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Date: Tue, 22 Jan 2002 18:28:08 -0500
From: James Hale <jhale@sympatico.ca>
Subject: Re: New Dave Douglas album
Mike Chamberlain wrote:
> You should have sat right beside Misha, as I did. The mix was great from
> there. :-))))
Yeah, and you didn't get a drumstick in the head, either.
James
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Date: Tue, 22 Jan 2002 18:57:31 -0500
From: Mike Chamberlain <mikec@rocler.qc.ca>
Subject: Re: New Dave Douglas album
on 1/22/02 6:28 PM, James Hale at jhale@sympatico.ca wrote:
> Mike Chamberlain wrote:
>
>> You should have sat right beside Misha, as I did. The mix was great from
>> there. :-))))
>
> Yeah, and you didn't get a drumstick in the head, either.
>
Is that supposed to be an excuse for something?
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Date: Tue, 22 Jan 2002 20:00:18 EST
From: User384726@aol.com
Subject: A few recent topics and a question for non-musicians.
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Hello all,
I'd first like to thank Mr. Rizzi for all he's done and I'm for anything that
will make his life easier.
First I'd like to comment on the Sonny Clark album. I really love a lot of
the playing on this album. It took me a while to get into it because I was
expecting (this was my first error) an album more like the News for Lulu
stuff. While the Clark album is more conservative it has some very wonderful
soloing (particularly in Nicely).
I'd also like to put in my short two cents on the Indian Music and suggest
the Kronos Quartet's Short Stories album. This has one of the few easily
available recordings of the singer Prandit Pran Nath who taught Composers
Terry Riley and La Monte Young and the phenomenal author Walter Mathieu (The
Harmonic Experience is one of the greatest books ever written on Harmony and
intonation). The piece is only 11 minutes but the singing is well worth it.
Finally for all the non-musician what is it that attracts you to the
avant-garde music? Are there any pieces/albums/composers that you remember
to be your starting point? What makes something "sound good" to you? Is
there anything you wish more musicians would do or anything we should stop
doing? Any answers would help. I sometimes feel trapped being a musician
since my ears have a certain knowledge and vocabulary ingrained (though
there's a lot I don't know/understand).
Thanks to all,
Aaron Solomon
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<HTML><FONT FACE=arial,helvetica><BODY BGCOLOR="#ffffff"><FONT SIZE=2>Hello all,
<BR>I'd first like to thank Mr. Rizzi for all he's done and I'm for anything that will make his life easier.
<BR>First I'd like to comment on the Sonny Clark album. I really love a lot of the playing on this album. It took me a while to get into it because I was expecting (this was my first error) an album more like the News for Lulu stuff. While the Clark album is more conservative it has some very wonderful soloing (particularly in Nicely).
<BR>I'd also like to put in my short two cents on the Indian Music and suggest the Kronos Quartet's Short Stories album. This has one of the few easily available recordings of the singer Prandit Pran Nath who taught Composers Terry Riley and La Monte Young and the phenomenal author Walter Mathieu (The Harmonic Experience is one of the greatest books ever written on Harmony and intonation). The piece is only 11 minutes but the singing is well worth it.
<BR>Finally for all the non-musician what is it that attracts you to the avant-garde music? Are there any pieces/albums/composers that you remember to be your starting point? What makes something "sound good" to you? Is there anything you wish more musicians would do or anything we should stop doing? Any answers would help. I sometimes feel trapped being a musician since my ears have a certain knowledge and vocabulary ingrained (though there's a lot I don't know/understand).
<BR>
<BR>Thanks to all,
<BR>Aaron Solomon </FONT></HTML>
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Date: Tue, 22 Jan 2002 16:06:49 -0800
From: "Rev. Floyd Errors" <keithmar@msn.com>
Subject: Re: Journalism, Free Jazz, Ornette, etc.
>>>I'm also unsatisfied with the division of labor
between writer/critic/listener and musician, and
between feeling and thinking, and between language and
other formal structures which are somehow considered
more immediate.<<<
I find music most satisfying which appeals to thinking, feeling,
intuition, and sensation.
I think artists like Cecil Taylor, Ornette Coleman, and Anthony
Braxton are among the best at firing up all four cylinders on my
little deuce coupe even if we don't know what they got.
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Date: Tue, 22 Jan 2002 20:12:31 EST
From: Dgasque@aol.com
Subject: Re: Sonny Clark trib. album
In a message dated Tue, 22 Jan 2002 6:23:53 PM Eastern Standard Time, "William York" <william_york@hotmail.com> writes:
> >Zorn's Sonny Clark record sucks, though,
>
> No, it doesn't.
Sucks? Man, that's one of my favorite Zorn albums.
>
> >Skronk over a solid hardbop rhythm section: one-trick pony.
>
> A very low percentage of Zorn's playing on this could be considered
> 'skronk'. 5-10% maybe. That's just a straight-ahead jazz record played the
> way those guys would play it -- not a pastiche. ("We play this music b/c we
> love it," etc. I think it's great, one of my favorite Zorn albums, saxophone
> wise. Some great drum solos by Previte, too.
>
Agreed. I hear a very low "skronk" level on this album.
- --
np: Dr. Laura (I'm at work and outnumbered. Geeze, this woman is an idiot...)
=dg=
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Date: Wed, 23 Jan 2002 13:03:53 +1100
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: Harmobabble
> Ornette's harmolodic improvising style, is/are the player(s)
> improvising horizontally, on the melodic line - regardless of
> how it relates to the key or chord progression. Does this
> make sense to anyone else, or have I completely missed the
> boat and fallen off the dock?
That's it in its simplest form, improvising on the melodic line rather than
on the harmony. But it is also noteworthy that in this music the harmony is
generally freed up a lot so the piece's harmony is just as harmonically open
as its melody - hence the meshing of the two to make 'harmolodics'...
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Date: Wed, 23 Jan 2002 13:04:57 +1100
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: Spy Vs Spy
I think that Zorn's intention with Spy Vs Spy was to have a similar impact
at that time to Coleman's at his time, hence the 'hardcore' treatment which
doesn't necessarily seem related to Coleman (apart from the few examples
given by another Zorn-lister). It's sort of meant to get the listener to say
'what the...?' like they might have when Coleman hit the scene...
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Date: Wed, 23 Jan 2002 13:07:39 +1100
From: "Julian" <jcurwin@hartingdale.com.au>
Subject: Re: Sonny Clark Memorial
Wasn't the Sonny Clark Memorial Album actually Wayne Horvitz's? Anyway, I
think one of the most interesting things for me about this album is that
Zorn hasn't fully developed his set of 'licks' yet and so we get some quite
original playing from him, while later on Masada and a few other things it
