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Zorn List Digest        Monday, January 8 2001        Volume 03 : Number 234



In this issue:
-
       Re: Current 93, Stenbock
       nonZorn/ FileMaker Pro help needed
       Re: nonZorn/ FileMaker Pro help needed
       zorn sheet music
       Re: cool edit (no zorn content)
       Blue
       oxley on sofa/verge
       burn Burns, with style
       history of euro jazz/hampel interview
       Re: burn Burns, with style
       Re: burn Burns, with style
       Tenchi Sozo Izen
       ZORN Lecture/performance(?) TODAY!!! @Miller Theatre!!!
       Re: cool edit (no zorn content)
       Trimpin
       any Scelsi recommendations?
       Denman Maroney/Tim Berne NYC show this Thursday
       Re: burn Burns, with style

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

Date: Sat, 06 Jan 2001 21:51:26 -0500
From: Lang Thompson <[e-mail]>
Subject: Re: Current 93, Stenbock

Stenbock or at least his name is a character in Kim Newman's "Anno Dracula"
(he stuffed the book full of famous and not-famous literary vampires and
their authors).

LT

- -------------------------------------------
Adventures In Sound
http://wlt4.home.mindspring.com/adventures.htm

Outsider Music Mailing List
http://wlt4.home.mindspring.com/outsider.htm

Documentary Sound
http://wlt4.home.mindspring.com/adventures/documentary.htm

Full Alert Film Review
http://wlt4.home.mindspring.com/fafr.htm




- -

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

Date: Sun, 7 Jan 2001 12:03:14 EST
From: [e-mail]
Subject: nonZorn/ FileMaker Pro help needed

dear zornies,

by any chance do you know someone who uses FileMaker Pro?

i use it for my database, although ive only finished letter B
not even counting vinyl,
and its already 20.000 entries
(i do each track of compilations separately).

What I'm looking for is how to write a script to
delete duplicates in one fell swoop,
as i accidentally have several merged and
its 3x larger than it shd be.  ( i use a mac, btw).

reply to me personally, natch.
thanks, all
steve koenig
n.p. EP with book Cucamonga,
photos of Beefheart's LA residences w/G Lucas,
Zoot Horn Rollo, John French and
sounds of the freeway....... (emigre.com)

- -

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

Date: Sun, 7 Jan 2001 09:40:34 -0800
From: "s~Z" <[e-mail]>
Subject: Re: nonZorn/ FileMaker Pro help needed

n.p. EP with book Cucamonga,
photos of Beefheart's LA residences w/G Lucas,
Zoot Horn Rollo, John French and
sounds of the freeway....... (emigre.com)

How is the book and EP?




- -

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

Date: Sun, 7 Jan 2001 13:48:33 EST
From: [e-mail]
Subject: zorn sheet music

<< so i am wondering if anyone of
 the z-list knows of anyplace where i can get any zorn
 sheet music...thanks in advance! >>

just so happens i picked up Cartoon S&M a couple of days ago, and in the
booklet it says:

"scores and parts available from Carl Fischer, New York
65 Bleecker Street, NYC 10012
tel: [phone]     fax:  [phone]"

hope this helps.

charlie

- -

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

Date: Sun, 7 Jan 2001 14:22:48 -0500
From: "Risser Family" <[e-mail]>
Subject: Re: cool edit (no zorn content)

> >you select the LAST SONG, cut it and paste it on a new file with the
> >appropriate title, repeat until the first, and you have the mp3 files you
> >need. for neatness, it's not bad having a separate directory for each
show,
> >or mention th ename of the band in the file name, otherwise you'll
quickly
> >have a jumble of files with sometimes similar names to get lost in. Also
> >discard the original huge file or put it on Cd for future uses.


Okay, I agree with the back to front.  For some reason, it's easier to keep
track of, and it doesn't grind the drive as much as you hack pieces off the
end.

Here's what I do when I'm cutting apart an album:
Sample it to a WAV.
Copy the WAV.
Edit the copy (so you still have the original if you screw something up)
Then, using Cool Edit, I select the last song on the LP, then SAVE
SELECTION.  This is important, because when you are dealing with 30 megs or
more of data, copying and pasting is no simple matter.  It grinds the drive
as you tax virtual memory.  This skips that step and speeds the process
dramatically.

Then Cut or delete the part you had selected and move on to the next tune,
until you are done.  Cutting it like this allows you to save it if you have
to walk away, which I do on a regular basis, and I can't remember shit, so I
have to leave physical reminders to myself.

Also, be sure you are number the tracks if the order is important to you.

Also, be sure to know that if you cut a piece of music into pieces and make
those pieces, the music will NOT play uninterrupted using most current
players.  There is a tiny pause as the player buffers the first few seconds.
So stuff like medleys or live music will have teeny pauses on playback.

As for leaving the appropriate silence before or after a track, I think it
depends.  On most stuff I leave a fraction of a second, but for long slow
fading intros or super sudden attacks, I leave a little more.  And on the
way out, I leave whatever makes since.  Really, if you intend the thing to
be played in toto, it sort of doesn't matter where you cut it.

My 2 cents.

Peter


- -

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

Date: Sun, 7 Jan 2001 22:58:13 +0100
From: "Francesco Martinelli" <[e-mail]>
Subject: Blue

I noticed that in the cybermusic surplus catalog there's Blue by the John
Stevens Ensemble. This is a half-boot, but well worth getting for 5.99 with
Rutherford and Parker among other notables.

Francesco


- -

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

Date: Sun, 7 Jan 2001 18:50:48 EST
From: [e-mail]
Subject: oxley on sofa/verge

Verge is stocking the Oxley disc on Sofa that Steve was looking for a few=20
days ago. it might not be on the web site yet (www.vergemusic.com), below is=
=20
the description from the January update, price in Canadian dollars:

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

SOFA Norway


Tony Oxley Project 1

Triangular Screen

NY-SOFA501-CD Jazz 7042986105013 ($22.00 CD)

Tony Oxley. drums; Ivar Grydeland, guitar; Tonny Kluften, bass. Recorded

at the Kongsberg Jazz Festival, March 2000 and at Bla, Oslo, May

2000.Studios, Oslo, 1996. On this recording Johannes Eick=EDs warm bass

sound, =ECImprovisation is one of the purest forms of self expression. It

has its risks, but also its rewards. The music on this CD, I feel

welcomes the obvious freedoms and responsibilities. The Triangular

Screen is a document from two very different European cultures.

Welcome.=EE =F3Tony Oxley.

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

Jon
www.erstwhilerecords.com

- -

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

Date: Sun, 07 Jan 2001 23:52:01
From: "M. pathos" <[e-mail]>
Subject: burn Burns, with style

Thanks for the surfeit of information on Stenbock/Stapelton/Tibet. It's good
that somebody still bothers to come up with alternative artistic histories
and heroes. Jazz will urgently need some once "Jazz," the Babel tower of
crap by documentarian Ken Burns overseen by W. MarsalASS et. al., drops.
Apparently, "Jazz" history stops mid-Miles, with Trane and post-60s artists
being footnotes deserving of little more than one episode (of ten). It's
unbelievable the audacity of LC (is that Lincoln Center or Lying Cunts?)
crew presenting such a blatantly biased account of the music as what,
through its monumentality and contextualization, will tend to be viewed as a
definitive history.

Having said that, I often wonder if a lot of what's happened in the new
music since 1975-1980 can really be contextualized within a jazz framework.
Perhaps this is what Zorn was getting at in his "Experimental" manifesto (I
missed that discussion). Zorn's music, in particular, seems to owe much more
to other genres than to jazz. But then, maybe it's all jazz, or at least one
of Ellington's two musical categories: good and bad. Styles are continuums
not categories - and all that.


from the cd's liner notes:

count eric stenbock (1860-1895), a member of the estonian branch of a noble
swedish family, was the most extraordinary of the decadent writers who
flourished in london at the end of the nineteenth century.

Yes.  Beautiful, wonderful nature.  Hear it sing to us: *snap*  Yes.
natURE.


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


- -

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

Date: Sun, 7 Jan 2001 18:58:13 EST
From: [e-mail]
Subject: history of euro jazz/hampel interview

hi friends,
i got an amazing interview from gunter hampel
which covers the whole history of euro & amer improv.

http://www.allaboutjazz.com/iviews/ghampel.htm
GUNTER HAMPEL INTERVIEW

includes references to :

perry robinson, mark whitecage,
buschi niebergall, willem breuker, david hazelton,
naima, jeanne lee, ran blake, pierre courbois, peter kowald,
peter brotzmann matthias schubert, wergo records,
marion brown, anthony braxton, steve mccall,
joseph jarman, roscoe mitchell, barre phillips, manfred schoof,
albert mangelsdorff, zane and cal massey, andrew cyrille
billy bang, larry rolland, stollman/esp-disk'
downtown music gallery, knitting factory

yrs
steve koenig
np:  brandon evans "recurring moons" paractile 01

- -

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

Date: Sun, 7 Jan 2001 20:18:21 EST
From: [e-mail]
Subject: Re: burn Burns, with style

- --part1_55.f831f46.278a6f5d_boundary
Content-Type: text/plain; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

In a message dated 1/7/01 6:52:56 PM Eastern Standard Time,
[e-mail] writes:


> I often wonder if a lot of what's happened in the new
> music since 1975-1980 can really be contextualized within a jazz framework.
>
I've always said myself, that with the possible exception of Zorn, virtually
nothing of consequence has happened in jazz since 1975.

Dale.


- --part1_55.f831f46.278a6f5d_boundary
Content-Type: text/html; charset="US-ASCII"
Content-Transfer-Encoding: 7bit

<HTML><FONT FACE=arial,helvetica><FONT  COLOR="#8080c0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>In a message dated 1/7/01 6:52:56 PM Eastern Standard Time, <BR>[e-mail] writes:
<BR>
<BR></FONT><FONT  COLOR="#000000" SIZE=2 FAMILY="SANSSERIF" FACE="Arial" LANG="0"></B>
<BR><BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">I often wonder if a lot of what's happened in the new
<BR>music since 1975-1980 can really be contextualized within a jazz framework.
<BR></BLOCKQUOTE>
<BR></FONT><FONT  COLOR="#8080c0" SIZE=2 FAMILY="SCRIPT" FACE="Comic Sans MS" LANG="0"><B>I've always said myself, that with the possible exception of Zorn, virtually <BR>nothing of consequence has happened in jazz since 1975.
<BR>
<BR>Dale.
<BR></B></FONT></HTML>

- --part1_55.f831f46.278a6f5d_boundary--

- -

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

Date: Sun, 7 Jan 2001 19:45:14 -0500
From: Joseph Zitt <[e-mail]>
Subject: Re: burn Burns, with style

On Sun, Jan 07, 2001 at 08:18:21PM -0500, [e-mail] wrote:

> I've always said myself, that with the possible exception of Zorn, virtually
> nothing of consequence has happened in jazz since 1975.

Hrmm. What would you claim is the last thing "of consequence" that has
happened? And isn't singling out Zorn as a thing (?) of consequence,
without noting the entire millieu that makes his work possible, falling
into the trap of looking at the history as a group of decontextualized
heroes, much as Burns's series is reported to do?

- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           http://www.metatronpress.com/jzitt |
| Latest CD: Jerusaklyn                  http://www.mp3.com/josephzitt |
| Comma: Voices of New Music    Silence: the John Cage Discussion List |


- -

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

Date: Mon, 8 Jan 2001 14:57:05 +1100
From: "Adam Rock" <[e-mail]>
Subject: Tenchi Sozo Izen

This is a multi-part message in MIME format.

- ------=_NextPart_000_0013_01C07983.440922E0
Content-Type: text/plain;
    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

Hi Zornographers,

Anyone heard of Tenchi Sozo Izen? The stuff i've come across is akin to =
second-rate Naked City "Heretic."

Regards,

Adam

- ------=_NextPart_000_0013_01C07983.440922E0
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    charset="iso-8859-1"
Content-Transfer-Encoding: quoted-printable

<!DOCTYPE HTML PUBLIC "-//W3C//DTD HTML 4.0 Transitional//EN">
<HTML><HEAD>
<META http-equiv=3DContent-Type content=3D"text/html; =
charset=3Diso-8859-1">
<META content=3D"MSHTML 5.50.4207.2601" name=3DGENERATOR>
<STYLE></STYLE>
</HEAD>
<BODY bgColor=3D#ffffff>
<DIV>Hi Zornographers,</DIV>
<DIV> </DIV>
<DIV>Anyone heard of Tenchi Sozo Izen? The stuff i've come across is =
akin to=20
second-rate Naked City "Heretic."</DIV>
<DIV> </DIV>
<DIV>Regards,</DIV>
<DIV> </DIV>
<DIV>Adam</DIV></BODY></HTML>

- ------=_NextPart_000_0013_01C07983.440922E0--


- -

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

Date: Mon, 8 Jan 2001 04:29:41 EST
From: [e-mail]
Subject: ZORN Lecture/performance(?) TODAY!!! @Miller Theatre!!!

Hello, I just wanted to remind everyone in NYC that Zorn is giving a free
discussion and possible performance today from 4-6:30 at the Miller Theatre
at Columbia University!  There is more info on the DMG site, if anyone is
interested.

Okay,
Evan

- -

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

Date: Mon, 8 Jan 2001 10:36:36 +0100
From: "Francesco Martinelli" <[e-mail]>
Subject: Re: cool edit (no zorn content)

> Okay, I agree with the back to front.  For some reason, it's easier to
keep
> track of, and it doesn't grind the drive as much as you hack pieces off
the
> end.

that's because that way the program hasn't to move the whole file, just cut
from the end of it.

> Here's what I do when I'm cutting apart an album:
> Sample it to a WAV.
> Copy the WAV.

I do not think this is necessary because until the final saving the file
it's still intact on your hd

> Edit the copy (so you still have the original if you screw something up)
> Then, using Cool Edit, I select the last song on the LP, then SAVE
> SELECTION.  This is important, because when you are dealing with 30 megs
or
> more of data, copying and pasting is no simple matter.  It grinds the
drive
> as you tax virtual memory.  This skips that step and speeds the process
> dramatically.

I guess your mileage varies with RAM and processing power available.

> Then Cut or delete the part you had selected and move on to the next tune,
> until you are done.  Cutting it like this allows you to save it if you
have
> to walk away, which I do on a regular basis, and I can't remember shit, so
I
> have to leave physical reminders to myself.

well if you have to cut and delete at this point you might as well cut and
paste before saving a step...

> Also, be sure to know that if you cut a piece of music into pieces and
make
> those pieces, the music will NOT play uninterrupted using most current
> players.  There is a tiny pause as the player buffers the first few
seconds.
> So stuff like medleys or live music will have teeny pauses on playback.

some software will allow you to index a big file instead of cutting it in
order to achieve continuous playing while leaving you free to access any
tune

> As for leaving the appropriate silence before or after a track, I think it
> depends.  On most stuff I leave a fraction of a second, but for long slow
> fading intros or super sudden attacks, I leave a little more.  And on the
> way out, I leave whatever makes since.  Really, if you intend the thing to
> be played in toto, it sort of doesn't matter where you cut it.

matter of taste of course, I dont care for continuous playing unless the
pieces really segue into each other and I minimize the applause too which
over repeated listenings is annoying

Francesco


- -

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

Date: Mon, 8 Jan 2001 07:27:03 -0600
From: Herb Levy <[e-mail]>
Subject: Trimpin

After expounding on the Nancarrow disc, I got further questions about
Trimpin, so again figured to respond to the list.

Trimpin is a Seattle-based artist who worked with Nancarrow from the
mid-1980s until Nancarrow's death. He invented a piano roll to MIDI
interface (which is a very funny looking thing) so that all of
Nancarrow's works could be stored digitally. He also toured a lot
with Nancarrow, performing (getting the tech together & turning the
computer on & off) in the public concerts of Nancarrow's music during
this period.

In Trimpin's own creative works, he controls acoustic instruments and
other sound-making devices using computers, often modelling basic
natural forces. Trimpin has created many amazing
installations/instruments/compositions including a Fire Organ;
rickshaws with radio controlled musical instruments; a suspended
array of marimbas that responds to seismic data from around the
world; etc. that have been presented at festivals, art centers,
science museums throughout North America, Europe and the Pacific Rim.

Trimpin has never been interested in audio recordings of his own
music, partly because they have so much to do with acoustic space,
partly because he's interested in acoustic sounds as such; and partly
because he thinks speaker's are poorly designed. (I've probably
mis-stated some of his arguments here, as well as missed a few other
reasons for not doing audio recordings.) In any case, the Nancarrow
CD may be the only chance you'll have to hear his instruments on a
recording any time soon, even though they aren't playing his music.

Bests,

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

- -

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

Date: Mon, 08 Jan 2001 13:51:40 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: any Scelsi recommendations?

    I know nothing of this composer and I want to repair this serious
overlook. Does Scelsi has a "Rite of Spring"? I mean a composition which
gathers some consensus? Also, what record in general people recommend?

    Thanks,

    Patrice.

- -

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

Date: Mon, 8 Jan 2001 19:34:59 EST
From: [e-mail]
Subject: Denman Maroney/Tim Berne NYC show this Thursday

                            INTERPRETATIONS
                                presents

                             DENMAN MARONEY
                        "Fluxations" (premiere)
                         Ned Rothenberg - reeds
                         Dave Ballou - trumpet
                      Denman Maroney - hyperpiano
                       Mark Dresser - contrabass
                       Kevin Norton - percussion

                               PARAPHRASE
                         Tim Berne - saxophone
                           Drew Gress - bass
                        Tom Rainey - percussion

                       Thursday, January 11, 2001
                      Merkin Concert Hall / 8:00pm
                          129 West 67th Street
                        Box Office: 212-501-3330
                         Tickets: $10/$7 TDF/V
                      Interpretations: 212-627-0990

- -

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

Date: Mon, 08 Jan 2001 06:00:49 -0000
From: "thomas chatterton" <[e-mail]>
Subject: Re: burn Burns, with style

>From: [e-mail]
>
>I've always said myself, that with the possible exception of Zorn,
>virtually
>nothing of consequence has happened in jazz since 1975.

Hmmm...you should try and get out more often...
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


- -

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

End of Zorn List Digest V3 #234
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