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Zorn List Digest     Wednesday, February 21 2001     Volume 03 : Number 298



In this issue:
-
       Re: drummers
       kind of AMM record from 1969!
       Re: kind of AMM record from 1969!
       Experimental Intermedia March schedule
       Aiko Shimada and Bill Frisell
       andrew hill.
       Re: mottomo otomo
       Re: ordinary fanfares playlist #1
       notation software (odp)
       [Conn. area Promo] Town and Country show
       Re: Barry Guy

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

Date: Wed, 21 Feb 2001 16:27:54 EST
From: [e-mail]
Subject: Re: drummers

In a message dated 2/21/01 7:13:00 AM, [e-mail] writes:

<< I've always thought it would be really cool to see two drummers who were=20
masters of an entirely different style collaborate on an album.  For=20
instance, Susie Ibarra and Ginger Baker, or Anders Johansson and Elvin=20
Jones.  Meditations is kind of an example (one drummer in the left channel,=20
and another in the right!), although that was of course under the general=20
rule of Coltrane, and from what I hear there was tension between Elvin=20
Jones and Rashied Ali.  Guitarists always seem to collaborate, but what=20
about drummers?  Has it ever happened to fruitful results?   >>

since no one else has mentioned it yet, I'd like to suggest the G=FCnter=20
M=FCller/L=EA Quan Ninh disc i released last year, La Voyelle Liquide. both=20=
of=20
them delve deeply into electronics here, but both are first and foremost=20
percussionists with fairly different styles.

Jon
www.erstwhilerecords.com

- -

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

Date: Wed, 21 Feb 2001 14:51:25 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: kind of AMM record from 1969!


    The last list from DMG has the following exciting record listed:

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

*** - SILVER PYRAMID: Eddie Prevost

    Recorded live during the Music Now Festival, London in 1969

  Keith Rowe; Cornelius Cardew; Lou Gare; Eddie Prevost.

    2001 - Matchless (UK), 40 (CD)

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

Any comment?

Also, does anybody know (a reissue, I guess):


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

*** - LIFT EVERY VOICE: Andrew Hill

    2001 - Blue Note (USA), ??? (CD)

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

How is it?

    Thanks,

    Patrice.

- -

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

Date: Wed, 21 Feb 2001 18:05:30 EST
From: [e-mail]
Subject: Re: kind of AMM record from 1969!

In a message dated 2/21/01 5:52:55 PM, [e-mail] writes:

<<
    The last list from DMG has the following exciting record listed:

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

*** - SILVER PYRAMID: Eddie Prevost

    Recorded live during the Music Now Festival, London in 1969

  Keith Rowe; Cornelius Cardew; Lou Gare; Eddie Prevost.

    2001 - Matchless (UK), 40 (CD)

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

Any comment? >>

it's not really out yet, first of all. I haven't heard it, and don't know
much about it. Prevost began to tell me about it in Boston last fall, then he
stopped and said, "I'll send you one, and you can hear for yourself."

Jon
www.erstwhilerecords.com

- -

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

Date: Wed, 21 Feb 2001 18:11:06 EST
From: [e-mail]
Subject: Experimental Intermedia March schedule

since the typically well-informed Brian Olewnick told me last night that he
rarely sees the EI performance schedule in time to attend shows, I thought
I'd post the new one here. the Otani and Labelle shows look especially
compelling

Jon
www.erstwhilerecords.com

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

Experimental Intermedia

The Twenty-seventh Anniversary of EI performances at 224 Centre Street, the

Thirty-second Anniversary of the Founding of

Experimental Intermedia, the Thirty-second Anniversary of the

224 Centre Street loft, and, not least,

The Eleventh Annual Festival  with no fancy name, Part Two (or B)

                        March 2001

Matt Rogalsky   Thursday 8

Talk radio hosts recently discovered that radio station owners were

digitally editing out the spaces between their words, in real time, to make

way for as many as eight extra advertising minutes in the hour; we present

some of the sweepings from the virtual cutting room floor

Atau Tanaka     Sunday 11

A retrospective concert following the performance he recently gave at

Digibodies at

Toronto's Glenn Gould Studio; sound and image articulated from biosensors -

movement

and gesture modulate pure tones, samples, and b/w images - the body as

musical instrument

Julian Knowles          Tuesday 13

. . . . presents a performance of  'One Day' for laptop and 3 video

channels; a distillation of a 12 hour car journey down the south east coast

of Australia, exploring the cinema and musicality of the vehicle as it

moves through landscapes and weather patterns. . . sonic processes . . .

aural navigations . . . electro-environmental collages; the Australian is a

 member of electro-environmental music group Social Interiors

Yasuhiro Otani          Wednesday 14

Improviser using a laptop, the live performance focused on the man-machine

interaction; the title is "There are nothing - Next to nothing - that only

consists of a slight difference"

Bolsa Ernesto de Sousa, a memorial fellowship named for the Portuguese

Intermedia Artist, sponsored by the Luso-Americana Foundation and the

Fundacao Calouste Gulbenkian, in Lisbon, coordinated by Isabel Alves,

presents an intermedia performance:

Joao Pinto      Friday 16

"A SENSE OF FLOW", an interactive real-time audiovisual performance focused

on the

natural landscape of the Tagus River (Rio Tejo) in Portugal

Fred Lonberg-Holm and Lotte Melin       Sunday 18

The Stockholm based dancer and Chicago cellist meet up with their

electronic doubles and explore their combined interests in sound, movement

and form for a few duets and quartets

Brandon LaBelle         Monday 19

'contact music', site-specific performance drawing upon the architecture of

the space,

background noise and surface vibrations, and the momentary passing of

phenomena

Our programs are supported by the New York State Council on the Arts,

and the Phaedrus Foundation

224 Centre Street at Grand, Third Floor, N Y 10013       $4.99

212 431 5127, 431 6430, fax [phone]        9pm

        Experimental Intermedia, based in New York City, was founded in

1968 by Elaine Summers to provide organizational support for artists

working in intermedia forms. Throughout its history EI has produced more

than 1000 events in its New York lofts. EI has also produced many

intermedia events in other cities in the U.S. and other countries. EI now

produces 20 events each season; manages its compact disc label, XI;

develops and implements international projects in collaboration with

like-minded organizations in Belgium, The Netherlands, Germany, Portugal

and elsewhere.

Phill Niblock, Director

Check our new, and always under construction, web sites:

experimentalintermedia.org and XIrecords.org

Activities of Experimental Intermedia v.z.w. Gent

        In 1993, the American artist Phill Niblock opened a house with

window gallery at Sassekaai 45, in Gent, Belgium. Quickly the EI Huis

became a meeting place for many local and international artists and art

lovers. In 1997, the co-ordinating committee - Phill Niblock, Maria

Blondeel, Zjuul Devens, Lieve D'hondt and Ludo Engels - founded a Belgium

organization, the Experimental Intermedia v.z.w. Gent. EI presents 4 or

more installations a year in the windows. The installations can be seen

from the street through two large windows: pedestrians, car drivers, bikers

and people on the tram cannot help but give attention to the curved front

with its two windows, bringing the art (often literally) onto the street.

By exploring the space and the environment, the artist can surprise

passers-by with his/her creation. EI has produced several projects in

collaboration with other international artists' organizations like

Kunstcentrum Sittard, Sittard (NL), MeX, Dortmund (D), ICAEE, Tokyo (JP),

Voorkamer, Lier (B) and Logos Foundation, Gent (B).

        The artists who have made installations, listed in chronological

order, are: Maria Evelein, the Netherlands; Sigrid Lange, Germany; Michael

Timpson, USA; Michael Vorfeld, Germany; Uli Vonbank-Schedler, Austria;

Harald  Kubiczak, Germany; Alexandru Patatics, Romania and Gerd Schmedes,

Germany; Mike Metz, USA and Penelope Wehrli, USA/ Germany (in collaboration

with the Academy of Fine Arts, Gent); Beverly Piersol, USA/ Austria and

Gertrude Moser-Wagner, Austria; Juana Valdes, Cuba/USA; Adri Huismann, The

Netherlands; Kjell Bjoergeengen, Norway; Claudia Wissman, Germany; Claudia

Schmacke, Germany; Marica Presic, Belgrade, Yugoslavia; Doris Koch,

Germany; Esther Ferrer, France/Spain; Ludwika Ogorzelec, France/Poland;

Peter Schoutsen, Netherlands; Jozef Cseres and Michael Murin, Slovakia;

Steffen Muck, Germany; Maria Friberg and John Oivind Eggesboe, of Sweden

and Denmark; Mirjam Berloth, The Netherlands; Heike Kern; Germany ; Renate

Hoffman Korth, Germany, and Sonia Rodrigues, Portugal/ England,

collaboration.

Leonidas Martin Saura (Spain)opening April 7, 2001.

Please visit the EI Gent website: www.experimentalintermedia.be


XI Compact Disks currently available:

Phill Niblock, Four Full Flutes, XI 101; Lois V Vierk, Simoom, XI 102;

Eliane Radigue, Kyema, XI 103; Guy Klucevsek, Flying Vegetables of the

Apocalypse, XI 104; David Behrman, Unforeseen Events, XI 105; Tom Johnson,

Music for 88, XI 106; Mary Jane Leach, Celestial Fires, XI 107; Fast

Forward, Same Same, XI 108; Ellen Fullman, Body Music, XI 109; Jackson Mac

Low, Open Secrets, XI 110; Phill Niblock, Music by, XI 111; Allison

Cameron, Raw Sangudo, XI 112; Daniel Goode, Clarinet Songs, XI 113; Mary

Ellen Childs, Kilter,  XI 114; Peter Zummo, Experimenting With Household

Chemicals,  XI 116; The Logos Duo, Godfried-Willem Raes and Moniek Darge,

Logos Works, XI 117; Annea Lockwood and Ruth Anderson, Sinopah, XI 118;

Eliane Radigue, Trilogie de la Mort, XI 119 (3 CDs for the price of two);

Malcolm Goldstein, The Seasons:Vermont , XI 120; Paul Panhuysen, Partitas

for Long Strings,  XI 122; Tom Johnson, The Chord Catalogue,  XI 123; New

Releases:  Ellen Band, 90% Post Consumer Sound,  XI 124;  Philip Corner,

40 years and one,  XI 125

You may order directly for $15 per CD for 1 CD, $14 per CD for 2-5 CDs, and

$13 per CD for 6 or more CDs. In the U.S and Canada please include $2 for

the first item and $.50 for each additional item for postage and handling.

Outside the U.S. include $4  for the first item and $1.50 for each

additional item. Only checks or money orders in U.S. dollars may be

accepted, payable to XI Records.  New York residents please add applicable

sales tax. Send to XI Records, P.O. Box 1754, Canal Street Station, New

York, NY  10013. for info: [e-mail]

- -

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

Date: Wed, 21 Feb 2001 16:48:04 -0800
From: Michael Fennell <[e-mail]>
Subject: Aiko Shimada and Bill Frisell

Hello-

Has anyone heard this new Tzadik disk: Aiko Shimada: Blue Marble

I'm interested in it because it features Bill Frisell.

Here's Tzadik's description:

Produced and arranged by enigmatic mystical traveller Eyvind Kang, Blue
Marble is a CD of surreal folk songs by singer/songwriter Aiko Shimada.
Born in Japan and now based in Seattle, Aiko's music is fresh, original and
heartfelt. For this latest release, Eyvind has brought in an unusual team
of proto-hippies and music freaks keying off of Aiko's moody melodies and
lyrics. From noise to string orchestra, drum machine to toy piano, Blue
Marble is an unforgettable emotional ride through Aiko's exotic music
forest. Special guest appearance by Bill Frisell.

Aiko Shimada: electric guitar, vocals
Eyvind Kang: violin, viola, fretless bass, processed violins, ashiko drum,
tom-tom, recorders, mint-finger cymbals
Evan Schiller: drum loops, hand claps, drums, bell samples
Paul Moore: key bass, toy piano, arp synth, nord bass, fender rhodes, nord
lead
Tucker Martine: electronic shekere, drum machine, bass drum
Bill Frisell: electric guitar, backwards guitar loops
Mark Collins: double bass
Brent Arnold: cello
Mark France: electric guitar
Jason Webley: accordian
Guy Davis: guchung
Troy Swanson: talkbox hammond
DJ Olive: turntable



- -

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

Date: Wed, 21 Feb 2001 17:55:57 -0700
From: "Matthew W Wirzbicki  (S)" <[e-mail]>
Subject: andrew hill.




I heard the first half someone else's copy of this recording once.
>*** - LIFT EVERY VOICE: Andrew Hill
>
>    2001 - Blue Note (USA), ??? (CD)

FWIW -I found the heads a bit dry but I thought the group was playing really
well together.  I remember expecially liking Hill's sense of 'comping.'

Matt Wirzbicki








- -

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

Date: Wed, 21 Feb 2001 19:53:41 -0500
From: David Keffer <[e-mail]>
Subject: Re: mottomo otomo

>Otomo Yoshihide (liner notes):
>"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."

>From: Scott Handley <[e-mail]>
>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.

Well, I will probably draw the ire of some list members for this post, but
I have a different reaction to the liner notes by Otomo Yoshihide posted on
the Zorn list.  As I read the notes, they reminded me quite strongly of
excerpts from a short story called "The New Music" by the American author
of post-modern fiction, Donald Barthelme, published in 1979.  I went back
and reread the story to refresh my memory.  Here I will cite four brief
excerpts to make my point.

- --The new music is drumless, which is brave.  To make up for the absence of
drums the musicians pray nightly to the Virgin, kneeling in their suits of
lights in damp chapels provided for the purpose off the corridors of the
great arenas--

- --The new music, I said, is not specifically anticlerical.  Only in its
deepest effects.

- --The new music burns things together, like a welder.  The new music says,
life becomes more and more exciting as there is less and less time.

- --The new, down-to-earth, think-I'm gonna-kill-myself music, which unwraps
the sky.

Compare to these quotes to Otomo's statement:  "In contrast to new kinds of
music it will not be easily recognized at first sight."  Barthelme's and
Otomo's statements could be taken from the same story.

However, whereas Barthelme is providing a satire of the "creators of new
music", Otomo is presenting it with a straight face.  He represents that
element of the progressive intellectual music on the margins of popular
culture, which Barthelme mocks.  By describing his new music in grandiose
terms, Otomo is simply paying himself compliments about his own creativity,
uniqueness, etc. etc., after all he is the source of the supposed
fundamentally new music.  For him to say that he "quietly supports this new
stream" is the height of irony, seeing as the entire paragraph is one of
self-promotion and self-aggrandizement.

It's true that there are musicians consciously working to expand the
frontiers of music, but to trumpet it about like this note of Otomo's is,
to my thinking, the height of juvenile pretension.

David K.


- -

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

Date: Wed, 21 Feb 2001 20:37:35 -0500
From: "Jesse Kudler" <[e-mail]>
Subject: Re: ordinary fanfares playlist #1

Hi Greg,
    Can you say a little more about these?:

From: "Grey ElkGel" <[e-mail]>
To: "zorn-list" <[e-mail]>
Sent: Wednesday, February 21, 2001 12:28 PM
Subject: ordinary fanfares playlist #1

> 1. kent tankred: ps 3 [ordinary things CD - fylkingen]
> 2. linda perhacs: parallelograms [parallelograms CD -
> the wild places]
> 10. sunn o))): richard [00 void CD - hh noise
> industries]

Thanks,
Jesse


- -

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

Date: Wed, 21 Feb 2001 19:37:02 -0800
From: Skip Heller <[e-mail]>
Subject: notation software (odp)

Does anyone on the list have any recommendations for a good, mongoloid
Fisher-Price notation software (pref one as easy to type in as to enter via
a keyboard)?  Surfing the net has presented me with about 1,000,000 options,
none of which is clear to me.

skip h


- -

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

Date: Wed, 21 Feb 2001 23:02:02 -0500
From: "Jesse Kudler" <[e-mail]>
Subject: [Conn. area Promo] Town and Country show

Apologies for the ridiculous crossposting and promotional nature of this
e-mail, and I especially apologize if you get this more than once.

Just a reminder that Chicago's *Town and Country* will be playing Thursday,
Feb.
22.  Town and Country consists of Chicago improvisers Liz Payne, Ben Vida
(both in Pillow), Jim Dorling, and Josh Abrams (Sam Prekop, LMC/Licht, David
Boykin Outet, Bobby Conn, etc).  They play a very nice brand of
all-instrumental and all-acoustic "back-porch minimalism," as BOXMedia
records would have it, citing Morton Feldman and John Fahey as primary
influences.  Their last two releases were on Thrill Jockey.  Opening for
them will be Michael Leviton, Tim Howard, and Joey Meyer, all of whom play
acoustic guitars and sing, but none of whom will make you want to kill
yourself.  Show starts at 9:00 and will be $4 for non-students.  That's
going to be
at Eclectic House, 200 High St. in Middletown.

Thanks,
Jesse



- -

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

Date: Wed, 21 Feb 2001 23:50:08 EST
From: [e-mail]
Subject: Re: Barry Guy

In a message dated 2/21/01 2:38:32 PM Eastern Standard Time, [e-mail]
writes:

>  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.

Hmmm.  I didn't hear anything routine coming out of Crispell's hands, and I
was actually forceably struck by how _free_ of rhythmic mimicking Hemingway's
playing was - really, I can scarcely think of any drummer I've heard play
"freer," more fluidly, in that sense.

But I better go dig up a copy of Newfoundland, eh? Thanks for putting me on
that scent, Brian.

You did get the name right, but could we make it a Mets game?  Or the Queens
Kings?

David

np.  Los Straitjackets - Damas Y Caballeros  -->
       Peggy Lee - These are Our Shoes

- -

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

End of Zorn List Digest V3 #298
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