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2002-03-19
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From: owner-zorn-list-digest@lists.xmission.com (Zorn List Digest)
To: zorn-list-digest@lists.xmission.com
Subject: Zorn List Digest V3 #828
Reply-To: zorn-list
Sender: owner-zorn-list-digest@lists.xmission.com
Errors-To: owner-zorn-list-digest@lists.xmission.com
Precedence: bulk
Zorn List Digest Wednesday, March 20 2002 Volume 03 : Number 828
In this issue:
-
Re: dIRTYlAUNDRY (was Re: fractal music? )
Re: dIRTYlAUNDRY (was Re: fractal music? )
Re: I know we've talked about HipHop a lot, but...
ornette reissues on blue note
Re: I know we've talked about HipHop a lot, but...
re: hiphop
How Come?
Re: How Come?
Re: FW: RE: Quine Tapes
Re: OLIVER JOHNSON
Re: OLIVER JOHNSON
Re: From "The Onion"
Re: From "The Onion"
Re: From "The Onion"
Re: "Zorn" List
Fred Frith on W&W
Fwd: How Come?
skip's proven himself
summer new music festival in Boston
----------------------------------------------------------------------
Date: Tue, 19 Mar 2002 16:26:29 -0800
From: skip Heller <velaires@earthlink.net>
Subject: Re: dIRTYlAUNDRY (was Re: fractal music? )
on 3/19/02 3:37 PM, Patrice L. Roussel at proussel@ichips.intel.com wrote:
> Maybe, but discovering somebody like Zorn in the early eighties does not
> leave a lot of room for something else.
You're right -- that's not elitism. That's monochromaticism. I'm pretty
sure Zorn would say something to the effect of "Make room for everything you
can get your hands on". It's certainly been his practice, and he must be
spending more time making things than any of us is spending listening to the
things he makes.
> And I guess that other people are
> on this list for similar reasons (and not for it becoming a forum for
> amateurs desperatly looking for an audience).
who are these amatuers?
skip h
- -
------------------------------
Date: Tue, 19 Mar 2002 19:52:04 -0600
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: dIRTYlAUNDRY (was Re: fractal music? )
On Tue, Mar 19, 2002 at 03:37:15PM -0800, Patrice L. Roussel wrote:
> In short, this is a list named after somebody quite exceptional. Elitist?
> Maybe, but discovering somebody like Zorn in the early eighties does not
> leave a lot of room for something else. And I guess that other people are
> on this list for similar reasons (and not for it becoming a forum for
> amateurs desperatly looking for an audience). If you call that elitism,
> that's fine with me.
I doubt that the act of shutting off one's ears based on deciding that
one has found a favorite artist can be called a good thing.
As Schoenberg said, there's a lot of good music yet to be written in C
major.
- --
| jzitt@metatronpress.com http://www.metatronpress.com/jzitt |
| New book: Surprise Me with Beauty: the Music of Human Systems |
| http://www.metatronpress.com/nj/smwb.html |
| Latest CDs: Collaborations/ All Souls http://www.mp3.com/josephzitt |
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
Date: Tue, 19 Mar 2002 19:33:29 EST
From: RainDog138@aol.com
Subject: Re: I know we've talked about HipHop a lot, but...
of course everyone knows about the sugar hill gang and "rapper's delight" but
i think the more important innovators of the original form of hip hop were
Grand Master Flash. they were more than just a one hit wonder unlike sugar
hill.
after that the most important records (in my opinion) would be:
Run DMC's - raising hell
Public Enemy's - it takes a nation of millions to hold us back (this was the
first to really push the sonic envelope and tempo to where it's at today.
PE's stuff from way back then is still way ahead of the times - not to
mention it was the first to have truly important lyrical subjects)
Beastie Boys - license to ill (yes it was an important record! though very
similar to raising hell thanks to rick rubin's production on both albums).
but definatley check out Gtrand Master Flash and the Furious Five - "greatest
messages"
- -mike (i too was weened on punk and death metal - but this is what i've
discovered with my own research) - hope that helps.
- -
------------------------------
Date: Wed, 20 Mar 2002 00:35:55
From: "William York" <william_york@hotmail.com>
Subject: ornette reissues on blue note
hi,
has anyone heard the new/recent RVG-series reissues of the ornette trio's
golden circle discs on blue note? if so, any commentary on the bonus
material, improvement in sound quality, etc.?
thanks in advance,
wy
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp.
- -
------------------------------
Date: Tue, 19 Mar 2002 17:29:45 -0800
From: skip Heller <velaires@earthlink.net>
Subject: Re: I know we've talked about HipHop a lot, but...
For me, the big ones are PE's FEAR OF A BLACK PLANET, De La Soul's 3 FEET
HIGH AND RISING, and GRANDMASTER FLASH GREATEST MESSAGES.
skip h
- -
------------------------------
Date: Tue, 19 Mar 2002 20:33:49 EST
From: SonataPathetique@aol.com
Subject: re: hiphop
my favorite hip hop cd's would be It takes a Nation of Millions and
Wu Tang's Enter the Wu-Tang/36 Chambers
Seth
- -
------------------------------
Date: Tue, 19 Mar 2002 17:43:31 -0800
From: "john schuller" <superbadassmofo@hotmail.com>
Subject: How Come?
How come Zorn has categories in the Tzadik catalog that are
race/religion/gender based? I can understand the Composer series/Film
Series/Key Series...but what gives with the Jewish/Woman/Asian series?
Curious,
John Schuller
_________________________________________________________________
Get your FREE download of MSN Explorer at http://explorer.msn.com/intl.asp.
- -
------------------------------
Date: Tue, 19 Mar 2002 20:46:23 -0600
From: Joseph Zitt <jzitt@metatronpress.com>
Subject: Re: How Come?
On Tue, Mar 19, 2002 at 05:43:31PM -0800, john schuller wrote:
> How come Zorn has categories in the Tzadik catalog that are
> race/religion/gender based? I can understand the Composer series/Film
> Series/Key Series...but what gives with the Jewish/Woman/Asian series?
It's probably to focus attention on groups which either represent
particular viewpoints (the Radical Jewish Culture series) or groups,
such as women and Asian composers whom he sees as underrepresented in
other recordings.
Or maybe just because he feels like it :-)
- --
| jzitt@metatronpress.com http://www.metatronpress.com/jzitt |
| New book: Surprise Me with Beauty: the Music of Human Systems |
| http://www.metatronpress.com/nj/smwb.html |
| Latest CDs: Collaborations/ All Souls http://www.mp3.com/josephzitt |
| Comma: Voices of New Music Silence: the John Cage Discussion List |
- -
------------------------------
Date: Tue, 19 Mar 2002 19:12:12 -0800 (PST)
From: Thomas Choate <tbachdrums2@yahoo.com>
Subject: Re: FW: RE: Quine Tapes
us?). anyone with a
> different take on live
> Velvets?
>
> sean
>
i always heard that live was the velvet's thing.
when warhol 'produced' them they were (in a show)
"exploding plastic inevitable" ...lights and name tags
of names not belonging to the owners....movies...
or maybe andy did it b/c they were that 'outrageous'
live.
but i have no experience with the VU
amor fati,
sq thom
__________________________________________________
Do You Yahoo!?
Yahoo! Sports - live college hoops coverage
http://sports.yahoo.com/
- -
------------------------------
Date: Tue, 19 Mar 2002 22:16:54 -0500
From: "Caleb T. Deupree" <cdeupree@erinet.com>
Subject: Re: OLIVER JOHNSON
Here's an article from Agence France Presse:
Homeless man arrested for death of US jazz drummer Oliver Johnson
PARIS, March 19
A homeless man has been arrested in Paris for the death of a US jazz
musician, Oliver Johnson, whose body was found on a park bench in the city
earlier this month, French police said Tuesday.
Investigators said they believed the man, whom they did not identify, had
gotten into a drunken row with Johnson and beaten him to death. Johnson,
born in Oakland, California, on December 5, 1944, moved to Paris in the
1960s, where he became a mainstay of the free jazz movement. He played in
some of the capital's renowned nightspots up to a few years ago, but, for
unknown reasons, he had recently taken to living on the street.
When his body was discovered in the central Les Halles district on March 6,
police initially thought he had passed away of natural causes.
But an autopsy revealed his injuries and an investigation was started,
involving police talking to many night owls and homeless people before they
made their arrest last weekend.
Johnson was a respected drummer in a jazz movement which dispensed with
traditional notions of melody, harmony and rhythm, and which was often seen
as an offshoot of both the anti-Vietnam war and black civil rights
movements in the United States.
He performed with many well-known free jazz figures -- such as Anthony
Braxton, Sam Rivers and Archie Shepp -- as well as more mainstream
performers like George Duke and Johnny Griffin.
After his move to Paris he became a regular collaborator with saxophonist
Steve Lacy, another of the many US jazz musicians who relocated to the
French capital.
He played on Lacy's "Woe," one of the period's most outspoken anti-war jazz
albums, which included the sounds of actual explosions and a reading of
French writer Eugene Guillevic's poem "Massacres."
- --
Caleb Deupree
cdeupree@erinet.com
- -
------------------------------
Date: Wed, 20 Mar 2002 08:43:54 +0200
From: Oger <oger@worldnet.fr>
Subject: Re: OLIVER JOHNSON
>
>From: "Patrice L. Roussel" <proussel@ichips.intel.com>
>
> Yes, a really sad news.
>
>On Tue, 19 Mar 2002 19:05:38 +0200 Oger wrote:
>>
>> Oliver Johnson, the drummer who played a long time with Steve Lacy
>> was found dead some days ago in a Paris square. There is a police
>> investigation. He seems to have been murdered.
>
>Jeff Beer (on r.m.b.) heard that he was beaten up to death by skinheads
>near Les Halles. Do you know where this is coming from?
>
> Patrice.
Yes it's true. I saw Steve Lacy yesterday and he confirmed to me. I
don't have any details.
Oliver Johnson had many problems. He had no work and he was homeless.
Jacques
- -
------------------------------
Date: Wed, 20 Mar 2002 09:05:57 +0100
From: duncan youngerman <y-man@wanadoo.fr>
Subject: Re: From "The Onion"
What a sad self-depreciating ghetto mentality is displayed here!
(whether it's a joke or whether it's for real=2E)
Reminds me of the American Atheist organisation=2E=2E=2E
D=2E
"Tal G=2E" a =E9crit :
> Atonal Composers Gather For Atony Awards
>
> HOLLYWOOD, CA
>
> The recording industry's top atonal composers gathered in Los Angeles Mond=
ay
> for the gala seventh annual Atony Awards=2E
>
> "Tonight is hostile music's biggest night," said Krzysztof Penderecki,
> nominee in the Most Dissonant Piece category=2E "I can't tell you what a
> thrill it is to be here, surrounded by so many legends of arrhythmic
> cacophony=2E"
>
> The highlight of the evening is expected to be the awarding of the Olivier
> Messiaen Lifetime Achievement Award to Karlheinz Stockhausen for "more tha=
n
> five decades of aggressively impenetrable anti-music=2E"
>
> -
- -
------------------------------
Date: Wed, 20 Mar 2002 03:28:44 EST
From: RainDog138@aol.com
Subject: Re: From "The Onion"
anything is that is, was, or will ever be printed in the onion article
wise is of course a JOKE! - those who are upset by this supposed
self-degrading joke of an article are taking themselves way too seriously and
have no identifiable sense of humor.
i thought the article was witty and it cleverly poked fun at people - not
unlike some on this list - who take all things music too serious. i love john
zorn to death, i think he's an absolute genius, but i've encountered some
types that would buy an album of him farting and belching profusely and then
discuss how well he blended the two styles together and or his brilliantly
suttle use of dynamics in the first movement. get the point?
someones new enemy - mike
- -
------------------------------
Date: Wed, 20 Mar 2002 00:41:18 -0800
From: skip Heller <velaires@earthlink.net>
Subject: Re: From "The Onion"
on 3/20/02 12:28 AM, RainDog138@aol.com at RainDog138@aol.com wrote:
> anything is that is, was, or will ever be printed in the onion article
> wise is of course a JOKE! - those who are upset by this supposed
> self-degrading joke of an article are taking themselves way too seriously and
> have no identifiable sense of humor.
>
> i thought the article was witty and it cleverly poked fun at people - not
> unlike some on this list - who take all things music too serious. i love john
> zorn to death, i think he's an absolute genius, but i've encountered some
> types that would buy an album of him farting and belching profusely and then
> discuss how well he blended the two styles together and or his brilliantly
> suttle use of dynamics in the first movement. get the point?
>
> someones new enemy - mike
>
> -
>
I keep waiting for The Onion to get around to the Black Country Music Awards
myself. Lifetime Achievement Award to Charlie Pride. And next -- uh-oh.
Incidentally, the Zorn bleching and farting remix project (with armpit
noises by Derek Bailey and Mark Feldman) is rumored to be powerful, moving,
above ridicule and makes a bold new statement about emission. It is not to
be taken lightly, and I resent your levity about this matter.
skip h
- -
------------------------------
Date: Wed, 20 Mar 2002 00:40:52 -0800 (PST)
From: Ronald Hiznay <letucepry@yahoo.com>
Subject: Re: "Zorn" List
You see the problem is one of semantics, there are
actually two different lists here one set of people
subscribes to the Zorn list, as in John Zorn list and
the other set of people subscribes to the Zorn list as
in "der Zorn" list.
mushmush
__________________________________________________
Do You Yahoo!?
Yahoo! Sports - live college hoops coverage
http://sports.yahoo.com/
- -
------------------------------
Date: Wed, 20 Mar 2002 10:09:58 +0100 (CET)
From: =?iso-8859-1?q?Efr=E9n=20del=20Valle?= <efrendv@yahoo.es>
Subject: Fred Frith on W&W
Hi,
Yesterday someone asked for further info on the FF
record on W&W (sorry, I don't have the original
message now):
The line-up is FF on electric guitars, Miya Masaoka on
koto and electronics and Larry Ochs on sax. I don't
recall the title.
As to your question, I'd swear the album is 100%
lengthy improvisations (if there are notations,
they're too complex for me to pereceive them, I must
admit).
I'd really love to have more info...;-)
Greetings,
EfrΘn del Valle
_______________________________________________________________
Do You Yahoo!?
Yahoo! Messenger
Comunicaci≤n instantßnea gratis con tu gente.
http://messenger.yahoo.es
- -
------------------------------
Date: Wed, 20 Mar 2002 10:17:35 +0100 (CET)
From: =?iso-8859-1?q?Efr=E9n=20del=20Valle?= <efrendv@yahoo.es>
Subject: Fwd: How Come?
Hi,
>
> How come Zorn has categories in the Tzadik catalog
> that are
> race/religion/gender based? I can understand the
> Composer series/Film
> Series/Key Series...but what gives with the
> Jewish/Woman/Asian series?
>
> Curious,
> John Schuller
The religious thing was laaargerly discussed here a
while ago. I don't see the problem in documenting a
particular ethnic/religious group on a music label if
said group is offering an interesting output. Of
course, doing this can be controversial and a bit
dangerous, as proved the arguments it raised when
discussed here (and probably elsewhere).
However, this leads again to the "Radical" term and in
which sense records like Tim Sparks' "Tanz" or
Jennifer Charles/Oren Bloedow "La Mar Enfortuna", for
instance, are RADICAL, or what's the actual
contribution that Anthony Coleman's Selfhaters or
Ribot's Shrek live make to contemporary Jewish music
(aside of the fact that the performers are Jewish-...
some of them).
Best,
EfrΘn del Valle
_________________________________________________________________
> Get your FREE download of MSN Explorer at
> http://explorer.msn.com/intl.asp.
>
>
> -
>
_______________________________________________________________
Do You Yahoo!?
Yahoo! Messenger
Comunicaci≤n instantßnea gratis con tu gente.
http://messenger.yahoo.es
- -
------------------------------
Date: Wed, 20 Mar 2002 04:44:25 EST
From: RainDog138@aol.com
Subject: skip's proven himself
well well well - skip has proven he is not without a sense of humor. thank
god
well done skip - mike
- -
------------------------------
Date: Wed, 20 Mar 2002 07:36:30 -0500
From: Stephen Drury <stevedrury@mindspring.com>
Subject: summer new music festival in Boston
Hello everyone -
Subscribers to this list - especially pianists - may be interested in the
new music workshops and concerts this summer which make up the Summer
Institute for Contemporary Piano Performance at New England Conservatory.
From June 24 to June 29, the week features daily workshops and masterclasses
led by internationally renowned musicians who have spent their lives
studying and performing contemporary music, along with free evening concerts
featuring music by Cage, Xenakis, Stockhausen, Ives, Feldman, Boulez, Crumb,
Scelsi, and other suspects. Students will have the opportunity to play for
and be coached by guest artists and faculty who have worked with many of the
great composers of our time. (The program is also open to auditors who just
want to come, listen, learn and discuss.) The week concludes on Saturday
with a concert of performances by students of the Institute.
Summer Institute for Contemporary Piano Performance
New England Conservatory, Boston, MA
Monday, June 24 - Saturday, June 29, 2002
An intensive performance seminar on music of the twentieth century for
pianists of all levels.
Stephen Drury, Artistic Director
Faculty: John Mark Harris, Shannon Wettstein, Yukiko Takagi
Special guest artist: Marc Ponthus
Featured guests: Ensemble Sirius (piano and percussion)
WORKSHOPS: The Institute will feature discussions and masterclasses (held
Monday thru Friday, June 24 to 28 from 10am to 1pm in Williams Hall at New
England Conservatory) on a broad range of modern repertoire for pianists and
percussionists, conducted by Stephen Drury and guest artists working with
the seminar participants. Every student will have an opportunity to perform
and be coached in masterclass. Selected students will be asked to perform
on the final evening concert on Saturday June 29. We welcome the opportunity
to hear any contemporary music you may be performing. Auditors who do not
perform are also welcome. Repertoire suggestions are available at
http://www.stephendrury.com/SICPP/repertoire.htm
CONCERT SERIES: The Summer Institute for Contemporary Piano Performance will
present six evening concerts of modern music for piano. All concerts are FREE!
HOUSING: Some housing may be available at a reduced rate if reserved early.
Please call 617-585-1126 for information.
COMPOSER IN RESIDENCE: Dr. Linda Dusman from the University of Maryland
Baltimore County will be the 2002 Composer in Residence.
SICPP 2002 is open to intermediate and advanced students working at the
college level or higher. In addition, we will again offer Introductory
SICPP for less experienced or younger students - and their teachers. The
emphasis will be on "dipping your toes in the water", exploring some ways of
creating new and exciting sounds, and developing teaching tools to introduce
modern music at earlier stages. Junior SICPP will meet in the afternoons;
participants may also attend morning classes. A list of suggested
compositions offering lesser technical demands is available at
http://www.stephendrury.com/SICPP/jrRepertoire.htm
To register, or for more information:
New England Conservatory School for Continuing Education
290 Huntington Ave., Boston, MA 02115
phone 617-585-1126; fax 617-585-1135 (attn: Summer School)
http://www.stephendrury.com/SICPP/SICPP2002.htm
- - Stephen Drury
Artistic Director, Summer Institute for Contemporary Piano Performance
- --steve
info on SICPP 2002 now available at
http://www.stephendrury.com
- -
------------------------------
End of Zorn List Digest V3 #828
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