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Zorn List Digest       Friday, February 8 2002       Volume 03 : Number 764



In this issue:
-
       Re: Zorn as Miles????????
       RE: Luttenbachers again / 'New York is Now' book
       Re: zornlist death, bump, sun ra
       Re: Zorn as Miles????????
       Re: zornlist death, bump, sun ra
       BHP v FWJG --- WTF!?!
       Re: BHP v FWJG --- WTF!?!
       'New York is Now' book
       Accordions on Staten Island
       Re: boring old dead miles
       RE: 'New York is Now' book
       Re: BHP v FWJG --- WTF!?!
       RE: DD Jackson (was: tzadik sales)
       Re: DD Jackson (was: tzadik sales)
       Re: DD Jackson (was: tzadik sales)

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

Date: Fri, 08 Feb 2002 16:53:59 -0500
From: Rick Lopez <[e-mail]>
Subject: Re: Zorn as Miles????????

on 02.02.08 3:27 PM, [e-mail] at [e-mail] wrote:

> Since we seem to be in the cyber confessional, I haven't been able to get
> into Sonny Rollins.  I own maybe ten of his CDs and I never ever crave a
> single one.  I pull them out periodically to see if my ears are ready for him
> but they never seem to be.

Yup, same deal-- I've got probably three dozen Coltrane discs, but the only
ones I ever go for are the ones where I can hear Dolphy.


RL
- ----------
[  All of the below and much more at: http://www.velocity.net/~bb10k  ]

Sessionographies :
CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.

Discographies :
COURVOISIER; ENEIDI; MANERI; MORRIS; SPEARMAN; THREADGILL; WORKMAN.

Samuel Beckett Eulogy; Baseball & the 10,000 Things; Time Stops; LOVETORN;
HARD BOIL; LUCILLE, a Reverential Journal of the Care of the Beloved Hag;
ETC.,
- ----------
*** THINGS 4 SALE ***  [Updated: 01.12.01]
http://www.velocity.net/~bb10k/ChipsInCashing.html




- -

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

Date: Fri, 8 Feb 2002 16:58:25 -0500
From: "Steve Smith" <[e-mail]>
Subject: RE: Luttenbachers again / 'New York is Now' book

Phil brings a great deal of enthusiasm to everything he does, and as a death
metal kid who was indoctrinated into ecstatic jazz as a rather late point,
it's all new to him and he captures the breathless sense of discovery quite
effectively. He writes without the typical jaded-critic blinders, and if
occasionally I find his opinions deeply misguided (whether he's calling
Derek Bailey "autistic" and suggesting he should work with other players
more often, or claiming that the horrible Diane Schuur is the best jazz
singer currently in practice), I still admire his spunk. Besides, he
introduced me to Meshuggah, Cryptopsy and Strapping Young Lad, among others.

That said, 'New York Is Now' is exactly as problematic as reported. The
Zorn-bashing aside, Phil's vituperative attitude towards several of his
would-be journalistic peers was far beyond the pale (accusing Howard Mandel
of "vigorously fellating Wynton Marsalis at every opportunity" is but one
example), and he's simply not knowledgeable enough to have avoided a number
of serious errors. As a chronicle of a highly selective slice of the
contemporary jazz scene, however, the book has its merits, and is at its
strongest when letting the musicians speak for themselves.

Phil, who I like very much personally, once told me that he aimed to be the
Lester Bangs of jazz journalism. His biggest problem is that he has
absolutely no idea what that actually means. Given time, however, I have
little doubt that he could be a very productive voice on the scene. And
Mandel, for his part, has offered up the olive branch and included Phil on
several panel discussions since publication.

Steve Smith
[e-mail]
NP - Curlew, "Lemon Bitter," 'Meet the Curlews' (Cuneiform)

- -----Original Message-----
From: [e-mail]
[mailto:[e-mail]]On Behalf Of William York
Sent: Friday, February 08, 2002 6:26 AM
To: [e-mail]
Subject: Luttenbachers again / 'New York is Now' book


In reference to my last post ... Speaking of jazz writers "shaking things
up" (not that you are strictly a "jazz writer" Mr. Cain), there is, somewhat
unbelievably, an article on Weasel Walter and the recently discussed-here
Flying Luttenbachers in the recent issue of Jazziz. Not only is it possibly
the first non-pejorative mention I have ever seen of death metal in a
magazine like this (hooray, somebody's got his ears open!), there are some
interesting quotes about the sometime-predictability of improv today, even
by such acknowledged masters as Lovens, Gustafsson, etc.

So, I am wondering, since this article is written by Phil Freeman -- who I
had originally dismissed b/c of all the slams directed at his book "New York
is Now" -- is this book worthwhile? From what I hear there is a lot of
Zorn-bashing and stuff like that, but anyway, has anyone here read it? if
so, thoughts/comments???

Thanks,

WY

_________________________________________________________________
MSN Photos is the easiest way to share and print your photos:
http://photos.msn.com/support/worldwide.aspx


- -


- -

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

Date: Fri, 08 Feb 2002 17:00:20 -0500
From: Rick Lopez <[e-mail]>
Subject: Re: zornlist death, bump, sun ra

on 02.02.08 4:49 PM, [e-mail] at [e-mail]
wrote:

> "How can people listen
> to Eric Dolphy, when he has that ridiculous bump on his forehead?"

I've a similar bump, or lump. It's a subcutaneous cyst. In some rare cases
these can grow out into horns. Anyone ever read "Mr. Wilson's Cabinet of
Wonder"???


RL
- ----------
[  All of the below and much more at: http://www.velocity.net/~bb10k  ]

Sessionographies :
CRISPELL;  IBARRA; Wm. PARKER; RIVERS; SHIPP; D.S. WARE.

Discographies :
COURVOISIER; ENEIDI; MANERI; MORRIS; SPEARMAN; THREADGILL; WORKMAN.

Samuel Beckett Eulogy; Baseball & the 10,000 Things; Time Stops; LOVETORN;
HARD BOIL; LUCILLE, a Reverential Journal of the Care of the Beloved Hag;
ETC.,
- ----------
*** THINGS 4 SALE ***  [Updated: 01.12.01]
http://www.velocity.net/~bb10k/ChipsInCashing.html




- -

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

Date: Fri, 08 Feb 2002 14:06:15 -0800
From: Fred Heller <[e-mail]>
Subject: Re: Zorn as Miles????????

on 2/8/02 1:53 PM, Rick Lopez at [e-mail] wrote:

>> Since we seem to be in the cyber confessional, I haven't been able to get
>> into Sonny Rollins.  I own maybe ten of his CDs and I never ever crave a
>> single one.  I pull them out periodically to see if my ears are ready for him
>> but they never seem to be.

Sonny has made way more records than he should.  It took me years to find
the stuff that really hooked me onto him.

skip h


- -

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

Date: Fri, 08 Feb 2002 14:08:26 -0800
From: Fred Heller <[e-mail]>
Subject: Re: zornlist death, bump, sun ra

on 2/8/02 1:49 PM, [e-mail] at [e-mail] wrote:

>>> Zachary Steiner, a Kind of Blue naysayer, wrote:  I was blown away when I
> looked the
> transcriptions of the sax solos (both Coltrane and Adderly)<<
>
> I've sometimes found seeing John Cage's scores more interesting than
> hearing them played, but Coltrane and  Cannonball?!

I still think Cannonball is the most joyous sound I've ever heard.  Yeah,
the stuff looks positively bitchen on paper (espec his solo on "Dat Dere"),
but he makes me want to hug everybody -- and not in a new age-y way, either.
In that "buy-ya-a-beer" way.

skip h


- -

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

Date: Fri, 8 Feb 2002 17:14:19 -0500
From: "Steve Smith" <[e-mail]>
Subject: BHP v FWJG --- WTF!?!

Sad story, Skip. I'm sorry, but the well-meaning editor should be ashamed
for killing the -- your? -- piece on BHP, even if that album was not among
my personal favorites from his multifarious oeuvre. (That band was fun live,
though.)

And the marketing department at the label should be flogged or fired...
after all, could any piece on BHP truly have stopped the hemp-n-flannels
from selling out FWJG's gig like they always do? And if BHP had no gigs and
no radio in the nation's #2 market, then that -- your? -- article was likely
the only thing that would sell the disc.

Of course, the business being what it is, the marketing people at the label
are probably long gone by now. But the most embarassing thing of all was the
newspaper allowing a finished story to be stifled like that. I sincerely
doubt that the label could actually have convinced the venue and store to
pull the plug on their part of the co-op advertising. They both had far more
at stake than the label did - the label is expected to provide support, or
the store doesn't do any more co-op and the venue doesn't book the artist.
(Of course, that's also a Catch-22, because right at that moment, everyone
wanted a piece of the FWJG.)

What a business. Ugly from start to finish. Did the -- your? -- piece on BHP
ever appear?

Steve Smith
[e-mail]
NP - Curlew, "Lemon Bitter," 'Meet the Curlews' (Cuneiform)


- -

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

Date: Fri, 08 Feb 2002 14:28:10 -0800
From: crymad <[e-mail]>
Subject: Re: BHP v FWJG --- WTF!?!

Steve Smith wrote:
>
> What a business. Ugly from start to finish. Did the -- your? -- piece on BHP
> ever appear?

More interestingly, would it have appeared originally had the label not
been contacted for a photo (or whatever it was that was requested)?  If
so, would the label have been displeased after the fact?

- --crymad

- -

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

Date: Fri, 8 Feb 2002 17:47:13 -0500 (EST)
From: Ken Waxman <[e-mail]>
Subject: 'New York is Now' book

Yes,

But besides the problematic prose ...

It does have a matchless collection of wonderful black
and white photos of a clutch of New York's best
"outside" musicians in action.

Ken Waxman

- --- Steve Smith <[e-mail]> wrote:
'New York Is Now' is exactly as
> problematic as reported.

=====
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: Fri, 8 Feb 2002 06:47:18 -0600
From: Herb Levy <[e-mail]>
Subject: Accordions on Staten Island

Hi,

Finally catching up with the flurry of Zorn digests & noticed the
recent discussion on accordions. Add me to the list folks who dig Guy
Klucevsek and Pauline Oliveros.  & those of you in the New York City
area might be interested in the following announcement I got from Guy
this morning:

>Dear Friends,
>Phillip Johnston and I will be playing duos together (as opposed to
>separately) Saturday night, Feb. 16, at 8 PM, at Veteran's Hall, Snug Harbor
>Cultural Center, Staten Island; in a double bill with Ben Sher's Tudo Bem.
>Tickets are $15.
>For information and directions, please call:
>718-815-SNUG
>
>GUY KLUCEVSEK/PHILLIP JOHNSTON DUO
>Guy Klucevsek, accordion/compositions
>Phillip Johnston, saxophone/compositions
>
>     For over two decades, Guy Klucevsek has been plumbing the forefront at
>the intersection of contemporary classical music and world music, while
>Phillip Johnston has been investigating the overlap of jazz, blues and new
>music.   Now in a new duo, with an original repertoire written by both for
>the group, they express the overlap of intersections with wry wit,
>finger-bustin' chops and a mysterious charm that defies description. What is
>the result: Polka-Bop? Trance-Tango? Avant-Baroque?
>     You name it, you claim it.
>
>
>
>Ben Sher and Tudobem
>
>Ben Sher -guitar
>
>Valtihno Anastacio-percussion and vocals
>
>Joe Barbato-accordion
>
>Santi  DeBriano-bass
>
>     TudoBem is a Brazilian jazz group led by guitarist Ben Sher. Continuing
>in a tradition that dates back to Stan Getz inthe early 1960's, Sher and his
>group delve into the rhythms and repetoire of Brazil as a catalyst for their
>high-spirited improvisations.
>     Tudo Bem's programs include classic bossa-nova's by Baden Powell, and
>Antonios Carlos Jobim, traditional chorihnos by Pixinguinha, funky sambas by
>Djvan and Ivan Lins, and  compositions from Ben's two recordings "TudoBem'
>and "Me Leva Pro Brasil".
>     This performance of the Guy Klucevsek/Phillip Johnston Duo is made
>possible, in part, by an Encore Grant from  the Council on the Arts &
>Humanities for Staten Island, with public funding from the New York State
>Council on the Arts.
>
>Best,
>Guy
><A HREF="http://www.guyklucevsek.com">GUY KLUCEVSEK HOMEPAGE</A>
- --
Herb Levy
P O Box 9369  Forth Wort, Texas  76147  USA
817  377-2983
[e-mail]





- -

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

Date: Fri, 08 Feb 2002 22:48:20 +0000
From: "thomas chatterton" <[e-mail]>
Subject: Re: boring old dead miles

>From: "Kurt Gottschalk" <[e-mail]>

>in an effort to get the talk off of m'davis, whose yet to floor me, here's
>2
>proposed threads:
>
>what records have best stood the test of time?

Miles Davis, of course! And especially Bitches Brew, my initial exposure to
his boring overrated pretentious unoriginal oeuvre (first heard circa 1970
when a friend called me up, told me to come over to his house right away
'cause he had something important to show me, put the album in my hands at
the front door, and then while we were listening, and I asked him what kind
of music it was, he said, in a hushed reverential tone, "I think it's called
jazz." First time I ever heard that word!)

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


- -

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

Date: Fri, 8 Feb 2002 17:52:12 -0500
From: "Steve Smith" <[e-mail]>
Subject: RE: 'New York is Now' book

It certainly does.

Steve Smith
[e-mail]
NP - Johansson/Dorner/Neumann, "9," 'Barcelona Series' (hatOLOGY)

- -----Original Message-----
From: Ken Waxman [mailto:[e-mail]]
Sent: Friday, February 08, 2002 5:47 PM

But besides the problematic prose ...

It does have a matchless collection of wonderful black
and white photos of a clutch of New York's best
"outside" musicians in action.

Ken Waxman

- --- Steve Smith <[e-mail]> wrote:
'New York Is Now' is exactly as
> problematic as reported.

- -

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

Date: Fri, 08 Feb 2002 15:11:31 -0800
From: Fred Heller <[e-mail]>
Subject: Re: BHP v FWJG --- WTF!?!

skip heller

> Of course, the business being what it is, the marketing people at the label
> are probably long gone by now.
They are
> But the most embarassing thing of all was the
> newspaper allowing a finished story to be stifled like that. I sincerely
> doubt that the label could actually have convinced the venue and store to
> pull the plug on their part of the co-op advertising.
The threat was enough.
> They both had far more
> at stake than the label did - the label is expected to provide support, or
> the store doesn't do any more co-op and the venue doesn't book the artist.
Yes, but the editor isn't there to put his job on the line to prove that.
> (Of course, that's also a Catch-22, because right at that moment, everyone
> wanted a piece of the FWJG.)
That too.

skip


- -

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

Date: Fri, 8 Feb 2002 18:46:43 -0500
From: "Steve Smith" <[e-mail]>
Subject: RE: DD Jackson (was: tzadik sales)

Ari:

D.D.'s first RCA disc, 'So Far,' was something of a summary manifesto for
solo piano, boiling all of his formative influences (especially gospel,
Pullen and Tatum) into a pretty amazing set. The reviews were overwhelmingly
positive on that one. The second, 'Anthem,' was indicative of a new
direction, using Hammond B3 in addition to piano and backed with electric
musicians (Christian Howes's highly amplified violin, Richard Bona's
slippery electric bass), highly charged rhythms from Jack DeJohnette and
Mino Cinelu, and a couple of fine guest spots by James Carter. It was the
first time D.D.'s music ever made me realize that he and I are almost
exactly the same age and grew up on many of the same records, including
Mahavishnu and Metheny. This one got mixed reviews, but Jazziz gave it an
unqualified rave, well deserved in my opinion.If the things I mentioned are
pluses in your mind, seek it out.

The other shoe dropped after 'Anthem' - the label wanted him to be less
eclectic (holding him to a different standard than the other DD on the
roster, Mr. Douglas - "But he's a COMPOSER," they told him), and after they
asked for a Mehldau-style trio record he felt he couldn't deliver, he and
the label amicably parted ways. Interestingly, D.D. later told me that he
was suffering from an intense case of writer's block during the process of
preparing what would have been his third RCA disc, brought on by the label's
demands. The day he was released from his contract, he sat down at the piano
and the ideas flowed again.

Steve Smith
[e-mail]
NP - Jeff Song and Lowbrow, "Diasporama," 'Diasporama' (Stellar)

- -----Original Message-----
From: [e-mail]
[mailto:[e-mail]]On Behalf Of Ari
Sent: Tuesday, February 05, 2002 11:07 AM

> The only reason I bring this up is because of the two D.D. Jackson discs
we
> released during my RCA stint. [snip]

can you tell something more about these two discs?


- -

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

Date: Fri, 08 Feb 2002 16:03:29 -0800
From: "Patrice L. Roussel" <[e-mail]>
Subject: Re: DD Jackson (was: tzadik sales)

On Fri, 8 Feb 2002 18:46:43 -0500  "Steve Smith" wrote:
>
> The other shoe dropped after 'Anthem' - the label wanted him to be less
> eclectic (holding him to a different standard than the other DD on the
> roster, Mr. Douglas - "But he's a COMPOSER," they told him), and after they
> asked for a Mehldau-style trio record he felt he couldn't deliver, he and
> the label amicably parted ways. Interestingly, D.D. later told me that he
> was suffering from an intense case of writer's block during the process of
> preparing what would have been his third RCA disc, brought on by the label's
> demands. The day he was released from his contract, he sat down at the piano
> and the ideas flowed again.

DD gives most of the details in DOWN BEAT of September 2001.

    Patrice.

- -

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

Date: Fri, 08 Feb 2002 19:12:31 -0500
From: James Hale <[e-mail]>
Subject: Re: DD Jackson (was: tzadik sales)

And Steve might add that D.D. has been wrestling internally with that old
classical vs. jazz battle.
Having been brought up as a classical prodigy (although he loathes the word)
and schooled to be a solo classical artist into his early 20s, he broke free
and turned abruptly to improv without realing resolving the conflict.
Around the time that RCA dropped him he "faced the demon" as he says and
returned to his hometown (and mine) to do his first classical performance in
years. Since then, he has started moving in a new direction, which attempts to
merge his two musical influences.
Lately, he has been performing some longer suite-like works that remind me a
lot of Gershwin.

James Hale

Steve Smith wrote:

> Interestingly, D.D. later told me that he
> was suffering from an intense case of writer's block during the process of
> preparing what would have been his third RCA disc, brought on by the label's
> demands. The day he was released from his contract, he sat down at the piano
> and the ideas flowed again.


- -

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

End of Zorn List Digest V3 #764
*******************************


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