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Zorn List Digest     Wednesday, February 21 2001     Volume 03 : Number 297



In this issue:
-
       drummers
       Victoriaville festival, Julien Temple
       microtonal mp3 spam 2/2001
       Re: The Beach Boys
       Odp: drummers
       Re: Re: MORE new Tim Berne out
       Marty Ehrlich, Mike Nock -- cheap at Amazon!!
       Re:Barry Guy
       Avant mag/FMR Records Web sites?
       Re: mottomo otomo
       Re: drummers
       Re: mottomo otomo
       ordinary fanfares playlist #1
       Handleman Co.
       Re: Barry Guy

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

Date: Wed, 21 Feb 2001 07:12:18 -0500
From: Matt Teichman <[e-mail]>
Subject: drummers

I've always thought it would be really cool to see two drummers who were
masters of an entirely different style collaborate on an album.  For
instance, Susie Ibarra and Ginger Baker, or Anders Johansson and Elvin
Jones.  Meditations is kind of an example (one drummer in the left channel,
and another in the right!), although that was of course under the general
rule of Coltrane, and from what I hear there was tension between Elvin
Jones and Rashied Ali.  Guitarists always seem to collaborate, but what
about drummers?  Has it ever happened to fruitful results?


- -

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

Date: Wed, 21 Feb 2001 07:51:18 -0500
From: richard ladew <[e-mail]>
Subject: Victoriaville festival, Julien Temple

Greetings!

I was wondering if anyone could tell me if there were specific dates for
specific shows at the victoriaville performances in May.

Also, Big thanks go out to Julien Temple.  Julien, if you are still on
this list could you please send me your e-mail address and contact info?
I seem to have lost it....

Thanks,

Rich


- -

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

Date: Wed, 21 Feb 2001 08:30:16 -0500
From: David Beardsley <[e-mail]>
Subject: microtonal mp3 spam 2/2001

I have two new pieces up, Blurry Day and After the Full Moon
at: http://mp3.com/davidbeardsley

17 limit Just Intonation, kinda loopy...droney...


- --
* 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
* http://mp3.com/davidbeardsley


- -

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

Date: Wed, 21 Feb 2001 10:26:16 -0500
From: Mark Saleski <[e-mail]>
Subject: Re: The Beach Boys

> Pet Sounds is a great album but there seems to praised too much - so I
think lot of
>first-time listeners will be turned-off or disappointed.  I felt that
way
>when I first heard it - which was so hyped at the time. It took me a
year
>after that when the record settled in my brain.  It is really a classic

>album of 1966/1965 -L.A. vibe about it - yet it strikes me as a very
>personal album by Wilson.

after reading so much about Pet Sounds and then seeing one of those tv
movies about Brian Wilson (vh-1?) i went out and picked up a copy. it
was pretty interesting to listen to the orchestral ideas he had about
music...and how those ideas were transformed into some great pop music.

on the other hand, i don't really see Pet Sounds as the ultimate Beach
Boys recording. it reminds me a little of all of the hype about Sgt.
Pepper.....there are several others i like much more (such as Revolver,
Rubber Soul, Magical Mystery Tour and the White Album).


- --
Mark Saleski - [e-mail]
"The music is a journey, the journey is endless." - Sun Ra



- -

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

Date: Wed, 21 Feb 2001 16:27:52 +0100
From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: drummers

From: Matt Teichman <[e-mail]>

> Jones and Rashied Ali.  Guitarists always seem to collaborate, but what
> about drummers?  Has it ever happened to fruitful results?

    On Previte's 'Claude's late morning' BP plays with Joey and someone who
plays  electronic drums. Quite interesting, although not fully satisfactory.
    The previous King Crimson lineup featured two drummers, Bruford and
Mastelotto. In my opinion the only place where it really clicked was 'thrak'
and 'when i say stop, continue' on the VROOOM EP. I'm glad that there's only
Mastelotto left by now (although there's some, to put it mildely,
disagreement on that topic).
    On Filmowrks IX, there's a very good duo by baptista and Wollesen. The
first track of the duo is awesome.
Marcin Gokieli
[e-mail] [e-mail]
Generally speaking, if a philosopher offers to 'dissolve' the problem you
are working on, tell him to go climb a tree - Jerry Fodor


- -

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

Date: Wed, 21 Feb 2001 10:42:07 -0500
From: [e-mail]
Subject: Re: Re: MORE new Tim Berne out

'Nice View' was released in 1994, you're correct.  But it was recorded in August 1993, which is what I suspect Screwgun was actually referencing.

Steve Smith
[e-mail]
(who saw Tim with Django Bates in the audience last night for Barry Guy, Myra Melford, Gerry Hemingway and Maya Homburger at Tonic...)
NP - Jascha Heifetz, Tchaikovsky Violin Concerto in D (Naxos)

- -

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

Date: Wed, 21 Feb 2001 10:49:22 EST
From: [e-mail]
Subject: Marty Ehrlich, Mike Nock -- cheap at Amazon!!

Naxos Jazz has a cheap Marty Ehrlich disc available at Amzon.com:

The Waiting Game
Mike Nock, Marty Ehrlich

 Our Price: $5.97

Availability: This title usually ships within 2-3 days.

Audio CD (February 15, 2000)
Original Release Date: February 15, 2000
Number of Discs: 1
Naxos Jazz; ASIN: B00004HYO1
Amazon.com Sales Rank: 61,578

Tom



________________________________________________
The dignity of art appears to the greatest advantage
perhaps in music, because that art contains no material
to be deducted. It is wholly form and intrinsic value,
and it elevates and ennobles everything which it expresses.

               --Johann Wolfgang Von Goethe

- -

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

Date: Wed, 21 Feb 2001 10:59:29 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re:Barry Guy

And what can you tell us about the Guy double bill?

Ken Waxman

- --- [e-mail] wrote:

> (who saw Tim with Django Bates in the audience last
> night for Barry Guy, Myra Melford, Gerry Hemingway
> and Maya Homburger at Tonic...)
>
> -
>


_______________________________________________________
Do You Yahoo!?
Get your free @yahoo.ca address at http://mail.yahoo.ca

- -

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

Date: Wed, 21 Feb 2001 10:19:39 -0600
From: Moudry <[e-mail]>
Subject: Avant mag/FMR Records Web sites?

Does anyone know when the Web sites for Avant Magazine (UK)
<www.avantmag.com> and FMR Records (who still promised the ten CD Cecil box
last week) <www.fmr-records.com> disappeared from existence? Just got the
Autumn 2000 issue in Birmingham (AL; not UK) yesterday and wanted to check
the current subscription price for US$s.

Thanks in advance.

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, 21 Feb 2001 08:53:20 -0800 (PST)
From: Scott Handley <[e-mail]>
Subject: Re: mottomo otomo

Otomo Yoshihide:
"In
contrast to new kinds of music it will not be easily
recognized at first sight. It is the hard work of
radically reconsidering the very nature of
music, of listening and performing. In contrast to new
musical styles of the past it will probably neither
have a certain form no a name. During these three days
of Music Unlimited 1999 we had the opportunity to
witness this big change, which indeed might be called
fundamental. I quietly support this new stream."

This is such a refreshing alternative to the kind of
bombast and self-consciously "epochal" rhetoric of
high modernism, mirrored in so many of the "classic"
texts of postmodern thought.  Otomo seems sensitive to
the multiplicity of new developments now, too
sensitive to take it upon himself to invoke the Age of
Aquarius or assemble around himself a unified
"movement" of dubious (and dubiously desireable)
uniformity (cf Ezra Pound).  The following was written
by Otomo in late October 1999, probably before the
liner notes above; I hope nobody minds the length...I
thought it would be interesting to some on the list:

From: Otomo Yoshihide

dear jerome

thank you for your mail
i am not good in english,so it is just quick answers

jerome joy wrote:
>Here is the preliminary axis of the forum. These
questions are only points
>of departures for the discussion and indicate some
directions:
>> Do you think that the contemporary musical field
widened even moved
>these ten last years? Which new investigations seem
to you most innovative
>and convincing?

Maybe yes, but
I'v just never think about the musical field, My
musical filed is always my
very small studio and a lot of gigs,that's it. always
audience decided such
a kind of things. Musican(like me) just keep to make
music

jerome joy wrote:
>> Which are the new musical and sound practices for
you which try out what
>one could detect like limits of the fields of the
contemporary music? In
>your opinion, from which territories emerge these new
practices and
>which prospects announce these searches?

I dont think any sound is new. someone already did it
last 100years
everythings is already on the records
of course still we dont listen some new sounds
but it is not so important
I am not interested to make new field for new music or
the contemporaly music
for me most important things for making music is
just I make music that I want to listen it.
I think music is now very personal and indevisual
everyone can make themown music
categoly is just remains from 20century,
but still almost music is in a remains of 20 century

jerome joy wrote:
>> Which are the changes and the mutations most
significant today? Do
>the established kinds of the contemporary musical
"writing" and the
>improvisation seem in full mutation? Is the concert
form still
>adequate with these mutations?

most significant things is you can choice many way for
making music
now we know composer system is just one of the way for
making music
if you want to make writen music,no problem just doit
if you want make music with your small computer
without any music education
oh yes no problem just do it
of couse you can make music by improvisation
you can make music with old records and turntables
if you want to study classical music with
violin,that's great,just do it.
you can do anything with any way for making music
something like that

jerome joy wrote:
>> Can one speak about sound art? Do the limits
between the musical
>practices and the sound practices seem to you
permeable or not?

I am sorry but I dont understand this question
please give me question with another words or simple
words?

jerome joy wrote:
>> The (new) technologies largely evolved/moved during
this last decade,
>do they seem to you an absolute must, inevitable, in
the practices of the
>contemporary languages? The evolution of technologies
of network,
>like Internet for example, allowed the creation of
new contexts on the
>conditions of exchanges between the composers and
artists, on the
>development of the personal homestudios, and on new
logistics for the
>concerts for example; does this appear to you as new
supports and a new
>space for musical and sound emergent practices?

My style of tecnology is quite old,
I am not specalist for internet or very new
technology.
anyway I am a not specalist of tecnology
just I can use it like as typical middle age people
I think most important things of new technology is
simple and easy
I mean  everyone can use new tecnolosy without any big
practice
so I can use internet idea also you can use it as much
you can
and you should think about possibility of technolpgy
and behind new technology
then you should choice best way for the human's future
dont make same mistake as 20century's technology
histry
that's alway conect with war
anyway best point is new technology give everyone for
possibility making music
without any specal music education

i am sorry but that is just quick answers and my
english is quite bad,
and maybe some answer i misunderstood from questions
and i am sure i made a lot of mistake of speling
please you take care of it especally wrong speling

best regards

otomo yoshihide

source: http://homestudio.thing.net/forum/list/msg00057.html

__________________________________________________
Do You Yahoo!?
Yahoo! Auctions - Buy the things you want at great prices! http://auctions.yahoo.com/

- -

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

Date: Wed, 21 Feb 2001 18:03:02 +0100 (CET)
From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Re: drummers

Dear Matt,

Well, as far as I remember the record, there was a
good duo album by Susie Ibarra and Dennis Charles that
sounded real good. I hope my memory doesn't betray.
It would certainly feel good to hear more
percussion-only albums by jazz drummers. Would love to
hear Jim Black, Han Bennink, Cornell Rochester, Joey
Baron, Susie Ibarra, Tony Williams and countless
others in pure state.

Greetings,
EfrΘn del Valle

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- -

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

Date: Wed, 21 Feb 2001 12:05:55 EST
From: [e-mail]
Subject: Re: mottomo otomo

In a message dated 2/21/01 11:54:34 AM, [e-mail] writes:

<< The following was written by Otomo in late October 1999, probably before
the
liner notes above >>

yep, the liner notes are from October 2000.

Jon
www.erstwhilerecords.com

- -

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

Date: Wed, 21 Feb 2001 09:28:44 -0800 (PST)
From: Grey ElkGel <[e-mail]>
Subject: ordinary fanfares playlist #1

ordinary fanfares playlist #1 - february 20, 2001
wmfo 91.5fm, medford massachussetts

1. kent tankred: ps 3 [ordinary things CD - fylkingen]
2. linda perhacs: parallelograms [parallelograms CD -
the wild places]
3. the shadow ring: the wallet of wasps [the music of
the shadow ring 7" - dry leaf discs]
4. ghedalia tazartes: part 2 [une eclipse totale de
soleil CD - alga marghen]
5. black dice: track b1 [10" - troubleman unlimited]
6. angry hate: blinking blue lights [7"]
7. muddy waters: she's alright [electric mud CD -
chess]
8. loren boyer: au peche mignon [des parasites
risquent de se produire CD - intransitive]
9. jason lescalleet: part 1 [another example of
parkinson's law 7" - freedom from]
10. sunn o))): richard [00 void CD - hh noise
industries]
11. bhob rainey: part 2 [6 standing desert LP -
fringes]
12. the frogs: the longing goes away [hopscotch
lollipop sunday surprise CD - scratchie]
13. walter marchetti: coma vigile [antibarbarus CD -
alga marghen]
14. heimir bj÷rgulfsson : track 2 [discreet journey
digitalis CD - ritornell]
15. steve martin: funny comedy gags & closing [let's
get small LP - warner bros.]
16. per svensson: cosmic trip circle & dirt [energy
loop/element II CD - firework edition]









__________________________________________________
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Yahoo! Auctions - Buy the things you want at great prices! http://auctions.yahoo.com/

- -

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

Date: Wed, 21 Feb 2001 14:14:27 -0500
From: [e-mail]
Subject: Handleman Co.

an interesting piece of the music mass market puzzle, i thought. write me for
the complete article.

kg
np: lead belly's last sessions, disc 1

By David Segal
(c) 2001, The Washington Post
TROY, Mich. - The rock band Train usually plays to packed halls in big cities,
but three weeks ago the group performed on the ground floor of a light-gray
office building in this Detroit suburb. Just 300 people watched the show.
"We played four songs there," says Pat Monahan, the lead singer of Train. "We
want to make fans and friends of these people."
So do plenty of other acts. Hootie and the Blowfish have appeared there, as have
Barenaked Ladies and Amy Grant, all playing brief shows before a tiny audience
in an atrium. Other stars - Garth Brooks, 'N Sync - have stopped by just to sign
autographs and say hello.
This unlikely hub of superstar traffic is the building that houses Handleman
Co., the recording industry's least-known powerhouse. Handleman manages the in-
store music departments of 4,000 retailers, including every Kmart and more than
one third of all Wal-Marts. Last year, one out of every 10 albums sold in the
United States was bought at a Handleman-managed store, and for certain popular
titles, like Tim McGraw's "Greatest Hits," the ratio was closer to one in four.
As pop's heavyweights converge Wednesday on Los Angeles for the Grammy Awards,
the clout of big music buyers like Handleman is changing the way albums are
acquired in this country. Mass merchants like Kmart, along with electronics
superstores such as Best Buy, are gobbling up an ever larger share of the $14.3
billion U.S. music market, offering CDs at bargain prices in the hopes of
driving traffic to cavernous stores filled with more expensive merchandise.
And that, say many in the business, is bad news for music lovers. The record
store was once a place to stumble across albums by emerging artists and
masterpieces by forgotten greats, or a place to get a hot tip from a local
maven. But a typical Wal-Mart carries roughly 4,000 titles, a minuscule fraction
of the more than quarter-million CD and cassette offerings on the market.
Specialty chains, like Tower Records - which typically carry 20 times the
inventory of Wal-Mart - are steadily losing market share, and many independent
retailers say they are struggling.



- -

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

Date: Wed, 21 Feb 2001 14:17:15 -0500
From: Brian Olewnick <[e-mail]>
Subject: Re: Barry Guy

Ken Waxman wrote:
>
> And what can you tell us about the Guy double bill?

Well, 'til Steve gets around to it, I'll pitch in. It was in two
sections, the first with Guy and Homberger (on violin--baroque violin to
be precise, tuned a half-step from the bass), the second with Guy,
Crispell & Hemingway. The duo featured pieces from the ECM release,
"Ceremony". The first was a three part song beginning with a baroque
piece, improv in the middle, a Guy-derived baroque work to end. OK, in
an ECM-ish Bryars-y way. Guy then played a very nice solo (called
"Still") that swung from quiet strumming to manic action, utilizing
assorted sticks. (All throughout the concert Guy made frequent use of
his volume pedal to pretty good effect). Homberger than performed a solo
accompanied by tape of her seven times over which was meditative and,
for me, way too long. Guy returned to perform his "Fizzles" which was
the eye-popping highlight of the evening, utilizing multiple implements
including scrub-brush and a bow-shaped piece of wood which, when scraped
across the strings with the volume pedal fully depressed, produced some
scarily thrilling sounds. A final duet again touching on baroque themes
ended the set plesantly enough.

The trio improv was one uninterrupted piece and actually not all improv
as, on at least two occasions, written thematic material (presumably by
Guy) was introduced; those were in fact my favorite parts. As much as I
love Guy's playing, it's his composing that really does it for me. It
may be because I'm listening to a lot of AMM and Erstwhilian improv
lately, but this "type" of show is beginning to pale a little for me. On
the one hand, it was a fine, engaging performance; on the other, I'm
mentally exhorting the musicians to push it more, to lose some of the
"routine" aspects I'm increasingly hearing. For example, there was a
section where Crispell played a staccato pattern; this was quickly
picked up by Guy and, in turn, by Hemingway. I found myself thinking:
that's _exactly_ what AMM would never do. If Tilbury played a similar
pattern, it would certainly register with the others, but instead of
simply mimicking it, they'd use it as material for further, not
necessarily obviously related, exploration. I realize I'm being overly
critical, perhaps, but...well, it's an issue that I think is going to be
coming up with increasing frequency. And, fwiw, I hasten to add that
Guy's recent tentet recording, "Inscapes-Tableaux" is fabulous. So, who
knows?

It was also a pleasure to meet listers Rick Lopez and Dave Belkin (am I
getting that last name right?). Hope to see you around town more often.
We can take in a Yankee game!

Brian Olewnick

NP: Dave Holland - Conference of the Birds

- -

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

End of Zorn List Digest V3 #297
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