> I've had Verbatim for about a year now, and every time I put the track
"Oxblood" on a > mix, it inevitably causes beatific consternation among the
recipients...I don't have any of > the companion albums, but the I love the
modified voice sounds as much as John > Giorno's and they are much
creepier.
Just wondering, how many were there in the series? I think there may have
been 4 but I could be wrong...
Come to think of it, isn't Verbatim the third, after Say No More and Say No
More In Person?
- -
------------------------------
Date: Tue, 6 Jun 2000 01:14:46 EDT
From: Drivymovie@aol.com
Subject: Max Roach & Cecil Taylor/Baron & Ron Carter/David S. Ware, etc.
Anyone have any comments about the duo performances from Taylor & Roach or
Baron & Carter (I'm especially interested in hearing how this one went!). I
was really bummed out that I had to miss this, so please fill me in on the
details. Thanks!
- -Evan
- -
------------------------------
Date: Tue, 6 Jun 2000 02:20:41 EDT
From: Eisenbeil@aol.com
Subject: Re: artists and self-estimation
In a message dated 6/5/00 3:38:56 PM Eastern Daylight Time,
M_WIRZBICKI@ColoradoCollege.edu writes:
<< >>Well, considering that Western "classical" and "jazz" musics are among
>>the only musics in which harmonic movement is a significant factor...
<<<This is just the problem. We don't have a set of terminology for some of
the musics which are now emerging and we have yet to discover a working
terminology for the musics of many of the world's cultures. Talking about
intervals and counterpoint is hardly helpful in a discussion of most
musics.>>>
Why do you believe that intervals are an irrelevant concept in world musics?
The distance between 2 pitches can be assessed in any music. With regard to
counterpoint, if there is more than one voice happening at any given time
then counterpoint exists. There are only 4 types of movement: contrary,
oblique, parallel and similar. Any 2 or more voices or instruments in any
culture exhibit this behavior, no? I am taking the time to explore this
discussion with you and others because I truly wish to understand other
peoples perception of musical experiance. There is a lot of music I have not
heard and I look forward to getting turned onto music that challanges my
sense of order and reality.
<<< We can write gamelan music or talk about the music in africa or even
notate
that music, but the scope of understanding that our system of notation and
our cherished western music vocabulary offers does not begin to help us
understand how the music is heard by the people who make it...the people who
understand that musical language.>>>
These are 2 mutually exclusive concepts. To notate or transcribe any
expression is just to notate the expression. To notate is not to illuminate
the thought process behind the expression. This is an area of philosophy or
psychology.
<<>>
Here we go again, what do you mean by superflous or genuine?
<<<Take LMC or Taku Sugimoto. I don't think you could really say that
they're
moving into any really new areas of counterpoint but yet some people
consider their music to be genuine. What sorts of terms would you use to
talk about Kevin Drumm's music? .. >>>
Is LMC the initials for Loren Mazzacane Conners in your question above?
His is the only music of the 3 above mentioned composers that I have heard.
Never heard his records, only 2 live shows. >>>
<<< I do think that analysis is extreemly interesting, but I'm not sure it's
the
most effective tool to separate artistic success from failure.>>>
It seems to me that only the composer can judge if the piece is a success or
failure. Afterall , isn't it a success if the music reflects the composers
intent? Which brings me around to a point , which I believe is the main
reason all of these kinds of questions are asked and that is, "What is the
composers intention?" "Why does the composer or the musician write or play
what they do?"
Peace and best wishes,
Bruce
www.eisenbeil.com
- -
------------------------------
Date: Tue, 6 Jun 2000 10:54:48 +0000
From: Simon Hopkins <simon@state51.co.uk>
Subject: Jazz Satellites Volume II
Some time back, there were a few enquiries about the proposed tracklisting
for the 3CD volume 2 of Kevin Martin's 'Jazz Satellites' compilation, a
project sadly dropped by Virgin Records, UK, following my departure. Well,
I finally got the listing out of Kevin, and here it is. Read it and weep.
As some consolation, here at motion ( http://motion.state51.co.uk ) we're
looking at putting this together as a 'radio' show. I'll keep you posted.
Cheers
Simon
DISK 1
George Russell - 'Events I-Vii' from 'Electronic Sonata For Souls Loved By
Nature' (Soul Note) 1968
Julien Priester Pepo Mtoto- 'Love,Love' from 'Love,Love' (ECM) 1974
Carl Craig & the Innerzone Orchestra - 'Bug In The Bassbin'(Jazz Mix)
(Mowax/A&M) 1996
Terumasa Hino - 'Aboriginal' from 'Double Rainbow' (Sony Japan) 1976
Bisk - 'Convergence' from 'Strange of Funny Ha Ha ?' (Sub Rosa) 1997
DISK 2
Sonny Sharrock - 'Many Mansions' from 'Ask the Ages' (Axiom)
Pat Martino - 'Baiyina' from 'Baiyina - The Clear Evidence' (Prestige)
Mahavishnu Orchestra/John Mclaughlin - 'Miles Out' from 'Inner
Worlds'(Columbia Jazz)
AMM - 'Convergence' from 'It had been an ordinary enough day in
Pueblo,Colorado' (ECM) 1980
Peter Brotzmann/Bill Laswell - 'Locomotive' from 'Low Life' (Celluloid)
Contraband - 'The One Who Knows' from 'Time & Space'(Epic/CBS)
John Fahey - 'The Mill Pond' from 'Blind Joe Death' (Tim/Kerr Records) 1997
Masayuki Takayanagi - 'What have we given it' (April Disk) 1975
Ray Russell Quartet - 'A Day in the Life of a Slave in Lower Egypt' from
'Turn Circle' (CBS) 1968
Caspar Brotzmann/FM Einheit - 'Nizzary' from 'Merry Christmas' (Rough Trade
Deutschland/Blast First) 1994
DISK 3
Yusef Lateef - 'Sound Wave' from 'Reevaluations:The Impulse Years' (Impulse)
Charlie Mariano - 'Madras' from 'Mirror' (Atlantic) 1972
Joe Zawinul - 'Arrival in New York' from 'Zawinul' (Atlantic) 1971
Chris Bowden - ' Life Support' from 'Time Capsule' (Soul Jazz) 1996
Howard Shore / Ornette Coleman - 'Interzone Suite' from 'Naked Lunch -
music from the original soundtrack' (Milan) 1992
Marc Moulin - 'Tohubohu' from 'Sam Suffy' (Counterpoint Records) 1996
The Art Ensemble of Chicago - 'Tnoona' from 'Fanfare For The Warriors'
(Atlantic Records) 1974
Jigen - 'Appearance' from 'Soliloquy of Chaos'(Shi-ra-nui) 1997
John Coltrane - 'Living Space' from 'Infinity' (Impulse/MCA) 1965/1993
Pharoah Sanders - 'Village of the Pharoahs Pt.1' from 'Village of the
Pharoahs' (ABC/Impulse)
Quincy Jones - 'The Lost Man' from 'The Lost Man' (Universal/MCA)
Charles Earland - 'Grasshopper' from the soundtrack to 'The Dynamite
Brothers'(Prestige) 1973
Marion Brown - 'Sweet Earth Flying Pt.3' from "Sweet Earth
Flying'(ABC/Impulse) 1974
- -
------------------------------
Date: Tue, 06 Jun 2000 07:22:55 -0700
From: Daryl Loomis <DRL@valley-media.com>
Subject: Re: Verbatim
>>Just wondering, how many were there in the series? I think there >>may have been 4 but I could be wrong...
>>Come to think of it, isn't Verbatim the third, after Say No More and >>Say No More In Person?
According to the notes, Verbatim is the third in the series of four. "Say No More" is in the studio, "Say No More in Person" is the live version of the former. "Verbatim" is, again, in the studio, and then the fourth is live to complete the series. Ostertag says that the album is forthcoming, but that was as of 1996, so I don't know if it was ever released.
Daryl Loomis
- -
------------------------------
Date: Tue, 06 Jun 2000 07:45:44 -0700
From: William Crump <william@steno.com>
Subject: Re: Verbatim (, Flesh and Blood)
The fourth part, "Verbatim, Flesh and Blood," is out now. I picked it
up at Amoeba in Berkeley
a couple of weeks ago. I only have the first and fourth in the series,
and can't wait to get
the other two to find out how the hell Ostertag got from point A to
point B. (or D, or Z...)
Totally cool.
William Crump
Daryl Loomis wrote:
> >>Just wondering, how many were there in the series? I think there
>>may have been 4 but I
could be wrong...
>
> >>Come to think of it, isn't Verbatim the third, after Say No More and
>>Say No More In
Person?
>
> According to the notes, Verbatim is the third in the series of four.
"Say No More" is in
the studio, "Say No More in Person" is the live version of the former.
"Verbatim" is, again,
in the studio, and then the fourth is live to complete the series.
Ostertag says that the
album is forthcoming, but that was as of 1996, so I don't know if it was
ever released.
>
> Daryl Loomis
>
>
> -
- -
------------------------------
Date: Tue, 6 Jun 2000 10:30:51 -0400
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: artists and self-estimation
On Tue, Jun 06, 2000 at 02:20:41AM -0400, Eisenbeil@aol.com wrote:
> These are 2 mutually exclusive concepts. To notate or transcribe any
> expression is just to notate the expression. To notate is not to illuminate
> the thought process behind the expression. This is an area of philosophy or
> psychology.
But to notate or transcribe an expression imposes the transcriber's
idea of what is important. Someone transcribing a piece for
shakuhachi or didjeridoo in western notation (that is, almost entirely
in terms of pitch and rhythm) would utterly miss the timbral
subtleties that, to the performer, would be the point of the
performance.
- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
