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v03.n235
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2001-01-08
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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V3 #235
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Tuesday, January 9 2001 Volume 03 : Number 235
In this issue:
-
Re: burn Burns, with style
Re: burn Burns, with style
Re: burn Burns, with style
Re: burn Burns, with style
Branded to Kill
Re: burn Burns, with style
Re: burn Burns, with style
g.lucas/beefheart Cucamonga
scelsi
Electro-acoustic in RealAudio on this week's Mappings
Re: scelsi
Re: Branded to Kill
cucamonga
Re: g.lucas/beefheart Cucamonga
Re: burn Burns, with style
Re: Branded to Kill
----------------------------------------------------------------------
Date: Mon, 08 Jan 2001 20:45:29 -0500
From: Nils <jacobson@frodo.mgh.harvard.edu>
Subject: Re: burn Burns, with style
"M. pathos" <mpathos@hotmail.com> wrote:
> 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.
yes, well, ain't it true. i've sort of made it a mission
to speak up on the subject. here's a link to my editorial
on burns at allaboutjazz:
http://www.allaboutjazz.com/articles/arti1100_09.htm
and while you're at it, simon weil did a pretty thorough
job of debunking the marsalis dogma of "democracy" in
the same section:
http://www.allaboutjazz.com/articles/arti1200_15.htm
i find these two articles make a nice complement to the
thorough ass-kissing that the music reviewers delivered
when reflecting upon the soundtrack to this series.
and since i'm engaging in wanton self-promotion here, why
don't you also just go ahead and check out my editorial
on independent labels:
http://www.allaboutjazz.com/articles/arti0101_04.htm
which of course features a hearty reference to tzadik,
among others. it is worth noting that aaj offers a
gazillion label links, which can be quite helpful when
you're trying to track something down.
n
- -
------------------------------
Date: Tue, 9 Jan 2001 12:42:43 +1100
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: burn Burns, with style
> >From: TagYrIt@aol.com
> >
> >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...
As inevitable as that reply was, I actually do understand what the first guy
meant. The mid-70s would have seen the peak of the fusion and freejazz
movements, and since then most jazz has come directly from there or before.
Even the most amazing, original musicians like Bill Frisell or Tim Berne are
still doing a form of fusion or freejazz (or bop, or whatever). It's like
we're getting a lot of great new perspectives, but not many new forms.
Although, I am still trying to decide whether I would single Zorn out from
that. I guess he's done so many different projects, he's got a pretty good
chance of hitting on something new somewhere along the line...
On a different note, I think The Necks are doing something pretty amazing.
- -
------------------------------
Date: Mon, 8 Jan 2001 20:54:18 EST
From: JonAbbey2@aol.com
Subject: Re: burn Burns, with style
In a message dated 1/8/01 8:45:16 PM, jcurwin@hartingdale.com.au writes:
<< On a different note, I think The Necks are doing something pretty amazing.
>>
what's their best record? the only easy ones to find in the US are Aquatic
(reissued on Carpet Bomb) and Hanging Gardens (on their label, Fish of Milk).
I've got Aquatic and I bought a used copy of Sex last week (no snide
comments, please), but I'm still trying to figure out what I think of the
band. is Hanging Gardens better than the two I have?
Jon
www.erstwhilerecords.com
- -
------------------------------
Date: Tue, 9 Jan 2001 13:07:36 +1100
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: burn Burns, with style
> what's their best record? the only easy ones to find in the US are Aquatic
> (reissued on Carpet Bomb) and Hanging Gardens (on their label, Fish of
Milk).
> I've got Aquatic and I bought a used copy of Sex last week (no snide
> comments, please), but I'm still trying to figure out what I think of the
> band. is Hanging Gardens better than the two I have?
Hanging Gardens is the only one I don't have. From the brief listens I've
had to it, I remember it being a bit more dancey than usual. Sex and Aquatic
are definitely good. Silent Night is another very good one. However, when I
said they are doing something amazing I was talking more about their live
shows.
- -
------------------------------
Date: Tue, 9 Jan 2001 13:44:55 +1100
From: "Lee, Edgar" <Edgar.Lee@dva.gov.au>
Subject: Branded to Kill
Someone recently referred to the DVD version of Suzuki's remarkable Branded
to Kill and the fact that Zorn has contributed the liner notes. Are these
liner notes available online anywhere? It was recently on TV in Melbourne as
well as the last Melbourne film festival which had a retrospective on
Suzuki.
On another note, with reference to NY's scenes is there a music scene in
Hackensack, New Jersey, and how long does it take to get to the East Village
on the subway from there? The chap who I'll be soon staying with for a
while just moved there from Brooklyn.
Edgar
currently hating the fact that everytime I see a post from Dan Hill I sing
his godawful mid 70s hit Sometimes when we touch
- -
------------------------------
Date: Mon, 8 Jan 2001 21:49:37 EST
From: Eriedell@aol.com
Subject: Re: burn Burns, with style
Since were talking about this, who would everyone consider as "important"
(influential, brilliant?) late '70's through mid 80's era jazzers? I'll go
ahead and start by putting Keith Jarret on the list.
~eriedell
- -
------------------------------
Date: Mon, 8 Jan 2001 22:18:52 -0500
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: burn Burns, with style
On Mon, Jan 08, 2001 at 09:49:37PM -0500, Eriedell@aol.com wrote:
> Since were talking about this, who would everyone consider as "important"
> (influential, brilliant?) late '70's through mid 80's era jazzers? I'll go
> ahead and start by putting Keith Jarret on the list.
The first one that jumps to mind is Bill Laswell. Sure, he's worked in
other areas had his share of duds, but he's been behind a whole lot of
influential stuff. Off the top of my head, I'd also list James Blood
Ulmer. And perhaps Steve Coleman and the M-Base musicians for their
rhythmic ideas at least.
- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| jzitt@metatronpress.com 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 23:50:04 EST
From: Acousticlv@aol.com
Subject: g.lucas/beefheart Cucamonga
In a message dated 1/8/01 9:17:19 PM,=20
owner-zorn-list-digest@lists.xmission.com writes:
<< Date: Sun, 7 Jan 2001 09:40:34 -0800
From: "s~Z" <keith@pfmentum.com>
Subject: Re: nonZorn/ FileMaker Pro help needed
n.p. EP with book Cucamonga,=20
photos of Beefheart's LA residences w/G Lucas,
Zoot Horn Rollo, John French and=20
sounds of the freeway....... (emigre.com)
How is the book and EP? >>
hi keith,
here's a preview of my review coming up next week in laFolia.com:
Captain Beefheart. Cucamonga. Photography and text by Rudy Vanderlans. =20
(Emigre Books ECD 018, 16:51, emigre.com) If you=92re a Beefheart freak, as=
I=20
am, this hardcover book with CD is an unexpected treat. It=92s a sort of st=
ill=20
life tribute to the air where the Captain Don Van Vliet grew up, musically=20
speaking. To non-fans, this will just be a book of excellent photography,=20
but Vanderlans has an eye for mood. His moods are not =93moody,=94 but simp=
le,=20
clear shots of places Beefheart lived and recorded. The first cut on the CD=
=20
is a field recording of an L.A. highway intersection. One can feel and=20
breathe that air, that moment. Following are individual new, exclusive=20
tracks by members of the of the Beefheart band. Gary Lucas offers an=20
acoustic solo on his Gibson. John French=92s track is a solo overdubbed fes=
t=20
of guitar, MIDI bass, marimba and piano, evoking the sound of 1970s Zappa an=
d=20
Beefheart. (When will someone reissue French=92s duo with Diamanda Galas fr=
om=20
a 1750 Arch LP?) Zoot Horn Rollo gives us a blues on baritone guitar and=20
bass programming, countrified midway by violinist Brian Price. Closing out=20
the CD is a field recording outside the house where Trout Mask Replica was=20
recorded. The important thing here, though, are the photos which illuminate=
=20
not an artist or music, but an environment, and are powerful in that context=
.=20
=20
steve koenig
n.p. major pulsing headache....not unlike an aube disc, but w/o the pleasure
- -
------------------------------
Date: Mon, 8 Jan 2001 23:55:38 EST
From: Acousticlv@aol.com
Subject: scelsi
In a message dated 1/8/01 9:17:19 PM,
owner-zorn-list-digest@lists.xmission.com writes:
<< Date: Mon, 08 Jan 2001 13:51:40 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
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. >>
dear patrice
ive been following scelsis music since converted by pal/saxophonist
robert reigle, who made a pilgrimmage to spend time with him in roma.
some necessities: canti di capricorni- (wergo)
the orchestral works on accord discs, singly or in a 3cd box,
now accord is hard to get, plus there are 2 new releases only
available in france
also the complete string quartets tho i prefer qt 4 on an ancient Time Lp.
im iffy about the hat hut piano stuff,
the sub rosas are good. i'll send more info when im conscious.
steve koenig
n.p. still headache...argghh
- -
------------------------------
Date: Mon, 8 Jan 2001 23:00:00 -0600
From: Herb Levy <herb@eskimo.com>
Subject: Electro-acoustic in RealAudio on this week's Mappings
Hi y'all,
This week you'll hear works Alvin Curran, Mario Davidovsky, Henry
Gwiazda, Rolf Julius, Paul Koonce, Eduardo Reck Miranda, Tim Perkis,
Kristoff K Roll, and Antonio Russek on Mappings.
The show went online approximately 10 pm PST (GMT -0700) on Monday
January 22, 2001 and will be available for about a week at
<http://www.antennaradio.com/avant/mappings/index.htm>.
Hope to see you there.
Bests,
Herb
- --
Herb Levy
P O Box 9369 Forth Wort, TX 76147
817 377-2983
herb@eskimo.com
- -
------------------------------
Date: Tue, 09 Jan 2001 00:13:57 -0600
From: sergio luque <sergio@tomate.com.mx>
Subject: Re: scelsi
el 08-01-2001 10:55 pm, "Acousticlv@aol.com" <Acousticlv@aol.com> escribi=F3:
> some necessities: canti di capricorni- (wergo)
yes indeed!
_canti del capricorno_
wer 60127-50
with michiko hirayama doing the microtonal (kind of japanese) singing. a
very intense piece, sometimes it sounds like ritual music from god knows
where, at other times it sounds like it comes from a japanese theater or
mental health institution and at other times it is just plain weird: great
music.
some of the canti include saxophone, percussion, gong.
> also the complete string quartets
agreed!, they are refreshing and awe inspiring.
___________________________________________________________________________=
_
sergio luque sergio@tomate.com.m=
x
- -
------------------------------
Date: Mon, 08 Jan 2001 22:20:49 -0800
From: Tosh <tosh@loop.com>
Subject: Re: Branded to Kill
As far as I know Zorn did not contribute liner notes but images from his
collection - which is quite wonderful - and yes it is a fantastic film.
ciao,
- --
Tosh Berman
TamTam Books
http://www.tamtambooks.com
>
>
- -
------------------------------
Date: Tue, 9 Jan 2001 09:14:00 +0000 (GMT)
From: =?iso-8859-1?q?Peter=20Marsh?= <astrogarage@yahoo.co.uk>
Subject: cucamonga
"s~Z" wrote:
>> 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?
have a look at dan hill's rather fab review (plus
soundclips) at
http://motion.state51.co.uk/reviews/685.html
hope this helps
cheers
peter
ps anyone into Gary Lucas and living in the London
area, he's on BBC London Live (94.9FM) tonight doing a
live session - around 8.30 or so.
=====
lob - astralpunkfunkambientnoisejazz
http://www.lentils.demon.co.uk
____________________________________________________________
Do You Yahoo!?
Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie
- -
------------------------------
Date: Tue, 9 Jan 2001 03:18:52 -0500
From: fate@telepath.com (Your Imaginary Friend)
Subject: Re: g.lucas/beefheart Cucamonga
>John French=92s track is a solo overdubbed fest
>of guitar, MIDI bass, marimba and piano, evoking the sound of 1970s Zappa a=
nd
>Beefheart. (When will someone reissue French=92s duo with Diamanda Galas f=
rom
>a 1750 Arch LP?)
Steve,
Have you confused Jim French with John? Or am I missing something?
Diamanda told me in '88 she wasn't too eager for that record's reissue -
hopefully she's changed her mind since then...
Jon M.
- -
------------------------------
Date: Tue, 09 Jan 2001 07:21:36 -0500
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Re: burn Burns, with style
At 09:49 PM 1/8/01 EST, Eriedell@aol.com wrote:
>Since were talking about this, who would everyone consider as "important"
>(influential, brilliant?) late '70's through mid 80's era jazzers? I'll go
>ahead and start by putting Keith Jarret on the list.
I've been waiting for the jazz heavyweights on this list to open the
discussion, but I'll mention the influences of classical composition and
large-scale form that show up in work like Barry Guy's with the LJCO and
Butch Morris's conductions, as well as the introduction of live electronics
as documented by Erstwhile but which would also include Evan Parker's EA
Ensemble and its circle of players. I'd also like to include Henry
Threadgill for his uncanny ear for unique ensemble sonorities in his recent
groups.
- --
Caleb Deupree
cdeupree@erinet.com
Work like you don't need the money. Love like you've never been hurt. Dance
like nobody's watching.
- -- Satchel Paige
- -
------------------------------
Date: Tue, 09 Jan 2001 08:28:21 -0500
From: Matt Laferty <bg60009@binghamton.edu>
Subject: Re: Branded to Kill
well, I thought since I brought it up, here is my transcription of the liner
notes to Branded to Kill:
"Flipping around the channels of late-night TV in my Tokyo apartment in 1984
I came across what seemed like a B movie from the '60s. The studio:
Nikkatsu. The star: Joe Shishido. The director: Seijun Suzuki. I was not
at all prepared for what I was about to see, and I remember spending much of
the following hour or so riveted to the screen with my mouth open. That
night changed my life and set me on a journey to explore the darker side of
a culture known predominantly for its classical beauty.
What I discovered were entire genres of popular films that had never been
seen outside of Japan. Hard-Boiled Noir, Nikkatsu Action, Toei Pink, Roman
Porno. Far from the highly respected award-winning films on the
international film circuit, these were the popular low-budget B pictures
that the public thrived on. This, then, was the world of gossip columns,
fan magazines, and superstars who graced the walls of yakitori shops, NOMIYA
(bars), and family-run businesses. This was the life and blood of Japan,
neatly hidden from foreign eyes which, it was assumed, would not understand
what the attraction was in the first place.
In the postwar '50s and '60s, Japan had its own version of the Hollywood
star and studio system. Names like Tetsuya Watari, Mie Kitahara, and Akira
Kobayashi may be largely unheard of in the West, but in Japan they are as
famous as Bogart, Monroe, and Brando. Countless directors flourished in the
studios of Daiei, Toei, and Nikkatsu as directors for hire--auteurs in their
own right. By comparison, Kurosawa's work is considered more "Western."
Here we are looking at a whole new aesthetic, where plot and narrative
devices take a back seat to mood, music, and the sensuality of visual
images. Character development is often distilled into moments. There is a
quality of timelessness--the Floating World translated to the scope screen.
Of all the B-studio directors, the one who perhaps most deservedly has
earned the auteur title is Seijin Suzuki. Of the forty-two films Suzuki
made for Nikkatsu, the final fourteen he made between 1963 and 1967 are some
of the most important, original and Japanese films of all cinema, and of all
his disturbing masterpieces, none is as powerful or unique as "Branded to
Kill." Each time I see it I discover something new--it's like seeing it for
the first time.
Nobody utilized Cinemascope like the Japanese (its similarity in shape to
the Kabuki stage is suggested as a possible reason) and the use of the scope
screen reached extravagantly delirious heights in the hands of master
cinematographers like Shigeyoshi Mine and Kazue Nagatsuka, and directors
like Suzuki. In "Branded to Kill" and "Tokyo Drifter" ("Tokyo Nagaremono"),
each shot is a masterpiece of Japanese design. These traditions go back
centuries, but on the scope screen they hit us afresh and right where we
live.
Born in 1923 during the short-lived and quirky Taisho period in Japan,
Suzuki inherited a powerful appetite for HAIKARA (modern style) that was
tempered by his experiences in World War II. As the member of a
meteorological unit, he was twice shipwrecked in the Philippines and Taiwan,
and bore witness to atrocities we can only imagine. His nihilistic
philosophy is quite apparent in this work--"Making things is not what
counts: the power that destroys them is"--as a kind of playful irreverence
that echoes the French New Wave that influenced Suzuki and his
contemporaries.
Seijun Suzuki's "Branded to Kill" is a cinematic masterpiece that transcends
its genre. It is about as close to traditional YAKUZA pictures as Godard's
"Alphaville" is to science fiction. Suzuki paid a price for his brilliance,
however. Fired for "incomprehensibility" after making "Branded to Kill," he
was unable to work in film for ten years. This film is his seminal work; a
genre picture from a major Japanese studio by a team of creative geniuses
who made no compromises. But here the genre is merely a point of
departure."
- --John Zorn
Tosh wrote:
> As far as I know Zorn did not contribute liner notes but images from his
> collection - which is quite wonderful - and yes it is a fantastic film.
>
> ciao,
>
> --
> Tosh Berman
> TamTam Books
> http://www.tamtambooks.com
>
> >
> >
>
> -
- -
------------------------------
End of Zorn List Digest V3 #235
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