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Zorn List Digest      Thursday, December 28 2000      Volume 03 : Number 217



In this issue:
-
       RE: greetings
       RE: computers/electronic music
       More percussion music in RealAudio
       Favorites of 2000
       2000
       Re: Best of 2000.
       Re: Favorites of 2000
       Two CDs.
       Ulf Wakenius, and Jonas Johansen a good gig?
       ex orkest
       Re: Favorites of 2000

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

Date: Wed, 27 Dec 2000 09:35:06 -0600
From: Moudry <[e-mail]>
Subject: RE: greetings

Pak (pronounced Pok: of Korean origin?),

Welcome aboard. Of course I know where Tallassee is, and can even pronounce
it (both in English and Alabaman). Always a nice rush to see someone else
this deep in the South with an appreciation for this strange and wonderful
music.


>Date: Thu, 21 Dec 2000 19:39:18 -0800 (PST)
>From: pak <[e-mail]>
>Subject: greetings
>To: [e-mail]
>Sender: [e-mail]
>
>hello...i'm new to the list but not to zorn's
>work...my name is pak (pronounced "pock") and i live
>in tallassee, alabama (a tiny town that probably no
>one has ever heard of)...
><snip!>

Saturnally,

Joe Moudry
Office of Academic Computing & Technology
School of Education, The University of Alabama @ Birmingham

Master of Saturn Web (Sun Ra, the Arkestra, & Free Jazz):
<http://www.dpo.uab.edu/~moudry>
Producer/Host of Classic Jazz & Creativ Improv on Alabama Public Radio:
WUAL 91.5FM Tuscaloosa/Birmingham
WQPR 88.7FM Muscle Shoals/NW Alabama
WAPR 88.3FM Selma/Montgomery/Southern Alabama


- -

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

Date: Wed, 27 Dec 2000 10:56:48 -0500
From: Maurice Rickard <[e-mail]>
Subject: RE: computers/electronic music

At 9:08 AM -0600 12/27/00, Jay Mote wrote:
>-the pitfalls of ProTools: expensive (with all the plug-ins and hardware
>expenses), & it takes some time to get proficient using (but nice if you're
>operating an analog recording studio in conjunction with ProTools).


I'd agree about the potential pitfalls of ProTools here, but I should
point out that there's a free version available for downloading from
digidesign's site.  It doesn't necessarily integrate with all the
existing PT hardware, doesn't do this, doesn't do that...but what it
does _is_ impressive, particularly for the price.

- -Maurice

- --
Maurice Rickard
http://mauricerickard.com/

- -

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

Date: Wed, 27 Dec 2000 13:00:40 -0600
From: Herb Levy <[e-mail]>
Subject: More percussion music in RealAudio

This week's Mappings
<http://www.antennaradio.com/avant/mappings/index.htm> offers
primarily percussion pieces by composer/performers Chris Brown,
Milford Graves, Susie Ibarra, Bun-Ching Lam, Ikue Mori, Tony Oxley &
Matt Wand, Harry Partch, James Tenney, Tony Williams.  The show will
be available online until some time next Tuesday (the schedule is a
little looser than usual owing to the new year holiday).

Hope you hear something you dig.

Bests,

Herb
- --
Herb Levy
P O Box 9369  Forth Wort, TX  76147
817  377-2983
[e-mail]

- -

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

Date: Wed, 27 Dec 2000 14:43:18 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Favorites of 2000

This list was longer than I wanted, but my head has
been turned and turned again over the course of this
year.  I won't be hearing things the same again.  I
placed asterisks by the things that have borne several
listens, some of them careful and attentive, and
promise to bear many more.  As carefully as I've
considered this, I'm sure several more worthy entries
will come to mind right after I post this.  Thanks to
everyone for their lists.

NEW RELEASES
1.*Greg Kelly: TRUMPET  - microscopic brass surgery
2.**Le Quan Ninh / Gunter Muller: LA VOYELLE LIQUIDE
- -  intricate and imaginary cyborg percussion
landscapes
3.Assif Tsahar, Peter Kowald, Rashid Ali: IDEAS,
DEALS, AND IDEALS - refreshing, intense free jazz; a
genre done justice
4.Various artists: VARIIOUS  (Intransitive) - wide
array of new concrΦte, electronic, field recordings,
etc.; a remarkable label
5.Pimmon: ASSEMBLER  (Fallt) - spirals of digital
sizzle with rich warmth
6.**Morton Feldman: ALL PIANO (LondonHall, performed
by John Tillbury) - CDs 2-4 I find just indispensable;
you can feel your listening being restructured
7.Arto Lindsay: PRIZE  (Righteous Babe) - (1999?)
strangeness-infused pop tinged with noise,
electronica, and Brasil
8.*Rowe/Sugimoto/Muller: THE WORLD TURNED UPSIDE DOWN
(Erstwhile) - exquisite group improv masterpiece with
Sugimoto's flaxen miniatures as fulcrum
9.Various Artists: LOWERCASE SOUND
(http://www.lowercasesound.com) - a heterogeneous
manifesto for finitude, space, and silence
10.Marcus Schmickler / Thomas Lehn: BART  (Erstwhile)
- - oft violent digi-analog synth/processing showdown;
exhilarating energy and daredevil invention
11.*Christof Kurzmann / Burkhard Stangl: SCHNEE
(Erstwhile) - computer and guitar in realtime
symbiosis
12.**Burkhard Stangl: RECITAL  (Durian) - solo
guitar/piano performance; whispers punctuated with
crashes and scrapes; spellbinding
13.**e-rax: LIVE AT THE BIMHUIS  (X-Or) - electronic
trio feat. Thomas Lehn; incredibly tight live improv;
some of my fave work by Lehn; sensitive
14.Perlon: PERLON  (aka "Play it loud!!")  (Zarek) -
long glacial passages of highly-detailed e/a improv;
meditative
15.Keith Rowe / Pimmon / Oren Ambarchi / Pita /
Fennesz: AFTERNOON TEA  (Ritornell) - sounds smaller
than one might think; to quote Henry James: "super
subtle fry"
16.*Dean Roberts: AND THE BLACK MOTHES PLAY THE GRAND
CINEMA   (Ritornell)  -  rich drone and electronics
chopped into a "song cycle" of sorts, or at least two
"suites"; spectral
17.*Taku Sugimoto / Kevin Drumm: DEN  (Sonoris)  -
great stillness and discursive fragments enrich one
another; bravura performance
18.*Keith Rowe: HARSH, GUITAR SOLO  (Grob) - after two
listens, pretty unsettling; serrated, serene, and
readerly
19.MIMEO: ELECTRIC CHAIR + TABLE  (Grob)

THIS YEAR'S RE-ISSUES
1. **Pierre Henry: MIX 2.0 box set  (Philips France)
2. **Pierre Henry: MIX 1.0 box set  (Philips France)
3. Art Ensemble of Chicago: LES STANCES A SOPHIE
4. **Luigi Nono: Variazioni Canoniche/A Carlo Scarpa,
Architetto/No Hay Caminos
5. **Luigi Nono: La Lontananza Nostalgica Utopica
Futura
     (my introduction to Nono; the first disc contains
one long piece from the early Fifties and two late
pieces, which are particularly breathtaking)
6. *Iskra 1903: CHAPTER ONE (1970-2)  (Emanem)   (by
the fourth time through, my current listening habits
and matter had conditioned the Iskra, which now seems
like an antecedent, at times, to much of today's
e-a/glitch/lowercase/micro sensibilities)
7. Miles Davis: GET UP WITH IT  (Columbia)
8. *Faust: WUMME YEARS  (ReR-Recommended)
9. King Crimson: LARK'S TONGUES IN ASPIC and LIZARD
(remastered w/gatefold)

NOT QUITE NEW, BUT THIS YEAR'S DISCOVERIES
1. Various Artists: MODULATIONS AND TRANSFORMATIONS 4
(Mille Plateaux; more than half the material really
caught my ear; a "primer")
2. *Brian Eno: HERE COME THE WARM JETS  (Scott lives
under a rock.)
3. Fennesz: PLUS FORTY-SEVEN DEGREES...  (Touch)
4. **Dick Raaijmakers: COMPLETE TAPE MUSIC  (Donemus)
5. Yo La Tengo: ELECTRO-PURE-A and I CAN HEAR... (both
of which I still prefer to this year's fine YLT)
6. Autopoiesis: LA VIE A NOIR  (Mille Plateaux)
7. **RLW et al: TULPAS box set  (Selektion)
8. Francois Bayle: L'EXPERIENCE ACOUSTIQUE
9. *Ivo Malec
10. G.M. Koenig
11. Erik M, Gunter Muller, and Voice Crack: POIRE_Z
(For4Ears)
12. **John Wall: FRACTUUR and CONSTRUCTIONS I-IV
(both Utterpsalm)

DISAPPOINTMENTS (certainly subject to change, but
these I found sub-par; I'd really like to know what
ya'll who like these hear in them)
1. Various Artists: CLICKS AND CUTS  (Millle Plateaux)
2. Christoph Heemann/Andreas Martin: double disc
collaborative works on Robot Records
3. Stilluppsteypa: INTERFERENCES... and MORTS AUX
VACHES...  (did something just happen?)
4. Panasonic: X  (Mute) / Mika Vainio: YDIN
(Wavetrap) (did something just happen?)
5. Vandermark 5: BURN THE INCLINE
6. Vandermark / Lytton: ENGLISH SUITES
7. Werner Dafeldecker / Dean Roberts: ALUMINUM
(Erstwhile)  (three listens and less seems to be
happening each time)
8. Evan Parker / Keith Rowe: DARK RAGS  (Potlatch)
(this has a lot to do with my expectations, but
still...didn't feel like it worked)


__________________________________________________
Do You Yahoo!?
Yahoo! Shopping - Thousands of Stores. Millions of Products.
http://shopping.yahoo.com/

- -

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

Date: Wed, 27 Dec 2000 19:22:15 EST
From: [e-mail]
Subject: 2000

well, thanks for all the Erstwhile mentions on your various year-end lists,=20
much appreciated.=20

here's the not-quite final version of my 2000 list, Erstwhile titles exclude=
d=20
from consideration.=20

- ----------------------------------------------------------------------------=
- --

- --

Activity Center-M=F6wen and Moos (2:13 Music) (2 CDs)
Alati/Ielasi/Radaele-Alati/Ielasi/Radaele (Sonoris)
Fabrice Charles, Michel Doneda and G=FCnter M=FCller-Direct Chamber (33Revpe=
rmi)
Werner Dafeldecker/Uli Fusseneger/Dieter Kovacic-Printer (Durian)
Dead C.-Dead C. (Language) (2 CDs)
Dieb 13-Restructuring (Charhizma)
Dixon/Bauer/Koch/Oxley-Berlin Abbozzi (FMP)
Kevin Drumm/Taku Sugimoto-Din (Sonoris)
Efzeg-Grain (Durian)
e-rax-Live At The Bimhuis 1999 (X-Or)
Morton Feldman-Allpiano (John Tilbury) (LondonHALL) (4 CDs)
Fennesz-Live At Revolver, Melbourne (Touch CD-R)
Brent Gutzeit (w/ Abrams, Akiyama, Sugimoto, Vida, Okura) (private CD-R)
Hecker-[R+] ISO/CHALL (Mego)
Philip Jeck-Live at ICC, Tokyo (Touch CD-R)
Zbigniew Karkowski-IT (Mego)
Greg Kelley-Trumpet (Meniscus)
Kid Koala-Carpal Tunnel Syndrome (Ninja Tune)
Annette Krebs/Taku Sugimoto-A Duo In Berlin (Slub)
Thomas Lehn-Feldst=E4rken (Random Acoustics)
Maurizio Martusciello-Unsettled Line (Metamkine)
Loren Mazzacane-Portrait Of A Soul (FMRL)
G=FCnter M=FCller/Taku Sugimoto-I Am Happy If You Are Happy (For 4 Ears)
Music In Movement Electronic Orchestra-Electric Chair and Table (Grob)
Andrea Neumann/Annette Krebs-Rotophornen (Charhizma)
Jim O'Rourke/Mats Gustafsson-Xylophonen Virtuosen (Incus)
Evan Parker-After Appleby (Leo) (2 CDs)
Evan Parker/Keith Rowe-Dark Rags (Potlatch)
Perlon-Perlon (Zarek)
Presocratics-Works and Days (Table Of The Elements)
Gert-Jan Prins-Live (Grob)
Radian-TG 11 (Mego/Rhiz)
Bhob Rainey/Kevin Drumm-6 Standing Desert/Hasn't (1-5) (Fringes LP)
Dean Roberts And The Black Moths-Play The Grand Cinema (Ritornell)
Keith Rowe-Harsh (Grob)
Ignaz Schick-Tabit (Zarek)
Marcus Schmickler-Sator Rotas (A-Musik)
C. Schulz & Hajsch-C. Schulz & Hajsch (Sonig)
Adam Sonderberg/Boris Sinclair-Hauf-Could This Be It? (Longbox Recordings)
Burkhard Stangl-Venusmond (Quell)
TV Pow/Erik M.-4/1/00 in Chicago (private CD-R)
Voice Crack-Shock_Late (Entenpfuhl LP)
Wheaton Research-Tokyo 02.00 (BOXmedia CD-R)


reissues:

Louis Armstrong-The Complete Hot Five and Hot Seven Recordings=20
(Columbia/Legacy) (4 CDs)
Art Ensemble of Chicago-Les Stances A Sophie (Universal Sound/Soul Jazz)
Robert Ashley-String Quartet Describing the Motions of Large Reel Bodies/
           How Can I Tell The Difference? (Alga Marghen)
Steve Beresford-The Bath Of Surprise (Amoebic)
Steve Beresford-Three & Four Pullovers (Emanem)
Anthony Braxton-For Alto (Delmark)
Earle Brown-Collected Early Works (CRI)
Cornelius Cardew-The Great Learning (Organ of Corti)
Peter Cusack/Max Eastley-Day For Night (Paradigm)
Dubravko Detoni w/Acezantez-Dubravko Detoni w/Acezantez (Paradigm)
Guillermo Gregorio-Otra Musica (Unheard Music Series/Atavistic)
Fernando Grillo-Fluvine (Ampersand)
Iskra 1903-Chapter One (1970-1972) (Emanem)
Suzanne Langille/Loren Mazzacane-1987-1989 (Secretly Canadian)
Ennio Morricone-Gli Occhi Freddi Della Paura (Dagored)
Gordon Mumma-Studio Retrospect (Lovely)
Nurse With Wound-Alice The Goon (United Dairies)
Howard Riley-Synopsis (Emanem)
Sun Ra-Solar Myth Approach (BYG/Charly)
Sun Ra-Strange Strings (bootleg LP)
Sun Ra-Cymbals/Crystal Spears (2 CDs), Lanquidity, Pathways To Unknown=20
Worlds/Friendly Love, When Angels Speak Of Love (all on Evidence)
Terry Riley-Music For The Gift/Bird Of Paradise/Mescalin Mix (Organ of Corti=
)
Ray Russell-Live At The I.C.A./Retrospective (Moikai)
Sonny Sharrock-Black Woman (East West Japan)
Masayuki Takayanaki-Live At Moers Festival (Three Blind Mice)
Masahiko Togashi-Rings (East Wind)
Iannis Xenakis-Persepolis (Fractal)
Tom Z=E9-Estudando O Samba/Correio Da Estacao Do Bras, Se O Caso E Chorar/To=
dos=20
Os Olhos (Warner Brazil)
Various Artists-Jazzactuel (BYG/Charly) (3 CDs)

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

Jon
www.erstwhilerecords.com

- -

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

Date: Thu, 28 Dec 2000 11:53:05 +1030
From: "sinkas" <[e-mail]>
Subject: Re: Best of 2000.

I forgot David Bowie, "Bowie at the Beeb" (Bonus 3rd disc if your quick)

Case



"Alma Matters"


- -

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

Date: Wed, 27 Dec 2000 21:12:11 -0500
From: "Jesse Kudler" <[e-mail]>
Subject: Re: Favorites of 2000

- ----- Original Message -----
From: "Scott Handley" <[e-mail]>


> This list was longer than I wanted, but my head has
> been turned and turned again over the course of this
> year.  I won't be hearing things the same again.  I
> placed asterisks by the things that have borne several
> listens, some of them careful and attentive, and
> promise to bear many more.  As carefully as I've

Does this mean you only listened to all the non-asterisk stuff once?

That brings up a question I've been wondering about recently, actually.  How
often does everyone listen to all the stuff on their end of year lists?  I
ask just because a lot of the stuff I've been seeing on people's lists I
really don't feel like I've absorbed in any meaningful way yet.  I mean, I
literally have a stack of CD's that I've only heard once or less, plus a
bunch that I may have listened to multiple times but that I still feel are
holding significant mysteries.  Point being, I feel like I need another year
to digest everything I've heard this year before I can even form cogent
opinions.  That's ironic especially when you consider that most people's
year-end lists emphasize releases that came out in the last few weeks/months
(and mine probably would too, just because that's what's on my mind and in
my CD player).

Partially because of the problem described in the paragraph above, and
because I'm expecting some CD's in the mail that may be year-end contenders,
I've been hesitant to post a list, but I would like to mention a CD that
hasn't turned up in anyone's lists at all: Kevin Drumm's "Comedy."  Probably
the only record all year to *really* blow my mind, it's been on my mind for
the year's best for a while, even though I bought it way back last winter.
For those un-familiar, the first and last track feature a massive repeated
two-chord pattern, played on an organ going through some super-overdriven
guitar amps.  When turned up to proper volume, the low chord makes
everything rumble nicely, and the high one features some shifting
resonances.  The other four tracks on the CD are based on some fairly-simple
sounding sine waves and digital noise, but with an intensity and economy
that is just totally *right.*  Most of them completely mess with my sense of
time and move between soothing and painful seemingly subliminally.  Great,
great, great.  Did anyone else hear "Comedy"?

- -Jesse



- -

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

Date: Wed, 27 Dec 2000 23:47:31 -0500
From: Taylor McLaren <[e-mail]>
Subject: Two CDs.

A couple of comments on two titles that have been brought up on the list
lately:

 - Myra Melford/Crush, "Dance Beyond the Color": I don't know enough about
Melford's other work to say whether or not this disc could be called
"essential", but I will say that it's a pretty tremendously enjoyable piece
of work. In particular, I'm quite taken with the sounds of "Equal Grace"
(featuring Melford on harmonium, an instrument that I'd really like to hear
more of if anybody has any suggestions, and Kenny Wollesen venturing well
into Cyro Baptista territory with some bubbling, liquid percussion sounds)
and "Orange" (which starts out foreboding as all hell, but opens up into
strongly-"felt" explorations before long... I originally thought that the
Mingus reference in the liner notes was a cop-out, but it fits after
listening to the track a couple of times...). My command of any sort of
jazz-related vocabulary is still too weak for me to say that I don't make a
lot of Oscar Peterson comparisons solely on the tinkling character of a lot
of the playing, but I will give Melford credit for having produced one of
the first lively-sounding piano albums that I've ever heard which I'm
willing to explore further in spite of the presence of an instrument that I
generally dislike so much.

 - Kevin Drumm, "Comedy": I have to echo Jesse Kudler's comments with
respect to Drumm's sparse sounds as feeling somehow "right". Drumm's
performance at the Music Gallery here in Toronto last summer was a real
ear-opener for me, with so much space in between the nervously-anticipated
bursts of guitar skronk and popping that I couldn't help but listen
intently even when absolutely nothing was been played, and at that point, I
had to wonder if the wooden creakings of the performance space weren't
meant to be incorporated into the overall experience. I'm sure that there
are plenty of other composers out there who do very similar things
(Bernhard Gunter immediately comes to mind), but Drumm was the first one to
break through my many years of rock-music conditioning, so... um... yeah.
Go, Jesse. "Comedy" is a pretty sweet disc.

- -me


- -

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

Date: Thu, 28 Dec 2000 17:57:25 +1030
From: "sinkas" <[e-mail]>
Subject: Ulf Wakenius, and Jonas Johansen a good gig?

Hi all,
 These 2 nordic fellows are coming by our city soon, I was wondering if =
the consesus was poitive or newgative regarding me attending, the advert =
says "Worlds number 1 bassist...etc etc"

Case
"Alma Matters"


- -

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

Date: Thu, 28 Dec 2000 11:17:58 +0100
From: "Andreas Dietz" <[e-mail]>
Subject: ex orkest

according to Mr. Vatcher there┤s indeed a cd in the pipe, but no concrete
release date so far. another good news for the europeans:
there are plans to present the ex orkest at the saalfelden festival next
year!

Andreas
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


- -

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

Date: Thu, 28 Dec 2000 08:23:31 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Re: Favorites of 2000

- --- Jesse Kudler <[e-mail]> wrote:
> That brings up a question I've been wondering about
> recently, actually.  How
> often does everyone listen to all the stuff on their
> end of year lists?  ...I feel
> like I need another year
> to digest everything I've heard this year before I
> can even form cogent
> opinions.  That's ironic especially when you
> consider that most people's
> year-end lists emphasize releases that came out in
> the last few weeks/months....

This is a great question; I know I've been guilty
before of assertions and recommendations which are
driven by hype, the flush of enthusiasm, or simply a
contingent impression easily swayed by, well,
finishing the record.  I don't think there's this
desperate "Top 5" sensibility on this list; everything
is seen as rather contingent: "current favorites" etc.
 There are records I have owned for one month now that
I've listened to six or seven times, a couple times
all the way through, with undivided attention.  I've
probably heard the Morton Feldman box 30 or 40 times,
but that's because I've lived with it...I don't call
falling asleep with his music a "listen", though like
noh, semi-consciousness might offer up new angles for
perception.  Some other records I've had all year, but
haven't listened to much at all.  This leads me to my
point about attention and exposure...

[re: Scott's weird "asterisk system"]
> Does this mean you only listened to all the
> non-asterisk stuff once?

No, but the asterisks let me make a statement in the
superlative without being overly obnoxious; I should
have said, "You've got to hear this shit!"  Why didn't
GET UP WITH IT or LES STANCES α SOPHIE get asterisks?
Damned if I know.  Maybe it's because I have not
"absorbed" them yet, though I'm a little suspicious of
this idea, which seems to refer to apprehension of the
"completeness" of thing.  Sometimes one audition, one
experience, even an inattentive experience, can be
more stimulating than repeated contact with said
thing, which can serve to dull the experience, even as
one comes into "full" understanding of the thing.  The
familiarity (or one's assumption of familiarity)
breeds contempt for the thing: this includes
dismissal, jadedness, or facile praise.  (I saw
Malick's film THE THIN RED LINE and loved it; the
second and third times were disappointing; likewise,
one careful listen to Dafeldecker's and Roberts'
ALUMINUM would have been remarkably stimulating, and
for me sufficient.)  I guess what I'm trying to say is
that there's much to be said for an artist's latest
work being her personal favorite, or a listener's most
recent experiences being the most vivid and alive.
This belies notions of complete knowledge, absorption,
or timelessness.

I'm clumsily essaying a phenomenological (??) approach
to my listening, which is more concerned with what
attention and contact do _to me_, than with the notion
of whether the sound object has been "truly heard".
(Cf. the discussion of Jimi Hendrix in WHITE MEN CAN'T
JUMP)  (On second thought, don't.)

- ----s

P.S. Nice review of Drumm's COMEDY.  I need to dig
this out and give it its proper attention.  I gave it
a cowardly, interrupted audition, and put it in my
glove copartment.  It scared me.




__________________________________________________
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http://photos.yahoo.com/

- -

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

End of Zorn List Digest V3 #217
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