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Zorn List Digest       Monday, January 22 2001       Volume 03 : Number 251



In this issue:
-
       RE: SPANISH SCENE
       Re: Ikeda (was Avant Garde Electronica)
       Dreyblatt/Conrad/O'Rourke
       Re: Dreyblatt/Conrad/O'Rourke
       Re: medeski/robot/zorn questions
       odim
       wollensen at mercury
       Re: 20th Century's most important musician
       Re: Dreyblatt/Conrad/O'Rourke
       Re: 20th Century's most important musician
       parmegiani
       an abbreviated listing
       Art Ensemble NZC
       Re: Art Ensemble NZC

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

Date: Sat, 20 Jan 2001 08:43:38 -0300
From: "Gustavo Broggi" <[e-mail]>
Subject: RE: SPANISH SCENE

Hi people!

IMHO another important spanish musician is pianist Chano Dominguez, I┤ve
heard some of his cds, and finally bought "Imßn", and "Hecho a mano".  He is
mixing jazz with flamenco with excellent results, his music includes his own
compositions and folk songs such as "Gracias a la vida" (chilean composer
Violeta Parra) and "Los ejes de mi carreta" (from the Argentinian composer
Atahualpa Yupanqui) .   Improvisation, surprise, guest musicians and very
nice percussion and vocal arrangements are always present.
I would recommend to take a listening to this guy

Gustavo

- -----Mensaje original-----
De: efrΘn del valle <[e-mail]>
Para: Rudy A Carrera <[e-mail]>
CC: [e-mail] <[e-mail]>
Fecha: Viernes 19 de Enero de 2001 10:57
Asunto: RE: SPANISH SCENE


>Hi!
>
>Thanks for recommending musicians I didn't know of.
>It's true that I forgot some of them like AGUST═
>FERN┴NDEZ. I'm sure that if I stopped to think I would
>find good things for all of you but this probably
>means that my search has to be real thorough. I don't
>need to think that much when I'm referring to the
>American market, for instance.
>
>Regards,
>EfrΘn
>
>P.D: Please don't tell Mark about my opinions :-)
>
>_______________________________________________________________
>Do You Yahoo!?
>Consiga gratis su direcci≤n @yahoo.es en http://correo.yahoo.es
>
>-
>
>



- -

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

Date: Sat, 20 Jan 2001 08:10:10 -0500
From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: Ikeda (was Avant Garde Electronica)

At 06:27 PM 1/19/01 EST, [e-mail] wrote:
>
><< I see our friend Fernando Lopez has started his own distributed label >>
>
>Caleb, of course, means Francisco Lopez, unless he's developed a new persona
>in which he only does Abba tunes.

Oops.  Maybe untitled 104 is all abba samples, not metal as originally
theorized...

>OK, speaking of drones, I'm off to the Dreyblatt/Conrad/O'Rourke Monsters of
>Drone extravaganza at Tonic.

Hopefully we won't have to wait three months to read your review in the
wire?

- --
Caleb Deupree
[e-mail]

Work like you don't need the money. Love like you've never been hurt. Dance
like nobody's watching.

- -- Satchel Paige

- -

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

Date: Sat, 20 Jan 2001 10:03:41 -0500
From: Brian Olewnick <[e-mail]>
Subject: Dreyblatt/Conrad/O'Rourke

Caleb T. Deupree wrote:

> Hopefully we won't have to wait three months to read your review in the
> wire?

Well, instead of waiting for Jon to wake up, I'll begin. ;-)

Dreyblatt opened (to a packed house, though with a sizeable portion of
his extended family) with a sextet. I missed the intros and only
recognized two of the performers: Evan Ziporyn (on some kind of
microtonally tuned dulcimer) and the great Robert Black on bass. The
other instruments were cello (doubling on electric guitar and homemade
guitar), violin (doubling on hurdy-gurdy), electric guitar (doubling on
acoustic bass) and drums. The latter was the one element I could have
totally done without. Though the 1 1/2 hour set was apparently all new
compositions, they appeared similiar in structure to the ones on 'Animal
Magnetism' and tended to sound initally exciting, then gradually wear
thin. His insistence on switching rhythmic themes every 4, 5, 6 or
whatever bars made for a choppier aspect than what I hoped for and his
tendency of using martial-sounding patterns for the drummer (without the
grace of a Rhys Chatham) made for an unnecessarily stiff ambience. Given
that, the group (with Dreyblatt sitting in on bass for the first piece)
performed with great precision and seemed to really enjoy themselves.
The highlight for me was on the last piece where Black (who people
should hear more of on his own) began a furious arco sawing in the
extreme lower register of the bass, approaching very close to and
sometimes scraping the bridge, thereby creating a wonderful harmonic
screech.

Conrad then came on for a solo violin piece which was, imho, the high
point of the evening. Heavily electronicized he, unlike Dreyblatt, got
into a seriously extended drone with multiple layers of richness. Just
when you thought he had wrung every possible nuance from his material,
he'd find something new and give it another extremely thorough workout.
Very loud, very almost "romantic" and very compelling.

After about an hour, most of the first group filed back on stage as
Conrad continued to play (with Dreyblatt and O'Rourke--on harmonium,
without Ziporyn and the drummer). Conrad switched to some sort of
homemade "guitar", strung on a 2x4 mounted on mic stands and played with
a piano mallet or violin bow and metal bar for a pedal steel effect. The
band, acting as tambura, supplied a background drone. Very soothing and
enjoyable, and a nice, relatively gentle coming-down from the more
agitated first section.

O'Rourke then played a solo G3 set. Crouched toward the rear of the
stage, essentially hidden from the audience by speakers and a chair, he
began with a snatch of schmaltzy 50's-style chorus (for about 4
seconds), then settled into what would make up the remainder of the
piece, a conglomeration of gentle bell-like tones and airy, sort of
harsh breathing sounds. I don't think it worked very well, but I have to
give him points both for obsessiveness (he concentrated on this limited
palette for about a half-hour) and the willingness to experiment in
front of a public of which, I'd guess, a certain number came to see the
guy who works with Sonic Youth.

There was a fourth set, but it had been about 4 hours already, so Jon
and I left. Perhaps someone else here stuck it out.

Brian Olewnick

NP: Paul Rogers - Time of Brightness

- -

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

Date: Sat, 20 Jan 2001 12:23:01 EST
From: [e-mail]
Subject: Re: Dreyblatt/Conrad/O'Rourke

I don't have much to add to Brian's review, we had similar reactions to most
of the evening.

I enjoyed the first Dreyblatt piece a lot, but when he left the stage, I had
mixed feelings about the rest of their very long set (maybe 90 minutes?). the
rhythms and drummer kept brining to mind phrases like "relentlessly unfunky",
and while I know that's not the point, it detracted from my enjoyment of the
music. still pretty cool, though.

the solo Conrad set I was a bit nervous about since I saw him do a solo set I
hated a few months ago during the Angus MacLise tribute. this one did seem
much better, but to be honest, I spent most of it talking to people. the end
of this set, where everyone joined in, was my favorite part of the evening
though, a beautiful, rich drone.

Jim's set seemed designed to mesh with the rest of the evening, relentless
and pretty static. parts of it were nice, but not one of my favorite
performances of his.

Jon
www.erstwhilerecords.com

- -

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

Date: Sat, 20 Jan 2001 14:17:07 -0600 (CST)
From: Whit Schonbein <[e-mail]>
Subject: Re: medeski/robot/zorn questions

> From: [e-mail]
> Subject: medeski/ribot/zorn questions

> 1) how long have medeski, ribot and zorn been playing together as a trio?

they played together in october 1997 with previte in the drum chair.
they played masada tunes in italy in april 1994 with billy martin on
drums.

these aren't trios, of course, but i thought the band always had a
rotating drummer (the trio has played with previte, wollesen, cain,
rochester, and martin, at least)...?

> 2) how long have they called themselves emergency?

the trio + wollesen was billed as emergency at willisau in august of 99,
but i'm certain they called themselves by that name prior to that date
(although i don't know why i'm so certain - it must have been from
something i heard on this list...;).

- -whit



- -

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

Date: Sun, 21 Jan 2001 12:17:29 -0500
From: [e-mail]
Subject: odim

rick lopez called all of the other dimensions in music cds 'sublime.' i'd have
to agree in only a qualified way (and a way that, i guess, doesn't do
nonnewyorkers much good). yes, the discs are recommended, but such high octane
music doesn't really work for me on disc. i mean, everything's better live, but
groups like other dimensions need to be witnessed in person. i don't listen to
the discs that often, to tell the truth.

but live, ahhh...

roy told me last night that during the 4-night stint at the knit old office (2/
1-4) they will be joined by billy bang and joe mcphee, one night each. i believe
it was for the sat and sun sets, but i don't remember specifics.

and now that i'm mentioning bbang... i've heard some disparaging of the
violinist in the past, probably because his work is somewhat inconsistent. but
believe me, when he's on he's on. last night he played a masterful solo set at
the brecht forum.

ok, bye

kg
np: queen - news of the world



- -

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

Date: Sun, 21 Jan 2001 12:44:53 -0500
From: [e-mail]
Subject: wollensen at mercury

Peter Gannushkin said:
BTW, I wonder why Wollesen was not mentioned in any announce or
schedule? I was really upset when people at the show were asking who
is that guy every now and then.

don't be upset, peter. great band plays at a venue that usually doesn't cater to
such music, house is packed and people get turned on to new things, including
one of the best drummers around. where's the problem?

kg



- -

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

Date: Sun, 21 Jan 2001 12:56:41 -0500
From: Mike Chamberlain <[e-mail]>
Subject: Re: 20th Century's most important musician

on 1/17/01 8:57 AM, stevespangler at
[e-mail] wrote:

> I say this because it's pretty optimistic to pick Ray Charles--and I agree
> with your pick in that I want to agree with it. When I go out and hear
> music--live music--I don't hear throwbacks to Ray Charles; I hear Eric Clapton
> pridigies. This is my interpretation of the "influence" factor. Influence can
> be many things, but I tend to think in the broad scope of: "what are people
> playing; where did they find that inspiration." I just think it's not
> realistic to pick people like Ray Charles when I don't hear Ray Charles in Hip
> Hop, new Rock, new R&B, etc. I'd like to think he's more influential, but
> realistically I don't think it's so.
>
> Or the John Cage pick. Is he influential: yes. Is he more influential than
> John Williams: probably not. I hear his music everywhere--J. Williams--and I
> believe that that relates into influence. People are influenced by what they
> hear, not by what we music appreciators suggest or desire.
>
>

Maybe it depends on how you define influence.  In the case of Ray Charles,
he was one of the first to combine gospel and blues into a new form that
eventually morphed into soul and then morphed from there into......you get
the picture.  So in that sense he was influential.  And certainly for a
while, there were a lot of singers who patterned themselves after him.  Now
if there are bar bands who are emulating Eric Clapton today more than Ray
Charles, well, that has to do with time.  I'd still say that Brother Ray has
had a far bigger influence over the music than Clapton has, even if you hear
more Clapton clones these days.  Ditto for Cage and Williams.

- --Mike
- --



- -

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

Date: Sun, 21 Jan 2001 13:52:10 -0500
From: Dan Hewins <[e-mail]>
Subject: Re: Dreyblatt/Conrad/O'Rourke

>Jim's set seemed designed to mesh with the rest of the evening, relentless
>and pretty static. parts of it were nice, but not one of my favorite
>performances of his.

I saw the first two parts on Thursday the 18th.  The first was the
Dreyblatt set (similar to the Olewnick description) and the second
part was the O'Rourke powerbook set.  I left before Conrad and the
whole ensemble part though.

Jim played a powerbook set.  He had his powerbook and a mixer.  It
was etherial, looping, lazy, minimalist music.  I enjoyed it.  I have
to admit that I was zoning out (for better of for worse) sometimes. A
few minutes into the piece it occurred to me that it would be neat to
put a mic in the audience and incorporate those sounds into the
piece.  That's when I heard in the P.A. the beer bottle fall over on
the floor AGAIN.  And it also occurred to me that I didn't need to
suggest it to Jim after the show. He had a microphone on the stage
that captured the room's sound and that's what he built the whole
piece on.  It was a very interesting concept.  For the first minute
he sampled sounds then used them and manipulated them for the
remainder of the piece.  Very cool.  I think I have heard Tortoise do
something like this in a live recording I have heard of them.  I
spoke to him after the show and he told me all about it.  He was
asked by someone else if he was going to perform in NYC again soon
and he said "tomorrow" but also said that he won't be performing
again soon, mostly "because it's too nerve-racking."  He's a very
nice guy and VERY modest.  He sincerely appreciated the comments and
praise that people had for him at the end.

Dan Hewins

- -

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

Date: Sun, 21 Jan 2001 19:50:42 -0000
From: "thomas chatterton" <[e-mail]>
Subject: Re: 20th Century's most important musician

>From: Mike Chamberlain <[e-mail]>

I'd still say that Brother Ray has had a far bigger influence over the music
than Clapton has, even if you hear more Clapton clones these days.

What is Clapton, but a King (Freddie, B.B., Albert) Robert Johnson etc.
clone??? Please, don't stop at the monkey, go straight to the organ grinder!

Peace Out!

N.P. Ennio Morricone 'Gli Occhi Freddi Della Paura' O.S.T.(for Zorn
content!)
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


- -

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

Date: Sun, 21 Jan 2001 17:42:11 EST
From: [e-mail]
Subject: parmegiani

In a message dated 1/20/01 3:01:12 AM, jon abbey wrote:
<<
most of the INA-GRM discs are currently out of print, but de natura sonorum
and la creation du monde are the places to start. the double disc with dedans
dehors (INA-GRM 1012-1013) is also very good. I think at least some of these
are being reissued again soon. >>

i agree with jon; my favorite still being my first:
"la creation du monde"
which despite being programmatic is still very strong.
steve koenig
n.p gerry hemingway 'jonnys corner song' (auricle records)
now avoiding: marking my students' exams. do not tell. hush now. dont explain
.

- -

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

Date: Sun, 21 Jan 2001 17:59:29 -0500
From: "Nirav Soni" <[e-mail]>
Subject: an abbreviated listing

Not the first time you've seen this, but here goes again. Money folks: I'm
needing it, and you have it. Some of these are in some sort
of special promotional packaging, and they're marked with a *. All of these
are cds and are $9ppd. Buy 3, take a dollar off. Buy 5 or more, take $2 off.
I can give tracklistings, info even reiews occasionally. Those marked with a
"+" you'll get free with an order of 4 or more.

Trades are great. I'm especially looking for things on Trent Oiseaux,
empreintes DIGITALes, INA-GRM, Ambush/Praxis; Andrew Chalk, Monos, Ora,
Jonathon Coleclough, electro-acoustic/improv, IDM, minimal, maximal, dubby,
post-rockin' non-stoppin, jazzy, headcleaing noise, power electronics, sound
collage, hip-hop but I'm really openminded. I've got a wantlist, and if you
trade anything on it to me, you'll have a friend for life. For things I
really want, I'll trade 2 of many things on the list.

I'm also looking for books and movies (DVDs or VHS), in fact, I'd prefer
them. A few things: the Site of Sound book, Maurice Blanchot's _The Instant
of My Death_, Exact Change Press, critical theory, Henri Michaux, Robert
Walser for books, movies: anything Cassavetes directed, Charles Burnett's
Killer of Sheep, Jim Jarmusch's "Stranger Than Paradise", Satyajit Ray,
Robert Bresson, Fassbinder, Alain Resnais, Mark Rappaport, Godard, Truffant,
Ozu. Movies will take three of anything on the list.

Oh yeah, I'll trade pretty much the entire list for the Merzbox :)

Metal

Cream Abdul Babar- Buried in Broken Glass
Death- Human (Japanese import w/exclusive track)
* In Flames- Colony
* In Flames- Clayman
+ In Aeturnum- The Pestilential Plague

Jazz/improv

Kwartet Warszawska Jesionka- ?
Yuri Lemeshev/Brad Shepik/Tony Scher- Tridruga
Tronzo/Granelli/Epstein- Crunch
Vandermark/Drake/McBride- Spaceways Incorporated

Composition:

Gal- Bestimmung New York (on Durian)
John Hudak- Don't Worry About Anything, I'll Talk to You Tomorrow
FRANCISCO L╙PEZ "Untitled #91"
Mahler- Symphony #1/Der Titan
Panaiotis- The Ballad of Frankie Silver
Sonic Youth- Goodbye 10th Century (2cd) $15
John Wall- Fear of Gravity

Nirav
AIM: Icefactory37
- --
OnNow- Greg Kelley- Trumpet
"You can't even stop to pay attention to that kind of thing because it just
leads to something grander and more disappointing. You just lose any kind of
faith you once had. You don't want to give up all together. I mean, I almost
have, but you have to think there are some kind of gems."- Harmony Korine



- -

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

Date: Sun, 21 Jan 2001 22:39:23 -0500
From: Matt Laferty <[e-mail]>
Subject: Art Ensemble NZC

Hey,

I just picked up the Art Ensemble album "with Fontella Bass" which is
full of the Onoriffic vocalizations that I love.  I'm definitely playing
it on the radio show tomorry.

I'm thinking of ordering the fabled "Nessa" box from Chuck Nessa.  Does
anyone on the list have it and care to give an appraisal.

Pardon if we already discussed this, but I like to see a review from
someone I trust:  i.e. the people here...

matt



- -

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

Date: Mon, 22 Jan 2001 08:39:05 +0100
From: "[e-mail]" <[e-mail]>
Subject: Re: Art Ensemble NZC

on 22/01/01 4:39, Matt Laferty at [e-mail] wrote:

> Hey,
>
> I just picked up the Art Ensemble album "with Fontella Bass" which is
> full of the Onoriffic vocalizations that I love.  I'm definitely playing
> it on the radio show tomorry.
>

Tomorry is another dy :)

Are you talking about the 5 CD box titled "Art Ensemble 1976-1969" or
something? It's definitely worth getting. I don't have it but it's a
compilation of early pre- AECO albums, which I do have/ have listened to. My
fave is Lester Bowie's "Number 1 and 2" (not sure about the titles here...)

Best,

Sen.


- -

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

End of Zorn List Digest V3 #251
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