Jason: I don't think I would be as generous as the reviewer at Pitchfork,
but it's a nice, adventurous recording by Satoko. I'm not a huge fan of a
lot of the extended things that Natsuki Tamura does on trumpet, but he's
not as out on Vulcan as he often is. I have to say that I prefer Satoko's
trio with Dresser and Black rather than her Japanese quartet in general.
Almost everything she does is interesting, though.
Good words? It never ceases to surprise me that Satoko hasn't garnered
more critical attention in the States. Stuart Broomer and I have written a
number of things on her here in Canada (and Stu's done some liner notes for
her), but none of my American associates seem to have picked up on her.
It's surprising because her story (well annotated in the Pitchfork review)
is pretty interesting. Down Beat was interested in doing a piece on her a
couple of years ago, but decided against it. All proving that it's still
difficult to get U.S. coverage if you don't have an American label or live
there... add to that being an adventurous improviser AND a woman.
James Hale
jason tors wrote:
> hello all, any info or recs on the album vulcan?
>
> pitchfork reviewed it, sounds interesting, but just want to see if
> anyone has any good words to say about Satoko.
- -
------------------------------
Date: Tue, 15 Jan 2002 18:06:47 -0500
From: "Brian Olewnick" <olewnick@gis.net>
Subject: Re: ielasi/sciajno live question
> Who has seen Giuseppi Ielasi and Domenico Sciajno
> live, recently?
Saw them last night at Tonic as half of a double bill with Greg Kelley/Jason
Lescalleet.
> I'm curious what kind of gear and
> techiques they were (or seemed) to be using.
Domenico used an Apple laptop and some auxiliary devices. Giuseppi had,
essentially, a tabletop guitar, although it too was augmented with various
appurtences. He also had some other electronica.
> After
> having heard the record, I'm mystified and would be
> interested to know how the live performance(s) are
> similar and different from their recent collaboration
> RIGHT AFTER.
The show sounded fairly different than the 'Right After' disc. Better or
not, I can't say, but it was excellent. hey were especially compelling when
in quiet mode as the multitude of sounds they generated were quite clear,
distinct and palpable. When these sounds were gradually merged with an
ambient tape of Italian conversation, footfalls and car noises, I thought it
sounded spectacular.
The two duos are playing Boston tonight and Amherst and Baltimore during the
upcoming week. Anyone around should definitely check them out (Kelley and
Lescalleet were also outstanding).
Brian Olewnick
NP: Jason Lescalleet - Another Example of Parkinson's Law
- -
------------------------------
Date: Wed, 16 Jan 2002 10:07:40 EST
From: IOUaLive1@aol.com
Subject: Re: Berne
- --part1_150.752a5a5.2976f13c_boundary
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In a message dated 1/11/2002 4:36:23 AM Eastern Standard Time,
velaires@earthlink.net writes:
> > In that Vancouver workshop Will was mentioning (what up, WY? didn't know
> if
> > you were still in SF), Berne basically said the key to good improvising
> was
> > a nice hotel room, some coffee and some other smart-ass remarks. He also
> > said that anyone who says he practices 8 hours a day is either lying or
> has
> > no way to communicate any ideas to the world at large.
>
> That's kind of a loaded, smart-ass statement, and I think it's
> irresponsible
> of someline like Tim to say that. There are a lot of fanatical pracitcers
> who communicate more than adequately (I'm thinkin' Uri Caine for starters).
> But the hotel room and the coffee ARE important.
> skip heller
> http://www.skipheller.com
I'm sure Tim was laughing when he said that, or at least laughing on the
inside. Maybe if you were actually there to hear it, you might have a better
formed opinion about his smart-assness. Geeez.... Thank god i'm not famous
and nobody talks about me on internet lists, or i might be the biggest
smart-ass in the world :-)
About his music --- i'm horrible at talking about/trying to describe music.
But -- I've probably seen Tim live more than anyone on this list, so heres
what i think. his writing and playing process is no different than any other
jazz musicians. It aint rocket science. Free part, written part, free
solos, written part. Although his free parts can be verrrry loose, and long,
and are obviously never the same each time played.... the musicians involved
(obviously) playing the biggest factor in how it sounds. And the written
parts are hopefully tighter than a mosquitos ass. I've never noticed much in
the way of direction, or cues, except for maybe a signal to go back into the
head. Like i said, not much different than other jazz guys.... except of
course his tunes sound like him, and his playing and soloing sounds like him.
Jody
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Content-Type: text/html; charset="US-ASCII"
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<HTML><FONT FACE=arial,helvetica><FONT SIZE=2>In a message dated 1/11/2002 4:36:23 AM Eastern Standard Time, velaires@earthlink.net writes:<BR>
<BR>
<BR>
<BLOCKQUOTE TYPE=CITE style="BORDER-LEFT: #0000ff 2px solid; MARGIN-LEFT: 5px; MARGIN-RIGHT: 0px; PADDING-LEFT: 5px">> In that Vancouver workshop Will was mentioning (what up, WY? didn't know if<BR>
> you were still in SF), Berne basically said the key to good improvising was<BR>
> a nice hotel room, some coffee and some other smart-ass remarks. He also<BR>
> said that anyone who says he practices 8 hours a day is either lying or has<BR>
> no way to communicate any ideas to the world at large.<BR>
<BR>
That's kind of a loaded, smart-ass statement, and I think it's irresponsible<BR>
of someline like Tim to say that. There are a lot of fanatical pracitcers<BR>
who communicate more than adequately (I'm thinkin' Uri Caine for starters).<BR>
But the hotel room and the coffee ARE important.<BR>
skip heller<BR>
http://www.skipheller.com</BLOCKQUOTE><BR>
<BR>
<BR>
I'm sure Tim was laughing when he said that, or at least laughing on the inside. Maybe if you were actually there to hear it, you might have a better formed opinion about his smart-assness. Geeez.... Thank god i'm not famous and nobody talks about me on internet lists, or i might be the biggest smart-ass in the world :-)<BR>
About his music --- i'm horrible at talking about/trying to describe music. But -- I've probably seen Tim live more than anyone on this list, so heres what i think. his writing and playing process is no different than any other jazz musicians. It aint rocket science. Free part, written part, free solos, written part. Although his free parts can be verrrry loose, and long, and are obviously never the same each time played.... the musicians involved (obviously) playing the biggest factor in how it sounds. And the written parts are hopefully tighter than a mosquitos ass. I've never noticed much in the way of direction, or cues, except for maybe a signal to go back into the head. Like i said, not much different than other jazz guys.... except of course his tunes sound like him, and his playing and soloing sounds like him.<BR>
Jody</FONT></HTML>
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- -
------------------------------
Date: Wed, 16 Jan 2002 10:29:52 -0800
From: "Patrice L. Roussel" <proussel@ichips.intel.com>
Subject: Tzadik web site just updated
The Tzadik web site has just been updated and there are many exciting
records upcoming!
BTW, does anybody know if the following record was ever released?
