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Zorn List Digest      Tuesday, November 14 2000      Volume 03 : Number 166



In this issue:
-
       New Music in RealAudio
       Re: Boredoms, not a burden
       Odp: Introduction
       RE:Bill Dixon
       Re: Boredoms, not a burden
       Odp: Introduction
       Re: Otomo Yoshihide/Ground-Zero (long)
       Re: ostertag
       Re: dixon ixley & schlippenbach
       Re: Nakamura/M
       Watch out for Pat Thomas
       Tzadik web site updated
       Galas and Dresser?!?!
       Re: Galas and Dresser?!?!
       Re: Ninh/Rainey/Kelley

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

Date: Tue, 14 Nov 2000 06:04:09 -0600
From: Herb Levy <[e-mail]>
Subject: New Music in RealAudio

Not entirely irrelevant to the concerns of this list:

Just a short note to let you know that this week's Mappings
<http://www.antennaradio.com/avant/mappings/index.htm> presents two
weeks each by these germinal avant garde composers.

Online for approximately a week,the show will come down Monday night
between 10:00pm and midnight (-0700 GMT).

Other relevant Antenna shows include Attacca
<http://www.antennaradio.com/avant/attacca/index.htm>, which features
Charles Ives and Samuel Barber this week; and Le Vide
<http://www.antennaradio.com/avant/levide/index.htm>, which features
Karlheinz Stockhausen's Momente this week.

Hope to see you there.
- --
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

- -

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

Date: Tue, 14 Nov 2000 15:13:58 +0100
From: Julien Quint <[e-mail]>
Subject: Re: Boredoms, not a burden

[e-mail] said:
> each Audio Sports release has a different lineup, and I've actually
> never  heard any of the others, not sure why. are they as good?

I was told that Eye was not really involved with Audio Sports and just guested
on some records by them. I never heard much of them since they were described
as "acid jazz" by the guy who runs the Bimbo Tower in Paris... but I'll try to
give the CD you described a listen, especially since Takemura is also involved.


[e-mail] also said:
> there are two compilations on a boredoms-affiliated label ummo that
> have a number of eye side projects, but it's difficult to tell if
> these are one-offs or true projects. the compilations are well worth a
> listen.

I have one Ummo compilation, from 1997 or 1998, and I think this is mostly a
project of Yamamoto, not Eye. Maybe there is another one that I don't know
about? There is also the Shock City Shockers compilation (easy to recognize as
the artwork was reused for Beck's latest CD) consisting mainly of Eye's
one-offs (plus guests like Yoshimi's OOIOO, etc.)

finally, from [e-mail]:
> I was just looking on my "want list" in my PalmPilot to write all
> these that I didn't know about in and I saw that I had put down that
> Eye also had two other recent hardcore projects not on this list
> called "Puzzle Punks" and "One"... anyone know anything about these?

Puzzle Punks have two records that I know of. The first is called "Pipeline",
and is presented as a compilation of 24 puzzle punks bands, with a thick art
book. Might be hard to find and expensive (my copy was expensive!) The second
record is called "Budub", and there is a beautiful picture-LP or a CD version.
I like this one a lot!

- --
Julien



- -

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

Date: Tue, 14 Nov 2000 15:29:18 +0100
From: "Jerzy Matysiakiewicz" <[e-mail]>
Subject: Odp: Introduction

- ----- Wiadomosc oryginalna -----
Od: "Rudy A Carrera" <[e-mail]>
Do: <[e-mail]>
Wyslano: 14 listopada 2000 06:52
Temat: Introduction


Hi;

I'm a new member to the list.  Within a few minutes, I got bombarded with
great information on what's happening with Otomo and other new music, so =
I'm
glad to see this place is so lively.

My name is Rudy, and I run a small label in Southern California called
Fal=E7ata-Galia Recordings, specializing mainly in Eastern European new m=
usic,
but expanding (ever slowly) into the Americas (including the US and Canad=
a).
I like everything from noise to prog, modern classical to ethnic, free ja=
zz
to electronic (in whatever form).



HI Rudy

What about Dziubek-Durer CD ??


Jerzy



- -

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

Date: Tue, 14 Nov 2000 09:31:59 -0600
From: "John Thomas" <[e-mail]>
Subject: RE:Bill Dixon

> From: [e-mail]
[snip]
>
> I think Dixon's duo CDs with Oxley from earlier this year,
> Papyrus, volumes 1
> and 2, are less successful and I'm not exactly sure why.
> Volume 2 especially
> does very little for me, it feels like somehow all the magic
> has been drained
> away. anyone else feel the same or differently?

I really like both volumes of _Papyrus_. I like the distilling
down to just Oxley and Dixon from the _Vade Mecum_ groups because
my interest was really in those two players. With the bassists on
_Vade Mecum_ I thought it was a bit too much of a good thing.
Both Guy and Parker are very active bassists and listening to the
constant activity they generate got really boring for me over
the length of a record.

My favorite Dixons would include _November 1981_, the solo on Cadence
(I know I shouldn't have bought this against Dixon's wishes but it
is really great music), _Son of Sisyphus_ and maybe one of the
_Papyrus_ volumes.

Just another humble view...
John

- -

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

Date: Tue, 14 Nov 2000 16:04:50 GMT
From: "Arthur Gadney" <[e-mail]>
Subject: Re: Boredoms, not a burden

Hey,

>puzzle punks is actually the name of the album.
>the group is shinro otake and eye.

Yes, the name of the first CD. Then it became the band name. The second CD
is called "Budub"

ARTHUR_G
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- -

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

Date: Tue, 14 Nov 2000 16:49:06 +0100
From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Introduction

- ----- Original Message -----
From: Rudy A Carrera <[e-mail]>
To: <[e-mail]>
Sent: Tuesday, November 14, 2000 6:52 AM
Subject: Introduction

My name is Rudy, and I run a small label in Southern California called
Fal=E7ata-Galia Recordings, specializing mainly in Eastern European new m=
usic,
but expanding (ever slowly) into the Americas (including the US and Canad=
a).
I like everything from noise to prog, modern classical to ethnic, free ja=
zz
to electronic (in whatever form).
>>>>>>>>>>>>>>>>>>>>>>
If you're running a l;abel and you're interested in Eastern European Impr=
ov,
maybe you'd be intersted in my band? We're from warsaw, Poland. The band'=
s
called mala rzacz a cieszy) An includes Mikolaj Hernik on reeds, Marcin
Rychter on piano, and myself on elccrtonics, samples, Am radio, FXs, text=
s,
prerecorded material, etc. we'd be happy to send you a demo - at least to
know what people think about what we do.
Cheers,
Marcin Gokieli


- -

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

Date: Tue, 14 Nov 2000 09:53:30 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Re: Otomo Yoshihide/Ground-Zero (long)

> it's funny that you call Last Concert unlistenable
> noise and Consume Red
> minimalist..

In defense of LAST CONCERT: I owe several people on
this list a debt of gratitude for their recommendation
of LAST CONCERT, which after owning for weeks, I
finally got down to dedicating some attention last
night, from beginning to end.  It's a crisp recording
of a remarkable performance.  When I describe it as
"utter apocalypse", it simply doesn't do justice to
the staggering detail of the din.  I had my doubts
when people kept describing it as a din, since I'm no
fan of the wall of sound, as such.

I now remember being disenchanted with free-blare, all
the more so with Large Group Free-Blare, as long ago
as 1995, when I went to the AACM's 25th anniversary
concerts in Chicago, and witnessed one night, the
last, culminating in a free blow-out with some thirty
or forty people playing on stage at once, loudly.
'This is the end of the AACM,' I thought at the time,
'or rather the visitation of an old tombstone, long
abandoned and left dirty.'  Few of the Grand Masters
showed up for the AACM concerts, and one of the few
who did---George Lewis---was also the only one in the
entire festival who used electronics.  But not just
electronics....a laptop with INTERACTIVE SOFTWARE!
The effect was scandalous.  No booing---these fans
have been sensitized by such offense---but lots of
head scratching and private guffaws afterwards.  The
consensus on George was that the old man had finally
gone off the deep end.  It was quite clearly another
example of Braxton's sarcastic observations of "where
is dee jazz?" disorientation.  LAST CONCERT operates
quite a bit like that: "_this_ doesn't sound
)_anything_ like Naked City!  I hate this!"  This
might be a little too close to "ethical" criticism for
comfort or edification, but Otomo has always struch me
as both refreshingly tasteless and conscientious.
Along with his irreverence and cruelty, there seems to
be a seriousness---dare I say "sincerity"?---and I
find myself willing to trust him to build mazes that
I'll be happier having come through.  LAST CONCERT
seems to be only superficially similar to the din I
heard that night five years ago this month in Chicago;
it is not a eulogy, but rather a manifesto, or a
changing of the guard, or a fond farewell without
nostalgia.  I don't think it's an allegory of any
kind, or some kind of narrative about Otomo's journey
to sinal "purity", and it certainly isn't a moving
"forward" whatever that means; it's just Otomo
allowing the band to peel away, to blow it self out,
and to crumble into its own phonemes.  Normally I'd
say that without the din of LAST CONCERT, its last
moments wouldn't be so meaningful, nor for that matter
the work of FILAMENT, or ISO; but that's an artifical
contrast and does a disservice to the sheer
hyperdetailed sumptuousness of the din.

RE: OTOMO'S ATTITUDE TOWARD THE RELEASE OF A COLLAB
WITH MARCLAY
>he evidently feels that it's not representative of
>his current work and interests.

Maybe his recognition that he's a "star", and that the
market is glutted, and that "it's all good", so why
should "good" even be a criterion for whether
something gets put out or not?  I wonder if he tires
of being known by many as a crazy-ass DJ, the same way
Jim O'Rourke and Kevin Drumm have turned away from the
guitar somewhat, to distance themselves from being
ghetto-ized as "guitarists".  I sensed a tinge of
irony in the (possible) title of Drumm's self-titled
release on Perdition Plastics ("Guitar")...the same
kind of irony that comes to mind when I think of Greg
Kelley's TRUMPET record.  A critique of "instrumental"
reason!  (Dumb pun, sorry.)

> <<Will this never end? I actually thought this scene
> was more or less dead by
> now. How much more to be said with only sinewaves?
> Seems everyone and his mother is doing this stuff
> with their powerbooks,
> these days...>>

Will this never end?  Every decade is the same: death
of jazz, death of philosophy, death of morals....Jesus
Christ!  What rich graveyards we inhabit!

> the real question, if you ask me, is "how much more
> to be said with
> saxophones?"

I personally thought Jon was being ironic.  The
"museum guards" of Sanctioned Concert Hall Culture
have long scorned the saxophone as a limited
instrument, a late-comer; I suppose afficionados of
the saxophone must have their whipping boy.  Come on,
comeuppance!  A few recordings, all recommended by
ZOrn-list members, which have changed my mind about
the use of sine waves, include Sachiko M's beautiful
3" DEBRIS e.p., the ISO self-titled on Alcohol,
Otomo's CATHODE, FILAMENT 2, some stuff on the TULPAS
box set, and many other recordings.  Predicting the
exhaustion and quantifying the vitality of practices,
forms, or instruments seems to be a waste of time.  It
seems eschatological, and perhaps millenarial.

- -----s, scatological

(Really sorry about the length.)




__________________________________________________
Do You Yahoo!?
Yahoo! Calendar - Get organized for the holidays!
http://calendar.yahoo.com/

- -

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

Date: Tue, 14 Nov 2000 13:04:46 EST
From: [e-mail]
Subject: Re: ostertag

<< ostertag reissue -- the one built on samples
 of a boy crying as shovels dig the grave for his father in el salvador
(slightly
 different than the original description). i had it, listened to it once,
thought
 it brilliantly executed and utterly wrenching, and sold it hoping to never
hear
 it again. it's not especially 'musical,' and it's emotionally pretty tough
going >>

dear kurt,
i chanced on this by accident years ago for a buyck and its one the my
favorite all times didscs. yes, you cant listen to it often, as it is totally
draining and upsetting, as it is suuposed toi be.  i wish his aids piece for
act up for the kronos on nonesuch had a hundredth of the power of this piece
yrs
steve koenig
n.p. ''school's out' by alice cooper,  in my head version as i type this at
work in my school on a bad day wishing i were elsewhere, but not el salvador

- -

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

Date: Tue, 14 Nov 2000 13:09:45 EST
From: [e-mail]
Subject: Re: dixon ixley & schlippenbach

In a message dated 11/13/00 5:11:51 PM Eastern Standard Time,
[e-mail] writes:

<< I think Dixon's duo CDs with Oxley from earlier this year, Papyrus,
volumes 1
 and 2, are less successful and I'm not exactly sure why. Volume 2 especially
 does very little for me, it feels like somehow all the magic has been
drained
 away. anyone else feel the same or differently?  >>

dear jon,
i agree. theyre dull because they simply dont click. nothing more complicated
than that.  for a superb oxley disc, which i listened to instead of going to
the cecil/ox gigs at tonic as i was broke and tired at the same time, is on
FMP: schlippenbach and oxley duo called 'diggers harvest.'  cant praise it
too highly for both partners
yrs
steve koenig
np: eddie harris and les maccann "second movement" label m reissue,
suprisingly great fun

- -

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

Date: Tue, 14 Nov 2000 13:48:28 -0500
From: Eric Ong <[e-mail]>
Subject: Re: Nakamura/M

> <<I've wondered what else Nakamura has done...?  I'd not heard of him prior
> to that release (or since...). >>
>
> he hasn't recorded much. he's one half of Repeat, who have a few CDs
> consisting of beat-driven improv, not really my thing. he has a solo CD out
> on Zero Gravity soon, and he's on most of the Improvisation Meeting at Bar
> Aoyama disc, which is very good. more info at:

I really like Nakamura's track on the LMC Resonance 9.1 CD. It's only about
6 minutes long though.

new General Magic is pretty screwed up.

- -eric.



- -

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

Date: Tue, 14 Nov 2000 21:13:06 +0100
From: "Stefan Verstraeten" <[e-mail]>
Subject: Watch out for Pat Thomas

Hello,

I know that there are some zornlisters that are into european free music, so
be aware...

There is a new album by Pat Thomas, called Jazz Patterns on the Strand
label.

The only problem is that this one is not the Pat Thomas we know (you know,
the sample-keyboard player). This Pat Thomas is a female african american
jazz singer of 21 years old who sings the jazz like Wynton Marsalis likes to
hear it...

You can imagine my face when I heard these dull sounds.....

Anyway, my record dealer was so kind to take the record back, so no harm was
done, except off course the memory of this horrible experience....

Best wishes
Stefan Verstraeten

[e-mail]



- -

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

Date: Tue, 14 Nov 2000 12:36:03 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Tzadik web site updated

Check the Tzadik web site for December 2000 and January 2001 releases.

    Patrice.

- -

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

Date: Tue, 14 Nov 2000 18:20:16 CST
From: "samuel yrui" <[e-mail]>
Subject: Galas and Dresser?!?!

WHOA!!!!!

  Mark Dresser and Diamanda Galas have collaborated?!  Is this on CD?  could
anyone tell me about this?  wow.

  thanks.

    samuel
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- -

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

Date: Tue, 14 Nov 2000 20:23:40 EST
From: [e-mail]
Subject: Re: Galas and Dresser?!?!

I was actually wondering this myself, but when I posted the question on the
Diamanda Galas list, no one knew who the fuck Mark Dresser was, let alone, if
there was any collaboration between the two.  I do know that they were/are
good friends, and have at least played together in the past, but I'm not sure
if any of it was ever documented (nothing was listed on Dresser's
discography).

word,
- -Evan

- -

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

Date: Tue, 14 Nov 2000 21:18:18 -0500
From: Brian Olewnick <[e-mail]>
Subject: Re: Ninh/Rainey/Kelley

Jesse Kudler wrote:

> How was the Le Quan Ninh show?
> -

Very fine, imho. Ninh, for those unfamiliar with his work, centers his
activity around a large bass drum, lying horizontally on a small table.
He utilizes it both as an object to batter with all manner of devices
(including stones, gongs, wires, marbles, cymbals, bows, styrofoam and
Tibetan bowls) and (often at the same time) as a resonator for objects
scraped, dragged and bounced across its surface. He managed to be both
hyperactive and extremely intense, his sound ranging from ultra-delicate
to an absolute roar, at all times maintaining both rhythmic and melodic
interest. Had I been listening to this performance on disc, I would've
been almost entirely at a loss to figure out how many of these sounds
were being generated. Ninh was really impressive, easily one of the
finest solo percussion performances I've ever seen. Jon posted his tour
schedule a couple of days back; I'd strongly recommend checking him out.

Bhob Rainey and Greg Kelley played the next set. I had heard each of
them last month (in different bands, no?) in Boston. But as nice as that
theatre was, it struck me that performances which depend to this degree
on subtlety and which are often as quiet as this was, are far more
readily appreciated when, as in Tonic, one can sit a few feet away in a
quiet space and capture every little nuance. Very little of their music
had to do with "normal" sounds from their instruments (curved soprano
and trumpet), instead consisting of whistles, burps, sighs, clicks,
muffled screams etc. And it worked very well. When one can hear every
tiny detail, there's quite a complex and enjoyable soundscape to
discern. Kelley was perhaps the more "flamboyant" of the two, producing
sounds I'd guess few have ever heard issuing from a trumpet (or parts
thereof), but Rainey was a fine foil, always listening intently and
reacting perfectly. Check 'em out if you're able.

The three joined for two pieces to end the show, again both very fine
and deliciously subdued. Congrats to Jon for arranging the gig.

Brian Olewnick

- -

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

End of Zorn List Digest V3 #166
*******************************


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