hope noone minds the non-zorn related query but I'm going to be in
Berlin next week and since there seem to be a decent number of
europe-based people on this list I thought I'd ask for recommendations
about any shows to catch or righteous venues/clubs (or anything else
kinda off the beaten path) to check out while i'm there.
thanks,
- -rimas
- -
------------------------------
Date: Wed, 23 Aug 2000 16:42:50 EDT
From: JonAbbey2@aol.com
Subject: Re: Chasin the Trane
In a message dated 8/23/00 11:50:43 AM, bashline@hotmail.com writes:
<< So is anyone infuriating listeners today in
the spirit in which Coltrane and Coleman did in the sixties (by this
measure, people like Vandermark are excluded), or is such a thing even
possible in these days where among cliques like ours, the "new thing" is
always expected? If so, then where are these points of "anguish?" >>
maybe I'm not understanding your question correctly, but I think it's safe to
say that the new wave of electronics improvisers, especially the ones working
with sine waves, have confused and infuriated more than a few long-time avant
improv fans.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Wed, 23 Aug 2000 16:48:42 -0400
From: wlt4@mindspring.com
Subject: sine wavers
>but I think it's safe to say that the new wave of electronics >improvisers, especially the ones working with sine waves, have
I've run across several references to this but not much detail. Who are some of these people? Do you mean literal sine waves (which are pretty dull) or is that more a shorthand for something else? Are they making interference/modulation patterns? And in what way is this improvised?
Lost in the stars, Lang
- -
------------------------------
Date: Wed, 23 Aug 2000 16:57:53 EDT
From: CuneiWay@aol.com
Subject: more sponsorship
Hi Pascal,
> I must admit that my first post on the topic was clumsy, and maybe even
>worse if you consider it might be read by someone like Steve@cuneiform
>who
>spends a lot of energy in running an independant label with high artistic
>standards and without the help of any sponsor. Sorry for that, Steve.
No problem. Thank you for your nice comments about this.
I was not insulted by your "clumsy" posting at all - but reading it *did*
shock me out of my usual lurker mode and made me feel that I *had* to respond.
So, what do you [& others] imagine are kind of things will UBS sponsor that
are so "really crappy"? Normally "arts" money goes for somewhat "highbrow"
things - at least in the USA. I think that the fact that I do "rock bands" is
one reason why there would not generally be money forthcoming for a label
like Cuneiform, even though my rock bands have more to do with Stravinsky
than Bruce Springsteen. I mean, do they give money to the Swiss version of
Madonna, N'Sync & Brittney? I guess what I'm trying to say is that though I
find that a lot of the stuff that gets arts money in the USA [ballet
companies, symphonies, "classical" record labels] are kinda dull to me
personally, I would say that they are all "worthy", & I would not
characterize any of them as "crappy"....
Steve/
Cuneiform
- -
------------------------------
Date: Wed, 23 Aug 2000 13:43:15 -0700
From: Martin_Wisckol@link.freedom.com
Subject: two jcs -- trane and carter plus ribot
1. Trane: Live in Seattle, Impulse. With Pharoah. Terrifying two-LP
set. Have no idea if it's on CD, but props are due. My impression is
that it's somewhat rare.
2. New James Carter. Layin the Cut could hardly have a more promising
lineup -- Ribot, Tacuma, Cal Weston, and a guitarist from Shannon
Jackson (forget his name). Album is a hodgepodge jam -- Carter said he
thought the session was going to be their first rehearsal. Not much
Ribot soloing -- if you buy it for Ribot, you're forewarned. Mix is
inconsistent. Amazing Atlantic would throw an album together like this
and then spend multiples of the production cost for advertising....
"Gypsy," the Django tribute, is quite the opposite. Meticulously worked
out arrangements -- classical and steel string acoustic guitars are
very nice, altho i forget the players (not ribot). REgina Carter on
violin, viola. Perhaps our pal Joey on drums?.... Very pleasant outing.
3. To Steve at Cuneiform: You rock, man. Glad to hear you're finally
starting to break even and am grateful for cats like you helping to get
the music out there. If my poor memory isn't failing me again, I have
you to thank for Curlew's tunes hanging out around my pad....
Martin
- -
------------------------------
Date: Wed, 23 Aug 2000 17:21:00 -0400
From: "Jim McLoughlin" <jim@intelligenesis.net>
Subject: DSP/ electronic references
After reading some of the articles on the erstwhile site, I am interested in
figuring out a little more detail about the equipment/resources used in this
kind of music.
When people use laptops for real time digital signal processing, are the
majority using midi interfaces, or other digital/analog connections? What
kind of software are people using to process signals and/or generate sounds?
There are probably many availabe, just curious if there is a consensus fav
(for MAC and PC).
Any info or links appreciated...
Jim
- -
------------------------------
Date: Wed, 23 Aug 2000 17:28:22 EDT
From: JonAbbey2@aol.com
Subject: Re: DSP/ electronic references
In a message dated 8/23/00 5:14:22 PM, jim@intelligenesis.net writes:
<< When people use laptops for real time digital signal processing, are the
majority using midi interfaces, or other digital/analog connections? What
kind of software are people using to process signals and/or generate sounds?
There are probably many availabe, just curious if there is a consensus fav
(for MAC and PC). >>
I'm not an expert on the technical end of things, but I believe a lot of the
musicians use Max and/or Lisa. there's a link for Max among some other
possibly relevant links on the Steim website: http://www.steim.nl/links.html.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Wed, 23 Aug 2000 18:00:33 -0400
From: "Neil H. Enet" <nilugo@usa.net>
Subject: recommendations, please
Hello list,
Ok, in my local record store I've seen:
DAVE DOUGLAS: soul on soul
DAVE DOUGLAS: leap of faith
JOEY BARON: we'll soon find out
Now, I'll probably get all of them, but my extremely limited student
spending money can only let me buy one CD this week. Maybe somebody will
buy them so I need to know which one would you pick from these albums.
Thanks...
Neil H. Enet
- ------------
- -
------------------------------
Date: Wed, 23 Aug 2000 22:04:55 GMT
From: "Bill Ashline" <bashline@hotmail.com>
Subject: Re: Chasin the Trane
>From: JonAbbey2@aol.com
>In a message dated 8/23/00 11:50:43 AM, bashline@hotmail.com writes:
>
><< So is anyone infuriating listeners today in
>the spirit in which Coltrane and Coleman did in the sixties (by this
>measure, people like Vandermark are excluded), or is such a thing even
>possible in these days where among cliques like ours, the "new thing" is
>always expected? If so, then where are these points of "anguish?" >>
>
>maybe I'm not understanding your question correctly, but I think it's safe
>to
>say that the new wave of electronics improvisers, especially the ones
>working
>with sine waves, have confused and infuriated more than a few long-time
>avant
>improv fans.
Ah yes, sine waves, where the "anguish" can be physical as well figurative.
A "non-instrumental" music, to steal a relevant "Handleyism" that floated by
moments ago. And yes, you most certainly understood the question. Besides
Sachiko M, Ikeda, and some of Stefan's beloved noise innovators, who are the
other sine wave pioneers? When I listen to sine waves, the whole question
of aural space and sources gets problematized. I can never tell if the
sound is emanating from the book shelves or the speaker since the sound
bounces off and circulates around all objects in the room. There is
something monaural about sine waves that starts to seriously undermine the
concept of music entirely, a spare minimalism that can never really have the
same political resonance as that which animated the music of Coltrane and
Coleman, music that really was a reflection of that particular period. On
the other hand, it is certainly true that sine wave music is far more
radical conceptually, even if the political and social climate in which it