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Zorn List Digest       Thursday, August 30 2001       Volume 03 : Number 556



In this issue:
-
       SIGH
       Re: Mahfouz and summer reading
       Re: Trisha Brown/Dave Douglas review ?
       Milford Graves
       Re: Milford Graves
       Craque in Chicago at HotHouse, Sept. 4
       Re: Milford Graves
       RE: Sir Duke (Bill Ware, Marc Ribot) upcoming in KFR?
       Glenn Gould (zero Zorn content)
       Re: Glenn Gould (zero Zorn content)
       Tonic and Knitting Factory
       Re: Glenn Gould (zero Zorn content)
       Re: Glenn Gould (zero Zorn content)

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

Date: Thu, 30 Aug 2001 09:52:02 +0100 (BST)
From: =?iso-8859-1?q?Michael=20Gillham?= <[e-mail]>
Subject: SIGH

I read an interview with SIGH in TERRORIZER magazine.
They said that amongst others (RUSH, etc), JOHN ZORN
was big influence.

This from the official SIGH homepage, "With influences
ranging from early thrash metal to the experimental
sounds of John Zorn...".

Some of metal friends like them. I've heard the 1st
couple of LP's (which I assume are more metal) and
although I can certainly appreciate the oddness, I
wasn't that into them...

I should probably give them another go or at least try
out the new material.

There're Japanese, and that alone is enough for them
to win me over!

Great artwork, etc.

The official SIGH homepage:
http://www.sfu.ca/~dnleong/sigh/index.html


____________________________________________________________
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Get your free @yahoo.co.uk address at http://mail.yahoo.co.uk
or your free @yahoo.ie address at http://mail.yahoo.ie

- -

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

Date: Thu, 30 Aug 2001 13:41:58 +0300
From: "Vincent Kargatis / Anne Larson" <[e-mail]>
Subject: Re: Mahfouz and summer reading

> Date: Tue, 21 Aug 2001 23:20:14 -0400
> From: "Steve Smith" <[e-mail]>
> Subject: Mahfouz and summer reading
>
> >Brian Olewnick
> >
> >NR: Naguib Mafouz - Palace Walk
>
> Anyway, getting around to my point, those of you who have read Mahfouz,
> which novels do you most recommend?

Sorry, fell behind on digests...

Just wanted to pipe in - I could barely stand this novel, read at the beh=
est
of my wife - here's my take posted on Amazon:
- --
... I simply cannot enjoy this novel due to its style of naive, florid
hyperbole. This may be due to the translation, but as an American reader,=
 I
find myself unable to stomach such passages as: "He nourished his eyes an=
d
spirit with glimpses of her face. Even though the looks were furtive and
fleeting, they took control of his spirit and senses. [...] They were lik=
e a
burst of lightning glowing for a brief moment, its flash illuminating vas=
t
expanses and dazzling the eyes. His heart was drunk with a mysterious and
intoxicating joy..." or sentences like: "His concern was quickly transmit=
ted
to her sensitive soul."
The whole book reads like this. Is this a result of the translation? Are
Arabic writing styles so different from what is typically accepted in
English writing? Or is it just me?
- --
Anyway, it Wasn't For Me.
- --
Vincent Kargatis
np: Anthony Braxton & Georg Gr=E4we - "Duet I pt 2"  (Duo (Amsterdam) 199=
1)



- -

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

Date: Thu, 30 Aug 2001 14:24:15 +0200
From: "Andreas Dietz" <[e-mail]>
Subject: Re: Trisha Brown/Dave Douglas review ?

Hi zornlisters,

this story brings me to another dance-downtown connection: the belgian dance
theatre Ultima Vez directed by Wim Vandekeybus with music by Marc Ribot.
This fall there are some european performances:

Nov 23 Rouen, France
Nov 27-28 Ghent, Belgium
Nov 30-Dec 1 Antwerp, Belgium

"Inasmuch As Life Is Borrowed..." music and dance project w/Sebastian
Steinberg, Anthony Coleman, Sim Cain, Ned Rothenberg, Marc Ribot

this was performed last year but I haven┤t seen it so far. Any reviews?

Andreas

>From: patRice <[e-mail]>
>
>But: a few years ago, while I was living in London, a New York dance
>company -
>very famous, very highly regarded in dance circles, just can't recall their
>name - had a performance at the Royal Albert Hall, dancing to parts of
>Naked
>City's Absinthe, later to a live performance by the Arto Lindsay band
>(feat.
>Marc Ribot).
>
>I'm not into dance performances at all, but nevertheless decided to go to
>the
>show just to see Lindsay & Ribot. It did not convert me to dance, but I
>must
>admit that I did enjoy the whole show very much - it was great to see the
>dancing to music I like so much, and it did seem to somehow make sense...
>
>Hope this little story helps...

np: Charles Mingus - New Tijuana Moods

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- -

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

Date: Thu, 30 Aug 2001 17:46:09 +0200
From: "Artur Nowak" <[e-mail]>
Subject: Milford Graves

Hi Philozorners,

I just bought the book "Extended Play" by John Corbett and got very excited
about Milford Graves, the percussionist, who could stop his pulse. I know
thay he released two solo records on Tzadik - "Grand Unification" and
"Stories". I can listen to one-instrument-solo-record, I love drums (Han
Bennink just kicked my ass at Saalfelden festival last weekend, he was
playing with Mengelberg, Douglas and Jones), so this is no issue for me.
Other than "solo-drums", any comments about these records? Which one get
first? Feedback will be appreciated.

    __________________________________________________________________
    Artur Nowak [arno at emd dot pl] muzyka.emd.pl


- -

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

Date: Thu, 30 Aug 2001 12:23:54 -0400
From: "George Scala" <[e-mail]>
Subject: Re: Milford Graves

see the Milford Graves discography that I compiled at

http://www.mindspring.com/~scala/graves.html


George Scala





- -

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

Date: Thu, 30 Aug 2001 11:21:15 -0500
From: Matthew Ross Davis <[e-mail]>
Subject: Craque in Chicago at HotHouse, Sept. 4

|- - - - - i m p r o v i s e d   e l e c t r o n i c a


|- - - Matthew Ross Davis (aka Craque)
       http://craque.net
       [e-mail]


|- - - - - HotHouse
           http://www.hothouse.net
           31 E. Balbo, between State and Wabash
           Chicago, IL 60605


|- - - - - - - Tuesday, September 4 - 9PM, $7 / $5 students


(also appearing are Paul Hartsaw, Sean Sommer, and Ian Frydrych Trio)


- - - - - - - - - -|

                  Plateaus of convergence, Craque signifies those inbetween
areas of reality we often choose to overlook. By using acoustic instruments,
samplers, voice, sequencers, turntables, hardware effects, non-musical objects
and a laptop, Craque transforms our everyday world of sound into a brilliant
collage of sonic groove.


- - - - - - - - - - - -|
                      Matthew Ross Davis (aka Craque) studied composition in
undergrad and opera performance in grad school at the University of Maryland,
where he developed a strong affinity for the work of John Cage and studied his
life and work extensively. Naturally this soon fed electronics into his vocal
work, and before long dance music entered the picture.


- - - - - - - - - - - - - -|
                          Now, in Chicago, the palette is thick: dance music DJ
activities mix casually with elements free improvisation (and vice versa). In
the past year, Matthew has appeared at the Knitting Factory with "structured"
improv mavens Gray Code, and as a member of the vocal trio Comma held a
spotlight feature in Pauline Oliveros's Lunar Opera at Lincoln Center. Around
town he's collaborated with some of Chicago's most well known improvisors, and
continues to explore deeper territories within Chicago's DJ and improvised
music scene. In July, MRD was featured in osmag.com's "Local DJ" spot, and has
plans to release an EP on vinyl later this year in addition to a more active
performance schedule. More compositions, mixes and live performances are
available for download at http://craque.net.


- -

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

Date: Thu, 30 Aug 2001 12:01:59 -0500
From: "Samuel Quentin" <[e-mail]>
Subject: Re: Milford Graves

did you mean which of the solo records to get first?
  if you meant that... well... Stories is more immediately accessible.  on
this one it seems like he's an entire band (although it always seems this
way) but on this album instead of a band of percussionists he really
emphasizes a bass, a propelling rhtyhm, and a line in his singing.  his
singing takes a more central role in Stories and is also emphasized more in
the studio mix.
  Grand Unification was made before Stories.  i like both albums equally but
they are very different.  in GU he makes the first track, Grand Unification,
and then pulls all the other tracks from this first track, in a sense.
uniting philosophical and scientific ideas... so i guess the first track is
kind of like the thesis.  and on this one he tunes the skins of the drums to
very specific numbers in the cent system.
  they are both great and i think you should buy both of these albums before
anything else.

  -Samuel

Hi Philozorners,

I just bought the book "Extended Play" by John Corbett and got very excited
about Milford Graves, the percussionist, who could stop his pulse. I know
thay he released two solo records on Tzadik - "Grand Unification" and
"Stories". I can listen to one-instrument-solo-record, I love drums (Han
Bennink just kicked my ass at Saalfelden festival last weekend, he was
playing with Mengelberg, Douglas and Jones), so this is no issue for me.
Other than "solo-drums", any comments about these records? Which one get
first? Feedback will be appreciated.

     __________________________________________________________________
     Artur Nowak [arno at emd dot pl] muzyka.emd.pl


- -



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


- -

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

Date: Thu, 30 Aug 2001 14:34:30 -0400
From: "Sean Westergaard" <[e-mail]>
Subject: RE: Sir Duke (Bill Ware, Marc Ribot) upcoming in KFR?

Sir Duke is just Bill Ware and Marc Ribot doing duets of Ellington material.
I just got a copy in the mail today; i'll let you know how it sounds.  The
Mario Pavone was in the same package.  sean

- -----Original Message-----
From: [e-mail]
[mailto:[e-mail]]On Behalf Of Patrice L.
Roussel
Sent: Tuesday, August 28, 2001 3:07 PM
To: [e-mail]
Cc: [e-mail]
Subject: Sir Duke (Bill Ware, Marc Ribot) upcoming in KFR?



    There is mention of a set of upcoming Fall releases on the KF web
site:

    Coming This Fall
            Mario Pavone Octet
                Hasidic New Wave
                Bill Ware's Vibes
                Bruknaum
                Sir Duke: Bill Ware, Marc Ribot

Any idea of what the "Sir Duke" project is?

    Patrice.

NP: ORCHESTRAL WORKS VOL. 4: Witold Lutoslawski (Naxos)
NR: THE DEVILS OF LOUDUN: Huxley

- -



- -

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

Date: Thu, 30 Aug 2001 21:58:17 +0200
From: "Artur Nowak" <[e-mail]>
Subject: Glenn Gould (zero Zorn content)

Many artists who have nothing to do were discussed on the list, just because
they play good music, but I don't remember anybody mentioning Glenn Gould,
who became my hero during last few months. It all started with "Goldberg
Variations" - of course, you would say, but you probably don't expect, that
it started with... Uri Caine weird record. After hearing the twisted Caine
versions I wanted to listen to the original. I heard some Bach before, as a
kid (late night radio before sleep), but I didn't bother about BWV numbers
at all. Gould was the first interpreter to get familiar with, since Caine
mentioned him as an influence. I got the 1981 recording of Variations and
whole new world has opened to me. I just can't stop listening to it, every
time it's a very intense experience. Meanwhile I got some dozen of other
recordings (including the other two by Gould), but nothing is comparable
with his interpretations. Next step was Wohltemperierte Klavier ("wow, there
is a music which can actually sound nice!") and Kunst der Fuge. It's a very
demanding piece, but it moved my "internal ear" to a new level of
sensibility. I just listen to music in a different way now. Nothing is the
same. All of the sudden, some stuff which seemed complex sound easy now, I
can identify structures in music, which were hidden before. OK, you will
quote the Dilbert strip "if you have to increase you IQ, listen to some
classical music", naive, but true. What's more, the only two "types" of
music which kick my ass now is Bach and free jazz. I listen to Kunst der
Fugue and Shape of Jazz to Come only. I wonder, where it will take me...

Anyway, who is after Gould? Other than Canadians on the list of course!

Who was reading his articles? I just read an excellent book about him by
polish (!) critic who lives in France, Stefan Rieger, the book is great,
because it's not just a biography with a list of all Goulds strange
behaviours, but almost a philosophical dialogue with Gould about the music
per se. And the artist. And the perception of music by a listener. And about
judging the music. Just one quote:

"The determination of the value of a work of art according to the
information available about it it is a most delinquent form of aesthetic
appraisal" - what about that?

    __________________________________________________________________
    Artur Nowak [arno at emd dot pl] muzyka.emd.pl


- -

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

Date: Thu, 30 Aug 2001 13:08:54 -0700
From: Tosh <[e-mail]>
Subject: Re: Glenn Gould (zero Zorn content)

Glenn Gould is great.  I love his Wagner album.  A way back there was a
collection of his letters that was interesting.  He was a good writer.  I
suggest getting the Glenn Gould Reader.   Have anyone seen his T.V.
performances or videos?


- -

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

Date: Wed, 29 Aug 2001 14:54:07 -0500
From: "&c." <[e-mail]>
Subject: Tonic and Knitting Factory

Are shows at Tonic and the Knitting Factory all ages or do you have to be 21
to enter.  A young friend of mine is visiting New York and is looking for
good concerts.  Thanks for the help.

Zach

- -

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

Date: Thu, 30 Aug 2001 16:22:45 -0400 (EDT)
From: Ken Waxman <[e-mail]>
Subject: Re: Glenn Gould (zero Zorn content)

Artur:

One thing you should look into -- if you haven't
already -- is a movie called "24 Short Films About
Glenn Gould". It's fiction starring Coilm Feore
playing Gould at most stages of his life. Because it's
neither a documentory or a straight drama it probably
reveals more about the enigmatic Gould than either of
those straighter medium could.

Ken Waxman


- --- Artur Nowak <[e-mail]> wrote:
> Many artists who have nothing to do were discussed
> on the list, just because
> they play good music, but I don't remember anybody
> mentioning Glenn Gould,
> who became my hero during last few months. It all
> started with "Goldberg
> Variations" - of course, you would say, but you
> probably don't expect, that
> it started with... Uri Caine weird record. After
> hearing the twisted Caine
> versions I wanted to listen to the original. I heard
> some Bach before, as a
> kid (late night radio before sleep), but I didn't
> bother about BWV numbers
> at all. Gould was the first interpreter to get
> familiar with, since Caine
> mentioned him as an influence. I got the 1981
> recording of Variations and
> whole new world has opened to me. I just can't stop
> listening to it, every
> time it's a very intense experience. Meanwhile I got
> some dozen of other
> recordings (including the other two by Gould), but
> nothing is comparable
> with his interpretations. Next step was
> Wohltemperierte Klavier ("wow, there
> is a music which can actually sound nice!") and
> Kunst der Fuge. It's a very
> demanding piece, but it moved my "internal ear" to a
> new level of
> sensibility. I just listen to music in a different
> way now. Nothing is the
> same. All of the sudden, some stuff which seemed
> complex sound easy now, I
> can identify structures in music, which were hidden
> before. OK, you will
> quote the Dilbert strip "if you have to increase you
> IQ, listen to some
> classical music", naive, but true. What's more, the
> only two "types" of
> music which kick my ass now is Bach and free jazz. I
> listen to Kunst der
> Fugue and Shape of Jazz to Come only. I wonder,
> where it will take me...
>
> Anyway, who is after Gould? Other than Canadians on
> the list of course!
>
> Who was reading his articles? I just read an
> excellent book about him by
> polish (!) critic who lives in France, Stefan
> Rieger, the book is great,
> because it's not just a biography with a list of all
> Goulds strange
> behaviours, but almost a philosophical dialogue with
> Gould about the music
> per se. And the artist. And the perception of music
> by a listener. And about
> judging the music. Just one quote:
>
> "The determination of the value of a work of art
> according to the
> information available about it it is a most
> delinquent form of aesthetic
> appraisal" - what about that?
>
>
>
__________________________________________________________________
>     Artur Nowak [arno at emd dot pl] muzyka.emd.pl
>
>
> -
>


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

- -

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

Date: Thu, 30 Aug 2001 16:26:22 -0400
From: James Hale <[e-mail]>
Subject: Re: Glenn Gould (zero Zorn content)

Here in Canada, Gould is almost as well known for his (non-musical) work on
radio as for his recordings.... well, he's also known for his whacked-out
behviour, but that's another matter.
Gould did a number of major documentaries for CBC Radio, including a
stunning sound-montage called 'The Idea Of North' that was way ahead of its
time (especially given that it's all manually edited using razor blade and
tape) and captured a lot of his ideas about the influence of isolation and
space on artistic works. For a couple of years I kicked around the idea of
writing a book that would transpose Gould's concepts about space (and being
"the other" in a continent dominated by its southern neighbour) to jazz
musicians. It's certainly something you can hear in the music of Paul Bley,
Sonny Greenwich and Kenny Wheeler, to name three Canadians that
non-Canadians are likely familiar with, and the concept also rang true with
lesser-known Canadian musicians like Ingrid Jensen, Andy Milne and Jeff
Johnston.

The National Film Board of Canada has a number of films about Gould, which
you can probably access on video if you live in New York, London, Paris or
one of the other cities where there's a major Canadian cultural presence. I
would also recommend the semi-documentary "32 Short Films About Glenn
Gould". There are also a number of online sources for Gould material. The
CBC did a number of things on Gould for his 65th(?) birthday, but I'm not
sure whether they're still posted somewhere or not (the CBC site is
www.cbc.ca). The National Library of Canada also has a major trove of
Gouldbilia, since its the repository for all of his papers and recordings.
It also has his huge, black Steinway, which is used by visiting artists
(Renee Rosnes played it this summer during the jazz festival).

James Hale

Tosh wrote:

> Glenn Gould is great.  I love his Wagner album.  A way back there was a
> collection of his letters that was interesting.  He was a good writer.  I
> suggest getting the Glenn Gould Reader.   Have anyone seen his T.V.
> performances or videos?
>
> -


- -

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

End of Zorn List Digest V3 #556
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