did I miss something REALLY important? The last Frith/Cutler duo, maybe?
Anything else?
Pascal
I was really referring to having seen Frith play with ZL&L in London
and Paris earlier this year. He was stunning both nights - and very
different, too.
Simon
- -
------------------------------
Date: Mon, 20 Nov 2000 07:41:13 -0800
From: David Beardsley <xouoxno@virtulink.com>
Subject: Re: Michael Shumacher
Steve Koenig
> In a message dated 11/18/00 2:31:51 PM, you wrote:
> <<
> Hi...if anyone has opinions/reviews/info on work by Michael Shumacher (who
> performs
> tonight on G3 laptop..>>
>
> hi jim,
> michael schumacher has a gallery at 5 beekman streeet near nyc city hall
> which features sound installations, frequently changed, by the best and most
> amazing musicians.
> it's called studio five beekman, and i misplaced my URL for the website.
It closed over the summer and the web site was out of date anywayz.
db
- --
* D a v i d B e a r d s l e y
* 49/32 R a d i o "all microtonal, all the time"
* http://www.virtulink.com/immp/lookhere.htm
- -
------------------------------
Date: Mon, 20 Nov 2000 10:39:24 -0500
From: Steve Smith <ssmith36@sprynet.com>
Subject: Re: Sharp knife
Fag music wrote:
> Not sure wether this has to do with avant-garde or not,
> but anyone know if Kevin Sharp's into the scene?I really like the guy's voice in Brutal truth,and some of the stuff he did with Cobra was funny...
I've lost track of Sharp since the demise (?) of Brutal Truth, but yeah, he was at least a tangental part of the "scene" - I saw BT open for Boredoms and Pain Teens in summer '93 back in Houston - loudest show I ever heard in my life - and then, months later after moving to NYC, I saw Kevin and Buckethead sit in with Pain Killer during the Zorn 40th birthday month at the old Knit.
Thanks for the memories,
Steve
- -
------------------------------
Date: Mon, 20 Nov 2000 08:54:24 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Re: Corporate Art
On Fri, 17 Nov 2000 13:56:26 +1100 "Julian" wrote:
>
> I found a copy of this cd second hand (for those who don't know, it's Bobby
> Previte, Mark Helias, Christy Doran and Gary Thomas). Anyone know what's it
> like?
Since nobody answered.
This is a fantastic record! The playing is awesome (specially Bobby who is
all over the place, some wild guitar by Christy Doran, powerfull tenor by
Gary). The music? Modern jazz with strong stuctures and great compositions. If
you are familiar with most of Bobby's output, you should love that record.
Patrice.
- -
------------------------------
Date: Mon, 20 Nov 2000 10:53:02 -0600
From: Moudry <Moudry@uab.edu>
Subject: Re: cartoon s/m
Tom,
DMG says the drop date has been revised to 5 December for the entire last
batch of Tzadiks.
At 15:55 17-11-00 -0800, you wrote:
>did this cd get bumped...I thought it should be out by
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
Date: Mon, 20 Nov 2000 19:10:10 -0500
From: "Jim McLoughlin" <jim@intelligenesis.net>
Subject: Gratkowski / electro-acoustic arguments / avant harmonica?
Hi
First a thanks to those who responded to my info request regarding the
Shumacher and Gratkowski shows at roulette. I saw the latter. I'll mention
some opinions on the show, with some comments related to the current
electronics as the future of the avant-garde debate.
It was a nice mix of challenging composition and improv, and spanned a wide
range of dynamics from rawkus frenzies to minimalism along the lines of the
Greg Kelly / Bhob Rainey set at Tonic last week. The compositions were
based on Gratkowski's own improvisations, and used as a starting point for
group improv. In some discussion later that evening, he said he does this
to blur the lines between composition and improv for the listener (though
you get some idea by noting when the other musicians refer to charts). I
wasn't initially into his sax playing, but it slowly grew on me, especially
the sounds generated on clarinet - some bellowing multi-phonic stuff. The
rhythm section of Formaneck and Hemmingway was great, particularly given the
difficulty of the tunes and the fact that it was Formaneck's first
performance of them.
This was the first concert of a US Tour for Gratkowski. For those
interested, he'll be performing solo in most other places. I didn't get
dates, but he mentioned Easthampton, Boston, Toronto, Athens, Atlanta,
Nashville, and Portland among others.
Which brings me to some e-a points:
Gratkowski and Hemmingway's extended techniques and textures seemed very
original on Saturday. What is the difference between whether their
respective technique/vocabulary is extended acoustically or electronically?
Are they breaking less ground or saying something less important in either
case? What's the difference between Greg Kelley's use of a metal sheet as a
trumpet mute versus Evan Parker's saxophone processed by some effects on a
laptop?
During the very quiet, minimal moments of the Roulette show, Gerry
Hemmingway was doing some stuff with thin metal rods on his snare drum and a
tube he blew through to create textures on the floor tom. It sounded very
similar to some of the textures I heard on the "Tom and Gerry" Erstwhile
release. Is Hemmingway's use of these techniques in a strictly acoustic
setting somehow less interesting than it is when combined with electronics?
Le Quan Ninh did not use any electronics (as far as I could tell) in his
performance at Tonic last week, but displayed some highly original
techniques and sounds using cymbals, a bass drum, and other items. The
whole show, which I enjoyed, had no electronic element. So I'm a bit
confused as to why an all acoustic performance like Ninh / Rhainey / Kelley
seems to get the nod from e/a champions, while other acoustic performances
don't seem to be afforded the same leeway. What's the distinguishing
factor?
Is it that at least one or more of these artists (Ninh in the case of the
tonic show) has previously worked in electronics? Would the argument be
that some aspects of their acoustic technique have been exclusively enhanced
by interaction with electronic players? That would seem hard to swallow...
As a side note, I enjoy some of the e/a stuff I've been exposed to on this
list - the Tom and Gerry release, the Charizma 002 release, and particularly
the outrageous BART record. I just don't see why these or other
electro-acoustic performances (and the relevant musicians) be more easily
afforded cutting edge distinction.
Also for those dubious of contemporary harmonica innovation, I recall a
Young Philadelphians show (Ribot, Zorn, Tacuma, Weston) where Zorn played
harmonica as the group moved from a free-funk thing into an outrageous C&W
style stomp. Is that avant-garde? If not, at least it's some token Zorn
content...;-)
Jim McLoughlin
- -
------------------------------
Date: Mon, 20 Nov 2000 19:18:20 -0500
From: Brian Olewnick <olewnik@idt.net>
Subject: Re: Gratkowski / electro-acoustic arguments / avant harmonica?
Jim McLoughlin wrote:
> I
> wasn't initially into his sax playing, but it slowly grew on me, especially
> the sounds generated on clarinet - some bellowing multi-phonic stuff. The
> rhythm section of Formaneck and Hemmingway was great, particularly given the
> difficulty of the tunes and the fact that it was Formaneck's first
> performance of them.
This was also my first exposure to Gratkowski and, like Jim, his stuff
grew on me as the evening progressed. I thought most of his thematic
material was clearly indebted to Braxton, but his own playing was pretty
unique and he certainly covered a lot of ground. I tended to enjoy the
freer pieces more (especially the one which stayed at ppp level for the
most part), but still thought two highlights were his "West Coast"
composition, "California Roll" which was redolent of Lee Konitz and the
concluding number, "Collapse II", a driving thing that sounded like an
acoustic Last Exit. As Jim said, Formanek and, especially, Hemingway
were quite impressive, the latter showing great command at either
extreme of the volume scale. Gratkowski also get points for his charming
and humorous persona.
Brian Olewnick
NP: Gustafsson - Parrot Fish Eye
- -
------------------------------
Date: Mon, 20 Nov 2000 20:18:36 -0800
From: "Fag music" <pattonsucks@37.com>
Subject: razor sharp blades
some of the stuff he did with Cobra was funny
>
>Was that recorded? I also heard he sang with Naked City live at some point,
>which makes sense.
Dunno about Naked city,but his contribution to Cobra can be heard in the Live at the Knitting Factory album.It's track 4 or 5,or both,if I recall.I liked it.You can definitely tell it's him.
>I have the last damaged album, the music is pretty great but I couldn't
>really stand the vocalist. The new one is out on the same label, Rotten. The
>link is:
And you do have Exit-13 too,huh?Hey,that's interesting...but tell me:wanna trade?Mail me,dude.As for the jazz covers album,I liked it.It's hella funny,reminds me of some Anal cunt stuff.
Exits,
14
>From: "William York" <william_york@hotmail.com>
>To: zorn-list@lists.xmission.com
>Subject: Re: kevin sharp
>Date: Mon, 20 Nov 2000 19:19:20 GMT
>
>>Not sure wether this has to do with avant-garde or not, but anyone know >if
>>Kevin Sharp's into the scene?I really like the guy's voice in Brutal
>> >truth,and some of the stuff he did with Cobra was funny
>
>Was that recorded? I also heard he sang with Naked City live at some point,
>which makes sense.
>
>>Last thing heard,he was in a ''hate-core'' band called Damaged....but I
>> >didn't find it anywhere(if anyone has it,mail me)
>
>I have the last damaged album, the music is pretty great but I couldn't
>really stand the vocalist. The new one is out on the same label, Rotten. The
>link is:
>
>http://www.rottenrecords.com/damaged.html
>
>Also, Damaged is Australian, so who knows, maybe he's in Australia.
>
>>Oh yeah...maybe some of you avant-gardist dudes will like this
>> >band....it's called Exit-13....it's ''kind of grindcore''(like ''bungle
>> >is kind of a rock band''),but they put out a cd with some old 60's jazz
>> >covers...I found it funny.
>
>Is that "Smoking SOngs"? I have "Ethos Musick,"
>another one where I liked a lot of the music but not the singer. Nothing
>against grind singers in general, just something about these two bands.
