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Zorn List Digest        Thursday, May 17 2001        Volume 03 : Number 431



In this issue:
-
       poetryfagmusic
       Polish prog (was: KC alumni association)
       Montreal Jazz Fest
       Another Montreal Question
       Deconsolidating Queer 2
       Tom Cora orgy
       _________ in seattle
       Re: Deconsolidating Queer 2
       euphonic jazz & improv festival (Atlanta, GA)

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

Date: Wed, 16 May 2001 19:52:11 -0400
From: Taylor McLaren <[e-mail]>
Subject: poetryfagmusic

MEEP! Scott Handley <[e-mail]> wrote:
>Since we've touched on this, I was going to ask if
>anyone has recommendations or examples of excellent
>meetings of avant-garde music with poetry or prose.
I know, I know... the topic is a good week old at this point, and it's far
more timely to tell everybody that none of them know who I am behind this
keyboard, nyah-nyah-nyah. I had been meaning to mention the Foetus Symphony
Orchestra disc, _York_, for a couple of days though (it's a sludgy,
minimally-composed bit of lost soul droning and squawking by such names as
Steve Bernstein, Oren Bloedow, Vinnie Signorelli and Brian Emrich, while
Lydia Lunch reads Jim Thirlwell's "poetry" in her usual style). As a
collision of New York's finest and nominal poetry, it makes for a nice
change of pace for Thirlwell, and not a half-bad record in its own right;
as we start arguing about who is allowed to discuss sexual identity and
under which context(s), though, it's pretty funny to hear Lydia Lunch
growling about "getting a hard-on watching two young black boys beat the
shit out of each other" as a stand-in for her drunken ex-roommate Jim.
  Artists aren't always at their most articulate when explaining the
motives behind their work, but sometimes That Feeling You Get just clicks
with everything going on around you, right?

- -me



- -

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

Date: Wed, 16 May 2001 21:42:19 EDT
From: [e-mail]
Subject: Polish prog (was: KC alumni association)

In a message dated Wed, 16 May 2001  7:01:54 PM Eastern Daylight Time, "Marcin Gokieli" <[e-mail]> writes:

<< ----- Original Message -----
From: Steve Smith <[e-mail]>

> Here's one for you, Marcin: what can you tell us about the band
Kormorany?

OK you won ;-). never heard of (but i'll try to get some info)


- -

 >>

How about SBB?  I've not picked up any of their CDs, but their stuff is plentiful on Napster.  I'm pretty amazed over what I've heard from the band...

- --
=dg=

- -

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

Date: Wed, 16 May 2001 23:57:53 -0400
From: "&c." <[e-mail]>
Subject: Montreal Jazz Fest

I'm thinking of taking a trip to Montreal this summer during the jazz fest.
What are the worthwhile acts playing?  Is the Lincoln Center Jazz Band the
only good act : )

Zach

- -

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

Date: Thu, 17 May 2001 00:16:44 -0400
From: "&c." <[e-mail]>
Subject: Another Montreal Question

I see Gil Evans on the bill for the festival.  I was under the impression
that Mr. Evans is deceased.  That he died back in '88.  Is this referring to
the Miles Davis collaborator or some one else?

Zach

- -

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

Date: Thu, 17 May 2001 06:28:22 -0000
From: "Bill Ashline" <[e-mail]>
Subject: Deconsolidating Queer 2

>From: "Jeton Ademaj" <[e-mail]>

>Bill: your argument about ubiquity=invisibility is illogical, because
>whereas ubiquity CAN result in negligibility, it need not. joy, lust,
>boredom, pain, hunger, yearning---the ubiquity of any of these things has
>made them continual topics of Art, in variety and specifity enough so that
>one could never call them invisible.

No, I don't think so.  The categories you invoke are not ubiquitous, unless
you want to universalize "Art" and this particularly western take on it.
Moreover, if such signifieds were as "ubiquitous" as you say, they would not
be discernable.  Such categories derive thier meaning and significance by
virtue of their "difference" from one another, by their "lack" of ubiquity
if you will.  As fleeting moments of experience, such signifieds can become
the subject of aesthetic inquiry.  But you've also cleverly assumed within
this discussion that "queerness" is just as "ubiquitous" as these other
signifieds, an assumption I'm not going to let you get away with, for
"difference" is simply too significant to be "universalized" in the name of
"difference."

>If however, u find it *personally*
>boring, or unintellectual or whatever to read homosexual yearning into a
>horn solo, that's fine. But again, you're couching that personal decision
>in
>the guise of Intellectual Rigor, and i ain't buying that.

No, I find it "personally" as well as "intellectually" boring.  This despite
my obvious handicap of homophobia.  Why is that?  Because like much of what
one can see in cultural politics, the Dolphy-Mingus illustration suggests to
me the very typical problem of invoking ready-made conclusions and
misrecognizing them as profound insights.  It's both a "personal" decision
of mine as well as a "professional" one.  The Dolphy-Mingus illustration
isn't simply one of speculation.  It's one of "pure" speculation, which
makes it all the more specious, especially for those who expect conclusions
not to be "ready-made" but earned with some effort and inquiry.  But it's
useless to point this out because we both know that Dolphy and Mingus are
being used strategically here.  Yet, "queering" some supposed "icons" of
jazz is just a strategy that is ultimately self-defeating.  The admirable
goals of queer politics will be obscured by bad applications.

>To a certain
>extant u and konrad seem to agree that there's not enough restraint used
>when offering these hypotheses, and that such extravagance feeds
>reactionism. almost like you're saying "don't go calling someone gay or
>even
>slightly gay w/o good proof or u'll rouse the wrath of those it makes
>nervous------> a position i understand. just be aware that such
>circumspection costs u less than others.

When it involves no "cost" to the person doing the research, one to whom the
conclusions arrived before the premises, it "costs" everyone else.  In any
case, your argument is overly reductive.  The primary issue is that when
making such a purely speculative gesture to an audience whose training in
enlightenment practice leads them to expect evidence and reasons for
developing a claim, queer politics engenders justifiable laughter and
derision rather than solidarity.  And theory is just too important to be
flushed down the toilet bowl along with its newly and unwanted coextensive
partner: "reckless and reflexive hyperbole."

You've insisted all along on the universality of sexuality over and above
race, class, etc.  Well, perhaps if one is an over-sexed westerner inundated
with mediated desire on a daily basis, this makes sense.  But from where I
sit, this reality is geographically and literally far away.  In the sapce I
inhabit, sexuality is far more underplayed,.  It's there but other things
come first--family, social standing, work, etc. (I'm not speaking here of my
specific life but the country where I live.)  One might be tempted to read
it as "repression."  But that would simply be another imperialist gesture,
and I think we've already pushed the repression stuff far enough for one
day.

And lest we get carried away with the supposedly "emancipating" aspects of
"transgressive" sexuality, I would simply point out that sexual trafficking
and pedophelia are diseases of gay and straight alike.  In my criticism of
Zorn, I did not say or suggest that he was either a pedophile or a sadist.
What I said was that he fetishizes and commodifies images that have become
hard to separate from images and facts that are far more unpleasant.  And I
simply wished he'd be more aware of it.

NP:  Student festival muzak
_________________________________________________________________________
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- -

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

Date: Thu, 17 May 2001 00:20:42 -0700 (PDT)
From: Craig Matsumoto <[e-mail]>
Subject: Tom Cora orgy

Harvard's radio station is apparently planning a Tom Cora marathon this
weekend, co-organized by ex-KZSU DJ Ramesh ...
- - - - - - - - - - - - - - - - - - - - - - - - - -
The Tom Cora Orgy :
Tom Cora: 5/20 9:00 p.m. to 5/22 9:00 a.m. EST
www.recordhospital.org, or www.whrb.org.

Tom Cora remained at the forefront of brilliant composition and striking
improvisation until his death in 1998, at the all-too-early age of 44.
From his earliest days at the Creative Music Studio in New York, he led a
remarkably prolific career collaborating across borders with hundreds of
the most creative voices of the 70's, 80's and 90's.  A self-taught
cellist, Cora's unique influence catalyzed creative intersections between
everything from punk to free jazz to art-rock to contemporary classical
musics. Cora was a key figure in both the New York downtown New Music
world, playing with, among others, John Zorn, Curlew, Christian Marclay,
David Moss, Guy Klucevsek, and Butch Morris. In addition, Cora played a
distinctive role in various European avant gardes, where his collaborators
ranged from Louis Sclavis to Dagmar Krause to Peter Kowald, not to mention
his seminal contributions to the punk agitprop of Amsterdam's The Ex. He
was also an active participant in countless subcultures and imaginative
side-projects - inventing instruments with Hans Reichel, making up Italian
folksongs with Amy Denio, or playing goofy French art-pop with Ferdinand
Richard and Guigou Chenevier (of the legendary Etron Fou Leloublan) and
blissful Czech avant-folk with Iva Bittov.

The Tom Cora orgy will pay tribute to this extraordinary musician by
following his musical career and taking a closer look at the work of many
of his frequent collaborators.  Cora was as much a personal as a musical
contributor to his various milieus; he was much loved and is sorely
missed.  An interview with longtime friend and collaborator Fred Frith
will get inside Cora's remarkable impact on the creative music scene on
two continents. Moreover, the orgy will feature an interview with Zeena
Parkins, a collaborator in Skeleton Crew; Zeena's first harp was built by
Cora.  To trace the career of Tom Cora is in some sense to follow the
growth, connections and exchanges in American and European creative music
circles over the last three decades.


- -- Craig Matsumoto
   KZSU, 90.1 FM, Stanford University
   P.O. Box 20510
   Stanford, CA  94309

   [phone]  phone
   [phone]  fax
   [e-mail]



- -

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

Date: Thu, 17 May 2001 03:22:14 -0400
From: "marc elzweig" <[e-mail]>
Subject: _________ in seattle

hi all,

i'm working in seattle for the next 3 weeks (minus mem. day weekend), and
was hoping anybody on the list might know of good shows upcoming, or
resources & scheduling of/for.  or any good local record stores, i'm not on
the west coast so often.  ...you can't find the 9winds cds in boston so
much...

please respond off-list as i'd hate to cause clutter, thanks.


cheers,
marc



_________________________________________________________________
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- -

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

Date: Thu, 17 May 2001 15:09:05 -0000
From: "thomas chatterton" <[e-mail]>
Subject: Re: Deconsolidating Queer 2

>From: "Bill Ashline" <[e-mail]>

>
>>If however, u find it *personally*
>>boring, or unintellectual or whatever to read homosexual yearning into a
>>horn solo, that's fine. But again, you're couching that personal decision
>>in
>>the guise of Intellectual Rigor, and i ain't buying that.
>
>No, I find it "personally" as well as "intellectually" boring.  This
>despite
>my obvious handicap of homophobia.  Why is that?  Because like much of what
>one can see in cultural politics, the Dolphy-Mingus illustration suggests
>to
>me the very typical problem of invoking ready-made conclusions and
>misrecognizing them as profound insights.  It's both a "personal" decision
>of mine as well as a "professional" one.  The Dolphy-Mingus illustration
>isn't simply one of speculation.  It's one of "pure" speculation, which
>makes it all the more specious, especially for those who expect conclusions
>not to be "ready-made" but earned with some effort and inquiry.

Quite frankly, the increasing intrusion of 'gender politics' into artistic
matters is becoming very tiresome. As Bill points out, it is essentially a
case of speculation, however it seems heavily seasoned with  personal sexual
yearnings on the part of the speculator. For a blatant example of this, one
need only check out the article 'Nick Drake - A Gay Perspective' (posted on
the Drake site), wherein the author's very obvious (and openly admitted)
schoolboy homoerotic desires are sublimated through the ambiguity of Drake's
lyrics. Sure one can read whatever agenda one 'desires' into obtuse lyrical
content, or even easier for the context, into instrumental solos. Ultimately
it doesn't matter and I don't give a flying fuck. Nick Drake's lyrics stand
on their own,  open to whatever meaning I please to read into them,
depending on my emotional state while listening. I'll never know(neither
will anyone else!) and frankly don't care whether Nick was het, gay, bi,
asexual, hermaphroditic, bestial, or whatever. Just the same as I don't care
that Miles used to beat his women. It is not in my sphere to comment or
judge on an artist's private life. And it certainly doesn't affect how I
listen to their music. I could care less what Mingus Dolphy solo is up for
discussion, it's a totally ludicrous topic!  Unless you were personally and
intimately acquainted with the people involved, then you can know nothing at
all about their personalities. And you can write whatever you want about
them because the field is wide open for any psycho-sexual-political agenda
you want to serve by hijacking the pure expression of their art.

np: Satie - Parade(Complete Ballets: Abravanel USO)
_________________________________________________________________________
Get Your Private, Free E-mail from MSN Hotmail at http://www.hotmail.com.


- -

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

Date: Wed, 16 May 2001 02:23:12 EDT
From: [e-mail]
Subject: euphonic jazz & improv festival (Atlanta, GA)

For those who really care...

<<
 First Annual Euphonic Jazz & Improv Festival
 featuring
 THE EVERYTHING BAGELS (from Baltimore)
 James Ignozzi - sax, Brian Swain - guitar, George Shew - bass, Michael
 Beresh - drums
 8:30pm, Friday, May 18th
 $5 at the door
 JEFF CROMPTON QUARTET (from Atlanta)
 Jeff Crompton - alto & baritone sax, Bill Ulrick - guitar, Ben Gettys -
 bass,
 Jamie Shephard - drums
 8:30pm, Saturday, May 19th
 $5 at the door
 ELS TRIO (from San Francisco)
 Marco Enedi - alto sax, Spirit - percussion, Jessica Loos - vocals
 8pm, Sunday, May 20th
 $7 at the door
 Earthshaking Music
 543 Stokeswood Avenue
 404-577-0707 or www.earthshakingmusic.com
 404-622-3355 or [e-mail]
 Sponsored in part by the Dogwood Brewing Company



 THE EVERYTHING BAGELS

 The Everything Bagels are an avant-groove quartet from Northern Maryland.
 The group was originally formed in the summer of 1995 by George Shew
 (bass), Brian Swain (guitar) and Michael Beresh (drums). The group played
 around the Baltimore, Washington, and Northern Virginia area for three
 years as a trio and developed a reputation as a band very capable of long
 improvised jams and tight grooves. In 1998, a chance opportunity to jam
 with another area musician, saxophonist Jamie Ignozzi showed the
 Everything Bagels new possibilities for their music. The original trio
 with Ignozzi took their sound even further into the realm of
 improvisation.
 Later that year the trio became a quartet with the addition of Jamie on
 saxophones. In March of 1998 the quartet recorded their first CD entitled
 'The Misadventures of Dr. Buddy Sudds'. With the release of the CD came a
 steady stream of live shows where the band could show its ability to
 continually growing crowds. The Everything Bagels now play about 175 to
 200 shows a year up and down the upper east coast. The Everything Bagels
 staged their first "tour" in May of 2000.  The band took their sound into
 Pennsylvania, Rhode Island, Long Island and the famed Knitting Factory in
 New York City. The Everything Bagels have since been invited back twice
 to the Knitting Factory as well as the other stops along this tour.
 In August of 2000, the group  recorded a follow-up live CD, entitled '34
 Hours and 500 Miles' at the Knitting Factory. The CD was released in
 October of 2000. Plans for the future of the band also include the
 opportunity to play several shows with musicians Jim Black and Chris
 Speed.
 For further info: www.everythingbagels.8m.com



 JEFF CROMPTON QUARTET

 The Jeff Crompton Quartet was formed at the end of 1996 to provide the
 four musicians with a creative outlet for original, adventurous jazz. The
 Quartet grew out of the Bazooka Ants, a free-form trio featuring Jeff
 Crompton and Ben Gettys that the Atlanta Journal Constitution called "the
 city's most consistently interesting jazz combo". The Quartet performs
 mostly original music covering a wide range from free jazz improvisation
 to straight-ahead bebop to funk, always with an exploratory attitude. The
 group also plays neglected classics from the jazz repertoire, from
 compositions by Thelononius Monk and Ornette Coleman to Jelly Roll
 Morton. The quartet has played at local clubs as well as the 1997 and
 1998 Atlanta Jazz Festivals. Individually, the members of the Quartet
 have performed/recorded with such diverse artists as the Platters, the
 Manhattans, Eddie Floyd, Michael J. Smith, Darryl Rhodes, the Atlanta
 Symphony Orchestra, Jan Smith, James Schneider, Buddy DeFranco, Jaimoe
 Johnson, Celine McCarthy, Wendy Bucklew, Blue Velveeta, Kebbi Williams,
 Bryan Fielden, and Rob Mallard.




 ELS TRIO

 Marco Eneidi - alto sax
 Born on All Saints Day, 1956 in Portland, Oregon, Marco Eneidi's life in
 music began at the age of nine playing the clarinet while growing up in
 the San Francisco East Bay area of California. During high school he
 started playing the guitar in the finger picking style of the southern
 blues legends, played gut bucket bass in a jug band, and played clarinet
 in a Dixieland band which performed at nursing homes and the local
 pizzeria.
 At the age of twenty, Marco decided to get serious about music and
 finally began to practice upwards of twelve hours a day. In 1978 he got
 his first real job in music. He was hired to be part of a C.E.T.A.
 sponsored band, playing swing and jazz standards twice a day at various
 nursing homes, schools and hospitals throughout Sonoma County in Northern
 California.
 In 1981, Marco decided to move to New York and look up Jimmy Lyons who he
 had met several
 years earlier at San Francisco's Keystone Corner with the Cecil Taylor
 Unit. Within several days of moving into the Lower East Side, Marco met
 Jemeel Moondoc along with the members of his band which included Denis
 Charles, William Parker and Roy Campbell. He began an everlasting
 relationships and colloborations with some of the most important
 musicians of the time including Don Cherry, Jim Pepper, Bill Dixon, Cecil
 Taylor, Dewey Redman and Wilbur Morris.
 With the release of his trio LP recording "Vermont Spring" in 1987, Marco
 formed Botticelli
 Records which has since seen several new releases on CD. These releases
 have included many of the most important creative jazz musicians in the
 field: Denis Charles, William Parker, Wadada Leo Smith, Glenn Spearman,
 Wilbur Morris, Karen Borca and Jackson Krall.
 After returning to California in 1995, Marco, along with Glenn Spearman
 formed the Creative
 Music Orchestra. It was the first of many large recent orchestral works
 that were composed on an even larger scale, leading to the creation of
 the American Jungle Orchestra, which varies in size from fifteen to forty
 over the years.

 Jessica Loos - projective vocals / tone poems
 While living in New York, Jessica was a memeber of The Living Theatre
 performing on a weekly basis in a street play protesting the death
 penalty under the direction of Judith Malina. Jessica also was a regular
 at Loisaida's Tribes Gallery and performed there in various capacities.
 Her vocalizations utilize improvised poetry, tone poems and sound
 movement, incorporating influences such as Jack Kerouac, Glenn Spearman
 and Carmen Amaya. Since
 relocating to California three years ago, she has performed with the
 American Jungle Orchestra, Douglass Ewart and Peter Kowald, as well as
 giving solo readings. Jessica works as a free lance writer for HIGH TIMES
 magazine and is currently writing a book on the late beat poet Jack
 Micheline.

 Spirit - percussion
 Spirit's life in music began in the late sixties when at the age of
 sixteen he went on the road with an R&B band out of Ohio touring the U.S.
 After several years on the road, he left the R&B world in order to move
 to New York. In New York Spirit became close friends with the late
 bassest Jay Oliver and together they would spend most days at Rashied
 Ali's loft rehearsing. During this period Spirit also worked with with
 Julius Hemphill and Alan
 Shorter. In the mid-seventies, Spirit moved to Berkeley, California where
 he worked with many of the Bay Area musicians which at that time included
 Butch Morris, Rasul Siddik, Glenn Spearman and Positive Knowledge, as
 well as leading his own group "Sacred Unit".
 For further info: www.marcoeneidi.com



 upcoming Euphonic Productions


 MATS GUSTAFSSON - reeds (from Sweden)
 PAUL LOVENS - selected drums & cymbals, singing saw (from Germany)
 8:30pm, Monday, June 18th
 $10 at the door
 Earthshaking Music
 543 Stokeswood Avenue
 404-577-0707 or www.earthshakingmusic.com
 404-622-3355 or [e-mail]



 WINDY & CARL (from Dearborn, MI)
 Windy Weber - bass/keyboards/vocals, Carl Hultgren - guitar/keyboards
 plus LANDING (from Middletown, CT)
 Dick Baldwin - bass/moog/guitar, Aaron Snow - guitar/bass/moog/vocals,
 Daron Gardner - drums, Adreinne C. Snow - moog, vocals
 8pm, Sunday, July 1st
 $8 at the door
 Earthshaking Music
 543 Stokeswood Avenue
 404-577-0707 or www.earthshakingmusic.com
 404-622-3355 or [e-mail]



 THE FLAKES (from Atlanta)
 Randy Castello - guitar/loops, Patrick Foley - guitar/loops, Jamie
 Shephard - drums,
 Rob Parham - film/slides/film loops, Justin Hughs - film/slides/film
 loops,
 Tim Reardon - film/slides/film loops
 8:30pm, Friday, July 13th
 $5 at the door
 Earthshaking Music
 543 Stokeswood Avenue
 404-577-0707 or www.earthshakingmusic.com
 404-622-3355 or [e-mail]



 TRIAGE (from Chicago)
 Dave Rempis - alto & tenor sax
 Jason Ajemian - bass
 Tim Daisy - drums
 8pm, Sunday, August 19th
 $7 at the door
 Earthshaking Music
 543 Stokeswood Avenue
 404-577-0707 or www.earthshakingmusic.com
 404-622-3355 or [e-mail]



 plus, hopefully, in the fall, Mike Cooper, Scott Fields/Vinny Golia/Toshi
 Makihara trio, Georg Graewe/Frank Gratkowski/Kent Kessler/Hamid Drake
 quartet, Konk Pack (Tim Hodgkinson/Thomas Lehn/Roger Turner), Willem
 Breuker Kollektief, and ICP Orchestra, details TBA.







 tmj/ep
    ______________________________________________________
   |euphonic productions is a not-for-profit organization
   |dedicated to presenting diverse perspectives in music.
   * >>


- -

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

End of Zorn List Digest V3 #431
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