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Zorn List Digest        Saturday, June 3 2000        Volume 02 : Number 952



In this issue:
-
       transmissions festival update
       Sex Mob
       Sex Mob
       sex mob
       bill frisell interview online
       Re: sex mob
       Re: Sex Mob
       Re: Sex Mob
       Re: webern box set
       Re[2]: Sex Mob
       artists and self-estimation (was re: webern box)
       Lurie brothers & Marc Ribot (fwd)
       Sex Mob
       Re: artists and self-estimation (was re: webern box)
       Re: artists and self-estimation (was re: webern box)
       ...and I don't even listen to Webern...
       ...and I don't even listen to Webern...

----------------------------------------------------------------------

Date: Fri, 2 Jun 2000 01:59:08 -0400 (EDT)
From: Ethan <[e-mail]>
Subject: transmissions festival update

july 14-15
cats' cradle, carrboro, nc

transmissions site http://transmit.org

pita, fennesz, rafael toral, kim cascone, hazard, david grubbs, john
fahey, marcus schmickler, alan licht, dean roberts, pelt, lucky kitchen,
rhband, vote robot, idyll swords, zuerichten, keenan lawler, miss
murgatroid + films & audio installations

just a brief note to mention that the transmissions site ( transmit.org )
has been updated to include the schedule, accommodation information, and a
map to the cat's cradle.

we should be shortly announcing the film, video, and installation
information, including specific works and location details.

a limited number of tickets are still available through the website, and
should also currently be aquarius records in san francisco, ear-xtacy, and
ground zero in louisville, and cd alley and schoolkids records in chapel
hill.

tickets can also be mailordered; please contact [e-mail] to
notify us of how many tickets you would to reserve.

please let us know if you have any other questions ( [e-mail] )


thanks to everyone for the interest -
 keenan

________________________________________
k e e n a n mcdonald.              t r a n s o o 3
post  box 1816.    west jefferson  nc.       28694
[e-mail]        - - - - -       transmit.org




- -

------------------------------

Date: Fri, 02 Jun 2000 10:12:05 EDT
From: "& c." <[e-mail]>
Subject: Sex Mob

Does any one know anything about the band Sex Mob.  I just bought Solid
Sender on a whim.  Mainly because of the Knitting Factory connection.  i
just want to know the opinion of them in the avant garde scene.


________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com


- -

------------------------------

Date: Fri, 2 Jun 2000 10:22:40 -0400
From: Jason Tors <[e-mail]>
Subject: Sex Mob

sex mob is a band you have to check out live to fully get into what
they are doing. I am not a fan of solid sender, the first album is
much better in my opinion.

- -

------------------------------

Date: Fri, 2 Jun 2000 16:47:20 +0200
From: "dekater" <[e-mail]>
Subject: sex mob

I like Solid Sender a lot. There's much fun and great playing.

Jan Luyben


- -

------------------------------

Date: Fri, 2 Jun 2000 10:43:28 -0500 (CDT)
From: Whit Schonbein <[e-mail]>
Subject: bill frisell interview online

stumbled onto this, if anyone is interested

http://www.sonicnet.com/jazz/features/Frisell,_Bill/051500/

cheers,
whit


- -

------------------------------

Date: Fri, 02 Jun 2000 18:11:40 -0700
From: Arthur Rother <[e-mail]>
Subject: Re: sex mob

They play many  songs live, that are on no album.

I really liked all that J. Bond stuff. But notting on CD except Goldfinger.


- -

------------------------------

Date: Fri, 2 Jun 2000 13:04:17 -0400
From: Peter Gannushkin <[e-mail]>
Subject: Re: Sex Mob

Hello &,

Friday, June 02, 2000, you wrote to me:

c> Does any one know anything about the band Sex Mob.  I just bought Solid
c> Sender on a whim.  Mainly because of the Knitting Factory connection.  i
c> just want to know the opinion of them in the avant garde scene.

Steven Bernstein has different own projects as well as he is playing
as a member of other groups like Kamikaze Ground Crew. Sex Mob is the
most joyful and bright quartet you have to check live. His Millenial
Territory Orchestra is another very interesting collective where they
are trying to play Ellington music. His CD Diaspora Soul on Tzadik is
one of my favorites on the label too. And the last thing I want to add
that he was a music director of Kansas City Band from Robert Altman's
Kansas City movie so he is even more famous as an arranger.

- --
Best regards,
Peter Gannushkin
e-mail: [e-mail]



- -

------------------------------

Date: Fri, 02 Jun 2000 19:46:55 +0200
From: "Francisco =?iso-8859-1?Q?Fonz=2DGarc=E9s?=" <[e-mail]>
Subject: Re: Sex Mob

Peter Gannushkin wrote:
> Steven Bernstein has different own projects as well as he is playing
> as a member of other groups like Kamikaze Ground Crew. Sex Mob is the
> most joyful and bright quartet you have to check live. His Millenial
> Territory Orchestra is another very interesting collective where they
> are trying to play Ellington music. His CD Diaspora Soul on Tzadik is
> one of my favorites on the label too. And the last thing I want to add
> that he was a music director of Kansas City Band from Robert Altman's
> Kansas City movie so he is even more famous as an arranger.

Still musical director in Lurie's Loungue Lizards?

Ciao
Paco
- --
<HTML>
<HEAD>
   <META HTTP-EQUIV="Content-Type" CONTENT="text/html; charset=iso-8859-1">
   <META NAME="GENERATOR" CONTENT="Mozilla/4.03 [es] (Macintosh; I; PPC) [Netscape]">
</HEAD>
<BODY>
<TT>------------------------------------------</TT>
<BR><TT>francisco fonz-garcés</TT>
<BR><TT>po box 199 22080 huesca spain (europe)</TT>
<BR><TT>[e-mail]</TT>
<BR><TT>http://teleline.terra.es/personal/pacofonz</TT>
<BR><TT>[e-mail]</TT>
<BR><TT>[e-mail]</TT>
<BR><TT>------------------------------------------</TT>
</BODY>
</HTML>

- -

------------------------------

Date: Fri, 02 Jun 2000 10:49:34 -0700
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: webern box set

On Fri, 2 Jun 2000 00:35:17 EDT  [e-mail] wrote:
>
> Also: if anyone exists that would admit that their last record sucked or was
> sub-par, then they're not an artist, and thus they also would be outside the
> crux of this particular biscuit.  Yet, if an artist claims that he feels his
> last work to be his finest, maybe we should take that into consideration when
> assessing their work for ourselves.

I have a different opinion here. Artists sometimes try new things that go
nowhere. Through history, we tend to only remember the ones that really
succeeded (the bins of art are quite full with failed attempts). All this to
say that an artist can recognize that his last record is not up to what he
expected because he tried something new and, finally, it ended up to be short
on promise. I am just sad that I never read about artists acknowledging, once
in a while, that their last record was lackluster (when there is sometimes a
silence conspiracy indicating that the result was... so-so, to say the least).
A typical situation on this list is the great expectections that upcoming
records are producing. Then, when the record is released, you barely read
anything really positive about it (I pass on the usual "interesting"). But
people have already jumped on the next upcoming one (which should put the
situation straight).

    Patrice.


- -

------------------------------

Date: Fri, 2 Jun 2000 14:24:16 -0400
From: Peter Gannushkin <[e-mail]>
Subject: Re[2]: Sex Mob

Hello Francisco,

Friday, June 02, 2000, you wrote to me:

FFG> Peter Gannushkin wrote:
>> Steven Bernstein has different own projects as well as he is playing
>> as a member of other groups like Kamikaze Ground Crew. Sex Mob is the
>> most joyful and bright quartet you have to check live. His Millenial
>> Territory Orchestra is another very interesting collective where they
>> are trying to play Ellington music. His CD Diaspora Soul on Tzadik is
>> one of my favorites on the label too. And the last thing I want to add
>> that he was a music director of Kansas City Band from Robert Altman's
>> Kansas City movie so he is even more famous as an arranger.

FFG> Still musical director in Lurie's Loungue Lizards?

I'm not sure. He was musical director for several years but I don't
think he still is.

- --
Best regards,
Peter Gannushkin
e-mail: [e-mail]



- -

------------------------------

Date: Fri, 02 Jun 2000 13:47:35 CDT
From: "Kristopher S. Handley" <[e-mail]>
Subject: artists and self-estimation (was re: webern box)

> > Also: if anyone exists that would admit that their last record sucked or
>was
> > sub-par, then they're not an artist....

What bothers me about this statement is that it seems to not make sense.  If
one must compulsively give pride of place to one's most recent work, then
one is an egomaniac, not (necessarily) an artist.  All that an artist _must_
do is PRODUCE, consciously (and even _that_ criterion is "iffy").  To stay
interested in one's work, to maintain a livelihood, to maintain the hype, to
deepen or insure one's enclave in the tumultuous annals of history....all
_these_ are reasons to promote the current.  And proximity, which is less
cynical and more natural a reason: whatever's just finished
is---assumedly---closest to who that producer is as a person RIGHT NOW; that
person, not worried about the annals of history, is happy to be alive and
productive, and here (i.e. here, the most recent fruits of his/her labours)
is the proof of that persistence.  But that doesn't mean we stop being
critical consumers (ouch! did I say "consumers"?  ouch!)

>Yet, if an artist claims that he feels his
>last work to be his finest, maybe we should take that into consideration
>when
>assessing their work for ourselves.

If we follow the artist's bait, we no longer assess anything _for
ourselves_.

Patrice Roussel responded to the above quoted comments:
>Through history, we tend to only remember the ones that really
>succeeded (the bins of art are quite full with failed attempts)...

1. I'd be interested to know what constitutes a "real" success, outside the
usual categories: platinum sales; "historical" "significance"; persistence
of popularity, even if diffuse (i.e. cult followings, resurgences, massive
subtle influence, critical acclaim amidst the ruins of popular ignorance,
etc.), etc etc.  I can intuitively agree with you: sometimes I feel that
someone shot for something, missed, and failed to even accidentally hit
anything interesting.  But I also feel (ah! the avant-gardist in me!) that
there may be new ways to look at old failures which makes the clarity of the
success/failure dichotomy less, well, clear.  Anyway, my question would be:
do we remember the works because they succeeded, or did they succeed
_because they WERE REMEMBERED_?  This leads me to my third point, right
after my next point...

>I am just sad that I never read about artists acknowledging, once
>in a while, that their last record was lackluster

2. Absolutely agreed!  More refreshing and more edifying than humility,
"modesty", or self-deprecation, would be the ability to shrug off a
(perceived) failure and say, "The next go-around will be a lot more fun" or
"Perhaps _someone_ will find it interesting" or take the John Coltrane (or,
for that matter, Cornel West) route and just be tremendously excited about
What's Next.

>But
>people have already jumped on the next upcoming one (which should put the
>situation straight).

The constant threat and promise of history---above and beyond the present
pleasures of fame and even wealth and power---and the "speeding up" of
history, the acceleration and exponential growth in mass quantity of
information that one can/should/must consume, now means that we must promote
with hyperbole, constantly.  Which is why every new novel is the greatest of
his/her generation, if not century; why Evan Parker is "the most innovative
saxophonist since John Coltrane", etc etc, blah blah blah.  It is the
perfect way to cater to the needs of those who love substance and fear
profusion, who flounder in the ocean of _information_ (which should not, as
Caleb Carr has put it, be confused with _knowledge_); it is the perfect way
not to even cynically dupe the masses into consuming a product in huge
quanitities, but rather a survival mechanism designed to allow an
artist/album/performance/utterance/idea to be noticed in the first place.  A
form of economic selection, of competition.  So the survival instinct in an
artist might move him/her to promote himself/herself basec on current work.

- -----s
________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com


- -

------------------------------

Date: Fri, 2 Jun 2000 18:22:56 -0400 (EDT)
From: eric ong <[e-mail]>
Subject: Lurie brothers & Marc Ribot (fwd)

This was probably meant for the list...


- ---------- Forwarded message ----------
Date: Fri, 2 Jun 2000 16:18:57 +0200
From: Viguier Benoit <[e-mail]>
To: [e-mail]
Subject: Lurie brothers & Marc Ribot

Hi,

I know it's not very polite, but it's my last chance...
I'm a french fan of the new-york jazz scene, and especially of John & Evan
Lurie, Marc Ribot, Arto Lindsay, Ezter Balint...
For many years I try to find some records of those people, but i really
don't find them on the internet or in some french strores.
Could you help me if you have those records (of course i could send you some
money) or if you can tell me where i can find them :

1/ Live from drunken boat (LP, Europa 1983) : lounge lizards
2/ Big Heart live in tokyo (japanese version) : Lounge Lizards
3/ Banned from 93 countries : the terminators

Many thanks
Benoit



- -

------------------------------

Date: Fri, 2 Jun 2000 20:20:22 -0400
From: "Neil H. Enet" <[e-mail]>
Subject: Sex Mob

    I too own Solid Sender and love it very much.  I just look at them as a
Rock And Roll band played with "Jazz instruments" (if you know what I mean),
and of course with that inevitable Jazz feeling.  I love the drunken sound
of the trumpet and the sax.

    I haven't seen them live and haven't heard the first album, but Solid
Sender is very good.  Their cover of ABBA's Fernando is very funny, it
sounds like a drunk MARIACHI band, if you know what I mean.

I understand the debut album has a cover of MACARENA, ... I have to hear
that!!!!

Neil H. Enet
- ------------


- -

------------------------------

Date: Fri, 2 Jun 2000 22:50:47 EDT
From: [e-mail]
Subject: Re: artists and self-estimation (was re: webern box)

In a message dated 6/2/00 2:48:58 PM Eastern Daylight Time,
[e-mail] writes:

<< If we follow the artist's bait, we no longer assess anything _for
 ourselves_.
  >>

Bait?  You imply trickery or some such thing here.  If an artist does
something we don't like, then its bait?  What is it if we like it?  Or is it
'bait' no matter what, even if we like it?

- -

------------------------------

Date: Sat, 3 Jun 2000 04:10:13 EDT
From: [e-mail]
Subject: Re: artists and self-estimation (was re: webern box)

In a message dated 6/2/00 2:48:58 PM Eastern Daylight Time,
[e-mail] writes:

<< >Yet, if an artist claims that he feels his
 >last work to be his finest, maybe we should take that into consideration
 >when
 >assessing their work for ourselves.

 If we follow the artist's bait, we no longer assess anything _for
 ourselves_.
  >>

I think that this is a fascinating subject.  A few years ago I had the
opportunity to spend an afternoon visiting with composer George Rochberg, an
80 year old composer who has been part of the avant-garde his whole life.  He
told me that during Beethoven's time , old Ludwig Van was asked by an
interviewer to state his favorite symphony.  Beethoven replied that the Third
 symphony, Eroica, was his favorite.  The interviewer was surprised because
he expected him to state a more obvious choice, the 5th or the 9th.

"Why do you suppose Ludwig chose the third?", Rochberg asked me.  If anyone
is interested I'll write back tomorrow with his answer.

Peace,
Bruce

www.eisenbeil.com

- -

------------------------------

Date: Sat, 03 Jun 2000 10:55:57 -0400
From: Taylor McLaren <[e-mail]>
Subject: ...and I don't even listen to Webern...

MEEP! [e-mail] wrote:
>whatever's just finished
>is---assumedly---closest to who that producer is as a person RIGHT NOW; that
>person, not worried about the annals of history, is happy to be alive and
>productive, and here (i.e. here, the most recent fruits of his/her labours)
>is the proof of that persistence.  But that doesn't mean we stop being
>critical consumers (ouch! did I say "consumers"?  ouch!)
It's funny that you should apologize for being a consumer. You mentioned
marketing hyperbole as being symptomatic of a mass of available
information, and a way of trying to make a single recording or artist stand
out in a sea of options. Isn't this sort of apology pretty much the same
thing on the consumer's side of the transaction, ie. "I'm not like the
other people here in this record store... I actually buy stuff because it
*means* something to me"?
  This isn't meant as a way of singling out a particular comment for
accusations of snobbery, either. Musicians on other mailing lists have
managed to get awfully worked up about how their output is perceived or
used by their audience, in some cases reaching the point of getting into
shit-flinging matches with people who were "obviously just missing the
point". Well, for multiple parties to reach the point of politely telling
one another to go fuck a lawnmower, there are obviously some strongly-held
convictions being trampled on or ignored. If we're all trying to establish
unique identities for ourselves in the face of market research, browser
cookies, and serial numbers, why not just assume that we're all just a tiny
bit different from one another, and that blanket statements about artistic
intent are always going to leave somebody out? C'mon, it's a nice day
outside... doesn't a popsicle and a walk in the park sound better than
sitting in front of a computer and getting all pasty-toned over
generalizations?

- -me



- -

------------------------------

Date: Sat, 03 Jun 2000 09:47:43 -0400
From: Taylor McLaren <[e-mail]>
Subject: ...and I don't even listen to Webern...

MEEP! [e-mail] wrote:
>whatever's just finished
>is---assumedly---closest to who that producer is as a person RIGHT NOW; that
>person, not worried about the annals of history, is happy to be alive and
>productive, and here (i.e. here, the most recent fruits of his/her labours)
>is the proof of that persistence.  But that doesn't mean we stop being
>critical consumers (ouch! did I say "consumers"?  ouch!)
It's funny that you should apologize for being a consumer. You mentioned
marketing hyperbole as being symptomatic of a mass of available
information, and a way of trying to make a single recording or artist stand
out in a sea of options. Isn't this sort of apology pretty much the same
thing on the consumer's side of the transaction, ie. "I'm not like the
other people here in this record store... I actually buy stuff because it
*means* something to me"?
  This isn't meant as a way of singling out a particular comment for
accusations of snobbery, either. Musicians on other mailing lists have
managed to get awfully worked up about how their output is perceived or
used by their audience, in some cases reaching the point of getting into
shit-flinging matches with people who were "obviously just missing the
point". Well, for multiple parties to reach the point of politely telling
one another to go fuck a lawnmower, there are obviously some strongly-held
convictions being trampled on or ignored. If we're all trying to establish
unique identities for ourselves in the face of market research, browser
cookies, and serial numbers, why not just assume that we're all just a tiny
bit different from one another, and that blanket statements about artistic
intent are always going to leave somebody out? C'mon, it's a nice day
outside... doesn't a popsicle and a walk in the park sound better than
sitting in front of a computer and getting all pasty-toned over
generalizations?

- -me


- -

------------------------------

End of Zorn List Digest V2 #952
*******************************


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