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Zorn List Digest      Tuesday, September 26 2000      Volume 03 : Number 073



In this issue:
-
       call me gen xhausted
       dead rights
       Re: Raleigh
       Sex Mob in Syracuse, NY
       thanks.
       nyt thread review
       Re: Buckethead Revisited
       dolphy /varese
       Re: Buckethead Revisited
       FW: Erotic and Electronic Brecht
       Dolphy Varese Bird
       Jim Black in Philly

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

Date: Mon, 25 Sep 2000 14:03:34 -0500
From: [e-mail]
Subject: call me gen xhausted

piece of frightful beauty from the newswire...

A Magazine for the Rocker, AARP Style
By Peter Carlson
(c) 2000, The Washington Post
Hey, baby boomers, remember the old Who song "My Generation," that classic
anthem of youthful defiance? Remember Pete Townshend smashing his guitar and
Roger Daltrey growling Hope I die before I get old and Keith Moon pounding the
drums with the same animal passion he brought to the fine art of trashing hotel
rooms?
Well, brace yourselves: The AARP - the lobbying group that used to be called the
American Association of Retired Persons until it decided to go with just
initials because "Retired Persons" sounded too darn old - has announced a new
magazine aimed at people ages 50 to 55. And the title will be: My Generation.
From the Who to the AARP. Oooh, that hurts.
But wait, there's more. Remember "Stayin' Alive," the Bee Gees disco ditty that
kept you boogieing back when your bones didn't creak and you could dance till
dawn?
Forget that, too. Because when My Generation magazine debuts next March, it'll
have a section called "Staying Alive," and it won't be about dancing. It'll be
about ... well, um, how to stay alive.

if you want the whole article, i'll send it to you.

kg
np: yusef lateef's detroit



- -

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

Date: Mon, 25 Sep 2000 14:08:26 -0500
From: [e-mail]
Subject: dead rights

and this. again, write me if you want the whole thing.

Grateful Dead isn't laid back when it comes to fighting music pirates
AP Photo CAGN101
By MICHAEL LIEDTKE
AP Business Writer
MILL VALLEY, Calif. (AP) - The Grateful Dead's communal spirit is part of rock
'n' roll lore, but the band is just as merciless as the next capitalist when a
digital pirate tries to make money off its music.
"They have always been vehement about this: If someone is going to make money,
it should be them," said Eric Doney, the Dead's attorney. "The music belongs to
the creators, not someone else."
The Dead's no-nonsense stance underscores the depths of the music industry's
anti-piracy sentiment as computer technology makes more recordings available for
free over the Internet.
The laws protecting unlicensed use of copyrighted material face another litmus
test Oct. 2 when a federal appeals court is scheduled to review a ruling that
banned a music-swapping site run by San Mateo-based Napster Inc.
While the Dead officially remains neutral in the Napster controversy, the
service violates a policy the band established a few months before the immensely
popular Web site started last year.
As digital audio files such as MP3 emerged as a viable format, the Dead
reiterated its long-standing commitment to allowing fans to trade recordings of
the band's 2,300 concerts.
Under the April 1999 policy, though, the Dead declared that "no commercial gain
may be sought by Web sites offering digital files of our music, whether through
advertising, exploiting databases compiled from their traffic, or any other
means."

kg



- -

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

Date: Mon, 25 Sep 2000 18:11:48 GMT
From: "William York" <[e-mail]>
Subject: Re: Raleigh

>Yeah, well, I've got a friend that is more or less marginally involved
> >with MEC (which as big as they are, is not that hard to imagine) and I,
> >too was curious what this quite-perceptive zorn group thinks/thought of
> >the Micro East Collective.  The press was a generalized "improv"
> >piece...explaining (sortof) the music and the draw and had a listing >for
>some clubs that included Chadbourne, Han Bennink, and smaller >groups.  I
>think the newspaper clippings
>come from a local arts paper...maybe the Independent Weekly?

That sounds possible. I did an article for the Spectator (other area weekly)
on the MEC, plus one more recently on Chadbourne. The thing with Chadbourne
and Bennink playing there -- that's a rarity. When I lived there, the people
who came through the most were Shipp/Parker/AUM Fidelity type people and Ken
Vandermark (4x in one year). There is a group called AIM (Alliance for
Improvised Music) that is mainly involved in bringing that type of stuff
there. I guess it's a pretty good "scene" considering the size of the area.

As far as locals, though, Chadbourne (not really a local, more like two
hours away) would be the biggest name, and he is totally taken for granted.
I don't know how big the shows with Bennink were, but he played there last
year and apparently 15 or so people went. Most of the other stuff going on
around there is more geared toward rock-derived improv, at least that I came
across.

As for Vandermark, the idea of Gerry Mulligan not being "hip" enough would
not strike me as a fair assesment, especially if you look at the dedications
in his albums (Shelly MAnne and folks like that). I haven't read through al
the digests so maybe someone else has pointed this out. Whether that kind of
freeish cool jazz is what he does best is another question though, I guess.
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- -

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

Date: Mon, 25 Sep 2000 15:21:52 EDT
From: [e-mail]
Subject: Sex Mob in Syracuse, NY

The Sex Mob will be performing this Friday night in Syracuse, NY at Planet
505 Club.  Those of you who live in upstate NY are probably all too familiar
with the dearth of exciting live acts that frequent this area.  I will be at
Planet 505 with bells on.  I encourage all of you in the area who can make it
to come down as well.  Let's send the message that there IS an audience up
here for something other than Grateful Dead offshoot bands, Phish, Dave
Matthews, the Allman Brothers, and Rusted Root.  (Not that there's anything
wrong with those bands, but we need something other than rock jamming up
here, dammit!)

Thank you.  Thank you very much.

Tom

- -

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

Date: Mon, 25 Sep 2000 16:06:54 EDT
From: [e-mail]
Subject: thanks.

Thanks to everyone who gave me information on colleges.  The info was much
appreciated.

ben o.

- -

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

Date: Mon, 25 Sep 2000 17:21:31 -0500
From: [e-mail]
Subject: nyt thread review

does anyone still have the url for the new york times threadgill review that was
posted here in the last few days? i accidentally deleted it.

thanks

kg
np: ann dyer & no good time fairies - revolver a new spin



- -

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

Date: Mon, 25 Sep 2000 19:28:18 -0400
From: Nils <[e-mail]>
Subject: Re: Buckethead Revisited

"Sh" <[e-mail]> wrote:

> Gonna be ordering some more CDs here in a few weeks, and would like to
> get another Buckethead disc, though I need some recommendations.  I've
> got "Monsters and Robots" as well as "Colma."  Both of these discs are
> drastically different, so does he stretch out any more?  I kind of get
> the feeling that "Dreamatorium" and "Dissemboddied" are heavier, though
> not sure.  I've also heard about "The 13th Scroll," which I believe is
> the newest and "Death Cube K," though know nothing of them.  Also heard
> about a live Laswell, Buckethead, Brain disc which I don't think is out
> yet.  Probably most interested in the heaviest thing he's done, though
> any info/recommendations are appreciated.  Thanks in advance.

there's an interesting live record out on douglas music called
_transmutation live_.  it's got laswell, buckethead, brain, and
the invisible scratch pickles on turntables.  i always thought
buckethead was best in praxis.  his solo record _death cube k_
was singularly unimpressive.  i'd stay away from that one if i
were you.

n

np: the vandermark 5--burn the incline.

- -

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

Date: Mon, 25 Sep 2000 16:36:20 -0700
From: "graham connah" <[e-mail]>
Subject: dolphy /varese

> THIS MESSAGE IS IN MIME FORMAT. Since your mail reader does not understand
this format, some or all of this message may not be legible.

- --MS_Mac_OE_3052744580_1215934_MIME_Part
Content-type: text/plain; charset="US-ASCII"
Content-transfer-encoding: 7bit

Eric Dolphy performed varese's "Density 2.5" at the ojai festival in spring
of 1962, i think.
No recording is known to exist, though it might behoove someone to ask
journalist zan stewart's father about it, since he was supposedly the
organizer of that festival.

Dolphy did take part in some other new music events: as heard on Vintage
Dolphy on GM records, and John lewis's Abstractions on atlantic records (and
reissued in an ornette coleman box set?).
Dolphy also performed in Ann Arbor in early 1964 at the Once Festival,
compositions by himself and Bob James on a program with a piece by Morton
Feldman.
Some of this may show up on some kind of forthcoming Once Fest anthology on
New World records.
speaking of New World, check out John Schott's "Shuffle Play".
and lastly,  there is a slim chance La Monte Young may have tapes of himself
and Dolphy playing together in the sax section of a Los Angeles Junior
College big band.

- --GC
- --MS_Mac_OE_3052744580_1215934_MIME_Part
Content-type: text/html; charset="US-ASCII"
Content-transfer-encoding: quoted-printable

<HTML>
<HEAD>
<TITLE>dolphy /varese</TITLE>
</HEAD>
<BODY BGCOLOR=3D"#FFFFFF">
<FONT SIZE=3D"2">Eric Dolphy performed varese's "Density 2.5" at th=
e ojai festival in spring of 1962, i think.<BR>
No recording is known to exist, though it might behoove someone to ask jour=
nalist zan stewart's father about it, since he was supposedly the organizer =
of that festival.<BR>
<BR>
Dolphy did take part in some other new music events: as heard on Vintage Do=
lphy on GM records, and John lewis's Abstractions on atlantic records (and r=
eissued in an ornette coleman box set?).<BR>
Dolphy also performed in Ann Arbor in early 1964 at the Once Festival, comp=
ositions by himself and Bob James on a program with a piece by Morton Feldma=
n. <BR>
Some of this may show up on some kind of forthcoming Once Fest anthology on=
 New World records.<BR>
speaking of New World, check out John Schott's "Shuffle Play".<BR=
>
and lastly,  there is a slim chance La Monte Young may have tapes of h=
imself and Dolphy playing together in the sax section of a Los Angeles Junio=
r College big band.<BR>
<BR>
- --GC</FONT>
</BODY>
</HTML>

- --MS_Mac_OE_3052744580_1215934_MIME_Part--


- -

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

Date: Mon, 25 Sep 2000 21:02:19 EDT
From: [e-mail]
Subject: Re: Buckethead Revisited

In a message dated 9/25/00 6:24:48 PM, [e-mail] writes:

I kind of get the feeling that "Dreamatorium" and "Dissemboddied" are
heavier, though
> not sure.  I've also heard about "The 13th Scroll," which I believe is
> the newest and "Death Cube K," though know nothing of them.

>> DREAMATORIUM (Strata) and DISEMBODIED (Ion) are both Death Cube K.  They
are scary, dark ambient.  The newest Death Cube K is TUNNEL.

> about a live Laswell, Buckethead, Brain disc which I don't think is out yet.

>> The only live Bucket and Brain recordings I know of are:  Praxis'
TRANSMUTATION LIVE (Douglas) and Phonopsychographidisk's TURBULENCE CHEST-
LIVE AT SLIM'S (Seven).  There is a live El Stew with Bucket and Brain but
there is no scheduled release date.  PIECES (Avant) is a Bucket/Brain duo
studio project.

Probably most interested in the heaviest thing he's done, though any
info/recommendations are appreciated.

>> Bucket's heaviest stuff is with Praxis:  SACRIFIST (Subharmonic), METATRON
(Subharmonic), TRANSMUTATION (Axiom) and the live one on Douglas.  Also,
ARCANA: ARC OF THE TESTIMONY (Axiom).  This has some of Bucket's most
terrifying, devastating shredding over Tony Williams' apocalyptic drumming!





- -

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

Date: Mon, 25 Sep 2000 23:34:22 -0400
From: [e-mail] (Benjamin Pequet)
Subject: FW: Erotic and Electronic Brecht

Relevant only for new yorkers, sorry for the rest of the world. I received
this through an unidentified mailing list (no info in the headers or
subscription information).
Zorn content.


Date: Mon, 25 Sep 2000 23:10:15 -0400 (EDT)
Message-Id: <[e-mail]>
X-Sender: [e-mail]
Content-Type: text/plain; charset="us-ascii"
To: (Recipient list suppressed)
From: Barbara Burch <[e-mail]>
Subject: Erotic and Electronic Brecht
Status:

Neues Kabarett presents Interpreting Brecht - an Evening of Poetry and Song
Celebrating The Brecht Forum's 25th Anniversary
Saturday, October 14 at 9 pm for $8
122 West 27th Street, 10th Floor, between 6th and 7th Avenues in Manhattan
call 212-567-0780 or email back for more info
9 pm "How to Screw an Angel" - a three person performance that reimagines
Brecht's erotic poems in the shape of a contemporary narrative: a boxer, two
women, a single night in Hamburg or New Orleans. Directed by James Graham,
with the assistance of Gudrun Arndt (text) and Sam Lipman (music).
10:30 pm - Electronica Brecht - performed by: Gisburg (vocals), Karen
Mantler (piano and synthesizer), Phil Painson (sampler, percussion) and Kato
Hideki (bass) and featuring electronic, improvised interpretations of music
by Brecht, Weill, Eissler and Dessau with text by Brecht.
Background:
At the time of his death in 1956, Bertolt Brecht left behind an unedited trove
of erotic poems, reflections on the passionate life of the body. The poems,
written throughout Brecht's life, are the secret journal entries of his
emotional existence, recording his desire to know himself and others. They
neither reduce humanity to a set of physical reflexes nor do they
intellectualize passion. They are brutal, direct, funny, enraging. Those who
think they know everything about Brecht are in for a surprise with "How to
Screw an Angel."
"Electronica Brecht" was organized by Gisburg, a singer/composer from Berlin
who has toured around the world as a concert singer for new music. Settling
down in NYC in 1992, she has been working with musicians such as Cassatt
String quartet; Gary Lucas; Roy Nathanson; Anthony Coleman; Myra Melford;
William Hooker; and John Zorn, whose label Tzadik has released three CDs of
Gisburg's compositions. She founded the experimental electronica band Douce
with Phil Painson.
"Lotte Lenya once said that nobody can sing Weill's Music like Teresa
Stratas. So I listened to Stratas' singing and with all the artistic
respect to her I basically thought it was horrible. Which gave us the
freedom to do whatever we wanna do with this wonderful music. An Electronica
Improvisation with the original texts and translations true to the Brecht's
political sexiness." - Gisburg
The Brecht Forum is a place for people who are working for fundamental
social change and a new culture that puts human needs first. Offerings
range from classes, forums and panel discussions to art exhibits, poetry
readings and participatory theater workshops. The Forum's work is organized
through projects that include The New York Marxist School, The Institute for
Popular Education, The Organizers Program and Arts at the Brecht. Of the
many non-sectarian, left political schools that emerged in the 1970s, The
Brecht Forum has the distinction of thriving in the year 2000. The Forum
continues to believe that we are transformed through our acts of study as
well as through our acts of struggle. Upcoming 25th anniversary
celebrations this fall and winter range from a dramatic reading of Tony
Kushner's play "Slavs! Thinking About the Longstanding Problems of Virtue
and Happiness" to roundtable discussions under the banner "Learning &
Transforming Consciousness: Education & Movement Building." The 25th
anniversary celebrations will culminate with a really fun party in December.


- -

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

Date: 26 Sep 2000 03:48:59 -0000
From: "Tim Keenliside" <[e-mail]>
Subject: Dolphy Varese Bird

"Though 1962 was a slower year, there were numerous
highlights. One was Dolphy's May appearance at the Ojai
Festivals...where he performed Edgard Varese's difficult
'Density 21.5' for solo flute...renowned orchestral
composer Hale Smith...helped Dolphy prepare for the Ojai
recital by taking him to Varese's home in Greenwich
Village for a tutoring session. 'Varese ran him through
'Density' with a fine comb', says Smith. 'They spent an
hour on the first line. But when the session was over,
Varese put his arm around Eric and said he expected a fine
performance.'" (from 'Out There:The Angelic Passion of
Eric Dolphy' by Zan Stewart, included in the book for The
Complete Prestige Recordings).
Edgard Varese quoted in 'Bird: The Legend of Charlie
Parker': "He stopped by my place a number of times. He was
like a child, with the shrewdness of a child. He possessed
tremendous enthusiasm. He'd come in and exclaim, 'Take me
as you would a baby and teach me music. I only write in
one voice. I want to have structure. I want to write
orchestral scores. I'll give you any amount you wish. I
make a lot of money. I'll be your servant. I'm a good
cook; I'll cook for you.' He was so dramatic it was funny,
but he was sincere, and finally I promised myself I would
try to find some time to show him some of the things he
wanted to know. I left for Europe and told him to call me
up after Easter when I would be back. Charlie died before
Easter. He spoke of being tired of the environment his
work relegated him to, 'I'm so steeped in this and can't
get out.' he said." If only...


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

- -

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

Date: Mon, 25 Sep 2000 23:24:36 -0700 (PDT)
From: Craig Matsumoto <[e-mail]>
Subject: Jim Black in Philly

Just got back from seeing Jim Black's Alas No Axis in Philadelphia.  For
those who don't know -- Black is an NYC "downtown" jazz drummer who's
worked with Tim Berne, Ellery Eskelin, Dave Douglas ... everyone, just
about.  Small guy with a big big sound and a quick, deft touch.

This band is Black's chance to compose, and ... Maybe it's just because I
knew he was the leader, but he seems to be doing some innovative things
with time and rhythm.  One song, for example, had a definite beat set by
the guitar and bass, but Black played a polyrhythm that always seemed to
be just behind them.  It was like the song was constantly decelerating
without ever changing speeds.  (Then again, maybe i'm the only one who
heard this....)

Black's compositions use the kind of long, twiny avant-jazz lines that
he's played for years with Tim Berne and Chris Speed and Human Feel.  But
he's not afraid to just plain rock out -- you'll notice this in his drum
solos with Tim Berne's Bloodcount -- and that's reflected in the songs.
One was a strong 4/4 beat and a country-folk flavor, that dissolved into a
quartet improv with a similar strong tempo.

Skuli Sversson played his 6-string electric bass for a thick, deep sound.
Hilmar Jonsson on guitar stuck to either light lines or freak-out pedal
electronics.  And the band is rounded out by Chris Speed on tenor and
clarinet, as usual.  Lots and lots of unison lines, which I'd say was the
only downer ... i have to admit, i'd like to see Black (and Speed as well)
get into some more intricate composing.  Then again, there could be things
going on that I'm just not hearing.

Cool show, in a really cool space (the Plays & Players theater on
Delancy); hats off to Sweetnighter Productions for bringing in this music.
Well worth the 2-hour drive from Baltimore in POURING rain with
18-wheelers breathing down my neck.

Apologies to those who didn't care about any of this, but it was exciting
for me ... i've been waiting to see a Black solo project for years.  Plus
i'm just jazzed that i made it back to Baltimore in one piece. For East
Coasters: they're only hitting a few cities around NYC, and the CD, on the
Winter & Winter label, won't be released for a couple more weeks, it's
only available at the shows so far.

- -- Craig Matsumoto
   KZSU, 90.1 FM, Stanford University:  http://kzsu.stanford.edu

   Bay Area Creative Music Calendar:  http://www.slip.net/~gigs.html
   ... or http://www.bayimproviser.com



- -

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

End of Zorn List Digest V3 #73
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