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Zorn List Digest       Friday, November 17 2000       Volume 03 : Number 170



In this issue:
-
       FW: sounds of christmas
       L.M. Connors (was re: Chad Taylor)
       Re: Dunn
       Re: FW: sounds of christmas
       Re: Chad Taylor
       Re: FW: sounds of christmas
       RE: Dunn
       Re: Ken Burns' 'Jazz' film
       RE: L.M. Connors (was re: Chad Taylor)
       Re: McPhee
       Re: Otomo Yoshihide/Ground-Zero
       Re: Ken Burns' 'Jazz' film
       Re:  Re: Otomo Yoshihide/Ground-Zero
       Ninh tour photo diary
       nyc blues fan needed
       Re: Otomo Yoshihide/Ground-Zero
       re:  mcphee

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

Date: Fri, 17 Nov 2000 10:10:29 -0500
From: [e-mail] (Benjamin Pequet)
Subject: FW: sounds of christmas

Forwarded from some other mailing list. (gossip: Has archivist and=20
collector marclay taken up otomo's tendencies to transvestism ?)

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

Christian Marclay's
"The Sounds of Christmas"
At the New Museum of Contemporary Art /
Media Z Lounge (basement level)
583 Broadway between Houston & Prince Sts.
New York, NY 10012
212-219-1222
http://www.newmuseum.org

Installation and Performances
December 14 - 31, 2000

This holiday season the New Museum of Contemporary Art's Media Z Lounge will
feature artist and composer Christian Marclay with "The Sounds of
Christmas." For this installation and performance series, Marclay has
collected and archived over one thousand Christmas records. This vinyl
collection is catalogued on a computer database and six videos documenting
the album covers. A dozen deejays are invited to mix this seasonal music
during four scheduled events. Some of New York's most original turntablists
will be performing, including DJ Olive, Toshio Kajiwara, DJ Singe, the 5th
Platoon, and Marclay himself, among others. The deejays will be limited to
using the Christmas records in the collection. This presentation at the New
Museum is the second annual installment of "The Sounds of Christmas," which
was originally commissioned by and presented at ArtPace in San Antonio,
Texas in December 1999.

"The Sounds of Christmas" will be on view December 14 -31, 2000

Performances are from 6 to 9 pm admission is free:

Thurs. DECEMBER 14: (opening party)
Toshio Kajiwara (of Ferris_Wheel, of phonomena=B0)
Darryl Hell (of EBN fame)
Christian Marclay (Santa Claus)

Sat. DECEMBER 16:
Justin Boyd (from San Antonio Texas)
DJ Singe (of Soundlab fame)
Hahn Rowe aka Somatic (on Caipirinha)

Sat. DECEMBER 23:
DJ Olive, the Audio Janitor (of theAgriculture=B0, of phonomena=B0)
Marina Rosenfeld (turntable opera diva)
Chris Sattinger aka Timeblind (turntables w/ powerbook)

Sat. DECEMBER 30:
5th Platoon with:
DJ Roli Rho (2X Vibe World Champion)
DJ Kuttin Kandi (Source Champion)
DJ Daddy Dog (Rawkus Mixtape Winner)
DJ Neil Armstrong (5th-Platoon Founder)


- -

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

Date: Fri, 17 Nov 2000 08:03:43 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: L.M. Connors (was re: Chad Taylor)

> > Beside this Chad Taylor is present on the
> outstanding Alan Licht - Loren
> > Mazzacane-Connors recording Hoffman Estate (with
> Jim O┤Rourke, Ken
> > Vandermark and others).

I second Andreas' appreciation of HOFFMAN ESTATES (the
album).  Hard rockin guitar hero Kevin Drumm is also
present on at least a few tracks.  I'm under the
impression that Jim O'Rourke edited and presented the
material---many hours of improv---with a kind of Teo
Macero strategy, paring free-range improv down to a
more economical scale (a rather short album for a day
of improv---forty minutes, I think).  Two related
questions:

1. What are the key points of Loren Mazzacane Connors'
discography?  (Hope this ahsn't been asked yet.) The
guy is pretty prolific, and I've only heard the DAGGET
YEARS box, which of course I have not made all the way
through, as it is frankly confusing and terrifying to
me.  Four full CDs of early obscure vinyl, Loren
playing steaknife acoustic guitar (?), with an uncanny
resemblance to some of Alex Schlippenbach's
inside-the-piano-with-metals work; there's also a lot
of wordless howling; I think it's blues.

2. Though this might not be the list to ask, did
anyone see Signal to Noise, the band with Vandermark,
Kevin Drumm, and  a guy named STeve Butters (haven't
heard of him before), when they performed regularly?
What were the shows like?

Thanks,

- ----s


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- -

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

Date: Fri, 17 Nov 2000 08:08:09 -0800
From: "Daryl Loomis" <[e-mail]>
Subject: Re: Dunn

You are absolutely right about Trevor Dunn.  The album that completely =
convinced me of this is Trevor Dunn's Trio Convulsant "Debutants & =
Centipedes."  It is a great album and is far removed from the "rock" songs =
that Bungle does. =20

Also, checking out the discography, I realize that I have just acquired =
another disc featuring Dunn.  John Schott's Shuffle Play: Elegy for the =
Recording Angel.  I hadn't listened to it, but just began it and so far, =
it's quite interesting. =20

Daryl Loomis


>>> "Fag music" <[e-mail]> 11/17 6:52 AM >>>
Well,
    Trevor Dunn is Mr.Bungle's bassist...but it's funny how people on =
avant-garde consider Bungle ''kind of a rock group''...haahahah.
    Anyway,Trevor Dunn has a commented discography on http://www.ozramp.net=
.au/~alien/trd.html ,check it out.Hmmmm,lemme ask then:why is it that =
people consider Bungle to be kind of a rock band?I suppose some may think =
this cause Patton sings on it...anyone?
Platypusses,
Travolta


- -

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

Date: Fri, 17 Nov 2000 08:38:55 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Re: FW: sounds of christmas

- --- Benjamin Pequet <[e-mail]> wrote:
> Forwarded from some other mailing list. (gossip: Has
> archivist and
> collector marclay taken up otomo's tendencies to
> transvestism ?)

Whoa!  Clearly I'm out of the loop.  I knew
crossdressing was a kind of outrageous fun in Japan,
but somehow I had Otomo pegged for a stoic.  You go,
girl!  You better work!  (What, _does_ Otomo dress in
women's clothing for shows?  Does Marclay?)

- ----s, cher-fabulous

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

- -

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

Date: Fri, 17 Nov 2000 11:39:54 -0500
From: Steve Smith <[e-mail]>
Subject: Re: Chad Taylor

Andreas Dietz wrote:

> Chad Taylor is an interesting drummer from Chicago. I=B4ve seen him las=
t year
> in a meeting of the Fred Anderson Trio and Tortoise in Frankfurt and in=
 one
> the best concerts last year: Fred Anderson Trio at the Moers festival (=
with
> Harrison Bankhead).
> Beside this Chad Taylor is present on the outstanding Alan Licht - Lore=
n
> Mazzacane-Connors recording Hoffman Estate (with Jim O=B4Rourke, Ken
> Vandermark and others).

Thanks to Andreas and everybody else who chimed in on Chad - I knew I'd s=
een
his name before, but couldn't remember where.  He was a versatile and
economical drummer, able to shift from clear, stuttering funk beats to
intricate, shifting freetime with great ease.  And all of this with a
pared-down kit of just snare, floor tom, bass drum, hi-hat, ride cymbal a=
nd
cowbell.

> I haven=B4t heard of Tom Abbs before...

I think he's local and assume that he was one of the organizers of the sh=
ow,
given that he was collecting money at the door.  He had an interesting
approach, with a bamboo digeridoo strapped across his bass, amplifying bo=
th
bowing and breathing.  He has a muscular playing style and his tuba work =
is
pretty fine besides.  Definitely someone I'll be watching out for.

Steve Smith
[e-mail]


- -

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

Date: Fri, 17 Nov 2000 11:58:42 EST
From: [e-mail]
Subject: Re: FW: sounds of christmas

In a message dated 11/17/00 11:41:18 AM, [e-mail] writes:

<< (What, _does_ Otomo dress in
women's clothing for shows?  Does Marclay?) >>

jeez, no. terre thaemlitz certainly might, though, but I've never seen him
perform, I'm just going from the Wire photos a few years ago.

Jon
www.erstwhilerecords.com

- -

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

Date: Fri, 17 Nov 2000 18:09:37 +0100
From: "Diego Gruber" <[e-mail]>
Subject: RE: Dunn

Dunn played with Masada for a while didn't he? I wonder what the opinions on
Dunn's participation are.

I think Bungle's music has a rock basis indeed, but I think they've been
able to reach limits of what can be done with it, to an extent i don't think
anyone else has. But perhaps it is Patton's popularity and the hard to
remove FNM association that makes it hard for Bungle to be more openly
appreciated among certain circles. Pretty ironic considering they are also
rejected on the mainstream for being considered "too weird". But fortunately
they've a big enough bunch of dedicated supporters who'll be there when the
novelty grows old.

D.

> -----Mensaje original-----
> De: [e-mail]
> [mailto:[e-mail]]En nombre de Daryl Loomis
> Enviado el: Freitag, 17. November 2000 17:08
> Para: [e-mail]; [e-mail];
> [e-mail]
> Asunto: Re: Dunn
>
>
> You are absolutely right about Trevor Dunn.  The album that
> completely convinced me of this is Trevor Dunn's Trio Convulsant
> "Debutants & Centipedes."  It is a great album and is far removed
> from the "rock" songs that Bungle does.
>
> Also, checking out the discography, I realize that I have just
> acquired another disc featuring Dunn.  John Schott's Shuffle
> Play: Elegy for the Recording Angel.  I hadn't listened to it,
> but just began it and so far, it's quite interesting.
>
> Daryl Loomis
>
>
> -
>


- -

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

Date: Fri, 17 Nov 2000 12:33:51 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: Ken Burns' 'Jazz' film

Hm, to take the historical revisionism a bit further.

I think it would be more appropriate to see Cecil
Taylor as Marx, the man who first came up with the
theories, then William Parker as Lenin and John Zorn
as Trotsky, with different factions aiming for a
similar revolution.

But, of course, this leaves the problem of who on the
Wynton side would be Kerensky -- Roy Hargrove, Jon
Faddis, Joshua Redman.

And, more seriously, who on the other side can afford
to be Stalin?

Ken Waxman
- --- Steve Smith <[e-mail]> wrote:
 I prefer to think of Wynton as Czar Nicholas,
> claiming the spoils of the empire
> and banishing those who would stand against him,
> with Stanley Crouch as his personal Rasputin, the
dark and vaguely threatening court madman running the
show behind the scenes.  William Parker can play Karl
> Marx in exile, en"Vision"ing a
> workers' utopia, but I just don't see a Lenin
> waiting in the wings.


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- -

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

Date: Fri, 17 Nov 2000 10:36:52 -0700
From: "Matthew W Wirzbicki  (S) " <[e-mail]>
Subject: RE: L.M. Connors (was re: Chad Taylor)




>1. What are the key points of Loren Mazzacane Connors'
>discography?  (Hope this ahsn't been asked yet.) The
>guy is pretty prolific, and I've only heard the DAGGET
>YEARS box,

That's where I started as well.  I hear that the following are rather
neccesary:

9th Avenue
Hell's Kitchen Park
In Twilight
(and the box you've mentioned)

I can only vouch for 9th ave.

Apparently Connors believes "Airs" is his best recording achievment but I
think many listeners dissagree including people on this list.

I also enjoy
In Bern
Evangeline
and Hell Hell Hell...

but these may not be as crutial.

Matt Wirzbicki



- -

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

Date: Fri, 17 Nov 2000 12:45:12 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: McPhee

What's more interesting is that in that same
interview, McPhee says in 1968 he recorded a session
with Dewey Redman (ts), David Izenzon (b), Earl Cross
(tmpt) and "I can't remember the drummer's name".
He goes on to say:

"They were going to take it to Blue Note and Blue Note
thought it had no commercial possibilities whatsoever.
So I don't know what happened to it."

Sounds like something that could (should) be released.

Ken Waxman

- --- "Caleb T. Deupree" <[e-mail]> wrote:

> Speaking of McPhee and Cadence, the November issue
> has an interview with McPhee in which he discusses a
project he did with Trevor Dunn, 'bass player with a
kind of rock group'.  Anyone hear this?  Was it
recorded? Has Dunn performed with any other avant
musicians?


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- -

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

Date: Fri, 17 Nov 2000 09:47:51 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Re: Otomo Yoshihide/Ground-Zero

- --- Bill Ashline <[e-mail]> wrote:
> >the real question, if you ask me, is "how much more
> to be said with
> >saxophones?"
>
> A lot's been said thus far.  An awful lot.  But I
> happen to agree.  If the
> avant-garde itself has anything new to say, the
> space is and will be in
> electro-acoustic improv.

This statement is inscrutable.  It's tinged with the
same presumption of capacity that characterizes the
rhetoric of exhaustion.  But, that said: a damn lot
has been said on the damn saxophone, and there not
only IS an enormous amount of fascinating, diverse
electro/acoustic music being made now, but there has
been for decades.  That statement is safer, if less
enlightening.  My music budget is in massive deficit
almost exclusively to sound matter of this
"sensibility" or "approach".  This list is my most
valuable resource, and for the e/a stuff in particular
I owe Caleb, Jon, Brian O, Ashline and number of other
folks big ups.  But enough sunshine...

> One place to look for the saxophone in all this is
> in Evan Parker's "Live at Les Instants Chavires"
> which I bought last night.

I super-second this.  It's fab, and I think I dig it a
lot more than the SOLAR WIND collaboration with
Casserley (which is, though, just fine).  The "live"
component, the immediacy of the sound, the lack of
cavernous "Eich-o" and reverb which clipped the edges
off the two ECM e/a ensemble recs...Parker's saxophone
seems here to be a lot more susceptible to the
electronics, and the direct sound of the sax is very
dry, very close.  A superbad outing from a group that
should have had another record by now.

>  A David Ware inherits
> this tradition and does so very well, but he doesn't
> have the same
> sensibility, the same urgency.

I gues at this point, when I buy a record, I really
want it to be _different_ in some way.  I'd never
expect this of other listeners----gods bless the
discographer's persistence!  long live
obesession!---but do _I_ really need another loud sax
record?  No.  Though I will recommend to fans of free
jazz the newest Assif Tsahar (tenro sax/bassclar)
record with Peter Kowald (bass) and Rashied Ali
(drms).  It's really fine, though not ground-breaking;
hard to say what makes it so different, but the
recording quality is really fine, especially for
Kowald, who comes out sounding particularly trebley,
round, and resonant.  Some committed playing by
Tsahar, bordering on the puckish.  Much more than a
tiresome blowout, which is how I feel about most of
David S. Ware I've heard.

- -----s

__________________________________________________
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Yahoo! Calendar - Get organized for the holidays!
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- -

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

Date: Fri, 17 Nov 2000 09:52:09 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Re: Ken Burns' 'Jazz' film

- --- Ken Waxman <[e-mail]> wrote:
> Hm, to take the historical revisionism a bit
> further....who on the other side can afford
> to be Stalin?

Pierre Boulez, perhaps?  (The scene-analogy doesn't
hold, I know...)

- ----s

__________________________________________________
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Yahoo! Calendar - Get organized for the holidays!
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- -

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

Date: Fri, 17 Nov 2000 12:54:19 EST
From: [e-mail]
Subject: Re:  Re: Otomo Yoshihide/Ground-Zero

In a message dated 11/17/0 9:48:55 AM, [e-mail] wrote:

<<If the
> avant-garde itself has anything new to say, the
> space is and will be in
> electro-acoustic improv.
>>

That's kind of a broad statement to make, especially in light of how many
musics develop to the point of fostering an avant-garde.  Have accoustic
instruments as a sonic family run out of new sounds to make? Is the need for
electronic instruments so crucial to make any new statement?

Personally, I hold no brief against electronic instruments or the people who
use them (and I think this includes all manner of devices from the Hammond
B-3 to the turntable and beyond), but to state categorically that one type of
improvising unilaterally holds the key seems a little limiting to me.

skip h

- -

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

Date: Fri, 17 Nov 2000 12:56:42 EST
From: [e-mail]
Subject: Ninh tour photo diary

Le Quan Ninh is keeping a photo diary of his US tour, with new uploads after
every show, on his web site at:

http://ninh.free.fr/

Jon
www.erstwhilerecords.com

- -

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

Date: Fri, 17 Nov 2000 12:56:57 -0500
From: [e-mail]
Subject: nyc blues fan needed

i have 2 tix to the sun night autumn blues fest at symphony space to see Super
Chikan and the Fighting Cocks, Eddie Cusic that it turns out i can't use.

first person to email me with the correct spelling of 'chicken' gets them.



- -

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

Date: Fri, 17 Nov 2000 13:01:33 -0500
From: Steve Smith <[e-mail]>
Subject: Re: Otomo Yoshihide/Ground-Zero

Scott Handley wrote:

> Much more than a
> tiresome blowout, which is how I feel about most of
> David S. Ware I've heard.

Ironically, I just heard last night that a synthesizer was at center
stage for David S. Ware's performance at the Knitting Factory last week,
and that both Ware and Shipp took turns on it.  This was evidently cause
for quite a bit of amused and/or bewildered head scratching.  I wasn't
there and can't report on this - just passing along the word.

A very different take on electro-acoustic improv, I'd venture to
guess... ;-)

Steve Smith
[e-mail]



- -

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

Date: Fri, 17 Nov 2000 18:04:15 GMT
From: "William York" <[e-mail]>
Subject: re:  mcphee

>Speaking of McPhee and Cadence, the November issue has an interview with
>McPhee in which he discusses a project he did with Trevor Dunn, 'bass
>player with a kind of rock group'.  Anyone hear this?  Was it recorded?
>Has Dunn performed with any other avant musicians?

I'd be interested in hearing more about that. MAybe I should renew my
Cadence supscription...

I think somebody mentioned Dunn plays in Mr. Bungle. He's also done several
things with Ben Goldberg and John Schott (including Junk Genius), plus
Graham Connah (Sour Note Six/Seven and his jazz-rock-psyche-prog group
Jettison Slinky, who have a really cool album that came out maybe a year
ago), Miya Masaoka, Bob Ostertag. He's played in a lot of rhythm sections
with Kenny Wollesen on drums. I guess he played with MAsada on the west
coast in the mid '90s but I never saw or heard that.

He has a solo album w/ Wollesen plus ADam Levy on guitar; he described it as
being equally inspired by Ahmad Jamal, the Melvins and some surrealist
writers, and it actually sounds like that, without being a pastiche. Finally
he played in another "kind of rock group" (Secret Chiefs 3) and also plays
in the "kind of metal group" Fantomas w/ Patton, Buzz from the Melvins on
guitar, and DAve Lombardo on drums. (more Zorn connections there).

On that note, is anyone here in the Bay ARea and going to the
FantomasMelvins "Big Band" show on New Year's Eve at Slims?
I got my ticket yesterday...

WY
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- -

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

End of Zorn List Digest V3 #170
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