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Date: Mon, 25 Feb 2002 13:24:27 -0500
From: "Jeni Dahmus" <jdahmus@juilliard.edu>
Subject: RE: BIPED / Xu Feng / Broadway
Bob Kowalski wrote:
> Has any Zornsters heard the new Gavin Bryars disc BIPED? I'm=20
> wondering if its worth drumming up an international money=20
> order for $25 (via his www site seems to be the sole place to=20
> get it.) Have heard a couple of positive comparisons to=20
> Glass's Mishima although I haven't gotten around to listening=20
> to that either.
I recall seeing the CD for sale at a Merce Cunningham Dance Company
concert. BIPED was not on the program the night I went; I saw RAINFOREST
and INTERSCAPE instead. A friend who attended each concert of the
company's weeklong City Center run said she really enjoyed the music and
choreography of BIPED. According to my program (which I'm such a geek
for saving), BIPED was performed live by Bryars, Loren Kiyoshi Dempster,
Takehisa Kosugi, and James Woodrow. See www.merce.org for the current
performance schedule.
I would like to thank Zornlister Pei-Yi Kim for posting an announcement
of the Xu Feng concert at Colombia University last night, as part of the
Crisis and Nostalgia: A Brief Survey of Hong Kong Cinema symposium. Zorn
assembled an unbelievable group of six drummers: Billy Martin, Kenny
Wolleson, Ben Perowsky, Roberto Rodriguez, Susie Ibarra, and Jim Black.
Phenomenal! Due to minimal publicity, the audience was relatively small.
I *loathe* musicals. But I'm curious about Falling to Pieces: The Patsy
Cline Musical, which opens in NYC at the Bank Street Theatre in April.
Jeni
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Date: Mon, 25 Feb 2002 13:25:00 -0500
From: "Zachary Steiner" <zsteiner@butler.edu>
Subject: RE: broadway, et. al.
The only Weber musical (and one of the few musicals in general) that
I've enjoyed was Sunset Boulevard. I don't know why I enjoy it, but I
do. It could have something to do with liking the movie (one of my all
time favorites). It seemed to have a real drama aspect to it. Like a
real play, not a Broadway musical. I've acted quite a bit, so I
appreciate drama, but not generally musicals. Having been in some
musicals, I can honestly say that they don't do as much for me as
straight plays. I find that I'm sickened by the "pseudo-exuberance" as
well.
Zach
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Date: Mon, 25 Feb 2002 12:41:02 -0800
From: skip Heller <velaires@earthlink.net>
Subject: is this a joke?
I just got to read the full PAZZ & JOP Village Voice poll, and I was really
amazed by it. The Top 500-and-something albums of the year?! Is anything
his sprawling neccessary?
I understand the need for critics and all that, but has there ever been a
more useless thing than this sort of polling (Grammy's notwithstanding)?
skip h
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Date: Mon, 25 Feb 2002 13:24:13 -0800
From: Chris Selvig <selvig@sonic.net>
Subject: Flaming Creatures, Jeux des dames Cruelles
A cursory look on Google suggests that there is a VHS video of "Flaming
Creatures," but it appears to be out of print, appearing only on a few
collector-type
sites. http://www.buyindies.com/listings/2/3/FCTS-23200.html has it, if
you are feeling wealthy or obsessive, but I'd suggest trolling through
oddball-oriented video stores. Since we're talking video and this is the
Zorn list, is "Jeux des Dames Cruelles" a real movie and if so, is there a
video or DVD of it? It'd be especially fun if they used "Heretic" as the
backing music, but that's probably a reach.
Chris Selvig
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Date: Mon, 25 Feb 2002 16:58:11 -0500
From: <wlt4@mindspring.com>
Subject: Re: is this a joke?
>The Top 500-and-something albums of the year?! Is anything
>his sprawling neccessary?
It's computers. The P&J formerly listed only the top 40 and Christgau would run down the next 40 somewhere in his essay. But with computers it's easy to calculate and display everything. I'm glad to be able to see all the ballots.
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Date: Sun, 24 Feb 2002 15:04:54 +0100
From: Tim Blechmann <TimBlechmann@gmx.net>
Subject: Patrice Roussel's discographies online
Patrice Roussel's discographies of new york downtown scene and
experimental musicians are online again:
http://nyds-exp-discogs.covers.de/
Tim mailto:TimBlechmann@gmx.net
ICQ: 96771783
http://nyds-exp-discogs.covers.de/
- --
The only people for me are the mad ones, the ones who are mad to live,
mad to talk, mad to be saved, desirous of everything at the same time,
the ones who never yawn or say a commonplace thing, but burn, burn,
burn, like fabulous yellow roman candles exploding like spiders across
the stars and in the middle you see the blue centerlight pop and
everybody goes "Awww!"
Jack Kerouac
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Date: Tue, 26 Feb 2002 00:01:26 +0100
From: patRice <iqhouse@yahoo.de>
Subject: Bye for now... :-(
Hello y'all...
Feel like saying goodbye before leaving the list for some time.
Even though I am a lucky person, since this coming Friday I'll be off
travelling for (hopefully quite) some time, I know I'll miss a lot of
your mails and useful information...
Can't wait until I can join again!
Take care all of you!
Yours,
patRice
np: Underground Resistance, various 12"s
nr: Alex Kerr, Dogs & Demons
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Date: Mon, 25 Feb 2002 17:50:16 -0600
From: Herb Levy <herb@eskimo.com>
Subject: Re Broadway
"Zachary Steiner" <zsteiner@butler.edu> writes:
>What do you zornlisters think of Broadway and musical theatre in
>general? I just had the displeasure of attending a chorus concert in
>which they had some guest singers that specialized in ghastly belting
>(they quite ruined "Summertime" for me). It's not that I don't enjoy
>belting (love it when Patton does it), but in show tunes it doesn't do
>it for me. I know lots of people who enjoy show tunes quite a bit and I
>have no problem with those people, but I never quite understood them
>myself. It's not a lack of experience, I've listened to countless
>recordings and have seen a couple on stage (the least favorite being Les
>Miserable). If some could explain what I'm missing, I would be
>appreciative, but if I'm not missing anything that's alright too.
Broadway, as Broadway, doesn't do a whole lot for me at this point.
But for me, most of the old shows, even the one's that gave rise to
all those great jazz standards, never did much either.
There are lots of music theater pieces I like, Robert Ashley's video
"operas," the collaborations between Paul Dresher and Rinde Eckert,
Shelley Hirsch's works, among others, but these aren't likely sources
for many songs that will live on in bad versions at piano bars and
school choral concerts.
I hope.
Bests,
Herb
- --
Herb Levy
Mappings on Antenna Internet Radio
<http://www.antennaradio/avant/mappings/>
mappings@antennaradio.com
Mappings P O Box 9369 Forth Wort, TX 76147 USA
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Date: Mon, 25 Feb 2002 17:50:16 -0600
From: Herb Levy <herb@eskimo.com>
Subject: Re: fred frith: stone, brick, glass, wood, wire
Tim Blechmann <TimBlechmann@gmx.net>: asks:
>STONE, BRICK, GLASS, WOOD, WIRE (GRAPHIC SCORES 1986-1996): Fred Frith
>
>is it worth buying?
>
> Tim
I think about recordings of this kind of piece a lot differently than
Remco does, so I may as well write a little about the CDs here.
These are live recordings of a series of graphic score pieces that
Fred Frith created from 1986-1996. In these pieces musicians
interpret visual elements in particular photographs according to a
loose set of rules that Frith has chosen. These rules are different
for each piece, as are the photos used as scores. In general these
works are not very different from other open form music including
scores by composers like Pauline Oliveros and Christian Wolff, or, in
some ways at least, Zorn's game pieces. In other words, there's no
melodic, rhythmic, or harmonic material notated, the composition is
more of a set of rules for musical interactions. There's no literal
content in these works to be repeated accurately.
The recordings were made at several different festivals and workshops
over a five year period or so. Frith brought Ikue Mori and Zeena
Parkins to four of the five performances; other musicians also play
on more than one event, including Han Bennink, Rene Lussier, Bart
Maris. There rest of the folks will have worked with Frith for a few
days or weeks prior to the performance, learning the works for the
specific occasion. Some of these players are well known like Hans
Koch, Guy Klucevsek, Chris Cutler etc, others aren't.
Sure these aren't pristine studio recordings, but, for me at least,
the opportunity to hear a range of musicians responding to Frith's
open-ended structures in a variety of situations, allows me to more
fully hear the possibilities of these indeterminate works.
In other words, what it probably boils down to is this: If your goal
in hearing recordings of open structure pieces is to get to hear some
of the range the open-structure makes available to players, this is a
pretty good document of enough performances to get some sense of
that. If your goal in hearing recordings of open structure pieces is
to hear some kind of definitive performance made in an optimal
recording environment, this isn't that.
But, more than many other kinds of music (free improvisation is
similar in this regard), these kind of works don't often lend
themselves well to this latter kind of approach. The music by it's
very nature is relational rather than content driven. To my ears,
anyway, no recording can be "definitive" just as no single family can
be "definitive."
Bests,
Herb
- --
Herb Levy
P O Box 9369 Forth Wort, Texas 76147 USA
817 377-2983
herb@eskimo.com
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Date: Mon, 25 Feb 2002 21:38:04 -0800
From: "Benito Vergara" <bvergara@sfsu.edu>
Subject: RE: Broadway
> -----Original Message-----
> From: owner-zorn-list@lists.xmission.com
> [mailto:owner-zorn-list@lists.xmission.com]On Behalf Of Joseph Zitt
> Sent: Monday, February 25, 2002 10:00 AM
> I think the thing I most dislike about Broadway, musicals, and drama
> in general is the imitation of emotion, on an exaggerated scale,
> that infests most of it. The pseudo-exuberance of Broadway is just
> awful.
<Bjork alert> Does "Dancer in the Dark" count? =)
I'm no fan of musicals either -- and I've been forced to sit through a
few -- but the ones I've really liked, and have watched repeatedly, happen
to be films:
"Singin' in the Rain"
"Les Parapluies de Cherbourg"
"Pennies from Heaven" (haven't actually seen the series yet)
The emotion is pretty exaggerated all right, but there's a gentle satiric
edge to the former, an eye-popping visual style in the second that pokes fun
at its own obviousness, and for the third -- well, Dennis Potter's Dennis
Potter...
Later,
Ben
http://members.tripod.com/~tamad2/
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