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Zorn List Digest      Sunday, September 24 2000      Volume 03 : Number 070



In this issue:
-
       Re: Lois V Vierk
       Re: Lois V Vierk
       tzadik in germany
       Re:
       Re:
       Re: Scratch Orchestra record: new?
       recent releases
       Wire Tapper
       Help (College info..No zorn content)
       Raleigh
       =?iso-8859-1?Q?Odp:_var=E8se_=28NO_ZORN_CONTENT=29?=
       Jim Black (Monday) && the Vandermark 5 (Wed, Sept 27th) in Philly  [Sweetnighter Productions]
       REVIEW: Vandermark 5 at Casa del Popolo (short)
       Re: REVIEW: Vandermark 5 at Casa del Popolo (short)
       Odp: new jim black release on W&W

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

Date: Sat, 23 Sep 2000 14:59:09 -0400
From: Brian Olewnick <[e-mail]>
Subject: Re: Lois V Vierk

[e-mail] wrote:
>
> Has anyone heard Lois V Vierk?  I read an intersting article about her in
> Wire the other day, and her ideas musically seemed very enticing to me.  I
> know at least some of her music has been released on Tzadik.

I enjoy "Simoom", released on XI records a few years back. Pieces for
ensembles of like instruments, electric guitars, cellos, etc.

Brian Olewnick

- -

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

Date: Sat, 23 Sep 2000 16:06:35 -0400
From: "Risser Family" <[e-mail]>
Subject: Re: Lois V Vierk

I like Lois a lot.  I saw the cello piece done live (one cello vs 7 recorded
cellos) and it's great.  It's on Simoom.  Also not to miss is Guy
Klucevsek's Manhattan Cascade, which has him doing a piece by the same name,
also by Vierk.  It's extremely successful.  She likes to overload
instruments playing the same or similar snippets (motifs?) over and over,
but she makes good use of stereo and such to create a very thick and
enticing effect.  Almost like My Bloody Valentine.


Peter


> I enjoy "Simoom", released on XI records a few years back. Pieces for
> ensembles of like instruments, electric guitars, cellos, etc.



- -

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

Date: Sat, 23 Sep 2000 23:22:38 +0200
From: Tim Blechmann <[e-mail]>
Subject: tzadik in germany

Hi zorn-list

Does any of you know which firm has got the selling agency for tzadik
in Germany? It was "99" but they don't exist any more.

PEACE

 Tim                          mailto:[e-mail]



- -

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

Date: Sat, 23 Sep 2000 17:42:37 -0500
From: Steve Smith <[e-mail]>
Subject: Re:

"Patrice L. Roussel" wrote:

> Since we are full swing on litterature, I have always been
> surprised that my favorite American writer (after Faulkner)
> John Hawkes was barely ever mentioned by anybody. I just
> read for the second time his first novel (THE CANNIBAL) and
> it is almost like a surrealistic Faulkner! And he was barely
> 21 years old when he wrote it... And I saw BLOOD ORANGES on
> video! Finally, now that he is dead, somebody...

'Blood Oranges' was on the reading list for a course I took in college
on essential 20th century literature.  There were about 12 books on the
reading list.  I passed the class with an A having read only one of the
books at all (and that one, 'Pale Fire,' I'd read for an aesthetics
class in a previous semester).

I'm not making this up, but I'm not bragging, either.  If I had college
to do all over again... sigh...

Steve Smith
[e-mail]
NP - Charles Ives, 'Robert Browning Overture,' Nashville Symphony /
Schermerhorn (Naxos)


- -

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

Date: Sat, 23 Sep 2000 17:36:01 -0500
From: Steve Smith <[e-mail]>
Subject: Re:

Sigmund Nonanima wrote:

> On Thu, 21 Sep 2000 16:38:22 -0700  Dave Trenkel
> wrote:
> >
> > At 3:54 PM 9/21/00, Patrice L. Roussel wrote:
> > >On Thu, 21 Sep 2000 14:49:49 -0700  "s~Z" wrote:
> > >>
> > >> I'd say reading Moby Dick is bringing out the
> best in Steve Smith.
> > >
> > >But the scary thing is: what's left to do in life
> once you have read
> > >MOBY DICK ? :-)
> > >
> > >        Patrice Roussel.
> > >
> > Finnegan's Wake?
>
> >Too hard
>
> Isn't that kinda the point? (not the WHOLE point,
> but...)

Actually, overambitious bastard that I am, I did my senior theme paper
on 'Ulysses' and 'Finnegan's Wake.'

In high school, that is.  Only a high school student could have the
idiot hubris to try to tackle both of those books in a single paper.  I
think the paper was called "Forever in One Day and One Night."

Steve Smith
[e-mail]
NP - Charles Ives, 'Robert Browning Overture,' Nashville Symphony /
Schermerhorn (Naxos)


- -

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

Date: Sun, 24 Sep 2000 00:30:18 GMT
From: "Bill Ashline" <[e-mail]>
Subject: Re: Scratch Orchestra record: new?

This was the blurb I got from PBE which I think answers most questions:

$14.99 CARDEW & THE SCRATCH ORCHESTRA, CORNELIUS: The Great Learning CD
(CORTI 21). Long desired reissue of this historic recording of AMM
founder Cornelius Cardew's "The Great Learning", as performed by the
Scratch Orchestra (the loose collective that could include  Brian
Eno, Lou Gare, David Jackman, Dave Smith, Michael Nyman, Tom
Phillips, Eddie Prevost, Keith Rowe, John Tilbury & numerous others).
The pieces are presented in 3 "paragraphs", #2 & #7 were recorded on
2/15-16, 1971 and were originally issued on the Deutsche Grammophon
label (as part of the super desirable & long extinct Avant Garde
boxset). This CDs adds "Paragraph 1", recorded over a decade later in
1982 and issued here for the first time ever. "Paragraph 1" was
composed for "chorus -- speaking and playing whistles and stones, and
organ". "Paragraph 2" was composed "for singers and drummers".
"Paragraph 7" was composed "for any number of untrained voices". The
music contained here is absolutely chilling, an unparalleled insight
into the strange & alien potentialities of music. A tremendous
document, finally available in the common world. "'Definition:  A
Scratch Orchestra is a large number of enthusiasts pooling their
resources (not primarily material resources) and assembling for
action (music-making, performance, and edification).'  -- Cornelius
Cardew, A Scratch Orchestra draft constitution. 'I always think of
Cardew, Tilbury, and Bedford making the night train across the
Channel to Warsaw. Cardew in his Victorian ulster, Tilbury in that
black raincoat he wears, Bedford in a leather jacket... three
conspirators right out of Eric Ambler, on their way to represent
England at one of the most important avant-garde music festivals in
Europe! Any direction modern music will take in England will come
about only through Cardew, because of him, by way of him. If the new
ideas in music are felt today as a movement in England, it's because
he acts as a moral force, a moral center. Without him, the young
'far-out' composer would be lost. With him, he's still young, but not
really lost.' -- Morton Feldman, Essays (1967). 'The Scratch
Orchestra, to whom The Great Learning is dedicated, was founded by
Michael Parsons, Howard Skempton and Cardew himself and emerged out
of Cardew's composition class at Morley College in London in 1969 (in
fact, at least two paragraphs of The Great Learning had been
completed before the Scratch Orchestra was formed). It was an
enterprising body of around 40 performers of varied skills, who
played all kinds of experimental music -- by Cage, Cardew, Wolff,
Riley, Young, Rzewski, and themselves -- in all kinds of situations
and for all classes of people: for Cornish farm-workers in village
squares, for the young industrial workers of the north-east, and for
both urban and rural communities on the Continent as well as for
music lovers who frequented the Royal Festival Hall.  The Scratch
Orchestra consisted of an assortment of people from various walks of
life, some of them with considerable artistic talent, who loved and
needed music. There was no more enthusiastic, more committed
collective of individuals working in the field of contemporary art at
that time.'    -- John Tilbury.  'The Great Learning takes root in
clarifying the way wherein the intelligence increases through the
process of looking straight into one's own heart and acting on the
results; it is rooted in watching with affection the way people grow;
it is rooted in coming to rest. Being at ease in perfect equity.
- --Cornelius Cardew."

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- -

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

Date: Sat, 23 Sep 2000 21:31:31 EDT
From: [e-mail]
Subject: recent releases

three much anticipated recent releases, at least by me. here are some initial
thoughts, after a listen or two to each:

Bill Dixon/Tony Oxley-Papyrus, Volume 2 (Soul Note). Dixon's two Vade Mecum
discs, with Oxley, William Parker and Barry Guy, are among my favorite improv
records of the nineties, and Papyrus, Volume 1, released earlier this year,
is also very good. but for some reason, I'm not connecting with this new one
nearly as much. it doesn't have quite as relaxed a feel as the other 3, and
it doesn't seem like Dixon leaves Oxley enough space all the time. I may
still change my mind, but for now, disappointing.

Iannis Xenakis-Persepolis (Fractal). a few years ago, I sat through 4 hours
of electroacoustic Xenakis during a WKCR festival, all of which I already
owned, with my finger poised by the tape deck, waiting to record Persepolis,
which I was assured by the DJ at the start of the segment that she'd play.
well, she never did and I had to wait until now to hear this much-raved about
piece.

anyway, after two listens, I don't like it as much as the now shamefully out
of print La Legende' d'Eer (Auvidis Montaigne). it's very powerful and rough,
but not especially nuanced, and not recorded as crisply as I'd like, but I
guess it's not too easy recording 100 loudspeakers at once. the Hermann
Nitsch comparison which Mike Goodstein made in his review for the Other Music
newsletter is a good one. again, not to say it won't grow on me, but for now,
also disappointing. I bet being there was one of the most exciting musical
events of the last century though.

Keith Rowe/Evan Parker-Dark Rags (Potlatch). although Rowe's recently been
appearing on more records, he's still woefully underdocumented, especially
outside of AMM and MIMEO. this is 2 tracks, 77 minutes of concert recordings
from 12/31/99 and 1/1/00, and completes Parker's unofficial trilogy of duo
projects with the members of AMM.

after one listen, this may be the best of the three. beautiful, understated
subtle work from two of our masters, who are still both in prime form, to say
the least. go buy this now. I'm also really looking forward to Rowe's new
solo CD, out soon on Grob.

Jon
www.erstwhilerecords.com

- -

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

Date: Sat, 23 Sep 2000 21:32:33 EDT
From: [e-mail]
Subject: Wire Tapper

the Wire Tapper track listing is up. pretty promising on paper, haven't heard
it yet:

www.thewire.co.uk/news/tapper/tapper6.htm

Jon
www.erstwhilerecords.com

- -

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

Date: Sat, 23 Sep 2000 13:37:12 EDT
From: [e-mail]
Subject: Help (College info..No zorn content)

I am a senior in highschool in TN, and the decision of college is now upon
me.  I am beginning to
worry because i am not making any decisions very quickly.  So my question is
this:  Where is a college
that is surrounded by a strong musical scene, yet also has a very good
academic environment?  Music is my main priority, but i am not really
interested in a Music school.  However, i do want it around me, something i
could get involved in if i chose to.
I do realize this question is a little off-topic, so ignore if you must, but
i would appreciate any help. I know a lot of the members of this list know
scads about literature and music, and literature is one of my favorite things
as well, so i am hoping that you could help me.

thanks.

ben o.




- -

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

Date: Sun, 24 Sep 2000 05:10:32 GMT
From: "William York" <[e-mail]>
Subject: Raleigh

>Is anyone on this list in the Raleigh area?

>I recently read some press on the "improv" scene down there, a lot of
>which seems to revolve around the Micro East Collective.  Has anyone
>seen any shows and would care to give an assessment?  I really liked the
>MEC discs that I picked up.

Wow, that's an unexpected one. I'm from Raleigh, but don't live there right
now. Anyway, I don't think I ever saw an improv show in Raleigh, local or
otherwise, but I could be wrong. The MEC are actually based out of Chapel
Hill (30 minutes away, home to Univ. of North Carolina) although I think
some of their members are from Raleigh.

I missed them live the couple of times they played there, so I couldn't say
much about that. I've heard their two records, and was kind of surprised to
see the enthusiastic responses from other people outside of the area (more
enthusiastic than mine). I wonder if anyone else on the list has anything to
say about them, especially NC people.

Also, out of curiosity, who was the "press" on -- just the MEC or other
bands? And in what publication(s)?

Thanks,

WY



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- -

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

Date: Sun, 24 Sep 2000 14:02:01 +0200
From: "Marcin Gokieli" <[e-mail]>
Subject: =?iso-8859-1?Q?Odp:_var=E8se_=28NO_ZORN_CONTENT=29?=

Hi patRice,
(sorry for replying that late)

> we did discuss about the var=E8se double cd release on decca a while ag=
o.
> and i can wholeheartedly second marcin's recommendation.
> if you're not familiar with var=E8se's works, you might be surprised ju=
st
> how much zappa's classical output was inspired by it!

And there's a more general point to be made: one can be suriprised by the
degree to which our heroes (Dave Douglas, Joey Baron, etc.) were inspired=
 by
what we know as 'classical music'. The famous Zorn 'cut-and-paste' techni=
que
is clearly Stravinsky-inspired. What's more, i do believe that Joey's
drumming is very similiar in style to the drum part on L' Histoire du
Soldat. I wonder if there was any real inspiration? I would be surprised =
if
there were not...
    This is not meant to be an historical remark. Rather a tip for those =
who
are not aware that there is plenty  of music they 'll like in the classic=
al
sections of CD stores. When i first heard 'l'histoire du soldat' I was so
impressed that  i could not stop listening to it for three months or so.
Just my 2 cents,
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: Sun, 24 Sep 2000 10:02:49 -0400
From: "Alan Lankin" <[e-mail]>
Subject: Jim Black (Monday) && the Vandermark 5 (Wed, Sept 27th) in Philly  [Sweetnighter Productions]

Sweetnighter Productions presents

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

Jim Black's

Alas No Axis
Monday, September 25th, 2000 - 9:30 pm - $12

Jim Black (drums)
Hilmar Jensson (electric guitar)
Chris Speed (tenor sax, clarinet)
Skuli Sverrisson (electric bass)


Plays and Players Club, 1714 Delancey St, Philadelphia

Special Monday night show celebrating the release of Jim Black's Alasnoaxis
(Winter&Winter)

See preview article on the concert in the Philadelphia City Paper
http://www.citypaper.net/articles/092100/cw.crit.black.shtml

Jim Black grew up in Seattle, WA, playing music ranging from garage rock to
big band swing. In 1985, he went to Boston, MA to attend the Berklee College
of Music. During this time he recorded numerous albums, performed in Europe,
and taught summer classes at Berklee. In 1991, he moved to Brooklyn, NY. Jim
has been touring and recording with many diverse groups including his role
as a co-leader/composer for Pachora, a Middle Eastern influenced jazz trio
with Chris Speed and Brad Shepik, as a member of Tim Berne's Bloodcount,
Dave Douglas' Tiny Bell Trio, Ellery Eskelin Trio, Human Feel, and Uri
Caine's Mahler Project.

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

The Vandermark 5

Wednesday, September 27th, 2000 - 9:30 pm - $15

 Ken Vandermark (tenor sax, Bb and bass clarinets)
Jeb Bishop (trombone and guitar)
Dave Rempis (alto, tenor sax)
Kent Kessler (bass)
Tim Mulvenna (drums)

Plays and Players Club, 1714 Delancey St, Philadelphia

Don't miss this show celebrating the release of Burn the Incline (Atavistic)

See preview articles on the concert in the
Philadelphia Weekly
http://www.brainsoap.com/ae/music/live.shtml

and the
Philadelphia City Paper
http://www.citypaper.net/articles/092100/cw.six.pick4.shtml

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

The Fonda/Stevens Group

Wednesday, October 4th, 2000 - 9:30 pm - $12

Joe Fonda (bass)
Michael Jefry Stevens (piano)
Harvey Sorgen (drums)
Paul Smoker (trumpet)

Plays and Players Club, 1714 Delancey St, Philadelphia

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

 Khan Jamal/Matthew Shipp/Odean Pope

Wednesday, October 11th, 2000 - 9:30 pm - $12

Khan Jamal (vibes)
Matthew Shipp (piano)
Odean Pope (reeds)

Plays and Players Club, 1714 Delancey St, Philadelphia

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

Sweetnighter Productions
http://home.att.net/~lankina/sweetnighter
[dedicated to bringing cutting edge jazz to Philadelphia]

To get e-mail announcements of future Sweetnighter Concerts,
send a blank e-mail to [e-mail].

Sponsored by Jazzmatazz
http://home.att.net/~lankina/jazz






- -

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

Date: Sun, 24 Sep 2000 11:21:38 -0400
From: "Chris From Zeke's" <[e-mail]>
Subject: REVIEW: Vandermark 5 at Casa del Popolo (short)

Howdy!

They rocked. They kicked-ass. They wailed. Steve, please go see them at
Tonic. I can't write that well.

Play Ball!
Chris



- -

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

Date: Sun, 24 Sep 2000 12:13:59 -0400
From: Mathieu Belanger <[e-mail]>
Subject: Re: REVIEW: Vandermark 5 at Casa del Popolo (short)

Hello,

>They rocked. They kicked-ass. They wailed. Steve, please go see them at
>Tonic. I can't write that well.

Yes, the show was great. Not wonderful in my opinion, but very very good. I
think that the few slower and quieter pieces were not as great as the others.
Also, Tim Mulvenna - the drummer - did not impressed me too much. While his
playing was much better in the second set, his overall drumming in the first
set was linear. But the others played well so I can't really complain!

Also, the second piece of the second set was a wall of sound and was simply
awesome! And afterall, seing any band at Casa del Popolo is always a bonus...

Any other opinions?

Mathieu


- -

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

Date: Sun, 24 Sep 2000 16:58:14 +0200
From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: new jim black release on W&W

From: Patrice L. Roussel <[e-mail]>

> I think that Caine managed pretty well to not fall in the ridicule
associated
> to modern relectures of classics (I am talking of the relectures from the
> "outside", some remembers John Lord, ELP?) with most of these projects
but,
> IMHO, he failed with the GOLDBERG VARIATIONS one. There is as much
subtlety
> in that one as in an issue of the Reader Digest. But what a slick project
to
> make the whole family happy the days TV is off!

I still haven't bought this disc - a year and a day passed since I have been
able to spend some money on a cd - but i think that treating Bach in Caine's
way is more difficult. There is that eclectism element in Mahler's music
that make Caine's project quite natural. But Bach is abstract and
perfecionist. I am very curious to see how it worked. And I am not surpised
by comments who suggest that Uri failed this time. The task is really hard.
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


- -

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

End of Zorn List Digest V3 #70
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