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Zorn List Digest      Wednesday, October 3 2001      Volume 03 : Number 582



In this issue:
-
       Re: Jazz History
       Re: Dave Douglas' "Witness"
       Fantomas "The Director's Cut"
       (non-zorn) Edgefest Oct.4-6 in Ann Arbor, MI
       Re: Fantomas "The Director's Cut"
       RE: Fantomas "The Director's Cut"
       Re: Jazz History
       Odp: Zorn/Fantomas/Bungle (too long)
       New James Blood Ulmer record
       Re: New James Blood Ulmer record
       Re: New James Blood Ulmer record
       Re: Jazz History
       RE: Jazz History
       Re: Jazz History
       Re: New James Blood Ulmer record

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

Date: Wed, 03 Oct 2001 13:27:15 -0700
From: Skip Heller <[e-mail]>
Subject: Re: Jazz History

> Skip: Well put.
> What made Krall so distinctive five or six years ago was the fact that she
> didn't sound like anyone else around. She had those elements of Nat Cole,
> Shirley Horn, et.al., but was attempting to do something different with it.
>
> She obviously has a lot of ambition, as do those who are managing, promoting,
> producing her... and I think were it not for her ability (partly based on
> image) to cross over to a broad audience, she would've flamed out the way
> Joshua Redman did after his initial burst of media attention. There are only
> two ways to go when mass popularity comes calling suddenly: ride it until it
> goes away, or manage it wisely. I had this discussion with Dave Douglas a few
> years ago when he was starting to get magazine covers and awards, and he was
> very aware that he was on the verge of losing control of his image/time, etc.
> That's why he very consciously removed himself from the game... backing off on
> interviews, throttling back on his output, letting his management be the front
> "person" for anything Dave-related. Like a lot of other moves he's made, it
> was
> a smart one.
>
> Diana has taken the other road.
>
> James

I think what really makes Diana's thing work is that she's a solid
performer.  I don't think -- if you look at the tradition of performers in
which she lives -- that she's doing anything anyone else wouldn't do or
hasn't done, except that the photographers who design her image spin are
better at it.

Comparing her moves to Dave's doesn't quite work for me.  Dave is in the art
business, whereas DK is more of an entertainment thing.  There are times
when listening to her provides me with something I can't get froom a Dave
record, namelt lightness.  There are times when I want candy.  I really like
standards, and if your string charts are written by someone as up to the job
as Johnny Mandel, you ain't getting M&Ms.  You're getting Godiva chocolates.
If Diana wants to take the strings & glamour road, she's not gonna mess it
up.  She's insanely qualified.  If that's not something to which you respond
favorably, then don't listen.  But it's ignorant to judge something when you
hate the very medium it represents.  It's like tea drinkers judging
different types of coffee.  if you hate coffee, why are you attempting to
make any sense of whether one kind of cup or another is good?

BTW, on my list of 70s performers I forgot to include Chuck Mangione.  I
thought then and think now that "Feels So Good" was a watershed for the fact
that it got six minutes of soloing on Top Forty radio.  Ditto for George
Benson's "Breezin'" (the whole album).  Not since the Allman Bros live at
Fillmore East did we hear that much solid group playing in a top forty
space.

skip h


- -

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

Date: Tue, 2 Oct 2001 14:00:15 -0700 (PDT)
From: Scott Handley <[e-mail]>
Subject: Re: Dave Douglas' "Witness"

- --- EfrΘn_del_Valle <[e-mail]> wrote:
> someone asked an opinion about Douglas' Witness....

I'm slogging through Zorn-list posts, but I have yet
to see the following article mentioned, using Dave
Douglas as the rare (?) example of electroacoustic
influences being put to use in American jazz.  I'm
posting the article because it's annoying to have to
sign in to the New York Times Site.

http://www.nytimes.com/2001/09/26/arts/music/26DOUG.html?searchpv=past7days

<<A Syncopated Laptop Joins the Combo

By BEN RATLIFF

Jazz has bumped up against a lot of different kinds of
music in the last 40 years, almost immediately
creating new genres on contact. But one area that
seems surprisingly cordoned off from it is
electro-acoustic improvisation: the fairly new, fully
abstract music that tends to include one musician
busily writing code and generating sounds on a laptop
computer.

It's still a small movement, so if you're a jazz
musician and you achieve this fusion, few will
recognize the significance. The most and best laptop
music has come from Europe and Japan, leaving a
confusing question as to whether jazz musicians in the
United States, waist deep in an American idiom, can
(or should) put their own stamp on it.

Improvisers in the electronic world shoulder plenty of
modernity issues, making jazz, as we know it, barely
relevant to them. So true electro-acoustic jazz isn't
just going to sprout naturally; a few powerful vectors
are needed, and though they have begun to appear in
Japan and Chicago, New York has been lagging behind.

On the strength of a magnificent performance on
Thursday night at Tonic, the trumpeter Dave Douglas
seems like the first jazz musician in New York who's
trying to integrate jazz played on a high level ù and
it is unmistakably jazz ù with electronic
improvisation. His set, part of a triple bill at Tonic
that benefited the Red Cross Disaster Relief Fund,
drew from a new book of music written for a new band,
Witness. The themes he played are also found on his
new album, "Witness" (Bluebird/RCA). But in the
performance he pared down the arrangements from a wild
11-piece miscellany to a hard-driving sextet.

Chris Potter was a substitute on tenor saxophone,
sharing the front-line melodies with Mr. Douglas,
often ebb tide and lyrical. All the pieces on
"Witness" are dedications to writers and activists who
have made nonviolent responses to repressive or
abusive political regimes, from Edward Said to the
Egyptian novelist Naguib Mahfouz to the Bangladeshi
poet Taslima Nasrin.

Melancholy was an ingredient, but the music had many
dimensions, snapping effectively between sections,
spending as much time in syncopated rhythm as free
improvisation. There were only two breaks for applause
in 90 minutes, and around the composed material Mr.
Douglas kept the improvised combinations volatile. The
band members ù who also included Ikue Mori on laptop
computer, Jamie Saft on a distorted electric piano,
Brad Jones on bass and Michael Sarin on drums ù all
shared solo time, producing a real breadth of
sensibility. Everyone was heard, and always seemingly
for a reason.

Ms. Mori's contributions ù sounds that never had
real-world referents but could approach bouncing
marbles, crinkling paper, brushed bells, records run
backwards ù were loud, constantly changing and
furtively initiated. With her at one extreme and Mr.
Potter's learned, harmonically and rhythmically
complex jazz language at the other, the results could
have been a mess of mutually exclusive languages. The
set was not only coherent but full bodied and
confident, which felt like victory.>>

__________________________________________________
Do You Yahoo!?
Listen to your Yahoo! Mail messages from any phone.
http://phone.yahoo.com

- -

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

Date: Tue, 02 Oct 2001 23:33:21 +0200
From: patRice <[e-mail]>
Subject: Fantomas "The Director's Cut"

Hi y'all...

As usual, listening to good cover versions, as on "The Director's Cut",
makes me want to delve a bit into the original recordings.

So - have any of you heard any of the original soundtracks of which
pieces were used on the Fantomas CD? (I'm particularly wondering about
Mancini's "Charade".)

Thanks a lot for your help!

patRice

np: Fantomas "The Director's Cut"
nr: (too tired)


- -

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

Date: Tue, 2 Oct 2001 20:05:19 -0400
From: "Joslyn Layne" <[e-mail]>
Subject: (non-zorn) Edgefest Oct.4-6 in Ann Arbor, MI

for those of you in michigan/ohio area, there are a bunch of great acts
hitting ann arbor, mi later this week including Konk Pack, Hamid
Drake/Andrea Parkins duo, Matthew Shipp Trio & more...

the schedule's at
http://www.kerrytown.com/concerthouse/edgefest/index.html

i'll be at 'em all~

    joslyn


- -

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

Date: Wed, 3 Oct 2001 12:17:37 +1000
From: "Julian" <[e-mail]>
Subject: Re: Fantomas "The Director's Cut"

> So - have any of you heard any of the original soundtracks of which
> pieces were used on the Fantomas CD? (I'm particularly wondering about
> Mancini's "Charade".)

There is or was a site up when it came out which included an mp3 of each of
the originals. I'm not exactly sure, however, how I came across it. Charade
was one of the 4 or 5 tunes I already knew, the original is a relaxed waltz
feel, comparable to but quite a bit darker than his Moon River waltz...


- -

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

Date: Tue, 2 Oct 2001 23:10:09 -0400
From: "Neil H. Enet" <[e-mail]>
Subject: RE: Fantomas "The Director's Cut"

I've only heard the Twin Peaks, the Morricone and of course the Godfather
one. The rest I have to admit I haven't heard, but like patRice, I'm also
curious in the original versions. Also, can someone please inform which
movie they come from. Of course, Charade, Rosemary's Baby, Omen ... those I
know, but there are others I'm not familiar with.  Thanks

Neil H. Enet
- ------------

Just Watched KUBRICK's PATHS OF GLORY. Pretty good.


- -

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

Date: Wed, 3 Oct 2001 09:40:57 +0200
From: "Remco Takken" <[e-mail]>
Subject: Re: Jazz History

>
> As for covering Radiohead making you relevant, I don't know.  I don't
think
> their tunes are all that special, and, as much as Brad is a brilliant
> pianist, I don't really hear anything in him I haven't heard in other
> pianists, at least not in the sense of hearing things in Joey Baron that I
> never really heard in other drummers.
>
Yeah.
Nice thought:
Bill Frisells leanings onto the grand old Jim Keltner (Gone like a train cd)
learned me a lot about where Joey Baron came from.

Remco Takken


- -

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

Date: Wed, 3 Oct 2001 11:46:32 +0200
From: "Marcin Gokieli" <[e-mail]>
Subject: Odp: Zorn/Fantomas/Bungle (too long)

> n.p: (how could it be other way?) John Zorn: "Filmworks III" and
more
> specifically, the STUNNING Ribot/Zorn duo.

One of the most inspiring pieces of music!



- -

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

Date: Wed, 3 Oct 2001 16:35:10 +0200
From: "Verstraeten Stefan" <[e-mail]>
Subject: New James Blood Ulmer record

Hello,

Just bought a wonderful new release by James Blood Ulmer, called Memphis.
Once again, we find Ulmer in a quite mainstream mood (where is the new
record with his Music Revelation Ensemble anyway???).
The record is produced by Vernon Reid and is a tribute to John Lee Hooker,
altough there are some tracks by Willie Dixon and Otis Rush.
What to expect? Unfortunately (my opinion though) no Musso-recording or
Laswell production, but fortunately a fresh look on old blues songs.
Practically all the songs are quite uptempo and a superb guitar team by
Ulmer and Reid (so expect a lot... and I mean a lot.... guitar solos).
Reference points of playing on this album could be Elliot # Terraplane
recordings.

Anyway, a fine release by Ulmer

Best wishes,

Stefan Verstraeten

NP Gigi (a massive production by Laswell.... great record)

[e-mail]



- -

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

Date: Wed, 03 Oct 2001 10:45:54 -0400
From: James Hale <[e-mail]>
Subject: Re: New James Blood Ulmer record

I was actually disappointed in the amount (or the mix, at any rate) of guitar
on this recording.
Blood seems to be concentrating hard on his singing (which is extremely good
here) and the mix certainly reflects that.
A couple of exceptions... Blood's Hookeresque intro to "Spoonful" and the
over-the-top stuff ... mostly by Vernon, it seems ... on "IAsked For Water
(She Gave Me Gasoline)".

Overall, it's a good recording, just not the all-out guitarathon you might
expect (or wish for) from Blood and Vernon.

James Hale

Verstraeten Stefan wrote:

> Hello,
>
> Just bought a wonderful new release by James Blood Ulmer, called Memphis.
> Once again, we find Ulmer in a quite mainstream mood (where is the new
> record with his Music Revelation Ensemble anyway???).
> The record is produced by Vernon Reid and is a tribute to John Lee Hooker,
> altough there are some tracks by Willie Dixon and Otis Rush.
> What to expect? Unfortunately (my opinion though) no Musso-recording or
> Laswell production, but fortunately a fresh look on old blues songs.
> Practically all the songs are quite uptempo and a superb guitar team by
> Ulmer and Reid (so expect a lot... and I mean a lot.... guitar solos).
> Reference points of playing on this album could be Elliot # Terraplane
> recordings.
>
> Anyway, a fine release by Ulmer
>
> Best wishes,
>
> Stefan Verstraeten
>
> NP Gigi (a massive production by Laswell.... great record)
>
> [e-mail]
>
> -


- -

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

Date: Thu, 04 Oct 2001 08:22:04 -0700
From: Skip Heller <[e-mail]>
Subject: Re: New James Blood Ulmer record

Actually, I think the amount of guitar playing is just right.  I  wouldn't
want JBU making a Canned Heat record.

skip h


- -

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

Date: Thu, 04 Oct 2001 08:24:02 -0700
From: Skip Heller <[e-mail]>
Subject: Re: Jazz History

>
>>
>> As for covering Radiohead making you relevant, I don't know.  I don't
> think
>> their tunes are all that special, and, as much as Brad is a brilliant
>> pianist, I don't really hear anything in him I haven't heard in other
>> pianists, at least not in the sense of hearing things in Joey Baron that I
>> never really heard in other drummers.
>>
> Yeah.
> Nice thought:
> Bill Frisells leanings onto the grand old Jim Keltner (Gone like a train cd)
> learned me a lot about where Joey Baron came from.
>
> Remco Takken
>
>
> -
>
I thought (and still think) that Joey's leaving Frisell's group had the same
effect on Frisell that Mitch Mitchell's departure had on Jimi Hendrix (and,
if you know my tastes, you'll infer that I think Hendrix was far less
exciting with any other drummer).

skip h


- -

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

Date: Wed, 3 Oct 2001 11:22:25 -0400
From: "Sean Westergaard" <[e-mail]>
Subject: RE: Jazz History

Good point Skip.  It seems Frisell has gotten significantly tamer since
Joey's departure, although some of that has to be laid at the feet of the
Nonesuch people.  I talked to him a couple years ago and he pretty much said
that the whole Nashville project and its successors were someone else's
idea, he just played it.  Let's hope this upcoming record with Elvin Jones
(All hail!)and Charlie Haden gives him a lift.  And while Band of Gypsies is
a killer album (mostly because Hendrix was SO on), nothing matches the
synergy of the Hendrix-Mitchell team. sean

- -----Original Message-----
From: [e-mail]
[mailto:[e-mail]]On Behalf Of Skip Heller
Sent: Thursday, October 04, 2001 11:24 AM
To: Remco Takken; andrew; [e-mail]
Subject: Re: Jazz History




>
>>
>> As for covering Radiohead making you relevant, I don't know.  I don't
> think
>> their tunes are all that special, and, as much as Brad is a brilliant
>> pianist, I don't really hear anything in him I haven't heard in other
>> pianists, at least not in the sense of hearing things in Joey Baron that
I
>> never really heard in other drummers.
>>
> Yeah.
> Nice thought:
> Bill Frisells leanings onto the grand old Jim Keltner (Gone like a train
cd)
> learned me a lot about where Joey Baron came from.
>
> Remco Takken
>
>
> -
>
I thought (and still think) that Joey's leaving Frisell's group had the same
effect on Frisell that Mitch Mitchell's departure had on Jimi Hendrix (and,
if you know my tastes, you'll infer that I think Hendrix was far less
exciting with any other drummer).

skip h


- -



- -

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

Date: Thu, 04 Oct 2001 08:45:08 -0700
From: Skip Heller <[e-mail]>
Subject: Re: Jazz History

> Good point Skip.  It seems Frisell has gotten significantly tamer since
> Joey's departure, although some of that has to be laid at the feet of the
> Nonesuch people.  I talked to him a couple years ago and he pretty much said
> that the whole Nashville project and its successors were someone else's
> idea, he just played it.  Let's hope this upcoming record with Elvin Jones
> (All hail!)and Charlie Haden gives him a lift.  And while Band of Gypsies is
> a killer album (mostly because Hendrix was SO on), nothing matches the
> synergy of the Hendrix-Mitchell team. sean
>
Well, going from Joey baron to any other drummer (except for maybe DJ
Bonebrake) is, to me, a spiritual paycut.  And Frisell's post-Joey playing
lacks spirit for me.

sh


- -

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

Date: Wed, 03 Oct 2001 13:00:03 -0400
From: Peter Hourdequin <[e-mail]>
Subject: Re: New James Blood Ulmer record

That is good to hear that Blood has some interesting new material out.  For my
part I have been searching high, low, and in between for a copy of his "Odyssey"
CD.  I bought the Odyssey reunion CD with high hopes, but was pretty
dissappointed with Blood and Burnham on that effort.  Mainly, the composition
seemed to lack the spark that Ulmer has brought to other albums.  Still looking
for the original "Odyssey".  Downtown music gallery doesn't have it, Amazon and
other online outfits have it listed as "out of print."  If anyone knows where I
can get a copy, I'd be most grateful.  email me privately please.

Pete Hourdequin

James Hale wrote:

> I was actually disappointed in the amount (or the mix, at any rate) of guitar
> on this recording.
> Blood seems to be concentrating hard on his singing (which is extremely good
> here) and the mix certainly reflects that.
> A couple of exceptions... Blood's Hookeresque intro to "Spoonful" and the
> over-the-top stuff ... mostly by Vernon, it seems ... on "IAsked For Water
> (She Gave Me Gasoline)".
>
> Overall, it's a good recording, just not the all-out guitarathon you might
> expect (or wish for) from Blood and Vernon.
>
> James Hale
>
> Verstraeten Stefan wrote:
>
> > Hello,
> >
> > Just bought a wonderful new release by James Blood Ulmer, called Memphis.
> > Once again, we find Ulmer in a quite mainstream mood (where is the new
> > record with his Music Revelation Ensemble anyway???).
> > The record is produced by Vernon Reid and is a tribute to John Lee Hooker,
> > altough there are some tracks by Willie Dixon and Otis Rush.
> > What to expect? Unfortunately (my opinion though) no Musso-recording or
> > Laswell production, but fortunately a fresh look on old blues songs.
> > Practically all the songs are quite uptempo and a superb guitar team by
> > Ulmer and Reid (so expect a lot... and I mean a lot.... guitar solos).
> > Reference points of playing on this album could be Elliot # Terraplane
> > recordings.
> >
> > Anyway, a fine release by Ulmer
> >
> > Best wishes,
> >
> > Stefan Verstraeten
> >
> > NP Gigi (a massive production by Laswell.... great record)
> >
> > [e-mail]
> >
> > -
>
> -


- -

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

End of Zorn List Digest V3 #582
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