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2000-10-16
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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V3 #118
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Tuesday, October 17 2000 Volume 03 : Number 118
In this issue:
-
Re: Zero Masada would be enough
AMM (request recs.)
Re: AMM (request recs.)
Re: what about speed ?
Re: AMM
Odp: Why did Naked City Stop Perfoming?
Re: AMM
Re: AMM
merkin masada (long)
Pauline Oliveros
Re: Pauline Oliveros
FIELDS & POINTS TOUR hits Seattle on Wed. 10/18
RE: What is the Worst Zorn Release?
Re: greg kelley's TRUMPET (review)
Re: What is the Worst Zorn Release?
----------------------------------------------------------------------
Date: Tue, 17 Oct 2000 11:30:28 -0400
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: Zero Masada would be enough
On Tue, Oct 17, 2000 at 04:05:00PM +0100, Nuno Barreiro wrote:
> Joseph Zitt wrote:
>
> > On Tue, Oct 17, 2000 at 01:02:06PM +0100, Nuno Barreiro wrote:
> >
> > > Whatever Zorn is aiming at is not being achieved
> > > (except, perhaps, the part of having fun). One of
> > > the posts said that he was planning to write a
> > > songbook, like Monk. Of course this is a joke...
> >
> > In what sense?
>
> In the sense that anyone may easily produce such statements...
> One doesn't write a songbook with the intention of writing a
> songbook (at least when refering to jazz musicians). One
> writes songs and, eventually, the songs will become a songbook.
> It's not an absolute activity...
>
> It's like saying: "I am planing to write a few standards..."
Well, no. Someone who has written a sufficient number of songs has
written a songbook. It has nothing to do with quality.
I'm seeing an odd occurance of late of people overloading terms such
as "songbook", "styles", and even "music" with arbitrary and obscure
connotations of quality which items must somehow attain to be deemed
worthwhile of them. But in the sense that people actually use these
words, they retain their simple, nonjudgmental meanings.
- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| jzitt@metatronpress.com http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn http://www.mp3.com/josephzitt |
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
Date: Tue, 17 Oct 2000 12:25:00 -0400
From: Dan Hewins <dan@synsolutions.com>
Subject: AMM (request recs.)
For those of you who lost their socks and became slack-jawed in
Boston this weekend:
What AMM release compares to your experience this weekend?
Anyone want to trade for a recording of the show? Let me know.
Dan Hewins
NP: Miles Davis 5tet (something)
- -
------------------------------
Date: Tue, 17 Oct 2000 12:54:55 EDT
From: JonAbbey2@aol.com
Subject: Re: AMM (request recs.)
In a message dated 10/17/00 12:27:52 PM, dan@synsolutions.com writes:
<< What AMM release compares to your experience this weekend? >>
none, really. when you go to the new Matchless web site
(www.matchlessrecordings.com), the first thing you see is an unattributed
quote:
"With AMM, their albums are as alike or unalike as trees."
which goes for their performances as well.
but as far as where to start with their catalog, I'd say if you come from
more of a jazz background, go with The Nameless Uncarved Block (the trio plus
saxophonist Lou Gare), from a modern classical background, go with The
Inexhaustible Document (the trio plus celiist Rohan de Saram of the Arditti
Quartet). a good place to start listening to the trio by itself is
Newfoundland. all of these are on Matchless.
with AMM, more than maybe any other band I know, the more releases you've
heard, the more you can grasp what they're doing. it took me maybe four
releases and a few years to fully appreciate them. the way they communicate
tends to be implicit more than explicit, and that can be a hard thing for a
listener to deal with. but once you connect with what they're doing, it's
incredibly rewarding.
also, the tradition they've almost singlehandedly created over the last 35
years is very influential on the new wave of electroacoustic improvisers.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Tue, 17 Oct 2000 13:02:51 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: what about speed ?
"|-----Original From: jason tors:
> |I have been checking out his quartet, yeah no, at tonic a bit, wow they
> |blow me completely away, especially coung vu on the trumpet. Check out
> |their latest disc, deviantics. The group does a great blend of tight
> |balkan inspired tunes, along with some firey groove/free
> |improvizations.
Just one point of clarification: the newest from yeah, no, released on
Tuesday, October 10 here in the States, is "Emit." And to my ears it's the
best so far. Compelling writing, compelling playing, compelling melodica
from Mr. Black...
Also, since you single out Cuong Vu for praise, I believe he has a new disc
imminent on Knitting Factory records, with Stomu Takeishi and John
Hollenbeck - this must be "Pure," the release Tom Benton saw on Amazon a
while back. Downtown Music Gallery says it's still not out yet...
> |> I didn't like "Iffy" too much either, but Speed's sound and melody
> |> with
> |> Pachora is majestic. He still has to prove that same level in other
> |> environments.
Speed's occasional clarinet playing with bloodcount was one of my favorite
features of that band, along with those mighty pockets o'funk. I loved the
way Speed would slip into those slurred microtonalities - it created such a
tart, off-kilter balance in contrast to Berne's alto.
(I hope I've attributed the quoted part correctly... I somehow overlooked
Jason's original post and am responding to Rob's response...)
Steve Smith
ssmith36@sprynet.com
NP - Cuong Vu, "Our Bridge," 'Bound' (OmniTone) - thanks for the
inspiration, Jason... great disc.
- -
------------------------------
Date: Tue, 17 Oct 2000 13:26:06 -0400
From: "R. Lynn Rardin" <RARDIN@orion.rose.brandeis.edu>
Subject: Re: AMM
OnionPalac@aol.com wrote:
>When I listened back to the AMM show on my minidisc I realized at the end
>of their hour long set it took people over a minute to come to grip with
>reality and start clapping.
In my case, it was more like I was trying to wring every last drop out
of the last note! What a thrilling experience.
>I wish I knew free ice cream was going around.
I was told by an organizer that the ice cream was donated by Toscanini's
for consumption by the festival performers. The ice cream provided some
funny moments during the Due Process set.
- -Lynn
- -
------------------------------
Date: Tue, 17 Oct 2000 09:36:13 +0200
From: "Marcin Gokieli" <marcin.gokieli@mospan.pl>
Subject: Odp: Why did Naked City Stop Perfoming?
From: Ari <ari.h@wol.be>
> 2) they didn't like the audience asking them to play the NC-"hits" again
and
> again...
BTW, did they play any absinthe - like shows?
Marcin Gokieli
marcin.gokieli@mospan.pl marcingokieli@go2.pl
- -
------------------------------
Date: Tue, 17 Oct 2000 19:39:10 +0200
From: Pascal Cortes <Pascal.Cortes@dstu.univ-montp2.fr>
Subject: Re: AMM
BTW, for those who wouldn't know, Keith Rowe has a new album out. It's on
Potlach (who already released albums with Bailey, L=E9andre, etc...), and
it's a Keith Rowe/Evan Parker duo, recorded live at the Pannonica, in
Nantes (France).
Their website is at: http://www.potlatch.digiweb.fr/index_uk.html
Pascal.
- -
------------------------------
Date: Tue, 17 Oct 2000 14:10:25 EDT
From: JonAbbey2@aol.com
Subject: Re: AMM
In a message dated 10/17/00 1:39:33 PM, Pascal.Cortes@dstu.univ-montp2.fr=20
writes:
<< BTW, for those who wouldn't know, Keith Rowe has a new album out. It's on
Potlach (who already released albums with Bailey, L=E9andre, etc...), and
it's a Keith Rowe/Evan Parker duo, recorded live at the Pannonica, in
Nantes (France). >>
yeah, this is an incredible CD, as I've previously mentioned. Rowe also has=20=
a=20
new solo CD out any day, Harsh (Grob), recorded in Cologne by Marcus=20
Schmickler in a freezing basement. I haven't heard it yet.
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Tue, 17 Oct 2000 15:16:44 -0500
From: kurt_gottschalk@scni.com
Subject: merkin masada (long)
packed house, long sets last night for masada string trio/bar khoba at merkin
(nyc). long time since i've seen the chamber groups, too.
i had thought it would be one set of the trio and one of the sextet (trio +
ribot, baptista, baron). but it turned out to be interspersed, mostly full
ensemble stuff (only 3 or 4 trio pieces out of about 15 pieces played, plus a
powerful trio+baron piece)(and sorry, i've never really learned the titles, tho
i walk around singing them plenty)(if anyone has titles last night, however, i
know someone new to the songbook last night who'd like them as a guide).
no p.a. in use, but microphones on all the instruments, so i assume they were
recording.
remarkable friedlander/cohen duo, nice baron/cohen bit as well, friedlander solo
on one short, masterfully played piece, heavy ribot solos with much
encouragement from jz (who was on stage sitting to the side of the band and
conducting). would have been pleased to see some baptista soloing, tho.
big surprise was two premieres (well, that was the first of the surprises). i
was under the impression that zorn was finished writing the masada book, but
they premiered two pieces last night.
the first was a slow, ribot-vibrato heavy bacharach groove with jz actively
conducting and grinning when ribot broke into feedback (ribot, by the way, was
checking every minute or two with zorn for guidance, and always got the nod no
matter how noisy he got). built twice in volume but never picked up tempo. quite
nice. jz introduced it afterward as "the sepharic surf" (or "surfaric serf"?
"serfin sephaire"?).
the second new piece was an uptempo thing opened by the trio, them percussion
added, then ribot, coming to a sudden unexpected end. he didn't give the title.
the last piece they played was 'kol nidre'. i don't have the string quartets
disc, so i'm not sure where i've heard it (did they play that at castle clinton
maybe?). anyway, makes me very interested to hear the two new versions that are
supposed to be coming out next month. gorgeously played. easily the highlight of
the night.
on the way out, just cuz i was in a good mood and thinking bout y'all, i grabbed
a few extra programs. nothing special. bios and chit stapled together, but if
anyone would like one, write me and we'll arrange the sase details.
..
i had initially intended to sit out this round of 'essential zorn,' but i got to
thinking last night. one of his most significant works, i think, doesn't really
get mentioned so much around here. i think the controversy that gets stirred
whenever 'kristallnacht' is mentioned shows the power and impact of the piece.
it's use of noise, sampling and strings is remarkable, beautiful, devastating.
last night's 'kol nidre' could justa bouta fit on kristallnacht, i think.
after that, in no particular order, i'd say spillaine, all 5 naked cities, the
two music romance volumes, the big gundown and the second bar khoba volume.
that's right, no masada quartet discs. maybe i've fallen to the too many
releases waters down the stew thing. but seeing them live is an absolute must.
kg
np: jorge sylvester - musicollage
- -
------------------------------
Date: Tue, 17 Oct 2000 18:18:41 +0000
From: Philippe Dupuis <dupuisph@nb.sympatico.ca>
Subject: Pauline Oliveros
hello,
wondering if the PRIMORDIAL LIFT album is worth getting. anyone
out there have a clue?
thanks,
martin dupuis
- -
------------------------------
Date: Tue, 17 Oct 2000 17:27:14 -0400
From: Dan Hewins <dan@synsolutions.com>
Subject: Re: Pauline Oliveros
I got it. It's pretty nice and mellow drone like. I don't know
anything else Oliveros but this one strikes me as a good one. I know
this isn't too much help...
Dan
At 6:18 PM +0000 10/17/00, Philippe Dupuis wrote:
>hello,
>
>wondering if the PRIMORDIAL LIFT album is worth getting. anyone
>out there have a clue?
>
>
>thanks,
>martin dupuis
>
>-
- -
------------------------------
Date: Tue, 17 Oct 2000 15:01:34 -0700
From: "James Kirchmer" <jamesk@telisphere.com>
Subject: FIELDS & POINTS TOUR hits Seattle on Wed. 10/18
Greetings!
- - here's a late hour reminder of a special show! -
** for all you =3D NORTHWEST USA =3D adventurers out there **
Experimental musical directions galore!
LIVE LIVE LIVE LIVE LIVE LIVE LIVE
- -------------------------------------------------------------------------=
- ---
- - MIKAEL STAVOSTRAND (Staalplaat recording artist from Sweden)
- - MOLJEBKA PULSE (Eibon recording artist from Sweden)
- - BRENT GUTZEIT (Staalplaat recording artist from Chicago)
- - rebreather (Seattle's very own Christopher DeLaurenti & Alex Keller)
- -------------------------------------------------------------------------=
- ---
* WEDNESDAY, OCTOBER 18th *
~ THE RAINBOW ~
722 NE 45th St.
Seattle, WA
Show starts @ 10pm sharp
Cover: $7
21+
- -------------------------------------------------------------------------=
- ---
- - MIKAEL STAVOSTRAND is a composer & performer of computer music.
He has been working in the field of experimental electronic music since
the end of the 80=92s. In the last few years, he has been working almost
entirely on a Powerbook, both in the studio and in live improvisations.
There are several different influences in his ways of constructing pieces.
By collecting sounds from existing sources, he is able to create a type
of contemporary music concrete and electro-acoustic mixture. Unlike
the pioneers of these forms of music, limited by the technology of their
times, Stavostrand is able to manipulate sounds during the performance.
In fact, he seeks out as many live and improvised performances as possibl=
e.
Using the laptop as a tool to realize his compositional and
deconstructionist ideas, he=92s very interested in the randomness and
unexpected direction his compositions can take in such contexts.
He has currently released 12 CD=92s in Europe and the USA. His touring
schedule has included Sweden, Germany, France, Belgium, Holland, Japan,
and the USA. Two of his CD=92s were subsidized by the Swedish National
Council for Cultural Affairs in 1997 & 1999.
For more info, visit www.it.kth.se/KREV/citizen/mikael/ or the labels -
www.staalplaat.com & www.algonet.se/~tankred/fer.html (sound clips!)
- -------------------------------------------------------------------------=
- ---
- - MOLJEBKA PULSE, a one-man act also from Sweden, uses dark guitar
drones to build clouds of sound. But don=92t expect a guitar act.
He manipulates the sounds of his electric and acoustic guitars to the poi=
nt
that their source is completely concealed. It sounds more like a performa=
nce
of electronics. His sound can best be described as a well-balanced soft
droning foundation with radio static, treated feedback and other sounds
slowly incorporated to create a vast floating structure in the ocean of
drone. Moljebka Pulse has been included on the compilation =93Aesthetics =
of
Cruelty=94 released by the Cold Meat Industry label. His first CD release=
,
=93KOAN=94, came out this year.
For more info, visit his website at: http://members.xoom.com/moljebka,
and http://digilander.iol.it/prefeed/moljeb.htm (KOAN description), and -
http://home4.swipnet.se/~w-44991/oljud/texts/eoc_live.html (brief review)
- -------------------------------------------------------------------------=
- ---
- - BRENT GUTZEIT is a recording artist on the Staalplaat label along with
Mikael Stavostrand. The only non-Swede in the group, he hearkens from
Chicago. In his solo set, he uses the laptop as his main instrument to
create subtle electronic noise music. When not performing solo, he is par=
t
of the electronic band TV Pow. He is also proprietor of the Boxmedia labe=
l.
For more info, visit the label website: http://www.boxmedia.com along wit=
h -
www.staalplaat.com
- -------------------------------------------------------------------------=
- ---
- - rebreather: Abrasive, sparse, ethereal, abrupt, and wistful, rebreather
(Alex Keller and Christopher DeLaurenti) improvise live electronic music
from the digital glossolalia of sabotaged consumer electronics, homebrew
circuits, and obsolete devices. Basking in the added danger of live
electronics, rebreather probes the frontiers of free improvisation. Only =
in
live, freeimprovised electronic music can something go totally wrong and
compel the players to battle their instruments from second to second,
minute by minute. rebreather's goal is to coax and exhume whichever
sounds we find, then fuse them into a sonic conversation of shared solos,
duets and, of course........silences.
For more visit Chris' website at www.sonarmap.net
- -------------------------------------------------------------------------=
- ---
- -
------------------------------
Date: Tue, 17 Oct 2000 18:11:22 -0400
From: "Neil H. Enet" <nilugo@usa.net>
Subject: RE: What is the Worst Zorn Release?
I don't own much Zorn CDs (I've been a fan since this christmas), but the
one I least hear (note that I'm not saying it's a bad album) is SPY VS. SPY.
Now I know the importance of this album, and I also know that a lot (and
that's a very lot) of people find this album excellent ... but it just
doesn't do it for me.
Now, when I do listen to it, it's just a couple of songs, but the whole
album is just too much for me. I prefer listening to the DISC 0 of the
Painkiller boxset, which although it's very intense, it has it's dub things,
and everything's changing a lot of the time, which I don't see in SPY VS.
SPY.
Finally, I'm not saying that SPY VS, SPY shouldn't be bought by a new Zorn
fan ... actually I think they should ... but I just wanna know if there is
somebody out there who thinks this album is not so hot.
Neil H. Enet
- ------------
NP. BOB MARLEY . dreams of freedom
- -
------------------------------
Date: Wed, 18 Oct 2000 00:18:33 +0200 (CEST)
From: Oger <oger@worldnet.fr>
Subject: Re: greg kelley's TRUMPET (review)
>From: Scott Handley <thesubtlebody@yahoo.com>
>Greg Kelley - TRUMPET (Meniscus, 2000)
>[Kelley, unaccompanied trumpet]
I just listened this new CD once.
I definitely agree with you.
Very good, very deep music.
Very good player.
There is another trumpet player who plays in that direction : Axel Dorner
(german).
Jacques Oger
- -
------------------------------
Date: Tue, 17 Oct 2000 18:57:15 EDT
From: SOUPBEARD@aol.com
Subject: Re: What is the Worst Zorn Release?
In a message dated 10/17/00 6:09:44 PM Eastern Daylight Time, nilugo@usa.net
writes:
> Finally, I'm not saying that SPY VS, SPY shouldn't be bought by a new Zorn
> fan ... actually I think they should ... but I just wanna know if there is
> somebody out there who thinks this album is not so hot.
>
>
i like the album Spy vs. Spy, but it is one of the albums that i listen to
the least. dare i say it is "not so hot?" that may be grounds for
dismissal on this list seeing as how it seems to be most people's favorite.
i just happen to be a fan of some of the more orchaestrated pieces. i love
strings. however i do get in the mood for some spy vs. spy insanity now and
again. i would say my least favorite is redbird. minimalism is (all joking
aside) pretty weak. its truly the least you can do. later zornies.
- -
------------------------------
End of Zorn List Digest V3 #118
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