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Zorn List Digest       Tuesday, February 5 2002       Volume 03 : Number 749



In this issue:
-
       classic C&W
       sales
       DD Jackson (was: tzadik sales)
       Re: stereolab
       Fwd: Re: music & cooking
       Re: stereolab
       Re: Weather Report "Live in Japan"
       Ventura City Hall: Eugene Chadbourne this Saturday!
       Fwd: Re: French pop/crock
       Re: Britney
       Re: alasnoaxis
       hey nirav, drop me a line
       Independent Groups
       Re: Bjorkasaurus
       Re: Odp: Bjork ranting+raving, Plus: Peabody degree losers
       Re: Fwd: Re: French pop/crock
       the business end
       Re: New Otomo Yoshihide?

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

Date: Tue, 5 Feb 2002 10:01:23 -0600
From: "Brummer, Charlie" <[e-mail]>
Subject: classic C&W

Skip's list of classic C&W is a good starting point.  Here are some others.


I'd amplify the George Jones--I've had the Essential GJ on Epic (2 discs) on
heavy rotation lately.

The latest two Merle Haggard discs--If I Could Only Fly and Roots--are
excellent.  I'd recommend just about anything by Hag, although there are a
few stinkers in his output. (About 10 years ago, the New Yorker devoted
nearly an entire issue to an article on Hag--it was a fabulous chronicle of
one of America's foremost musicians.)

Johnny Cash can do (almost) no wrong.  I have a couple of the Bear Family
collections (wish I had 'em all) as well as his recent American
recordings.....all well worth having.  The live Folsom Prison/San Quentin
twofer is essential.

The Carter Family complete recordings on Rounder are excellent early
country.

Bill Monroe for excellent bluegrass, in addition to Skip's suggestions--the
Bear Family discs may be too much right off, but all have some hot picking.

For a while back in college, I was into the outlaws--Waylon Jennings, David
Allen Coe, etc....They have some good stuff mixed with a bunch that isn't
very good at all.  Try DAC's greatest hits if you want a sampler of this
subgenre.

And there's always Conway Twitty--scattered stuff of his is great, but most
isn't.....

A couple more recent country artists:  Emmylou Harris has many excellent
albums, my favorite may be "Roses in the Snow."  Dwight Yoakam, particularly
his first few discs, plays some fantastic country, but I've been less
impressed with his last few.

A bit off the pure country path, but that find their way on to my CD player
with regularity:
Jerry Jeff Walker, especially his live "A Man Must Carry On" 2 vol set
Guy Clark--his early stuff (The Essential... I think is the name of the best
set)
Butch Hancock--Eats Away the Night
Joe Ely--Early stuff

Charlie

np:  Dave Douglas--Charms of the Night Sky

- -

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

Date: Tue, 05 Feb 2002 11:06:02 EST
From: [e-mail]
Subject: sales

>>Tim Berne recently told me that Screwgun sales average about 1,500-2,000.<<

If that's sold & paid for, then that is pretty fantastic for average. Certainly better than ours.

Steve
Cuneiform Records

- -

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

Date: Tue, 05 Feb 2002 17:06:48 +0100
From: Ari <[e-mail]>
Subject: DD Jackson (was: tzadik sales)

> The only reason I bring this up is because of the two D.D. Jackson discs =
we
> released during my RCA stint. Both were terrific records; we laid out
> something like 5-10K copies of each in the U.S. alone. The actual sales
> figures, according to Soundscan, did not break a thousand while I was
> there - and that's with more positive press than we ever could have dared=
 to
> hope for. Worldwide the figures may be somewhat better, but still, we wer=
e
> all completely appalled, and naturally D.D. was out pretty soon after we
> (the marketing, PR and A&R staff) were all sacked. The new guys wanted hi=
m
> to make a "Brad Mehldau record."

Hi Steve,

can you tell something more about these two discs?
The virtuosity and swing in DD's music is amazing. The independent playing
of his left and right hand is just incredible!
I own a few of his collaborations with David Murray and two of his albums o=
n
Justin Time, "Rythm Dance" being my favourite. Are the two on RCA comparabl=
e
or even better?

Thanks for any comments,
Ari

np: laswell & br=F6tzmann - low life


- -

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

Date: Tue, 5 Feb 2002 17:05:48 +0100
From: [e-mail]
Subject: Re: stereolab

Efren wrote:

> As opposed to your satisfactory Stereolab-experience,
> I saw them live in Barcelona last September and it was
> probably the worst concert I've ever seen.
> However, I do enjoy their records, specially their
> latest release "Sound-Dust". As far as being as they
> want us to believe, I don't agree.

There are two strange things about Stereolab, in my opinion.
First of all, I've seen them live a couple of times (ever since
the release of "Dots & Loops"), and I don't think they were ever
really brilliant (even though they were always at least good).
It is always as if their songs rely too much on the lush production
and arranging details to really work in a live context.
Notable exceptions are always the older songs, like "Metronomic
Underground", which were probably more developed with a live situation
in mind in the first place. But then again, I've become a bit bored
by how they turned "Metronomic Underground" into the set-closing
staple piece.
Which brings me to the second remark. At least since "Emperor Tomato
Ketchup", every Stereolab album has been more sophisticated, more
intricately detailed, and more lushly produced than the previous
one. However, this does not necessarily mean that each album is
better than the one before. Having preferred "Dots & Loops" over
"Emperor Tomato Ketchup" for quite some time, I have now arrived
at the conclusion that the latter is actually the better album,
simply because it contains better songs (on the whole).
It was the release of "Sound-Dust" which triggered this nutshell
analysis, by the way; it is the first Stereolab albums in many
years that didn't catch my attention enough to even buy it...

Frankco



- -

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

Date: Tue, 5 Feb 2002 17:47:41 +0100 (CET)
From: =?iso-8859-1?q?Efr=E9n=20del=20Valle?= <[e-mail]>
Subject: Fwd: Re: music & cooking

HI,

> >
> Like the really good restaurants, they are harder to
> find though. And
> believe me, the ten or so Avant releases I own, ARE
> expensive imports, not
> to mention Zorn's Parachute Box. Exploring weird
> music, and trying new
> stuff, is definitely more expensive than listening
> to the radio all day.

Well, most of all the commercial garbage that they put
on the radio is really expensive: you spend 15$ in a
Cd of which probably just two songs are worth the
money (basically the singles).

> That's true, but I still can't understand why a guy
> like Steven Bernstein
> isn't world famous. He is loveable. Even my
> neighbours would like Sex Mob,
> if they only knew. Same with Bar Khokba. Good for
> Zorn that it sells good,
> but I can't believe why this cd didn't sell 350,000
> copies. Yes, I believe
> my neighbours would like it, even though they might
> hate Xenakis...
> Regards, Remco

It's easily understandable. My mother loves Masada,
Pachora, David Krakauer,... but she's been exposed to
that music only through me. She had just listened to
Julio Iglesias before! Maybe if more people could have
access to this kind of product they'd be immediately
hooked up- but radio stations won't just play that
stuff. A pity.

Greetings,

EfrΘn del VAlle

_______________________________________________________________
Do You Yahoo!?
Yahoo! Messenger
Comunicaci≤n instantßnea gratis con tu gente.
http://messenger.yahoo.es

- -

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

Date: Tue, 5 Feb 2002 11:47:35 EST
From: [e-mail]
Subject: Re: stereolab

In a message dated 2/5/02 11:15:04 AM, [e-mail] writes:

>Notable exceptions are always the older songs, like "Metronomic
>Underground", which were probably more developed with a live situation
>in mind in the first place.

this is a good point.  i saw stereolab about a month after emperor tomato
ketchup was released in the states, and that album (and prior efforts, imo)
was much more geared towards live-what-amounts-to-jam-sessions.  in a lot of
ways, i kind of see them as the grateful dead or phish of electronica.  they
played finney chapel, which is a chapel that seats about 200 or maybe a few
more and a balcony that goes around from the sides of the stage to the front
of the top tier of the chapel, in oberlin, with probably the best sound
reinforcement they'd ever played with before or since.  i think that intimate
atmosphere, plus the material they played (almost all stuff off of ETK), just
made the whole thing almost *too* good.  they encored with metronomic
underground (one of the few things i specifically remember about the show)
and played it for a good 20-30 minutes.  it was sick.

so...  i don't know.  i'd be interested to see them in a club where everyone
around me i didn't know, the kid running sound i didn't know, and i hadn't
eaten such deadly mushrooms...  <laugh>  i'm sure it wouldn't be the same but
i know i would shake my ass and enjoy it all the same...

love,
  k8.

n.p. - ween, 'the mollusk'



- -----
[ .n o t h i n g  i s  w h a t  i s  s a i d. ]

.k a t e  p e t e r s o n.
.c o m p o s e r / p e r f o r m e r.
<A HREF="http://www.geocities.com/uforbk8/kate.html">
http://www.geocities.com/uforbk8/kate.html</A>
<A HREF="http://www.icefoundation.org">http://www.icefoundation.org</A>
(roundtable)

- -

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

Date: Tue, 05 Feb 2002 17:11:53 +0000
From: Richard Gardner <[e-mail]>
Subject: Re: Weather Report "Live in Japan"

on 5/2/02 12:57 PM, Zorn List Digest at
[e-mail] wrote:

> Weather Report "Live In Japan" CD (Sony Japan: SRCS-9139)
> 3/31/97  Y2913


In the UK this album has been a normal release for some years (As you can
see its 2 CDs for the price of one):
Live in Tokyo=A0=A0
Weather Report  Amazon Price: =A312.99
(26 January, 1998) Number of Discs: 2
Label: Sony Jazz Catalogue Number: 4892082
Track Listings=20
1. Medley  2. Vertical invader  3. Seventh arrow  4. TH
5. Doctor Honoris Causa  6. Surucucu  7. Lost
8. Early minor  9. Directions   10. Orange lady   11. Eurydice
12. Moors   13. Tears   14. Umbrellas


- -

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

Date: Tue, 5 Feb 2002 09:15:56 -0800
From: "Rev. Freud Hairs" <[e-mail]>
Subject: Ventura City Hall: Eugene Chadbourne this Saturday!

THIS Saturday
February 9, 8 p.m.
Ventura City Hall Atrium, 501 Poli St, Ventura, CA
$10 Admission

Dr. Eugene Chadbourne!
Avant-Militant Banjoist and guitarist

Opening: Jeff Kaiser and Brad Dutz
(Trumpet and Percussion)

Tickets at the door only! No advance sales.

For Directions: http://www.mapblast.com/
**************************

http://www.pfmentum.com
http://www.newcreativemusic.com





- -

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

Date: Tue, 05 Feb 2002 12:19:47 -0500
From: [e-mail] (Benjamin Pequet)
Subject: Fwd: Re: French pop/crock

At 10:58 AM 2/5/2002, Tosh wrote:
>>I am a huge Godard fan, so I am dying to hear Chantal Goya.  Sadly I saw=
=20
>>one of her albums (an early hits collection) on my travels, but foolishly=
=20
>>I didn't purchase it.
>
>France Gall is pure great pop trash!  I don't know her recent work, but I=
=20
>do have a best of France Gall album and it's great.  Also thanks for=20
>everyone who recommended Henri Salvador - I'll check him out for sure.

Ok, I admit I haven't read this thread or any other from very close on this=
=20
mailing-list recently, and / thus may fail to see the irony (would be much=
=20
needed, imo) in these recent posts...

Can someone please seriously explain to me what (bj=F6rk,) chantal goya,=20
france gall, henri salvador, ... and the names dropping of two dozen=20
middle- to sub-par french speaking bands / singers, have to do with=
 anything?



- -

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

Date: Tue, 05 Feb 2002 09:25:00 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Britney

On Mon, 04 Feb 2002 19:47:14 -0800  Chris Selvig wrote:
>
>    You have made numerous jabs at the sorts of musicians who perform in
> coffee shops, release records in editions of less than 1000, etc - are you
> suggesting that nothing of worth is created at this level?  I don't think
> obscurity validates art, and a lot of half-assed doodling masquerades as
> "avant-garde," but there are a lot of excellent records made in small editions.

I never suggested that, I was simply trying to say that small does not
automatically means beautiful and big means evil. Bottom line what matters,
for me as least, is talent, and we can find it with both majors and obscure
labels.

>    And judging from the recent whining about falling record sales, I'm not
> the exalted big entertainment money is being managed so well, after all.

And this is the only business going down these days?

    Patrice.

- -

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

Date: Tue, 5 Feb 2002 12:48:16 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: Re: alasnoaxis

Yup:

And Flip Phillips liked and Oscar Peterson liked
playing with Fred Astaire and Johnny Hodges played
with Lawrence Welk. Just because one musician wants to
play with another doesn't make the second any better.

Ken Waxman



- --- Tom Benton <[e-mail]> wrote:
>   Isn't the second W&W disc from Jim Black's
> Alasnoaxis band due out this month?  At least that
was the word months and months ago - does anyone
> know about this? And to link this, in a roundabout
way, to the list discussion at hand, when both Black
and Chris Speed were asked "Who is one person you are
> still looking forward to playing with and why they
both answered to the effect of: "Bjork.  Do I need
> a reason?"


=====
Ken Waxman
[e-mail]
www.jazzword.com - Jazz/improv news, CD reviews and photos

______________________________________________________________________
Web-hosting solutions for home and business! http://website.yahoo.ca

- -

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

Date: Tue, 05 Feb 2002 18:06:30 +0000
From: "Kurt Gottschalk" <[e-mail]>
Subject: hey nirav, drop me a line

everyone else, my apologies. but you can drop me a line too, if you want...

_________________________________________________________________
Join the worldÆs largest e-mail service with MSN Hotmail.
http://www.hotmail.com


- -

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

Date: Tue, 5 Feb 2002 13:32:15 -0500
From: "Zachary Steiner" <[e-mail]>
Subject: Independent Groups

A week or two ago I had asked the list about an idea I had to bring
groups to my campus.  I got into contact with a professor that wants to
sit down with me and discuss specifics.  He has long been in charge of
bringing writers to speak, so he was experience in booking people and
finding money to do so.  He told me that he wants names when we meet.

I realized that I really only know the heavy weights in the genre -- the
Zorns, the Vandermarks -- or dead guys.  Can any one give me some names
or places to contact to find lesser known artists (preferably in the
Midwest) that would be willing to come to a small college and do their
thing for a relatively modest amount?  Accessibility (musically
speaking) is also a key.

Zach


- -

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

Date: Tue, 05 Feb 2002 18:33:22 +0000
From: "thomas chatterton" <[e-mail]>
Subject: Re: Bjorkasaurus

>From: Jim Flannery <[e-mail]>
>
>And for some reason I feel an urge to remind y'all that the Sugarcubes were
>not
>her first band, that she'd been at it for 4 or 5 years by *that* time

Bjork made her first LP at the age of 12, singing 'hippie folk' music. For
me, she's one of the great underachievers in music, I like what she's done
(good contemporary pop, but ultimately disposible), I feel like she's
capable of doing a lot more, breaking out of the electronica mode into
something with a lot more depth. Her Unplugged show really hinted at that,
with the unusual instruments and players like Oliver Lake. There was a
recent documentary that showed sessions for Vespertine, and she was talking
about that album being a balance of purely electronic sounds with acoustic
orchestral (strings) playing, but it didn't quite turn out that way. She
would do well with something more in the vein of  the INA-GRM music, but
unfortunately she's still on a major label...

_________________________________________________________________
Chat with friends online, try MSN Messenger: http://messenger.msn.com


- -

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

Date: Tue, 05 Feb 2002 10:34:33 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: Odp: Bjork ranting+raving, Plus: Peabody degree losers

On Tue, 5 Feb 2002 09:15:17 +0100  "Marcin Gokieli" wrote:
>
>
> ----- Original Message -----
> From: Patrice L. Roussel <[e-mail]>
>
> > Are you not tired of the same patronizing and condescending attitude?
> After
> > having followed non-mainstream music for almost thirty years, I just don't
> buy
> > it anymore.
>
> What do you buy, then?

Reading my statement above I realize that it could be misunderstood. By "not
buying it anymore", I meant the argument that Skip was pushing (people being
clueless, illustrated by the Mark Twain quote).

    Patrice.

- -

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

Date: Tue, 5 Feb 2002 10:11:51 -0800
From: Tosh <[e-mail]>
Subject: Re: Fwd: Re: French pop/crock

>Nothing that serious!  Just talking about music.
>
>Can someone please seriously explain to me what (bj=F6rk,) chantal
>goya, france gall, henri salvador, ... and the names dropping of two
>dozen middle- to sub-par french speaking bands / singers, have to do
>with anything?
>
>
>
>-


- --
Tosh Berman
TamTam Books
http://www.tamtambooks.com

- -

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

Date: Tue, 5 Feb 2002 10:11:31 -0800
From: [e-mail]
Subject: the business end

while we're on the subject of the business end, can somebody answer me
this: guys like braxton and lacy especially, but anybody who records for
small labels -- are they making any money off those records? did lacy or
david murray make "much" money when they were recording four or six or 10
CDs a year? or is it purely an artistic endeavor to record a Cd that sells,
presumably, a few thousand?


- -

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

Date: Tue, 05 Feb 2002 10:46:49 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: New Otomo Yoshihide?

On Tue, 5 Feb 2002 13:21:16 -0000  "Witkowski, Marcin" wrote:
>
> Dear all
>
> Anybody got the idea what is it?
>
> YOSHIHIDE, OTOMO (FEAT. SHIMADA MASAHIKO): MIRA NI NARUMAD
> Label: CHARIZMA

Could it be a European pressing of:

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

*** - MIIRA NI NARUMADE (MY DEAR MUMMY): Shimada Masahiko, Otomo Yoshihide

    Recorded at GOK Sound, Tokyo on June 23, 1996
    Produced by Noda Shigenori

  Otomo Yoshihide: conductor; Harada Takashi: ondes Martenot; Ishikawa Ko:
  sho; Nakamura Hitomi: hichiriki; Hirai Yuko: ryuteki, Koma-fue; Uchihashi
  Kazuhisa: electric guitar, effects; Kikuchi Masaaki: doublebass, electro-
  nics; Takara Kumiko: percussion; Era Mari: percussion; Sano Shiro: reading;
  Shimada Masahiko: reading; sampled guest: Derek Bailey (guitars).

    1997 - Sank-Ohso Discs/Creativeman Disc/Uplink (Japan), CMDD-00034
    (CD-Book)

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

    Patrice.

- -

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

End of Zorn List Digest V3 #749
*******************************


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