (PDT) From: Tom <aargh881@yahoo.com> Subject: oysterhead anyone interested in trading for a oysterhead cd? __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ - - ------------------------------ Date: Sat, 20 May 2000 10:44:25 +1000 From: "Julian" <jcurwin@hartingdale.com.au> Subject: Re: More klezmer Is there anywhere else you can check out this cd? My computer can't handle those damn G2 files... << Something for Zornists and klezmatics alike - an Italian band that covers "Mhashav" from Masada 7 - the Meshuge Klezmer Band. And you can just download the track you want (but let's not get into that again). Another for your discography Patrice? >> - - ------------------------------ Date: Fri, 19 May 2000 22:09:45 -0400 From: "Neil H. Enet" <nilugo@usa.net> Subject: Masada live reocrdings Hello list, does anyone know if the shows recorded for the Tzadik live albums are complete, or maybe edited with some tracks left out? Neil H. Enet - ------------ - - ------------------------------ Date: Fri, 19 May 2000 20:17:06 -0700 (PDT) From: =?iso-8859-1?q?A?= <Enfermo@rocketmail.com> Subject: electronicmusic Date: Thu, 18 May 2000 21:07:53 -0700 From: Martin_Wisckol@link.freedom.com which leaves, among other things, this question: if i were to have one electronic/ambient CD from the 1990s in this rotation, which should it be? recommendations please! - ----------------------- How about 2!! Merzbow/Venereology James Plotkin & Mick Harris/Collapse I keep returning to those two from time to time. A __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ - - ------------------------------ Date: Sat, 20 May 2000 01:12:44 -0400 From: Peter Gannushkin <shkin@shkin.com> Subject: James Carter new albums Hello All, Atlantic just posted the note about two upcoming JC albums. There are familiar names on both of them: "...The most lavishly gifted, formidably developed, and astonishing saxophonist to come along in quite some time." -People Defying industry convention and flying in the face of easy categorization, Carter steps boldly forward with the simultaneous release of two new and proudly distinct dual-guitar studio albums: CHASIN' THE GYPSY, inspired by a love of Europe's legendary Romany jazz guitarist, Django Reinhardt; and the deeply funky LAYIN' IN THE CUT, JC's first-ever recordings with an all-electric outfit. CHASIN' THE GYPSY showcases the more romantic side of James Carter, a man with a deep affection for pre-War swing music and the confidence to make it his own. Performing such signature Django numbers as "Nuages," Carter turns aside the expectations of purists and takes bold interpretative license with style and arrangements - just as you'd expect any vital, young player would. On this album, the multi-reedist has chosen from his panoply of horns to play the tenor and soprano saxophones along with, for the first time, the rarely heard F meSzzo and bass saxophones. The album brings a tasteful Brazilian flavor to a number of tracks, also adding such unexpected instrumental elements as the accordion and the nylon string guitar. The top cast of players includes violinist Regina Carter - appearing in the role of Django's partner, Stephane Grappelli - along with percussionist Cyro Baptista (John Zorn, Tom Ze, Kathleen Battle, Herbie Mann) and drummer Joey Baron, widely recognized for his work with John Zorn's Masada quartet, the Lounge Lizards, Laurie Anderson, and Don Byron. Building on the stylistic foundation set in the '70s with Ornette Coleman's Prime Time ensemble, Carter's LAYIN' IN THE CUT combines a free jazz style with a solid funk groove in the creation of a remarkably accessible, booty-shakin', party imbibed sound. Carter makes himself at home with a crew of avant garde and downtown NYC players - among them labelmate guitarist Marc Ribot (John Zorn, Elvis Costello, Tom Waits), complemented by bassist Jamaaladeen Tacuma and drummer G. Calvin Weston, both known for their work with Ornette Coleman and James Blood Ulmer. The association continues with guitarist Jef Lee Johnson, who has notably worked with Ronald Shannon Jackson, a Prime Time alumni and founder of the standard bearing Decoding Society. Together, they create a boldly innovative album of daring authenticity. Best regards, Peter Gannushkin e-mail: shkin@shkin.com - - ------------------------------ Date: Sat, 20 May 2000 09:37:58 -0700 From: "Axelrad, Ben (US - Downers Grove)" <baxelrad@dc.com> Subject: RE: electronicmusic 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_01BFC279.C1B0E410 Content-Type: text/plain; charset="iso-8859-1" I'd recommend these for some lighter listening: Peter Benisch, Waiting for Snow (FAX) Tetsuo Inoue, Organic Cloud (FAX) Speaking of electronic music, will anyone in the Chicago area be attending the Polwechsel/Kurzmann/Essl show on Sunday? Ben - -----Original Message----- From: A [mailto:Enfermo@rocketmail.com] Sent: Friday, May 19, 2000 10:17 PM To: zorn-list@lists.xmission.com Subject: electronicmusic Date: Thu, 18 May 2000 21:07:53 -0700 From: Martin_Wisckol@link.freedom.com which leaves, among other things, this question: if i were to have one electronic/ambient CD from the 1990s in this rotation, which should it be? recommendations please! - ----------------------- How about 2!! Merzbow/Venereology James Plotkin & Mick Harris/Collapse I keep returning to those two from time to time. A __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with Yahoo! Messenger. http://im.yahoo.com/ - - - ------_=_NextPart_001_01BFC279.C1B0E410 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 = 5.5.2652.35"> <TITLE>RE: electronicmusic</TITLE> </HEAD> <BODY> I'd recommend these for some lighter = listening: Peter Benisch, Waiting for Snow (FAX) Tetsuo Inoue, Organic Cloud (FAX) Speaking of electronic music, will anyone in the = Chicago area be attending the Polwechsel/Kurzmann/Essl show on = Sunday? Ben -----Original Message----- From: A [<A = HREF=3D"mailto:Enfermo@rocketmail.com">mailto:Enfermo@rocketmail.com</A>= ] Sent: Friday, May 19, 2000 10:17 PM To: zorn-list@lists.xmission.com Subject: electronicmusic Date: Thu, 18 May 2000 21:07:53 -0700 From: Martin_Wisckol@link.freedom.com which leaves, among other things, this question: if i = were to have one electronic/ambient CD from the 1990s in this = rotation, which should it be? recommendations please! ----------------------- How about 2!! Merzbow/Venereology James Plotkin & Mick Harris/Collapse I keep returning to those two from time to = time. A __________________________________________________ Do You Yahoo!? Send instant messages & get email alerts with = Yahoo! Messenger. <A HREF=3D"http://im.yahoo.com/" = TARGET=3D"_blank">http://im.yahoo.com/</A> - </BODY> </HTML> - ------_=_NextPart_001_01BFC279.C1B0E410-- - - ------------------------------ End of Zorn List Digest V2 #944 ******************************* 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