ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/v03.n024

Internet Message Format | 2000-08-24 | 20KB

From: [e-mail] (Zorn List Digest)
To: [e-mail]
Subject: Zorn List Digest V3 #24
Reply-To: zorn-list
Sender: [e-mail]
Errors-To: [e-mail]
Precedence: bulk


Zorn List Digest        Friday, August 25 2000        Volume 03 : Number 024



In this issue:
-
       Re: DSP/ electronic references
       Re: Tzadik (was: sponsoring)
       Sponsoring Tzadik
       Re: morton feldman's GUSTON: versions
       Re: morton feldman's GUSTON: versions
       Cobra in Seattle 8/26
       Re: DSP/electronic references
       Re: Tzadik (was: sponsoring)
       Odp: morton feldman's GUSTON: versions
       Re: DSP/ electronic references
       Re: electro-improv rec's request: akchote, durian, charhizma

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

Date: Thu, 24 Aug 2000 23:05:40 GMT
From: "Glenn Ianaro" <[e-mail]>
Subject: Re: DSP/ electronic references

I started writing an email to the list, but it ended up being posted up on
my webpage.  It's got a good bit of info on DSP and software and Hardware
that I threw together for all the people on the list who are interested so
please check it out.

<A
href="http://members.xoom.com/liquidgroove/dsp.html">http://members.xoom.com/liquidgroove/dsp.html</A>

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


- -

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

Date: Thu, 24 Aug 2000 19:52:22 -0400
From: "Alan Lankin" <[e-mail]>
Subject: Re: Tzadik (was: sponsoring)

> I'm not sure who he pays to do his accounting or how much the label spends
on
> promotion.  I've never seen a Tzadik ad in any magazine.  Their web page
is
> the only marketing I've seen.  The costs to maintain that are pretty
minimal,
> I would assume.

Because of their tight budget, Tzadik doesn't do press releases, promos, or
ads.  I guess the quality of recordings is good enough that they're sought
out.

Alan Lankin
[e-mail]

- ---
jazzmatazz == http://home.att.net/~lankina/jazz



- -

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

Date: 25 Aug 2000 01:57:37 -0000
From: "Tim Keenliside" <[e-mail]>
Subject: Sponsoring Tzadik

The tale I heard re: Tzadik was that Nike (Japan) wanted
Zorn to compose music for a 30 second TV commercial,
which he initially turned down, but after Nike offered an
outrageously high sum of money, Zorn relented since he
realised it was enough to start his own label, and
actually pay production costs for over 100 releases..

_____________________________________________________________
Email your boss can't read - sign up for free disinfo.net email
at http://www.disinfo.com, your gateway to the underground

- -

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

Date: Thu, 24 Aug 2000 21:46:20 -0500
From: Herb Levy <[e-mail]>
Subject: Re: morton feldman's GUSTON: versions

There are now three recorded versions of For Philip Guston:

The Hat Art with Eberhard Blum - flutes, Nils Vigeland - keyboards, &
Jan Williams - mallet percussion (now out of print, I think)

The Bridge disc with California EAR Unit: Dorothy Stone -flutes,
Gloria Cheng-Cochran, keyboards, & Arthur Jarvinen, mallet percussion
(with a recording of Feldman's introduction to the work from a
concert & some photos available on CD-R)

& a very new release on Dog w/a Bone with SEM Ensemble: Petr Kotik,
flutes, Joseph Kubera, keyboards, & Chris Nappi, mallet percussion


The Hat Art discs are played by the musicians for whom the work was
composed, which might matter to some folks. It's also a very
dry,close recording, very little reverberation or room sound - for a
work like this, which requires closer listening than many others, I
like the fact that it sounds close to natural where I hear it. With
less of the recorded ambience of where it was recorded, I can more
easily hear the instruments comparatively transparently. Total time
of the performance: 4 hours, 25 minutes

The Bridge discs have a lot of room sound; this may be a live
recording. The performance is a bit faster than the Hat discs, total
time is 4 hours,  8.5 minutes. The CD-R audio of Feldman's intro to
the piece is very good, offering some information about his
relationship with Guston as well as some of his thoughts on the music
and its scale.

The SEM recording is the slowest total time of the performance is 4
hours, 48 minutes. I've only heard this recording once, but again the
overall recorded sound seems distinct from the others. The
instruments sound less separate than on the Hat discs, but there's
less reverberation than the EAR Unit recording. The interview
between Kotik and Walter Zimmerman provides a lot of useful
information on the SEM's approach to the work and the group's history
of performing the piece. (this text is available, along with many
other interviews, articles, and talks by and about Feldman, as well
as a full list of works, discography and other useful items, at the
Feldman Web site <http://www.cnvill.demon.co.uk/mfhome.htm>).

I've lived with the first recording longest, and they fit the kind of
recorded sound I usually like best for chamber music, but each of the
recordings seems an adequate representation of the work. It's hard to
imagine
- --
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

- -

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

Date: Fri, 25 Aug 2000 04:52:46 +0200
From: "sebastian blume" <[e-mail]>
Subject: Re: morton feldman's GUSTON: versions

try the hat-art edition it`s absolutely the best  recorded version of a
piece you shouldn┤t record.


- -----Ursprⁿngliche Nachricht-----
Von: "Brian Olewnick" <[e-mail]>
An: "Kristopher S. Handley" <[e-mail]>
Cc: <[e-mail]>
Gesendet: Donnerstag, 24. August 2000 23:59
Betreff: Re: morton feldman's GUSTON: versions


> Kristopher S. Handley wrote:
> >
> > I've been looking at the two available recordings of Morton Feldman's
epic
> > FOR PHILLIP GUSTON, one on the Bridge label, featuring the California
E.A.R.
> > Unit (who are these guys?), the other the premier recording (methinks)
on
> > HatArt with Eberhard ____ and a couple other musicians.  Has anyone had
the
> > time to check both out?  Is either noticeably superior?  Isn't there
> > expanded media on the Bridge edition?
>
> I've only got the Bridge version which indeed comes with an enhanced CD
> which is basically past of a Feldman lecture about his music,
> acompanied, if I'm remembering correctly, some animated graphics. The
> EAR unit (for this recording) is Dorothy Stone/flute, Arthur
> Jarvinen/percussion and Gloria Cheng-Cochran/piano & celeste. imo, a
> spectacular piece of music, though I've heard that each version has its
> champions.
>
> Brian Olewnick
>
> NP: AEC--Les Stances a Sophie. Finally available on disc! I can die
> happy.
>
> -
>


- -

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

Date: Thu, 24 Aug 2000 20:26:41 PDT
From: "John Schuller" <[e-mail]>
Subject: Cobra in Seattle 8/26

Here it is, our biggest show ever.  I hope that everyone and their
Grandmother can come to this show.
26 musicians in 2 rooms performing 8 game pieces and fire performers
Thermogenesis outside.  Improvisation with film, TV, hand signals,
notebooks, flash cards and silly hats.  This show has even gotten
recommended writeups in both The Weekly (pg. 52) AND The Stranger (pg. 55).
I hope to see you there!!



Strategic Improv Labs 2000* and Consolidated Works presents :


Saturday, August 26, 8:30 p.m.

A N I G H T O F M U S I C A L G A M E S


C O N S O L I D A T E D W O R K S

410 Terry Avenue North

(between Harrison and Republican)


$7 Admission ($5 for ConWorks members) - visit:
http://www.conworks.org/music/index.html
<http://www.conworks.org/music/index.html>


Enfused with dynamic synergy, this evening's performances will overlap in
different spaces in Consolidated Works, allowing the audience freedom to
roam.




Over 20 local musicians and technicians will be on hand to administer
dangerous vibrations bordering on abstract and archane knowledge. The
interpretive structure of these musical games generates power, perhaps
spectacle. We trust the audience will provide sufficient conduit for
listening. Wine and beer will be available.  Fire performers Thermogenesis
will be summoning demons outside dueling fire and sound with DJ
Fountainhead.




B R O A D C A S T

A small ensemble reacts to random, reoccurring images on television. The
result: a musical perversion of a great American pastime. Devised by social
deviant Seth Howard.




C A G E D

The die determine the Dada/Surrealist Literature retched by chance and
bodily functions riffed by 4 vocalists. Bataille, Desnos, Jarry, Dorthea
Tanning among others sit on the board... Design mastered by one Stuart
McLeod.




C O N C O R D

A chaos theory cocktail with a dash of Machiavellian lust. Intoxicating
chemical reactions occur when planets dance and musical microcosms collide.
Formula patented by revolutionary theorist Carl Farrow.




G R A F F I K A

Icons, dots, expressive lines transmit meaning, motion, emotion to musicians
in turn. This composition extends graphic notation to a quivering point.
Constructed by aural aesthete Robert Henson.




I N S T A N T S C O R E !

Live evolution of the motion picture sound track. Short experimental films
by Mister Free. Mentalized by the Evil James Drage.



N O T E B O O K

A quartet interprets four discrete folios, each containing its own set of
ideas, notes, airs. Process distilled by the Godfather of Unit Circle, Kevin
Goldsmith.




P U L S E / I M P U L S E

A piece that demands the most of its ensemble. Will mutiny erupt? Conducted
by that tyrant Stuart McLeod, guiding light of SIL2K*.




Plus a special performance of John Zorn's C O B R A featuring all 26 members
of the ensemble.

Performers are: Annie Fanning, Bill Horist (Axolotl, Ghidra, Zahir, Tablet),
Carl Farrow (inBOIL, *Polar), Dave Knott, Erik Bauer, Eveline Muller-Graf,
Fran Lucas (Mambo 9), James Drage (Sub_Sonic, Ota-Prota), Jason Justice
(Tablet), Jeff Mueller (xaxis wye), John Moen, John Schuller (Ham &
Treachery, Trepanning Drill, ▄mlaⁿt), Jose Hernando, Kevin Goldsmith
(Intonarumori), Leah Gold (▄mlaⁿt, China), Lisa DeFrance (Tripod, China),
Paul Moore, Phil Petrocelli (soultheft, Trepanning Drill, ▄mlaⁿt), Reuben
Radding, Rick Roberts (The Posies, SushiRobo), Robert Henson, Seth Howard
(The Stone Throwers), Stuart McLeod (Sub_Sonic), Tim Rhodes, Travis Hartnett
(Tiktok, Electrochakra), and Wesley Davis (Entropic Advance, Trepanning
Drill).


*Founded shortly before the millennium, SIL2K is a Seattle-based collective
dedicated to the research and development of improvisation strategies for
music.



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

Share information about yourself, create your own public profile at
http://profiles.msn.com.


- -

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

Date: Fri, 25 Aug 2000 00:06:20 -0500 (CDT)
From: Whit Schonbein <[e-mail]>
Subject: Re: DSP/electronic references

Herb levy wrote:
> Date: Thu, 24 Aug 2000 15:51:22 -0500
> From: Herb Levy <[e-mail]>
> Subject: Re: DSP/ electronic references

> progressive, to me at least. (I don't think I've heard anyone using
> Csound, which is a very cool program, live; though I could certainly
> be wrong on that - & I'd like to hear the work.)

there isn't a realtime version of Csound yet, although i hear there is one
in the works.  as for the progressiveness - i've played with a lot of
programs for the intel PC, and while some of them allow one to make
'progressive' noises, they don't do it in real time.  the real time
software iv'e played with is very loop based (i.e., dance or club or acid
or whatever).  it basically sounds like the people making the programs
aren't into the kind of music we (or some of us) are into, and so don't
think of the possibilities.  it also is a pain to program windows,
which is why i work in linux... (sombody else on the list mentioned some
other programs, which i haven't explored, so mayber there is something out
there for PC users...)

whit



- -

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

Date: Fri, 25 Aug 2000 02:34:09 -0400
From: "Jesse Kudler" <[e-mail]>
Subject: Re: Tzadik (was: sponsoring)

- ----- Original Message -----
From: "Alan Lankin" <[e-mail]>
To: <[e-mail]>
Cc: "Zorn-List" <[e-mail]>
Sent: Thursday, August 24, 2000 7:52 PM
Subject: Re: Tzadik (was: sponsoring)

> Because of their tight budget, Tzadik doesn't do press releases, promos,
or
> ads.  I guess the quality of recordings is good enough that they're sought
> out.

Where did you hear that?  That's actually not true.  The radio station where
I'm MD receives tons of Tzadik releases (and I thank them for it).  And I'm
almost positive I've seen a Tzadik ad (though it could have been for Avant).
The one that has the logo and a long list of all the musicians.  I wouldn't
know about press releases, but the blurbs on the webpage certainly read like
them.  And you'd figure if someone bothers to write them, they'd send them
out. . .

I don't understand people's continued insistence that Zorn/Tzadik is so DIY
and poor.  Zorn does very well, I'm sure, and I wouldn't call an indie label
that can afford to give $5000 recording advances and fancy artwork on a
"tight budget."  Tzadik's success is due in a large part to savvy marketing,
plain and simple.  It's no accident that the records have a uniform art
theme, come in easily-grouped series, and are strongly identified with Zorn
(if I'm not mistaken, he's listed as "executive producer" for all releases).
There's plenty of labels that release great music but don't have their
records "sought out."  Unfortunately, marketing has quite a bit to do with
it, and Tzadik has done that well.

- -Jesse




- -

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

Date: Fri, 25 Aug 2000 08:26:57 +0200
From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: morton feldman's GUSTON: versions

From: Kristopher S. Handley <[e-mail]>
> I've been looking at the two available recordings of Morton Feldman's epic
> FOR PHILLIP GUSTON, one on the Bridge label, featuring the California
E.A.R.
> Unit (who are these guys?),

Isn't EAR Unit the band that Zappa talked about in Real Frank Zappa Book as
having pretended to play one of his pieces at a festival which was actually
played from a synclavier? A very funny story. What are they up to?
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem you
are working on, tell him to go climb a tree - Jerry Fodor


- -

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

Date: Thu, 24 Aug 2000 23:54:53 -0700
From: Jim Flannery <[e-mail]>
Subject: Re: DSP/ electronic references

Jesse Kudler wrote:
>
> I believe CSound is a synthesis program, but I'm not sure.

Yes it is. It's been around for quite a while (lots of folks were using it when
I was in grad school in 93-95 & it wasn't new then). AFAIK it isn't manipulable
in real-time (back then, it wouldn't even create the sounds in real time, you
had to write sound files to disk & then play them back. This may have changed
while I wasn't looking.

Like Supercollider, it requires real programming ability (in, duh, C ... as
opposed to Supercollider's own language).

> I've heard
> MAX/MSP mentioned a lot by the new laptop people (Mego, etc.), but I have no
> experience with it.  I'm not sure if it's used for synthesis, but I'm pretty
> sure it has some tweakable sequencing functions.  A composer who came to my
> school used it to control some motors, and he had a GUI that he could use to
> bring up the speed of each motor, or multiple ones in tandem.

Opcode MAX (as opposed to the IRCAM version) originally was strictly for doing
things with MIDI, with the kicker being that you could use *any* source for the
numbers, so long as they were ints between 0-127 or 0-65k ... and there were
objects that would control serial objects, so you could, yes, do things like
control stepper motors, or take inputs from pressure pads, electric eyes, etc.
One of my advisors, Peter Gena, was spending the year converting DNA sequences
of deadly diseases to use for various control functions; other folks have done
stuff with live EEG traces. It was also extensible by writing C++ modules which
would do basically anything you wanted, as long as they had inputs/outputs that
could work in the MAX interface. Supercollider started out as a MAX extension
called Pyrite.

'Long about 2 years ago, a new version of MAX added a secondary package called
MSP which basically brought direct control of the sound card's DSP chip inside
MAX -- much of what Supercollider does is now available from w/in MAX-- while
keeping the programming interface (which is MAX's strong suit) consistent. This
has the advantage that you can be controlling DSP synthesis and MIDI devices
(not only synth modules, but lights, motors, laser discs, cd players, whatever)
within the same program.

I've seen Yasuhiro Otani and Carl Stone doing really complicated-sounding things
with MAX patches that looked really simple (*on the surface*, anyway) -- one of
the nice things is that you can build a very intuitive, natural screen interface
- -- on/off buttons, switches, sliders -- to control the mass of spaghetti
underneath.

It's also really easy to exchange the files, since they output as extremely tiny
text files.

http://www.cycling74.com/

Herb Levy wrote:

> None of the people who write MAX, LiSa, etc. want to make Windows
> versions, apparently because of extreme differences in the OS
> architecture.

Actually, since he bought the program back from Opcode, David Zicarelli (who did
the original port to Mac from the IRCAM workstation) has been working on a
Windows version, which should be out Real Soon Now(tm). But I'm not holding my
breath on the schedule ;-).

- --
- ---------------------------------------------------------------------
Jim Flannery                                        [e-mail]

         "My hair has grown thin thinking of music."
                                             -- I Wayan Lotring

- -

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

Date: Fri, 25 Aug 2000 07:33:36 -0400
From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: electro-improv rec's request: akchote, durian, charhizma

At 03:24 AM 8/24/00 CDT, Kristopher S. Handley wrote:
>A few requests for some info/opinons:
>
>3. Could anyone drop some recommendations for any of the Durian and/or
>Charhizma catalogs?

No one has recommended the Orchestra 33 1/3 album yet, so I'll jump in.
It's quite varied, with some of the electronics that we expect from the
label, plus some occasional straight ahead big band work.  I like the
variety, even tolerating the occasional vocals because there is so much
ground covered.  I also listen to the Dafeldecker/Fennesz/Kurzmann meet
O'Rourke/Drumm/Siewart album a lot.  This album is much more in the
microsound land and very well done.

The only Durian album I've got so far is Efzeg, and as it's a recent
addition I've only listened to it once.  I liked it a lot, but can't
provide other comments yet.

- --
Caleb Deupree
[e-mail]

Work like you don't need the money. Love like you've never been hurt. Dance
like nobody's watching.

- -- Satchel Paige

- -

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

End of Zorn List Digest V3 #24
******************************


 To unsubscribe from zorn-list-digest, send an email to
       "[e-mail]"
 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 [e-mail]