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Subject: Zorn List Digest V3 #634
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Zorn List Digest       Tuesday, December 4 2001       Volume 03 : Number 634



In this issue:
-
       Re: Erstwhile question
       Re: Weather Sky/Erstwhile
       freedom of the city realvideo
       Re: Weather Sky/Erstwhile
       Massacre/Mono
       Zorn @miller
       Zorn @miller
       Re: Zorn List Digest V3 #630
       Re: Zorn List Digest V3 #630/lescalleet
       Re: Anode - Jojo's Requiem for Losers.
       Re: was squarepusher
       Re: Squarepusher
       [fred] Frith & Zorn
       Re: [fred] Frith & Zorn
       Re: Zorn at Miller Theatre

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

Date: Tue, 4 Dec 2001 10:04:08 EST
From: [e-mail]
Subject: Re: Erstwhile question

In a message dated 12/4/01 5:56:08 AM, [e-mail] writes:

<< Considering that everyone agrees on the overall

quality of most of Erstwhile releases, I'd like to

know if they have an European distributor. I've never

seen one of their Cds in Spain but an European distrib

would help me avoid online purchase, which I don't

generally like too much. >>

you're right, I have no Spanish distributor as of yet, although it hasn't
been for lack of trying. your best bet is probably to order from Metamkine in
France, or directly from me. the link that Benjamin posted is an up-to-date
list of my distributors, which I'm constantly trying to improve. if you have
any problems getting the discs you want, please e-mail me personally, and
we'll figure out something.

Jon
www.erstwhilerecords.com

- -

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

Date: Tue, 4 Dec 2001 10:07:14 EST
From: [e-mail]
Subject: Re: Weather Sky/Erstwhile

In a message dated 12/4/01 7:10:28 AM, [e-mail] writes:

<< Great!  If you could make it slightly toward the end side of October (the=
=20
19th and after), I could spend my exam week in Tokyo and catch the whole=20
thing.  I don't mean to have you schedule the event around me, however.  :-)=
=20
>>

it's actually all set already. it'll be at Star Pine's Cafe in Tokyo from th=
e=20
18th-20th, with the following lineup:

10/18

Sugimoto Guitar Quartet-Otomo, Nakamura, Sugimoto, Akiyama
Cosmos-Sachiko/Yoshida
Rowe/Lehn/Schmickler
Stangl/Kurzmann

10/19

Otomo/M=FCller
Lehn/Schmickler
Stangl/Kurzmann/Sugimoto
Rowe/Nakamura

10/20

Astro Twin-Kawasaki/Yoshida
Stangl/M=FCller
Nakamura/Sachiko
Rowe/M=FCller/Sugimoto

Jon
www.erstwhilerecords.com

- -

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

Date: Tue, 4 Dec 2001 09:45:02 -0600 (CST)
From: Whit Schonbein <[e-mail]>
Subject: freedom of the city realvideo

greetings.

i was just on the bbc jazz on 3 website, and i noticed they have realvideo
posted of many performances from the steve beresford-curated 'freedom of
the city' festival.  including evan parker, pat thomas, john butcher,
strings with evan parker, london improvisors orch, etc.

here's the link:
http://www.bbc.co.uk/radio3/jazz/jon3/freedom/focintro.shtml

my connection is too slow, so i haven't been able to check it out myself.

- -whit
np - paul motian trio (the one with marc johnson and chris potter)




- -

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

Date: Tue, 04 Dec 2001 17:01:09 +0100
From: "Andreas Dietz" <[e-mail]>
Subject: Re: Weather Sky/Erstwhile

for the europeans on the list, there┤s a small tour of the Giuseppe Ielasi
and Domenico Sciajno duo coming up:

december 12th - wednesday
@ GenΦve (CH)

december 13th - thursday
@ Berne (CH)

december 14th - friday
@ Darmstadt (D)

december 15th - saturday
@ Wiesbaden (D)

Andreas

np: Ornette Coleman - Prime Design/Time Design (Caravan Of Dreams)

>From: [e-mail]
>
>1/14: double CD release party featuring Greg Kelley, Jason Lescalleet,
>Giuseppe Ielasi and Domenico Sciajno. three sets, duo, duo, and the world
>premiere of the quartet. Tonic, starting at 8 PM, $10.


_________________________________________________________________
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- -

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

Date: Tue, 4 Dec 2001 17:03:37 +0100 (CET)
From: =?iso-8859-1?q?efr=E9n=20del=20valle?= <[e-mail]>
Subject: Massacre/Mono

HI,

A couple of days ago someone asked for opinions on
Massacre's "Live at Meltdown". I just listened to it
and it sounds really good, maybe not as energic as
"Funny Valentine" but much better than "Killing Time",
IMHO (I never liked that album). There is a
freewheeling cover of Charlie Haden's "Song for Che"
but nothing that clashes with their own material. The
live sound is astounding and the performance doesn't
need introduction from me, I guess.

I also heard Mono's Tzadik release and, sincerely, I
found it nothing special at all. A blend of Sonic
Youth's guitar sound and Mogwai's intensity but closer
to the latter (and I don't dig them nor their
interpretation of "intensity"). Minimalistic isn't
necessarily a good adjective in this case.
It's hard to imitate SY. That's why they are unique,
aren't they?

Just a (hasty) opinion.

Best,

EfrΘn del Valle

_______________________________________________________________
El Nokia 5510, un aspecto extra±o, un sonido genial.
Visite http://es.promotions.yahoo.com/nokia/
descubra el Nokia 5510 y íllΘveselo!
El concurso acaba el 16 de diciembre de 2001.

- -

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

Date: Tue, 4 Dec 2001 13:19:19 -0500
From: "Lev \"Ljova\" Zhurbin" <[e-mail]>
Subject: Zorn @miller

>Date: Sun, 2 Dec 2001 15:15:43 -0500
>From: "Steve Smith" <[e-mail]>
>Subject: RE: Zorn at Miller Theatre
>
>In actuality, the concert began with the Absolute Ensemble performing
Zorn's
>'For Your Eyes Only.' Zorn then came out with Masada for a straightforward
>20-minute mini-set at the edge of the stage. The strings of the Absolute
>Ensemble came back out for 'Kol Nidre,' then the entire ensemble played
>'Contes de fee,' Zorn's recent violin concerto. There was no interaction
>between Masada and the orchestra, and nothing you could really remotely
>relate to Bar Kokhba.
>
>Steve Smith

Yeah. Did anyone mention the huge 1-hour long interview that Zorn did as a
pre-concert discussion with George Steel?
That was a blast.

In the interview, Zorn stressed the importance of writing music in the right
musical language for the performer - i.e. everything-written-out for the
classical musician, etc.. He also briefly hinted that he doesn't see a way
(or doesn't want) to write music which blends classical with jazz with punk,
etc.

which I guess means that you'll never get to hear a piece scored for
Orchestra + Masada, or even a concerto for flute and Ikue Mori... etc.

Cheers,
Ljova

- --------
Lev "Ljova" Zhurbin
http://Ljova.com/

"Do not fear mistakes - there are none."
        -Miles Davis


- -

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

Date: Tue, 4 Dec 2001 13:19:26 -0500
From: "Lev \"Ljova\" Zhurbin" <[e-mail]>
Subject: Zorn @miller

>Date: Sun, 2 Dec 2001 15:15:43 -0500
>From: "Steve Smith" <[e-mail]>
>Subject: RE: Zorn at Miller Theatre
>
>In actuality, the concert began with the Absolute Ensemble performing
Zorn's
>'For Your Eyes Only.' Zorn then came out with Masada for a straightforward
>20-minute mini-set at the edge of the stage. The strings of the Absolute
>Ensemble came back out for 'Kol Nidre,' then the entire ensemble played
>'Contes de fee,' Zorn's recent violin concerto. There was no interaction
>between Masada and the orchestra, and nothing you could really remotely
>relate to Bar Kokhba.
>
>Steve Smith

Yeah. Did anyone mention the huge 1-hour long interview that Zorn did as a
pre-concert discussion with George Steel?
That was a blast.

In the interview, Zorn stressed the importance of writing music in the right
musical language for the performer - i.e. everything-written-out for the
classical musician, etc.. He also briefly hinted that he doesn't see a way
(or doesn't want) to write music which blends classical with jazz with punk,
etc.

which I guess means that you'll never get to hear a piece scored for
Orchestra + Masada, or even a concerto for flute and Ikue Mori... etc.

Cheers,
Ljova

- --------
Lev "Ljova" Zhurbin
http://Ljova.com/

"Do not fear mistakes - there are none."
        -Miles Davis


- -

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

Date: Tue, 4 Dec 2001 10:53:17 -0800 (PST)
From: Grey ElkGel <[e-mail]>
Subject: Re: Zorn List Digest V3 #630

- --- "Caleb T. Deupree" <[e-mail]>
wrote:

> I've been enjoying Jon's release of Greg Kelley and
> Jason Lescalleet a lot lately, and it makes me
> wonder about some of these individual's other
> releases.  I've got one of the nmperign records,
> which I remember not being too excited about, but
> I'd like to hear more about their other projects,
> especially Lescalleet.

glad you like the CD - thanks!

hasn't been much in response about lescalleet's other
recordings, so i thought i'd chip in - i'm pretty sure
this is just about everything jason's released. (i'm
still awaiting the day he releases a full length solo
recording!)

* john hudak/jason lescalleet: figure 2 CD
[intransitive]
live duo performance w/ hudak on laptop and lescalleet
on tape loops.

* due process: fin de la voix CD [rrrecords]
due process is ron lessard's longstanding noise
project. on this CD due process is ron and jason, plus
a different trio collaborator on 4 of the tracks and 1
duo track.

* nmperign/jason lescalleet: in which the silent
partner-director is no longer able to make his point
to the industrial dreamer CD [intransitive]
one extended trio track, a series of nmperign duos,
one extended lescalleet track using sound materials
from nmperign.

* jason lescalleet: another example of parkinson's law
7" [freedom from]
lescalleet's only completely solo release.

* john hudak/jason lescalleet: split 7"
one side by each using a blank lock groove as sound
material. this was a limited edition lathe cut
release, so it's probably unavailable at this point.

* v/a: variious 2CD [intransitive]
lescalleet has a track on this compilation which also
includes voice crack, kevin drumm, taylor deupree,
toshiya tsunoda, etc.

* v/a: saturday afternoon matinee [rrrecords]
an earlier piece by lescalleet on this comp which also
includes angst hase pfeffer nase, idea fire co. etc. i
may have gotten the name of the CD wrong - i'm close
if not %100 right.

* bane: it all comes down to this CD [equal vision]
bane is a massachusetts hardcore band. lescalleet adds
some noise which eventually overtakes the last track
(it was unfortunately truncated by the record label to
about 1/2 the original length because they thought it
was too "extreme").


__________________________________________________
Do You Yahoo!?
Buy the perfect holiday gifts at Yahoo! Shopping.
http://shopping.yahoo.com

- -

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

Date: Tue, 4 Dec 2001 10:53:22 -0800 (PST)
From: Grey ElkGel <[e-mail]>
Subject: Re: Zorn List Digest V3 #630/lescalleet

- --- "Caleb T. Deupree" <[e-mail]>
wrote:

> I've been enjoying Jon's release of Greg Kelley and
> Jason Lescalleet a lot lately, and it makes me
> wonder about some of these individual's other
> releases.  I've got one of the nmperign records,
> which I remember not being too excited about, but
> I'd like to hear more about their other projects,
> especially Lescalleet.

glad you like the CD - thanks!

hasn't been much in response about lescalleet's other
recordings, so i thought i'd chip in - i'm pretty sure
this is just about everything jason's released. (i'm
still awaiting the day he releases a full length solo
recording!)

* john hudak/jason lescalleet: figure 2 CD
[intransitive]
live duo performance w/ hudak on laptop and lescalleet
on tape loops.

* due process: fin de la voix CD [rrrecords]
due process is ron lessard's longstanding noise
project. on this CD due process is ron and jason, plus
a different trio collaborator on 4 of the tracks and 1
duo track.

* nmperign/jason lescalleet: in which the silent
partner-director is no longer able to make his point
to the industrial dreamer CD [intransitive]
one extended trio track, a series of nmperign duos,
one extended lescalleet track using sound materials
from nmperign.

* jason lescalleet: another example of parkinson's law
7" [freedom from]
lescalleet's only completely solo release.

* john hudak/jason lescalleet: split 7"
one side by each using a blank lock groove as sound
material. this was a limited edition lathe cut
release, so it's probably unavailable at this point.

* v/a: variious 2CD [intransitive]
lescalleet has a track on this compilation which also
includes voice crack, kevin drumm, taylor deupree,
toshiya tsunoda, etc.

* v/a: saturday afternoon matinee [rrrecords]
an earlier piece by lescalleet on this comp which also
includes angst hase pfeffer nase, idea fire co. etc. i
may have gotten the name of the CD wrong - i'm close
if not %100 right.

* bane: it all comes down to this CD [equal vision]
bane is a massachusetts hardcore band. lescalleet adds
some noise which eventually overtakes the last track
(it was unfortunately truncated by the record label to
about 1/2 the original length because they thought it
was too "extreme").


__________________________________________________
Do You Yahoo!?
Buy the perfect holiday gifts at Yahoo! Shopping.
http://shopping.yahoo.com

- -

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

Date: Tue, 04 Dec 2001 11:57:18 -0800
From: "Revue des Fossiles" <[e-mail]>
Subject: Re: Anode - Jojo's Requiem for Losers.

ja -

jojo's harsh but very well thought out and exquisitely written criticism
regarding jazz lead him to the singular conclusion that if this form of
music were taken to its logical extreme the end result would be noise; or
more properly the pure exploration of sound(s).

the guitar work of kazuo imai is an excellent refinement and application of
jojo's principles as filtered through the unique perspective and influence
of takehisa kosugi.

anode presents four exercises in the context of group improvisation for
exploring the "power" and "intensities" of "masses of sound" through otomo's
brilliant scores for these pieces which emphasize the importance of
"duration" and "volume" over "communication" in improvisational playing.
all of these concepts, especially those in quotes, were very important to
takayanagi.  indeed, other than the final recordings of ground zero, one
would be hard pressed to find a better tribute to both the spiritual and
intellectual legacy of "mr. tm."

sorry about the earlier typo - the proper name should read as follows.

masayuki "jojo" takayanagi.

website at the following url:

http://www.wild.gr.jp/~jinya/index.html

- - rdf.




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


- -

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

Date: Tue, 04 Dec 2001 20:12:54 +0000
From: "thomas chatterton" <[e-mail]>
Subject: Re: was squarepusher

>From: Dave Trenkel <[e-mail]>

These were
>lauded as his "jazz phase" when they came out, and garnered a lot of
>comparisons to electric-period Miles Davis, I hear them as being
>closer to Brand X or early Soft Machine, which is not meant as a dis,
>I like both of those bands. Fairly melodic, leaning towards fusion
>but not particularly wanky, lots of electric piano, and Jenkinson's
>hyperactive electric bass chops are wisely restrained.

There's a new CD out by Ian O'Brien called 'History Of Things To Come'
that's being similiarly described, as an electronica Mwandishi (Herbie
Hancock) jazz flavoured workout, drum machines with lots of e-piano; anyone
heard this yet?

np: Velvet Underground Bootleg Series V.1

_________________________________________________________________
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- -

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

Date: Tue, 04 Dec 2001 16:17:57 -0500
From: the muff <[e-mail]>
Subject: Re: Squarepusher

Just wondering, does anyone here have Hrvatski's Oiseaux album?

the muff


- -

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

Date: Wed, 5 Dec 2001 00:08:12 +0100
From: "Remco Takken" <[e-mail]>
Subject: [fred] Frith & Zorn

Is there anyone who can shed a light on the recorded output of Frith and
Zorn playing together? Is there some kind of development to be seen, which
can lead to Frith playing bass in Naked City for instance?

I recently bought Zorn's Parachute Box, and was kind of surprised that Frith
wasn't on there. It would have fit, with Chadbourne and Kaiser. Perhaps
Frith and Zorn only first met in 1981 (Parachute box is 1977-80).

Also, I have no idea when 'Art of Memory' was recorded.

Thanks, Remco Takken


- -

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

Date: Tue, 04 Dec 2001 21:27:34 -0500
From: "Caleb T. Deupree" <[e-mail]>
Subject: Re: [fred] Frith & Zorn

The Frith and Zorn discographies should provide answers to your questions.
The earliest mention of the two of the together is in a 1979 Chadbourne
recording, 2000 Statues and the English Channel.  Art of Memory was
recorded in 1995.

The Zorn discography is at
http://www.wnur.org/jazz/artists/zorn.john/discog.html, and the Frith one
is at http://www.wnur.org/jazz/artists/frith.fred/discog.html.

At 12:08 AM 12/5/01 +0100, Remco Takken wrote:
>Is there anyone who can shed a light on the recorded output of Frith and
>Zorn playing together? Is there some kind of development to be seen, which
>can lead to Frith playing bass in Naked City for instance?
>
>I recently bought Zorn's Parachute Box, and was kind of surprised that Frith
>wasn't on there. It would have fit, with Chadbourne and Kaiser. Perhaps
>Frith and Zorn only first met in 1981 (Parachute box is 1977-80).
>
>Also, I have no idea when 'Art of Memory' was recorded.
>
>Thanks, Remco Takken
>
>
>-
>
>
>
- --

Caleb Deupree
[e-mail]

- -

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

Date: Tue, 04 Dec 2001 23:56:51 -0500
From: Jeni Dahmus <[e-mail]>
Subject: Re: Zorn at Miller Theatre

Zorn's pre-concert talk with George Steel dealt with background information=
=20
about the program and covered some issues brought up in previous forums at=
=20
the Miller Theatre.  As Ljova stated (hi Ljova!), Zorn emphasized that he=20
likes to compose for specific musicians and harness their particular=20
talents as appropriate, such as notated scores for classical players and=20
jazz charts for improvisers.  Zorn said the key to all of his work is=20
INTERACTION: communication between composers and musicians, while striving=
=20
to challenge and push the envelope. There was an interesting discussion=20
about interaction vs. collaboration. Zorn said he does not collaborate; he=
=20
prefers to have complete control over projects. He even called himself a=20
control freak.  An audience member asked Zorn if he considered Praxis a=20
collaboration with Laswell. Zorn responded that he was just asked to play=20
and that is exactly what he did--go in, play, and leave. He also mentioned=
=20
an abandoned commission for the Lab=E8que sisters, duo pianists. After the=
=20
sisters made too many suggestions/stipulations, Zorn was struck with=20
writer=92s block for the first time. He called Lukas Foss for advice on what=
=20
to do when artists attempt to control composition excessively. Foss said,=20
"I write a bad piece." This was hilarious--perhaps you had to be there.

Regarding his current method of composition, Zorn reiterated that he works=
=20
on pieces little by little, solving problems along the way.  Though he may=
=20
have a framework, he keeps the process intuitive. He stressed that=20
attention to *detail* is critical for composers and described his work as=20
quite detail-oriented. He also cited the use of percussion as extremely=20
important in modern music.

The violin concerto Contes de F=E9es (1999) utilizes pitch sets. Zorn said=
 he=20
wrote the violin solo straight through, then broke down the solo into a=20
matrix of pitches on which to base the concerto's background. He went=20
through the matrix twice for the background, following the solo's pitch=20
order exactly without repeats until the conclusion of the set. (Zorn=92s use=
=20
of serial techniques was not strict, however. He joked that serialism is=20
for geeks to study and jerk off to=85) Two sections vary from the structure:=
=20
the coda, which was written first (it was =93too pretty=94 for the=
 introduction=20
so he opted to use it last) and an interlude. I thought the concerto was=20
stunning, with a brilliant performance by prodigy Jennifer Koh and the=20
Absolute Ensemble. The music could be described as aggressive, dissonant,=20
percussive, driving; the solo felt like it was constantly pushing forward.

In contrast, For Your Eyes Only (1988) is one of several file card pieces=20
by Zorn. He jotted down blocks of ideas on approximately 60 file cards,=20
shuffled them, and followed the cards to compose the full orchestral piece=
=20
cartoon-style. Zorn said the process was painstakingly slow and that he is=
=20
"too old for that now."

Kol Nidre (1996) was gorgeous arranged for a full string ensemble, instead=
=20
of a quartet. It actually gave me chills. With Masada on the program as=20
well, Zorn's gift for composing in varied styles was showcased: the file=20
card/cartoon method of For Your Eyes Only, Masada's head-solo-head improv,=
=20
Kol Nidre's lush melody, and the serial techniques of Contes de F=E9es.

Zorn and Steel discussed more in the pre-concert forum, too much to=20
describe here. He was really "on" that night and in a good mood. Regarding=
=20
new works, he said he finished a bass clarinet duo the day before the=20
concert. The piece was written for Michael Lowenstern (bass clarinetist=20
with the New Jersey Symphony, Juilliard faculty member, and member of the=20
Klezmatics, among other projects), who premiered Chimeras at Bargemusic in=
=20
October.

Jeni


- -

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

End of Zorn List Digest V3 #634
*******************************


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