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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 #149
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 31 2000 Volume 03 : Number 149
In this issue:
-
Re: Odp: the deconstruction of truth
concerts
Tzadik
RIP Jeanne Lee
Re: RIP Jeanne Lee
Re: books on musique concrete
Re: books on musique concrete
blindidiotgod
Re: books on musique concrete
Odp: Odp: the deconstruction of truth
Re: Odp: the deconstruction of truth
Re: Odp: the deconstruction of truth
Re: books on musique concrete
----------------------------------------------------------------------
Date: Tue, 31 Oct 2000 13:15:11 GMT
From: "Bill Ashline" <bashline@hotmail.com>
Subject: Re: Odp: the deconstruction of truth
>From: "Marcin Gokieli" <marcin.gokieli@mospan.pl>
> > Arcana (Tony Williams' last session, with Pharoah Sanders, Buckethead,
> > Graham Haynes, Nicki Skopelitis): Arc Of The Testimony
>
>Wasn't the second arcana disc - the trio with laswell and bailey - the last
>TW session?
The Bailey one was the first. The Arc of the Testimony was the second and
the last Tony Williams disk.
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- -
------------------------------
Date: Tue, 31 Oct 2000 05:31:03 PST
From: "serge dautricourt" <sergedautricourt@hotmail.com>
Subject: concerts
does Zorn have a web site? or is there a fan site that would have concert
listings of him and other similar musicians?
serge
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- -
------------------------------
Date: Tue, 31 Oct 2000 16:58:05 +0300
From: Leonides Kluev <lk@venta.spb.su>
Subject: Tzadik
Hello serge!
Tuesday October 31 2000 05:06, serge dautricourt wrote:
sd> Does anybody know what Tzadik means in Hebrew?
Pious man.
Leonides
- -
------------------------------
Date: Tue, 31 Oct 2000 10:17:06 -500
From: Matt Laferty <bg60009@binghamton.edu>
Subject: RIP Jeanne Lee
Makes me wonder if Gunter Hampel is still alive....
The album with Blake sounds great.
From NY Times
Jeanne Lee, Jazz Singer Who Embraced
Avant-Garde, Dies at 61
By BEN RATLIFF
Jeanne Lee, one of the great jazz singers in the avant-garde tradition
and a teacher of singing, composition and movement, died on
Wednesday in Tijuana, Mexico. She was 61.
The cause was cancer, said her daughter Naima Hazelton.
Because Ms. Lee performed in two radically different styles,
her singing was difficult to categorize. One of her voices was dry,
slow and breathy,influenced by Billie Holiday and Dinah Washington.
In 1961 she and a classmate from Bard College, the pianist
Ran Blake, performed as a duo at the Apollo Theater's Amateur Night
contest. They won, and the album they later recorded, "The Newest
Sound Around" (later reissued on CD as "The Legendary Duets"), has
remained a cult favorite.
In jazz standards and Thelonious Monk tunes on the album,
Ms. Lee and Mr. Blake subtracted swing, but added intellectual
coolness, abstruse piano harmonies and vocal influences from Holiday
and Washington; the record is a series of minimalist dreams. (In 1989
she and Mr. Blake recorded a duet album in the same style, "You
Stepped Out of a Cloud.")
In her other vocal style, Ms. Lee approached words as
sounds; this voice was harsh and booming, and she used her teeth, lips
and tongue to wring drama out of each syllable, presaging singers like
Diamanda Galas.
In the mid-1960's she was a multidisciplinary artist,
writing music with members of the Fluxus school like Alison Knowles
and Dick Higgins, and gradually becoming more aligned with the rest of
the late-1960's avant-garde in jazz.
When she met and fell in love with the vibraphonist and
composer Gunter Hampel in 1967, she began 20 years of collaborations
with him in different jazz-related forms.
While at Bard, Ms. Lee had studied child psychology and in
1970 was awarded a Martin Luther King Fellowship for Urban Studies by
New York University to develop a curriculum for elementary school
students that combined music and dance with academic subjects.
She shuttled between New York and Europe until the late
1980's, living and working with Mr. Hampel, performing in duets, small
groups and big bands, as well as conducting clinics and workshops; the
couple made some 25 albums together, many of them for Mr. Hampel's own
label, Birth.
Ms. Lee also recorded with Marion Brown, Andrew Cyrille,
Carla Bley, Peter Kowald and Reggie Workman, among others. She was
active as a composer, combining vocal jazz with music and dance,
working often with the choreographer Mickey Davidson.
She lived in New York from 1994 to 1996 and for the last
five years taught music and movement at conservatories in Antwerp,
Belgium, and in The Hague.
In addition to Ms. Hazelton of Los Angeles, she is survived
by another daughter, Cavana Lee-Hampel of Berlin; a son, Ruomi
Lee-Hampel of New York; and a grandson.
- -------------------
- -
------------------------------
Date: Tue, 31 Oct 2000 10:53:25 -0500 (EST)
From: Ken Waxman <mingusaum@yahoo.ca>
Subject: Re: RIP Jeanne Lee
Not only is he alive, but he played New York within
the past two weeks (Manhattanites can name the excat
date)
Ken Waxman
- --- Matt Laferty <bg60009@binghamton.edu> wrote:
> Makes me wonder if Gunter Hampel is still alive....
>
> The album with Blake sounds great.
_______________________________________________________
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Get your free @yahoo.ca address at http://mail.yahoo.ca
- -
------------------------------
Date: Tue, 31 Oct 2000 08:05:00 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: books on musique concrete
On Mon, 30 Oct 2000 21:55:52 -0500 "Caleb T. Deupree" wrote:
>
> >I don't think that there is a book entirely dedicated to Musique Concrete
> >(and for a good reason since it's true spirit did not survive the creation
> >of eletronic music in Koln in the early 50's).
>
> I've been thinking that the spirit of musique concrΦte has survived quite
> well into the 1990s and beyond after an admitted dry spell in the 1970s,
> when only the INA-GRM managed to keep the flame burning. I take the spirit
> to be the use of field recordings and other pre-existing sounds as the
> source and origin for new pieces through electronic manipulations, creating
> works of an abstract nature with the whole range of sound at its disposal.
> The main difference between now and 1950 is that now we have computers,
> then we had tape. Granted, much of this is semantics, but I feel the term
> electroacoustic, which is used in most of the current literature, has been
> usurped by new age composers like Robert Rich and Chris Meloche. But there
> are a lot of composers now, from Bernhard Gⁿnter and Francisco Lopez to
> Hafler Trio and the empreintes digitales/metamkine line, who are very close
> to the spirit of musique concrΦte.
I meant that Shaeffer defined a set of dogmas to meet in order to get the
"musique concrete" approved label. When electronic music started a few years
after, it was clear that the dogmas were too narrows and that the genre could
be extended. It became electroacoustic music, which kind of merged both musique
concrete and electronic music, an later added more (like computers, as you
mentioned).
Patrice.
- -
------------------------------
Date: Tue, 31 Oct 2000 08:06:54 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: books on musique concrete
On Mon, 30 Oct 2000 21:55:52 -0500 "Caleb T. Deupree" wrote:
>
> >I don't think that there is a book entirely dedicated to Musique Concrete
> >(and for a good reason since it's true spirit did not survive the creation
> >of eletronic music in Koln in the early 50's).
>
> I've been thinking that the spirit of musique concrΦte has survived quite
> well into the 1990s and beyond after an admitted dry spell in the 1970s,
> when only the INA-GRM managed to keep the flame burning. I take the spirit
> to be the use of field recordings and other pre-existing sounds as the
> source and origin for new pieces through electronic manipulations, creating
> works of an abstract nature with the whole range of sound at its disposal.
> The main difference between now and 1950 is that now we have computers,
> then we had tape. Granted, much of this is semantics, but I feel the term
> electroacoustic, which is used in most of the current literature, has been
> usurped by new age composers like Robert Rich and Chris Meloche. But there
> are a lot of composers now, from Bernhard Gⁿnter and Francisco Lopez to
> Hafler Trio and the empreintes digitales/metamkine line, who are very close
> to the spirit of musique concrΦte.
I meant that Shaeffer defined a set of dogmas to meet in order to get the
"musique concrete" approved label. When electronic music started a few years
after, it was clear that the dogmas were too narrows and that the genre could
be extended. It became electroacoustic music, which kind of merged both musique
concrete and electronic music, an later added more (like computers, as you
mentioned).
Patrice.
- -
------------------------------
Date: Tue, 31 Oct 2000 10:07:55 -0500
From: kurt_gottschalk@scni.com
Subject: blindidiotgod
briano (hi, brian) asked:
>Does anyone know for certain whether or not Blind Idiot God is still
>extant? I think there were rumors here a year or two back about a new
>record, but....
>
>Either way, does anyone know what the individual members might be up to?
the laswell-produced 'azonic halo' in a nice black box (on strata, i think) is
hawkins solo guitar. pretty nice, in a sorta death cube k kinda way. heavy
distortion, dark ambient stuff. i still see it around at the usual nyc haunts.
kg
np: slapp happy - sort of
- -
------------------------------
Date: Tue, 31 Oct 2000 09:23:25 -0800 (PST)
From: Scott Handley <thesubtlebody@yahoo.com>
Subject: Re: books on musique concrete
> On Mon, 30 Oct 2000 21:55:52 -0500 "Caleb T.
> Deupree" wrote:
> I've been thinking that the spirit of musique
> concrΦte has survived quite well into the 1990s and
> beyond after an admitted dry spell in the 1970s,
when only the INA-GRM managed to keep the flame
> burning.....there are a lot of composers now, from
>Bernhard Gⁿnter and Francisco Lopez to Hafler Trio
>and the empreintes digitales/metamkine line, who are
>very close to the spirit of musique concrΦte.
I know there was a thread earlier this year about
"favorite concrΦte records," so I might not open that
can of worms, but...what _is_ happening with concrΦte
today? (Or over these past 20 years?) I believe it
was Caleb who once recommended an Empreintes Digitales
albuym or two, though I can't remember which one.
Could anyone suggest some relatively recent (or not,
for that matter) titles which really shine? And
briefly, for those of us who aren't WIRE'ed, what was
the struggle between early electronic composers and
adherents to musique concrΦte? Did it boil down to
dogma, to sound sources?
Thanks,
- ----s
__________________________________________________
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http://im.yahoo.com/
- -
------------------------------
Date: Tue, 31 Oct 2000 18:29:59 +0100
From: "Marcin Gokieli" <marcin.gokieli@mospan.pl>
Subject: Odp: Odp: the deconstruction of truth
From: Bill Ashline <bashline@hotmail.com>
> >From: "Marcin Gokieli" <marcin.gokieli@mospan.pl>
> >Wasn't the second arcana disc - the trio with laswell and bailey - the
last
> >TW session?
>
> The Bailey one was the first. The Arc of the Testimony was the second and
> the last Tony Williams disk.
My musical knowledge can be divided into two categories:
a) inaccurate
b) outdated
That was a clear example of a ;-)
Marcin Gokieli
- -
------------------------------
Date: Tue, 31 Oct 2000 12:38:02 EST
From: Dgasque@aol.com
Subject: Re: Odp: the deconstruction of truth
- --part1_cb.abdd9e5.27305d7a_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
In a message dated 10/31/00 3:49:48 AM Eastern Standard Time,
marcin.gokieli@mospan.pl writes:
> From: thomas chatterton <chatterton23@hotmail.com>
>
> > Arcana (Tony Williams' last session, with Pharoah Sanders, Buckethead,
> > Graham Haynes, Nicki Skopelitis): Arc Of The Testimony
>
> Wasn't the second arcana disc - the trio with laswell and bailey - the last
> TW session?
>
I seem to remember reading somewhere (here maybe?) that the last known Tony
Williams session was with "the artist formerly known as Prince."
- --
=dg=
- --part1_cb.abdd9e5.27305d7a_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit
<HTML><BODY BGCOLOR="#ffffff"><FONT SIZE=2>In a message dated 10/31/00 3:49:48 AM Eastern Standard Time, <BR>marcin.gokieli@mospan.pl writes:
<BR>
<BR>
<BR>
<BR>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">From: thomas chatterton <chatterton23@hotmail.com>
<BR>
<BR>> Arcana (Tony Williams' last session, with Pharoah Sanders, Buckethead,
<BR>> Graham Haynes, Nicki Skopelitis): Arc Of The Testimony
<BR>
<BR>Wasn't the second arcana disc - the trio with laswell and bailey - the last
<BR>TW session?
<BR></BLOCKQUOTE>
<BR>
<BR>
<BR>I seem to remember reading somewhere (here maybe?) that the last known Tony <BR>Williams session was with "the artist formerly known as Prince."
<BR>
<BR>--
<BR>=dg=</FONT></HTML>
- --part1_cb.abdd9e5.27305d7a_boundary--
- -
------------------------------
Date: Tue, 31 Oct 2000 10:21:10 -0800
From: "Daryl Loomis" <DRL@valley-media.com>
Subject: Re: Odp: the deconstruction of truth
>>I seem to remember reading somewhere (here maybe?) that the last >>known =
Tony=20
>>Williams session was with "the artist formerly known as Prince."
>>--=20
>>=3Ddg=3D
Bill Laswell from the liner notes of Arcana: "Tony Williams left our world =
before we reached the final stages of completing this project."
From this, it would seem that Arcana was his final project.
Daryl Loomis
- -
------------------------------
Date: Tue, 31 Oct 2000 19:14:17 -0500
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Re: books on musique concrete
At 09:23 AM 10/31/00 -0800, Scott Handley wrote:
>
>I know there was a thread earlier this year about
>"favorite concr=E8te records," so I might not open that
>can of worms, but...what _is_ happening with concr=E8te
>today? (Or over these past 20 years?) =20
I've been thinking about this as part of a forthcoming article, and it
seems to me like concr=E8te went into a decline in the late 1960s, when the
early adopters moved on to other areas. This would include Stockhausen
(who moved into live electronics and then the big buildup to the Opera),
Nono (who also moved into more live encounters), etc. The only ones who
kept going in the 70s and early 80s were the French, mostly the INA-GRM and
their relatives (not too surprisingly, since that institute was founded by
Henry). It didn't get the visibility or support that IRCAM did, and
IRCAM's focus was very different from straight electroacoustic. But it
seems that independently, in the last 10-15 years, a number of younger
artists have rediscovered the genre, and with the advent of digital editing
tools, have given the genre a new lease on life. All of the artists I
mentioned in my previous post use some kind of prerecorded sounds as
'objets sonores', sources for sonic manipulation, and I'm sure I omitted
some important artists from the list.
>briefly, for those of us who aren't WIRE'ed, what was
>the struggle between early electronic composers and
>adherents to musique concr=E8te? Did it boil down to
>dogma, to sound sources?
I paid more attention to Stockhausen than the French, so my take is colored
from that perspective (my copy of Schaeffer's book is on order).
Stockhausen and artists from the German side were trying to synthesize
sounds electronically. KS's first two electronic studies were based on
acoustic studies of overtones, and he was trying to combine overtones in
such a way to create interesting sounds (and using serial techniques to do
so). Henry and the French found their sound sources in the real world, not
through electronic generation. Maybe in the couple of years following
WWII, there was a natural antipathy between the French and Germans which
contributed to the hostility. Anyway, as Patrice mentioned, eventually the
two paths combined, and Stockhausen's best electronic works (IMHO), which
are Hymnen and Telemusik, use both natural and electronic sounds. Still
researching this part, so my understanding is still sketchy.
- --
Caleb Deupree
cdeupree@erinet.com
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 #149
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