ftp.xmission.com/2014.06.ftp.xmission.com.tar/ftp.xmission.com/pub/lists/zorn-list/archive/v03.n432

Internet Message Format | 2001-05-16 | 22KB

From: [e-mail] (Zorn List Digest)
To: [e-mail]
Subject: Zorn List Digest V3 #432
Reply-To: zorn-list
Sender: [e-mail]
Errors-To: [e-mail]
Precedence: bulk


Zorn List Digest        Thursday, May 17 2001        Volume 03 : Number 432



In this issue:
-
       Re: Tom Cora orgy
       Mats Gustafsson / Paul Lovens US Tour
       AMM
       Re: Deconsolidating Queer 2
       Re: AMM
       Re: AMM
       Re: AMM
       Re: AMM
       Re: AMM
       Re: Playing inside the piano
       Re: Playing inside the piano
       RE: Love, Madness, Mysticism
       victoriaville 2001!

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

Date: Thu, 17 May 2001 06:31:52 -0400
From: bob sweet <[e-mail]>
Subject: Re: Tom Cora orgy

It appears, from looking at the website that is mentioned below, that on May
20-May 22 WHRB will be featuring a Claude Debussey orgy. Can you clarify?

Thanks,

Bob Sweet
[e-mail]
read Music Universe, Music Mind: Revisiting the Creative Music Studio
subscribe to CMS Update
http://www.arborville.com

Craig Matsumoto wrote:

> 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.
>

    [snip]

> -- 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 10:41:30 -0500
From: pedro moreno <[e-mail]>
Subject: Mats Gustafsson / Paul Lovens US Tour

The improvising duo of Mats Gustafsson and Paul Lovens will be embarking on
a short US tour.  Do not miss this rare opportunity to see these world
class improvising musicians, please spread the word.=20

for more info=20

                 Mats Gustaffson=20
                 http://www.shef.ac.uk/misc/rec/ps/efi/mgustafs.html  =20

                 Paul Lovens=20
                 http://www.shef.ac.uk/misc/rec/ps/efi/mlovens.html  =20

http://www.mic.stim.se/svensk/11/facts/gustafssonm.html  =20
http://www.copperpress.com/main/issues/2/mats.html  =20
http://www.jazzweekly.com/interviews/mgustafson.htm  =20

Mats Gustafsson / Paul Lovens=20
Nothing To Read US Tour 2001=20

June 13  Chicago=20
The Empty Bottle Jazz Series  (7pm; $7)=20
1035 N. WESTERN AVE. * CHICAGO, IL 60622 * 773-276-3600
http://www.emptybottle.com  =20
 =20

June 14    San Antonio, Texas=20
Carmen's de la Calle Cafe, 720 E. Mistletoe (Phone: [phone]).=20
Paul and Mats will start at 7:30 p.m. (sharp). San Antonio's Gerry Gibbs=20
Quintet will follow at 9:30.=20
Advance tickets are available for $8 from=20
Hogwild Records, 1824 N. Main (Phone: [phone]).=20
Admission at the door is $10.=20

 =20
June 15   Austin, Texas=20
Presented by Epistrophy Arts with assistance from Revenant Sound=
 Laboratories=20
Ceremony Hall  4100 Red River   8pm=20
Tickets $10  available at 33 Degrees, Waterloo Records, and Sound Exchange.=
=20
tix and info 512-302-5233=20
http://www.epistrophyarts.org  =20
[e-mail] =20

Saturday June 16 2001 Houston, Texas=20
Diverse Works $10  8pm=20
Presented by the Pauline Oliveros Foundation Houston=20
Diverse Works  1117 East Freeway, I-10 at North Main,=20
http://www.artswire.org/pof/houston    =20
[e-mail]  =20
 =20

Sunday. June 17. 8:00 pm=20
at the Contemporary Arts Center=20
900 Camp Street=20
New Orleans, LA=20
box office=3D 504-528-3800=20
http://www.cacno.org    =20
[e-mail]=20
 =20

Monday June 18th  Atlanta, GA=20
Presented by Euphonic Productions & WREK=20
8:30pm, Monday, June 18th=20
$10 at the door=20
Earthshaking Music=20
http://www.earthshakingmusic.com   =20
543 Stokeswood Avenue=20
404-622-3355 or [e-mail]    =20

Gustafsson has the capacity to become one of the giants of European
improvisation.  Blessed with a seemingly effortless technique, a wittily
deconstructive approach to his instrument(s), and a generous intellligence,
he never produces work that is less than thoughtful or other than exuberant.=
=20

Penguin Guide to Jazz on CD 5th Ed.=20
 =20

 "Mats is the most modern of players where the genre tags of jazz, noise,
experimental, avant-whatever are finally transcended to a new millennium --
where compositional concepts are at once in check with open improvisation
and a super-postmodernism becomes what we always wanted: rock & roll!"=20

Thurston Moore=20

Jumping off from the nearly unreal standards set by pioneering
avant-gardists Albert Ayler, Evan Parker, and Peter Br=F6tzmann, the young
Swede draws from a heady bank of extended techniques that both amplify and
personalize the range of his horn. -=20
            Sam Prestianni, San Fransisco Weekly=20

In concert one cannot fail to be moved by his (Lovens) intensity and
concentration and there is an overiding feeling that even the most random
events are somehow planned in time. - European Free Improvisation Pages=20


- -

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

Date: Thu, 17 May 2001 09:54:38 -0700
From: "D Dvb" <[e-mail]>
Subject: AMM

In response to Jon's inquiry about the AMM show here in the bay that I
didn't particularly like...

The show was at Mill's College in Oakland.  There were several other people
on this list that were at the same show who were also less than enthralled
with AMM and posted messages saying so.  Perhaps it was an off-night?

As for my personal reaction to the show, I felt that while there were
(all-too) brief moments of musical engagement, for the most part their
playing seemed to evoke a singular, melancholic mood; they seemed to be
soundtracking the same scene to some B-horror movie for over 70 mins or so.
I was fighting off sleep for much of the performance.

Also, Prevost, at times, resembled an 18-year old kid who's heard Sonic
Youth for the first time and is searching for any object to scrape across
his newly-bought guitar.  I thought that Prevost and Tillbury displayed some
interesting techniques (esp. when Tilbury was bowing(?) the strings inside
the piano) but Rowe struck me as being that 18-year old kid with a lack of
musicianship.

Like I said earlier, perhaps an off-night.

Davy
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


- -

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

Date: Thu, 17 May 2001 13:15:53 -0400 (EDT)
From: konrad <[e-mail]>
Subject: Re: Deconsolidating Queer 2

On Thu, 17 May 2001, thomas chatterton wrote:

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

From my vantage it appears these posts are actually making Jeton's
original point all the more, which was that there is hostility towards
certain kinds of interpretation.


konrad

^Z


- -

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

Date: Thu, 17 May 2001 13:50:16 EDT
From: [e-mail]
Subject: Re: AMM

cool, thanks for answering, Davy.

you said:

<<Also, Rowe, at times, resembled an 18-year old kid who's heard Sonic
Youth for the first time and is searching for any object to scrape across
his newly-bought guitar.>>

ok, I think I've got it. kind of like how Cecil Taylor resembles a little kid
randomly banging on his new piano after he's just heard Matt Shipp? or how
Evan Parker sounds like he's picking up the sax for the first time after
hearing Ned Rothenberg?

Jon
www.erstwhilerecords.com

- -

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

Date: Thu, 17 May 2001 11:56:44 -0500
From: Joseph Zitt <[e-mail]>
Subject: Re: AMM

On Thu, May 17, 2001 at 09:54:38AM -0700, D Dvb wrote:

> Also, Prevost, at times, resembled an 18-year old kid who's heard Sonic
> Youth for the first time and is searching for any object to scrape across
> his newly-bought guitar.  I thought that Prevost and Tillbury displayed some
> interesting techniques (esp. when Tilbury was bowing(?) the strings inside
> the piano) but Rowe struck me as being that 18-year old kid with a lack of
> musicianship.

Er, what? I suspect that Prevost and Rowe's names are tangled here.

Seeing the work inside the piano as interesting is ... well ...
interesting. I recall reading a complaint (here or on another list?)
recently that so many improv pianists were going for the obligatory
cliche of reaching inside the piano on every gig.

The interview with Rowe in the latest Wire has interesting insights
into his guitar technique. It certainly isn't particularly related to
conventional virtuosity.

But then, even Prince has his off nights :-)

- --
|> ~The only thing that is not art is inattention~ --- Marcel Duchamp <|
| [e-mail]           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: Thu, 17 May 2001 20:11:54 +0200
From: Julien Quint <[e-mail]>
Subject: Re: AMM

> <<Also, Rowe, at times, resembled an 18-year old kid who's heard Sonic
> Youth for the first time and is searching for any object to scrape across
> his newly-bought guitar.>>
>
> ok, I think I've got it. kind of like how Cecil Taylor resembles a little
> kid randomly banging on his new piano after he's just heard Matt Shipp? or
> how Evan Parker sounds like he's picking up the sax for the first time
> after hearing Ned Rothenberg?

Actually the Sonic Youth comparison is funny because Sonic Youth did invite
Keith Rowe to open for them in Nantes when they toured France after the
release of "1000 Leaves", a couple years ago. I wasn't at the show, but from
what I heard the audience -- mostly pop kids it seems -- was quite outraged
at him. During this tour, they always chose local and challenging opening
acts, and the audience reaction was not always very positive unfortunately.

Julien

- -

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

Date: Thu, 17 May 2001 13:12:58 -0500
From: "samuel yrui" <[e-mail]>
Subject: Re: AMM

jzitt said:

Seeing the work inside the piano as interesting is ... well ...
interesting. I recall reading a complaint (here or on another list?)
recently that so many improv pianists were going for the obligatory
cliche of reaching inside the piano on every gig.
- ------------------------------------------------

once i was playing two saxes and my friend said: "it's been done."  so i
started playing one sax and said: "so has this."
if playing inside the piano is cliche, then outside of it must just be the
dinosaur days.  no... i'm being a little to overboard in my comparision.
but what i mean is that inside or outside of the piano, i think as long as
the pianist doesn't think of playing inside of the piano as an avant garde
gimmick, but that they do what needs to be done to get the sounds they have
in their head by any means necessary.  it just makes it sound like your
saying that perhaps there is a small amount of options inside of the piano
than outside of it, which i don't think is true, although the thing was made
for playing on the keys.  but i agree that a lot of people probably do it
when it isn't really necessary, but just for the trend of "ooh, crazy."
  anyway,
    -samuel










_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com


- -

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

Date: Thu, 17 May 2001 14:17:35 -0400 (EDT)
From: konrad <[e-mail]>
Subject: Re: AMM

On Thu, 17 May 2001, Joseph Zitt wrote:

>  ... I recall reading a complaint (here or on another list?)
> recently that so many improv pianists were going for the obligatory
> cliche of reaching inside the piano on every gig.

I like it when they reach inside and pull out a sledgehammer.

konrad

^Z


- -

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

Date: Thu, 17 May 2001 13:49:41 -0500
From: Moudry <[e-mail]>
Subject: Re: Playing inside the piano

><snip!>On Thu, 17 May 2001, Joseph Zitt wrote:
> >  ... I recall reading a complaint (here or on another list?)
> > recently that so many improv pianists were going for the obligatory
> > cliche of reaching inside the piano on every gig.
><snip!>

My favorite "playing inside the piano" memory is when Count Basie played
the strings directly, during his birthday concert @ Filmore (West, I guess
I should say now), when his band followed the Charles Lloyd Quartet (
1967). Keith Jarrett did a long inside the piano solo at the end of Lloyd's
set. Basie had a wonderful pixie grin on his face when he did his
version.... And no one ever thought of the Count as a free jazzer.

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 & Creative 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: Fri, 18 May 2001 12:33:38 -0700
From: Skip Heller <[e-mail]>
Subject: Re: Playing inside the piano

>
>> <snip!>On Thu, 17 May 2001, Joseph Zitt wrote:
>>> ... I recall reading a complaint (here or on another list?)
>>> recently that so many improv pianists were going for the obligatory
>>> cliche of reaching inside the piano on every gig.
>> <snip!>
>
> My favorite "playing inside the piano" memory is when Count Basie played
> the strings directly, during his birthday concert @ Filmore (West, I guess
> I should say now), when his band followed the Charles Lloyd Quartet (
> 1967). Keith Jarrett did a long inside the piano solo at the end of Lloyd's
> set. Basie had a wonderful pixie grin on his face when he did his
> version.... And no one ever thought of the Count as a free jazzer.
>
> 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 & Creative Improv on Alabama Public Radio:
> WUAL 91.5FM Tuscaloosa/Birmingham
> WQPR 88.7FM Muscle Shoals/NW Alabama
> WAPR 88.3FM Selma/Montgomery/Southern Alabama
>
>
> -
>
There are also examples of this technique in various parts of the Beach
Boys' PET SOUNDS.

skip h


- -

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

Date: Thu, 17 May 2001 15:29:23 -0400
From: Jeni Dahmus <[e-mail]>
Subject: RE: Love, Madness, Mysticism

[e-mail] wrote:
hey,
i don't think this message is appropriate, being that it actually has SOME
Zorn content :) but um.. I picked it up the other day, and while I must say
I'm personally eagearly awaiting Songs of the Hermetic Theater, the pieces
presented on this album are definitely worth hearing. As I've mentioned a
lot before, I'm a very big fan of Zorn's semi-classical compositions, maybe
just a little bit more than his other projects. But don't get me wrong, I
hold them all in VERY high regard, just ask my girlfriend, who thinks I'm a
pretentious jerk. :) Anyway here are some random thoughts. "Love, Madness,
and Mysticism", while being a good collection of pieces, is not an excellent
collection of pieces.
- ------------------------------


Can you please explain what you mean by semi-classical?  The pieces on Love,
Madness, and Mysticism are notated and draw on contemporary classical
techniques, such as pitch sets.  I agree that Zorn's classical projects are
among his most interesting.  I find this collection excellent, not just
good.

Jeni

- -

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

Date: Thu, 17 May 2001 16:35:46 -0400
From: Ari Lazier <[e-mail]>
Subject: victoriaville 2001!

i was just wondering if anyone was planning to or wanted to go up to vict=
oriaville (a bit south of quebec) this weekend for the victo music festiv=
al. I
am a poor student in the new york area with no car, and would be willing =
to drive and pay for gas if anyone would be kind enough to either to dona=
te a
car or bring me along.  Here are some of the performances that should not=
 be missed.  the rest of the schedule can be found at
http://www.fimav.qc.ca/home.html

ari


monday:

15h00
Colis=E9e des Bois-Francs
$30
JOHN ZORN / BAR KOKHBA
=C9TATS-UNIS
PREMI=C8RE QU=C9B=C9COISE
Une collaboration
avec Mark Feldman, Erik Friedlander, Greg Cohen, Marc Ribot,
Cyro Baptista , Joey Baron et John Zorn
BAR KOKHBA blends ZORN=92s taste for Jewish music with melodies and rhyth=
ms from South America. This will be a concert for the whole family that
will tear down stylistical and ideological barriers isolating creative mu=
sic. The sunny sounds of BAR KOKHBA will make you dance. How could it be
otherwise?

20h30
Colis=E9e des Bois-Francs
$28
FRED FRITH / BILL LASWELL
DAVE LOMBARDO / JOHN ZORN
ANGLETERRE, =C9TATS-UNIS
PREMI=C8RE CANADIENNE
Do you really want a description? It will be improvised, hot, screaming a=
nd surprising. A music category? It will be Musique Actuelle at its best?






sunday:

15h00
Colis=E9e des Bois-Francs
$18
OTOMO YOSHIHIDE =AB Cathode =BB
JAPON, SUISSE
PREMI=C8RE NORD-AM=C9RICAINE
Une collaboration
avec Sachiko M, Ishikawa Ko, G=FCnter M=FCller et Otomo Yoshihide
CATHODE'S music evolves in the near nothingness of sound generated by obj=
ects first conceived to reproduce the sound of others: behind its apparen=
t
stasis, its deceptive immobility, lie imperceptible changes. An =93extrem=
e=94 approach of minimalism!

17h00
CEGEP
$16
AMY DENIO / FRANCISCO LOPEZ
=C9TATS-UNIS, ESPAGNE
PREMI=C8RE CANADIENNE
Few musicians seem so far apart from one another as AMY DENIO and FRANCIS=
CO LOPEZ. While the Spaniard is a radical thinker and avowed
exponent of minimalist sound experiments, his American partner is a brill=
iant multi-instrumentalist and an impassioned singer of energetic songs a=
nd
expansive melodies. An unlikely combination!

20h00
Cin=E9ma Laurier
$24
KIM GORDON / IKUE MORI / DJ OLIVE / JIM O=92ROURKE
=C9TATS-UNIS, JAPON
PREMI=C8RE CANADIENNE
Rock, improvised music, collages and sound environments, noise, electroac=
oustic music meet here in a convincing mix.

22h00
Colis=E9e des Bois-Francs
$28
FANT=D4MAS
=C9TATS-UNIS
PREMI=C8RE QU=C9B=C9COISE
Une collaboration et
avec Trevor Dunn, Dave Lombardo, Buzz Osborne et Mike Patton
FANT=D4MAS has nothing to do with feedback etudes, contemporary music, im=
provisation or hip-hop. It=92s a dynamite load of avant-garde =93death me=
tal=94
propelled by an impressive musical technique that will spare no one!

00h15
CEGEP
$18
THE DANUBIANS
R=C9PUBLIQUE TCH=C8QUE, HONGRIE, =C9TATS-UNIS
PREMI=C8RE NORD-AM=C9RICAINE
Une collaboration
avec Pavel Fajt, Gabi Kenderesi, Csaba Hajnoczy et Amy Denio
The DANUBIANS create a music that can best be defined in terms of its wid=
e range of influences; from east-european folk stylings to echoes of clas=
sic
rock=92n=92roll, from free improv to post-punk, with jagged rhythms and s=
ampled sounds galore, this band=92s sonic universe is like a wild merry g=
o round of
rich instrumental textures.




saturday:

20h00
Cin=E9ma Laurier
$24
JEAN DEROME / LOUIS SCLAVIS QUARTET
QU=C9BEC, FRANCE
PREMI=C8RE MONDIALE
Une collaboration
avec Pierre Tanguay, Bruno Chevillon, Jean Derome et Louis Sclavis
Joining hands and locking horns from both sides of the Great Pond, French=
 reedist LOUIS SCLAVIS and his astounding bassist BRUNO CHEVILLON
will be facing off with their Qu=E9becois counterparts, saxman and flutis=
t JEAN DEROME and drummer PIERRE TANGUAY. Three cheers then for musical
free trade!

22h00
Colis=E9e des Bois-Francs
$28
DAVE DOUGLAS =AB Witness =BB
=C9TATS-UNIS, JAPON
PREMI=C8RE CANADIENNE
Une collaboration
avec Chris Speed, Joe Daley, Mark Feldman, Drew Gress, Bryan Carrott, Iku=
e Mori, Michael Sarin, Erik Friedlander et Dave Douglas
WITNESS is a remarkable orchestral suite for a nine piece ensemble devise=
d by trumpeter extraordinaire DAVE DOUGLAS. More than an artistic feat, t=
his
work is inspired by and dedicated to activists and writers who have chall=
enged the powers that be. Not only will the musical pickings be great, bu=
t there
will
be plenty of good food for thought in it as well.




- -

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

End of Zorn List Digest V3 #432
*******************************


 To unsubscribe from zorn-list-digest, send an email to
       "[e-mail]"
 with
       "unsubscribe zorn-list-digest"
 in the body of the message.

 For information on digests or retrieving files and old messages send
 "help" to the same address.  Do not use quotes in your message.

 A non-digest (direct mail) version of this list is also available; to
 subscribe to that instead, replace all instances of "zorn-list-digest"
 in the commands above with "zorn-list".

 Back issues are available for anonymous FTP from ftp.xmission.com, in
 pub/lists/zorn-list/archive.  These are organized by date.

 Problems? Email the list owner at [e-mail]