Does anyone on the list have this CD? If so, e-mail me privately, a review... I've been trying to get a copy, but every place on the web seems to be "out of stock"... The Tzadik site isn't working - I can't get anything to appear in the shopping cart...
- -Theo
- ---------------------------------
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- --0-123914582-994426435=:59761
Content-Type: text/html; charset=us-ascii
<P> Does anyone on the list have this CD? If so, e-mail me privately, a review... I've been trying to get a copy, but every place on the web seems to be "out of stock"... The Tzadik site isn't working - I can't get anything to appear in the shopping cart... </P>
<P>-Theo</P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
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a year!<BR><a href="http://personal.mail.yahoo.com/?.refer=tagline">http://personal.mail.yahoo.com/</a>
- --0-123914582-994426435=:59761--
- -
------------------------------
Date: Fri, 6 Jul 2001 09:53:24 EDT
From: PaanKu@aol.com
Subject: bill laswell/ talvin singh
Tabla Beat Science - Tala Matrix
Does anybody kno anything about this album? a friend of mine picked it up at
random and told me about it, its essentially a bill laswell project, i
believe dj talvin singh works as a coengineer or something...
There isnt a tour is there?
- -
------------------------------
Date: Fri, 06 Jul 2001 16:25:50 +0200
From: patRice <iqhouse@yahoo.de>
Subject: Re: bill laswell/ talvin singh
PaanKu@aol.com wrote:
> Tabla Beat Science - Tala Matrix
>
> Does anybody kno anything about this album?
Unfortunately I don't know about this album, but...
> a friend of mine picked it up at
> random and told me about it, its essentially a bill laswell project, i
> believe dj talvin singh works as a coengineer or something...
... Talvin is not primarily a DJ; he's mainly a tabla player & "electronic"
dance music "composer".
He will soon be touring with a band to promote his latest album.
patRice
np: Now J-Pop 2001
nr: Japanese Tattoo Institute, Horiyoshi's World Vol. 2
- -
------------------------------
Date: Fri, 6 Jul 2001 07:33:40 -0700 (PDT)
From: Scott Handley <thesubtlebody@yahoo.com>
Subject: Re: free improv (was Chadbourne)
- --- William York <william_york@hotmail.com> wrote:
> WY (who thinks permits should be required for table-
> and lap-top guitar at
> this stage in the game)
How prevalent is this practice? Keith Rowe talks
about it in that WIRE interview like everybody's doing
it now, but who is everybody? Is there a surplus of
tabloe-top playing, or is it just predictably bad on
the (rare) occasions that it does happen? (Excepting
the really great players---Frith, Drumm, Rowe,
Montera, Tammen, etc.). It still somehow seems like a
pretty exotic practice to me; I can't see it having
Get your FREE download of MSN Explorer at http://explorer.msn.com
- -
------------------------------
Date: Fri, 06 Jul 2001 10:19:47 -0500 (CDT)
From: kasra@ou.edu
Subject: RE: bill laswell/ talvin singh
I picked up the album accidentally. I'm familiar with both musicians but had
never seen them collaborate. It's a tribute album to Ustad AllaRakkah (Tabla
Master). The album consists of tablas being used for a variety of genres.
Although I can't really get into some of the writing, the tabla virtuosity is
nothing short of spectacular. I have absolutely fallen in love with that
instrument.
kasra george
- -
------------------------------
Date: Fri, 6 Jul 2001 11:30:11 -0700 (PDT)
From: Theo Klaase <river_of_dogs@yahoo.com>
Subject: Massacre - Frith, Laswell, Hayward...
- --0-1377772895-994444211=:3857
Content-Type: text/plain; charset=us-ascii
I must recommend this album to the list... "Funny Valentine" by Massacre... Great energetic improvs on each element involved... Fred Frith's guitar playing is stunningly amazing, unique, and appropriate... Laswell is about as inventive and energetic as I've ever heard him play... This is the first album in which I've had the opportunity of hearing Chris Hayward play -- he's quite productive and he knows when to play and when to relax...He reminds me of a cross between Previte and Chris Wood. I can't stop listening to this CD! Help!
I see Massacre has put out another album called "Killing Time." Are these the only 2 albums or are there more?
- -Theo
- ---------------------------------
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- --0-1377772895-994444211=:3857
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<P> I must recommend this album to the list... "Funny Valentine" by Massacre... Great energetic improvs on each element involved... Fred Frith's guitar playing is stunningly amazing, unique, and appropriate... Laswell is about as inventive and energetic as I've ever heard him play... This is the first album in which I've had the opportunity of hearing Chris Hayward play -- he's quite productive and he knows when to play and when to relax...He reminds me of a cross between Previte and Chris Wood. I can't stop listening to this CD! Help!</P>
<P> I see Massacre has put out another album called "Killing Time." Are these the only 2 albums or are there more? </P>
<P>-Theo</P>
<P> </P><p><br><hr size=1><b>Do You Yahoo!?</b><br>
Get personalized email addresses from Yahoo! Mail - only $35
a year!<BR><a href="http://personal.mail.yahoo.com/?.refer=tagline">http://personal.mail.yahoo.com/</a>
- --0-1377772895-994444211=:3857--
- -
------------------------------
Date: Fri, 06 Jul 2001 14:31:51 -0500 (CDT)
From: kasra@ou.edu
Subject: Bill Laswell
Good Afternoon Everybody,
The first exposure I received to Bill Laswell was Material's "Hallucination
Engine. I was wondering if anybody would tell me about any other Laswell
recordings with similar musical explorations.
kasra
- -
------------------------------
Date: Fri, 6 Jul 2001 16:11:43 EDT
From: Orangejazz@aol.com
Subject: new zorn
- --part1_128.10d5c2e.2877757f_boundary
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> I did hear the new Zorn and found no interest in it
> after a first contact.
> The computer compositions are just senseless noise
> IMHO. I couldn't say it's even hilarious or
> entertaining in some way. There was also a composition
> with a recitation that could be relatively
> highlightable.
> All in all, a dull Zorn's release. Boring and
> gratuitous and pretentious are the words that come to
> my mind
Ok. Well. I'm not going to say that Zorn hasn't seemed kind of pretentious,
especially as of late, though some of his self-love does hearken back to the
liner notes of Spillane. I'm not going to say that the new release is
particularly genius, but I will contend that it is at least an inspired
collection. Zorn's been at sort of a compositional block lately, I think.
What attracted me to his work in the first place was the endless eclecticism
and constant striving for new means of musical expression. That stuff is very
clear up until the last couple of years. Then, there was a flood of
Masada-related stuff, which while I respect, I will admit it got a little bit
too comfortable for Zorn at times. A couple of collections of chamber/string
pieces, which were written not so recently, and other "classical"
compositions, etc.. Zorn looks like he's trying very hard to cement his
validity as an important avant-garde composer, which rankles, especially
considering most of us (at least on this list) already believe he is, and
besides us, who else really matters?
Anyway, the new collection, one computer piece and one electronic piece that
sound REMARKABLY similar, a piece for Maya Deren, and a piece for Beuys, is
at least a very clear break from the recent rehashing.
Instead of continuing to hone and refine his skills, as he did on his last
chamber release, and the Masada live series, he's back to experimenting, and
I, for one, am glad.
The electronics pieces do not sound like senseless noise. They are very, very
active compositions, however. There is not much in the way of silence and the
sounds are distinctly digital, rather than implementing any sort of
sampling.. The closest analogy I can make would probably be to Morton
Subotnick, or at least one of those computers you hear in cartoons from the
70's. There are definitely some polyphonic rhythmic things happening, though,
and some very interesting uses high sine-wave frequencies and white noise as
a disrupting factor. The Maya Deren piece, I felt, was the real failure of
the album. Who really thinks that bass guitar feedback is that interesting? I
really loved "Redbird", and this ain't no "Redbird". I'm not entirely sure
what my reasoning is, but I really found the Deren piece to be entirely a
failure, except for the sample of Maya Deren speaking, and that was only
because she has something interesting to say.
The real stand-out piece is "Beuysblock", the instrumentation was nicely
assembled, though I felt the implementation of more traditional instruments,
the violin and the piano, were sort of a concession on Zorn's behalf. Though
I do feel it is the strongest work on the album, I also felt rather let down
by it. The were so many compositional possibilities with the instrumentation
selected on the new cd, and it seems like Zorn just ignored them and focused
on the instrumentation itself. Which would be enough for, say, Morton
Feldman.
I don't know. I'd like to see him continue in this line of work, and I give
him credit for not jumping on the IDM bandwagon or just making some piece of
Musique Concrete, but this album just isn't the bomb-diggity as I was hoping.
from,
matt
- --part1_128.10d5c2e.2877757f_boundary
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>> I did hear the new Zorn and found no interest in it
<BR>> after a first contact.
<BR>> The computer compositions are just senseless noise
<BR>> IMHO. I couldn't say it's even hilarious or
<BR>> entertaining in some way. There was also a composition
<BR>> with a recitation that could be relatively
<BR>> highlightable.
<BR>> All in all, a dull Zorn's release. Boring and
<BR>> gratuitous and pretentious are the words that come to
<BR>> my mind
<BR>
<BR>Ok. Well. I'm not going to say that Zorn hasn't seemed kind of pretentious,
<BR>especially as of late, though some of his self-love does hearken back to the
<BR>liner notes of Spillane. I'm not going to say that the new release is
<BR>particularly genius, but I will contend that it is at least an inspired
<BR>collection. Zorn's been at sort of a compositional block lately, I think.
<BR>What attracted me to his work in the first place was the endless eclecticism
<BR>and constant striving for new means of musical expression. That stuff is very
<BR>clear up until the last couple of years. Then, there was a flood of
<BR>Masada-related stuff, which while I respect, I will admit it got a little bit
<BR>too comfortable for Zorn at times. A couple of collections of chamber/string
<BR>pieces, which were written not so recently, and other "classical"
<BR>compositions, etc.. Zorn looks like he's trying very hard to cement his
<BR>validity as an important avant-garde composer, which rankles, especially
<BR>considering most of us (at least on this list) already believe he is, and
<BR>besides us, who else really matters?
<BR>Anyway, the new collection, one computer piece and one electronic piece that
<BR>sound REMARKABLY similar, a piece for Maya Deren, and a piece for Beuys, is
<BR>at least a very clear break from the recent rehashing.
<BR>Instead of continuing to hone and refine his skills, as he did on his last
<BR>chamber release, and the Masada live series, he's back to experimenting, and
<BR>I, for one, am glad.
<BR>The electronics pieces do not sound like senseless noise. They are very, very
<BR>active compositions, however. There is not much in the way of silence and the
<BR>sounds are distinctly digital, rather than implementing any sort of
<BR>sampling.. The closest analogy I can make would probably be to Morton
<BR>Subotnick, or at least one of those computers you hear in cartoons from the
<BR>70's. There are definitely some polyphonic rhythmic things happening, though,
<BR>and some very interesting uses high sine-wave frequencies and white noise as
<BR>a disrupting factor. The Maya Deren piece, I felt, was the real failure of
<BR>the album. Who really thinks that bass guitar feedback is that interesting? I
<BR>really loved "Redbird", and this ain't no "Redbird". I'm not entirely sure
<BR>what my reasoning is, but I really found the Deren piece to be entirely a
<BR>failure, except for the sample of Maya Deren speaking, and that was only
<BR>because she has something interesting to say.
<BR>The real stand-out piece is "Beuysblock", the instrumentation was nicely
<BR>assembled, though I felt the implementation of more traditional instruments,
<BR>the violin and the piano, were sort of a concession on Zorn's behalf. Though
<BR>I do feel it is the strongest work on the album, I also felt rather let down
<BR>by it. The were so many compositional possibilities with the instrumentation
<BR>selected on the new cd, and it seems like Zorn just ignored them and focused
<BR>on the instrumentation itself. Which would be enough for, say, Morton
<BR>Feldman.
<BR>I don't know. I'd like to see him continue in this line of work, and I give
<BR>him credit for not jumping on the IDM bandwagon or just making some piece of
<BR>Musique Concrete, but this album just isn't the bomb-diggity as I was hoping.
<BR>
<BR>from,
<BR>matt
<BR></FONT></HTML>
- --part1_128.10d5c2e.2877757f_boundary--
- -
------------------------------
End of Zorn List Digest V3 #490
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